Contents About the Initiative

CONTENTS

ABOUT THE INITIATIVE

Mission Statement räsonanz – Stifterkonzerte Ernst von Siemens Musikstiftung

Press Release

Interview with Michael Roßnagl, Michael Haefliger and Winrich Hopp by Max Nyffeler

Preview of räsonanz in Luzern 2017 and Munich 2018 räsonanz – STIFTERKONZERT MUNICH 2017

Program

Claude Vivier on Lonely Child

Claude Vivier in conversation with Susan Frykberg

Composers’ biographies – Luciano Berio – György Ligeti – Claude Vivier

Performers‘ biographies – Sophia Burgos – Teodor Currentzis – MusicAeterna Choir – Mahler Chamber Orchestra

PHOTOS COMPOSERS AND PERFORMERS

musica viva DES BAYERISCHEN RUNDFUNKS AND LUCERNE FESTIVAL

ABOUT THE INITIATIVE

räsonanz Stifterkonzerte

With the donor concert series räsonanz, the Ernst von Siemens Music Foundation lives up to its responsibility for providing contemporary music in a special way. Together with its partners LUCERNE FESTIVAL and musica viva of the Bayerischer Rundfunk, the foundation enables one concert in Munich as well as one in Lucerne every year featuring international top-ranking orchestras and acclaimed soloists performing the works of presentday composers.

The Ernst von Siemens Music Foundation accordingly reinforces the foundation’s idea: Ernst von Siemens stands for entrepreneurial reason and unique vision, for social responsibility and ambitious promotion of science and arts. Social impact and artistic demand, daring change of perspective and the beauty of the unprecedented – all this becomes evident when contemporary music defines, explores and exceeds its limits. räsonanz is challenging as well as demanding and räsonanz wants to support; the willingness to embark on the unfamiliar and the appreciation of the “new” within New Music. www.evs-musikstifung.ch www.lucernefestival.ch www.br-musica-viva.de

räsonanz Press Release March 2017 räsonanz – donor Concerts 2017 for the First Time in Munich and Lucerne MusicAeterna Choir from Perm hosted for the First Time in Munich | Swiss Premiere of Rihm’s Requiem-Strophen

As part of an initiative by the EvS Music Foundation the Mahler Chamber Orchestra as well as the MusicAeterna Choir will be coming to Munich in 2017 to perform under the baton of Teodor Currentzis. This will be the famous Perm-based choir’s debut performance in the regional capital. The concert will be organized by Bayerischer Rundfunk’s musica viva. The symphony orchestra along with the choir of Bavaria’s regional broadcaster Bayerischer Rundfunk will be hosted in Lucerne under the baton of Mariss Jansons to perform the Swiss debut of Wolfgang Rihm’s Requiem-Strophen – the presenter is LUCERNE FESTIVAL.

After the successful launch of the concert series räsonanz – donor concert 2016 in Munich the initiative is now to be extended from 2017 to include a concert in Lucerne. Next year it is also planned for Munich and Lucerne to host one concert each. “As a member of the Board of Trustees Pierre Boulez himself expressed the wish almost 20 years ago for the foundation to become more actively involved in the contemporary music scene and to launch its own initiatives. With räsonanz the foundation is sure to have reached its highest point until now through its focus on major composers,” explains Michael Roßnagl, Managing Director at the EvS Music Foundation. The aim of the initiative is to enable contemporary works with large line-ups to be performed by top international orchestras in Munich and Lucerne.

Teodor Currentzis with the MCO and MusicAeterna Choir at Prinzregententheater Munich On April 1, 2017 Teodor Currentzis will be hosted in Munich with the MusicAeterna Choir and the Mahler Chamber Orchestra. For the first time in its history this world-famous choir from Perm will be presented to the Munich audience. The program will include works by György Ligeti (Lux Aeterna, for 16-part mixed choir a capella, 1966), Claude Vivier (Lonely Child for Soprano and Chamber Orchestra, 1980), Luciano Berio (Coro for 40 Voices and Instruments, 1975 / 76, rev. 1977, as well as Call, St. Louis Fanfare, for 5 brass instruments, 1985, rev. 1987). The soloist is the Puerto Rican American soprano Sophia Burgos. Berio was awarded the Ernst von Siemens Music Prize in 1989, Ligeti in 1993. Journalist Robert Jungwirth will hold an introduction prior to the concert. A workshop for senior high school students will be held prior to the concert. The concert is sold out.

Mariss Jansons with the Symphony Orchestra and the Bayerischer Rundfunk Choir at Lucerne Festival April 8, 2017 will see Wolfgang Rihm’s Requiem-Strophen for Soloists, Mixed Choir and Orchestra being performed for the first time in Switzerland. Mariss Jansons will be conducting the symphony orchestra and the Bayerischer Rundfunk choir. The solos will be sung by sopranos Anna Prohaska and Mojca Erdmann as well as baritone Hanno Müller- Brachmann. The work commissioned by musica viva will be premiered on March 30, 2017 in Munich. With texts by Hans Sahl, Johannes Bobrowski, Michelangelo Buonarroti, Rainer Maria Rilke and a psalm Wolfgang Rihm has found an extraordinary and very personal selection for his new choral work extending over an entire evening. Immediately prior to the concert a introduction will be held by Mark Sattler, dramaturg for contemporary music at LUCERNE FESTIVAL, in the auditorium of the KKL venue.

Your Contacts: Imke Annika List und Dr. Tanja Pröbstl | +49 / (0)89 / 6 36 3 29 - 47 | [email protected] Nina Steinhart | +41 / (0) 41 226 44 - 43 | [email protected] Laura Imsirovic | +49 / (0) 89 / 59 00 - 2 36 58 | [email protected]

Advance Ticket Sales Munich: BRticket: T. 0800 5900 594, Munich Ticket: T. +49 (0)89 54 81 81 81 Advance Ticket Sales Lucerne: T. +41 (0)41 226 44 80 www.evs-musikstiftung.ch | www.lucernefestival.ch | www.br-musica-viva.de

Interview: November 2015 in Lucerne The Ernst von Siemens Music Foundation’s räsonanz initiative Max Nyffeler in conversation with Michael Roßnagl, Michael Haefliger and Winrich Hopp.

The Ernst von Siemens Music Foundation’s „räsonanz“ initiative will give new stimulus to contemporary orchestral music. Max Nyffeler spoke about the background and aims of the project with three of those who are directly involved: Michael Roßnagl, Secretary of the Board of the Ernst von Siemens Music Foundation, Winrich Hopp, artistic director of musica viva Munich, and Michael Haefliger, director of the Lucerne Festival.

NYFFELER: Mr Roßnagl, the Ernst von Siemens Music Foundation’s räsonanz concert series is a new way of promoting contemporary music. What is the idea behind it?

ROßNAGL: Currently we support contemporary music projects and award our annual music prize, as well as the prizes for young composers. We are very happy with the way things are going. räsonanz is about taking the initiative ourselves. This idea is, by the way, very much in accordance with something our trustee Pierre Boulez once said: “Do something yourselves, too!” Our initiative is directed at contemporary oarchestral music and we are focussing, for the moment, on two places: Munich, with its important musica viva concert series; and Lucerne with a festival that is showing the way for the integration of modern music into ‘normal’ concert programmes. The fact that the Foundation has its management in Munich and its headquarters in Switzerland was also a factor in choosing the locations.

NYFFELER: So it wasn’t the organisers who took the initiative, it was the Foundation?

ROßNAGL: That’s right.

NYFFELER: What do you think about this initiative, Mr Haefliger?

HAEFLIGER: It’s beyond our wildest dreams. For a festival like ours, which has clear ambitions in the area of contemporary music, it’s a wonderful stroke of luck. A partner comes along and asks “what would you like to do and what do you need to do it? We’ll help!” It’s not just about financing a commission for a new composition, it’s about creating the right conditions for today’s music. An open space is being created. This is fantastic, particularly at a moment when many things in the Arts are being called into question.

HOPP: I agree with this appraisal. The initiative sets an example in the world of international orchestral music. It says: look, we are doing something for contemporary music ‒ specifically for music from the second half of the 20th century up until the present.

NYFFELER: How does this model actually work?

ROßNAGL: The organisers plan a project, and we guarantee that it can take place by taking on the deficiency guarantee up to a certain amount.

NYFFELER: As a rule, you support projects for up to three years. It seems to be different in this case.

ROßNAGL: Yes. It is our own initiative, so we can offer longer term perspectives.

NYFFELER: How are the programmes decided on, und what is the Foundation’s role?

HAEFLIGER: All three partners work together closely.

ROßNAGL: Of course the members of the Board are invited to take part in the discussions. We are all in close contact, and we can sense a strong feeling of common purpose.

HOPP: It’s important to note that it is an initiative of the Foundation. The concerts are Foundation concerts, and we, the organisers in in Lucerne und Munich, develop the artistic concept in cooperation with the Board of Trustees.

NYFFELER: So tell me about the details! What will the programmes be like?

HOPP: The first concert will take place on 27th February – without Lucerne, for the moment – in the context of a musica viva concert weekend. The programme consists of works by George Benjamin, Pierre Boulez, György Ligeti und Georg Friedrich Haas. George Benjamin will conduct the Southwest German Radio Symphony Orchestra. The programme is representative of the orchestra’s artistic achievements during the seventy years of its existence. The cooperation with the Lucerne Festival will take effect from 2017. This will take various forms. We can engage an orchestra together for concerts in Lucerne and Munich, either on consecutive days, or, if the dates don’t suit, with some time in between. Or we can invite two orchestras with two different programmes, and so on. We are very flexible in this regard.

NYFFELER: The concerts in Lucerne: will they take place in summer, and are they part of the Festival Academy or are they integrated into the normal programme?

HAEFLIGER: As far as the date is concerned, we are very open, it could even be at Easter. And where exactly these concerts fit into the context of the whole programme will vary from case to case. It depends on the constellation.

NYFFELER: The musica viva concert series is associated with the Bavarian Radio Symphony Orchestra. Will there be any change here?

HOPP: No. It was always part of musica viva’s tradition to invite guest orchestras and ensembles ‒ from Ensemble Modern to Ensemble Intercontemporain and the German Radio Symphony orchestras, to the BBC Symphony Orchestra and the Berliner Philharmonic in the 60s and 70s. A musica viva season usually consists of ten events. Five of these make up the heart of the series: these are the concerts with the Bavarian Radio Symphony Orchestra. The Foundation’s initiative allows us the take international guest orchestras into consideration.

