2021 Summer Festival Program Lucernefestival.Ch Member of Constantly the Fontenay Is a Reflection of Modern Hamburg – an Homage to the Hanseatic City

20300-FPS-E Program 2021 | Program Festival Summer

CRAZY

10.08. – 12.09. 2021 Summer Festival Program lucernefestival.ch Member of Constantly The Fontenay is a reflection of modern Hamburg – an homage to the Hanseatic city. Located on the tranquil banks of reinterpret old Alster Lake, you will find the perfect balance between nature and urbanity at The Fontenay – a city resort in the heart of Hamburg. The fascinating, sculpture-like architecture mirrors the fluid lines of the lake and lush parkland. Lakeside luxury in its most beautiful form. And for all culture enthusiasts: It is not far to the Elbphilharmonie, the State Opera and masterpieces? numerous museums and galleries. Why not Presenting old works anew requires dedication, passion, Main sponsor and entrepreneurial courage. That’s why we support the Lucerne Festival. since 1993 credit-suisse.com/sponsoring

WELCOME!

What would life be without music? During the coronavirus crisis, we painfully learned just how much we lose when we have to forgo live concerts. Even if the pandemic is not yet over, we are looking ahead and have prepared an abundant program for the 2021 Summer Festival – which of course meets all requirements in place to safeguard health. We have used the mandatory interruption of recent months to make creative changes. Going forward, Lucerne Festival will use a new design to present its programming. We have come up with a clearer guide to events by assigning them to one of three categories. “Symphony” is where you will find all performances by internationally acclaimed symphony orchestras and celebrated classical music stars. “Contemporary” is the category name for all concerts that focus heavily on modern music. Many of these concerts will be presented by the new Lucerne Festival Contemporary Orchestra (LFCO), the orchestra of excellence committed to performing contemporary scores. Michael Haefliger And “Music for Future” gathers events based on our commit- Executive and Artistic Director ment to the generation of tomorrow, both onstage and in the Lucerne Festival audience. Our preview is now clearer and more spaciously laid out. In addition to the annotated calendar of events, we highlight the “Essentials” that shape the Festival each year: the Lucerne Festival Orchestra, Lucerne Festival Academy, composer- in-residence, and “artiste étoile,” as well as the 40min series. And under the “Specials” category we present the thematic focal points of the Festival. The overarching theme in 2021 is “crazy” – a topic that gives us quite a lot to look forward to! We hope that you have made it through these crazy times. And we are delighted to welcome you back in the summer of 2021.

Yours,

1 2 THIS IS LUCERNE FESTIVAL 5 Symphony 7 Contemporary 9 Music for Future 11 Boards 12 ESSENTIALS 24 AGENDA 34 SPECIALS 46 CONCERTS 112 SUPPORTERS 120 SERVICE

2 THIS IS LUCERNE FESTIVAL 3

SYMPHONY

Attracting the very best: at no other festival in the world do so many top international orchestras perform within such a short span of time. In 2021 the following will appear:

Bamberg Symphony and Jakub Hrůša Berliner Barock Solisten and Reinhard Goebel Berlin Philharmonic and Kirill Petrenko Budapest Festival Orchestra and Iván Fischer Les Arts Florissants and William Christie Les Musiciens du Prince-Monaco with Cecilia Bartoli and Gianluca Capuano London Symphony Orchestra and Sir Simon Rattle Lucerne Festival Orchestra with Riccardo Chailly and Yannick Nézet-Séguin Lucerne Symphony Orchestra and Michael Sanderling Mahler Chamber Orchestra and Yuja Wang Mariinsky Orchestra and Valery Gergiev Mozarteum Orchestra Salzburg and Mirga Gražinytė-Tyla Royal Concertgebouworkest and Daniel Harding Staatskapelle Berlin and Daniel Barenboim Tonhalle Orchestra Zurich and Paavo Järvi West-Eastern Divan Orchestra with Daniel Barenboim and Lahav Shani Vienna Philharmonic and Herbert Blomstedt Opening Concert of the 2016 Summer Festival 2016 Sommer-Festivals des Eröffnungskonzert

5 6 CONTEM– PORARY

We love new sounds – and with the Lucerne Festival Contemporary Orchestra and the Lucerne Festival Academy, we set standards for the performance of contemporary music.

Lucerne Festival Academy Composer Seminar with Wolfgang Rihm Conducting Fellowship Masterclass in Conducting Roche Commissions Roche Young Commissions

Lucerne Festival Contemporary Orchestra The orchestra of excellence for new music comprises members of the contemporary network.

Composer-in-residence Rebecca Saunders

World premieres by Amarouch, Anglí, Brichs, Colţea, Davis, Ding, Finkel, Koshelev, Milenko, Nante, Palomar, Posazhennikov, Saunders, Srnka, Szeghy, Uğurlu, and Vaughan

with Peter Eötvös at the 2018 Summer Festival Stockhausen’s Inori Stockhausen’s

MUSIC FOR FUTURE

We are entirely committed to the generation of tomorrow. Through debut concerts, performances by youth orchestras, and the awarding of top-class prizes, we support the next generation of musicians. We do grassroots work through school concerts and education projects. And we offer family concerts aimed at winning the audience of the future for music.

Appearances by international youth orchestras “Debut” Concert Series Credit Suisse Young Artist Award Prix Credit Suisse Jeunes Solistes Fritz Gerber Award Family Concerts Children’s Concerts School Concerts Debut in the Schoolhouse Russian National Youth Symphony Orchestra Symphony Youth National Russian

9 Priska Ketterer/Lucerne Festival Ketterer/Lucerne © Priska

LAKESIDE SYMPHONY

A Festival highlight for young and old: enjoy the THE OPENING Opening Concert live on the big screen at Lucerne's CONCERT Inseli Park, with an evening view of Lake Lucerne and the magnificent panorama of Rigi, Bürgenstock, etc. FOR EVERYONE Riccardo Chailly and the Lucerne Festival Orchestra perform works by Mozart and Schubert. Fri 13.08. 18.30 | Inseli | free admission Credit Suisse Main Sponsor and Presenting Partner lucernefestival.ch Lakeside Symphony BOARDS

FOUNDATION FOUNDATION FRIENDS OF LUCERNE FESTIVAL LUCERNE FESTIVAL Board of Trustees Board of Trustees Markus Hongler, Chairman* Markus Hongler, Chairman Otto Wyss, Treasurer* Otto Wyss, Treasurer Dr. Christian Casal Dr. Franz Egle Dr. Rolf Dörig* Andrea Gmür-Schönenberger Dr. Christoph Franz Elisabeth Oltramare Andrea Gmür-Schönenberger Dr. Marianne Janik EXECUTIVE AND Dr. Ursula Jones-Strebi ARTISTIC DIRECTOR Walter B. Kielholz* Michael Haefliger Prof. Dr. Alois Koch Dr. Hariolf Kottmann* Michel M. Liès EXECUTIVE MANAGEMENT Urs Rohner Michael Haefliger Prof. Klaus Schwab Danièle Gross Marcel Schwerzmann Christiane Weber Anne Schwöbel Isabelle Welton* Beat Züsli * committee member

Honorary Chairman Jürg R. Reinshagen

11 2 THIS IS LUCERNE FESTIVAL 12 ESSENTIALS 14 Lucerne Festival Orchestra 16 Lucerne Festival Academy & Lucerne Festival Contemporary Orchestra 18 Yuja Wang | artiste étoile 20 Rebecca Saunders | composer-in-residence 22 40min 24 AGENDA 34 SPECIALS 46 CONCERTS 112 SUPPORTERS 120 SERVICE

12 ESSEN− TIALS 13 LUCERNE FESTIVAL ORCHESTRA

The Lucerne Festival Orchestra, founded in 2003 by Claudio Abbado and now led by Riccardo Chailly, is an orchestra like no other. In “normal” life its members either perform as soloists or principals in renowned orchestras, focus on chamber music, or teach at universities; every summer they convene in Lucerne to make music together for the pleasure of it, not out of duty but as intensely as if their lives were at stake.

13.08. | 18.30 15.08. | 19.30 21.08. | 18.30 Opening Lucerne Festival Orchestra 3 Lucerne Festival Orchestra 5 Lucerne Festival Orchestra 1 KKL Luzern, Concert Hall KKL Luzern, Concert Hall KKL Luzern, Concert Hall Soloists of the Lucerne Festival Orchestra | Lucerne Festival Orchestra | Lucerne Festival Orchestra Yannick Nézet-Séguin conductor | Riccardo Chailly conductor Works by Ives, Antheil, Rittler, Yuja Wang piano Mozart Overture to Don Giovanni, K. 527 | Paganini, Pärt, Ligeti, Alkan, Gesualdo, Debussy Prélude à l’après-midi d’un Symphony in G minor, K. 550 | Schubert and Ustvolskaya faune | Mozart Piano Concerto in Symphony No. 6 in C major, D 589 D minor, K. 466 | Ravel Ma mère l’Oye. 18.08. | 19.30 Ballet version 14.08. | 18.30 Lucerne Festival Orchestra 4 Lucerne Festival Orchestra 2 KKL Luzern, Concert Hall 24.08. | 19.30 KKL Luzern, Concert Hall Lucerne Festival Orchestra | Lucerne Festival Orchestra 6 Lucerne Festival Orchestra | Riccardo Chailly conductor KKL Luzern, Concert Hall Riccardo Chailly conductor | Schumann Manfred Overture, Op. 115 | Lucerne Festival Orchestra | Igor Levit piano Haydn Symphony in D major, Hob. I:101 Yannick Nézet-Séguin conductor Mozart Overture to Don Giovanni, K. 527 | The Clock | Beethoven Symphony No. 5 Joseph Bologne, Chevalier de Saint- Schumann Piano Concerto in A minor, in C minor, Op. 67 Georges Symphony No. 2 in D major | Op. 54 | Mozart Symphony in G minor, Mozart Symphony in D major, K. 504 K. 550 Prague | Beethoven Symphony No. 7 in A major, Op. 92

We cordially thank our Main Sponsor the Kühne Foundation for its generous support of the Lucerne Festival Orchestra.

14 15 LUCERNE FESTIVAL ACADEMY & LUCERNE FESTIVAL CONTEMPORARY ORCHESTRA

Master school, laboratory for the future, and a new orchestra of excellence for the performance of contemporary works: the Lucerne Festival Academy, led by Wolfgang Rihm, sets standards for the music of the 20th and 21st centuries.

16. – 19.08. | 10/12 28.08. | 22.00 01.09. | 16.00 Composer Seminar Lucerne Festival Academy 1 Masterclass in Conducting KKL Luzern, Clubraum 8 KKL Luzern, Lucerne Hall KKL Luzern, Lucerne Hall with Wolfgang Rihm, Dieter Ammann et al. Ensemble of the Lucerne Festival Con- with Ilan Volkov temporary Orchestra | Johanna Malangré 21.08. | 11.00 conductor | Juliet Fraser soprano 03.09. | 21.30 Portrait Rebecca Saunders 1 Iannis Xenakis Syrmos | Illés Post Torso | Lucerne Festival Academy 3 KKL Luzern, Lucerne Hall Saunders Nether Südpol Marco Blaauw trumpet | Arditti Quartet | 29.08. | 16.00 Ensemble of the Lucerne Festival Con- Trio Accanto temporary Orchestra | Lin Liao conductor Lucerne Festival Academy 2 Saunders shadow | Fletch | blaauw | KKL Luzern, Lucerne Hall Boulez Polyphonie X | Colţea Orbitor That Time (world premiere) | Amarouch new work Lucerne Festival Contemporary (world premiere) 28.08. | 14.30 Orchestra | Lin Liao, Johanna Malangré and conductors | 04.09. | 18.30 Composer Seminar – Closing Concert Heinz Holliger Felix Hochschule Luzern – Musik Renggli flute Lucerne Festival Academy 4 Traho (world premiere) | Ensemble of the Lucerne Festival Con- Milenko KKL Luzern, Concert Hall Logos (world premiere) | temporary Orchestra | Wolfgang Rihm Vaughan Lucerne Festival Contemporary Orchestra | Mozart Masonic Funeral Music Ilan Volkov conductor | soloists Boulez Initiale for seven brass players | in C minor, K. 477 (479a) | Holliger Composer Seminar Showcase Ostinato funebre | Turm-Musik Saunders void and to an utterance (world premiere) | Webern Variations, Op. 30 and Symphony, Op. 21 | Stravinsky Movements We cordially thank our Main Sponsor Roche for its generous support of the Lucerne Festival Academy.

16 17 of her own. of own. her but also interpretatively, she belongs in a class Not andMozart, Bach, Janáček. only technically, on focus also will she Liszt, and to Rachmaninoff addition In of keyboard the repertoire. warhorses étoile,” Yuja to the herself not limit Wang will “artiste an as But wizardry. sheer is piano grand keys 88 the on Yuja of the accomplish Wang can Her virtuosity has no limits: what Chinese pianist BWV 1056 | 1056 BWV Fminor, in Concerto Piano Bach S. J. Rebel Monjas concertmaster Yuja Wang piano |Roberto González- Mahler Chamber Orchestra | Hall Concert Luzern, KKL Mahler Chamber Orchestra |19.30 26.08. faune Debussy Yuja Wang Yannick Nézet-Séguin conductor | FestivalLucerne Orchestra Hall Concert Luzern, KKL 5 FestivalLucerne Orchestra |18.30 21.08. 18 La passione Haydn | instruments wind and hand) (left piano instruments | instruments Ballet version |Ravel 466 K. D minor, | Mozart Chaos Symphony in f Minor, Hob. I:49 I:49 Hob. fMinor, in Symphony Prélude à l’après-midi d’un piano Stravinsky from Les élémens Janáček Piano Concerto in in Concerto Piano Capriccio for Capriccio ARTISTE ÉTOILE ARTISTE WANG YUJA Ma mère l’Oye mère Ma

Octet for wind wind for Octet |

| . Mariinsky Orchestra 1 Orchestra Mariinsky |18.30 08. 28. conductor | Valery Orchestra Gergiev Mariinsky Hall Concert Luzern, KKL and Juliet Prokofiev Liszt Fischer FestivalBudapest |Iván Orchestra Hall Concert Luzern, KKL FestivalBudapest 1 Orchestra |19.30 11.09. S 124 S Stravinsky Petrushka Stravinsky | 40 Op. Gminor, 4in No. Concerto Piano Concerto No. 1 in E-flat major, E-flat 1in No. Concerto Piano A Faust Symphony |AFaust conductor , Op. 64 |Rachmaninoff 64 , Op. Romeo Romeo from pieces Four |Yuja Wang |Yuja Wang

piano , S108

piano

REBECCA SAUNDERS COMPOSER-IN-RESIDENCE

The

“Rebecca Saunders Package” 20% discount on three concerts featuring Rebecca Saunders see p. 124

A journey inside the interior of sound itself: British composer Rebecca Saunders is a tireless sonic researcher whose music offers an education in per- ception. In Lucerne, Saunders will be represented by her recent works, including her latest composition.

14.08. | 16.00 04.09. | 11.00 Quatuor Diotima Portrait Rebecca Saunders 2 Hochschule Luzern – Musik Hochschule Luzern – Musik Quatuor Diotima Students of the Hochschule Luzern – Saunders Unbreathed Musik | Clemens Heil conductor | Daniela Argentino and Juliet Fraser soprano | 21.08. | 11.00 Charlotte Lorenz cello | Alexis Baskind/ IRCAM computer music design Portrait Rebecca Saunders 1 KKL Luzern, Lucerne Hall Saunders Solitude for solo cello | The Mouth for soprano and tape | Sole. Marco Blaauw trumpet | Trio Accanto | Trio in F-sharp for mobile accordion, Arditti Quartet percussion, and piano | Skin for soprano Saunders shadow. Study for piano | and 13 instruments Fletch for string quartet | blaauw for double-bell trumpet | That Time. Trio 04.09. | 18.30 for saxophone, percussion, and piano Lucerne Festival Academy 4 KKL Luzern, Concert Hall 28.08. | 22.00 Lucerne Festival Contemporary Lucerne Festival Academy 1 Orchestra | Ilan Volkov conductor | KKL Luzern, Lucerne Hall Nicolas Hodges piano | Christian Ensemble of the Lucerne Festival Con- Dierstein and Dirk Rothbrust percussion temporary Orchestra | Johanna Malangré Saunders void for percussion duo conductor | Juliet Fraser soprano and orchestra | to an utterance for piano Saunders Nether for soprano and and orchestra (world premiere) ensemble

21 40MIN SHORT CONCERTS, FREE ADMISSION

No dress code, no need to have lessons in advance: We kindly ask you to check our website lucernefestival.ch the 40min series offers host-led programs for begin- before the Festival starts for ners, connoisseurs and explorers in the early evening, information on the ordering and registration process for all with free admission. Here you can meet the stars in the 40min series. Due to the rehearsal, get to know unusual repertoire, and have a current situation and contact tracing requirements, we have look behind the scenes at how the Festival operates. not yet finalized the ordering Unconventional and varied. ! process. 17.08. | 18.20 26.08. | 18.20 01.09. | 18.20 KKL Luzern, Lucerne Hall KKL Luzern, Lucerne Hall KKL Luzern, Lucerne Hall “Inside the Lucerne Festival Orchestra” “How New Things Are Created: “The Art of Conducting” Soloists of the The ‘2021 Roche Young Commissions’” Lucerne Festival Contemporary Lucerne Festival Orchestra Lucerne Festival Contemporary Orchestra | Ilan Volkov host | Orchestra | Lin Liao and Johanna Conducting Fellowship Participants 20.08. | 18.20 Malangré conductors KKL Luzern, Lucerne Hall 07.09. | 18.20 27.08. | 18.20 “Story Hour with Ravel: KKL Luzern, Lucerne Hall Ma mère l’Oye” KKL Luzern, Lucerne Hall “Crossover: Between Classical Lucerne Festival Orchestra | “Classical Music Composed Today” Music and Jazz” Yannick Nézet-Séguin conductor Ensemble of the Lucerne Festival Contem- Students of the porary Orchestra | Composer Seminar Hochschule Luzern – Musik 25.08. | 18.20 Participants | Wolfgang Rihm host KKL Luzern, Lucerne Hall 08.09. | 18.20 31.08. | 18.20 “Crazy for Piano” KKL Luzern, Lucerne Hall KKL Luzern, Lucerne Hall Yuja Wang piano | Mahler Chamber “Hommage à Philip Jones” Orchestra “Spotlight on: Rebecca Saunders” Connaught Brass Lucerne Festival Contemporary Orchestra | Ilan Volkov conductor | Nicolas Hodges piano

We cordially thank our Main Sponsor Zurich for its generous support of the 40min series.

23 2 THIS IS LUCERNE FESTIVAL 12 ESSENTIALS 24 AGENDA 26 Health Protection Plan 28 Agenda 34 SPECIALS 46 CONCERTS 112 SUPPORTERS 120 SERVICE

24 AGENDA

KEEPING YOU SAFE!

We are doing everything possible to ensure that you can enjoy live music free of worry, even in the era of Corona.

• All of the events take place without intermission. • Each ticket is personalized. • Masks are mandatory at the venues. • Safe distance is ensured. • Concerts are booked with reduced seating capacity. • We provide a detailed protection plan.

