The Great Hall of the Muziekgebouw aan 't IJ is pitch dark. Then a spotlight flashes on the first side balcony on the right. There, Alexander Sitkovetsky, Maria Milstein, Rosanne Philippens and Jacobien Rozemond play three movements from Concert for four violins by Telemann. They end in a freeze, after which the whispery, fragile tones sound of Treasures from György Kurtág. We see only the magnified shadow of cellist Michiel Weidner on the backstage. As soon as he finishes, the silhouette of Servaas Jessen appears, performing the piece again, in the version for double bass. Then Telemann's lively baroque music sounds again.
Thus, Amsterdam Sinfonietta blends music and image for an evening. 'The call of violins' continues to surprise, partly thanks to the sophisticated choreography and lighting. Soloists, trios and quartets 'interrupt' the string orchestra's argument from all corners of the hall. Completely organically, they weave parts of Kurtág's cycle Signs, Games & Messages by music by Telemann and Vivaldi. It produces an exciting shadow play, poetically highlighting the interfaces between classical and modern music.
Occasional concertmaster Sitkovetsky has a beautiful, slender tone and plays with great fire. Impressive too are Milstein and Philippens, flogging their strings like furies in the neo-baroque Concert for three violins by Finnish composer Olli Mustonen. Amsterdam Sinfonietta also plays at world-class level. The strings have overwhelming commitment, a deep understanding of the performed notes and make music as one breathing and phrasing whole. However tricky the sometimes lightning-fast rhythms are, everything sounds spot-on - without a conductor. The dynamics, too, are to pass muster.
Together, the musicians tell a story that irrevocably grabs you by the ear. The English word 'elevating' invariably comes to mind. They transport you to higher spheres, lift you above everyday reality. Even the somewhat colourless, shooting in all directions Serenade in C by Ernö Dohnányi they forged into an appealing whole. The audience rightly forced two encores afterwards with stormy applause.
This magnificent shadow play can be heard again tonight, 7 October, at the Stadsgehoorzaal in Leiden. After that, it will be heard in slightly modified form in Oostburg and Breda. I would say: make sure you are there!
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