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Vollkommenes Klarinettenglück Magazin der Gesellschaft der Musikfreunde in Wien Mai/Juni 2005 Vollkommenes Klarinettenglück Sabine Meyer In unseren jubiläumsbeflissenen Zeiten fehlte es nicht an kundigen Musikfreunden, die im vergangenen Jahr einen 300. Geburtstag feierten – den der Klarinette. Sie hätten wohl kaum zu Fanfarenstößen auf das Blasinstrument angestimmt, wenn nicht die letzten zwanzig dieser dreihundert Jahre von einer Persönlichkeit geprägt worden wären: Sabine Meyer. Ohne sie wäre die Klarinette nicht, was sie heute ist … Sabine Meyer, Klarinette. Namen, die zu Synonymen geworden sind. Die Klarinette, im Deutschen ohnehin mit dem weiblichen Artikel versehen, scheint mit Sabine Meyer ihre wahre Identität gefunden zu haben. Und daß sie nun als Soloinstrument so geschätzt und international hofiert wird, hat sie zu einem gut Teil der Künstlerin zu verdanken. Sicherlich: Es gab auch in den Zeiten zuvor hervorragende Virtuosen auf dem Instrument. Doch die saßen in aller Regel im Orchester und traten alle heilige Zeiten für ein Mozart- oder Weber-Konzert aus dem Tuttidasein ins Rampenlicht. Und daß auch Benny Goodman, der legendäre Jazzklarinettist, hervorragend Mozart und Weber spielte ist bekannt. In jeder Hinsicht: eine Ausnahmeerscheinung. Denn grosso modo gilt, was Sabine Meyer heute im Rückblick sagt. "Die Klarinette befand sich lange Zeit auf dem Abstellgleis. Wenn sie einigermaßen schön geklungen hat, war man ja schon ganz froh. Aber daß man versucht hätte (wie das bei Geigern oder Pianisten selbstverständlich war), intensiv und flexibel zu spielen und verschiedenen Farben herauszuholen, und das wirklich bis zum Äußersten – das hat es nicht gegeben." Mit einem Wort: Die Emanzipation des Instruments war angesagt. Und Sabine Meyer, auch sonst eine emanzipierte Persönlichkeit, hat diesen Emanzipationsprozeß entscheidend vorangetrieben – weg vom "bloßen Bedienen des Instruments", wie sie das formuliert, zum ausdrucksstarken, vielschichtig facettenreichen Spiel. Kein kalter Kaffee Die Symbiose war früh gestiftet. Sabine Meyer begann zwar im zarten Kindesalter mit Geige, Klavier und Orgel. Doch da der Vater, Musiker und Musiklehrer im württembergischen Crailsheim, auch Klarinette in einer eigenen Bigband spielte, war klar, "daß man das Instrument in die Hand gedrückt bekam". "Man" – das waren Sabine und ihr älterer Bruder Wolfgang. Auch er hat es, wie man weiß, längst zum international renommierten Klarinettenisten gebracht. Vater Meyer erkannte rasch, daß der Unterricht "en famille" bei solchen Talenten nicht lange zielführend sein konnte. So pendelte "man" zunächst zweimal die Woche in die Landeshauptstadt Stuttgart, um dort bei Otto Hermann an der Musikhochschule zu studieren. Organisatorisch einfacher wurde es, als Sabine Meyer an die Waldorfschule in Stuttgart wechselte und den Hochschulunterricht gleich nebenan besuchen konnte. Weiter 1 / 3 Magazin der Gesellschaft der Musikfreunde in Wien Mai/Juni 2005 ging’s aus dem Schwabenland hinaus nach Niedersachsen, zum Studium bei Hans Deinzer in Hannover. Deinzer, erzählt Sabine Meyer, war ein Lehrer, der die Zeichen der Zeit erkannte: ein Klarinettist mit einem "enorm weiten Spektrum". Neue Musik war ihm ebenso wichtig wie die Auseinandersetzung mit alten Instrumenten. "Er war einer der ersten, die das Mozart-Konzert auf der Bassettklarinette gespielt haben." Daß das wohl berühmteste Konzert des Klarinettenrepertoires gar nicht anders gespielt werden dürfe werde als auf diesem Instrument, ist auch für Sabine Meyer klar. "Welcher Pianist würde sich bei einem Konzert einfach die untere Oktave wegnehmen lassen!?" Nein, findet sie entschieden: Das Stück auf einer gängigen A-Klarinette zu spielen sei "kalter Kaffee". Klarinettenwunschkonzert Das Solorepertoire für Klarinette ist vergleichsweise schmal. "Aber", sagt Sabine Meyer, "denken Sie an die Qualität der Stücke, die wir haben! Mozart, die Brahms-Sonaten und das Quintett, Max Reger …". Nicht zu vergessen etliche neue Werke, die eigens für sie geschrieben worden sind, wie die beim letzten Musikvereinsauftritt von