We are constantly adapting our protection plan to the latest developments. The most up-to-date information, including answers to frequently asked questions (FAQ), can be found on our website.

as of April 2021

27 AUG Time | Venue Page Tue 10.08. 19.30 | KS Russian National Youth Russian National Youth Symphony Orchestra | 48 Symphony Orchestra Valentin Uryupin | Sergei Dogadin Wed 11.08. 19.30 | KS Swiss Youth Swiss Youth Symphony Orchestra | 49 Symphony Orchestra Kai Bumann | Oliver Schnyder Thu 12.08. 12.15 | LK Award Winners Winners of the 50 Concert Swiss Youth Music Competition Fri 13.08. 18.30 | KS Opening Lucerne Festival Orchestra | Riccardo Chailly 51 Lucerne Festival Orchestra 1

18.30 | I Lakeside Symphony FREE Live projection of the Opening Concert 51

Sat 14.08. 14.00 | A NZZ Podium “Crazy: Human Beings and Their Ecstasies” 52 with Melitta Breznik, Heinz Holliger, Gerald Hüther, and Martin Meyer (in German)

16.00 | HL Quatuor Diotima Quatuor Diotima 53

17.30 | A Introduction with Susanne Stähr (in German) 54

19.30 | KS Lucerne Festival Soloists of the Lucerne Festival Orchestra 57 Orchestra 3 Mon 16.08. 10/12 | CR Composer Seminar with Wolfgang Rihm, Dieter Ammann et al. 58

18.30 | A Introduction with Susanne Stähr (in German) 59

19.30 | KS West-Eastern Divan West-Eastern Divan Orchestra | Lahav Shani | 59 Orchestra 1 Daniel Barenboim Tue 17.08. 10/12 | CR Composer Seminar with Wolfgang Rihm, Dieter Ammann et al. 58

12.15 | LK Debut Prix Credit Lea Sobbe | Halldór Bjarki Arnarson 60 Suisse Jeunes Solistes

28 18.20 | LS 40min FREE “Inside the Lucerne Festival Orchestra” 22

18.30 | A Introduction with Susanne Stähr (in German) 62

19.30 | KS Lucerne Festival Lucerne Festival Orchestra | Riccardo Chailly 62 Orchestra 4 Thu 19.08. 10/12 | CR Composer Seminar with Wolfgang Rihm, Dieter Ammann et al. 58

12.15 | LK Debut Dmitry Smirnov Dmitry Smirnov 63

19.30 | KS Recital Igor Levit 1 Igor Levit 64

Fri 20.08. 18.20 | LS 40min FREE “Story Hour with Ravel: Ma mère l’Oye” 22

17.30 | A Introduction with Susanne Stähr (in German) 67

19.30 | KS Schumann Cycle 1 Lucerne Symphony Orchestra | 69 Michael Sanderling | Steven Isserlis Mon 23.08. 19.30 | KS Recital Igor Levit 2 Igor Levit 70

Tue 24.08. 12.15 | LK Debut Daniel Ciobanu Daniel Ciobanu 71

17.30 | E In the Streets – Music groups from around the world 44

Opening FREE

18.30 | A Introduction with Susanne Stähr (in German) 72

19.00 | AS In the Streets FREE Music groups from around the world 44

19.30 | KS Lucerne Festival Lucerne Festival Orchestra | 72 Orchestra 6 Yannick Nézet-Séguin Wed 25.08. 12.15 | LK Crazy 2 Michael Engelhardt | Stefan Wirth 73

18.00 | AS In the Streets FREE Music groups from around the world 44

18.20 | LS 40min FREE “Crazy for Piano” 22

19.30 | KS Schumann Cycle 2 Tonhalle Orchestra Zurich | Paavo Järvi | 74 Christian Tetzlaff

29 Thu 26.08. 12.15 | LK Debut Timothy Ridout Timothy Ridout | Frank Dupree 75

18.00 | AS In the Streets FREE Music groups from around the world 44

18.20 | LS 40min FREE “How New Things Are Created: 22 the ‘2021 Roche Young Commissions’”

19.30 | KS Mahler Chamber Mahler Chamber Orchestra | Yuja Wang | 76 Orchestra Roberto González-Monjas

Fri 27.08. 18.00 | AS In the Streets FREE Music groups from around the world 44

18.20 | LS 40min FREE “Classical Music Composed Today” 22

19.30 | KS Staatskapelle Berlin Staatskapelle Berlin | Daniel Barenboim 77

Sat 28.08. 10.00 | SP In the Streets FREE Music groups from around the world 44

11.00 | M Children’s Concert 1 “Mona Violina” 78

14.00 | M Children’s Concert 2 “Mona Violina” 78

14.30 | HL Composer Seminar – Ensemble of the Lucerne Festival Contemporary 79 Closing Concert Orchestra | Wolfgang Rihm

17.30 | A Introduction FREE with Malte Lohmann (in German) 80

18.00 | AS In the Streets FREE Music groups from around the world 44

18.30 | KS Mariinsky Orchestra 1 Mariinsky Orchestra | Valery Gergiev | Yuja Wang 80

22.00 | LS Lucerne Festival Ensemble of the Lucerne Festival Contemporary 81

Academy 1 FREE Orchestra | Johanna Malangré | Juliet Fraser

Sun 29.08. 12.00 | E In the Streets FREE Music groups from around the world 44

15.00 | LS Introduction with Kirsten Milenko, Alex Vaughan, Heinz 82 Holliger, and Mark Sattler (in English and German)

FREE 16.00 | E In the Streets – Music groups from around the world 44 Closing Concert FREE

FREE 17.00 | JK Church Festival Soloists, vocal ensemble, and orchestra from 83 Worship Service FREE the Collegium Musicum Luzern | Pascal Mayer | Suzanne Z’Graggen

17.30 | A Introduction with Susanne Stähr (in German) 83

18.30 | KS Mariinsky Orchestra 2 Mariinsky Orchestra | Valery Gergiev 83

Mon 30.08. 18.30 | A Introduction with Susanne Stähr (in German) 84

19.30 | KS Royal Royal Concertgebouworkest | Daniel Harding | 84 Concertgebouworkest Yefim Bronfman

30 Tue 31.08. 12.15 | LK Debut Zee Zee Zee Zee 85

18.20 | LS 40min FREE “Spotlight on: Rebecca Saunders” 22

19.30 | KS The 12 Cellists The 12 Cellists of the Berlin Philharmonic 86 SEPT Time | Venue Page Wed 01.09. 12.15 | LK Crazy 3 Kit Armstrong 87

16.00 | LS Masterclass in with Ilan Volkov 88 Conducting

18.20 | LS 40min FREE “The Art of Conducting” 22

19.30 | KS Berlin Berlin Philharmonic | Kirill Petrenko 89 Philharmonic 1 Thu 02.09. 12.15 | LK Debut Salomo Schweizer | Petya Mihneva 90 Salomo Schweizer

18.30 | A Introduction with Susanne Stähr (in German) 91

19.30 | KS Berlin Berlin Philharmonic | Kirill Petrenko | 91 Philharmonic 2 Anna Vinnitskaya

Fri 03.09. 16.30 | A Lecture and Interview FREE with Martin Zenck, Angela de Benedictis, 93 Wolfgang Rihm, and Mark Sattler (in German)

18.30 | A Introduction with Susanne Stähr (in German) 92

19.30 | KS Opera Partenope Les Arts Florissants | William Christie | 92 Sophie Daneman | Soloists of the Jardin des Voix 2021

16.00 | LS Bye-Bye Beethoven Lucerne Festival Contemporary Orchestra | 95 Patricia Kopatchinskaja | Lani Tran-Duc et al.

31 17.30 | A Introduction with Rebecca Saunders and Mark Sattler 96 (in German)

14.30 | LS Family Concert – “Inspector Flunke and Die Schurken” 98 Die Schurken 1 (in German)

16.00 | LS Family Concert – “Inspector Flunke and Die Schurken” 98 Die Schurken 2 (in German)

16.00 | LT Staatstheater Luzerner Theater Ensemble | Ensemble of the 99 Lucerne Festival Contemporary Orchestra | Lydia Steier

18.30 | KS Schumann Cycle 3 Mozarteum Orchestra Salzburg | 100 Mirga Gražinytė-Tyla Mon 06.09. 18.30 | A Introduction with Iris Szeghy, Miroslav Srnka, and Mark Sattler 101 (in German)

18.20 | LS 40min FREE “Crossover: Between Classical Music and Jazz” 22

19.30 | KS Recital Anne-Sophie Mutter | Lambert Orkis 103 Anne-Sophie Mutter Wed 08.09. 12.15 | LK Crazy 4 Luca Pianca 104

18.20 | LS 40min FREE “Hommage à Philip Jones” 22

19.30 | KS London Symphony London Symphony Orchestra | Sir Simon Rattle | 105 Orchestra Magdalena Kožená

19.30 | LT Staatstheater Luzerner Theater Ensemble | Ensemble of the 99 Lucerne Festival Contemporary Orchestra | Lydia Steier Thu 09.09. 12.15 | LK Debut Marmen Quartet Marmen Quartet 106

18.30 | A Introduction with Susanne Stähr (in German) 107

19.30 | KS Vienna Philharmonic 1 Vienna Philharmonic | Herbert Blomstedt 107

19.30 | LT Staatstheater Luzerner Theater Ensemble | Ensemble of the 99 Lucerne Festival Contemporary Orchestra | Lydia Steier

32 Fri 10.09. 18.30 | A Introduction with Susanne Stähr (in German) 108

19.30 | KS Vienna Philharmonic 2 Vienna Philharmonic | Herbert Blomstedt 108

19.30 | LT Staatstheater Luzerner Theater Ensemble | Ensemble of the 99 Lucerne Festival Contemporary Orchestra | Lydia Steier Sat 11.09. 11.00 | LS Family Concert – Opera 1 “Hans and Greta” (in German) 109

14.00 | LS Family Concert – Opera 2 “Hans and Greta” (in German) 109

18.30 | A Introduction with Susanne Stähr (in German) 110

19.30 | KS Budapest Festival Budapest Festival Orchestra | Iván Fischer | 110 Orchestra 1 Yuja Wang

19.30 | LT Staatstheater Luzerner Theater Ensemble | Ensemble of the 99 Lucerne Festival Contemporary Orchestra | Lydia Steier

Sun 12.09. 10.00 | MK Liturgical Service FREE “Faith Crazy” with Eva Brandin, Andreas Rosar, Stephen Smith, and the Ensemble Corund (in German)

17.00 | KS Budapest Festival Budapest Festival Orchestra | Iván Fischer | 111 Orchestra 2 soloists

KKL Luzern Additional venues KS Concert Hall AS Old City LS Lucerne Hall HL Hochschule Luzern – Musik A Auditorium I Inseli CR Clubraum 8 JK Jesuitenkirche E Europaplatz LK Lukaskirche LT Luzerner Theater M Maskenliebhabersaal MK Matthäuskirche S Südpol SP Lake Promenade

33 2 THIS IS LUCERNE FESTIVAL 12 ESSENTIALS 24 AGENDA 34 SPECIALS 37 Crazy: The 2021 Summer Theme 38 Schumann Cycle 39 Beethoven Symphonies 40 Amour fou 41 Devils and Demons 42 Simply Different 43 Crazy 44 In the Streets 46 CONCERTS 112 SUPPORTERS 120 SERVICE

34 SPE− CIALS 35 CRAZY THE 2021 SUM- MER THEME

What makes something “crazy”? Anything that pushes beyond the confines of normality. For example, people who are odd and eccentric, who behave strangely and develop off-the-wall ideas, who lose themselves in fantasy worlds and tend toward extremes. Or those who are regarded as nervous and insane. Of course, you can also find such people in the music scene in numbers that are not exactly scarce – so much so that you almost wonder whether a certain amount of craziness might be the prerequisite for creativity. We will explore this question at the 2021 Summer Festival. For example, we will encounter Robert Schumann, who was committed to an asylum as “mentally deranged” after a suicide attempt. We will meet all sorts of devils, evil spirits, and goblins. We will marvel at revolutionary feats such as four groundbreaking Beethoven symphonies; Stravinsky’s bold Petrushka; the music of Claude Debussy, who abandoned traditional motivic development to explore fluctuating waves of sound; and the Second Viennese School, which exploded the centuries-old rulebook of major-minor tonali- ty, in the process suspending musical grammar. The theme of “amour fou” is naturally also on the agenda; and there will also be concerts that creatively experiment with space and content, providing a vehicle to subvert every routine – as for example the series “Verrückt” (“Crazy”), which incor- porates experimental arrangements ranging from Dadaist to the maniacal. What all these works share is that they have simultaneously upended aesthetic standard. For that is the double entendre of the Geman word “ver-rückt”: crazy/topsy-turvy. In the following pages, we introduce the most important focal points of our theme.

We cordially thank our Theme Sponsor Clariant Foundation for its generous support.

37 SCHUMANN CYCLE

Robert Schumann died in a 14.08. | 18.30 25.08. | 19.30 mental hospital when he was Lucerne Festival Orchestra 2 Schumann Cycle 2 only 46, having spent the last KKL Luzern, Concert Hall KKL Luzern, Concert Hall Lucerne Festival Orchestra | Riccardo Tonhalle Orchestra Zurich | Paavo Järvi 29 months of his life there. But Chailly conductor | Igor Levit piano conductor | Christian Tetzlaff violin was he really “mentally deranged” Mozart Overture to Don Giovanni, K. 527 | Schumann Overture to Genoveva, and as crazy as his peers be- Schumann Piano Concerto in A minor, Op. 81 | Violin Concerto in D minor, WoO1 | lieved? With performances of Op. 54 | Mozart Symphony in G minor, Symphony No. 3 in E-flat major, Op. 97 all four symphonies and the K. 550 Rhenish three great solo concertos, we 22.08. | 19.30 05.09. | 18.30 explore this question in music Schumann Cycle 1 Schumann Cycle 3 and follow Schumann on his KKL Luzern, Concert Hall KKL Luzern, Concert Hall tragic journey through life. Lucerne Symphony Orchestra | Mozarteum Orchestra Salzburg | Michael Sanderling conductor | Mirga Gražinytė-Tyla conductor Steven Isserlis cello Weinberg Adagio from the Weber Overture to Der Freischütz, Symphony No. 2, Op. 30 | Schumann Op. 77 | Schumann Cello Concerto Symphony No. 1 in B-flat major, Op. 38 in A minor, Op. 129 | Symphony No. 4 Spring Symphony | Symphony No. 2 in D minor, Op. 120 in C major, Op. 61

38 Ludwig van Beethoven took the 11.08. | 19.30 24.08. | 19.30 symphonic genre in brand-new Swiss Youth Symphony Orchestra Lucerne Festival Orchestra 6 directions. In the process, he KKL Luzern, Concert Hall KKL Luzern, Concert Hall Swiss Youth Symphony Orchestra | Lucerne Festival Orchestra | did not limit himself to a single Kai Bumann conductor | Oliver Schnyder Yannick Nézet-Séguin conductor solution but tried out a number piano Joseph Bologne, Chevalier de of very different paths. His First Saint-Georges Symphony No. 2 Mozart Piano Concerto in C major, K. 467 | in D major | Mozart Symphony in Symphony opened the door to the Beethoven Symphony No. 1 in C major, D major, K. 504 Prague | Beethoven th Op. 21 19 century and a new musical Symphony No. 7 in A major, Op. 92 age. With the Eroica, he intro- 18.08. | 19.30 duced the prototype of the heroic 27.08. | 19.30 Lucerne Festival Orchestra 4 symphony while with the Fifth he Staatskapelle Berlin KKL Luzern, Concert Hall KKL Luzern, Concert Hall invented the paradigm “through Lucerne Festival Orchestra | Staatskapelle Berlin | darkness to light.” The Pastoral Riccardo Chailly conductor Daniel Barenboim conductor combines a nature idyll with Schumann Manfred Overture, Op. 115 | Schubert Symphony No. 5 B-flat major, philosophy, and the Seventh is Haydn Symphony in D major, Hob. I:101 D 485 | Beethoven Symphony No. 3 The Clock | Beethoven Symphony No. 5 in E-flat major, Op. 55 Sinfonia eroica an explosion of sheer mania. in C minor, Op. 67 08.09. | 19.30 London Symphony Orchestra KKL Luzern, Concert Hall London Symphony Orchestra | Sir Simon Rattle conductor | Magdalena Kožená mezzo-soprano Adámek Where Are You? | Beethoven Symphony No. 6 in F major, Op. 68 Pastoral BEETHOVEN SYMPHONIES

39 AMOUR FOU

Love is the craziest of all feelings. 13.08. | 18.30 Prokofiev Four pieces from Romeo It’s the topic of Mozart’s Don Lucerne Festival Orchestra 1 and Juliet, Op. 64 | Rachmaninoff Piano KKL Luzern, Concert Hall Concerto No. 4 in G minor, Op. 40 | Giovanni and Wagner’s Tann- Stravinsky Petrushka häuser, whose title character is Lucerne Festival Orchestra | Riccardo Chailly conductor 30.08. | 19.30 hopelessly addicted to the god- Mozart Overture to Don Giovanni, K. 527 | Royal Concertgebouworkest dess Venus. Romeo and Juliet Symphony in G minor, K. 550 | Schubert KKL Luzern, Concert Hall Symphony No. 6 in C major, D 589 seek out a shared Liebestod, Royal Concertgebouworkest | while Stravinsky’s Petrushka 14.08. | 18.30 Daniel Harding conductor | Yefim Bronfman piano gets fatally stabbed by his jeal- Lucerne Festival Orchestra 2 ous rival. Matters turn chaotic in KKL Luzern, Concert Hall Wagner Tannhäuser Overture | Beethoven Piano Concerto No. 3 Handel’s opera Partenope when Lucerne Festival Orchestra | in C minor, Op. 37 | Debussy La Mer three love-struck princes vie for Riccardo Chailly conductor | Igor Levit piano the favor of the beautiful title 03.09. | 19.30 Mozart Overture to Don Giovanni, K. 527 | heroine. Opera Partenope Schumann Piano Concerto in A minor, KKL Luzern, Concert Hall Op. 54 | Mozart Symphony in G minor, K. 550 Les Arts Florissants | William Christie conductor | Sophie Daneman semi- 28.08. | 18.30 staging | Soloists from “Jardin des Voix” Class of 2021 Mariinsky Orchestra 1 KKL Luzern, Concert Hall Handel Partenope, HWV 27 Mariinsky Orchestra | Valery Gergiev conductor | Yuja Wang piano

All sorts of dubious figures – 18.08. | 19.30 01.09. | 19.30 devils, demons, goblins and Lucerne Festival Orchestra 4 Berlin Philharmonic 1 spirits – populate the 2021 KKL Luzern, Concert Hall KKL Luzern, Concert Hall Lucerne Festival Orchestra | Berlin Philharmonic | Summer Festival. They bewild- Riccardo Chailly Dirigent Kirill Petrenko conductor er the emotions in Weber’s Schumann Manfred Overture, Op. 115 | Weber Oberon Overture | Schubert Oberon and harass the imagi- Haydn Symphony in D major, Hob. I:101 Symphony No. 8 in C major, D 944 nary hero in Suk’s A Summer’s The Clock | Beethoven Symphony No. 5 Great C major Symphony in C minor, Op. 67 Tale. They swarm around the 02.09. | 19.30 necromancer Manfred; haunt 31.08. | 12.15 Berlin Philharmonic 2 nocturnal dreams, as in Ravel’s Debut Zee Zee KKL Luzern, Concert Hall Gaspard de la nuit, or appear Lukaskirche Berlin Philharmonic | Kirill Petrenko as such ominous seducers as Zee Zee piano conductor | Anna Vinnitskaya piano Mephistopheles in Liszt’s Faust Schoenberg Three Piano Pieces, Op. 11 | Prokofiev Piano Concerto No. 1 in Ravel Gaspard de la nuit | Liszt Vallée D-flat major, Op. 10 |Suk Pohádka léta Symphony. d’Obermann, S 160, no. 6, Les Jeux (“A Summer’s Tale”), Op. 29 d’eaux à la Villa d’Este, S 163, no. 4, and Tarantella, S 162, no. 3 from Années de 11.09. | 19.30 pèlerinage Budapest Festival Orchestra 1 KKL Luzern, Concert Hall Budapest Festival Orchestra | Iván Fischer conductor | Yuja Wang piano Liszt Piano Concerto No. 1 in E-flat major, S 124 | A Faust Symphony, S 108

DEVILS AND DEMONS

41 SIMPLY DIFFERENT

Many of the concerts in the “crazy” 15.08. | 19.30 04.09. | 16.00 2021 summer of music simply take Lucerne Festival Orchestra 3 Bye-Bye Beethoven a different tack. Chamber music by KKL Luzern, Concert Hall KKL Luzern, Lucerne Hall Soloists of the Lucerne Festival Contemporary Lucerne Festival Orchestra players Lucerne Festival Orchestra Orchestra | Patricia Kopatchinskaja violin, will astound with a synesthetic Ives From the Steeples and the Moun- concept, and direction lighting design. The 12 Cellists of tains | Antheil Sonata No. 2 for Violin and “Bye-Bye Beethoven” the Berlin Philharmonic invite us Piano | Rittler Mummum a 6 | Paganini A staged concert with music by Ives, La Campanella | Pärt Fratres | Ligeti Haydn, Cage, J. S. Bach, Kurtág, to tango. Patricia Kopatchinskaja Mysteries of the Macabre | Alkan La Sánchez-Chiong, and Oliveros | stage directs a concert. And Iván chanson de la folle au bord de la mer, Beethoven Violin Concerto in D major, Fischer pits a “gypsy band” against Op. 31, no. 8 | Gesualdo Tenebrae factae Op. 61 sunt | Ustvolskaya Composition No. 1 the Budapest Festival Orchestra, Dona nobis pacem 12.09. | 17.00 which not only plays but is also Budapest Festival Orchestra 2 called upon to sing. 31.08. | 19.30 KKL Luzern, Concert Hall The 12 Cellists Budapest Festival Orchestra | KKL Luzern, Concert Hall Iván Fischer conductor | soloists The 12 Cellists Brahms, Liszt, and “Gypsy Music” of the Berlin Philharmonic Lisztes Improvisation | Liszt Hungarian Debussy La cathédrale engloutie | Clair Rhapsody in C-sharp minor, S 359, no. 2 | de lune | Dean Twelve Angry Men | Tizol/ Brahms Hungarian Dances, WoO 1 Ellington Caravan | Simons It’s Raining Nos. 1, 4, and 6 | Sarasate Zigeuner- Skyscrapers, Op. 71, no. 1 | Dębski Cello weisen, Op. 20 | Brahms/Schoenberg Animation | Piazzolla selected tangos Andante con moto and Rondo alla zingarese from the Piano Quartet No. 1 in G minor, Op. 25 42 Things do not go according to the 15.08. | 16.00 01.09. | 12.15 book in this series. In “Out of the Crazy 1 Crazy 3 Box,” four musicians are trans- Südpol Lukaskirche ported onto the stage in crates. Reto Bieri clarinet, actor, and concept | Kit Armstrong piano Patricia Kopatchinskaja violin and actor | C. Schumann Variations on a Theme by There are encounters between Anthony Romaniuk and Annekatrin Klein Robert Schumann, Op. 20 | R. Schumann Beethoven and Hölderlin in the keyboard instruments and actor | Men’s Seven Piano Pieces in Fughetta Form, “Bagatelles” project and between chorus Op. 126 | Ghost Variations WoO 24 | Liszt “Out of the Box” Le triomphe funèbre du Tasse, S 517 | Schumann and Liszt in Kit Arm- Performances made out of boxes and Széchényi, Teleki, and Mosonyi from strong’s recital – all four artists artists – with some very beautiful melo- Historical Hungarian Portraits, S 205 | being “crazy” in their own way. dies by Ustvolskaya, Schubert, Lucier, Csárdás macabre, S 224 Stravinsky, Verdi, and Xenakis and a film And Luca Pianca celebrates the version of Kurt Schwitters’s Ursonate 08.09. | 12.15 Follia, the craziest of all dances, Crazy 4 with his theorbo. 25.08. | 12.15 Lukaskirche Crazy 2 Luca Pianca theorbo Lukaskirche “Follie e Stravaganze” Michael Engelhardt speaker | works by Melli, Piccinini, Kapsberger, Stefan Wirth piano Pittoni, Hurel, and de Visée “Bagatelles” Beethoven/Hölderlin: A Musical Encounter Beethoven Six Bagatelles for piano, Op. 126 | Hölderlin In lieblicher Bläue blühet and late poems

