Arcayürek. Carrel. Petryka. Hasselhorn. Steffens. Hadulla
Five exquisite young male voices at once. Vital, flexible, luminous. Some of the greatest talents of their generation: sometimes alone, but mostly in harmony. "Die Nacht ist heiter und ist rein / im allerhellsten Glanz," reads Johann Gabriel Seidl's poem "Nachthelle," which Franz Schubert set to music for tenor solo, male voices and piano in 1826. The happiness of the magical night – it wants to be shared, it demands polyphony. No less than five soloists, three tenors, one baritone and one bass, gathered around the grand piano. At the end of the song they sing the verses, „Ich fass’ es nicht in meinem Herzenshaus / Nicht all’ das reiche Licht, / Es will hinaus, es muss hinaus, / Die letzte Schranke bricht.“ Far too seldom are they heard today, Schubert's wonderful vocal ensembles; after all, the calendars of excellent singers can only be coordinated with a great deal of effort. It was the desire to nevertheless bring the movements back to the stage and revive the convivial music-making style of Schubert's circle of friends that motivated Markus Hadulla to launch his "Nachthelle!" project during the first pandemic lockdown. He understood the exclamation mark after the title as a "glimmer of hope in the midst of an often bleak time," the pianist says in retrospect. He deliberately provided the cozy sound of the ensembles with comments "of the single and often lonely individual" in the form of selected solo songs. Thus the varied evening becomes not only the celebration of inspired
song, but also to the sound reflection on the nocturnal and its sources of light.