NYFFELER: Does that mean that in the future one musica viva concert will be performed by a guest orchestra?

HOPP: Yes, but to be quite clear, this is not an additional concert! The Foundation’s initiative does not replace anything, it adds and enriches.

NYFFELER: That opens up an international perspective, of course. Which partners do you envisage?

HOPP: Initially, we activated our existing contacts. And now we have the pleasant task of wining over some of the best orchestras in the world with their soloists and conductors to work together with us on this project.

NYFFELER: Interesting prospects indeed for Lucerne and Munich!

HOPP: Yes, but the orchestras will perform not only in Munich and Lucerne. Ideally, they would go on tour with the programme. So räsonanz is a wonderful opportunity for orchestras, too. We encourage them to devote themselves to the music of the 20th and 21st century. We are sending a clear message.

NYFFELER: So you are creating an international network consisting of sponsors, organisers and orchestras. We could say this is a new form of cooperation.

HAEFLIGER: Absolutely.

HOPP: I find Mr Roßnagl’s initial comments on Pierre Boulez helpful towards an understanding of this initiative. He always insisted on bringing New Music into large institutions, which he did with his work as a conductor. So I feel that Pierre Boulez is, in a way, behind the räsonanz initiative, even though it is not his initiative.

ROßNAGL: Strengthening the social status of modern music was very important to him, and if you look at today’s world, this seems to me to be becoming increasingly important.

HAEFLIGER: Boulez was an absolutely dominant figure in Lucerne during the last thirteen years (as he was in other places before this time, too). He would simply say: That’s how it has to be, that’s what we have to do. He was a man with a strong will who could get his ideas off the ground without discussion and debate, because they were necessary and convincing. That’s something that is missing today. An initiative like räsonanz might help to fill this vacuum. Once again, it is not so much about a set of rules, as about generously creating spaces and opportunities.

NYFFELER: A kind of patronage...

ROßNAGL: ... based on a foundation’s statutes that originally gave no directions as far as content was concerned, but that were gradually interpreted by the trustees in the spirit of contemporary music.

HOPP: Sitting here at this table now, we are an interesting constellation. Three entirely different institutions coming together. The Foundation as sponsor and und initiator, then the Lucerne Festival as an established festival with a strong commitment to modern music and thirdly, musica viva, a concert series founded specifically for modern and avant-garde music. What we have in common is an interest in the large orchestra as a representative form. And musica viva has one immeasurable advantage: a world-famous orchestra with an outstanding reputation forms its artistic backbone, making our concert series well-suited to this constellation.

NYFFELER: Many people are speaking about the threat of cuts to funding of the Arts these days, in particular contemporary music, which has no strong lobby. Could räsonanz be perceived by the public as a signal against attempted funding cuts?

ROßNAGL: It’s hard to say. Music is always being composed, but in the end it’s up to the will of a society whether it is performed and thus heard. What’s important is that the musical achievements of our complex society must not be allowed to suddenly disappear. We must work towards ensuring that this complexity is carried on and that we don’t end up dumbing down. I can’t imagine finding solutions to complex social problems in a world with simplified cultural and educational policies. What does this music mean? What does it give us? These are decisive questions, and to find answers, the ties between music and society must be maintained. This is the task of the mediators, organisers and pedagogues. We have to provide the opportunity for the thoughts developed by creative spirits to be perceived and lived out in reality.

NYFFELER: This endeavour is noticeable at the Lucerne Festival, where a broader audience is introduced to contemporary music.

HAEFLIGER: We go to a lot of trouble here. But in general I regret to say that I notice a tendency to rear-guard action these days. This begins with the organisers, who change their focus. We spend a lot of time talking about this in our team, and when I say ‘we must believe firmly in the direction we are going in and continue on’, I feel like I am almost a veteran of New Music. We need new strength and faith. If you don’t water a plant, it will wither and die, and when concert organisers stop offering something, then there will be no audience for it. It’s as simple as that. We as advocates of classical music face great challenges, especially in terms of communication, and when the atmosphere changes, we have to adapt.

NYFFELER: How?

HAEFLIGER: The things I believe in have to be communicated differently if they are to be perceived by today’s audiences. You have to use social media and ask yourself: how can I exploit that on the radio, as a stream, how can I communicate it in advance? In short: how can I create a positive result? If you don’t manage that, you will fail sooner or later, in particular in contemporary music, which has always been a challenge. It’s easy to lose one’s way.

NYFFELER: Could you say a bit more about the ‘rear-guard action’ you mentioned?

HAEFLIGER: The extreme case would be that modern music is no longer performed at all. At first Schoenberg or Stravinsky are still performed, but then one looks back to Debussy and Ravel, and finally one wonders whether one should perform Beethoven or Brahms. And that is when the whole thing collapses.

ROßNAGL: At the Lucerne Festival I heard someone say “I can’t listen to Brahms all the time, I’m glad that there’s contemporary music here.“ That gives us hope. We have to do everything we can, creatively and financially, to maintain the complexity I have mentioned. It’s the only way we can deal with the challenges of reality.

HOPP: As far as orchestral music is concerned, the räsonanz initiative has come at just the right time. We have a generational change, and the young musicians who have entered the ranks in recent years did not personally experience Messiaen and Xenakis. This means that in their eyes post-war modern music is no longer conveyed by the personality of the composer and the aesthetic debates of that time. They are unburdened by such controversies and open for all currents of the recent past and the present. New Music is slowly becoming an accepted part of the repertoire, not only within the orchestra, but also in the public. We at musica viva are at the fore here, and the concert world will, without doubt, follow in our footsteps. räsonanz is the perfect way of giving this process of repertoire expansion a kick start.

Translation: Andrew Williams

räsonanz Stifterkonzert Lucerne 2017 räsonanz-Stifterkonzert in Lucerne is part of the Easter Festival of LUCERNE FESTIVAL:

KKL Lucerne, Concert Hall | April 8, 2017| 6:30 p.m.

5:30 p.m. Concert introduction Mark Sattler

Wolfgang Rihm (*1952) Gruss-Moment 2 - in memoriam Pierre Boulez for orchestra (2016) Swiss premiere

Wolfgang Rihm Requiem-Strophen for solos, mixed choir and orchestra (2016) Swiss premiere | Commissioned by musica viva of Bayerischer Rundfunk

Bavarian Radio Symphony Orchestra Bavarian Radio Choir Mojca Erdmann, soprano Anna Prohaska, soprano Hanno Müller-Brachmann, baritone Mariss Jansons, conductor

Further information: www.lucernefestival.ch

räsonanz Stifterkonzert Munich 2018 räsonanz – Stifterkonzert An initiative of the Ernst von Siemens Music Foundation, in cooperation with musica viva of Bayerischer Rundfunk.

Prinzregententheater, Munich | June 9, 2018 | 7 p.m.

5:45 p.m. Concert introduction

Elliott Carter (1908-2012) Instances (2012) for chamber orchestra

George Benjamin (*1960) Three inventions (1995) for chamber orchestra

Enno Poppe (*1969) Filz (2014) Concerto for viola and chamber orchestra

Elliott Carter Penthode (1985) for five groups of four instrumentalists

György Ligeti (1923-2006) Concerto for piano and orchestra (1985/1988)

Tabea Zimmermann, viola Pierre-Laurent Aimard, piano Chamber Orchestra of Europe David Robertson, conductor

räsonanz – STIFTERKONZERT MUNICH 2017

räsonanz Stifterkonzert – Ernst von Siemens Musikstiftung

Prinzregententheater, Munich | 1 April 2017 | 7 p.m.

Luciano Berio (1925 – 2003) Call (St. Louis Fanfare) for 5 brass instruments (1985, rev. 1987)

György Ligeti (1923 – 2006) Lux Aeterna for 16-part mixed choir a capella (1966)

Claude Vivier (1948 – 1983) Lonely Child for soprano and chamber orchestra (1980)

Luciano Berio (1925 – 2003) Coro for 40 voices and instruments (1975 / 76, rev. 1977)

Sophia Burgos, Soprano

MusicAeterna Choir Vitaly Polonsky, Chorus Master

Mahler Chamber Orchestra

Teodor Currentzis, Conductor

Claude Vivier on Lonely Child

Lonely Child is a long song of solitude. For the musical construction I wanted to have total power for expression, for musical development on the piece I was composing without using chords, harmony or counterpoint. I wanted to work up to very homophonic music that would be transformed into one single melody, which would be “intervalized”. I had already composed a first melody heard at the beginning of the piece for dancers. I subsequently developed this melody in five “intervalized” melodic fragments that is by adding one note below each note, which creates intervals—thirds, fifths, minor seconds, major seconds etc. If the frequencies of each interval are added, a timbre is created. Thus, there are no longer any chords, and the entire orchestra is then transformed into a timbre. The roughness and the intensity of this timbre depends on the base interval. Musically speaking, there was only one thing I needed to control, which automatically, somehow, would create the rest of the music, that is great beams of color!

— Claude Vivier

Claude Vivier in conversation with Susan Frykberg

CLAUDE VIVIER: […] In our civilization, people always expect answers. An aesthetic answer, to say, ah ha! this is the truth. And political systems are the same thing. They try to find answers and they try to apply those answers to masses of human beings. Which is sometimes very dangerous to individual lives. What’s happening now is that there’s a total shift in the political fuse and…

SUSAN FRYKBERG: So you always ask questions in your music…what sort of questions?

CLAUDE VIVIER: Time, love, intimate ones usually. But it’s hard to say I ask questions in my music, because music is such a … Once you’ve got the piece there, it’s done, you know. My music is a paradox. Usually in music you have some development, some direction or some aim, the big bang or crescendo or whatever which in my music, happens less and less. I just have statements, musical statements, which somehow, lead nowhere. Also on the other hand, they lead somewhere, but it’s on a much more subtle basis. Not on the basis of mastering the crescendo or mastering the actual expectations of the listeners, I mean expectations in the dramatic sense. Very often my music doesn’t have these expectations. It’s often only statements, very clear statements, sometimes with dramatic curves, but not as in romantic music.

SUSAN FRYKBERG: With that attitude, can you compare yourself to any past composers?

CLAUDE VIVIER: I could compare myself with some Japanese musics or Balinese musics. Among the western composers I could compare myself with Mozart and Chopin.