CRAZY

43 IN THE STREETS

Bluegrass and Balkan brass, The Groups: 24.08. | 17.30 Indian folk and African vocal Opening Concert Featuring art are also part of Lucerne Hudaki Village Band All of the Groups Ukraine Europaplatz Festival. “In the Streets,” the Maestrale with appearances afterwards by all of the world music festival within the Italy groups in Lucerne’s Old City until 22.00 festival, sets the entire city to Claudia Masika 25.08. – 28.08. music every summer. A colorful Kenya/Senegal/Guyana/Switzerland Performances by All of the Groups musical spectacle for young Old Salt Lucerne’s Old City and old that shows how diverse USA/Belgium always 18.00 – 22.00, the music of our planet is! The Tapi Project Saturday 10.00 – 12.00 as well India Vołosi 29.08. | 16.00 Poland Closing Concert Featuring All of the Groups Europaplatz preceded by appearances by the groups from 12.00 to 15.00 on the Europaplatz

Bucherer AG – Partner In the Streets

44 LUCERNE! EXPERIENCE VISITS FOR MUSEUM CONCERT TICKET YOUR USE * Details on how to register at lucernefestival.ch/museums office. box museum atticket the concert your show day after.Simply the and day before the on also but visit concert day of your the on only not apply benefits These Museum.* Erni Hans at the tours guided free You enjoy also can Collection. Rosengart a50 and Luzern at the Kunstmuseum % discount to the admission to you free entitles ticket Your concert lucernefestival.ch/museums

Hans Erni: Still life with Guitar I, 1933, Hans Erni Foundation, Lucerne © Hans Erni Foundation, Lucerne © photo: Andri Stalder, Lucerne 2 THIS IS LUCERNE FESTIVAL 12 ESSENTIALS 24 AGENDA 34 SPECIALS 46 CONCERTS 112 SUPPORTERS 120 SERVICE

46 CON− CERTS 47 Tue 10.08. MUSIC FOR FUTURE

Russian National Youth Symphony Orchestra 19.30 KKL Luzern, Concert Hall

Russian National Youth Symphony Orchestra

Russian National Youth Symphony Orchestra Symphony Youth National Russian Valentin Uryupin conductor Sergei Dogadin violin

Pyotr Ilyich Tchaikovsky Violin Concerto in D major, Op. 35 35 min Symphony No. 6 in B minor, Op. 74 Pathétique 45 min

CHF 50/10 (adults/children)

CLASSICAL MUSIC HAS Look | Listen | Enjoy – Together at the NEVER SOUNDED concert YOUNGER! see p. 124

Not everyday do we get to experience this at the KKL Luzern, the Fes- tival’s headquarters and a veritable cathedral for classical music: at the beginning of the Summer Festival, it will teem with young people. Instead of the major stars of the scene being given the first word, two youth orchestras will open the series of about 100 Festival events. The Russian National Youth Symphony Orchestra, one of the very finest in Europe, kicks off the Festival and need not fear comparison with established orchestras. Under the direction of Valentin Uryupin, who won the Sir Georg Solti Conducting Competition in 2017, an all-Tchaikovsky program is on the agenda, including the famous Pathétique, the Sixth Symphony, as the main work. In this score, the orchestra can pull out all of its artistic stops as the players traverse a broad emotional spectrum, from euphoria to deep despair. Before that, the gifted violin virtuoso Sergei Dogadin will play Tchaikovsky’s Violin Concerto. He has a very special relationship with this composer, having emerged as the winner of the prestigious Tchaikovsky Competition in 2019. with the friendly support of Dr. Urs Mühlebach

48 “THE JOY OF DISCOVERY Wed 11.08. REIGNS HERE” MUSIC FOR FUTURE Kai Bumann on the Swiss Youth Swiss Youth Symphony Orchestra Symphony Orchestra 19.30 They truly know how to support young talent: the Swiss Youth Sym- KKL Luzern, Concert Hall phony Orchestra, founded in 1969, brings together the most talented musicians from all around Switzerland to study works from different eras in two work phases per year. Difficult and demanding repertoire Swiss Youth Symphony Orchestra is also on the agenda: for example, symphonies by Mahler, Bruckner, Kai Bumann conductor and Shostakovich or scores by Stravinsky and Messiaen. Once the Oliver Schnyder piano musicians have passed through this school, they acquire excellent career prospects that are not limited to the Swiss orchestral scene: Wolfgang Amadé Mozart former members now play with the Berlin and Vienna Philharmon- Piano Concerto in C major, K. 467 ics, the Israel and Oslo Philharmonics, the Bavarian Staatsorchester, 28 min and the NHK Symphony Orchestra in Japan. The current cohort will demonstrate its skills by playing Beethoven’s groundbreaking First Ludwig van Beethoven Symphony, which requires musical energy, technical precision, and Symphony No. 1 in C major, Op. 21 quirky humor in equal measure. Before it they will offer Mozart’s irre- 27 min sistible C major Piano Concerto. K. 467, with Oliver Schnyder as the soloist: he, too, is a Swiss who has long since pursued an internation- CHF 50/10 (adults/children) al career.

Look | Listen | Enjoy – Together at the concert see p. 124 Swiss Youth Symphony Orchestra Symphony Youth Swiss

Zurich Insurance Ltd Main Sponsor and Founding Partner Music for Future with the friendly support of the Bernard van Leer Foundation Lucerne

49 Thu 12.08. MUSIC FOR FUTURE

Award Winners Concert 12.15 Lukaskirche

Winners of the Swiss Youth Music Competition

The competition finale takes place in May 2021. The winners as well as program details will subsequently be announced.

CHF 20/10 (adults/children)

“A STEPPING STONE INTO PROFESSIONAL MUSICAL LIFE” Founder Gerd Albrecht on the Swiss Youth Music Competition

Making music can be a rather lonely business when you sit for hours upon hours in your little room, toiling away at finger exercises, scales, and etudes. “Practice makes perfect” goes the sober saying. But there are two kinds of reward. One is meeting like-minded people in a duo, ensemble, or orchestra – the incomparable experience of shared musical fulfillment. The other is via encounter at a competition. For after the long period of seclusion with the instrument it is inevitable, no, it is even desirable, to sound out one’s own potential and limits in competition with peers. The Swiss Youth Music Competition offers the ideal platform for this. There is hardly a musician or virtuoso from with the friendly support of the this country who has not gained important experience here. In this Ruth Burkhalter-Stiftung zur concert, the best contestants from the 2021 edition will introduce Förderung junger Musiktalente themselves and offer a glimpse into the future. Foundation Swiss Music Competition for Youth

50 “O MOZART, Fri 13.08. IMMORTAL MOZART” SYMPHONY Franz Schubert Opening Lucerne Festival Orchestra 1 At long last: a beginning. The night before its Prague premiere, Mo- 18.30 zart composed the overture to Don Giovanni, the “opera of operas.” KKL Luzern, Concert Hall But this beginning already reveals how it all will end: with the downfall, the hellish journey of the “punished libertine,” the amoral hero for whom the women go crazy. Of this dark prelude, the Romantic E.T.A. Lucerne Festival Orchestra Hoffmann, who called himself Amadeus out of admiration for Mozart, Riccardo Chailly conductor wrote: “I saw fiery demons stretching out their glowing claws from nocturnal depths.” What a beginning! And did any symphony before Wolfgang Amadé Mozart Mozart start off like his G minor Symphony: so restlessly, softly and Overture to Don Giovanni, K. 527 almost secretly, with no call-to-attention? Was this music written for 6 min a future age? Or for the next generation, to which Franz Schubert in Vienna belonged? Yet in his Sixth Symphony, Schubert focuses on the Symphony in G minor, K. 550 sunny side of life and benevolent musical spirits: C major, Viennese 28 min nonchalance, pleasure put to sound, playful ideas, and an affinity with Franz Schubert Italian opera buffa. From dark night into the light … Symphony No. 6 in C major, D 589 30 min

CHF 350/240/170/50

Lakeside Symphony The Opening Concert live projected on a giant screen 18.30 | Inseli free admission Riccardo Chailly | Lucerne Festival Orchestra Lucerne Festival | Chailly Riccardo

Kühne-Stiftung Main Sponsor and Partner Lucerne Festival Orchestra Credit Suisse Main Sponsor and Presenting Partner Lakeside Symphony

51 Sat 14.08.

NZZ Podium Melitta Breznik 14.00 KKL Luzern, Auditorium

Round table discussion (in German) with Melitta Breznik psychiatrist and author Heinz Holliger composer, oboist, and conductor Gerald Hüther neurobiologist

Host Martin Meyer director of the NZZ Podium

“Crazy: Human Beings and Their Ecstasies” 90 min

CHF 30/10 (reduced)

WHAT IS NORMAL, WHAT IS CRAZY?

“The time is out of joint,” Hamlet remarks. Shakespeare’s play about the downfall of the Danish prince who seems to become insane is often viewed from an aesthetic distance, but coronavirus and Donald Trump have reminded us of what it feels like when the world is upside down. “Normal” and “crazy” are social conventions that require shared patterns of behavior and thinking. Those who follow the rules lead a “good” life. The Christian kingdom of heaven was also open to sick people and fools. With the proliferation of different lifestyles in modernity, however, the concept of normality has been disintegrat- ing. A culture of progress encourages being different. The fascination of the subjective takes hold; the ego becomes the ultimate measure. Everything new awakens hope, insanity confers nobility, illness becomes interesting – especially in the artistic realm. But the universal demand for happiness and the concomitant demand for practicali- ty prove to be overwhelming. Whoever fails to satisfy these goals is pathologized – often without mercy.

52 “ETERNALLY Sat 14.08. CONTEMPORARY” CONTEMPORARY

That is how Igor Stravinsky characterized Beethoven’s Grosse Fuge. Quatuor Diotima Indeed, it is one of the craziest and most challenging works in quartet 16.00 literature: the way Beethoven fuses fugue and variation techniques Hochschule Luzern – Musik here, fragmenting the themes into probing motifs and radically ex- hausting the possibilities of counterpoint so that “the instruments Quatuor Diotima: have to struggle with tremendous difficulties, as if traversing the North and South Poles, criss-crossing with a myriad of dissonances” – Yun-Peng Zhao and this music continues to awaken either amazed wonder or baffled Constance Ronzattiviolins dismay to this day. In 2017, composer-in-residence Rebecca Saun- Franck Chevalier viola ders was no less eager to experiment with the string quartet genre: Pierre Morlet cello “A melody, think Bach” she notes above the first bars of Unbreathed. But of course it is not simply a melody that is heard. Rather, it is a fas- Alex Nante cinating excursion into sonority that initially revolves around the note Quatuor à cordes no. 1 D and allows the sound to wander through the instruments, coloring it microtonally and constantly extracting new facets through detailed Prima Materia world premiere instructions as to which string to play on, with or without vibrato, commissioned by Lucerne Festival completely or only half on the bridge. 15 min Rebecca Saunders Unbreathed 21 min Ludwig van Beethoven Grosse Fuge in B-flat major, Op. 133 16 min

CHF 50

Quatuor Diotima The

“Rebecca Saunders Package” 20% discount on three concerts featuring Rebecca Saunders see p. 124

53 Sat 14.08. SYMPHONY

Lucerne Festival Orchestra 2 18.30 KKL Luzern, Concert Hall

Lucerne Festival Orchestra Riccardo Chailly conductor Igor Levit piano

Wolfgang Amadé Mozart Overture to Don Giovanni, K. 527 6 min Robert Schumann Piano Concerto in A minor, Op. 54 31 min Wolfgang Amadé Mozart Symphony in G minor, K. 550

Igor Levit Igor 28 min

Introduction to the Concert 17.30 | KKL Luzern, Auditorium with Susanne Stähr (in German) “THE MYSTERY OF MOZART REMAINS UN- CHF 320/220/150/40 FATHOMABLE” Riccardo Chailly

If not for these two works, music history would likely have been different. Mozart wrote an opening movement for his G minor Symphony that seems to have been already going on before the first downbeat: its dramatic flair resembles a restless aria like the one Mozart’s Cheru- bino sings when overcome with emotion: “I no longer know what I am, what I do ...” To his contemporaries, this music seemed almost crazy, “too strongly spiced,” “like a meteor.” With his Piano Concerto, Robert Schumann meanwhile freed the genre from the conventional model of a “duel” between soloist and orchestra, between the individual ego and others. “There are no hierarchies anymore,” explains Igor Levit, who will perform the work in his first joint appearance with the Lucerne Festival Orchestra. “The piece is tremendously improvi- satory; you play in an almost Miles Davisian sense.” And yet – or perhaps because of that? – the solo part is extremely demanding, espe- Kühne Foundation cially the finale, which also requires the utmost in terms of virtuosity. Main Sponsor and Partner Lucerne Festival Orchestra

54 “33% OF THE EFFECT Sun 15.08. OF PSYCHO WAS DUE SYMPHONY TO THE MUSIC” Afternoon Concert 14.30 Alfred Hitchcock KKL Luzern, Concert Hall

The City of Lucerne’s afternoon concert is one of the Festival’s most Festival Strings Lucerne attractive offerings: at a ticket price of only 10 CHF, Lucerne residents, guests from the region, and visitors from social institutions can all be Daniel Dodds violin and musical direction part of it – making delightful musical experiences accessible regard- Johanna Dömötör flute less of budget. The Festival Strings Lucerne has been a partner of this concert series for many years, and they have as usual come up with a varied program. With Luigi Boccherini, they will escort the audience Luigi Boccherini to the nighttime streets of Madrid, reproducing its soundscape with Musica notturna delle strade an almost naturalist flair. Gabriel Fauré’s tender flute fantasy is mean- di Madrid, G. 324 while dreamy and tinged with melancholy. And then come two film 13 min composers, both of whom collaborated with the great master of the thriller, Alfred Hitchcock. Arthur Benjamin, who wrote the music for Arthur Benjamin/ The Man Who Knew Too Much, is actually represented here by a suite Domenico Scarlatti on motifs by Domenico Scarlatti he arranged. Quite another matter is Suite for Flute and String Bernard Herrmann, who wrote the famous soundtrack to the thriller Orchestra Psycho – a madly fitting piece in keeping with the theme of “crazy”! 12 min Gabriel Fauré Fantaisie, Op. 79 arranged for flute and string orchestra by Amir Awad 7 min Bernard Herrmann Psycho: A Narrative for String Orchestra edited by John Mauceri 15 min Johanna Dömötör Johanna Tickets for CHF 10 are exclusively available from the Stadthaus Luzern from 2 to 13 August (Hirschengraben 17; always from 9.00 to 11.00 and from 14.00 to 16.00).

55 Sun 15.08.

Crazy 1 16.00 Südpol

Reto Bieri clarinet, acting, concept Patricia Kopatchinskaja | Reto Bieri Patricia Kopatchinskaja violin, acting Anthony Romaniuk and Annekatrin Klein keyboard instruments, acting Men’s chorus

“Out of the Box” Performances made from boxes and artists – including beautiful melodies by Chick Corea, Franz Schubert, Alvin Lucier, Igor Stra- vinsky, Giuseppe Verdi, and Iannis Xenakis as well as a film version of Kurt Schwitters’s Ursonate 75 min

“NOT SICK AT ALL IS NOT CHF 30 HEALTHY EITHER!” Karl Valentin

What a performance! Four house technicians drag four large, heavy wooden boxes onto the stage, carefully unpack and open them ... and – surprise! – “out of the box” climb Patricia Kopatchinskaja, Reto Bieri, Annekatrin Klein, and Anthony Romaniuk. With the violin, the clarinet, and various keyboard instruments, they explore the most diverse musical constellations, oscillating between sense and nonsense – in the process provoking deep insights or revealing surprising connections. All of this happens to great music by composers from Franz Schubert and Giuseppe Verdi to Galina Ustvolskaya, Iannis Xenakis, and Alvin Lucier. Also on the program is the famous Ursonate, the legendary sound poem by the Dada poet Kurt Schwitters: it will be presented as a film recording with the four artists. At the end, they will be packed up again and transported away in their crates. A staged concert that stands out from the ordinary – aiming to enchant us all, the nurse as well as the sales manager.

with friendly support of the Landis & Gyr Foundation

56 “EVERY GREAT Sun 15.08. INSPIRATION IS BUT AN EXPERIMENT” Lucerne Festival Orchestra 3 19.30 Charles Ives KKL Luzern, Concert Hall

This concert has it all. The Renaissance prince Carlo Gesualdo, as Soloists of the famous for his expressive madrigals as he is infamous for murdering his wife, meets the self-declared “bad boy of music” George Antheil, Lucerne Festival Orchestra whose Second Violin Sonata quotes all sorts of popular tunes and turns the pianist into a percussionist. There is Arvo Pärt’s meditative Charles Ives “bell style” alongside memories of bell hymns by the experimental From the Steeples and maverick Charles Ives. And the lineup includes the composer/piano the Mountains virtuoso Charles Valentin Alkan, represented by his disquieting “Song of a Madwoman on the Sea Shore.” The musicians of the Lucerne George Antheil Festival Orchestra have put together a colorful chamber music re- Sonata for Violin and Piano No. 2 vue that will be enhanced by a wild-and-crazy light design. And they have peppered it with all kinds of virtuoso craziness – from the bravu- Philipp Jakob Rittler ra music by the “devil’s violinist” Niccolò Paganini to György Ligeti’s Mummum a 6 Mysteries of the Macabre, an arrangement of three fiendishly diffi- Niccolò Paganini cult coloratura arias that will be rendered by Reinhold Friedrich on La Campanella from the the trumpet. All of these exceedingly different composers have one Violin Concerto in B minor, Op. 7 thing in common: they each went their own way, thus subverting the version for violin and piano musical standards of their eras. Arvo Pärt Fratres for trombone and piano György Ligeti Mysteries of the Macabre for trumpet and piano Charles Valentin Alkan La chanson de la folle au bord de la mer, Op. 31, no. 8 Carlo Gesualdo Tenebrae factae sunt Galina Ustvolskaya Composition No. 1 Dona nobis pacem

The concert ends at approximately 20.45.

