A concert with Norbert Trierweiler and Ulrich Junk
Admittedly, the concert has been around for a while, from Sunday 25 October, when a few people from the November lockdown liked to talk with the addition "Light", as if it were a soft drink. The Horrem church musician Norbert Trierweiler had invited his long-time friend Ulrich Junk, from the Eifel, to the first concert together.
The musicians received a lot of applause from about 40 listeners, who distributed themselves in the generously sized nave as otherwise prescribed for safe divine services. Many regularguests of the concerts of the Music Support Group at St.-Clemens and St.-Ulrich had gathered, who celebrated its 15th anniversary in a sparsely attended concert in the summer.
In arguably the most beautiful piece of the evening, but at least the only composition that was already meant in the origin as a duet of clarinet and organ, the clarinet merged with the organ as if it were one of its registers.The church musician Norbert Trierweiler and the clarinetist Ulrich Junk mastered the modern composition called "Cantilena" by the contemporary composer Roger Bourland with flying colours.
With well-being, they interpreted their aesthetic excursions into the edge of the Atonal with richly decorated interweaves, burlesque echoes and dance-like turns that were distantly reminiscent of a polka.
Ulrich Junk later described the discovery of the work as a "real stroke of luck", because: "Unfortunately, there are not so many compositions for organ and clarinet."
Wood meets metal
They showed right at the beginning in his "Concerto in C Minor" that an early classical work for oboe and strings by Domenico Cimarosa can be a suitable template for an organ adaptation. In open, round and soft tones, metal organ pipes and the woodwind instrument to create quite cheerful music come together. But they also played the church sonata No. 1 by Wolfgang Amadeus Mozart in a duet organ/clarinet and later the pleasing works of Mozart on everyday church life still sounded in the combination of clarinet and piano in the second part of the evening.
On the organ alone Trierweiler gave two more pieces by Robert Schumann, composed actually for the pedal piano and in the absence of such an instrument often played on organs. It was a reversible "study for the pedal wing opus 56, No. 1 in C major" that sounded very similar to a Bachian prelude, with canon-like character and a long deep tone as the final mark. And it was one of Schumann's "Sketches for the Pedal Wing," which was "Not fast and very marked," with smashing, abrupt sounds alternating with a lyrical middle section.
Not far away, with its impressive final chord and similarly "marked" playing style, Beethoven's 2 was found. The movement from the "Piano Sonata in G major op.14, No. 2.", which Trierweiler played on the piano in front of the altar.
Ulrich Junk delivered a true virtuoso piece in Rossini's famous composition "Introduction, Theme and Variations for Clarinet and Orchestra". At a high ever-changing tempo, he chased through the high and low layers of his instrument with a delightful playing in the high tones.