Скачать или смотреть Magnus Lindberg | Clarinet Concerto | TALK

A talk with Magnus Lindberg about his music and his Clarinet Concerto.
Listen & order the album here: https://BC.lnk.to/manzID
Get more infos here:
https://www.sebastianmanz.com
https://berlin-classics-music.com/de/...

Video produced in collaboration with
https://www.eyecatchproductions.de
https://www.filmschnittmeister.de

The best way of taking a philosophical approach is if we have the opportunity of not only asking the composer about the work, but actually being able to work with them on it. For that reason I am particularly proud to have been able to engage Magnus Lindberg in person – both as conductor and as my direct content-related source – for my recording of his Clarinet Concerto. I was really surprised at his openness when it came to the very precise notation, especially regarding the tempi. Not for the first time did this confirm to me that composers, no matter how precisely they notate their music, are open to interpretations that may seem like an intervention in the printed score, especially if this results in an effect that is then strengthened in the expressive style or the timbre. And that is precisely why I am convinced that our beloved “Classical” composers such as Mozart, Schubert, Beethoven etc. dealt with their works in a much more liberated way than we do today. Really, our approach and means of interpretation are endless as long as we adhere to certain rules governing music and structure.
At any rate it was a privilege for me to be able to discuss all sorts of details with Magnus Lindberg. I am especially happy that we did in fact agree on many aspects, but that he allowed me the freedom to find my own interpretation and that he supported me as soon as our opinions diverged.
The fact that as the soloist I was permitted to insert my own cadenza is entirely in the tradition of the aforementioned Classical-era composers. Even though these days we generally decide in advance what we intend to play in a cadenza, there is still the possibility of some spontaneous improvisation. Personally, I prefer a combination of the two, so I construct a framework of my own, in order that if needed I can be “rescued”, should I manoeuvre myself too far into an improvisational one-way street and am unable to find my way back. That way, Lindberg’s Clarinet Concerto is a unique work at every performance.