CHF 50

57 Members of the Lucerne Festival Orchestra Festival Lucerne the of Members Mon 16.08. – Thu 19.08.

CONTEMPORARY

Composer Seminar always 10.00–11.30 and 12.00–13.30 KKL Luzern, Clubraum 8

Participants in the Composer Seminar: Arnau Brichs, Tyson Davis, Wolfgang Rihm (Composer Seminar 2019) Seminar (Composer Rihm Wolfgang Lanqing Ding, Theo Finkel, Anton Koshelev, Guillem Palomar, Daniil Posazhennikov, and Senay Uğurlu

Wolfgang Rihm director Dieter Ammann co-docent additional guests

Presentation and discussion of the selected works

for auditors CHF 100/30 (course pass/ day pass)

“BECOME WHO YOU ARE” Composer Seminar – Closing Concert Wolfgang Rihm Sat 28.08. | 14.30 Hochschule Luzern – Musik Composer-in-residence Rebecca Saunders once made her way to Ensemble of the Lucerne Festival Karlsruhe to study with Wolfgang Rihm. Jörg Widmann, Márton Illés, and David Philip Hefti also benefitted from his lessons. Completely Contemporary Orchestra see p. 79 different artistic personalities, in other words, which demonstrates that Rihm is a teacher who is as inspiring as he is undogmatic. This also applies to the Composer Seminar, which he offers every summer in Lucerne: Rihm explains that he neither wants to found a school nor aims for a competition that awards prizes to the (allegedly) best of the upcoming generation of composers. Instead, he is trying to assem- ble composers “from various states of development and conscious- ness” from a pool of more than 250 international applications. He is interested in a productive discussion and in “finding the path toward articulating one’s own voice, consolidating one’s own obstinate in- dividuality” – but to achieve this, “positions that are completely different must be represented.” The sessions of the first week, in which the participants discuss their works with Rihm, Dieter Ammann, and other guests, are open to anyone who is curious.

with the friendly support of the RHL Foundation

58 “A VERY SMALL Mon 16.08. PIANO CONCERTO” SYMPHONY Johannes Brahms on his Opus 83 West-Eastern Divan Orchestra 1 19.30 When Der Spiegel asked Daniel Barenboim a few years ago wheth- KKL Luzern, Concert Hall er he could imagine another conductor for his West-Eastern Divan Orchestra, he responded: “That’s like asking a happily married man West-Eastern Divan Orchestra whether his wife could be happy with someone else.” But now Baren- boim is indeed vacating his seat at the podium of his beloved orches- Lahav Shani conductor tra – for one evening at least. And there are two good reasons for Daniel Barenboim piano that. For one, the “someone else” who will stand in his place with the baton is the 32-year-old Lahav Shani. Barenboim has been a mentor, Sergei Prokofiev fostering the young Israeli’s stellar career rise to remarkable effect. Symphony No. 1 in D major, Op. 25 As a result, Shani now serves as music director of two top orchestras: Symphonie classique the Israel and Rotterdam Philharmonic Orchestras. Barenboim can 16 min trust him completely when he himself takes on one of the greatest challenges in the pianistic repertoire, the Second Piano Concerto by Johannes Brahms Johannes Brahms, whose intricate solo part really seems to require Piano Concerto No. 2 more than ten fingers. In any case, he’ll certainly not have attention to in B-flat major, Op. 83 spare to wield the conductor’s baton as well. 52 min

Introduction to the Concert 18.30 | KKL Luzern, Auditorium with Susanne Stähr (in German)

CHF 200/130/90/30 Lahav ShaniLahav

59 Tue 17.08. MUSIC FOR FUTURE Lea Sobbe Lea Debut Prix Credit Suisse Jeunes Solistes 12.15 Lukaskirche

Lea Sobbe recorder Halldór Bjarki Arnarson harpsichord

Pons d’Ortaffa Si ay perdut mon saber Thomas Preston/ Nitay Feigenbaum once:more Paolo Benedetto Bellinzani Sonata in D minor, Op. 3, no. 12 Marco Uccellini Sonata Seconda detta La Luciminia contenta Dorothee Hahne “SHE KNOWS HOW TO Commentari III Georg Philipp Telemann CONQUER THE AUDIENCE” Sonatina quinta TWV 41:a4 Jury Chair Noémi L. Robidas on Lea Sobbe Emanuele Casale Studio 2a Is the recorder confined solely to the realm of early music? Lea Sobbe, Nicola Matteis who was born in Trier in 1994 and is currently completing her mas- Bizarrie sopra la Vecchia ter’s degree at the Schola Cantorum Basiliensis, showed this to defin- Sarabanda o pur Ciaccona itively not be the case at the 2021 Prix Credit Suisse Jeunes Solistes, winning the coveted CHF 25,000 prize for young musicians as well as the opportunity to appear at Lucerne Festival in a Debut recital. CHF 30 She will experiment with different types of recorders, from the Mid- dle Ages to modern models, and explore the question of how much Debut in the Schoolhouse repetition is needed to achieve complete musical freedom, pleasure, On 7 September Lea Sobbe also and joy in playing. Sobbe will combine contemporary pieces with live performs for school classes. electronics in a program of improvisations and early Baroque repertoire, which she performs with her chamber music partner on harpsichord, the Icelander Halldór Bjarki Arnarson. “Magnificent, daring, Credit Suisse beautiful, flowing, touching,” remarked Noémi L. Robidas, jury chair Main Sponsor of the 2021 Prix Credit Suisse Jeunes Solistes, describing her impres- sion of Lea Sobbe’s playing and program conceptualization. Credit Suisse Foundation Donor Prix Credit Suisse Jeunes Solistes

60 “WHAT IS IMPOSSIBLE IS Tue 17.08. SIMPLER THAN WHAT IS SYMPHONY DIFFICULT ” West-Eastern Divan Orchestra 2 19.30 Daniel Barenboim KKL Luzern, Concert Hall

Where others give up, Daniel Barenboim really gets going. He West-Eastern Divan Orchestra has turned many visionary projects into reality. For example, the West-Eastern Divan Orchestra, founded in 1999, in which young mu- Daniel Barenboim conductor sicians from Israel and the Arab world make music together and show Michael Barenboim violin how to overcome national, religious, and cultural divides. Their guid- Kian Soltani cello ing principle is: peace does not have to be only utopian. Barenboim’s “Divan” has long since outgrown its infancy as a youth orchestra and Johannes Brahms is one of the top ensembles worldwide. And some of its members Concerto in A minor for Violin, have gone on to have international solo careers themselves. Like vi- Cello, and Orchestra, Op. 102 olinist Michael Barenboim, son of the maestro, or cellist Kian Soltani, 33 min who won the 2018 Credit Suisse Young Artist Award. They now re- unite for Brahms’s Double Concerto: a family reunion in Lucerne. This César Franck is followed by the ingenious D minor Symphony by César Franck, the Symphony in D minor “Belgian Brahms,” as he is sometimes called, for his similar blend of 40 min subtle compositional construction with emotional richness. CHF 200/130/90/30

Look | Listen | Enjoy – Together at the concert see p. 124

Go to the concert before the concert: 40min today! see p. 22

61 Daniel Barenboim Daniel Wed 18.08. SYMPHONY

Lucerne Festival Orchestra 4 19.30 KKL Luzern, Concert Hall

Lucerne Festival Orchestra Riccardo Chailly conductor

Robert Schumann Overture to the dramatic poem Manfred, Op. 115 12 min Joseph Haydn Symphony in D major, Hob. I:101 The Clock 30 min Ludwig van Beethoven Riccardo ChaillyRiccardo Symphony No. 5 in C minor, Op. 67 32 min

Introduction to the Concert “UNBRIDLED EMOTIONS, 18.30 | KKL Luzern, Auditorium with (in German) RAGING FEVER” Susanne Stähr CHF 320/220/150/40 Hector Berlioz on Beethoven’s Fifth

Riccardo Chailly and his Lucerne Festival Orchestra heat up the “crazy” 2021 Summer Festival with a program that revolves entirely around obsessions, emotional and musical alike. First up is the most extrav- agant hero in Romanticism, Lord Byron’s Manfred, for whom Robert Schumann built a musical monument. Manfred wanders through the Alps to escape his shame, an incestuous relationship that led to a fa- tal outcome; not even the occult powers he invokes can redeem him. Joseph Haydn was, however, focusing less on extreme psychological states when he added a ticking sound to his Symphony Hob. I:101: in the Andante, eighth notes are made to sound like the tick-tock of a clock. Ludwig van Beethoven, meanwhile, created what is probably the most famous piece of classical music with the opening movement of his Fifth Symphony. He proceeds in a quasi-Minimalist man- ner, restricting himself to only three note values – eighth, quarter, and half notes – and demands a strict, unified tempo. But that is precisely why his music sounds so compelling, so insistent. Simply obsessive.

62 “THE GREATEST Thu 19.08. MUSICIAN WHO HAS MUSIC FOR FUTURE EVER LIVED” Debut Dmitry Smirnov 12.15 Steve Reich on Bach Lukaskirche

Dmitry Smirnov loves crazy challenges. In his debut, he does more Dmitry Smirnov violin than combine two of the most demanding compositions for solo violin, Bach’s D minor Partita and Bartók’s Solo Sonata. He also inter- twines them by shuttling back and forth between the two, playing Steve Reich the movements in alternation and thus creating an imaginary unity of Violin Phase for violin and a work that transcends the centuries. He will additionally frame this pre-recorded tape, Parts 1 & 2 new construct with Steve Reich’s Violin Phase, a masterpiece of Min- 10 min imalism from 1967. The result is a triple portrait of three unsentimen- tal composers that at the same time highlights their idiosyncrasies: Johann Sebastian Bach the rhetorically influenced beat of Bach’s musical language, Bartók’s Partita in D minor for solo violin, archaic phrases, and Reich’s repetitive patterns. Smirnov, who was BWV 1004 born in St. Petersburg in 1994 and studied with Rainer Schmidt in 30 min Basel, won the Tibor Varga Competition as well as the Concours de Béla Bartók Lausanne and today works with Heinz Holliger and Giovanni Antonini. Sonata for solo violin, Sz 117 No question: he has one of the most unconventional minds among 26 min young violinists.

CHF 30 Dmitry Smirnov

63 Thu 19.08. Igor Levit Igor Recital Igor Levit 1 19.30 KKL Luzern, Concert Hall

Igor Levit piano

Ludwig van Beethoven Piano Sonata in E minor, Op. 90 14 min Piano Sonata in A major, Op. 101 22 min Piano Sonata in B-flat major, Op. 106 Hammerklavier Sonata 42 min

CHF 120/90/60/30

“RIDING THE RAZOR’S EDGE” Igor Levit on the Hammerklavier Sonata

Igor Levit had originally wanted to conclude his grand Beethoven cycle playing all 32 of the composer’s piano sonatas in Lucerne during the anniversary year 2020, but the coronavirus pandemic thwarted his plans. The good news is that this summer he will catch up with the last two installments of the eight-part series – and ascend the “Mount Everest” of piano repertoire with the Hammerklavier Sonata. “It's really a borderline experience in terms of its manual, physical, and emotional demands,” Levit explains. “Not a day goes by that I don't think about this sonata.” But the two works he performs earlier also provide moments of musical bliss. The Op. 90 E minor Sonata, cast in only two movements, beguiles with a rondo that circles mer- rily around, like an endless melodic loop. Meanwhile, right from the first measure, the A major Sonata, Op. 101, sounds as if it had already begun long before. And its vivid Scherzo, which seems to anticipate Schumann’s Davidsbündler marches, strikes out far into the future. with the friendly support of Berthold Herrmann and Dr. Mariann Grawe-Gerber

64 “A BARRIER-FREE Fri 20.08. BAROQUE ENSEMBLE” Reinhard Goebel on the Berliner Berliner Barock Solisten Barock Solisten 19.30 KKL Luzern, Concert Hall Exactly 300 years ago, on 24 March 1721, Johann Sebastian Bach sent a calligraphic fair copy of “Six concerts avec plusieurs instruments” Berliner Barock Solisten to Margrave Christian Ludwig of Brandenburg. Under the name Bran- denburg Concertos, they are today among the most popular works in Reinhard Goebel musical direction the Baroque repertoire, in part because they feature their “various Mathieu Dufour flute instruments” – flute, oboe, trumpet, violin, viola, and harpsichord – Christoph Hartmann oboe in matchless solo parts. The Berliner Barock Solisten consists of Reinhold Friedrich trumpet members of the Berlin Philharmonic, early music specialists and guest Roberto González-Monjas violin stars such as trumpeter Reinhold Friedrich, and they have reworked and viola the legendary cycle together with Reinhard Goebel. In 1985-86, Raphael Alpermann harpsichord Goebel made a sensation with his first recording. At that time, he followed the premises of historical performance practice; today he “The Brandenburg Concertos sees things more liberally and prefers a freer approach. His new book at 300” about the Brandenburg Concertos, which he wrote during the corona lockdown, shows just how close to his heart these works are. Johann Sebastian Bach Brandenburg Concerto No. 1 in F major, BWV 1046 16 min Brandenburg Concerto No. 2 in F major, BWV 1047 9 min Brandenburg Concerto No. 3 in G major, BWV 1048 9 min Brandenburg Concerto No. 4 in G major, BWV 1049 14 min

Berliner Barock Solisten Barock Berliner Brandenburg Concerto No. 5 in D major, BWV 1050 20 min Brandenburg Concerto No. 6 in B-flat major, BWV 1051 17 min

CHF 200/130/90/30

Go to the concert before the concert: 40min today! see p. 22

65 Sat 21.08. CONTEMPORARY

Portrait Rebecca Saunders 1 11.00 KKL Luzern, Lucerne Hall

Marco Blaauw trumpet

Arditti Quartet: Irvine Arditti and Ashot Sarkissjan violin Ralf Ehlers viola Lucas Fels cello

Trio Accanto: Marcus Weiss saxophone Nicolas Hodges piano Christian Dierstein percussion Arditti Quartet Arditti Rebecca Saunders shadow. Study for piano Swiss premiere 11 min Fletch for string quartet “A NOTE IS NEVER Swiss premiere 15 min JUST A NOTE” blaauw for double-bell trumpet 11 min Rebecca Saunders That Time. Trio for saxophone, What is better than one trumpet? A trumpet that sounds like two. Marco percussion, and piano Blaauw has developed just that with his double-bell trumpet, which – comissioned by Radio France, Lucerne Festival, Südwestrundfunk, and Milano as the name suggests – has two bells. He can produce the craziest Musica – Associazione per la musica sounds on it, for example switching between open and muffled tones contemporanea at lightning speed or mixing the two. Composer-in-residence Rebecca Swiss premiere Saunders has developed a fascinating solo piece out of these subtle 21 min color changes. In her portrait concert, instrumental docents from the Lucerne Festival Academy will show how she is constantly in search of CHF 50 fresh, unfamiliar sounds. In shadow, Nicolas Hodges uses the piano’s sostenuto and sustaining pedals to create reverberations of varying densities: indeed, acoustic shadows. It’s a prelude to Saunders’s new The piano concerto, which he will unveil on 4 September together with the “Rebecca Saunders Lucerne Festival Contemporary Orchestra. And in Fletch, the legendary Package” Arditti Quartet continually shoots out arrows of sound – just as sug- 20% discount on three gested by the title of the work, which refers to each of the feathered concerts featuring Rebecca Saunders vanes of an arrow: timbrally rich, harmonically shimmering tremolos see p. 124 that evaporate in a glissando.

66 “THERE IS IN RAVEL Sat 21.08. THE SOUL OF A CHILD” SYMPHONY Yannick Nézet-Séguin Lucerne Festival Orchestra 5 18.30 “Nézet-Séguin has obviously taken the hearts of the musicians by KKL Luzern, Concert Hall storm,” wrote the Neue Zürcher Zeitung following the Canadian maestro’s debut with the Lucerne Festival Orchestra in 2019. No wonder Lucerne Festival Orchestra that this triumph now has a sequel – and this time with two concerts. On the first evening, “Yannick,” as he is universally known, has no less Yannick Nézet-Séguin conductor than the pianist Yuja Wang as his comrade-in-arms, when she launch- Yuja Wang piano es her residency as “artiste étoile” with Mozart’s D minor Concerto, a work that anticipates Romanticism. Two masterpieces of French Claude Debussy orchestral artistry provide the frame. Claude Debussy’s epochal tone Prélude à l’après-midi d’un faune poem Prélude à l’après-midi d’un faune marks the birth of Modern 10 min music. Maurice Ravel, on the other hand, dreamed his way back into the world of fairy tales with Ma mère l’Oye, creating an enchanting Wolfgang Amadé Mozart score full of delicate nuances. “You have to let all this live as naturally Piano Concerto in D minor, K. 466 as possible,” remarks Nézet-Séguin, “to allow its innocent and simple 31 min poetry to emerge, as with a child. But this comes with all the knowl- Maurice Ravel edge and experience of an adult.” Ma mère l’Oye Ballet version 28 min

Introduction to the Concert 17.30 | KKL Luzern, Auditorium with Susanne Stähr (in German)

CHF 320/220/150/40 Yannick Nézet-Séguin Yannick

Clariant Foundation Theme Sponsor

67 Sun 22.08. SYMPHONY

Concert Cecilia Bartoli 14.30 KKL Luzern, Concert Hall

Cecilia Bartoli (mezzo)soprano Carlo Vistoli countertenor Les Musiciens du Prince-Monaco Gianluca Capuano conductor

Giovanni Battista Pergolesi Stabat Mater

as well as additional works of sacred music by Antonio Vivaldi et al.

This concert lasts approx. 80 min Cecilia Bartoli CHF 290/190/130/40

“MUSIC IS FOOD FOR THE SOUL” Cecilia Bartoli

This summer, Cecilia Bartoli will devote herself to a sacred program. She has chosen not only works by a composer she especially cher- ishes, Antonio Vivaldi, but also music by Giovanni Battista Pergolesi, the “angelico maestro,” as Vincenzo Bellini called him. For Pergo- lesi, whose compositions sound like a promise of the future and in some moments already anticipate Mozart or Schubert, was only 26 when he completed his celebrated Stabat Mater a few weeks before his death in March 1736. That work is the focus of Bartoli’s concert with her ensemble Les Musiciens du Prince-Monaco led by Gianluca Capuano. Unlike the recording from the early years of her career, this time Bartoli takes the higher of the two vocal parts – for the lower one, she has invited the countertenor Carlo Vistoli, who previously appeared at Lucerne Festival in John Eliot Gardiner’s Monteverdi trilo- gy. Together they will make Pergolesi’s simple and songful cantilenas blossom – melodies that do not seek to overwhelm the listener with artistry, going all the deeper and straight to the heart.

68 “SCHUMANN TAKES US TO Sun 22.08. THE REALM OF DREAMS” SYMPHONY Steven Isserlis Schumann Cycle 1 19.30 The dawn of a new era: this evening Michael Sanderling launches KKL Luzern, Concert Hall his tenure as the Lucerne Symphony Orchestra’s new Principal Con- ductor. And what’s more, he will present two milestones in the major Lucerne Symphony Orchestra Schumann cycle, in which Lucerne Festival is tracing the composer’s last 15 years, from his happiest period to his tragic end in a mental Michael Sanderling conductor hospital. Sanderling devotes himself to the Fourth, which spans an Steven Isserlis cello entire decade in Schumann’s life. The original version was written as early as 1841, but ten years later Schumann revised the work and Carl Maria von Weber changed the orchestration, making it darker and heavier. The Cello Overture to Der Freischütz, Op. 77 Concerto, for which Sanderling (himself originally a cellist) has en- 10 min gaged the British virtuoso and Schumann expert Steven Isserlis, also dates from this late phase, in which posterity has sought to identify Robert Schumann traces of mental disintegration. But Isserlis rejects any suspicion of Cello Concerto in A minor, Op. 129 that: “Anyone who believes that Schumann’s works are products of 23 min madness is mistaken. He did not compose at all during phases of de- Symphony No. 4 in D minor, pression.” Op. 120 1851 version, with retouching by Michael Sanderling 32 min

CHF 120/90/60/30 Michael Sanderling Michael

Artemis Group / Franke Group Concert Sponsor

69 Mon 23.08.

Recital Igor Levit 2 19.30 KKL Luzern, Concert Hall

Igor Levit piano

Ludwig van Beethoven Piano Sonata in E major, Op. 109 19 min Piano Sonata in A-flat major, Op. 110 20 min Piano Sonata in C minor, Op. 111 28 min

CHF 120/90/60/30 Igor Levit Igor

“AFTER THIS THERE IS ONLY ‘PARADISE’” Igor Levit on the end of Opus 111

Igor Levit’s grand Beethoven cycle arrives at its final destination here: with the last three sonatas, which have attained mythic status. Beethoven composed them when he was already completely deaf – when he himself could no longer hear what he had achieved. This was no more and no less than a renewal and readjustment of his own art. In the E major sonata, according to Levit, he “reinvented the form of the variations” using a world-weary Sarabande, which he at times varies like a Bach invention, but at others with a melodic freedom that brings Chopin to mind. The A-flat major Sonata, Op. 110, reflects a process of recovery: an instrumental lament, the “Arioso dolente,” gives way to a light fugue that ascends into jubilation at the end – “pure happiness,” as Levit puts it. And with the C minor Sonata, Op. 111, according to Thomas Mann in his novel Doktor Faustus, the fate of the entire genre seems to have reached its fulfillment. A hymn- like chant resounds at the end, flowing in ever greater ecstasy and redeemed from all earthly burdens.

