The Barenboim-Said Akademie in Berlin is much more than a classical music education: it is an intellectual and artistic project that emphasizes dialogue, critical thinking and cultural exchange. Founded by conductor Daniel Barenboim and literary scholar Edward Said, the academy brings together young musicians from the Middle East and beyond, with the aim of forming them not only musically, but also socially. Within this framework, the so-called Akademiekonzerte hold a special place.
Whoever attends such a concert does so with an open mind: the program and the performers remain a surprise until the last moment. The quality, however, is beyond question. On Tuesday, April 14, the Pierre Boulez Saal once again presented a program that confirmed that reputation.
Dancing shadows and refractory sounds
The opening was given by Raqs by young Turkish composer Arda Bayram (°2001), who studies under Jörg Widmann at the academy. Bayram proves himself here as a composer who is able to organically merge Eastern influences and contemporary composition techniques, and delivered in Raqs a work that stimulates both physically and aurally. Violist Alpay Jan Inkilap and pianist Eda Sevenis brought the piece with conviction and flair: whispering, whistling, stamping and even working the piano strings created a sound palette that was constantly in motion. The title – alluding to Oriental dance – became tangible in the way the musicians attracted and repelled each other, like partners in an unpredictable choreographic game. The audience, notably mixed in age, followed captivated and responded enthusiastically to this intriguing and accessible contemporary work. Bayram seems to be a composer to watch.
Where time slows and the soul speaks
After this contemporary opening came a leap into the core repertoire with the Klaviertrio in E-flat major D929 by Franz Schubert (1797-1828), one of his most symphonically conceived chamber music works. Violinist Paula Mejia Espana, cellist Izak Nuri and pianist Eda Sevenis approached it with remarkable stylistic clarity and a strong sense of structure.
The first movement (Allegro) was built broadly and sustainedly, with much attention to the long tension arcs so characteristic of Schubert's late style. The balance between piano and strings was good, allowing thematic development to remain transparent and dramatic contrasts to breathe naturally.
In the second movement (Andante con moto) the ensemble reached its most moving playing. The familiar, almost processional theme was set down soberly and tellingly, without exaggeration, but with constant inner tension. The alternation between stillness and eruption was carefully dosed, giving this movement its poignant character.
The scherzo (Allegro moderato) then brought welcome lightness, with supple articulation and lively dialogue between the instruments. Here the musicians showed their flexibility: playful where needed, but always with an underlying precision that held everything together.
In the finale (Allegro moderato) the cycle was convincingly concluded. The dancing energy and rhythmic élan came into their own nicely, without the structural coherence being lost. The trio was able to beautifully integrate the different spheres – from lyrical to urgent – into a coherent whole.
Particularly striking was the maturity of the ensemble playing. It sounded not like a student ensemble, but like a group of musicians who completely master Schubert's language.
Convincing
This Akademiekonzert not only confirmed the unique position of the Barenboim-Said Akademie; it made it tangible and audible in every note. What happened on stage here was not a promise for the future, but pure musical conviction in the present. Rarely do you hear young musicians play with such eloquence, imagination and mutual chemistry. This was no academic exercise, but a concert that captivated from beginning to end, and at the highest level.