The Davos Festival – Young Artists in Concert is currently celebrating its 33rd year under the motto of “today is a day of rest”. The opening concert included celebratory speeches by both the President of the Foundation, Dr Matthias von Orelli, and the honourable Abbot Urban Federer (yes, that same name). They were followed by fine music, some modestly amusing theatrics and an injection of programmed sound bites that purposefully interfered with the musical offer – to a decidedly mixed reception.
The 33rd festival year’s theme, “Heute Ruhetag” in German, translates into English as “today is a day of rest”, but the word “Ruhe” itself can be assigned broader meanings: “tranquillity”, “quiet”, “calm”, “rest” and “peace”. The latter two were those most commonly alluded to by the introductory speakers, who, too often for my taste, appealed to the value of “quiet” against a soundtrack of just the opposite. The sound of race cars speeding by was not only used as the backdrop; it had also welcomed us tirelessly to the large room at the Hotel Morosani Schweizerhof before the concert began. The room had been reconfigured into a concert venue, but disappointingly so, since those of us on the sides could hardly see the musicians at work on the podium.
That aside, the American composer John Cage said, “The sound experience which I prefer to all others is the experience of silence”, and in keeping with that theme, it was his meditative 1948 In a Landscape composition adapted for marimba that launched the actual performance. The superb young percussionist, Fabian Ziegler, mesmerized us with Cage’s incomparably simple but mellow wooden-sound piece, one that set us all “a place apart” and launched us into other spheres.
By contrast, Johannes Brahms’ Songs for women’s choir, two horns and harp was subject to some over crafted entrances: the singers came on stage in an awkward slow-motion step, followed by two clownish figures in terry robes, who surreptitiously hid in amongst the instruments for comic effect. That aside, the vocal performance was inspired and sonorous, and the harp, in the third and fourth songs, rendered them particularly enlightened. The overall impression, though, leaned somewhat towards the depressive, and I wished for improved enunciation, so that – to the group’s advantage – their word endings could have been tighter.