Klári
Concerts for Voice, piano, video art
& Guests
Manchmal kann man Musik sehen - in dem KLÁRI-Projekt etwa. Denn in diesem einzigartigen Konzertprogramm verwenden wir eigens kreierte Videokunst, um die Musik durch eine weitere „Stimme“ zu ergänzen. Die Filme erhalten so eine eigene Funktion; Bewegung und Farben weben ein eigenes Bild. Jedes einzigartig, folgend der jeweiligen Komposition. Gemeinsam wächst beides zu einem starken, einzigartigen Kunstwerk.
KLÁRI – der Name des Projektes erinnert an die Textdichterin Klára Gombossy. Sie war es, die Béla Bartók aus seiner Schaffenskrise erlöste, die ihm die Energie zum Komponieren zurückgab – und die ihn zu seinem Zyklus op.15 inspirierte, mit dem unser Projekt begann.
Mehr Videomaterial auf Anfrage unter: info[at]klari.art
from the programme Klári-Suite
GORECH! GORECH! von Peter Eötvös
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Kontakt: info[at]klari.art
Concerts for Voice, Piano, Video
& Guests
Manchmal kann man Musik sehen - in dem KLÁRI-Projekt etwa. Denn in diesem einzigartigen Konzertprogramm verwenden wir eigens kreierte Videokunst, um die Musik durch eine weitere „Stimme“ zu ergänzen. Die Filme erhalten so eine eigene Funktion; Bewegung und Farben weben ein eigenes Bild. Jedes einzigartig, folgend der jeweiligen Komposition. Gemeinsam wächst beides zu einem starken, einzigartigen Kunstwerk.
KLÁRI – der Name des Projektes erinnert an die Textdichterin Klára Gombossy. Sie war es, die Béla Bartok aus seiner Schaffenskrise erlöste, die ihm die Energie zum Komponieren zurückgab – und die ihn zu seinem Zyklus op.15 inspirierte, mit dem unser Projekt begann.
About us
.voice .concept
.Video art
.management .equipment
Klári 1
Klári - Suite
Chamber Concert For Voice, Piano. Video
& flute
Music
Voice, Piano
5 Songs op. 15
1. A vágyak éjele
(Night of Desire)
2. Szines álomban
(In a colourful dream)
3. Nyár
(Summer)
4. Itt lent a völgyben
(Down in the valley)
5. Az én szerelmem
(My love)
Piano:
Outdoors No. 4
Sounds of the night
Piano Solo:
Piano Étude Nr. 2
Sequences
Voice, piano, flute:
Shéhérazade
Nr. 1 Asie
Nr. 2 The Magic Flute
Voice Solo:
Gorech’! Gorech’!
(Bitterness! Bitterness!)
Flute Solo:
8 aşa-zise studii din traista fluieraşului călător
(8 Etüden aus dem Ranzen des wandernden Spielmanns)
Musicians
.Piano
Her brilliant CD debut with works by Chin, Boulez, Ligeti and Messiaen won the "Coup de Coeur" of the Académie Charles Cros in France and her most recent Scriabin album was nominated for the Preis der Deutschen Schallplattenkritik and the In- ternational Classical Music Awards..voice .concept
For the concert programme KLÁRI-SUITE for voice, piano and video, the Villa Elisabeth in Berlin was transformed into a meeting place for the arts on 18 September 2022.
The term "suite" can be understood not only as the musical genre concept of a sequence of character pieces, but also - analogous to the suite of the same name - as the sequence of sonic spaces to be experienced. In the video projection, another space opens up that adds an independent contribution to the interpretation of the music.
Programmatically, Béla Bartók's Five songs op. 15 (Klári-Songs) become the nucleus of an exploration of the entire span of passion between creative and destructive, intoxicating and ecstatic power. Bartók took the emotionally intense, thoroughly youthful and controversially received texts of the 14-year-old Klára Gombossy and her four-year older friend Wanda Gleiman as the basis for his song cycle op. 15, one of only two original song works from his pen.
Bartók's interest in the connections between mathematics and nature is reflected in his music. He liked to use the proportions of the golden section or the Fibonacci number sequence. The complete programme of the KLÁRI SUITE now also follows these principles of proportion. Based on the order in Bartók's manuscript and cyclical connecting points in terms of content, the Klári songs are heard in a new order that deviates from the publisher's usual counting - accompanied by the video with a black-and-white, blurred world of mist. This is followed by three solos that present the artistic media as individual elements: First for piano Unsuk Chin's Etude No. 2 Sequences, then Peter Eötvös' bitter Goretsch! Goretsch! for solo mezzo-soprano. Finally, the increasingly colourful and insane video solo leads into two songs from Shéhérazade, Ravel's settings of texts by Tristan Klingsor, exuberant with exotic sensuality, eroticism and violence. In the works originally conceived as orchestral songs, a delightful effect is created by the rapturously colourful video projections. In the second piece, La flûte enchantée, special guest Aaron Dan takes over the part of the solo flute before the programme is reflected in a concluding cadenza, releasing the audience into their own dreams with Bartók's Sounds of the Night.
The overall dramaturgy of the programme elevates formal peculiarities from Bartók's composition to a guiding principle: the piece complexes with the circumferences 8/5/3/2/1 follow the reverse Fibonacci sequence, emotional lows and climaxes are heard at the dividing point of the Klári songs and the entire suite respectively, corresponding to the golden ratio. These proportions also determine the colour and lighting direction. The programme as a whole expands from the formal density of the Klári songs to the fantastic expanse of Shéhérazade and the finale.
Béla Bartók's Five Songs op. 15 (Klári-Songs) confront us with all the highs and lows of a young woman's intoxicating longings for love. In the posthumously published first edition by his son Peter Bartók, this cycle ends with the song Itt lent a völgyben (Down in the valley), the only song marked by hopelessness, loneliness and resignation. This sequence of songs tells a love story that ends in failure. Bartók himself had laid down a different order in his manuscript, which convinced Sarah van der Kemp far more and inspired the KLÁRI SUITE project: Bartók emphasises the cyclical change of emotional states. The Klári-Songs begin in the dark of night with the song A vágyak éjjele (Night of Desire), which describes the longing for love through the unsteady ups and downs of passionate emotions and erotic dreams. All five songs are assigned to times of day. Songs two to five, moreover, are also seasons, with temperature and weather conditions being related to the feelings of longing for love. Similar to Bartók's opera one-act and relationship drama Duke Bluebeard's Castle the song cycle begins in darkness and has its brightest and hottest (in the opera, most dramatic) climax at the dividing point of the golden section. (Song No. 3 Summer: “Offenen Mundes trink’ ich die Sonnenfluten, der flammende Himmel stürzt auf mich herab!“) In the opera, the circle is closed by the return to darkness, the relationship has failed. In the In five songs, op. 15 reihen sich die facettenreich dargestellten Liebesgefühle in das Werden und Vergehen der Natur ein. Bartók beendet den Zyklus mit dem Verklingen des Klaviernachspiels bei gehaltenem Pedal im “The rapture of delight!“
Premiere: 18/09/2022
In cooperation with
At the Villa Elisabeth | Invalidenstraße 3, 10115 Berlin
Thank you for the support!