SUSAN FRYKBERG: Mozart or Chopin?

CLAUDE VIVIER: Yeah.

SUSAN FRYKBERG: How? I mean, Chopin’s really romantic, with dramatic curves and...

CLAUDE VIVIER: Well, there’s always curves…but there is in both those composers a purity in terms of line, melody, harmony and style of development, where you have a cell, getting bigger and bigger and developing itself.

SUSAN FRYKBERG: But that’s not what we were talking about before, which was about clear statements. They’re definitely going somewhere.

CLAUDE VIVIER: Yes, it is going somewhere, but it’s not going where…

SUSAN FRYKBERG: Brahms takes it.

CLAUDE VIVIER: or Beethoven or even Bach. Oh! It’s hard to define this. Because I’m not anti- gestural per se – anti-gestural would be some pieces of those artists in New York, where you have nothing. But here, if you have a melody then it has to go somewhere. SUSAN FRYKBERG: You could almost say then that it’s anti-romantic.

CLAUDE VIVIER: It’s anti-romantic, but people would say it’s romantic sometimes. Which shows a very bad understanding of romantic music itself. Actually maybe the best examples of my music are those last pieces … Copernicus, Lonely Child, Marco Polo, Samarkand, Orion … Boukhara. There I dropped completely what was terribly important in western music, counterpoint, and I was only working with melody. That’s the most important link with non-western music. The melody is almost automatic. There’s a lot of automism in my music in fact, even if it doesn’t sound like it. The melody gives the colors, and sometimes even a counterpoint, but only as a matter of phase- shifting, and even the phase-shifting, I use it less and less.

SUSAN FRYKBERG: Well, Lonely Child seems to be pure melody.

CLAUDE VIVIER: It’s pure melody, with colors on top of it, and the colors are contrapuntal. Whereas Boukhara, which is the purest one I’ve done – 13 minutes of melody – there’s only the colors. And the very last one, Et Je Rêverai Cette Ville Etrange, there’s only melody. In the opera I used harmony, in Orion I used mirror chords, things like that, to get the colors, and in Lonely Child I use the colors. I’ve gotten maybe to the purest form of one melody, in Et Je Rêverai Cette Ville Etrange. In Marco Polo, I did a whole development with one sound; interval, harmony, harmony plus colors, interval plus colors, and that made up the whole piece. And in that piece, there is a fluidity of melodic treatment and development to color. And there are sometimes lines, and even directions…and transformations of the colors. For instance, sheer color to rhythmical patterns to noise…

SUSAN FRYKBERG: This is getting back to your notion of cellular development.

CLAUDE VIVIER: Yeah. But it’s also process development … Though not in the last one. There’s a process, somehow the color goes somewhere. But at the same time, because of the melody, there is a stasis, it doesn’t really go anywhere! […]

Musicworks No. 18, Winter 1982.

BIOGRAPHIES

Biography Luciano Berio

Luciano Berio’s biography begins like the story of many composers of the past: his ancestors were all musicians ever since the 18th century. He was born in a small town, Oneglia, where his grandfather and his father played the organ in a local church and also composed. (Universal Edition has published some of their works in the volume Berio Family Album where Luciano’s pieces are printed along with Adolfo and Ernesto Berio’s). While Ernesto Berio was an ardent admirer of the Duce, his son was an equally ardent antifascist – ardent and furious: he could not forgive Mussolini for falsifying music history by suppressing the works of the pioneering composers of the 20th century. Having grown up in the provinces, Berio was in any case handicapped by having been cut off from cultural life but Italian fascism aggravated his isolation by depriving him of access to music which would have been so essential for his development. Berio was convinced of the need for young composers to come to terms with the achievements of their predecessors by studying their scores and writing music in various styles. He owed a great deal to his teacher Ghedini under whose influence he learned to love and respect the music of Monteverdi (in 1966, he was to make an arrangement of Il Combattimento di Tancredi e Clorinda); also to his friend Bruno Maderna (“I learned for instance from the way he conducted Mozart or my works and his own. He had a thorough knowledge of early counterpoint, Dufay and the others, and studied electronic music much earlier than I did). Berio and Maderna founded together the Studio di Fonologia Musicale (1955) where Mutazioni, Perspectives and Thema (Omaggio a Joyce) as well as Différences were composed. They also established a journal, Incontri musicali (1956–1960) a title which they also gave to a concert series, with Boulez, Scherchen, Maderna among the conductors. (“We had many enemies. I remember on one occasion, when Boulez was conducting, it came to a scuffle so that the police had to intervene”). Next to Ghedini and Maderna, Berio also learned a great deal from Pousseur whom he had met in Darmstadt in 1954. “If I look back at those years – he was to say – I feel gratitude to three people: Ghedini, Maderna and Pousseur. After all, I was still the young man from Oneglia and I needed their help to understand many things about music”. Over the years and decades, Luciano Berio grew to become a towering figure in international musical life. Similarly to a handful of other composers, all born in the 1920’s (including Boulez and Nono), whatever he produced became a milestone in the history of music – whether works for solo instruments and solo voice (the Sequenza-series), pieces for chamber ensemble (including the Chemins based on some of the Sequenze), orchestra (Sinfonia – with eight voices added to the ensemble - is to this day a representative composition of the 1960’s),chorus and orchestra (Coro being an emblematic treatment of folk music within the framework of a contemporary composition), voice and orchestra (such as Epiphanies), solo voice, chorus and orchestra (Berio’s farewell to composition: Stanze for baritone, male chorus and orchestra) and all his music theatre pieces (Passaggio, La vera storia, Un re in ascolto, Laborintus II…). He never lost his awareness of and interest in his predecessors – hence his reconstruction of an unfinished Schubert symphony in Rendering, his arrangements and instrumentations of Purcell, Boccherini, de Falla, Verdi, Mahler, Puccini, Weill. Neither did he close his ears to music outside the sphere of the concert hall and theatre: he was an admirer of the Beatles and arranged some of their hits. He also orchestrated a bunch of folksongs under the eponymous title Folk Songs which has in its turn also become a hit. Luciano Berio was conscious of his responsibilities as a member of society. He said he could not understand composers who deluded themselves to be a mouthpiece of the universe or mankind. As he put it: “In my view it is enough if we endeavour to become responsible children of society”. © Universal Edition

Biography György Ligeti

“One of my compositional intentions is to create an illusory musical space where what was originally movement and time presents itself as immovable and timeless.” This remark made in 1990 by György Ligeti (1923 – 2006) on the occasion of one of his late piano études sheds light on his entire creative work. Indeed, the notion referred to here of an imaginary musical space forms the foundation of his music. In this musical space unfolding before the listener Ligeti introduces, with the greatest plasticity, processes into his work – like the gradual compression of a fabric of sound or the catastrophic descent into the deepest regions of sound. Another key element of his music is this switching of dynamics into statics referred to in the quote. His work often displays a coagulation, so to speak, of tonal processes or, the opposite, a liquefaction of solid states. György Ligeti was born on May 28, 1923 in a small town in the Hungarian-Romanian border region of Transylvania, about 100 km from Cluj (Klausenburg). He had an enthusiasm for both music and the natural sciences. His interest in mathematics and chemistry stayed with Ligeti his whole life receiving inspiration for music composition ideas from both disciplines. As a Hungarian Jew Ligeti experienced traumatic xenophobia and antisemitism during his youth. His father and younger brother were deported to a concentration camp and fell victim to the Holocaust in 1945. Ligeti himself only narrowly escaped this fate. In 1949 he was able to conclude his studies of music at the Budapest Academy of Music that had been interrupted by the war in 1942. In 1950 he became a professor there. His works from that time, which followed on from Bartok in a productive sense, were very far removed from the official doctrine of Socialist Realism and in communist Hungary had no chance of being performed. During the Hungarian Uprising in 1956 Ligeti emigrated to the West coming into contact with the western avant-garde for the first time. He took part in the Darmstadt Summer Courses featuring Karlheinz Stockhausen and Pierre Boulez where he was primarily perceived as a brilliant analyst and theoretician. He caused even greater furor with the premiere of his orchestral works Apparitions (1959) and particularly Atmosphères (1961). These works brought Ligeti his breakthrough as a composer. Unlike the pointed compositions at the Darmstadt School, which were essentially split into individual events, in these works Ligeti worked with a continual stream of sound in which the individual voices were submerged. In many of his later works, once again gradually using clearly emerging melodic elements, Ligeti’s interest focused on the composition of the sound, its density, its volume, its start and finish. Although since Atmosphères Ligeti was considered a leading composer of New Music, for a long time he had to manage on grants, composition commissions and temporary lectureships including ones in Stockholm and at Stanford University. In 1975 he finally received a professorship at the Hamburg Academy of Music where he taught until his retirement in 1989. Involuntarily his music was made known to a wide audience beyond the concert hall when in 1968 director Stanley Kubrick used excerpts from Atmosphères and other works by Ligeti – without the composer’s knowledge or consent – as music in his film 2001: A Space Odyssey. Ligeti’s only opera Le Grand Macabre, premiering in 1978, marks a turning point in his work. Upon its completion the otherwise so productive Ligeti composed practically nothing for about five years. Concluded in 1982 his Trio for Violin, Horn and Piano heralded in a new creative phase. This was marked by a new relationship to tradition involving an intense preoccupation with rhythmic and metrical issues such as the extension of the sound material through the inclusion of natural, untempered intervals. It was also during this phase that his series of piano études, which were to number 18 in total, begun in 1985. These at times farcical virtuoso pieces have already found their place in the piano repertoire. György Ligeti died in Vienna after protracted illness on June 12, 2006. © Volker Rülke, Berliner Festspiele / Musikfest Berlin

Biography Claude Vivier

Claude Vivier (14 April 1948 - 7 March 1983) was a Canadian composer. Born to unknown parents in Montreal, Vivier was adopted at the age of three by a poor French-Canadian family. From the age of thirteen he attended boarding schools run by the Marist Brothers, a religious order that prepared young boys for a vocation in the priesthood. The young Vivier's religious inclinations were supplanted by a love of modern poetry and music. Upon being asked to leave the novitiate at the age of eighteen, he enrolled the following year at the Conservatoire de Musique de Montréal, where his main teacher was the composer Gilles Tremblay. His earliest works date from this period. In 1971 he began a period of three years' study in Europe, first at the Institute for Sonology in Utrecht, and then in Cologne with Karlheinz Stockhausen. Vivier learned much from Stockhausen, even though his later works bear little audible resemblance. In 1974 he returned to Montreal and began to establish his reputation. Early works like Lettura di Dante were performed with some success at the concerts of the SMCQ. In autumn 1976 he undertook a long trip to the East, notably to Japan and Bali; the music he encountered there made a profound effect on him. Subsequent compositions like Pulau Dewata show the impact quite audibly; but in later works the influence has been digested and goes much deeper. Vivier's opera Kopernikus, to his own libretto, was premiered on 8 May 1980, at the Théâtre du Monument National in Montreal. By that time he had begun to compose in a somewhat different manner, influenced by the techniques of French spectral music, and was notably influenced by Gérard Grisey and Tristan Murail. The first of the works in this new manner, Lonely Child (1980) for soprano and orchestra, has become his best-known work. This and other late scores of Vivier, including Prologue pour un Marco Polo and Wo bist du Licht! were intended for inclusion in an unfinished "opéra fleuve" entitled Rêves d'un Marco Polo. In June 1982, with the help of a Canada Council grant, Vivier left Montreal for Paris, where he began work on an opera based on the death of Tchaikovsky. In March the following year he was stabbed to death by a young Parisian man who may have been a prospective lover and who was later caught and sentenced. His last work was the unfinished Glaubst du an die Unsterblichkeit der Seele, which contains a disturbing premonition of his untimely death. © Copyright ClaudeVivier.Com 2009.

