Between Mozart’s joyful somersaults and Cesar Franck’s pathos, well tempered with nostalgia (the sonatas in A major for violin and piano), a not familiar figure for most of those present, Jorg Wiedmann. Between “andante grazioso” and “allegretto poco mosso” for the first two, other indefinable tempos, much closer to today’s rhythms, at the German composer of Institute of New Music in Freiburg. A violin subjected to brutal blows, scratches, pinches. Its back turned into a drum for a moment. Accompanied by scattered vocal tunes. So conceptual was the music that violinist Friedericke Starkloff deemed proper to previously warn the public about the whines, blinks and ticking, as it was a “lullaby”, beyond the seemingly dissonant game. A fairly dramatic musical intimate style, ranging from the barely audible to frenzied rhythms, the music of noises with melodious candour, the jarring with the suspense. A contorted music, but all the more seductive for the contemporary who perceives themselves openly in this multifaceted mirror: hesitant, moody, ambivalent, unleashed, dejected, whimsical. It takes courage to recompose our contemporary by a larger musical range, so that the sounds could mirror the aspects of life as realistically as possible. An eerie pizzicato, a glissando disconcerting through its apparent incoherence, breaks in rhythm worthy of a confused banality, the vertigo of a sudden crescendo, along with many pauses, each with its own color, like some flat notes of silent reactions. This dance with silence develops a musical poetry with the “untold,” of that particular element which eludes us in a world full of statements, of expressivity, or the demands of genuine. This experimental concert in Cluj, the sixth Etude for violin, was the prelude of Jorg Wiedmann, whose presence has already been announced for the year to come.