The nothingness, God, the universe and a talking orchestra
The closing concert of Wien Modern starts from nothing: beginning with a soft exhalation, the solo clarinet, orchestra and live electronics breathe life into a sort of living being. Delicately and organically, one of the most extraordinary clarinet concertos in the history of music, gradually takes shape. For his interpretation of the finely dosed solo part, the exceptional musician Jörg Widmann has, through long collaboration, made the unusual, extremely reduced but highly expressive musical language of his colleague Mark Andre entirely his own. On the opposite end of the spectrum, Multiversum by Peter Eötvös, is a sort of maximalist approach to the genre of organ concerto. The distribution of the orchestra in isolated groups, the placement of the Hammond organ behind the audience, the organ of the Wiener Konzerthaus played by Iveta Apkalna and loudspeakers dotted around the hall bring an echo of the universe into the Wiener Konzerthaus. Alongside two such global, virtuoso works, the shortest piece of the evening manages to be extremely unspectacular and spectacular at the same time. The construction principle of Peter Ablinger's 2011 work is as simple as it is striking: the two words that make up its title – Wachstum, Massenmord (Growth, Mass Murder) – were spoken by the composer, recorded, subjected to a frequency analysis and then scored for large orchestra. The Wiener Symphoniker will therefore, for the first time in its history, literally 'speak' together as an orchestra.
"How close we get to the world depends, to some extent, on the pixel size of the apparatus that we use to observe things. A 'high resolution' means a realistic understanding of the world, a lower resolution, on the other hand, creates a more abstract relationship to reality. But no matter how fine the resolution is, our perception will never be fully analogous and reach the world." (Peter Ablinger)