Biography Sophia Burgos

Puerto Rican-American soprano, Sophia Burgos, is a passionate interpreter of vocal works ranging from concert repertoire and chamber music to contemporary opera, collaborating with artists in the United States and Europe. This season Ms. Burgos joins Teodor Currentzis and the Mahler Chamber Orchestra for Claude Vivier’s Lonely Child at the Prinzregententheater in Munich and the Bregenzer Festspiele to premiere the role of Lily Briscoe in To The Lighthouse by Zesses Seglias with text by Virginia Woolf based on the book of the same title. She also joins the Het Gelders Orkest and Antonello Manacorda for the premiere of Robin de Raaff's Emily Dickinson Songs for voice and orchestra in Arnhem, Apeldoorn, and Nijmegen, Holland. Future engagements include Bernstein's Songfest with the BBC Symphony Orchestra in 2018. In the 2015/16 season, Ms. Burgos made her European operatic debut premiering the title role of Maria Republica by François Paris with Nantes-Angers. In March of 2015, Ms. Burgos had the pleasure of singing the title role of Jennie in the New York premiere of Oliver Knussen’s Higglety Pigglety Pop! with the Bard College Conservatory. She also had the great honor of making her Carnegie Hall debut performing Correspondances by Henri Dutilleux with the American Symphony Orchestra. A champion of new works, Ms. Burgos has collaborated with esteemed composers such as Andre Previn, premiering his Two Lyric Songs: The Waking as part of the 75th year anniversary of the Tanglewood Music Center, and was recognized in her performance of George Crumb’s Ancient Voices of Children by the London Times for “making light of the vocal part’s virtuoso technical demands… with an always beautiful sound.” Sophia Burgos earned her Bachelor’s degree from the Eastman School of Music where she collaborated with Brad Lubman and the Muscia Nova Ensemble performing works such as Akrostichon Wortspiel by Unsuk Chin and Steve Reich’s Tehillim. She also had the pleasure of performing Knoxville Summer of 1915 by Samuel Barber in the Eastman Theatre with the Graduate Chamber Orchestra as the winner of the Eastman concerto competition. In 2013, Ms. Burgos was awarded third place in both the Friends of Eastman Opera competition and the Jesse Kneisel Lieder Competition. She completed her Master’s Degree at the Bard College Conservatory’s Graduate Vocal Arts Program where she portrayed the title role of Handel’s rarely performed oratorio, Esther, conducted by James Bagwell, and the role of Angel Gabriel in Haydn’s The Creation with the Bard Conservatory Orchestra and members of the American Symphony Orchestra. Under the close mentorship of renowned American soprano Dawn Upshaw, Burgos has performed art song and contemporary music recitals throughout New York City and the Hudson Valley. In addition to her artistry as a singer, Ms. Burgos is passionate about education and outreach through art, holding a degree and certification in Music Education. She is vegan, and deeply interested in animal rights. Originally from Chicago, IL her earliest musical influences were Spanish folk song and dance as she and her family are strongly tied to their Puerto Rican heritage. She is currently living in Basel, Switzerland pursuing a Master’s Degree in Contemporary Music at the Basel Hochschule für Musik. Her dearest mentors are Barbara Hannigan and Dawn Upshaw. Biography Teodor Currentzis

Teodor Currentzis is the Artistic Director of the Perm State Opera and Ballet Theatre, Artistic Director of the ensemble MusicAeterna and of the MusicAeterna Chamber Choir, both formed in 2004, during his tenure as Music Director of the Novosibirsk State Opera and Orchestra (2004– 2010). MusicAeterna, now resident in Perm, has been granted the status of the first orchestra of Perm State Theatre of Opera and Ballet. In 2016/17, Teodor will travel across Europe with MusicAeterna, touring semi-staged performances of Purcell’s The Indian Queen, as well as a programmes of music by Rameau, Mozart and Beethoven. He will also debut at Salzburg Festival with MusicAeterna in a new production of La clemenza di Tito. More European dates follow in 2016, including appearances with Camerata Salzburg. As an Artistic Partner of the Mahler Chamber Orchestra, Teodor will join with the orchestra on tour with Pekka Kuusisto, Barbara Hannigan and MusicAeterna Choir. Further highlights include performances with Vienna Symphony and Patricia Kopatchinskaja. Teodor Currentzis and MusicAeterna are exclusive Sony artists and this year will release the final disc of the Mozart-Da Ponte trilogy, Don Giovanni. Earlier this year, they released a disc of Stravinsky’s Les Noces and Tchaikovsky’s Violin Concerto, with Patricia Kopatchinskaja. Previous recordings include Shostakovich’s Symphony No. 14, Mozart’s Requiem and Purcell’s Dido and Aeneas all on the Alpha label and the Shostakovich Piano Concertos with Alexander Melnikov and the Mahler Chamber Orchestra on the Harmonia Mundi label. In 2016, the ECHO Klassik for ‘Symphonic Recording (20th/21st century music)’ was awarded to Teodor and MusicAeterna, for their recording of Stravinsky’s Le Sacre du Printemps released on Sony Classical. Teodor was also nominated along with his brother, Vangelino Currentzis, for a daytime Emmy Award, in the category of Outstanding Music Direction and Composition, for the recording and composition of the soundtrack of the Europeon Games opening ceremony in Baku, 2015. Since 2005, Teodor has received Russia’s prestigious Golden Mask theatrical award many times, most recently in 2015 together with the Perm Opera and Ballet Theatre he received five awards for Indian Queen including Best Opera Conductor. In 2013 the Theatre received four Awards, two of which for Best Opera Conductor and Best Ballet Conductor. Previous awards include the Best Opera Conductor award (Wozzeck, Bolshoi 2009), for a “brilliant performance of Prokofiev’s score” (Cinderella, 2007) and for “outstanding results in the area of authentic performance” (The Marriage of Figaro, 2008). In 2006, combining his knowledge and passion for early music with contemporary composers and new music, Teodor started the Territoria Modern Art Festival, which in a short space of time has become the most prestigious and progressive annual music festival in Moscow. For the past three years, Teodor has also curated the Diaghilev Festival, held in the home of the composer’s birth town in Russia. Born in Greece, Russia has become Teodor’s home since the beginning of the 1990s, when he began studying conducting at the state conservatory of St. Petersburg, under the tutelage of Professor Ilya Musin, whose pupils, among others, were renowned conductors Odyseuss Dimitriadis, Valery Gergiev, and Semyon Bychkov. MusicAeterna Choir

MusicAeterna Choir is part of the Perm State Opera and Ballet Theatre. The artistic Director is Teodor Currentzis, the principal choirmaster Vitaly Polonsky. The first presentation of the chorus in its current complement took place in Perm in 2011. The repertoire of the chorus, essentially performed in the authentic manner, embraces different styles and historical periods. The concert programmes of the ensemble include the works of the foreign baroque composers, the masterpieces of the Russian choral music of the 18th – 20th centuries and contemporary pieces. In February 2014, the chorus, together with the orchestra musicAeterna, had a triumphant series of performances in Berlin, Paris, Lisbon and Athens with a concert version of Purcell's Dido and Aeneas and Handel's psalm Dixit Dominus. Discography: Mozart’s Le nozze di Figaro (released in February 2014) and Cosi fan tutte, Stravinsky’s Les noces – all recorded by Sony Classical. In the autumn of 2013, the chorus took part in the video recording of Purcell's opera The Indian Queen, directed by Peter Sellars and conducted by Teodor Currentzis. The DVD was also released by Sony. In summer 2015, musicAeterna choir was the headliner of Aix-en-Provence Festival, performing works of William Byrd, Bach, Sergei Taneyev, Igor Stravinsky and Alfred Schnittke as well as Alcina by Handel staged by Katie Mitchell (UK) and Abduction from the Seraglio by Mozart, staged by Martin Kušej.

