Dvorak meets my travel companion Capitaine Fracasse

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Glowing passion. © Charles Thibo

Do you know Capitaine Fracasse? Imagine France in the 17th century under the reign of Louis XIII. A wet and windy night in the Gascogne, a derelict mansion, cut off from the rest of world. In the kitchen, the only heated room, the fire is dying down. The Baron de Sigognac, a solitary and impoverished young nobleman, muses about his sad fate, when a bunch of comedians knocks at his door and seeks shelter. During the night, he feels he has to make a decision. He can continue to mourn the past glory of his family, stay in the old mansion with his faithful servant Pierre and die from poverty. Or he can give his life a meaning he never anticipated and join the comedians assuming a new name: Capitaine Fracasse.

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Fascinated by devilishly beautiful dissonances

Faust and Mephistopheles – the art of the deal, a work by Franz Simm.

Faust – Johann Wolfgang von Goethe’s most famous work. How I hated it. How I loved. it. As a teenager I had to confront Part I at school. I loved the poetry, I loved the plot, but the work contained so many ideas, allusions, allegories that I would have needed the assistance of Mephistopheles himself to understand it all. But I wasn’t ready to sign the devil’s deal with my own blood and I am not ready for that today, so I guess I will read it once more and hope for the best. If I can’t grasp the forces that hold the universe together – well, there are legions of unafraid scientists to get to the bottom of things.

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Liszt’s dark tones – an intimate confession

La Délicate. © Charles Thibo

In Greek mythology, the Titans were members of the second generation of divine beings. In the field of piano music, Franz Liszt was a titan. An exceptionally gifted pianist, an impressive composer, a revolutionary spirit, a paragon for many of the next generation of musicians. But being a titan comes at the price of loneliness. Towards the end of his life, Liszt complained that the world did not understand his language anymore, that his gifts were no longer appreciated.

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A woman’s challenge: Finding a unique voice

Light. © Charles Thibo

A welcoming sound. A welcoming house. Back home where I belong to. The cello’s warm voice invites me in while the strings evoke the tense moments of the past. Does this piece mirror Marie Jaëll’s state of mind while she wrote her Cello Concerto in F major? In 1882, the year she wrote this piece, her husband had died. Does the composer try to find consolation in music? She did. She often sat in the wooden shed her father had built for her when she was young, absorbed by her music, and anyone knocking on the door would have to expect the reply: “Marie is not here, she’s in the realm of music.” An exceptional woman living an exceptional life.

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