Artikel-Schlagworte: „Christoph Eschenbach“

Masterclass with Christoph Eschenbach

Donnerstag, 14. Februar 2013

A Young  Soloists´s personal experience

“We were working on this opportunity for more than 10 years”,  said Raimund Trenkler about Christoph Eschenbach´s coming to Kronberg to deliver a series of masterclasses over one weekend. Now, last weekend it finally happened (February 8-9).  This was a unique chance for me to personally get to know a worldwide renowned pianist and conductor.

Maestro Eschenbach shared with us his incredible experience as a conductor, working on such  beautiful concertos like Schumann´s cello concerto, Bruch´s violin concerto, Walton´s viola concerto and various other pieces. In addition, we had the chance to play and perform with him, playing chamber music works by Mozart and Dvorák.

I was very much impressed by his strong sense of timing in music, and how he was feeling the natural shape of musical  phrases. At times, he paid attention to a very small detail with the result that the music was getting freedom and new colors. None of the formal, lifeless notes were missed by him. And he was so much involved in working with each student to bring into the piece truthfulness and natural breath.  Sometimes, he just showed a direction, conducting only two bars and the phrase got immediately clearly articulated. He also suggested some of the bow changes for orchestra groups in certain places, where the melody of the solo instrument needs a particular support from the orchestra.

To play chamber music with Christoph Eschenbach is a very special experience. It’s an opportunity to make music with a great musician, to feel his spirit and fully embrace the music. And sensing a kind of distance which always exists between a soloist and the conductor. However, a distance that is disappearing in the moment of creating music together. At the beginning Maestro Eschenbach wanted to play only one movement of the Dvorák piano quintet and it was so interesting to see how excited everybody became when he couldn’t stop with one movement and the quintet piece was finally played to the end.

As a result of my participation and listening to a series of masterclasses conducted by great musicians who were coming to Kronberg over the last couple of months I got the feeling of a common spirit. Also I felt that there was a common idea shared amongst the group of Young Soloists who were also in the room during those masterclass sessions. And that feeling was so special,  meaning that all young musicians were united by that common idea and we were part of it through shared learning and performing. And this feeling got even stronger, when all the Young Soloists and Maestro Eschenbach played together chamber music. Mr. Eschenbach pointed out that musicians should carry a message to the audience which is to make sure that music has the power to unite people with different standpoints, convictions and beliefs.

Last but not least I would like to add a few observations. The Maestro didn’t want to make breaks between sessions, in other words, it seemed that he was very much looking forward to the next interpretation, a new personality and new musical experience. And I also felt, that after the two days making music together and speaking and exchanging ideas during dinners, we got to know him better and if I may say so, the distance between him and us was shrinking. We came closer to each other. After these two amazing days with Christoph Eschenbach we were  all excited about the experience and we are clearly looking forward to his next stay in Kronberg, scheduled in June.

Anastasia Kobekina

Young Soloist, Kronberg Academy Masters

(Photo: Andreas Malkmus, Frankfurt)

Cello Festival 2011 / Photo exhibition “Live Music” in Kronberg

Freitag, 26. August 2011

Alexandra Kremer-Khomassouridze in front of her works

Works by Parisian photographer Alexandra Kremer-Khomassouridze

Last week, days before the vernissage of this fantastic exhibition, we just couldn´t imagine how wonderful the roughly 5o images would complement each other. The final positioning of the appealingly framed photo works took two full days. Thursday and Friday last week were devoted to this job. When we had the first project-related meeting in the rooms of her exhibition in Kronberg´s Malermuseum (museum devoted to the history of a Kronberg-based painting school) it was a matter of minutes to develop a plan on how to divide the jobs between the artist and our small team of helpers. When Stephan Cropp and I left Alexandra Kremer-Khomassouridze alone in the two major exhibition rooms she then decided prudentially which of her photos were to be used in the final set-up.

The main idea idea behind her thinking was to group the photos not according to date of origin but rather compose groups of images based on the type of musicians, i.e. composers, conductors, soloists, and a few images which were hanging as solitaires. Once the positioning was finally decided by Mrs. Kremer-Khomassouridze, the rest of the work demanded just precision, patience and stomach. In the end, the most precious tool has been a water-level and a very robust 2,5o m long ladder. Smiling faces appeared on last Friday when our support team fixed the last set of images and optimized the lighting, so that each group of photos would receive the same spotlight. Most important, Alexandra Kremer-Khomassouridze agreed with how we had handled her conceptual ideas, including our decision to get rid of two works that didn´t fit with the wall sizes after all.

After hanging was completed and lighting was regarded alright, then it was time to take a very personal look at all the pictures on the following day and, who wonders, recognizing the superiority of all the displayed photographs. Stephan Cropp and I were impressed with the black and white works that Alexandra Kremer-Khomassouridze had created. All her images are showing world-renowed musicians, conductors and composers. For instance, one can see photos of Seiji Ozawa, Yuri Bashmet, Gidon Kremer, Mischa Maisky, Mstislav Rostropovich, Daniel Barenboim, Christoph Eschenbach, Nikolaus Harnoncourt, Gennadi Roshdestvensky, composers such as Arvo Pärt, Sofia Gubaidulina and Giya Kancheli, and the list could go on and on.

Last Saturday, on her day of departure back to Paris, Alexandra agreed that we document her exhibition in Kronberg and she was also happy to let us take some images of her against the backdrop of some of her own works.  Clearly, that session provided a great opportunity for Kronberg´s blogger to catch the spirit of  this exhibition, which functions as an entrée to the 10th Cello Festival end of September, while at the same time providing a picture of the photographer who created those works.

On Monday evening the long-awaited vernissage took place. Both friends of music and photography were coming to the “Museum Kronberger Malerkolonie” and listened to 30 minutes of chamber music.  Raimund Trenkler, artistic director of Kronberg Academy delivered the “Welcome” address and underlined that photography exhibitions have often complemented events and festivals of this institution. Eva-Maria Magel, a cultural editor from Frankfurter Allgemeine Zeitung delivered the opening speech and introduced the Parisian photographer to the audience. Here remarks were very well received. Then Alexandra Kremer-Khomassouridze explained a bit her own photographic career and was engaged in several discussions after the audience began to explore the 2 exhibition rooms.

Mrs. Kremer-Khomassouridze then hurried back to the airport in order to be ready for her next project, a journey to her homeland Azerbeijan where she wanted to complete a portfolio on the subject ” Oil”.

For people and guests in Kronberg now there is time to enjoy a great photographic exhibition displaying images of some of the finest musicians.

Michael Heinz



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