Mahler Chamber Orchestra

The Mahler Chamber Orchestra (MCO) was founded in 1997 based on the shared vision of being a free and international ensemble, dedicated to creating and sharing exceptional experiences in classical music. With 45 members spanning 20 different countries at its core, the MCO works as a nomadic collective of passionate musicians uniting for specific tours in Europe and across the world. The orchestra is constantly on the move: it has, to date, performed in 35 countries across five continents. It is governed collectively by its management team and orchestra board; decisions are made democratically with the participation of all musicians. The MCO’s sound is characterized by the chamber music style of ensemble playing among its alert and independent musical personalities. Its core repertoire, ranging from the Viennese classical and early Romantic periods to contemporary works and world premieres, reflects the MCO’s agility in crossing musical boundaries. The orchestra received its most significant artistic impulses from its founding mentor, Claudio Abbado, and from Conductor Laureate Daniel Harding. Pianist Mitsuko Uchida, violinist Isabelle Faust and conductor Teodor Currentzis are current Artistic Partners who inspire and shape the orchestra during long-term collaborations. In 2016, conductor Daniele Gatti was appointed Artistic Advisor of the MCO. MCO musicians all share a strong desire to continually deepen their engagement with audiences. This has inspired a growing number of offstage musical encounters and projects that bring music, learning and creativity to communities across the globe. Feel the Music, the MCO’s flagship education and outreach project, has opened the world of music to deaf and hard of hearing children through interactive workshops in schools and concert halls since 2012. MCO musicians are equally committed to sharing their passion and expertise with the next generation of musicians: since 2009, they have, through the MCO Academy, worked with young musicians to provide them with a high quality orchestral experience and a unique platform for networking and international exchange. In recent years, the MCO’s major projects have included the award-winning Beethoven Journey with pianist Leif Ove Andsnes, who led the complete Beethoven concerto cycle from the keyboard in international residences over four years, and the opera production Written on Skin, which the MCO premiered at the Festival d’Aix en Provence under the baton of composer George Benjamin, performed at the Mostly Mozart Festival in New York and toured, as a semi-staged concert production, to major European cities. In 2016, the MCO and Mitsuko Uchida embarked on a multiple-season partnership centred on Mozart’s piano concertos. Upon the conclusion of a complete cycle of Beethoven symphonies, the MCO and Daniele Gatti continue their focus on symphonic cycles in the upcoming seasons. The MCO looks ahead to a series of distinguished projects, including outstanding collaborations with its Artistic Partners, in the first months of 2017. The year begins with a residency at the International Music Festival of the Canary Islands under the direction of Jakub Hrůša, while February sees the MCO giving its debut concert in Hamburg’s Elbphilharmonie with Mitsuko Uchida. The spring features the MCO’s first collaboration with pianist Daniil Trifonov, performances of Luciano Berio’s Coro under the direction of Teodor Currentzis, two tours with Daniele Gatti and the MCO’s residency at the Festival de Saint-Denis 2017. The Mahler Chamber Orchestra has been awarded the Special Mention Prize of the German Design Award 2017 in recognition of its brand identity.

PHOTOS COMPOSERS AND PERFORMERS

Photos composers and performers

Further information, photos of composers and performers, photos of the concert as well as press images of the initiators: http://www.evs-musikstiftung.ch/en/press.html

Contact: Imke List | [email protected] | T. +49 / (0)89 / 6 36 - 3 29 07

LB 1 LB 2 Luciano Berio Founder Ernst von Siemens with Luciano Berio, © Centro Studi Luciano Berio Ernst von Siemens Musikpreis 1989 © Anne Kirchberg

GL 1 GL 2 György Ligeti György Ligeti © Peter Andersen © H.J. Kropp

CV 1 CV 2 Claude Vivier Claude Vivier © Boosey & Hawkes, New York © Boosey & Hawkes, New York

SB 1 SB 2 Sophia Burgos Sophia Burgos © Kate Lemmon Photography © Kate Lemmon Photography

TC 1 Teodor Currentzis © Anton Zavjyalov

MC 1 MCO 1 MusicAeterna Choir Mahler Chamber Orchestra © Olya Runyova © Molina Visuals

musica viva OF THE BAVARIAN RADIO AND LUCERNE FESTIVAL

Media Release

Summer Festival 11 August to 10 September 2017

Festival Theme of "Identity" Riccardo Chailly and the Lucerne Festival Orchestra will devote themselves to symphonic programs featuring works by Mendelssohn, Strauss, Stravinsky, and Tchaikovsky Lucerne Festival Academy: Wolfgang Rihm leads the second Composer Seminar, and Academy students will work with Matthias Pintscher and Heinz Holliger as well the "artistes étoiles" Patricia Kopatchinskaja and Jay Campbell Michel van der Aa is composer-in-residence 30 symphony concerts featuring the Berlin and Vienna Philharmonics, the Royal Concertgebouw Orchestra Amsterdam, the West-Eastern Divan Orchestra, the Chamber Orchestra of Europe, the Pittsburgh Symphony Orchestra, the Mariinsky Orchestra, and many more orchestras Lucerne, 22 February 2017. In the summer of 2017 Lucerne Festival will be devoted to the theme of "Identity." The question of identity sheds light on how people in the present and throughout history have been shaped by their origin, homeland, belief, culture, and religion. Moving around the globe like nomads to play in New York today and in Tokyo tomorrow, many musicians are compelled to deal with constantly changing environments. Refugees who come from war zones to Europe seek to navigate between the desire to integrate and to preserve their own identity. The Special Event Day on 27 August will explore the theme of "Identity" with 14 concerts over a 12-hour period: they include Mozart’s Idomeneo in a new version incorporating refugees, Jordi Savall and his ensembles retracing the slave routes from the 15th to the 19th centuries, and a total of seven short concerts in the Kunstmuseum featuring the Lucerne Festival Academy, Wolfgang Rihm, Patricia Kopatchinskaja, and Jay Campbell. (Please see separate media release on the Special Event Day.)

Other explorations of the Festival theme will focus on the legacy of such pivotal composers as Claudio Monteverdi, the pioneer of the language that would become modern classical music, whose 450th birthday is being celebrated in 2017. All three of Monteverdi’s surviving operas, L’Orfeo, Il ritorno d’Ulisse in patria, and L’incoronazione di Poppea, will be presented by the English Baroque Soloists under the direction of Sir John Eliot Gardiner in a staging by Elsa Rooke. The search for authenticity and naturalness characterizes the work of Gustav Mahler. Christian Gerhaher will sing the Rückert Lieder and, with Anna Lucia Richter, selected lieder from Des Knaben Wunderhorn in two concerts with the Chamber Orchestra of Europe and Bernard Haitink on 13 and 15 August.

A composer whose musical identity was attacked by the political system of his homeland, by Stalinism, was Dmitri Shostakovich. Three of his symphonies and the Concerto for Piano, Trumpet, and String Orchestra will be performed. Sergei Prokofiev meanwhile left his homeland after the October Revolution, only to return to Stalin’s Soviet Union in 1935, driven by homesickness – and he, too, was bullied by the authorities. His five piano concertos will be played in a single evening by soloists Daniil Trifonov and other pianists in a concert with the Mariinsky Orchestra under Valery Gergiev.

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The Special Event Day will include numerous works by Béla Bartók, who researched the primeval peasant music of the Balkans to develop a new musical language from it; also on the bill are his Violin Concerto, as performed by Patricia Kopatchinskaja, and the highly virtuosic ballet score The Wooden Prince, played by the Orchestra of the Lucerne Festival Academy. A series titled "Identities" will be devoted to exploring a wide variety of perspectives on the Festival theme, from contemporary engagement with Swiss folk music (Holliger’s Alb-Chehr and a new work by Helena Winkelman) through a retrospective of Bohemian music to a staged concert with Patricia Kopatchinskaja and the project "symphony.land," which entails a performance of Beethoven’s Fourth Symphony by an ensemble of refugees.

Riccardo Chailly and the Lucerne Festival Orchestra This summer Riccardo Chailly will focus his work with the Lucerne Festival Orchestra on three symphonic programs in which the Orchestra will tap into a new repertoire. For the Opening Concert and its reprise the next day, Riccardo Chailly has chosen to concentrate on Richard Strauss: on the bill are Thus Spoke Zarathustra, Death and Transfiguration, and Till Eulenspiegel’s Merry Pranks. The second concert program will pair Mendelssohn’s incidental music to A Midsummer Night’s Dream with Tchaikovsky’s Manfred Symphony – two works that grapple with the theme of a "Identity" in very different ways, the first as a burlesque, the second tragically. In an additional concert, Chailly puts Igor Stravinsky in the spotlight: culminating in Le Sacre du Printemps, the concert will include four early works leading up to that breakthrough score. Along with Le Faune et la Bergère, sung by Sophie Koch, these are Scherzo fantastique, Feu d’artifice, and, in its Swiss premiere, the Chant funèbre, which was long believed to have been lost.

International Symphony Orchestras and Soloists This summer the Festival once again has invited the most acclaimed symphony orchestras and soloists to Lucerne. Within a single month the widest variety of ensembles, each with its own sound and identity, can be heard, from the Viennese style of the Vienna Philharmonic, which will be led this time by Michael Tilson Thomas and Daniel Harding, through the Russian school of the Mariinsky Orchestra with Valery Gergiev to American orchestral culture as exemplified by the Pittsburgh Symphony Orchestra, with Manfred Honeck and Anne-Sophie Mutter. "Old Europe" will also be represented by the Royal Concertgebouw Orchestra Amsterdam and Daniele Gatti as well as the Berlin Philharmonic, which will be giving its final performances with its Music Director Sir Simon Rattle in Lucerne. The Filarmonica della Scala is coming for the first time with Riccardo Chailly to Lucerne, with Leonidas Kavakos as soloist. The City of Birmingham Symphony Orchestra will perform under its new Music Director Mirga Gražinytė-Tyla. Charles Dutoit and Martha Argerich will appear with the Royal Philharmonic Orchestra, and the Shanghai Symphony Orchestra will become the first Chinese orchestra to play at the Festival. The West-Eastern Divan Orchestra with Daniel Barenboim will also offer insights on the theme of "Identity." Philippe Jordan will conduct the Orchestre de l’Opéra national de Paris, while two regular guests, the Chamber Orchestra of Europe led by Bernard Haitink and the Mahler Chamber Orchestra with François-Xavier Roth, are also part of the program.

Lucerne Festival Academy This year the Artistic Director of the Lucerne Festival Academy, Wolfgang Rihm, is once again offering the Composer Seminar, which is a platform for young composers to discuss their work, develop it further, and present it in three events (on 26 and 27 August and in a 40min concert). During its first week the seminar will additionally be open to the public.

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Principal Conductor Matthias Pintscher will lead the Orchestra of the Lucerne Festival Academy in three performances. Among other works he will conduct Friedrich Cerha’s Spiegel I-VII. The works that Lisa Streich and Matthew Kaner have created as part of the Roche Young Commissions will receive their world premieres on 2 September under the direction of the young conductors Gregor Mayrhofer and Jeffrey Means. In the same concert, Pintscher will conduct the world premiere of Luca Francesconi’s new Cello Concerto for Jay Campbell. "Artiste étoile" Patricia Kopatchinskaja will join with the Orchestra of the Lucerne Festival Academy to play Heinz Holliger’s Violin Concerto, which the composer himself will conduct.

