![]() Andreas leans against it to nudge it back a little. “He had a very troubled life, and I’m sure he would appreciate–” but we are laughing at the cheekiness of his approach. Or by professionals, translating it.īefore the voting, Andreas wishes to let us in on the sadness of Schubert’s short, 31-year life, and to encourage sympathy to guide our choice. It feels like the ridgy-didge sheet music could perhaps only be fully expressed in Braille. I realise that the versions of these songs I’ve seen sheet music for are not the real ones. It’s as though Australia rejoices with Debussy, in his gentle arms. Paul responds by delicately moulding the piano keys into an aural image like a baker meticulously adorning a lamington with each crinkled crumb of coconut. Caressing the back of my neck with his cascading fingertips, from 20 rows away, this is an experience of submission. Or a football match.īut this is none of those situations. I wanted to cry out like at a rock concert, or in church. “Yeah I think I heard that song recently in an elevator.”Īndreas plays Schubert. Paul replies that (for this challenge of ‘playing something delicate’) he will play Debussy’s 'Clare de Lune', much to the silent, spiritual delight of spectators. Seating himself for Round Two, Andreas jibs to his defeated counterpart “will you also play, or will you skip this round?” Andreas’ piano is dragged a few inches closer to it. What do they do? They fight it out.Īs polar opposites across all conceivable axes, Paul Cibis and Andreas Kern tousle and vie, swap and switch for audience affection: through the narratives of Bach, Liszt, Chopin, contemporary composers, and an airplane safety message simulation.Īfter Andreas is voted by the audience as victor for the first round, Paul pulls out the gaff tape and marks a finish line across the front of the stage. ![]() Two classical pianists from Berlin walk into a festival. Thankfully, this is a battle you’ll want to remember (29 August).
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