70 “A GROTESQUE Tue 24.08. SOCRATIC MARATHON” MUSIC FOR FUTURE Daniel Ciobanu on practicing piano Debut Daniel Ciobanu 12.15 “Music becomes an experience with Daniel Ciobanu,” Deutschland- Lukaskirche funk Radio declared about the pianist’s debut CD, which was released in the fall of 2020. This keyboard wizard possesses an “uncom- Daniel Ciobanu piano promising desire to tell stories” and on top of that has “the technical ability” to make it happen: in short, he is “a clever and extremely emotional artist.” The native Romanian, who cites Vladimir Horowitz, Moritz Moszkowski Arthur Rubinstein, and Arcadi Volodos as role models, appeared on Étincelles, Op. 36, no. 6 Lang Lang’s show 100 Pianos as early as 2011, when he was 19 years 3 min old. In 2017 he won the silver medal and the audience prize at the Rubinstein Competition in Tel Aviv, and since then he has performed Modest Mussorgsky with such renowned partners as the Leipzig Gewandhaus Orchestra, Pictures at an Exhibition 33 min the Israel and Royal Philharmonic Orchestras, the Deutsche Kammer- philharmonie Bremen, and the Enescu Philharmonic Orchestra, which George Enescu appointed him artist-in-residence. In his Lucerne debut, Ciobanu will Carillon nocturne, Op. 18, no. 7 span a wide range, from the nocturne to such bubbly pieces as the 6 min closing paraphrase on waltzes from Die Fledermaus. Sergei Prokofiev Piano Sonata No. 7 in B-flat major, Op. 83 19 min Alfred Grünfeld Soirée de Vienne, Op. 56 concert paraphrase on waltz motifs from Johann Strauss’s Die Fledermaus et al. 6 min

CHF 30 Daniel Ciobanu Daniel

71 Tue 24.08. SYMPHONY

Lucerne Festival Orchestra 6 19.30 KKL Luzern, Concert Hall

Lucerne Festival Orchestra Yannick Nézet-Séguin conductor

Joseph Bologne, Chevalier de Saint-Georges Symphony No. 2 in D major 8 min Wolfgang Amadé Mozart Symphony in D major, K. 504 Prague 32 min Ludwig van Beethoven Yannick Nézet-Séguin | Lucerne Festival Orchestra Festival Lucerne | Nézet-Séguin Yannick Symphony No. 7 in A major, Op. 92 40 min

Introduction to the Concert 18.30 | KKL Luzern, Auditorium “RIPE FOR THE with Susanne Stähr (in German)

MADHOUSE” CHF 320/220/150/40

Carl Maria von Weber on Beethoven

Yannick Nézet-Séguin and the Lucerne Festival join together for a fascinating encounter this evening: Wolfgang Amadé Mozart and his famous Prague Symphony meet “Le Mozart noir,” which is how the violinist, conductor, and composer Joseph Bologne, Chevalier de Saint-Georges – one of the all-too-few people of color in the classical music world of Mozart’s era – was known by his contemporaries. The Chevalier, whose mother had been a slave from Guadeloupe, conducted the famous orchestra of the Loge Olympique in Paris and also premiered Haydn’s Paris Symphonies there. Yet his own works are rarely played anymore. Ludwig van Beethoven’s Seventh Symphony, by contrast, is one of his most frequently performed compositions. And one of his craziest. For the Seventh relies over- whelmingly on the power of rhythm, which is relentlessly whipped forward, culminating in a frenzied finale. The music teacher Friedrich Wieck claimed that Beethoven could have composed something like this only in a drunken state. And Carl Maria von Weber even believed that his colleague was no longer in his right mind. Zurich Insurance Company Ltd Main Sponsor

72 IS HÖLDERLIN’S LANGUAGE Wed 25.08. MUSIC? IS BEETHOVEN’S MUSIC LANGUAGE? Crazy 2 12.15 They never met each other. Nor is there any evidence of the one en- Lukaskirche gaging artistically with the work of the other. Yet Ludwig van Bee- thoven and Friedrich Hölderlin have far more in common than simply Michael Engelhardt narrator and their year of birth, 1770. Both figures exhausted the possibilities of concept their respective arts in terms of form and content, both transgressed Stefan Wirth piano and conceptualization the aesthetic conventions of their time. And both were isolated at the Mark Sattler idea and conceptualization ends of their lives: Beethoven by his deafness, Hölderlin in the Tübin- gen Tower, where he spent an incredible 36 years following a mental breakdown. The Bagatelles, Op. 126, and the so-called Tower Poems “Bagatelles” sparkle like crystals in the late work of these two artists: condensed Beethoven/Hölderlin: and concentrated, summations of their experience. When they are A Musical Encounter placed side by side, amazing correspondences become apparent: 45 min the linguistic aspects of Beethoven’s music and Hölderlin’s poetic sonority cross-fertilize. As Jean Paul once observed: “Everything about Ludwig van Beethoven a great man is interesting, and the trivial things about him are not the Six Bagatelles for Piano, Op. 126 least interesting.” Friedrich Hölderlin In lieblicher Bläue blühet late poems (in German)

CHF 30 Michael Engelhardt Michael

73 Wed 25.08. SYMPHONY

Schumann Cycle 2 19.30 KKL Luzern, Concert Hall

Tonhalle Orchestra Zurich Paavo Järvi conductor Christian Tetzlaff violin

Robert Schumann Overture to Genoveva, Op. 81 9 min Violin Concerto in D minor, WoO1 30 min Symphony No. 3 in E-flat major, Op. 97 Rhenish 32 min Paavo Järvi

CHF 120/90/60/30

Go to the concert before “HIS MUSIC IS SO UNBE- the concert: 40min today! LIEVABLY SPONTANEOUS” see p. 22 Paavo Järvi on Schumann

With his complete recording plus a concert film about the four Schumann symphonies, Paavo Järvi created a sensation – and set interpretive standards. Like few others, the Estonian maestro knows how to penetrate to the interior of these scores. “Schumann has the ability to suddenly change from the deepest melancholy, sadness, and depression into a firework of joy. That is unique,” Järvi believes. “He felt that music should never be written for its own sake. There seems to be a story behind each of his compositions.” With the Ton- halle Orchestra Zurich and the Rhenish Symphony, Järvi recounts the initial euphoria that overwhelmed Schumann when he moved to Düs- seldorf in 1850 to take up the post of music director. With Christian Tetzlaff and the late Violin Concerto, however, the program escorts us into the composer’s darkest period. The work was considered so crazy and infected by “madness” that it was never played during Schumann’s lifetime and only received its premiere 84 years late, in 1937.

74 “AS A CHILD I WANTED Thu 26.08. TO BECOME A SINGER” MUSIC FOR FUTURE Timothy Ridout Debut Timothy Ridout 12.15 With the British musician Timothy Ridout, who was born in 1995, the Lukaskirche small but fine guild of top brass players has gained a new member. He is “a gift,” the magazine The Strad wrote about the young mu- Timothy Ridout viola sician. Ridout, who won both the Lionel Tertis and Cecil Aronowitz competitions and was named a 2019 BBC New Generation Artist, Frank Dupree piano combines superior virtuosity with soulful tone and flawless phrasing. When asked in an interview about his favorite composer, he gave two Robert Schumann answers: as a listener, Bach is his favorite, but when he himself plays, Dichterliebe, Op. 48 he prefers the works of York Bowen. And so Bowen’s First Viola So- arranged for viola and piano by nata will be heard in his debut concert: late Romantic music to revel Timothy Ridout in, a real discovery! But before that, Ridout will pay homage to Robert 30 min Schumann, the secret hero of this Summer Festival, with the famous York Bowen song cycle Dichterliebe. When he “sings” it on the viola, it becomes Viola Sonata No. 1 in C minor, understandable even without words. Op. 18 26 min

CHF 30 Timothy Ridout Timothy

75 Thu 26.08. SYMPHONY

Mahler Chamber Orchestra 19.30 KKL Luzern, Concert Hall

Mahler Chamber Orchestra Yuja Wang piano Roberto González-Monjas concertmaster

Jean-Féry Rebel Chaos from Les élémens 7 min Johann Sebastian Bach Piano Concerto in F minor, BWV 1056 10 min

Yuja Wang Yuja Igor Stravinsky Octet for wind instruments 18 min Leoš Janáček Capriccio for piano (left hand) “MY LIFE IS CRAZY” and wind instruments 17 min Yuja Wang Joseph Haydn Symphony in F minor, Hob. I:49 Can this really be music from the Baroque era? When the Mahler La passione Chamber Orchestra plays the Chaos section from Jean-Féry Rebel’s 23 min ballet suite Les élémens, you might almost take it for an intensified variant of Igor Stravinsky’s Le Sacre du printemps – so radical, per- cussive, and dissonant is the work’s beginning. No question: in the CHF 170/120/90/30 search for the craziest piece of the summer, Rebel’s rebellious music is a very hot candidate. It far outdoes Stravinsky, who is represented here not as a young savage but as a neoclassicist, from the angle of Modernism. La passione is the nickname of Joseph Haydn’s Sympho- Go to the ny in F minor on account of its unbridled expressive rage – a score concert before the concert: full of eccentric and provocative ideas. And then “artiste étoile” Yuja 40min today! Wang gets in on the action: first she will perform Johann Sebastian see p. 22 Bach’s incomparable F minor Concerto, which combines dance-like exuberance with contrapuntal mastery and transcendental rapture. She then will focus on late Janáček, an “old savage,” with his whimsi- cal Capriccio for left-handed piano.

76 “BEETHOVEN ALWAYS Fri 27.08. GOES TO THE EDGE” SYMPHONY Daniel Barenboim Staatskapelle Berlin 19.30 With his Sinfonia eroica of 1803, Ludwig van Beethoven introduced an KKL Luzern, Concert Hall epoch-making work that defied the previous standards of the genre. The first two movements are longer than an entire Haydn symphony. Staatskapelle Berlin The opening chords, as solid as supporting columns, along with the biting dissonances that Beethoven uses in the opening movement, Daniel Barenboim conductor had a shocking effect on the audience of the time. The pathos of the “Marcia funebre,” with its echoes of French revolutionary music, Franz Schubert and the ideological exaggeration of the finale, which alludes to the Symphony No. 5 Prometheus myth, opened up layers of extra-musical messages. For in B-flat major, D 485 some contemporaries, this went too far. The young Franz Schubert, 30 min for example, composed the antithesis with his Fifth in 1816: a symphony using slender instrumentation and a sound pattern modeled Ludwig van Beethoven after Mozart. And yet Schubert need not fear comparison with Bee- Symphony No. 3 in E-flat major, thoven at all. The graceful lyricism and playful agility of his music, its Op. 55 Sinfonia eroica naturalness and artful simplicity, show this composer, who was only 55 min 19 years old at the time, also to be a master of his craft. CHF 290/190/130/40

Got to the concert before the concert: 40min today! see p. 22 Staatskapelle Berlin | Daniel Bareboim Daniel | Berlin Staatskapelle

KPMG AG Concert Sponsor

77 Sat 28.08. MUSIC FOR FUTURE

Children’s Concert 11.00 and 14.00 Maskenliebhabersaal

Eleonora Savini violin Eleonora Savini | Federico Carraro Carraro Federico | Savini Eleonora Federico Carraro viola Pietro Gaudioso choreography and movement coach Giuditta Gaudioso painting and stage design

“Mona Violina” A musical stroll through pictures with music by Alessandro Rolla, Wolfgang Amadé Mozart, Johann Sebastian Bach, Bohuslav Martinů and others 50 min

For everyone ages 5 and up.

CHF 20/10 (adults/children) UP CLOSE – ON PILLOWS

In a quest for perfection, a violist practices day and night in an old, secluded house – and forgets about the world and life outside his self-imposed solitude. Then suddenly, moved by his music, one of his favorite portraits comes to life. It leaves the canvas and decides to accompany him on the violin on a musical journey that is as romantic as it is entertaining... In this staged concert for the whole family, the paintings are part of the stage set. They are movable and are illu- minated in different ways, creating forms that are ever new in the interplay of shadow and light, revealing and concealing the two pro- tagonists. Is their encounter a mere dream or after all real? Violinist Eleonora Savini and violist Federico Carraro met in 2012 at the Lu- cerne Festival Academy and combine their different experiences – hers in various children’s and youth productions, his in the field of contemporary music – in this project.

78 “A GENERATION THAT Sat 28.08. IS CHARACTERIZED BY CONTEMPORARY INDIVIDUALS” Composer Seminar – Closing Concert Wolfgang Rihm 14.30 Hochschule Luzern – Musik Wolfgang Rihm has given the young participants in this year’s Com- poser Seminar an unusual instrumentation to work with: seven brass players with harp, piano, and two percussionists. What a variety of Ensemble of the Lucerne Festival timbres is possible! The particular makeup of this formulation, how- Contemporary Orchestra ever, is not random but is based on Pierre Boulez’s Initiale, a virtuoso brass fanfare that the founder of the Lucerne Festival Academy wrote Pierre Boulez for the Houston Symphony Orchestra in 1987. The piece will open a Initiale for seven brass players concert in which you can encounter a wide range of examples of the 5 min emerging generation of composers, for variety is what matters to Rihm. His goal is “to promote distinctiveness rather than a seeming ad- Composer Seminar Showcase: herence to conventions, whether avant-garde or reactionary.” And works by Arnau Brichs, Tyson because few people are able to talk about music with such illumina- Davis, Lanqing Ding, Theo Finkel, tion – about what its creators intended and what listeners perceive – Anton Koshelev, Guillem Palomar, Rihm himself will offer guidance through this survey of works and in- Daniil Posazhennikov, and Senay troduce each composer and their works during the concert. Uğurlu 120 min Wolfgang Rihm presents the participants and their works in concert

CHF 50

Composer Seminar Mon 16.08. – Fri 20.08. see p. 58 Wolfgang Rihm Wolfgang

79 Sat 28.08. SYMPHONY Yuja Wang Yuja Mariinsky Orchestra 1 18.30 KKL Luzern, Concert Hall

Mariinsky Orchestra Valery Gergiev conductor Yuja Wang piano

Sergei Prokofiev Four pieces from the ballet Romeo and Juliet, Op. 64 19 min Sergei Rachmaninoff Piano Concerto No. 4 in G minor, Op. 40 24 min Igor Stravinsky Petrushka Revised version from 1947 34 min

“RESOUNDING MAGIC” Introduction to the Concert 17.30 | KKL Luzern, Auditorium Claude Debussy on Stravinsky’s Petrushka with Malte Lohmann (in German)

Where is the music coming from? In Igor Stravinsky’s ballet Petrush- CHF 290/190/130/40 ka, it seems to emanate from everywhere – near and far, left and right, front and back; at the same time, all of the swirling melodies and rhythms mix into a breathtakingly crazy melange, as if at a fair- ground. And that is exactly where the scenario involving the Russian version of the hapless puppet Punch is set. In this score, Stravinsky opened the window wide in the direction of Modernism by blend- ing the musical material as if in a free collage, jump-cutting from one texture to another – all this as far back as 1911! Sergei Rachmaninoff likewise shows an unusually modern aspect in his Fourth Piano Con- certo, which will be performed by our “artiste étoile” Yuja Wang: he incorporated a number of jazz-like sounds into this score. At the beginning of this all-Russian evening with the Mariinsky Orchestra and its leader Valery Gergiev, we encounter Sergei Prokofiev at his finest, in four touching and exciting pieces from Romeo and Juliet, a ballet version of the world’s most famous love story.

80 “YOU HAVE TO LET OUT Sat 28.08. THE MONSTER IN YOU” CONTEMPORARY

This conviction guides Rebecca Saunders when she composes for Lucerne Festival Academy 1 voice. She does not merely want to set a text to music, but tries to 22.00 “giv[e] the text a new framework and environment, letting it reso- KKL Luzern, Lucerne Hall nate in an acoustic landscape in order to create a new perspective from which the essence of the text can be heard and felt” – wheth- Ensemble of the Lucerne Festival er working with spoken, whispered, or sung text. In several works, this year’s composer-in-residence has drawn inspiration from Molly Contemporary Orchestra Bloom’s famous final monologue in James Joyce’s century-old novel Johanna Malangré conductor Ulysses. Nether from 2019 translates Molly’s chaotic stream of con- Juliet Fraser soprano sciousness, a wild whirl of flashes of mind, scraps of memory, and sensory impressions, into a highly emotional vocal performance. Ian- Iannis Xenakis nis Xenakis and Martón Illés also set out in search of new sounds in Syrmos for 18 strings two energetic works for string orchestra that are separated by almost 15 min half a century. Glissandi and pizzicato attacks migrate through the instruments, are layered on top of each other, condense, and break Martón Illés off unexpectedly. High-voltage music! Post Torso for string orchestra Swiss premiere 15 min Rebecca Saunders Nether for soprano and ensemble Swiss premiere 31 min

CHF 50

The

“Rebecca Saunders Package” 20% discount on three concerts featuring Rebecca Saunders see p. 124

81 Juliet Fraser Juliet Sun 29.08. CONTEMPORARY

Lucerne Festival Academy 2 16.00 KKL Luzern, Lucerne Hall

Lucerne Festival Contemporary Orchestra Lin Liao conductor (Milenko) Johanna Malangré conductor (Vaughan) Heinz Holliger conductor Felix Renggli flute

Kirsten Milenko Traho for orchestra Roche Young Commissions world premiere 10 min Alex Vaughan

Heinz Holliger Heinz Logos for orchestra Roche Young Commissions world premiere 10 min Wolfgang Amadé Mozart Masonic Funeral Music “NOT AT ALL CRAZY. MUCH in C minor, K. 477 (479a) | 7 min Heinz Holliger MORE A VISIONARY” Ostinato funebre for small orchestra | 8 min Heinz Holliger on Friedrich Hölderlin Turm-Musik for solo flute, small “Music only takes place at the borderlines. There is nothing in the orchestra, and tape | 25 min middle that could be of interest to art,” Heinz Holliger believes. Which is why he has always been fascinated by artists in crisis: border Introduction to the concert crossers on the fringes of society who have been classified as “cra- 15.00 | KKL Luzern, Lucerne Hall zy” and shipped off to the insane asylum. For Holliger, however, they Kirsten Milenko, Alex Vaughan, “simply have many more antennae.” Thus, in his Turm-Musik (“Tower Music”), a central part of his Scardanelli cycle written over a period and Heinz Holliger in conversation of 16 years, he intensively explored Friedrich Hölderlin and his late with Mark Sattler (in English and poems, which were always signed with the pseudonym Scardanelli. German) Hölderlin (who is said to have been a good flutist) wrote them during the 37 years of his life that he spent as “incurably mentally ill” in the CHF 50 seclusion of a tower in Tübingen. Ostinato funebre, which is also part of the Scardanelli cycle, at the same time pays homage to another artist: here Holliger quotes, paraphrases, distorts, and overwrites Mo- zart’s Masonic Funeral Music. In addition, the Lucerne Festival Con- temporary Orchestra premieres two scores that were created as part Roche of the Roche Young Commissions series. Main Sponsor and Partner Lucerne Festival Academy

82 “ART IS THE MOST Sun 29.08. CHARMING LIE” SYMPHONY Nikolai Rimsky-Korsakov Mariinsky Orchestra 2 18.30 The first, Alexander Borodin, taught as a professor of organic chem- KKL Luzern, Concert Hall istry at the Medical-Surgical Academy in St. Petersburg. The second, Nikolai Rimsky-Korsakov, cruised the oceans as a naval officer on a Mariinsky Orchestra warship. And the third, Pyotr Ilyich Tchaikovsky, worked as a lawyer in the Russian Ministry of Justice. However, all three achieved everlast- Valery Gergiev conductor ing fame in a different profession through their compositions: musical careers can be pretty crazy! In their second appearance in Lucerne, Alexander Borodin Valery Gergiev and his Mariinsky Orchestra lead us on a foray through Symphony No. 2 in B minor the founding years of Russian symphonic music, presenting works 31 min that are not programmed everyday. Like Borodin’s Second Sympho- ny, whose irresistible mixture of yearning melody, touching melan- Nikolai Rimsky-Korsakov choly, and dancing verve makes for a truly pleasurable work. With Suite from the opera its numerous quotes from folk song, Tchaikovsky’s Little Russian also The Tale of Tsar Saltan, Op. 57 has its earworms. In fact, it sounds so familiar from the first encounter 20 min that you feel as if you’ve known it forever. Pyotr Ilyich Tchaikovsky Symphony No. 2 in C minor, Op. 17 Little Russian 35 min

Introduction to the Concert 17.30 | KKL Luzern, Auditorium with Susanne Stähr

CHF 290/190/130/40

Church Festival Worship Service

Valery Gergiev Valery 17.00 | Jesuitenkirche Soloists, vocal ensemble, and orchestra from the Collegium Musicum Luzern | Pascal Mayer conductor | Suzanne Z’Graggen organ L. Mozart Missa solemnis in C major

Look | Listen | Enjoy – Together at the concert see p. 124

83 Mon 30.08. SYMPHONY

Royal Concertgebouworkest 19.30 KKL Luzern, Concert Hall

Royal Concertgebouworkest Daniel Harding conductor Yefim Bronfman piano

Richard Wagner Overture to Tannhäuser 15 min Ludwig van Beethoven Piano Concerto No. 3 in C minor, Op. 37 37 min Claude Debussy La Mer

Daniel Harding Daniel 30 min

Introduction to the Concert 18.30 | KKL Luzern, Auditorium “THE FUTURE WILL TELL with Susanne Stähr (in German)

WHO IS A CLASSIC” CHF 320/220/150/40 Claude Debussy

A musician who is in danger of going deaf, no longer able to hear properly what he is playing and what he is composing: this fate, which would have driven others mad, led Ludwig van Beethoven to develop his heroic style. The Third Piano Concerto, performed by the American keyboard titan Yefim Bronfman, exemplifies this style. The soloist enters the scene with hammer-like double octaves; an aura of existential severity prevails. The music suggests self-assertion, ra- diating willpower and pride. Claude Debussy also brought about a paradigm shift in music when he wrote his tone poem La Mer. Doing away with the central compositional principle of developing thematic ideas, he loosely strung motif together with motif. But like the waves in the sea, no two are alike. And so an undulating organism is created, a veritable ocean of sounds, which Debussy orchestrated with relish and dazzle. A showpiece for the magnificent Royal Concertgebouw- orkest, this time led by the British conductor Daniel Harding.

