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Reviews of Peter Ruzicka's New Orchestral Work ”Einschreibung“ Dedicated to Mahler

The NDR Symphony Orchestra under Christoph Eschenbach performed the world premiere of Peter Ruzicka's new orchestral work "Einschreibung" (Inscription) on 10 February at the Laeiszhalle in Hamburg.

The daily newspaper DIE WELT wrote the following about it in their edition of 12 February:

"Some impressions are carved in our memory like clear graphic characters that can be recalled time and again. Their traces are indelibly written in our mental diary and enter into a stimulating exchange with our own experiences. The composer and former director of the Hamburg State Opera, Peter Ruzicka, surely had this image in mind when, in the middle of last year, he set out to compose his six orchestral pieces inspired by Gustav Mahler in response to a commission from the NDR, simply entitling them 'Einschreibung.’
On Thursday the NDR Symphony Orchestra under the direction of Christoph Eschenbach performed the world premiere of this fascinating cycle in Ruzicka's presence in the Laeiszhalle. His work series is closely bound with the 'experiences of Mahlerian music,' the composer explains. In the form of 'momentary approaches,' these experiences streamed, in impulses, into the musical language of his piece. 'Einschreibung' is, incidentally, only one of Ruzicka's contributions to the 100th anniversary of the death of Gustav Mahler: On 11 July the Stuttgart State Orchestra will perform the world premiere of 'MAHLER I BILD. Erinnerung für Orchester’ (MAHLER I IMAGE: Memory for Orchestra). The crotales at the beginning of the first piece of 'Einschreibung' spread out a gleaming light that was immediately enforced by the tympani and rumbling basses. Calm sound areas were attacked by orchestral outbreaks, and the threat of the apparent idyll was endangered, as always with Mahler as well. After stormy flute whirling in the second piece, a march rhythm asserted its independence - a rhythm that Mahler also repeatedly called up in the most varied colourings, leading to an aggressive intensification in the snare drum. What sounded particularly striking in the fourth piece was the rustling by means of a brush moved by a percussionist on his skin of his drum. The fragmentary borrowings from the great symphonies of Mahler quoted by Ruzicka like hints were readily recognisable, as were the recollections of Mahler's typical gestures and the faraway orchestra connecting the contemporary with his own language made up of frequently broken, mirrored and distorted sound areas. (...)

 

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