Giora Feidman: Clarinet, bass clarinet
Michel Gershwin: Violin
Natalia Raithel: Violin
Juri Gilbo: Viola
Kira Kraftzoff: Cello
*members of the group may vary
If you think of “Porgy and Bess”, as well as the many other successes of the well-known American composer only by hearing the name “Gershwin”, then you are thinking in the wrong direction. We are not talking about George Gershwin, but rather about what the exceptionally impressive musicians of the Gershwin Quartet do, in order to open up entirely new dimensions for the clarinet of Feidman. Four strings and a clarinetist, and each of the musicians a master of his trade – altogether this means a musical synthesis of the arts.
Giora Feidman has played both classical and modern works with countless string ensembles during the course of his career. Truly special about this world-class program, is to woo the chamber musicians around Michel Gershwin, who is the eponym and primaries of this quartet, and who are all deeply rooted in the classical music, into new musical dimensions. This makes every concert to a soaring experience, teeming with acoustic surprises which the listener would never like to end.
Five instruments that captivate
Aside from the classical repertoire of chamber music, the artists in cooperation with the renowned composers Peter Breiner and Sergei Abir, have created a program that corresponds with the musical roots of the artists, their virtuosity, passion and delight in playing and unifies the expressiveness of the famous Russian school for instrumentalists with the South American spirit of the “King of Klezmer” at the same time.
Countries, traditions and cultures swirl around the concertgoers during this melodious journey: spirited, South American tango, melancholy and the zest for life found in the Klezmer music of Eastern Europe and much, much more, highlighted with borrowings from classical music, jazz and film scores. The program is so varied and furnished with constantly reappearing rising tension. It is performed by the clarinet, two violins, viola and cello with an enthusiastic virtuosity, in such away, that you would like to close your eyes to let yourself simply be carried away. The sources of the music, the country of origin the name of the composers and whether the music is classical, simply entertaining or of folklore nature, all of this just doesn’t matter in the end.
The master himself shares this opinion: “It is not important, what we are playing, but rather how we play – ensouled with heart and passion. If we momentarily forget the name of the pieces, the time in which they were written and the names of the composers, then all that remains is the music that we so gladly share with our audience – a party for the soul.”