Montags in der Hölle

Die Kammermusikreihe der Ruhrtriennale im Maschinenhaus der Zeche Carl hat dieses Jahr das Motto “Höllenfahrten”. Marie König versorgt euch an dieser Stelle mit Worten, Tönen und Bildern aus der Unterwelt.

Bei “Inferno” wurde Musik eines russischen Komponisten gespielt, der völlig zu Unrecht unbekannt ist: Jewgeni Golubew. Sein elftes Streichquartett vereint Jazz und Dramatik, russische Melancholie und Tango, Moderne und Folklore.

Elektronik-Künstler Mika Vainio und Cellist Arne Deforce öffnen unsere Ohren für die griechische Unterwelt: In ihrem Programm “Hephaestus” bereisen sie die fünf höllischen Flüsse.

Arne Deforce und Mika Vainio – “Phlegethon”

Foto: Heinrich Brinkmöller-Becker

Foto: Heinrich Brinkmöller-Becker

Kontrabassist Peter Jacquemyn, Geigerin Gunda Gottschalk und Basstubist Carl-Ludwig Hübsch öffneten die Tore zur Hölle – begleitet und Illustriert von der Künstlerin Sigrid Tanghe.

Foto: Heinrich Brinkmöller-Becker

Foto: Heinrich Brinkmöller-Becker

Drei Sonnen versengen die Erde. Sie schmelzen zusammen, bevor sie explodieren, sich entfernen und dann wieder zusammenfinden. Die Welt vor ihrer Schöpfung – so, wie sie sich die Orotschen vorstellen. Die Schöpfungsmythen dieses mongolischen Volkes haben das vierte Konzert im Maschinenhaus inspiriert: improvisierte, mit bildender Kunst kombinierte und archaische Musik für Kontrabass, Violine und Basstuba.

      Musikausschnitt

James Holden schickt den Hörer mit seiner Musik auf eine zauberhafte Reise – und deshalb spielt er auch nicht nach Noten, sondern nach einer Landkarte.

      Map

Das ist die Magie der Musik.

Foto: Heinrich Brinkmöller-Becker

Foto: Heinrich Brinkmöller-Becker


      Magie der Musik

“La lugubre gondola” eröffnete das zweite Kammermusik-Konzert in der Zeche Carl. Die Version für Violine und Klavier ist hier zu hören.

Ruhrtriennale. Pianist Volker Bertelmann, Hauschka, am 17.08.2015 im Maschinenhaus der Zeche Carl in Essen. Foto: Marcus Simaitis

Foto: Marcus Simaitis

“Viele Leute sagen mir, sie wollen nach dem Konzert nachhause gehen und irgendetwas machen, etwas verändern. Sie sind aufgeladen. Das finde ich super!”

Foto: Pedro Malinowski

“Inferno” war der Titel des letzten Maschinenhaus-Konzertes. Drei Streichquartette, zwölf Musiker von “Musica Aeterna”, eine Höllenfahrt. Gespielt wurde unter anderem Musik von Mieczysław Weinberg – er widmete sein 16. Streichquartett seiner Schwester, die von den Nazis ermordet wurde. Geigerin Anita Mishoukova (im Bild rechts) spricht von einer emotionalen Hölle, die in Weinbergs Musik hör- und spürbar wird.

      Eine emotionale Hölle

terzwerk-Kollege Pablo Lawall hat Mika Vainio nach seiner persönlichen Hölle befragt.

Foto: Heinrich Brinkmöller-Becker

Foto: Heinrich Brinkmöller-Becker


      Mika Vainios Hölle

Peter Jacquemyns Hölle ist gut klimatisiert:

Foto: Heinrich Brinkmöller

Foto: Heinrich Brinkmöller-Becker


      Peter Jacquemyns Hölle

James Holden und Camilo Tirado versetzten ihr Publikum beim dritten Höllenfahrten-Konzert in Trance – mit analogen Synthesizern, Computer und Tabla-Trommeln aus Indien.

Foto: Heinrich Brinkmöller-Becker

Foto: Heinrich Brinkmöller-Becker

 

      Musikausschnitt

 

Foto: Marcus Simaitis

Die zweite Höllenreise in der Zeche Carl war nach innen gekehrt und sehr intensiv. Marie König hat eine andere Seite von Franz Liszt entdeckt und von Vera Beths erfahren, was es heißt, über 40 Jahre miteinander Musik zu machen. Mit unserer Moderatorin Mirjam Benecke sprach sie über das Konzert.

      Gespräch über Via Crucis

Franz Liszt hat den Kreuzweg Jesu, “Via Crucis”, vertont. Hier gespielt von Reinbert de Leeuw – wie in der zweiten Hälfte des Konzertes im Maschinenhaus am 24. August.

Im freien Fall: Hauschkas Musik in der Eigenbetrachtung.

      Hauschkas Musik
Foto: Marcus Simaitis

Foto: Marcus Simaitis

So stellt sich Hauschka die Hölle vor:

      Hauschkas persönliche Hölle

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