ihr präsentierte Rhapsodie von Manfred Trojahn oder das Klarinettenkonzert von Toshio Hosokawa. Das Repertoire wächst ständig. Sabine Meyer bleibt als Solistin am Puls der Zeit. Und was die Geschichte in drei Klarinettenjahrhunderten an Literatur hinterlassen hat, ist ihr selbstverständlich bis zum fernsten Rarissimum geläufig. Gesetzt den Fall, sie könnte sich von den alten Meistern noch ein neues Werk erbitten: Welche Wahl würde sie treffen? "Na", sagt sie lachend, "da würde ich mir schon noch ein zweites Mozart-Konzert wünschen. Oder noch was von Brahms …" Freundschaftlich und familiär Neben den solistischen Auftritten ist ihr die Kammermusik seit jeher ein wichtiges Anliegen. Wiens Musikfreunden muß das nicht extra ins Bewußtsein gerufen werden, schließlich war Sabine Meyer hier oft und oft mit dem Wiener Streichsextett zu hören. Gewachsene Partnerschaften sind ihr wichtig in der Kammermusik. Auch das Ensemble, mit dem sie nun im Musikverein gastiert – das Bläserensemble Sabine Meyer – ist eine Formation mit ganz persönlicher Note. Freunde und Familie kommen hier zusammen. Rainer Wehle, ihr 2 / 3 Magazin der Gesellschaft der Musikfreunde in Wien Mai/Juni 2005 Ehemann, spielt neben ihr Klarinette. Langjährige Weggefährten der beiden sind die Hornisten Bruno Schneider und Niklaus Frisch, die Fagottisten Dag Jensen und Stefan Schweigert und die Oboisten Diethelm Jonas und Albrecht Mayer. Ganz im privaten Rahmen entstand das Ensemble, in einer stillen Enklave fernab vom Getöse der großen Musikwelt. In einem Dorf in Graubünden hatte Sabine Meyer im Gästehaus eines kunstsinnigen Paters einen Ort gefunden, der sich ideal zum Studium eignete. An dieser Erfahrung wollte sie gerne auch Freunde teilhaben lassen. So traf man sich – mehr als zehn Jahre lang – den Sommer über auf zwei Wochen im Lugnezer Tal, um gemeinsam zu leben: zu wandern, zu kochen, zu reden, zu musizieren … Konzerte oder gar Plattenaufnahmen waren nicht das primäre Ziel. Aber wenn Musiker dieses Kalibers zusammenkommen, kann und soll sich das Ergebnis auch hören lassen. Das Programm, mit dem das Bläserensemble Sabine Meyer nun nach Wien kommt, ist neu für die Gruppe und gespickt mit Raritäten. Neben Bläserstücken von Franz Schubert, einer auf "die Harmonie" gesetzten Rossini-Ouvertüre und dem Bläseroktett von Gideon Klein präsentiert das Bläserensemble mit dem Trompeter Reinhold Friedrich im Bunde auch eine Bläserfassung von Haydns "Oxford-Symponie". Instrumentalisierte Instrumentalistin Ganz unter Freunden hat Sabine Meyer im letzten Jahr auch wieder im Orchester gespielt, und zwar in Claudio Abbados Lucerne Festival Orchestra. Begeistert erzählt sie, wie schön dieses Erlebnis für sie gewesen sei – "man muß da eigentlich schon eine Stunde vor Beginn der ersten Probe kommen, weil’s einfach seine Zeit braucht, bis man allen um den Hals gefallen ist". Im Orchester zu spielen gehört zum vollkommen Klarinettenglück. Sie selbst hat auch das schon in jungen Jahren ausgekostet: im Bundesjugendorchester, als Soloklarinettistin beim Symphonieorchester des Bayerischen Rundfunks, bei den Berliner Philharmonikern … Ach ja, da wäre doch noch was: Welche Frage muß man stellen, um Sabine Meyer zu einem Kommentar über die mehr als 20 Jahre zurückliegende Causa Karajan/"Berliner" zu provozieren? "Da drehe ich Ihnen den Hals um!", wehrt sie mit spöttischer Angriffslust ab. "Das ist Geschichte. Und wenn man’s richtig beantworten wollte, bräuchte man viel, viel Zeit und Einblicke, die nicht einmal ich habe." Nein, lassen wir das: Denn evident ist, daß der Konflikt, der da zwischen Karajan und den Berlinern um ihre Bestellung als Soloklarinettistin ausbrach, mit ihrer Person nicht wirklich zu tun hatte. Die Instrumentalistin wurde instrumentalisiert – und so zog nach dem Probejahr die für sie einzig richtige Konsequenz: Sie sagte dem Orchester aus freien Stücken Lebewohl und konzentrierte sich ganz auf ihre Solo- und Kammermusikkarriere. Pech für die "Berliner", könnte man sagen. Aber ein Glück für die Geschichte der Klarinette. Joachim Reiber 3 / 3 Powered by TCPDF (www.tcpdf.org).
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