Violin, cello, piano? All nothing for Christian Benning. Because he wants to knock, drum, feel the rhythm. The 26-year-old multipercussionist and Tassilo prizewinner from Dachau has made a name for himself in the progressive drums scene. After performances in the Hamburg Elbphilharmonie, in the Egyptian State Opera and in the Royal Opera House in Oman, he is currently engaged as a timpanist at the Port Louis Opera and works as a lecturer at the National Conservatory of Mauritius. On Saturday, February 19, he will come to the Loisachhalle in Wolfratshausen as a percussion quintet with Felix Kolb, Marcel Morikawa, Godwin Schmid and Patrick Stapleton.
SZ: Mr. Benning, did your parents need good nerves when you were little?
Christian Benning: Definitely! They have also proven this many times, for which I am very grateful to them. One of the things that led to my drumming ambitions was that we moved when I was five years old.
In a detached house?
In a house with a very well insulated basement. Even if I had to go to class or to a rehearsal, they were always there. I couldn’t just take my flute or violin and get on the S-Bahn. This was often a very large set of instruments that had to be transported, also to concerts and competitions throughout Europe or on vacation.
On vacation?
Yes, at some point we only went on vacation in holiday homes, where I could also make noise. I had my drum kit with me and usually the marimba too, but without resonators.
At least your parents never had to tell you to practice.
No, I’ve always done that of my own accord, out of desire and playfulness, which fortunately I’ve been able to keep to this day. There is always a certain curiosity about rhythms and sounds and the joy of breaking new ground artistically.
With your ensemble you like to take up works by great composers. In Wolfratshausen you will play three pieces by Beethoven, why?
One attraction lies in making these pieces playable – with instruments that didn’t even exist at the time – and at the same time showing the timelessness of this wonderful music. For the big Beethoven anniversary year we wanted to work on at least one piece – and then it turned into a whole program: Beathoven. We also play three arrangements in the Loisachhalle.
There is also a lot to see when the percussion quintet is on stage.
(Photo: af-Images Alexander Frank/OH)
How does Beathoven sound?
We let melodic instruments such as marimbas and vibraphones merge with drum sets and also combine a wide variety of musical styles. The basis is always the original, whether it’s the scherzo from the 9th symphony or the moonlight sonata. But then the whole thing is also transformed. In the past 250 years since Beethoven, musical skill has produced not only the further development of musical instruments, but also a large number of additional genres, which we incorporate into his music – and we hope that he doesn’t roll over in his grave in the process.
Do you think Beethoven would have used more percussion if it had been available back then?
I am convinced of that. And it’s one of the questions we actually ask ourselves when arranging: How would Beethoven have composed back then if he had been able to fall back on these instruments?
What would he have played? What instrument do you see him playing?
I suspect he would have lived his full percussion and had particular pleasure in the marimba and vibraphone.
How do classical concertgoers react to the program?
This is certainly a gamble. We don’t want to scare away a classical concert-goer, on the contrary, we want to encourage them to get involved in this transformation. At all the concerts we have given in Europe so far, we have fortunately managed to grab the audience with our interpretations. For some, it certainly sounds daunting when you say: As a pure percussion ensemble, we have prepared the Moonlight Sonata for you. But then I always say: close your eyes and let yourself be taken along.
But then you would miss something. You have a lot going on on stage.
It’s correct. That’s also what’s special about percussion instruments, that you have so many possibilities of construction and combination, but it’s always a certain battle of materials.
How many instruments are used in the Loisachhalle?
I’m guessing 70 to 80. There will be five of us and we’ll play in different formations, from duos to quintets. In addition to arrangements, we have works by contemporary composers in the program that were written explicitly for this instrumentation, so that the percussion audience will also get their money’s worth.
When you’re in your mid-twenties being celebrated in the Elbphilharmonie – what else can come next?
The best thing for me is traveling with music, the interpersonal and intercultural exchange. When you have rehearsed, composed and recorded for months and can then take it out and share the joy of making music. I never lack visions and ideas for projects, if then unfortunately only for the time.
Christian Benning Percussion Group: Saturday, February 19, Loisachhalle, Wolfratshausen, beginning at 5 p.m. and 7.30 p.m., tickets for 30 euros (reduced 15 euros) are available at the box office