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Interpretative Finesse and Wit: Jan Müller-Wieland’s “Marcia d’amore” in a Press Review

On the occasion of the premiere performance of Jan Müller-Wieland’s new chamber music work “Marcia d’amore” for viola d’amore and piano on 11 June in Munich, the Feuilleton of the Süddeutsche Zeitung (edition of 13 June 2008) supplied the following commentary:

“Centre stage was held by the baroque, many-stringed ‘viola d’amore’ as a timbre in contemporary music, complemented by piano solo works by Giacinto Scelsi and Alberto Ginastera with Yumi Sekiya at the piano. The spectrum ranged from Bruno Maderna’s finely expressive, cyclically openly conceived motif layering to Scelsi’s darkly cloudy mantras held out by the piano pedal to Ginastera’s effective ‘Danzas Argentinas’ which played with folkloristic elements. The premiere of the Munich composer Jan Müller-Wieland’s ‘Marcia d’amore for viola d’amore and piano’ anchored the concert in the present day. Müller-Wieland, like Hindemith before him, is fascinated by the colourful richness of the unusual instrument and reflected narrative motifs from Benjamin Britten’s ‘Peter Grimes’ in a solemn sonic dialogue. Wein’s interpretative finesse and Sekiya’s wit made a tasteful, vital new- music concert out of the colourful stylistic panorama with very little typically contemporary seriousness. This was not least thanks to the charm of an instrument which already has ‘love’ in its name.”

(Author: Ralf Dombrowski)