Composer-in-Residence Michel van der Aa Composer-in-residence Michel van der Aa frequently plays with the theme of "Identity" in his creations. In his 3-D chamber opera Blank out the borders between reality and fiction, between what happens on stage and on film, are blurred. For the multimedia music theater work The Book of Disquiet van der Aa was inspired by Pessoa’s work of the same name; a Late Night event with the Lucerne Festival Academy will present his concerto Hysteresis, which juxtaposes the solo clarinetist with his digital alter ego as his own sounds become distorted and defamiliarized.

"Artistes étoiles" Patricia Kopatchinskaja and Jay Campbell "Artiste étoile" Patricia Kopatchinskaja sparkles with energy and ideas, which will be evident when she demonstrates the diversity of her repertoire at the Summer Festival. She will play violin concertos by Béla Bartók, Heinz Holliger, and György Ligeti. For the first time she will present the staged concert "Dies irae," a project in which she links current-day threats to humanity, from climate change to the refugee catastrophe, with apocalyptic musical scenarios by composers Heinrich Ignaz Franz Biber, George Crumb, Antonio Lotti, and Galina Ustvolskaya. The American cellist Jay Campbell, an alumnus of the Academy, will participate in the "Dies irae" project as a member of the JACK Quartet and is also an "artiste étoile" of the summer of 2017 – the youngest in the history of the Festival. The two "artistes étoiles" will perform together in the Festival opening and on the Special Event Day will play Kodály’s Op. 7 Duo for Violin and Cello. Jay Campbell will also give the world premiere of the new Cello Concerto by Luca Francesconi and will present Michel van der Aa’s Up-close.

Valentine Michaud is the winner of the Prix Credit Suisse Jeunes Solistes and will make her Festival debut this summer. As part of the Debut series, other young soloists and ensembles will also appear: the Spiegel Trio, the harpist Elisa Netzer, the cellist Chiara Enderle, the violinist Valeriy Sokolov, the trombonist and first prize-winner of the ARD Competition Michael Buchanan, and the Schumann Quartet.

In 2017, in its creative workshop Young Performance, Lucerne Festival Young, will bring eight alumni from the ranks of the Lucerne Festival Academy together with the dancer and choreographer Maged Mohamed. They will give the first staging of Kodály’s The Imperial Adventures of Háry János as a symphony concert with a narrator in a production for adults and children, with the Symphony Orchestra Basel under Kristiina Poska and with Florian von Manteuffel as the narrator. The Sonus Brass Ensemble will perform the staged concert Die Verblecherbande ("The Naughty Band of Brass"), and "artiste étoile" Patricia Kopatchinskaja will give a children’s pillow concert based on a story invented by her daughter Alice – which in turn inspired Heinz Holliger to write a children’s piece for a singing violinist. Die Zaubermuschel ("The Magic Shell") will be performed in co- production with the Petruschka Puppet Theater.

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40min, Interval, Soundzz, and free public viewing of the Opening Concert In 11 brief concerts that are hosted and free to attend, the 40min series offers Festival attendees as well as any interested listeners a look at the rehearsal process as well as various Festival projects. Interval is similarly a lounge, meeting point, and venue for extraordinary musical performances: it will again take place in 2017 in the KKL Luzern foyer. Through the Soundzz.z.zzz…z Competition, Lucerne Festival and the Kunstmuseum Luzern continue to foster a project situated at the threshold between music and visual art that will be presented during the course of the Festival. The traditional free public viewing of the Opening Concert will take place at Inseli Park in Lucerne just outside the KKL Luzern.

Online tickets sales for the Summer Festival begin on 13 March, starting at 12 noon (CET) at www.lucernefestival.ch

Contacts for Press and Public Relations Nina Steinhart, Head of PR | [email protected] | t +41 (0)41 226 44 43 Katharina Schillen | [email protected] | t +41 (0)41 226 44 59

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Saison

musica viva musica 17 MUS 18

Liebe Freunde der musica viva,

13 Veranstaltungen präsentiert die musica viva des Baye ri- schen Rundfunks im Laufe der neuen Spielzeit 2017/18. Und damit es übersichtlich und kompakt bleibt, haben wir wie- der alles zu fünf Veranstaltungsblöcken gruppiert, in deren Zentrum stets ein musica viva Orchesterkonzert mit dem Symphonieorchester des Bayerischen Rundfunks steht. So spielt in der kommenden Saison die musica viva im Sep tem- ber und Dezember, und im Januar, März und Juni.

36 Werke von 19 Komponisten werden präsentiert, darun- ter 7 Urauf führungen: Kompositionen von Ondrˇej Adámek (UA), Georges Aperghis (UA), Johann Sebastian Bach, George Benjamin, John Cage/Robert Moran (UA), Elliott Carter, Mor ton Feldman, Gérard Grisey, Markus Hechtle (UA), Ar nulf Herrmann, Wilhelm Killmayer, Helmut Lachen- mann (UA), Bernhard Lang, György Ligeti, Enno Poppe, Wolf- gang Rihm, Rebecca Saunders, Giacinto Scelsi, Jörg Wid- mann, Gerhard E. Winkler und Walter Zimmermann (UA).

Die neue Saison beginnt im September mit einem musica viva Wochenende von drei Veranstaltungen. Wilhelm Kill- mayer begeht seinen 90. Geburtstag, und auf dem Pro- gramm stehen seine Laudatu-Kompositionen für Chor und seine 3. Symphonie. Jörg Widmann gibt als Dirigent sein Debüt beim Symphonieorchester des Bayerischen Rund- funks. Ein Liederabend in der Allerheiligen-Hofkirche prä- sentiert einen neuen Liederzyklus von Walter Zimmer- mann.

Im Dezember ist Isabelle Faust bei der musica viva und beim Symphonieorchester des Bayerischen Rundfunks zu Gast: Der aus Tschechien stammende Komponist Ondrˇej Adá- stiftung das Chamber Orchestra of Europe mit Werken von mek hat für sie ein Violinkonzert geschrieben, dessen Ur - George Benjamin, Elliott Carter, Enno Poppe und György aufführung sie am Vorabend und bei einem anschließen- Ligeti. David Robertson leitet das für das Chamber Or- den Late Night Recital mit der Gesamtaufführung der So- chestra of Europe charakteristische Programm, mit dabei naten und Partiten von Johann Sebastian Bach rahmt. sind Tabea Zimmermann und Pierre-Laurent Aimard als Solisten.

Der aus Tel Aviv stammende Dirigent Ilan Volkov gibt im Januar sein Debüt beim Symphonieorchester des Bayeri- schen Rundfunks. Auf dem Programm steht ein neues Werk Viel Freude beim Besuch der Veranstaltungen von Markus Hechtle. Carolin Widmann gastiert als Solistin der musiva viva wünscht Ihnen mit einem für sie geschriebenen Violinkonzert von Rebecca Saunders. Wie Saunders Still basiert auch Morton Feldmans Oper Neither auf einem Text von Samuel Beckett. Solistin der konzertanten Aufführung von Neither ist Laura Aikin. Winrich Hopp Künstlerischer Leiter der musica viva des Bayerischen Rundfunks Die drei Veranstaltungen des musica viva Wochenendes im März widmen sich den Komponisten Georges Aperghis und Gérard Grisey. Von Grisey kommt sein berühmtes und abendfüllendes Orchesterwerk Les Espaces Acoustiques unter der Leitung von Stefan Asbury zur Aufführung. In einem Matineekonzert führen die Solisten des Sym pho- nieorchesters des Bayerischen Rundfunks Griseys Vortex Temporum auf. Das renommierte Ensemble Musikfabrik bringt ein neues 40-minütiges Ensemblewerk von Georges Aperghis zur Uraufführung.

Der Juni beschließt die Spielzeit 2017/18 mit einem weite- ren musica viva Wochenende: Auf dem Programm des Sym- phonie orchesters des Bayerischen Rundfunks steht die Urauf führung von Helmut Lachenmanns neuem Werk für 8 Hör ner und Orchester. Das Konzert wird am Folgetag wie- derholt, jeweils geleitet von Peter Eötvös und kombiniert mit Lachenmanns Serynade, gespielt von Pierre-Laurent Aimard. Im Prinzregententheater schließlich gastiert Dank der räso- nanz-Stifterkonzertinitiative der Ernst von Siemens Musik-

04 05 Veranstaltungstermine Saison 20172018 |

September 2017 musica viva Wochenende März 2018 musica viva Wochenende

musica viva Chorkonzert musica viva Orchesterkonzert Donnerstag 28. September 2017 freier Verkauf Freitag 16. März 2018 mv-Abo | freier Verkauf 20.30 h Jesuitenkirche St. Michael Seite 11 20.00 h Herkulessaal Seite 27

musica viva Orchesterkonzert musica viva Ensemblekonzert Freitag 29. September 2017 mv-Abo | freier Verkauf Samstag 17. März 2018 freier Verkauf 20.00 h Herkulessaal Seite 12 17.00 h Studio 1/Funkhaus BR Seite 28

musica viva Liederabend musica viva Matinee Samstag 30. September 2017 freier Verkauf Solisten des freier Verkauf 17.00 h Allerheiligen-Hofkirche Seite 13 Symphonieorchesters des BR Seite 29 Sonntag 18. März 2018 11.30 h Studio 1/Funkhaus BR Dezember 2017

musica viva Recital I: Juni 2018 musica viva Wochenende Isabelle Faust Donnerstag 14. Dezember 2017 freier Verkauf musica viva Orchesterkonzert 20.00 h Herkulessaal Seite 17 Donnerstag 7. Juni 2018 freier Verkauf 20 .00 h Herkulessaal Seite 32 musica viva Orchesterkonzert Freitag 8. Juni 2018 (Konzertwiederholung) mv-Abo | freier Verkauf Freitag 15. Dezember 2017 mv-Abo | freier Verkauf 20.00 h Herkulessaal Seite 32 19.00 h Herkulessaal Seite 18 Orchesterkonzert musica viva Recital II (Late Night): räsonanz–Konzertinitiative Isabelle Faust der Ernst von Siemens Musikstiftung Freitag 15. Dezember 2017 freier Verkauf Freitag 9. Juni 2018 freier Verkauf 22.00 h Herkulessaal Seite 19 19.00 h Prinzregententheater Seite 33

Januar 2018

musica viva Orchesterkonzert Donnerstag 19. Januar 2018 mv-Abo | freier Verkauf 20.00 h Herkulessaal Seite 23

