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„Beethovens Egmont-Ouvertüre“ von der New York Times gelobt

Daniel Hope und sein Ensemble brachten am 27. Februar in der Chamber Musik Society of Lincoln Center (Alice Tully Hall) Jan Müller-Wielands Adaption „Beethovens Egmont-Ouvertüre” für Septett zur Aufführung. Das Werk erklang im Rahmen des Projektes „War and Pieces” unter Beteiligung des Schauspielers Klaus Maria Brandauer zusammen mit Igor Strawinskys Melodram „Die Geschichte vom Soldaten”, mit dem Müller-Wielands Egmont-Bearbeitung die Besetzung gemein hat.

Die Partitur zu „Beethovens Egmont-Ouvertüre“ von Jan Müller-Wieland ist soeben als Druckausgabe erschienen (SIK 1732).

Die New York Times schrieb über das Konzert:

“The most staggering arrangement of Beethoven I ever heard was the first movement of the Sixth Symphony, performed in north Thailand by the Lampang Junior High School Marching Band accompanied by eight elephants who banged merrily away on cue at a series of drums, cymbals, xylophones and vibrating sheets of metal. Nothing could beat that (and I still have the recording). But the first work last night for a concert called ‘War And Pieces’ came close to the Thai extravaganza. Composer Jan Müller-Wieland was given the task of arranging Beethoven’s overture to Goethe’s play Egmont for the same instruments that would be used later for Stravinsky’s A Soldier’s Tale. Frankly, it would have been easier to just let the elephants stamp it out, but Mr. Müller-Wieland was not only game for the task, but added some Stravinsky-ish fillips to the score. The result was a success only that it could be done at all. But it seems doubtful that one will ever hear Egmont the same way ever again.

The notes were identical, but the trombone and clarinet added some glissandi and a few blues riffs. The great crescendos so studiously penned by Herr Ludwig were transformed into percussion solos by the astonishing Hans-Kristian Kjos Sǿrensen. Daniel Hope had the Augean task of playing the whole string section on his single violin. And the Allegro con brio climax—one of the most impressive of any Beethoven overture—was left to the other instruments to play along.

The result had that original Thai-elephant atmosphere of improvisational enthusiasm, but it also embraced the sickliness of a Sicilian funeral and the tinny circus music of La Strada. (…)”

(Harry Rolnick)