84 “SHE TAKES US TO Tue 31.08. ANOTHER REALITY” MUSIC FOR FUTURE Belgian radio on Zee Zee Debut Zee Zee 12.15 The Chinese pianist Zee Zee has constructed a wonderful program on Lukaskirche the theme of “crazy.” With Arnold Schoenberg’s Op. 11 Piano Pieces, which dispense with conventional musical “grammar,” she presents Zee Zee piano what is probably the most momentous “madness” in music history: the leap into atonality. Ravel’s Gaspard de la nuit revolves around a demonic spirit that robs people of their sleep – and at the same time Arnold Schoenberg calls for a crazed level of virtuosity. This is required by the works of Three Piano Pieces, Op. 11 Franz Liszt as well: for example in the Tarantella, a crazy Italian folk 15 min dance that is performed to the point of frenzy, as if the dancers had been bitten by a tarantula. Zee Zee, who studied with Leon Fleisher Maurice Ravel and was advised by Alfred Brendel, won the Gina Bachauer Compe- Gaspard de la nuit 23 min tition and has already performed with the San Francisco Symphony, the Los Angeles Philharmonic, the London Philharmonia Orchestra, Franz Liszt and the Zurich Tonhalle Orchestra. The latter’s principal conductor selections from the Paavo Järvi called her “one of the most extraordinary pianistic talents Années de pèlerinage: I have ever encountered.” Vallée d’Obermann, S 160, no. 6 Les Jeux d’Eaux à la Villa d’Este, S 163, no. 4 Tarantella, S 162, no. 3 total 30 min

CHF 30 Zee Zee

85 Tue 31.08.

The 12 Cellists 19.30 KKL Luzern, Concert Hall

The 12 Cellists of the Berlin Philharmonic

Claude Debussy La cathédrale engloutie Clair de lune | total 9 min Brett Dean Twelve Angry Men | 19 min Juan Tizol/Duke Ellington Caravan | 5 min Marijn Simons The 12 Cellists of the Berlin Philharmonic Berlin the 12 CellistsThe of It’s Raining Skyscrapers | 3 min Krzesimir Dębski Cello Animation | 4 min Astor Piazzolla Buenos Aires Hora Cero | “IT’S PURE JOY” Revirado | Soledad | German President Frank-Walter Steinmeier Tres minutos con la realidad on the 12 Cellists total 20 min

“There is no such thing as light or serious music, there is only good CHF 120/90/60/30 or bad music,” Leonard Bernstein once observed. The 12 Cellists of th the Berlin Philharmonic, who will celebrate their 50 anniversary On 1 September the 12 Cellists in the 2021-22 season, have taken him at his word. In their programs, will give a school concert in the “Fabulous Twelve” combine the seemingly incompatible: they perform new works composed especially for them, such as Brett the KKL Luzern hosted by Sarah Dean’s Twelve Angry Men, written for the ensemble’s 25th anniversary Willis. (the group by now includes “angry women”). They will play refined arrangements of classics but also devote themselves with fervor to the tango, French chansons, and hits by the Beatles. The 12 Cellists make Go to the music without blinkers, with a sense of joyful openness. But whatever concert before they play in these musical border crossings turns into a triumph of the concert: 40min today! sound, of the full, rich cello sonority in which one can simply revel. see p. 22 And since the twelve musicians are not lacking in spirit and playful- ness, they offer the audience everything that good music can.

The Adecco Group Foundation Main Sponsor

86 “HE LISTENED TO THE Wed 01.09. VOICES OF ANGELS” Clara on Robert Schumann, 20 February 1854 Crazy 3 12.15 On 17 February 1854, Rose Monday, Robert Schumann, who was Lukaskirche dressed only in a robe and felt slippers, joined the Düsseldorf carnival – but not to participate in the celebrations. He went straight for the Kit Armstrong piano pontoon bridge and threw himself into the Rhine, wanting to end his life. Although he was rescued by fishermen, he was admitted to the Endenich mental hospital as “mentally deranged.” On that fateful day, Clara Schumann he was still working on his last composition, the Ghost Variations on Variations on a Theme of a theme that the angels are said to have sung to him. Can one hear Robert Schumann, Op. 20 Schumann’s condition in this music? Kit Armstrong offers interesting 11 min answers in his “crazy” recital. He meanwhile couples that work with Clara Schumann’s Variations, Op. 20, which may have served as a Robert Schumann model for her husband’s swan song. With his Piano Pieces in Fughetta Seven Piano Pieces in Form, Armstrong will show that Schumann had pursued similarly cra- Fughetta Form, Op. 126 zy concepts before. And with works by Franz Liszt, he will showcase 25 min an eccentric piano artistry in which transgressions similarly abound. Ghost Variations in E-flat major, WoO 24 12 min Franz Liszt Le triomphe funèbre du Tasse, S 517 12 min Széchényi, Teleki, and Mosonyi from the Historical Hungarian Portraits, S 205 12 min Csárdás macabre, S 224

Kit ArmstrongKit 7 min

CHF 30

87 Wed 01.09. CONTEMPORARY

Masterclass in Conducting 16.00 KKL Luzern, Lucerne Hall

Lucerne Festival Contemporary Orchestra Participants in the masterclass Ilan Volkov director

Rebecca Saunders void for percussion duo and orchestra Anton Webern Variations for Orchestra, Op. 30

for auditors CHF 30 Ilan Volkov

followed by: 40min 18.20 | KKL Luzern, Lucerne Hall “The Art of Conducting” “THE ACADEMY IS with participants in the A DIALOGUE” masterclass and Ilan Volkov Wolfgang Rihm on the Lucerne Festival Academy

Conducting is not child’s play. This is all the more true when it comes to scores from the 20th and 21st centuries, because these are frequently so complex that fundamental questions of coordination have to be dealt with first, before one can take up more far-reaching interpretive decisions. In addition to instrumentalists and composers, the Lucerne Festival Academy supports young conductors every summer. Within the framework of a broadly defined Conducting Fellowship, participants follow the Academy’s daily rehearsals and can exchange ideas with the invited artists. In addition, there is a conducting masterclass open to the public, in which the young conductors themselves step up to the Lucerne Festival Contemporary Orchestra podium and gain practical experience: this summer, under the guidance of Ilan Volkov. Live lessons on the concert podium, where the audience also learns much about the art of conducting as well as about the scores being discussed.

88 “THIS HEAVENLY Wed 01.09. LENGTH!” SYMPHONY Robert Schumann on Schubert’s Berlin Philharmonic 1 Great C major Symphony 19.30 KKL Luzern, Concert Hall Was Franz Schubert no longer in his right mind? During his life, he earned recognition essentially as a “prince of song” and a miniaturist. Berlin Philharmonic But something drove him to devote himself to a symphony of enor- mous proportions near the end of his short life: the “Great” C major Kirill Petrenko conductor Symphony, whose insistent repetitions of motifs exert an hypnotic effect. Because of its length and difficulty, the Vienna Society of Friends Carl Maria von Weber of Music, to whom he dedicated the work, refrained from presenting Overture to Oberon it, so Schubert’s last symphony was not premiered until 11 years after 10 min his death. When Kirill Petrenko and the Berlin Philharmonic perform this work, no one will be able to understand how it could have ever Franz Schubert been refused. On the first evening of their guest appearance in Lu- Symphony No. 8 in C major, D 944 cerne, they also pay homage to Schubert’s contemporary Carl Maria Great C major Symphony von Weber with the enchanting Oberon Overture, which the compos- 60 min er wrote only a few weeks before he died. It introduces us to a crazy realm of elves, the call of the horn in the very first measure setting the CHF 320/220/150/40 mood for the dreamy world of Romanticism.

Go to the concert before the concert: 40min today! see p. 22 Kirill Petrenko Kirill

Dr. Christoph M. Müller and Sibylla M. Müller Concert Sponsor

89 Thu 02.09. MUSIC FOR FUTURE

Debut Salomo Schweizer 12.15 Lukaskirche

Salomo Schweizer oboe Petya Mihneva piano

Robert Schumann Three Romances for Oboe and Piano, Op. 94 15 min Isaac Albéniz Aragón, Sevilla and Cataluña from the Suite española, Op. 47 16 min Christoph Willibald Gluck Salomo Schweizer Salomo Dance of the Blessed Spirits from Orfeo ed Euridice 3 min Antonio Pasculli Concerto sopra motivi dell’opera “ITS SOUND GOES “La Favorita” di Donizetti 12 min STRAIGHT TO THE HEART” Gaetano Donizetti Salomo Schweizer on the oboe Andante sostenuto 5 min He was born in Lucerne, gained his first musical experience as a choirboy in the Lucerne Kantorei, and also initially studied at his na- CHF 30 tive city’s music academy. So his appearance at the Summer Festival is something of a home game for Salomo Schweizer. But the oboist, Debut in the Schoolhouse who was born in 1993, has long since made his way in the wider On 3 September Salomo world of music. His later studies took him via Zurich and Lausanne to Schweizer will also perform the Berlin Philharmonic’s Dominik Wollenweber, with whom he put for school classes. the finishing touches on his skills. Since 2017 he has been playing as principal with the Braunschweig State Orchestra, with which ensemble he has performed the oboe concertos of Mozart, Haydn, and Strauss. His debut program explores various facets of the theme of “crazy.” Robert Schumann must, of course, be among the offerings. He is represented by the Three Romances, Op. 94 – intimate domes- tic music from the wild, revolutionary year of 1849. Schweizer also plays Antonio Pasculli, the “Paganini of the oboe”; takes us to the af- terlife with Gluck’s Dance of the Blessed Spirits; and celebrates the exuberant Spanish joie de vivre with music by Isaac Albéniz.

90 “A TRUE LIONESS Thu 02.09. AT THE KEYBOARD” SYMPHONY The Washington Post on Anna Vinnitskaya Berlin Philharmonic 2 19.30 Josef Suk has been high on Kirill Petrenko’s list of priorities ever since KKL Luzern, Concert Hall he discovered the Czech composer’s music as a student. Suk’s op- ulent sound world, which combines echoes of Wagner with the Bo- Berlin Philharmonic hemian tradition and influences from Impressionism, captivated him from the start. For the Berlin Philharmonic’s second performance, Pe- Kirill Petrenko conductor trenko has chosen A Summer’s Tale, which Suk composed after the Anna Vinnitskaya piano deaths of his beloved wife Otilie and father-in-law Antonín Dvořák. The five movements represent a journey through the day, from the Sergei Prokofiev first hour of the morning until deep into the night, representing the Piano Concerto No. 1 attempt to find one’s way back to life after suffering tragedy. But in in D-flat major, Op. 10 the process, the imaginary “hero” also has to contend with crazy de- 15 min lusions, hallucinations, and a witches’ sabbath before he finds peace in the end. The concert will be opened by Anna Vinnitskaya, who is Josef Suk celebrated as both a virtuoso and a poet of sound: she will play the Pohádka léta breath-taking D-flat major Piano Concerto, with which the young (“A Summer’s Tale”) Sergei Prokofiev suddenly rose to fame as an “enfant terrible.” Symphonic Poem, Op. 29 50 min

Introduction to the Conert 18.30 | KKL Luzern, Auditorium with Susanne Stähr (in German)

CHF 320/220/150/40

91 Anna Vinnitskaya Anna Fri 03.09. SYMPHONY

Opera Partenope William ChristieWilliam 19.30 KKL Luzern, Concert Hall

Les Arts Florissants William Christie conductor Sophie Daneman director Soloists of the Jardin des Voix 2021: Ana Vieira Leite Partenope Helen Charlston Rosmira/Eurimene Hugh Cutting Arsace Alberto Miguélez Rouco Armindo Jacob Lawrence Emilio Matthieu Walendzik Ormonte

George Frideric Handel Partenope, HWV 27 Opera in three acts Semi-staged performance Abridged version by William Christie The performance ends at approx. 21.00. “SIMPLY RAVISHED Introduction to the concert BY THIS MUSIC” 18.30 | KKL Luzern, Auditorium William Christie on Handel with Susanne Stähr (in German)

The beautiful queen Partenope can hardly save escape her admirers: CHF 240/150/100/30 three princes vie for her favor. One of them, Arsace, has even abandoned his bride Rosmira for her. But the latter is out to get revenge: disguising herself as the Armenian nobleman Eurimene, she joins the three princes as another suitor. In this four-way fight among rivals, things become quite heated. Prince Emilio even resorts to the threat of war because Partenope will not hear him out. And Arsace, who soon recognizes Eurimene’s true identity, is challenged by this “rival” to a climactic duel – but then insists it take place without their shirts on. Which means only a confession can untie the plot’s almost inextri- cable knot. Partenope is Handel’s most absurd opera, sparkling with an irony that ridicules the heroic style, military music, and the conventions of “trouser roles.” A treat for William Christie and the graduates of his master workshop Le Jardin des Voix, who will bring this rarely performed masterpiece to the concert hall in a semi-staged arrangement. Nestlé S.A. Concert Sponsor

92 THIS WORK HAS ALMOST Fri 03.09. BECOME A MYTH CONTEMPORARY

Seventy years ago, Polyphonie X was performed for the first and thus Lucerne Festival Academy 3 far only time. Its fragmented sounds, subjected in all their parameters 21.30 to a radically serial approach, caused a veritable scandal at the pre- Südpol miere. The attention abruptly catapulted Pierre Boulez, then 26 years old, to the forefront of the musical avant-garde. To his colleague John Ensemble of the Lucerne Festival Cage, Boulez had compared the Polyphonie project to the hubris of building the Tower of Babel, quipping, “I hope I don’t fall on my face Contemporary Orchestra balancing on the curb like this.” After the premiere, he deleted it from Lin Liao conductor his official catalog of works because he felt it was too theory-laden. The score never appeared in print; the only evidence of the work until Victor Colţea now has been the live recording of the premiere. The Ensemble of Orbitor for ensemble the Lucerne Festival Contemporary Orchestra offers a new encoun- world premiere ter with Polyphonie X – which is to say with a fascinating Boulezian commissioned by Lucerne Festival with work concept that marks an important step in his development. It will support of the Swiss cultural institution be juxtaposed with two brand-new works by representatives of the Pro Helvetia 11 min young generation of composers, both written for the same instrumentation. Samir Amarouch new work for ensemble world premiere commissioned by Lucerne Festival 10 min Pierre Boulez Polyphonie X for 18 instruments 16 min Introduction with Wolfgang Rihm at the beginning of the concert (in German)

CHF 50 Pierre Boulez Pierre

Lecture and Interview 16.30 | KKL Luzern, Auditorium Lecture by Martin Zenck on Boulez’ Polyphonie X followed by a conversation with Angela de Benedictis, Wolfgang Rihm, and Mark Sattler (in German) Free admission

93 Sat 04.09. CONTEMPORARY

Portrait Rebecca Saunders 2 11.00 Hochschule Luzern – Musik

Soloists of the Hochschule Luzern – Musik Clemens Heil conductor Daniela Argentino soprano (Skin) Juliet Fraser soprano (The Mouth) Charlotte Lorenz cello Erik Borgir assistant conductor Alexis Baskind/IRCAM computer music design

Rebecca Saunders Solitude for cello solo 17 min Rebecca SaundersRebecca The Mouth for soprano and tape Swiss premiere 19 min Sole. Trio in F-sharp for mobile accordion, percussion, and piano “UNADORNED HUMAN Swiss premiere 12 min VULNERABILITY” Skin for soprano and Rebecca Saunders on the sound of the voice 13 instruments Swiss premiere 28 min The titles Skin and The Mouth denote interfaces between inside and outside with those respective body parts. And it is precisely these transitions that Rebecca Saunders homes in on in her vocal compo- CHF 50 sitions. She wants to move from the surface of the sound “to the essence of the voice: the physical body that produces this sound.” The Mouth explores “the wide range of colors and sounds that are natu- The rally produced in the oral cavity.” This involves “the gap between our “Rebecca Saunders secret inner monologue and the voice that is sent out into the world Package” and heard.” Saunders has worked closely with soprano Juliet Fraser 20% discount on three to develop fresh, new forms of articulation that go far beyond what is concerts featuring Rebecca Saunders commonly called singing: the soloist whispers, susurrates, breathes. see p. 124 She sings as she breathes in and out, and her voice merges with the ensemble sound. But along with vocal works, our composer-in-residence for the summer of 2021 is also represented here by two instrumental pieces.

94 “IT’S NOT JUST A CONCERT Sat 04.09. BUT SOMETHING COM- SYMPHONY PLETELY DIFFERENT” Bye-Bye Beethoven 16.00 Patricia Kopatchinskaja KKL Luzern, Lucerne Hall

“How do you make old pieces so fresh that they still give an impres- Lucerne Festival sion today of how rebellious and innovative Beethoven was?” asks Patricia Kopatchinskaja. And she has come up with a crazy concert Contemporary Orchestra collage revolving Beethoven’s famous – indeed, all-too-famous – Vi- Patricia Kopatchinskaja violin, concept, and musical direction olin Concerto that juxtaposes the classic score with fragments by composers from Bach to Kurtág. “Maybe this title Bye-Bye Beetho- Lani Tran-Duc visual design ven is provocative,” the violinist explains. “Of course we don’t want to Ricarda Schnoor lighting actually say goodbye to him. But I do want to bid farewell to an indus- Jonas Link video try that gets fixated on Beethoven, Bruckner, Brahms and loses rele- vance. I feel like we’re driving in a huge car, and everyone’s looking “Bye-Bye Beethoven” back and saying, ‘Oh, how nice it was,’ and no one’s looking ahead.” A staged concert Which is why Patricia Kopatchinskaja and the Lucerne Festival Con- 75 min temporary Orchestra will turn the familiar topsy-turvy in this program. The finale of Haydn’s Farewell Symphony, for example, in which the Fragments from works by Charles orchestra members actually leaves the stage one by one, will here be Ives, Joseph Haydn, John Cage, performed in reverse, with the musicians gradually entering and the Johann Sebastian Bach, György music going backward, as it were ... Kurtág, Jorge Sánchez-Chiong, and Pauline Oliveros Ludwig van Beethoven Violin Concerto in D major, Op. 61

CHF 100/50

with friendly support of Carla Schwöbel-Braun

95 Patricia Kopatchinskaja Patricia Sat 04.09. CONTEMPORARY

Lucerne Festival Academy 4 Nicolas Hodges Nicolas 18.30 KKL Luzern, Concert Hall

Lucerne Festival Contemporary Orchestra Ilan Volkov conductor Nicolas Hodges piano Christian Dierstein and Dirk Rothbrust percussion

Rebecca Saunders void for percussion duo and orchestra Swiss premiere 19 min Anton Webern The Variations for Orchestra, Op. 30 “Rebecca Saunders 8 min Package” 20% discount on three Symphony, Op. 21 concerts featuring 10 min Rebecca Saunders “A SAINT see p. 124 Igor Stravinsky Movements for piano and OF MUSIC”» orchestra 10 min Igor Stravinsky on Webern Rebecca Saunders to an utterance for piano and Composer-in-residence Rebecca Saunders is a tireless researcher into sounds. She prefers to focus on individual instruments and works orchestra Roche Commissions world premiere intensive with her performers. This is how “inspiring sessions of sonic 25 min exploration” with the percussionists Christian Dierstein and Dirk Roth- brust resulted in void. The British composer, who lives in Berlin, similarly explores unusual playing techniques in her new piano concerto Introduction to the Concert to an utterance. “The solo piano within this concerto was conceived 17.30 | KKL Luzern, Auditorium as a disembodied voice. It seeks to tell its own story… an incessant, with Rebecca Saunders and compulsive soliloquy… on the precipice of non-being…” Saunders’s Mark Sattler (in German) music is juxtaposed with that of two modern icons regarded by many as polar opposites: Igor Stravinsky, with his unleashed rhythms and CHF 120/90/60/30 archaizing melodies, and Anton Webern, the advocate of strict 12- tone music. But in such late works as the mini-piano concerto Move- ments, the artistic chameleon Stravinsky took Webern himself as his model, elevating him to “a perpetual Pentecost for all who believe in music.” Roche Main Sponsor and Partner Lucerne Festival Academy

96 “YOU HAVE TO ENJOY Sun 05.09. SINGING” Juan Diego Flórez on his recipe for success Recital Juan Diego Flórez 11.00 Juan Diego Flórez is at the zenith of his art as a celebrated tenor. Who KKL Luzern, Concert Hall else commands such a sovereign and captivatingly beautiful high register? Who can make coloratura notes sound more sparkling and Juan Diego Flórez tenor phrase melodies more sensitively? And who is even remotely as ver- satile as this tenor, who performs Mozart, bel canto, Verdi, French Vincenzo Scalera piano roles, and folk music – all with the same persuasive power? Since his spectacular debut at the Rossini Festival in Pesaro 25 years ago, Selected lieder and arias the native Peruvian has been a regular on the world’s major stages. by Richard Strauss, Giuseppe Along the way, he has cautiously expanded his repertoire. “I watch Verdi, Vincenzo Bellini, Gioachino my voice, know it very well, control it,” the 48-year-old says, explain- Rossini et al. ing his secret. “On stage, I’m pretty fearless. And I lead a balanced life, mainly in Europe.” So his appearance at Lucerne Festival with a colorful bouquet of arias and songs fits in well with the program. And CHF 240/150/100/30 perhaps he’ll pick up the guitar again at the end to accompany himself on a South American folk song. Juan Diego Flórez Diego Juan

Clariant Foundation Theme Sponsor

97 Sun 05.09. MUSIC FOR FUTURE

Family Concert – Die Schurken (“The Rogues”) 14.30 and 16.00 KKL Luzern, Lucerne Hall

Die Schurken: Stefan Dünser idea, trumpet Martin Schelling clarinet Martin Deuring double bass Goran Kovacevic accordion

Lilian Genn Inspector Flunke Theresita Colloredo libretto, staging Murat Üstün music

“Inspector Flunke and Die Schurken”

“Inspector Flunke and die Schurken” die and Flunke “Inspector An action-packed musical detec- tive story for children (in German) 50 min For everyone ages 5 and up “IS EVERYTHING CLEAR, CHF 20/10 FRAU INSPECTOR?”

