There is this video on YouTube of the cellist Isang Enders playing Johann Sebastian Bach’s Cello Suite No. 1 inside Zumthor’s Bruder-Klaus-Feldkapelle in Wachendorf, Germany. The suite’s melody is instantly recognizable. It is one of those works in the cannon of classical music that will have a staying presence as long as time remains immortal. However, the specific performance that Enders delivers is different. It is not “different” in the sense of how he approaches the technically demanding octave jumps or the phrasing of each stanza, but rather in the ephemerality of its delivery. While the notes on the music’s score will more or less stay the same for generations to come, the space in which it is presented is constantly in flux. And as I watch this video again and again, I cannot help but focus on the acoustics of this small, concrete chapel in the middle of a farmer’s field. The warm sound of Enders’s cello are absorbed by the chamfered and crenelated walls; the notes do not linge… continue
from New stories by Architonic http://ift.tt/2daEeXK
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