06 07 28

30 29

September MUS musica viva Liederabend musica viva musica viva Chorkonzert I CA Orchesterkonzert viva 17 12 musica viva Wochenende 13 11 28.– 30. September 2017 musica viva Wochenende Sept. 2017 musica viva Chorkonzert Donnerstag John Cage 28. September 2017 [1912 – 1992] 20.30 Uhr Robert Moran Jesuitenkirche St. Michael [*1934] freier Verkauf Four 2 +3 [1990 / 2017] für acht Stimmgruppen Uraufführung Four 2 + 2 [1990 / 2017] für acht Stimmgruppen Uraufführung Wilhelm Killmayer zu Ehren I Wolfgang Rihm [*1952] Missa brevis [2015] für Chor a cappella

verschränkt mit

Wilhelm Killmayer Peter Kofler [*1927] Orgel Laudatu I [1967] Laudatu II [1969] Chor des für gemischten Chor Bayerischen Rundfunks nach Texten von Franz von Assisi Rupert Huber Lauda [1968] Leitung für achtstimmig gemischten Doppelchor nach Texten von Jacopone da Todi

Giacinto Scelsi [1905–1988] In nomine lucis für Orgel solo [1974]

11 musica viva Wochenende Sept. 2017 musica viva Wochenende Sept. 2017 musica viva Orchesterkonzert musica viva Liederabend Freitag Wilhelm Killmayer Samstag Jörg Widmann 29. September 2017 [*1927] 30. September 2017 [*1973] 20.00 Uhr Symphonie Nr. 3 17.00 Uhr Schallrohr [2007] Herkulessaal der Residenz (Menschen-Los) Allerheiligen-Hofkirche für Singstimme mv-Abo| freier Verkauf [1972/73, 1988] freier Verkauf und Klavier

Arnulf Herrmann Einführung 18.45 Uhr Gerhard E. Winkler Einführung 15.45 Uhr [*1968] [*1959] N.N. [2017] Black Mirrors III für Sopran und Klavier Wilhelm Killmayer Phantasiestück zu Ehren II für Klarinette und Bernhard Lang Live-Elektronik [*1957] [2013] Wenn die Landschaft aufhört I am a knot aus: Songbook 2 [2013] Jörg Widmann für Sopran und Klavier [*1973] Drittes Labyrinth Walter Zimmermann Sarah Wegener für Sopran und Sarah Maria Sun [*1949] Sopran Orchestergruppen Sopran »vergebens sind die Töne« [2013/14] [2015/16] Jörg Widmann Peter Schöne Zwölf Lieder nach Gedichten Klarinette Bariton von Lermontov und Mandelstam mit einem Epitaph nach einem Gerhard E. Winkler Jan Philip Schulze Gedicht von Felix Philipp Ingold Klangregie Klavier für Bariton und Klavier Vertonung in russischer Sprache Symphonieorchester des Bayerischen Rundfunks Lermontov-Lieder [2015] Kompositionsauftrag Jörg Widmann der Kissinger Liederwerkstatt Leitung Münchner Erstaufführung

Mandelstam-Lieder und Epitaph [2016] Kompositionsauftrag der musica viva des Bayerischen Rundfunks Uraufführung

12 13 musica viva Recital I: Isabelle Faust 17 musica viva Orchesterkonzert 18 musica viva Recital II(Late Night): Isabelle Faust 19 MUS Dezember 14 15 viva ICA 17 Recitals I + II + I Recitals 14.– 15. Dezember 2017 Dezember 15. 14.– musica viva Orchesterkonzert Dez. 2017 musica viva Recital I *: Isabelle Faust Johann Sebastian Bach Donnerstag [1685–1750] 14. Dezember 2017 Sonaten und Partiten 20.00 Uhr für Violine solo I Herkulessaal der Residenz freier Verkauf Sonate für Violine solo Nr. 1 g-Moll BWV 1001

Partita für Violine solo Nr. 1 h-Moll BWV 1002

Sonate für Violine solo Nr. 2 a-Moll BWV 1003 Isabelle Faust Violine Partita für Violine solo Nr. 2 d-Moll BWV 1004

*| Die Aufführung der Partita E-Dur Nr. 3 und der Sonate C-Dur Nr. 3 erfolgt in einem Late Night Recital am 15. Dezember, im Anschluss an das musica viva Orchesterkonzert mit Isabelle Faust. Für beide Recitals wird ein Kom bina- tions ticket angeboten, siehe hierzu S. 36.

17 Dez. 2017 Dez. 2017 musica viva Orchesterkonzert* musica viva Recital II * Freitag Rebecca Saunders (Late Night): Isabelle Faust Johann Sebastian Bach 15. Dezember 2017 [*1967] Freitag [1685–1750] 19.00 Uhr Aether [2016 /17] 15. Dezember 2017 Sonaten und Partiten Herkulessaal der Residenz für zwei Bassklarinetten 22.00 Uhr für Violine solo II mv-Abo| freier Verkauf Deutsche Erstaufführung Herkulessaal der Residenz freier Verkauf Partita für Violine solo Einführung 17.45 Uhr Ondrˇej Adámek Nr. 3 E-Dur [*1979] BWV 1006 Neues Werk für Violine und Orchester Sonate [2016/17] für Violine solo Kompositionsauftrag Nr. 3 C-Dur der musica viva BWV 1005 des Bayerischen Rundfunks, der Freunde des Isabelle Faust Symphonieorchesters Isabelle Faust Violine des Bayerischen Rundfunks e.V., Violine des Helsinki Philharmonic Carl Rosman Orchestra und des Richard Haynes Festival Musica Strasbourg Bassklarinette Uraufführung

Klavierduo GrauSchumacher Andreas Grau Christophe Bertrand Götz Schumacher [1981–2010] Vertigo Symphonieorchester Konzert für zwei Klaviere des Bayerischen Rundfunks und Orchester [2007] Deutsche Erstaufführung Peter Rundel Leitung

*| Im Anschluss an das musica viva Orchesterkonzert folgt um 22.00 Uhr das *| Für beide Recitals wird ein Kombi nations ticket angeboten, siehe hierzu S. 36. zweite Recital von Isabelle Faust mit der Aufführung von Joh. Seb. Bachs Partita E-Dur Nr. 3 und der Sonate C-Dur Nr. 3. Die Aufführung der Sonaten und Par - titen Nr. 1 und 2 erfolgt in einem Recital am Donnerstag, den 14. Dezember (siehe die Programmseiten S. 19 und 17). Für den Besuch beider Recitals wird ein Kombinationsticket angeboten, siehe hierzu S. 36.

18 19 musica viva Orchesterkonzert 23 MUS

Januar 19 viva ICA 18 19. Januar 2018 Januar 19. musica viva Orchesterkonzert Jan. 2018 musica viva Orchesterkonzert Freitag Markus Hechtle 19. Januar 2018 [*1967] 20.00 Uhr Neues Werk Herkulessaal der Residenz für Orchester mv-Abo| freier Verkauf [2017] Kompositionsauftrag der musica viva Einführung 18.45 Uhr des Bayerischen Rundfunks Uraufführung

Rebecca Saunders [*1967] Still [2011] für Violine und Orchester

Carolin Widmann Morton Feldman Violine [1926–1987] Neither [1977] Laura Aikin Oper in einem Akt Sopran auf einenText von Samuel Beckett Symphonieorchester für Sopran und des Bayerischen Rundfunks Orchester

Ilan Volkov Leitung

18 17 16

März MUS musica viva Matinee musica viva musica viva Orchesterkonzert I CA Ensemblekonzert viva 18 29 27

musica viva Wochenende 28 16.– 18. März 2018 musica viva Wochenende März 2018 musica viva Orchesterkonzert Freitag Gérard Grisey 16. März 2018 [1946–1998] 20.00 Uhr Les Espaces Herkulessaal der Residenz Acoustiques mv-Abo | freier Verkauf [1974–85] für Orchester

Einführung 18.45 Uhr I. Prologue für Viola solo II. Périodes für 7 Instrumentalisten GÉRARD GRISEY I III. Partiels für Ensemble IV. Modulations für 33 Instrumentalisten V. Transitoires für großes Orchester VI. Épilogue für vier Hörner und N. N. großes Orchester Viola

Horngruppe des Symphonieorchesters des Bayerischen Rundfunks

Symphonieorchester des Bayerischen Rundfunks

Stefan Asbury Leitung

27 musica viva Wochenende März 2018 musica viva Wochenende März 2018 musica viva Ensemblekonzert musica viva Matinee Samstag Teil I: Sonntag Gérard Grisey 17. März 2018 Solos – Duos – Trios 18. März 2018 [1946–1998] 17.00 Uhr 11.30 Uhr Vortex Temporum Studio 1, Funkhaus BR Georges Aperghis Studio 1, Funkhaus BR für Klavier und freier Verkauf [*1945] freier Verkauf fünf Instrumente Faux mouvement [1994–1996] [1995] Einführung 15.30 Uhr A bout de bras [1989] Fuzzy-Trio [2006] PORTRAIT Récitation 9 GÉRARD GRISEY II GEORGES APERGHIS [1978] Requiem furtif [1998] Trio [1996]

Ensemble Musikfabrik Teil II: Solisten des Georges Aperghis Symphonieorchesters Intermezzi des Bayerischen Rundfunks für großes Ensemble [2016] Kompositionsauftrag der musica viva des Bayerischen Rundfunks, gefördert von der Kunststiftung NRW im Rahmen von Campus Musikfabrik Uraufführung

28 29

9 8 7

Juni MUS der Ernstvon Siemens Musikstiftung räsonanz- musica viva musica viva Orchesterkonzert I CA Stifterkonzert Orchesterkonzert [Wd viva 18 32 h .] 32 musica viva Wochenende 33 7.– 9. Juni 2018 musica viva Wochenende Juni 2018 musica viva Wochenende Juni 2018 musica viva Orchesterkonzert räsonanz-Stifterkonzert Helmut Lachenmann der Ernst von Siemens Elliott Carter Donnerstag [*1935] Musikstiftung [1908–2012] 7. Juni 2018 Serynade [1997/98] Samstag Instances [2012] 20.00 Uhr Musik für Klavier 9. Juni 2018 für Kammerorchester Herkulessaal [1. Aufführung] 19.00 Uhr freier Verkauf Prinzregententheater George Benjamin Neues Werk freier Verkauf [*1960] Freitag für 8 Hörner Three inventions [1995] 8. Juni 2018 und Orchester [2018] für Kammerorchester 20.00 Uhr Kompositionsauftrag Herkulessaal [2. Aufführung] der musica viva des Enno Poppe mv-Abo| freier Verkauf Bayerischen Rundfunks [*1969] Uraufführung Filz [2014] Konzert für Bratsche Einführung jeweils 18.45Uhr und Kammerorchester

Elliott Carter Penthode [1985] für fünf Gruppen zu Pierre-Laurent Aimard Tabea Zimmermann vier Instrumentalisten Klavier Viola György Ligeti Horngruppe des Pierre-Laurent Aimard [1923–2006] Symphonieorchesters Klavier Konzert für Klavier und Orchester Symphonieorchester des Chamber Orchestra of Europe [1985/88] Bayerischen Rundfunks David Robertson Peter Eötvös Leitung Leitung

räsonanz ist eine Initaitive der Ernst von Siemens Musikstiftung in Ko ope ra tion mit der musica viva des Bayerischen Rundfunks und LUCERNE FESTIVAL.

