Autumn serenade in the old synagogue

Autumn serenade in the old synagogue

With an autumn serenade by the kitzingen chamber orchestra, the kitzingen adult education center, under the direction of richard arndt-landbeck, opened its musical half-year program.

"Between classical and contemporary" is the name of the new program of the kitzingen chamber orchestra, which was performed on saturday evening in the almost fully occupied old synagogue. Founded in 2004 by hermann seidl, who died last year, it found a new, driving conductor in burkard lutz, reads the announcement.

In fact, burkard lutz’s praciseful conducting seems to be transmitted to the approximately 28 musicians. Cheerful friendly eye contact among each other testifies to harmonious interplay.

"Special musical finds", like the sinfonia concertante by ignaz pleyel (1757 – 1831), a typical representative of viennese classical music, or the capriol suite by peter warlock (1894 – 1930) the chamber orchestra had rehearsed. In the delightfully gentle, rarely performed piece by pleyel, the brothers andreas and christopher zack took over the demanding solo part on violin and viola – with sovereign ease, as if it had been written especially for the two brothers.


Peter warlock’s dances ranged from spirited to almost elegiac (pavane). Joyfully buoyant, plucked and bowed up to joyfully exuberant dissonances in the finale. Pure joy of playing!

Finely crafted was the sustained adagio in joseph haydn’s divertimento in e-flat major, up to the lively menuet, taking up the violin’s theme (andreas zack) from the orchestra and the cheerful finale presto.

Three little pieces for strings by bertold hummel (1925 – 2002) and the sinfonia XII by felix mendelssohn bartholdy (1809 – 1847) were still popular.

Mendelssohn’s sinfonia in g minor began with a dramatically impetuous fuga grave. A quiet andante rose to allegro molto. The violin provided the theme, which was wonderfully taken over by the low voices in fugues and found its climax in the full commitment of the entire orchestra.

Dynamic interplay

The musicians started violently at bertold hummel’s intrada to change to the softer melodia. A dynamic interplay, swelling, swaying, up to the crescendo in the capriccio.

Long, enthusiastic applause was followed by an encore by johann straub (son), the "new pizzikato polka" rewarded. Supposedly straub wrote this polka because his musicians often did not have their bows with them. This was not the case here on saturday evening, but it was a great pleasure for the strings to entertain the audience after a good two hours with a "plucked" polka.

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