Programmübersicht "Eigensinn" 2012 -english version-

B e e t h o v e n f e s t B o n n

7 s e p t o 7 o C t 2 0 1 2

a r t h a s a M i n d o f i t s o w n

»Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kun st is

t eigensinnig

, läßt sich n

icht i

n sc

hmei

chelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in


t eigensinnig

, l

äßt sich n

icht i

n sc

hmeic

helnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in


t eigensinnig

, l

äßt sich n

icht i

n sc

hm

eichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in

»Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst is

t eigensinnig

, läßt sic

h ni

cht i

n sc

hm

eichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht


t eigensinnig

, läßt si

ch n

icht i

n sc

hmeichelnde Formen zwängen.« »W

ahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich


t eigensinnig

, läßt s

ich n

icht

in s

ch

meichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt


t eigensinnig

, läßt

sich

nic

ht in

sch



t eigensinnig

, läßt s

ich

nich

t in

sc

hmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig,


t eigensinnig

, läßt s

ich

nich

t in

schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist


t eigensinnig

, läßt

sic

h ni

cht i

n



t eigensinnig

, läßt

sic

h ni

cht i

n schmeichelnde Formen zwängen.« »W

ahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist


t eigensinnig,

läßt

sic

h ni

cht i

n schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist

»Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst i

st eigensinnig,

läßt

sic

h ni

ch

t in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre


st eigensinnig

, läß

t sic

h ni

ch

t in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, lä

ßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre


st eigensinnig

, läß

t sic

h ni

cht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensi

nnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.«


st eigensinni g

, läß

t sic

h ni

cht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, lä

ßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.«


st eigensinnig,

läßt

sic

h ni

cht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig

, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.«


st eigensinn

i

g, lä

ßt s

ich

ni



»Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kuns

t ist

eigensinnig

, läß

t sic

h nic

ht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig

, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen


t ist

eigensinn

ig, l

äßt s

ich

nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig



t ist

eigensinn

ig, l

äßt s

ich n

icht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig,

läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kuns

t ist

eigensinn

ig, l

äßt s

ich n


läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen


t ist

eigensinn

ig, l

äßt s

ich n




t ist

eigensinn

ig, l

äßt s

ich n




t ist

eigensi

nn

ig, l

äßt s

ich

nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig,


»Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist

eigensi

nn

ig, l

äßt s

ich

nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinni

g, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen


eigensin

n

ig, l

äßt s

ich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst is

t eigensinni



t eigensin

n ig,

läßt

sich

nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen


t eigensin

n ig,

läßt

sich

nicht in schmeichelnde Formen zwängen.« »Wahre Kunst is

t eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen


eigensin

n ig,

läßt

sic

h ni

cht in sch meichelnde Formen zwängen.« »Wahre Kunst is

t eigensinnig, lä

ßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen


eigen

sinn i

g, lä

ßt s

ich

nich

t in sch meichelnde Formen zwängen.« »Wahre Kunst is

t eigensinnig



eigen

sinni

g, lä

ßt s

ich

nich

t in sch meichelnde Formen zwängen.« »Wahre Kunst

ist eigensinnig



eigen

sinni g

, läß

t sic

h ni

ch

t in schmeichelnde Form

en zwängen.« »Wahre Kunst

ist eigensinnig, lä



t eigen

sinni g

, läß

t sic

h ni

ch






eige

nsinnig ,

läßt

sic

h ni

cht in

schm eichelnde Formen zw

ängen.« »W

ahre

Kunst

ist eigensinnig,



ei

gensinnig , l

äßt s

ich

nich

t in schm eichelnde Form

en zw

änge

n.« »W

ahre

K

unst ist

eigensinnig,



eigensinnig

, läß

t sic

h ni

cht i

n schmeichelnde Form

en zw

änge

n.« »

Wahre

Kun

st ist

eigensinnig,

läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.«

»Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kuns t ist eigensinnig,

läßt

sic

h ni

cht i


en zw

änge

n.«

»Wah

re K

unst

ist eigens

innig,


»Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kuns t ist eigensinnig, l

äßt s

ich

nich

t in s

chmeichelnde For

men

zwän

gen.

« »W

ahre

Kun

st is

t eigensinnig

, läßt s

ich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.«


äßt s

ich

nich

t in

schmeichelnde For

men

zwän

gen.

« »W

ahre

Kun

st is

t eigensinnig,

läßt s

ich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre

»Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, l

äßt sic

h ni

cht i

n sc

hmeichelnde For

men

zwän

gen.

« »W

ahre

Kun

st is

t eigensinnig

, läßt

sich

nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre


äßt sic

h ni

cht i

n sc

hm

eichelnde F

orm

en zw

änge

n.«

»Wah

re K

unst

ist eigensinnig

, läß

t sich

nicht in

schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre

»Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig,

läßt sic

h ni

cht i

n sc

hmeic

helnde F

orm

en zw

änge

n.«

»Wah

re K

unst

ist eigensinnig

, läß

t sich

nich

t in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist


läßt s

ich n

icht

in sc

hmeic

helnde

Form

en zw

änge

n.«

»Wah

re K

unst

ist eigensinnig

, läß

t sich

nich

t in sc

hmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist


äßt sich

nic

ht in

schm

eiche

lnde

Form

en zw

änge

n.«

»Wah

re K

unst

ist eigensinnig

, läß

t sic

h ni

cht i

n sch

meichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist

»Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, lä

ßt sich n

icht i

n sc

hmei

chel

nde F

orm

en zw

änge

n.«

»Wah

re K

unst

ist eigensinnig

, läß

t sic

h ni

cht i

n sc

hmeic

helnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist

»Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig

, läßt sich nich

t in

schm

eich

elnd

e Fo

rmen

zw

änge

n.«

»Wah

re K

unst

ist eigensinnig

, läß

t sic

h ni

cht i

n sc

hmeic

helnde Formen zwängen.« »Wahre Kunst ist eigensinni

g, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist


läßt sich nicht i

n sc

hmei

chel

nde

Form

en z

wän

gen.

