Puppet theater and chamber music as a unity: Grillparzer's novella about the bizarre life story of a tragic clown who perishes from his equally noble and impractical idealism is retold.
Beethoven's Septet op. 20 begins the evening.
Sounds, music stands, instrument parts and shadows take on an independent existence and grow together to form the backdrop of a turbulent folk festival.
There, Grillparzer's "anthropological ravenousness" flares up at the sight of an old boy smilingly absorbed in his dreadful violin playing. The play is a playful love story and social study at the same time. This is reflected in the music, which borrows many borrows a lot from old Viennese songs and dances.
It evokes Grillparzer's time (and thus also Schubert's) to life, and on the other hand allows contrast with the newly composed sounds, which are at times a flood of water, at times a lonely night hike, sometimes agitated speech, sometimes slap scenery.
- Ludwig van Beethoven: Septett op. 20
- Helena Winkelman: Der arme Spielmann (UA) - Comissioned by franz ensemble
The project is funded by the Federal Government Commissioner for Culture and the Media (BKM) and NEUSTART KULTUR as well as by the Swiss cultural foundation Pro Helvetia.
Glenn Christensen (Violine), Yuko Hara (Viola), Tristan Cornut (Violoncello), Juliane Bruckmann (Kontrabass), Maximilian Krome (Klarinette), Pascal Deuber (Horn), Rie Koyama (Fagott) (franz ensemble)
Janna Mohr (Spiel und Konzept)
Sebastian Ryser (Regie)
Moritz Schönbrodt (Ausstattung)
Helena Winkelman (Komposition)
Theater im Delphi