Nicht Schwindel erregend
«Forumanderemusik»: The second evening was dedicated to Bachs Goldberg Variations and a rotary video
Crucifixes “Circuits” were represented, in the planetarium, acoustically and visually, the constant circles around an object, in the case of Bach a highly complicated one.
Glenn Gould’s interpretation of Bach’s first Prelude and Fugue from the Well-Tempered Clavier was a voyager project in the Voyager project Jupiter and Saturn a quarter of a century before she left our solar system forever.
«Circuits» was the motto of the second event of the current cycle «Flugbahnen» by «forumanderemusik». And which venue would be more suitable than the planetarium in Kreuzlingen? The special art scene and, of course, the opportunity to hear Bach’s Goldberg Variations in Sternenumfeld attracted many visitors to the otherwise rather exclusive ambience of the events at «forumanderemusik». So it was really «warm around the heart» that was really only available to Bessie Nager «roundabout» , A mirrored duplication of video on traffic circles. The artist, born in Lucerne, shows the otherwise unseen “un” -points with magnificent fire-colors. Red orange, yellow, purple, lava streams or close-ups of huge bush fires, dissolve with centripetal and centrifugal twists in surreal images. Traumbilders slide into one another, dissolving in color swirls, briefly revealing as tree branches, in any case consciously usually indifferent or unacceptable. With different speeds, this video seemed to take the viewer sensually into the sea of color, to want to absorb, without causing giddiness at the gyro.
Tomas Bächli’s presentation of the Goldberg Variations was also unbelievable. Surprisingly already. Bächli, also a native of contemporary pianoforte music, presented an interpretation that clearly illuminated Bach’s movement philosophy. Condensed motor skills, concentrated development, the flow of energy seemed to be of interest to him. More with a firm gesture than with an exaggerated interest in late-working philosophy or any “sinking” views. This created freshness and cool clarity, and yet one missed the rest breaks, the meditative viewpoints, the possible invitations to transcendence.
Powerful basic energy
Bächli seemed to be immensely impelled to drive, which in the first half of the approximately five-quarter-hour mammoth work occasionally led to a certain unrest. In the second part, Tomas Bächli seemed more free to admit the self-imposed stringency. This is where the more exciting moments come. This interpretative approach, based on the motive power, based on ground energy, gave the work timelessness and severity, perhaps sometimes too absolute. On the other hand, Bächli could show the tension between calculus and freedom, the inherent improvisational character in a surprising light. Slowly he played quite quickly, he did not seem to want to lose himself. No stopping, no exclamation points, more earthy-tone instead of internalization! The dangerous centrifugal forces of the difficult lines of movement (which is designed for a two-manual instrument!), Which were also manually crossed over, were generally well received, but they did not seem to be afraid to submit to the danger of coming out of the ” To fall. All in all, a quite modern Goldberg view, not brazen, but courageous, not circling, but radically “traversed”. Is Bach complicated? His Goldberg variations are as complicated as nature itself, which we can enjoy, because we do not necessarily reflect them, do not necessarily have to study their laws. However, Bächli did not forget the complexity of this work. He placed the miraculous and the confusing in the foreground. Too strong? Not just a stream to enjoy!