Gruselkabinett - 94 - Tobias Guarnerius

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The luthier Tobias Guarnerius has only one goal: to create an instrument that his famous model Stradivari great credit. But how hard he struggles, it him will not succeed easily. One day he finds a book about souls in their hands, and now he knows how he can implement his ambitious plan into action. Using a self-made apparatus he transmits his dying mother's soul on a violin. But this fact has terrible consequences.

For production:
With "Tobias Guarnerius" by Charles Rabou (06.09.1803-01.02.1871) Titania presents the work of a rather forgotten and me totally unknown French writer. Rabou discovered only after an already completed law school his passion for the written word. To answer it, he initially worked as a reporter for various newspapers, until he finally with other like-minded people founded the magazine "Paris Review". Among its authors was also the famous Honore de Balzac, with the soon joined him a deep friendship. Mutual trust was so great that Rabou Balzac left his unfinished manuscripts completion. This came with the critics but nowhere near as good as self-composed works Rabous.
Marc Group, once again the author of radio drama script, has largely tried to maintain not only the content but also the language style of the translator Ignaz Franz Castelli (06.03.1781-05.02.1862). Some of that terms have somewhat changed in meaning. So for example, affects the word "asleep", instead of "fallen asleep" in some modern listeners certainly disconcerting, since it is so used nowadays "die" rather related. Yet it is precisely these differences to our everyday parlance give the story an added credibility. Timing and content agree broadly consistent with the literary original, some narrative passages but were converted in favor of the medium 'radio play' in talks and told as flashbacks. In this context, I would not fail to mention a subtle change. To increase the horror still, Marc Group has a decisive bite varies. Because while the mother in the original story no idea of ​​the plans of her son has, as it is already unconscious, she gets here by a group written by additional dialog exactly what awaits her. Other scenes are, apart from a few new speeches are recorded not been inserted, and so the action runs straight and entertaining to the chilling climax. Additional details such as the exact time of the first concert with the violin, are irrelevant to the course. Exceptionally, you can even read this story in German on the Internet in order to make a comparison yourself.
For the musical accompaniment, the two producers Stephan Bosenius and Marc Group have mainly oriented at the theme of the story, and so it is not surprising that the violin was the dominant instrument. Appropriate to the subject, most tunes are rather bleak, and even in the more serene ways always wielding a solemn undertone. Moreover, even choral, piano and synthesizer provide a compression of the atmosphere. The noise falls as expected lush, and a variety of different sounds gives each scene alive. Appropriate to the gruesome content, there is a calling owl, croaking ravens, thunder and natural fireplace crackling. A notable example I found the "souled" fiddle in which a deep sigh was placed over the sound. Not so enjoyed the noise that makes the soul of the mother, as she walked through the tube. The sound seemed more like within a larger sheet tonne and not as in a narrow tube. Apart from that match all other sounds but the action perfectly.

Among the speakers:
Rightly sets the label Titania Hasso anger (narrator) often in this function. He has exactly the right rate of speech and proves with his nuanced emphasis is always a lot of feeling for the text. From Timmo Niesner (Johann) Unfortunately, there are less heard, as I would have liked, because he can always convince despite its much too short for me geratenen appearances. His portrayal of freezing young man is so believable that I had aufdrehem heating only once. Equally liked having me Peter Weis (host) in its role as a magistrate and bartender, the places is a sonorous voice the narrator added. Boastful highlight is clearly the titular character Tobias Nath (Tobias Guarnerius), which interpreted the obsessive instrument maker, is the monstrous consequences of his actions deliberately late with a lot of enthusiasm. His transformation from unscrupulous inventor for ailing repentant sinner is simply brilliant. The remaining speakers do well. Kerstin Sanders-Dornseif (Brigitte Guarnerius) fits perfectly as an old woman, the only panting forth pushes her lines at the end, and Max Schautzer (mayor) like in Part of the respectable, influential council head. Although the performance of Peter Reinhardt (Secretary) is quite adequate, but his game should have be even a little emotional for me. Although Patrick Bach (Prince) operates somewhat hypothermic, but with his slightly snooty-sounding voice, does that awarded to a member of the nobility. In other supporting roles occur: Luisa Wietzorek (staff) as exasperated maid, Tom Deininger (servant) as greedy, devious acting clerk and Axel Malzacher (policeman) as imperious law enforcers. Jacques Breuer (Prison chaplain) is the kind priest who ascribes Tobias in his last hour consolation, and Frank-Otto Schenk (priest) makes in his grave speech a very dignified impression. Monica Bielstein (woman), Arianne Borbach (woman) and Cornelia Meinhardt (woman) act as surprised as some of the parishioners and passersby before Guarnerius Laden.

Conclusion:
Straightforward horror story