Their names are Romero Calzone, Al Arrabiata, Mozzarella, and Diavo- lo. They are, of course, four villains through and through. And they are in trouble. They want to give a concert, but the sounds they produce are just awful. Music Inspector Flunke from the Smart-Aleck Depart- ment is supposed to help. And she soon has a hot lead. Supported by singing, clapping, and dancing children from the audience, the Inspector shows the rogues that it’s not enough to just play what’s written down in the score when making music together. It’s about more: about breathing together, about rhythm, and about listening to each other. But first of all, of course, the instruments have to be tuned correctly. The Vorarlberg-based ensemble Die Schurken, which has twice been awarded the “Young Ears” prize, conveys the secrets of musical interplay using slapstick, language games, and sizzling melodies. An imaginative musical theater for the whole family! with friendly support of the

Geert and Lore Blanken- Schlemper Foundation

Charitable Accentus Foundation

98 “THE MUSIC BUSINESS Sun 05.09. IS UNINTENTIONALLY FUNNY” Staatstheater 16.00 Mauricio Kagel Luzerner Theater

The premiere of Staatstheater 50 years ago at the Hamburg State Luzerner Theater Ensemble Opera was scandalous: the Argentinean-German composer Mauricio Kagel breaks with many theatrical traditions on the grand state opera Ensemble of the Lucerne Festival stage and instead of telling a straightforward story makes playing and Contemporary Orchestra the theatrical apparatus itself the subject. The master of instrumen- Stefan Schreiber musical direction tal theater brings instrumentalists, singers, and chorus together in a Lydia Steier staging large-scale composition that must be reassembled in each perfor- Sophia Schneider and mance from a kind of scene construction kit. If in the 1970s the piece Barbara Lenartz sets had an aura of iconoclasm and turmoil, today we can see Staats- Jennifer Mosen costumes theater as a celebration of the possibilities of theater. At the start of Ina Karr’s directorship at the Luzerner Theater, the stage director Lydia Steier will illuminate all of these possibilities with her team and the Mauricio Kagel ensembles in a large collage: urban space and stage space will blur, Staatstheater as opera characters appear in unusual contexts. And Kagelian non- staged composition for singers, sense meets ghosts from the rich tradition of theater. actors, dancers, and instrumentalists Swiss premiere 120 min A co-production of the Luzerner Theater with Lucerne Festival

Tickets available starting 23 August exclusively from the Luzerner Theater: t +41 (0)41 228 14 14 (box office closed from 14 June to 23 August because of theater pause)

Additional performances until 19 September Detailed information at luzernertheater.ch

with friendly support of the Arthur Waser Foundation

99 Luzerner Theater Luzerner Sun 05.09. SYMPHONY

Schumann Cycle 3 18.30 Mirga Gražinytė-Tyla Mirga KKL Luzern, Concert Hall

Mozarteum Orchestra Salzburg Mirga Gražinytė-Tyla conductor

Mieczysław Weinberg Adagio from the Symphony No. 2, Op. 30 11 min Robert Schumann Symphony No. 1 in B-flat major, Op. 38 Spring Symphony 32 min Symphony No. 2 in C major, Op. 61 37 min

CHF 170/120/90/30

“THERE’S A GREAT ONE EMERGING!” Die Welt on Mirga Gražinytė-Tyla

Robert Schumann’s first two symphonies reflect the ups and downs of his life. He composed the Spring Symphony as in a frenzy, within just a few weeks at the beginning of 1841. Newly married and full of inspiration, he set off on a creative flight of fancy. Four years later, when he wrote the Second, things looked very different. Schumann complained of insomnia and dizzy spells, and he suffered from strange anxiety disorders and auditory hallucinations. Only with difficulty did he fight his way out of this crisis with this score. In the finale, which uses a quotation from Beethoven’s song cycle To the Distant Beloved as a confession of love for his wife Clara, healing seems to have been achieved. Or is this work already a harbinger of the final breakdown that would lead to the composer’s admission to a mental hospital in 1854? Lithuanian maestra Mirga Gražinytė-Tyla, who led stellar performances at the 2016 and 2017 Summer Festivals, will offer answers with the Salzburg Mozarteum Orchestra as she guides us into the contradictory, miraculous world of Schumann’s music. This concert is under the auspices of the Friends of Lucerne Festival

100 “I WANT MUSIC TO FLY” Mon 06.09. György Kurtág SYMPHONY

What’s new in music being written today? Find out at this räsonanz – räsonanz – Donor Concert Donor Concert, which brings you up-to-date orchestral music. Iris 19.30 Szeghy presents the Offertorium from her recent Requiem, which KKL Luzern, Concert Hall features an expressive solo soprano singing verses by Emily Dick- inson. Beat Furrer has taken advantage of the coronavirus downtime Bamberg Symphony to compose a fiendishly difficult violin concerto for Ilya Gringolts. A “20-minute eruption,” wrote the Süddeutsche Zeitung about the Jakub Hrůša conductor Munich premiere last October. “Furrer strings together tapestries of Juliane Banse soprano sound made of dark whispers spiced with harried solo writing, harsh Ilya Gringolts violin contrasts, and rapid virtuoso runs that arrive like a breeze. Everything is effective, stirring, complex.” Finally, in a series of orchestral pieces Iris Szeghy written between 2015 and 2020, Miroslav Srnka traces not just mu- Offertorium for soprano and sical movements but what sets them in motion: the physical move- orchestra ments of the musicians. For the first complete performance, he has world premiere again revised move 1-4. 7 min Beat Furrer Concerto for Violin and Orchestra Swiss premiere 18 min Miroslav Srnka move 1–4 for orchestra First performance of the complete cycle and world premiere of the new version of move 2 38 min

Introduction to the Concert 18.30 | KKL Luzern, Auditorium Iris Szeghy and Miroslav Srnka in

Jakub Hrůša conversation with Mark Sattler (in German)

CHF 120/90/60/30

Ernst von Siemens Music Foundation Partner räsonanz – Donor Concert

101 Tue 07.09. MUSIC FOR FUTURE

Debut Connaught Brass 12.15 Lukaskirche

Connaught Brass: Aaron Akugbo and Harry Plant trumpet Robyn Blair horn Chris Brewster trombone Aled Meredith-Barrett tuba

Jan Bach Rounds and Dances 22 min Heinrich Ignaz Franz Biber excerpts from the Battalia

Connaught Brass Connaught in D major arranged by William Foster 10 min Richard Strauss Dance of the Seven Veils from the opera Salome, Op. 54 “AND THE SHARK, arranged by William Foster HE HAS TEETH …” 10 min Kurt Weill In 2019, the Philip Jones International Brass Competition took place Suite from The Threepenny Opera for the first time. Ursula Jones, member of the Lucerne Festival Board arranged by Anthony DiLorenzo of Trustees, created the competition in memory of her husband, the 22 min trombonist Philip Jones. With his Brass Ensemble, which was founded in 1951, he became something like the forefather of all brass forma- CHF 30 tions, which since then have attracted an ever-growing fan base. The jury, which is chaired by Reinhold Friedrich, chose the British quintet Debut in the Schoolhouse Connaught Brass – whose members met at the Royal Academy of On 8 September Connaught Music in London in 2016 – as the winner of the first competition. For will perform for school their Debut concert in Lucerne, the five devised a program inspired by Brass the Festival theme of “crazy.” Jan Bach’s Rounds and Dances offers a classes as well. quirky mixture of canons and dances from different countries, while Kurt Weill’s Threepenny Opera bridges the gap with jazz and Mack the Knife’s ballad. Biber’s Battalia is a humorous work evoking battle music, and Strauss’s Dance of the Seven Veils, in which the protag- onist Salome has to dance stark naked, was considered a scandal at the opera’s premiere in 1905.

102 “MUSIC IS A HUGE GIFT” Tue 07.09. Anne-Sophie Mutter

Anne-Sophie Mutter has stood out among classical music stars Recital Anne-Sophie Mutter during the coronavirus pandemic by campaigning for a new start in 19.30 musical life. She not only appealed to politicians, pointing out the cat- KKL Luzern, Concert Hall astrophic situation of freelancers in particular in numerous interviews, but also appeared as a surprise guest in church services where she Anne-Sophie Mutter violin collected donations for colleagues in distress. “Music is a basic human need,” she says, summing up her commitment. In this recital, Lambert Orkis piano Anne-Sophie Mutter and her piano partner Lambert Orkis will prove just how effective music is as an agent that can delight and inspire. Wolfgang Amadé Mozart She has chosen three violin sonatas, all of which go deep to the heart. Violin Sonata in E minor, K. 304 Mozart’s E minor Sonata begins in an agitated mood and leads into 15 min a beguilingly rapturous finale. Beethoven’s Spring Sonata exudes a decidedly relaxed, light, and friendly atmosphere. And César Franck’s Ludwig van Beethoven passionate A major Sonata, which he gave to the famous virtuoso Violin Sonata in F major, Op. 24 Eugène Ysaÿe as a wedding present, is an icon of the violin repertoire. Spring Sonata 26 min César Franck Violin Sonata in A major 30 min

CHF 240/150/100/30

Go to the concert before the concert: 40min today! see p. 22

with friendly support of the Apricum Circle

103 Anne-Sophie Mutter Wed 08.09.

Luca Pianca Luca Crazy 4 12.15 Lukaskirche

Luca Pianca theorbo

“Follie e Stravaganze” works by Pietro Paolo Melli, Alessandro Piccinini, Giovanni Girolamo Kapsberger, Giovanni Pittoni, Charles Hurel, and Robert de Visée total 60 min

CHF 30

“BAROQUE MUSIC’S ADDICTIVE TUNE” Novelist Peter Schneider on the follia

This dance drove half of Europe crazy: the follia, the Italian name which means “madness” or “insanity,” spread like wildfire from the Iberian peninsula across the continent starting in the 16th century. It was considered so unbridled and wild that it was even banned for a time. The follia is based on a very simple formula: above a concise bass sequence in the triple meter of the sarabande, the upper voice ascends and descends; parallel to this, the harmonies constantly shift between major and minor. This scheme developed in the Ba- roque era into the most popular basic pattern for variations, which are increasingly shortened and speeded up until the listener becomes dizzy. The 2018 Swiss Music Prize-winning lute virtuoso from Ticion, Luca Pianca, a longtime collaborator with Nikolaus Harnoncourt and Giovanni Antonini, will perform some of the most beautiful examples of the follia (plus other crazy “extravaganzas”) on his theorbo, whose deep, brazen sound is ideal for the prominent bass part. And in the process he will drive us into a frenzy.

104 “ONE OF THE PROFOUND- Wed 08.09. EST OF SYMPHONIES” SYMPHONY Sir Simon Rattle on the Pastoral London Symphony Orchestra 19.30 In Beethoven’s Pastoral the brook murmurs, cuckoos, quail, and night- KKL Luzern, Concert Hall ingales sing, lightning flashes, and thunder rumbles. But the composer himself warned the performers not to take it too naturalistically: London Symphony Orchestra “More the expression of feeling than illustration,” he indicated at the top of the score. Simon Rattle, too, finds the notion that “the storm Sir Simon Rattle conductor somehow has to do with the weather” to be downright awful: “It’s Magdalena Kožená mezzo-soprano clearly about a spiritual crisis, about the horrors of the French Revo- lution, or about Beethoven’s rage in the face of his own physical infir- Ondřej Adámek mities and his gratitude to God that he managed to live with them.” A Where Are You? for mezzo- search for meaning and God is also the topic of the concert’s opening soprano and orchestra work, when Magdalena Kožená sings the cycle Where Are You? by Swiss premiere her fellow Czech Ondřej Adámek, which was first performed in March 34 min 2021. “Adámek tends to combine the driving rhythms of Minimalism with experimental techniques as well as folk music patterns,” wrote Ludwig van Beethoven the Süddeutsche Zeitung. “In this way, his music remains compre- Symphony No. 6 in F major, Op. 68 hensible and purposeful at every moment.” Pastoral 44 min

CHF 290/190/130/40

Go to the concert before the concert: 40min today! see p. 22 Magdalena Kožená | Sir Simon Rattle

105 Thu 09.09. MUSIC FOR FUTURE

Debut Marmen Quartet Marmen QuartetMarmen 12.15 Lukaskirche

Marmen Quartet: Johannes Marmen and Ricky Gore violins Bryony Gibson-Cornish viola Steffan Morris cello

Salvatore Sciarrino String Quartet No. 7 10 min Carlo Gesualdo Madrigal O vos omnes 4 min György Ligeti String Quartet No. 1 Métamorphoses nocturnes 23 min Wolfgang Amadé Mozart “IT FEELS CRAZY” String Quartet in E-flat major, K. 428 Bryony Gibson-Cornish on the 27 min Marmen Quartet’s triumph CHF 30 The Marmen Quartet won two important competitions in 2019: the Canadian Banff Competition and the Concours de Bordeaux. The ensemble, which was founded in 2013 at the Royal College of Music in London, has been stirring up the quartet scene ever since. Not only do these four masterful virtuosos phrase as if from the same breath. They love to tell stories with their programs. In Lucerne, where the summer theme is “crazy” they will certainly do so when they play a madrigal by Carlo Gesualdo, the prince of Venosa and murderer of his unfaithful wife, who composed music so weird that you would think it came from the 20th century. Salvatore Sciarrino wrote his opera Luci mie traditrici about this “old master” – and competes with Gesualdo’s “craziness” by using excessive glissandi in his Seventh String Quar- tet. György Ligeti’s First Quartet was so controversial in Communist Hungary that he was not even allowed to have the work performed. And Mozart raised the genre to a new level with the six so-called “Haydn Quartets,” the third of which is heard here.

106 “YOU WOULD ALMOST Thu 09.09. THINK YOU’RE IN THE SYMPHONY FOREST” Vienna Philharmonic 1 19.30 Herbert Blomstedt on Bruckner’s Fourth KKL Luzern, Concert Hall

Bruckner had a habit of incessantly counting just about everything – Vienna Philharmonic a fact that can be heard in his Fourth Symphony. Take the rhythm of the short call intoned by the horn at the beginning, which is heard Herbert Blomstedt conductor 16 times within the first minute! “But it’s not like the thump of the bass in rock music, where all you hear for three or five minutes is Anton Bruckner boom, boom, boom,” says Herbert Blomstedt. “In fact, the harmonies Symphony No. 4 in E-flat major, that Bruckner uses for this are constantly changing, thus creating a WAB 104 Romantic landscape. You feel like a tourist in the Alps, continually discovering 68 min new perspectives, vistas, and surprises. So it never becomes boring: you’re always looking in different directions.” With the Vienna Phil- harmonic, with whom he has enjoyed a close association since he Introduction to the Concert made his debut with them in 2011 at the age of 83, Blomstedt will 18.30 | KKL Luzern, Auditorium elicit a multitude of secrets from Bruckner’s Romantic. He will allow with Susanne Stähr (in German) us to hear just how this music, with its bird calls and forest idylls, is so beautiful. And he will ensure that the typical Brucknerian ingredi- CHF 320/220/150/40 ents – solemn string tremolos, chorales, and horn calls – build to an overwhelming apotheosis in the finale. Herbert Blomstedt

Credit Suisse Main Sponsor

107 Fri 10.09. SYMPHONY

Vienna Philharmonic 2

Herbert Blomstedt 19.30 KKL Luzern, Concert Hall

Vienna Philharmonic Herbert Blomstedt conductor

Franz Schubert Symphony No. 7 in B minor, D 759 Unfinished 27 min Johannes Brahms Symphony No. 4 in E minor, Op. 98 45 min

Introduction to the Concert 18.30 | KKL Luzern, Auditorium with Susanne Stähr (in German)

CHF 320/220/150/40

“THE CONDUCTOR IS THE FIRST ONE TO HEAR” Herbert Blomstedt

“You must change yourself,” Herbert Blomstedt declared last summer during the Festival’s podcast “Happy Hour.” What a remarkable motto for a 93-year-old! But perhaps this is precisely the key to his ability to remain so youthful and to radiate an unbroken vitality. No wonder Blomstedt took advantage of the coronavirus lockdown to make some new discoveries; he studied no fewer than eight new scores. At the same time, he has also taken up the supposedly familiar repertoire again: works such as Schubert’s stirring Unfinished Symphony, which the composer abandoned after only two movements, though these in themselves could hardly be more complete. Blomstedt will now present his latest findings as he conducts the Vienna Philhar- monic. In the second part, Blomstedt will focus on the Brahms Fourth, whose intimate melodies he likens to “a musical embrace,” but “without any sentimentality.” He regards the Passacaglia finale as “a very strong piece: very moving, rich, and novel, yet difficult to shape.” That he will manage to do so masterfully is beyond question. Credit Suisse Main Sponsor

108 GRAND OPERA FOR Sat 11.09. LITTLE PEOPLE MUSIC FOR FUTURE

When Hans and Greta sing and dance, they naturally want the audi- Family Concert – Opera ence to join in to make it really fun! In the process, things sometimes 11.00 and 14.00 get broken, especially when an unknown woman with lots of ideas KKL Luzern, Lucerne Hall has her fingers in the pie. No wonder, then, that the mother scolds Hans and Greta and sends them to the forest to pick berries. There, in Taschenoper Lübeck: addition to berries, there are also mushrooms, but they are dangerous and can have unexpected effects. Besides, there is this woman again – Marlene Metzger Greta, Sandman, Dew Fairy is she fun or actually the opposite? In any case, she doesn’t like it Margrit Dürr/Dorothee Bienert when people nibble on her little house without asking and speak bad- Baker, Mother, Witch ly of her. Then she can become really unpleasant ... Gretel becomes Giacomo Schmidt Hans, Father Greta, the witch’s broom becomes a vacuum cleaner. Hans and Greta Dirk Rave accordion is based on the Grimm Brothers’ fairy-tale but is set in the here and now. It’s about good and evil and about what makes reasonable judg- Cornelia Bach violin ments versus mere prejudices: “If I’m not sure, I’d better look twice!” Carl Augustin musical direction The young Festival audience will be actively involved in this colorful Sascha Mink staging and witty piece of musical theater fun. And some of the little guests Katia Diegmann decor will even suddenly become Hans or Greta. “Hans and Greta” based on Engelbert Humper- dinck’s opera Hänsel und Gretel arranged by Margrit Dürr and Julian Metzger (sung in German) 45 min for everyone ages 6 and up A production of Taschenoper Lübeck in cooperation with Theater Lübeck

CHF 20/10 (adults/children) Scenes from Hans from Scenes and Greta

with the friendly support of the

Geert and Lore Blanken- Schlemper Foundation

Charitable Accentus Foundation

109 Sat 11.09. SYMPHONY Yuja Wang Yuja Budapest Festival Orchestra 1 19.30 KKL Luzern, Concert Hall

Budapest Festival Orchestra Iván Fischer conductor Yuja Wang piano

Franz Liszt Piano Concerto No. 1 in E-flat major, S 124 21 min A Faust Symphony, S 108 original version of 1854 58 min

Introduction to the Concert 18.30 | KKL Luzern, Auditorium with Susanne Stähr (in German)

CHF 240/150/100/30 “NONE OF YOU UNDER- STAND THIS, HA HA!” Look | Listen | Hans von Bülow on the main theme Enjoy – Together at the of Liszt’s Concerto in E-flat major concert see p. 124 Super-virtuoso and visionary composer, womanizer and Franciscan, patriot and citizen of the world: Franz Liszt, perhaps the first pop star in the history of classical music, was a study in the most curious con- tradictions – which is what makes him such a fascinating figure. Our “crazy” summer of 2021 would be remiss not to include this figure, believed by many to be in alliance with higher powers (divine or dia- bolical). “Artiste étoile” Yuja Wang will perform the notorious First Pi- ano Concerto, which Liszt tailored to his own manual skills, including his breathtaking dexterity. And in doing so, she will show that virtuoso grandstanding is by no means just a male domain. Liszt’s delight in demonic sounds is also obvious in what follows, when Iván Fischer and the Budapest Festival Orchestra perform A Faust Symphony. Its third movement is dedicated to Mephistopheles, the incarnation of the carnal. The work, which will be heard in its original version, is Liszt’s orchestral masterpiece, showing that he was a pioneer in the field of tone poetry.

