Paul Hindemith’s oratorio “The Incessant” is rarely played and the visitors to the monumental performance of this work in the sparsely occupied Brucknerhaus on Thursday ask themselves after a great sound experience: why not?
Hindemith (1895–1963) was a representative of “New Music”, which may put many people off from the start. “The Unstoppable” is surprisingly not atonal, the sound is different and exotic, mainly because of the registers used. Five bass violins, ten cellos, comparatively few violins and violas. Hindemith gives the flute a lot of solo space, which also creates an unknown listening experience, which in this case is very stimulating thanks to Andrea Dusleag’s enthusiasm for playing. In connection with the texts by Gottfried Benn, the content of an oratorio is initially not revealed. It’s less about the sacred than about worldviews.
These are conveyed with vocal conviction by the four soloists – Manuela Uhl (soprano), Peter Lodahl (tenor), Christoph Pohl (baritone) and Albert Dohmen (bass). The Bruckner Orchestra confirms that it distinguishes itself from the High Romantic.
Hindemith has the soloists compete with and against each other, and he also mixes the voices of the great Vienna Philharmonia Choir and the childlike freshness of the voices of the St. Florian Boys’ Choir. This creates a potpourri of undreamt-of possibilities and on this evening all of these are put to good use.
We have the conductor Keri-Lynn Wilson to thank for the fact that this succeeds so wonderfully. The Canadian, who has worked with many large orchestras, acts with empathetic restraint. At the concert as well as during the final applause, which she gave to practically every one of the almost 200 participants. (at)
Source: Nachrichten
