music, music, music
Six years after its opening, the Konzerthaus Blaibach is confronting the difficult conditions under which concert life currently stands with a diverse musical series of 115 concerts. Through the end of November, Maximilian Hornung, Claire Huangci, Ilya Gringolts, Gabor Vosteen, Mahan Esfahani, das GrauSchumacher Piano Duo und Yeree Suh, among others, will be guests in the Bavarian Forest.
At the end of August, pianist Claire Huangci and soprano Yeree Suh already performed Beethoven's 9th Symphony in Czerny's version for piano four hands at the opening concert in Blaibach. Maximilian Hornung then travels to the Upper Palatinate for portrait concerts with solo, duo and trio pieces. Both can be heard in Blaibach at the end of September and beginning of October with further concerts.
Under normal conditions, the architecturally and acoustically outstanding Konzerthaus Blaibach can accommodate 200 visitors*. This unique project was initiated by the baritone Thomas E. Bauer and the Kulturwald gGmbH.
12 and 13/9/2020, Maximilian Hornung
29/9/2020, Claire Huangci
3 and 4/9/2020, Maximilian Hornung
29 and 30/10/2020, Ilya Gringolts
31/10 and 1/11/2020, Gabor Vosteen
8/11/2020, Mahan Esfahani
21 and 22/11/2020, Grau Schumacher Piano Duo
28 and 29/11/2020, Yeree Suh
Mahan Esfahani's new CD received euphoric reviews immediately after its release: " This album of modern pieces for harpsichord will completely upend your idea of the instrument," The Telegraph wrote, and the BBC Record Review found: "it‘s brilliantly done". The album, entitled Musique?, released in July by Hyperion, was also enthusiastically reviewed by The New Yorker:
" In acoustic works by Toru Takemitsu, Henry Cowell, and Gavin Bryars, he demonstrates the deft touch and technical bravura familiar from his celebrated Baroque interpretations. But, in electroacoustic pieces by Kaija Saariaho, Anahita Abbasi, and Luc Ferrari, Esfahani’s exuberant lines, rapier-sharp thrusts, and bombastic explosions abandon courtly decorum, revealing an instrument strange and new.” De Volkskrant summed it up: "...a theatrical listening experience."