32 33 räsonanz Stifterkonzerte 2018

Mit der Stifterkonzertreihe räsonanz kommt die Ernst von Siemens Mu sikstiftung ihrer Verantwortung für die zeitge- nössische Musik auf ganz be sondere Weise nach. Gemeinsam mit ihren Partnern LUCERNE FESTIVAL und musica viva des Bayerischen Rundfunks ermöglicht sie je - des Jahr ein Konzert in München und Luzern: Werke der Ge - gen wart werden von inter nationalen Spitzenorchestern und namhaften Solisten zur Auf füh rung gebracht.

Die Ernst von Siemens Musikstiftung bringt so den Stifter- gedanken zum Klingen: Ernst von Siemens steht für unter- nehmerische Vernunft und einzigartigen Weitblick, für ge - sellschaftliche Verantwortung und anspruchsvolle Förde- rung von Wissenschaft und Kunst.

Gesellschaftliche Relevanz und künstlerischer Anspruch, wagemutige Perspektivwechsel und die Schönheit des Un - erhörten – das alles schwingt mit, wenn die zeitgenössische Musik ihre Grenzen definiert, auslotet, überschreitet. räsonanz fordert heraus, räsonanz fordert ein und räsonanz fördert: die Bereitschaft sich einzulassen auf das Un gewohn- te und die Wahrnehmung des Neuen in der Musik.

evs-musikstiftung.ch | lucernefestival.ch | br-musica-viva.de

35 Preise/ Einzelkarten/Ermäßigung Preise/ Einzelkarten/Ermäßigung

* für die musica viva Orchesterkonzerte * für das musica viva Chorkonzert mit dem Symphonieorchester des Bayerischen Rundfunks in der Jesuitenkirche St. Michael am 28. September 2017 im Herkulessaal der Residenz am 29. Sept. und 15. Dez. 2017, Einheitspreis: 20 EURO (freie Platzwahl) am 19. Jan., 16. März sowie am 7. und 8. Juni 2018 * für das musica viva Ensemblekonzert * für das räsonanz – Stifterkonzert »Georges Aperghis« mit dem Chamber Orchestra of Europe im Studio 1 / Funkhaus BR am 17. März 2018 im Prinzregententheater am 9. Juni 2018 Einheitspreis: 20 EURO(freie Platzwahl)

1. Kategorie: 38 EURO 2. Kategorie: 25 EURO * für den musica viva Liederabend 3. Kategorie: 12 EURO in der Allerheiligen-Hofkirche am 30. September 2017 Einheitspreis: 15 EURO (freie Platzwahl)

* für das musica viva Recital I mit Isabelle Faust * für die musica viva Matinee mit den Solisten des im Herkulessaal der Residenz am 14. Dez. 2017 Symphonieorchesters des Bayerischen Rundfunks im Studio 1 / Funkhaus BR am 18. März 2018 1. Kategorie: 38 EURO Einheitspreis: 15 EURO (freie Platzwahl) 2. Kategorie: 25 EURO 3. Kategorie: 12 EURO

* für das musica viva Recital II (Late Night) mit Isabelle Faust Die jeweiligen Einführungsveranstaltungen können mit der im Herkulessaal der Residenz am 15. Dez. 2017 Konzertkar te besucht werden. Einheitspreis: 12 EURO (Die Karten werden mit Sitzplatz- nummer verkauft.) Für alle Konzerte der musica viva sind die Einzelkarten ab sofort erhältlich. * Kombination musica viva Recital I+II

1. Kategorie: 45 EURO 2. Kategorie: 35 EURO Ermäßigung 3. Kategorie: 20 EURO musica viva für Schüler und Studenten Karten für Schüler und Studenten sind bei allen musica viva Veranstaltungen für 8 EURO im Vorverkauf und an der Abendkasse erhältlich (Altersgrenze: vollendetes 28. Lebensjahr).

36 37 Kartenvorverkauf Abonnement

BRticket musica viva Abonnement Foyer des BR-Hochhauses für 5 musica viva Orchesterkonzerte Arnulfstraße 42 mit dem Symphonieorchester des Bayerischen Rundfunks 80335 München im Herkulessaal der Residenz am 29. Sept. und 15. Dez. 2017, Mo bis Fr 9.00 – 17.30 Uhr am 19. Jan., 16. März und 8. Juni 2018 Telefon national: 0800–5900 594 (gebührenfrei) Telefon international: 0049– (0)89– 5900 10880 1. Kategorie: 130 EURO E-Mail: [email protected] 2. Kategorie: 85 EURO 3. Kategorie: 40 EURO Karten online buchen über: www.shop.br-ticket.de

München Ticket Abonnementbüro Postfach 20 14 13, 80014 München Arnulfstraße 44 (Hochhaus Erdgeschoss) Telefon: (089) 54 81 81 81, E-Mail: [email protected] 80335 München Mo bis Fr 9 – 20 Uhr, Sa 9 – 16 Uhr Telefon: 0800 5900 595 (national und gebührenfrei), Abo-Hotline international: 0049–(0)89–558080, Vorverkauf in München und im Umland bei allen Telefax: (089) 59 00 184 23 26 an München Ticket angeschlossenen Vorverkaufsstellen E-Mail: [email protected] (siehe auch Verzeichnis: www.muenchenticket.de) Mo bis Fr 9 – 16 Uhr

Abo-Card: Pro Abonnement erhalten Sie eine persönliche Kunden- Vorverkaufsbedingungen: Für bereits bezahlte Karten besteht kein karte im Scheckkartenformat (Abo-Card), mit der Sie auf Einzelkarten Umtausch oder Rückgaberecht. für BR-Konzerte einen Preisnachlass von 10% (inklusive Vorverkaufs- und Systemgebühr sowie MVV) in Anspruch nehmen können. Die An - zahl der ermäßigten Karten, die Sie mit der Abo-Card pro Konzert kau- fen können, ist nicht limitiert. Übertragbarkeit: Abonnenten können ihren Platz für einzelne Kon- zerte auf Dritte übertragen. Da sie für jedes Abonnementkonzert eine gesonderte Karte erhalten, kann diese einzeln weitergegeben werden. Falls die Karte nicht persönlich weitergegeben werden kann, stellen wir gerne eine Ersatzkarte aus, die auf den Namen des Abonnement- Inhabers abgeholt werden kann. Geschenkabonnement: Verschenken Sie ein Abonnement: Geben Sie bei der Bestellung einfach die gewünschte Abo-Reihe und Preiskate- gorie sowie Name und Adresse des Beschenkten an. Eintrittskarte als Fahrschein: Jede Abonnement- bzw. Einzelkarte für ein Konzert des Bayerischen Rundfunks beinhaltet die kostenlose Nut zung des MVV für die Fahrt zur Veranstaltung und zurück.

Infos: www.br-musica-viva.de/veranstaltungen/abonnement

38 39 Veranstaltungsorte Informationen / Sendetermine

Herkulessaal der Residenz Veranstaltungs- und Presseinformationen Residenzstr. 1 80333 München Gerne informieren wir Sie auch per E-Mail über die musica S-Bahn: S1 – S8 »Marienplatz« viva. Um aktuelle Informationen zu den Veranstaltungen zu U-Bahn: U3, U6 »Odeonsplatz« erhalten, sen den Sie eine Mail mit dem Stichwort »Veran- Bus 100 »Odeonsplatz« stal tungsinformationen« und für Presseinformationen eine Tram 19 »Nationaltheater« Mail mit dem Stichwort »Presse« an: [email protected]

Allerheiligen-Hofkirche Residenzstr. 1 Sendetermine 80333 München S-Bahn: S 1 – S 8 »Marienplatz« Die Veranstaltungen der musica viva werden mit geschnitten U-Bahn: U3, U6 »Odeonsplatz« und zeitversetzt auf BR-Klassik gesendet. Bus 100 »Odeonsplatz« Tram 19 »Nationaltheater« Nähere Informationen auf der musica viva Website: www.br-musica-viva.de/ueber-die-musica-viva/sendungen Prinzregententheater Prinzregentenplatz 12 80539 München U-Bahn: U4 »Prinzregentenplatz« Bus 100 »Prinzregentenplatz« Bus 54 »Prinzregentenplatz«

Studio 1 / Funkhaus Bayerischer Rundfunk Rundfunkplatz 1 (Eingang Hopfenstraße) 80335 München Tram 16, 17: »Hopfenstraße«

40 41 Impressum

Herausgeber Bayerischer Rundfunk | musica viva Künstlerische Leitung Dr. Winrich Hopp Redaktion Dr. Larissa Kowal-Wolk Konzept | Gestaltung Günter Karl Bose [www.lmn-berlin.com] Druck Aumüller, Regensburg musica viva Künstlerische Leitung Dr. Winrich Hopp Produktion | Projektorganisation Dr. Pia Steigerwald Redaktion Dr. Larissa Kowal-Wolk Kommunikation | Produktionsassistenz Laura Imsirovic* Büro Bea Rade

Bayerischer Rundfunk musica viva Rundfunkplatz 1 D – 80 335 München Tel +49-89-5900-42826 Fax +49-89-5900-23827 [email protected] www.br-musica-viva.de

* freie Mitarbeiterin

Nachdruck nur mit Genehmigung Redaktionsschluss: 15. März 2017 Änderungen vorbehalten

42 viva 2018 | Saison 2017 2017 Saison