It is difficult to find appropriate words for what took place on this sunday in the rugheim schuttbau, which was deep in snow: as part of the master concerts, the numerous visitors were able to experience a concert that can hardly be surpassed in terms of artistic quality and atmosphere. With violinist anna sophie dauenhauer and her chamber music partner, pianist lukas maria kuen, two artists who are internationally active both as soloists and chamber musicians gave guest performances.
The program did not necessarily include the standard works for this instrumentation: english and french-belgian works of spatromantic, even impressionistic character escaped into spheres of a musical world that allowed for manifold enjoyments.
In preparation for this, there was a short interview with artists, in which the artistic director of the master concerts, andreas weimer, gave an insight into the life of professional musicians. This is how the accidental discovery of the "four sketches" came to light by philippe gaubert by anna sophie dauenhauer in an antiquarian bookshop.
A dreamy atmosphere
In the concert, the duo dauenhauer-kuen created a dreamlike atmosphere with this work right at the beginning, in which one could bathe in the rich and warm violin tone caressed by the soft piano tone. The glittering of water, the gentle swaying of waves, even violent storms or a lively hunt could be created in front of the inner eye, the two musicians harmonized perfectly, created the purest of melodies and forced the audience into a breathless silence with their intensity.
Pale shading against jubilant joy, lustful lushness, coarse emotions also in the other works of the evening: edward elgar's sonata in e minor op. 82 grasped space gloomily and grippingly. Dauenhauer and kuen told an eloquent story here, delivered finely tuned chamber music balance, developed almost unbelievable dynamic dimensions, but were also able to present themselves capriciously, coquettishly and playfully. Passion spoke out of the interpretation, which made a wide arc from immense density and tension to filigree transparency.
Finally, cesar franck's sonata in A major: both interpreters were once again able to display all their class, virtuosity and sovereignty. Roughly the opening gesture that allowed the entry into a work that offers highly dramatic and poignant moments. Immense richness of color, perfect intonation, elegant tone and touch culture – on the wide wings of sound dauenhauer/kuen loved to float the fascinated audience, celebrated the endings, expressed ecstatic bliss, ouching longing and radiant triumph.
That was chamber music in perfection, and the listeners were also in awe of it. Naturally, there were storms of applause before a gentle berceuse as an encore calmed the tempers and one was released into the magic of the winter night.