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DANIEL BARENBOIM, 24 de ore cu Mozart

Judecand dupa cum s-au vandut biletele la Festivalul Enescu, dupa deplasarile din alte orase de care tot aud in ultima vreme plus alte informatii de care am luat la cunostinta cum ca s-au depus eforturi si facut strategii pentru a intra in posesia unui bilet – as zice ca prezenta lui Daniel Barenboim la Bucuresti este unul dintre cele mai ravnite bilete (eu n-am, ajutor!). Saptamana trecuta pe vremea asta, eram intr-o librarie in UK ca sa caut cartea despre fata cu camelii, asa cum v-am promis. Am si gasit-o dar costa cam mult si am zis pas. Plecata la plimbare mai departe printre rafturi dau de “Everything is connected”, cartea lui Barenboim, o culegere de texte cu adancime, interviuri etc.

Mi s-a parut foarte aproape de propria-mi perceptie un fragment de interviu despre Mozart pe care il gasiti mai jos.


“Maestro, have you dreamt of Mozart?

No, should I?

Maybe, you’ve concentrated on his work so often – as a pianist, as a conductor. That certainly must be quite an intense relationship.

It is quite intense but I don’t think I’ve ever dreamt of a composer. Sometimes I dream about a certain piece, but I’ve never dreamt about a composer as a person or a historical figure.

Do you sometimes yearn to return to Mozart when you’re working on entirely different music?

I wouldn’t put it that way, for that would pit Mozart against other composers. That wouldn’t do justice either to him or to the others. But I am certainly very happy and grateful that Mozart has accompanied me all my life. I personally don’t need any Mozart years, because for me there isn’t a single year without Mozart. And if I could choose a composer from the past to spend twenty-four hours with, it would of course be Mozart. Twenty-four   hours of Mozart: that’s like a whole week of living. Twenty-four hours with Mozart, that’s like a month with Brahms – and nothing against Brahms.

Do you mean that in a musical sense? Is Mozart faster, does he have more to say with fewer notes?

There you go making judgments again! What’s always fascinated me about Mozart’s music is its special mix of depth and lightness. That is what makes him so difficult to play, conduct, or sing. For in the very moment that you focus on this or that aspect and say, I’d like to emphasize this, it’s already over. Already there’s nothing left. There’s no other composer where  each contour is so strongly defined by its opposite. That’s why the Da Ponte operas are the ultimate for me: take Don Giovanni, a drama giocoso. That means if the subjective situation is tragic – as Donna Anna’s case – the objective situation is comic and the other way around. Mozart is the most comprehensive of all composers. In Mozart the comic is only to be had with something dark; the dark is never without its comic aspect.


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