110 “ITS RULE IS TO BE Sun 12.09. WITHOUT RULES” SYMPHONY Franz Liszt on “gypsy music” Budapest Festival Orchestra 2 17.00 Iván Fischer is a specialist in offbeat ideas. He will give yet anoth- KKL Luzern, Concert Hall er example of this with a finale program that promises to turn every-thing we’re accustomed to upside down. As his starting point, Budapest Festival Orchestra Fischer has chosen the music of the Roma from Hungary. This music caused a sensation in the 19th century, when it was known as “gyp- Iván Fischer conductor and host sy music” and influenced countless classical composers, including Jenő Lisztes, Lajos Sárközi jr., Johannes Brahms, Franz Liszt, and Pablo de Sarasate. Fischer calls it László Ónodi, and Rudolf Sárközi “one of the great cultural treasures of Europe.” The concert will have “Gipsy Band” an unorthodox start with improvisations by Jenő Lisztes, likely today’s József Lendvay violin (Sarasate) best-known virtuoso of the cimbalom (the Hungarian dulcimer). For Brahms’s Hungarian Dances, a second “orchestra” – a “gipsy band” – Brahms, Liszt, and “Gipsy Music” will suddenly appear onstage to perform these spirited pieces in its own way. What is authentic and what is merely “imitation”? And the Jenő Lisztes mood will reach a boiling point when the Budapest Festival Orchestra Improvisation on the cimbalom not only plays but also sings Brahms’s Fourth Hungarian Dance. This 3 min ravishingly crazy finale is not to be missed! Franz Liszt Hungarian Rhapsody in C-sharp minor, S 359, no. 2 10 min Johannes Brahms Hungarian Dances WoO 1, nos. 1 and 6 played in alternation by the “Gipsy Band” and the Budapest Festival Orchestra 15 min Pablo de Sarasate

Iván Fischer Iván Zigeunerweisen, Op. 20 10 min Johannes Brahms Hungarian Dance WoO 1, no. 4 arranged for a singing orchestra by Iván Fischer 4 min Johannes Brahms/ Arnold Schoenberg Andante con moto and Rondo alla zingarese from the Piano Quartet No. 1 in G minor, Op. 25 20 min

CHF 240/150/100/30

111 2 THIS IS LUCERNE FESTIVAL 12 ESSENTIALS 24 AGENDA 34 SPECIALS 46 CONCERTS 112 SUPPORTERS 114 Partners 118 Friends of Lucerne Festival 120 SERVICE

112 SUP− PORTERS 113 THANK YOU GRAZIE MERCI

Great musical experiences need strong partners. We warmly thank all of our partners and supporters for their invaluable commitment!

Cooperation Partners Official Rail Carrier AMAG Audi Center Luzern – Car Partner Confiserie Sprüngli – Chocolate Partner Egon Zehnder KKL Luzern – Event Partner Luzern Tourismus MetaDesign – Partner in Communication Radio SRF Kultur – Media Partner Lucerne Festival is a member of Ringier AG – Media Partner

Grants and Subsidies Kanton Luzern Stadt Luzern

Many thanks also go to our friends and all those supporters who do not wish to be mentioned by name.

114 Main Sponsors

Theme Sponsor

Concert Sponsors Cleven Foundation Artemis Group / Franke Group Credit Suisse Foundation Dr. Christoph M. Müller Else v. Sick Stiftung and Sibylla M. Müller Ernst Göhner Stiftung KPMG AG Ernst von Siemens Music Foundation Nestlé S.A. Fondation SUISA Carla Schwöbel-Braun Fritz-Gerber-Stiftung für begabte junge Menschen Co-Sponsors Geert and Lore Blanken- Andermatt Swiss Alps AG Schlemper Foundation Apricum Circle Charitable Accentus Foundation B. Braun Medical AG Hilti Foundation Bucherer AG Josef Müller Stiftung Muri la Mobilière Kunststiftung NRW Family Goer Landis & Gyr Foundation Glencore Pro Helvetia, Arts Council of Switzerland Schindler Elevator Ltd. René und Susanne Braginsky Stiftung Swiss Life RHL Foundation Swiss Re Ruth Burkhalter-Stiftung Zuger Kantonalbank zur Förderung junger Musiktalente Foundation Melinda Esterházy Foundations de Galantha Zurich Arthur Waser Foundation Foundation Swiss Music Beisheim Foundation Competition for Youth Bernard van Leer Foundation Lucerne Strebi-Stiftung Luzern

115 CREATING SOMETHING NEW

Long live music! But in order for it to live, music The “Roche Commissions” make such mo- needs to keep developing. And through the “Roche ments of novelty and openness possible. Commissions” and the “Roche Young Commissions,” Supported by its long-standing main spon- Lucerne Festival awards commissions to contempo- sor Roche, Lucerne Festival awards work rary composers to create new works every summer. commissions to outstanding contemporary composers every two years. Since 2003, nine new scores by the following compos- The term “world premiere” can sound like ers have been premiered at the Summer a dry, even bureaucratic term – it’s often Festival: Sir Harrison Birtwistle, Chen Yi, diminished into the abbreviation “WP.” Hanspeter Kyburz, George Benjamin, Toshio Yet it refers to one of the most spectacular Hosokawa, Matthias Pintscher, Unsuk Chin, events in musical life, when a new, nev- Olga Neuwirth, and Peter Eötvös. er-before-heard composition is unveiled. Nobody really knows what to expect. What Alternating with the “Roche Commissions” will the new score sound like? How will the since 2013, “Roche Young Commissions” audience react? Will the work catch on has also been a regular series; it commis- and establish itself in the repertoire? sions two young composers to write new Kirsten Milenko and Alex Vaughan | “Roche Young Commissions” 2021 Commissions” Young | “Roche Vaughan Alex and Milenko Kirsten CREATING SOMETHING NEW Rebecca Saunders | “Roche Commissions” 2020 Commissions” | “Roche Saunders Rebecca

works. Through intensive interactions with to the coronavirus pandemic, the musicians two young conductors and Wolfgang Rihm, will unveil three new orchestral works this Artistic Director of the Lucerne Festival year. Berlin-based British composer-in- Academy, the composers develop new residence Rebecca Saunders will present orchestral works and present them to her new piano concerto to an utterance the public during the Festival Summer in at Lucerne’s 2021 Summer Festival. And Lucerne. In addition, they have the oppor- Kirsten Milenko and Alex Vaughan have tunity to hear their scores after a year – i.e., written new orchestral works as this year’s halfway through the process – in an initial “Roche Young Commissions.” We eagerly practical run-through by the accomplished look forward to three exciting premieres! musicians of the Lucerne Festival Contem- porary Orchestra. Prizewinners to date have included Matthew Kaner, Marianna Liik, Samy Moussa, Piotr Peszat, Josep Planells Schiaffino, and Lisa Streich.

The Lucerne Festival Contemporary Orches- tra, the Festival’s in-house orchestra of excellence for the music of our time, introduces these new works in exemplary premiere concerts. Since the 2020 Summer Festival could not be held as originally planned due

117 FRIENDS OF LUCERNE FESTIVAL

We love classical music. talent through the Lucerne Festival Acade- my and Music for Future, thus establishing a We are passionate about outstanding performances basis for the art of tomorrow to flourish. of both traditional and contemporary repertoire. Communication between artists and the audience as Firmly anchored in Lucerne as a city of music and in Switzerland as a whole, while well as between generations is important to us. at the same time internationally networked, That is why we support one of the most important we offer you the opportunity to deepen music festivals in the world. your concert experience through exclusive discussions with artists, encounters with musical experts, and rehearsal visits; at the The Friends have been an indispensable same time, we invite you to become part of partner of Lucerne Festival for more than a community of music fans as well as of the 50 years. Through our personal commit- “Festival family.” ment and generous annual donations, we make a significant contribution to the We are particularly eager to attract young Festival’s financial security and sustaina- adults to our circle of Friends and to benefit bility. from their input and inspiration. That’s why we introduced the Young Friends program: We do more than support the Festival of to- they attend concerts together at discount- day, for example by sponsoring the Lucerne ed rates and meet regularly to share their Festival Orchestra. We are also dedicated to passion for classical music. its further development by fostering young nnnnn Rehearsal visit with the Orchestra of the Lucerne Festival Alumni the Lucerne Festival of the Orchestra visit with Rehearsal Rehearsal with Riccardo Chailly with Riccardo Rehearsal Artist talk with Lucas Macías Navarro talk Artist

Lucerne Festival thanks all of its Friends for their solidarity and generous support.

A special thank-you goes to: Thomas Abegg Nachlass Ernest I. Ascher Bâloise Holding Ltd. Stanley Bergman Regula Bibus-Waser Dr. Christian Casal and Katja Biella Casal Project Villa Serdang Oswald J. Grübel Berthold Herrmann and Dr. Mariann Grawe-Gerber André and Rosalie Hoffmann Dr. Rudolf W. Hug Dr. Klaus Jenny Katharina Marchal–Kovarbasic Dr. Urs Mühlebach Dr. Christoph M. Müller and Sibylla M. Müller Makoto Nakao Dr. Lutz and Christiane Peters Dr. Annemarie S. Reynolds Contact Charlotte Scheidegger-Vonlanthen Stiftung Freunde Lucerne Festival Carla Schwöbel-Braun Monique and Dr. Thomas Staehelin-Bonnard Isabelle Köhler, Relationship Manager Dr. Dolf and Maria Stockhausen Hirschmattstrasse 13 | CH–6002 Luzern Alan Vickery t +41 41 226 44 52 | [email protected] Margrit Wullschleger-Schmidlin lucernefestival.ch/friends

119 2 THIS IS LUCERNE FESTIVAL 12 ESSENTIALS 24 AGENDA 34 SPECIALS 46 CONCERTS 112 SUPPORTERS 120 SERVICE 122 Ticketing Information 124 Discounts 125 Attending the Concert 126 Getting There 127 Map of Lucerne | Venues 128 Seating Map 130 Hotels 135 The KKL Lucerne

120 SERVICE 121 TICKETING INFORMATION

Online tickets sales begin on 17 May 2021, 12.00 noon (Lucerne Time)

Mail and fax sales begin on 19 May 2021

Telephone sales begin on 19 May 2021 Mon – Fri from 10.00 to 12.00 noon (Lucerne Time); also from 14.00 to 17.00 during the week when general ticket sales begin

Telephone hours during the Summer Festival: Mon – Sun from 10.00 to 12.00 and from 14.00 to 17.00

Tickets & Information Lucerne Festival Sales & Visitor Service | P.O. Box | CH–6002 Luzern t +41 (0)41 226 44 80 | [email protected] | lucernefestival.ch

122 KARTENVERKAUF

Online tickets sales During the Summer Festival We kindly ask you to check our website at begin on 17 May 2021, 12.00 noon (Lucerne Time) At the Lucerne Festival ticket box near the lucernefestival.ch before the Festival starts main entrance of the KKL Luzern (lakeside), for information on ordering and the regis- Mail and fax sales you can purchase tickets for the Summer tration process for our free offers. Due to begin on 19 May 2021 Festival daily from 10 August 10 to 12 Sep- the current situation and contact tracing tember 2021, from 2.00 p.m. until the eve- requirements, we have not yet finalized the ning concert starts. ordering process. Telephone sales begin on 19 May 2021 For morning, midday, and late-night events Ticket Refunds Mon – Fri from 10.00 to 12.00 noon (Lucerne Time); at the KKL Luzern, as well as for events at Unfortunately, we cannot accept returns of an outdoor venue, you can buy your tickets tickets that have already been purchased. also from 14.00 to 17.00 during the week when general (subject to availability) on site starting one Due to contact tracing as required by the ticket sales begin hour before the concert begins. Only cash authorities, tickets are personal and non- payment is accepted at the outdoor venues. transferable. However, tickets that you Telephone hours during the Summer Festival: have purchased online via Print@Home can Mon – Sun from 10.00 to 12.00 and from 14.00 to 17.00 Because tickets must be personal- be re-personalized independently in your ized, we recommend early purchase customer account. Tickets that you have online via our website lucernefesti- ordered via the Lucerne Festival ticket office val.ch (up to three hours before the unfortunately cannot be re-personalized ! event starts). independently. In this case, please contact Lucerne Festival as early as possible. Personalized Tickets In order to ensure contact tracing as required Our Health Protection Plan by the authorities, we collect personal data Your health is close to our hearts! To ensure for all concert visitors when they purchase a that you can enjoy your concert visit free of ticket (first and last name, postal code, tele- worry even in this time of coronavirus, we phone number, and e-mail address). When have developed a comprehensive protection purchasing tickets, you expressly confirm plan together with the KKL Luzern that we that it is not permitted to resellpurchased continuously adapt to the current situation tickets. The tickets are personal and non- and coordinate with the responsible author- transferable. Ticket holders must be pre- ities. Complete information, supplemented sent at the event. Appropriate checks may by answers to frequently asked questions be carried out at the entrance. (FAQ), can be found on our website at lucernefestival.ch/protection-concept.

Tickets & Information Lucerne Festival Sales & Visitor Service | P.O. Box | CH–6002 Luzern t +41 (0)41 226 44 80 | [email protected] | lucernefestival.ch

123 DISCOUNTS

Discounts for Students and WhatsApp-News for Students KulturLegi Holders Which concerts have tickets still available Special offers for events that are not sold for students at the box office? What’s on out will be available at the 2021 Summer at the Festival for primary, secondary, and Festival for grade school, university, and university and vocational students? Use our vocational students as well as members WhatsApp News feature to get up-to-date of the JTC up to the age of 29 as well as information. Kultur-Legi holders. Due to the current situ- How does it work? Simply add a contact for ation and the requirements for contact our number +41 (0)79 385 36 53 and send tracing, we have not yet finalized the pur- the message “Start” using WhatsApp. chase process. Detailed information on these offers will be available as soon as Special Package Deal the Festival begins at lucernefestival.ch/ You can order the Rebecca Saunders pack- students. age online at lucernefestival.ch/saunders or by using the order form as soon as advance Special Offer: “Look | Listen | Enjoy – sales start. Together at the Concert” When purchasing a ticket for selected events, adults will receive two free tickets of the same value to bring their young com- panions (children, grandchildren, godchil- dren, etc.) to the concert for free. This special offer is valid for price groups 1, 2, and 3. The selected events for which this offer is available are highlighted in the program section by a green circle. We will be publishing a list of more concerts about four weeks after the start of online sales, which you can find at lucernefestival.ch/look-listen-enjoy.

124 KONZERTBESUCHATTENDING THE CONCERT

Health Protection Plan Cloakroom We are continually adapting our health pro- The use of the cloakroom in the KKL Luzern tection plan to the latest developments. The is free of charge. Handbags and backpacks most up-to-date information, supplemented up to a size of 42 x 29.7 cm (A3) may be tak- by answers to frequently asked questions en into the hall. All larger bags and luggage, (FAQ), can be found on our website. as well as other bulky items, must be left at the cloakroom for a charge of CHF 5 per Entrance to the Concert Hall item. For security reasons, coats and jackets The main KKL Concert Hall opens 30 min- are also not permitted to be taken into the utes before the beginning of the concert; hall and can be left free of charge at the late entry is not permitted. For events in the cloakroom. KKL’s Lucerne Hall or at one of the venues outside the KKL, if applicable, access will Information on Wheelchairs start shortly before the beginning of the The main concert hall of the KKL Luzern has event. If the concert is missed on account six wheelchair spaces with a good view of tardy arrival, tickets will not be refunded. of the stage, which are available on special terms. The Festival cannot ensure that Read the Program Booklet before the Concert accompanying persons will receive a seat in You may purchase your program booklet on- the same price range or in the general vicin- line in PDF form starting about seven days ity. You can access the KKL Luzern through before the event in question. Each concert’s ground-level doors directly into the foyer, detail page on our website has a direct link from which elevators give you access to all where you can purchase and download the levels of the building. Wheelchair-accessible PDF. restrooms are located near the cloakrooms on the downstairs level. Audio and Video Recording Wheelchair spaces are also available at the For all Lucerne Festival events, customers other event locations. Should you require are strictly prohibited from making visual or help at any event venue, please do not audio recordings, including even for private hesitate to contact us. Our local staff is use. Failure to comply will result in expul- always available to help with questions and sion from the event venue. Lucerne Festival problems. makes audio and/or video recordings of certain performances. With the purchase of General Terms & Conditions a concert ticket, the customer understands The General Terms & Conditions may be that Lucerne Festival also uses recordings found at lucernefestival.ch/en/agb. in which it is possible that he or she may appear.

125 O

N S

GETTING THERE W

Arrival and Departure by Train: Park & Ride 40% Rebate in the Swiss Rail Network Several train stations outside the City of Your concert tickets entitle you to a discount Lucerne offer Park & Ride for rail travel to Haldenstr. of 40% (1st or 2nd class) for a round trip to Lucerne. The following stations are espe- Lucerne. (Concert tickets must be presented cially convenient and provide ample parking: upon inspection.) With the half-fare travel Sursee, Rotkreuz, Zug, Wolhusen, Arth- card, you can receive a discount of up to Goldau, and Sarnen.

Seepromenade

70% off the full price. This special ticket must be purchased I before beginning your trip: either at a Would you like to learn more about Lucerne Swiss Rail ticket counter, from a ticket and its surrounding area? Are you in need Dreilindenstr. machine, by calling the SBB Contact Center of accommodation? Inseliquai

at 0848 44 66 88 (CHF 0.08/minute in the KKL See Swiss telephone network), or online at the Tourist Information E SBB ticket shop (sbb.ch/lucernefestival). Tourist Information Luzern Löwenstr. Zentralstrasse 5 | CH–6002 Luzern Löwen- platz Arrival via Car t +41 (0)41 227 17 17 Alpenstr. Bahnhof- The KKL Luzern is located right next to Lu- [email protected] | luzern.com platz

cerne’s main train station. Owing to the park- Bahnhof ing and traffic situation, we recommend us- Accommodation Zentralstr. ing public transportation during the Festival Lucerne’s Tourist Office can help you MK Seebrücke Pilatusstr. Bundes- season. Guests who travel by car are ad- find accommodation. platz Schwanen- vised to observe the city’s parking guidance Central reservations no.: Morgartenstr.LK Hertensteinstr. platz Bahnhofstr. system and to take the bus from the parking t +41 41 227 17 27 | [email protected] Bundesstr. garages to the KKL Luzern. Sempacherstr. The parking garages are indicated on the Altstadt adjacent map; you can find additional infor- Hirschmastr. mation at parking-luzern.ch. Weggisgasse LT Murbacherstr.

Pilatusstr. Winkelriedstr. JK M Löwengraben Rössligasse

Obergrundstr. S HL ↓

Obergrundstr.

Hirschengraben Bruchstr.

126

Reuss SK

Baselstr.↓ O

Venues N S KKL KKL Luzern, Europaplatz 1, Luzern Europaplatz E W HL Hochschule Luzern – Musik, Arsenalstr. 28, Kriens (Bus no. 14 from the main train station) I Inseli, Inseliquai, Luzern JK Jesuitenkirche (Jesuit Church), Bahnhofstrasse 11a, Luzern LK Lukaskirche (Church of St. Luke), Morgartenstrasse 16, Luzern LT Luzerner Theater, Theaterstrasse 2, Luzern M Maskenliebhabersaal, Süesswinkel 7, Luzern MK Matthäuskirche (Church of St. Matthew), Hertensteinstrasse 30, Luzern S Südpol, Arsenalstrasse 28, Kriens (Bus no. 14 from the main train station)

Haldenstr.

Seepromenade I

Dreilindenstr. Inseliquai

KKL See E Löwenstr. Löwen- platz Alpenstr. Bahnhof-

platz Bahnhof

Zentralstr. MK Seebrücke Pilatusstr. Bundes- platz Schwanen- Morgartenstr.LK Hertensteinstr. platz Bahnhofstr. Bundesstr.

Sempacherstr. Altstadt Hirschmastr. Weggisgasse LT Murbacherstr.

Pilatusstr. Winkelriedstr. JK M Löwengraben Rössligasse

Obergrundstr. S HL ↓

Obergrundstr.

Hirschengraben Bruchstr.

127

Reuss SK

Baselstr.↓ SEATING MAP

4. Gallery right 4. Gallery left 3. Gallery right 4. Balcony 3. Gallery left 2. Gallery right 2. Gallery left 1. Gallery right 3. Balcony 1. Gallery left

2. Balcony

1. Balcony

Front stalls

Stage

Organ Loft Front Stalls Front Stalls Gallery right Gallery left