« »W

ahre

Kun

st is

t eigensinnig

, läß

t sic

h ni

cht i

n sc

hmeic

helnde Form

en zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig,


läßt sich nicht i

n sc

hmei

chel

nde

Form

en z

wän

gen.

« »W

ahre

Kun

st is

t eigensinnig

, läß

t sic

h ni

cht i

n sc

hmei

chel

nde F

ormen zw

ängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt

»Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinn

ig, läßt sich nicht i

n sc

hmei

chel

nde

Form

en z

wän

gen.

« »W

ahre

Kun

st is

t eigensinnig

, läß

t sic

h ni

cht i

n sc

hmei

chel

nde

Form

en zw

ängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich

»Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinni

g, läßt sich nicht in

schm

eich

elnd

e Fo

rmen

zw

änge

n.«

»Wah

re K

unst

ist eigensinnig

, läß

t sic

h ni

cht i

n sc

hmei

chel

nde

Form

en

zwängen.« »Wahre Kunst ist eigen

sinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich


, läßt sich nicht in sc

hmei

chel

nde

Form

en z

wän

gen.

« »W

ahre

Kun

st is

t eigensinnig

, läß

t sic

h ni

cht i

n sc

hmei

chel

nde

Form

en zw

ängen.« »Wahre Kunst ist eigen

sinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht

+ + + english

version + + +

rue art has a mind of its own. It cannot be forced into flattering moulds,” noted Beethoven in 1820 in one of his conversation books. Starting out from this quote, the Beethovenfest Bonn, under the motto “Art has a Mind of its Own”, is focusing on the artist in a global context. At the centre are the musicians, who, like Beethoven, are ahead of their time, and yet pursue their chosen path unflinch ing ly. in the process they transcend boundaries and make statements through their individual approaches. At the Beethovenfest Bonn, we seek to engage these boundary-crossers. they include Martin Grubinger, Patricia Kopatchinskaja, Lisa Batiashvili, András Schiff, daniel Hope, the Borodin Quartet, Kit Arm-strong and Esa-Pekka Salonen. to mark the London Olympics, Salonen with his Philharmonia Orchestra, is exclusively presenting a Beethoven Symphony Cycle; the Beethoven works will be interspersed with five contemporary compositions, one from each of the five continents. with many other musicians with whom we have fostered intense and construc-tive contacts for years, we are developing special programmes in which we demonstrate that we too have a will of our own. As Beethoven’s heirs, we feel a sense of duty, and just like him, we are often ahead of our time. Our student manager project is now the model for simi-lar projects nationwide. By training young people, we are safeguarding our own future and the one of the live concert expe rience. with Kent nagano and the Bayerisches Staatsor-chester, Michael tilson thomas with the London Symphony Orchestra, the City of Birmingham Symphony Orchestra with Andris nelsons and the deutsche Kammerphilharmonie Bremen with Paavo Järvi and Herbert Blomstedt, the best orchestras are once again guests at our festival. i should like to thank all our backers, sponsors and foundations, as well as our patron state premier Hannelore Kraft, for the trust they have placed in us and for their generous support!

Ilona Schmieldirector of the Beethovenfest Bonn

T

In Focus: Cycles and Projects

4

B e e t h o v e n f e s t B o n n 7 s e p – 7 o C t 2 0 1 2

In Focus: Beethoven Symphony Cycleor the first time, the Beethovenfest Bonn is presenting the three

most important Beethoven genres in the form of cycles within a single festival. they are being performed by artists focusing entirely on the well-known repertoire. the culmination of the festival is a symphony cycle for which the Philharmonia Orchestra of London is playing in Bonn for the first time under its Principal Conductor and Artistic Advisor Esa-Pekka Salonen. After two cycles performed by the Orchestre national de France under Kurt Masur and the deutsche Kammerphilharmonie Bremen under Paavo Järvi in 2008 and 2009 respectively, this cycle has an Olympian dimension all of its own: the symbol of the Olympic Games, being held this year in London, has inspired Salonen to juxtapose the symphonies with five contemporary works, one from each of the five continents. Apart from Bonn, the orchestra are playing the cycle exclusively in Bonn – as a marathon on five successive days. An “Olympic performance” indeed.

F

w e d 3 o C t 8 p M

B e e t h o v e n h a l l e

Viviane Hagner Violin

Philharmonia orchestraEsa-Pekka Salonen Conductor

Ludwig van Beethoven: Symphony no. 1 in C major op. 21Unsuk Chin: Concert for violin and orchestra (Asia)Ludwig van Beethoven: Symphony no. 7 in A major op. 92

56 t h u 4 o C t 8 p M



Ludwig van Beethoven: Symphony no. 2 in d major op. 36Brett Dean: “testament” for orchestra (Australia)Ludwig van Beethoven: Symphony no. 3 in E-flat major op. 55

58


5

deutsche welle Festival Concerts.

the five events of the residency of the Philharmonia Orchestra can be booked together at a discount. Subscription prices:

? 390 i 330 i 270 i 210 i 150

f r i 5 o C t 8 p M



Ludwig van Beethoven: Symphony no. 6 in F major op. 68Joseph Phibbs: new work (Europe)Ludwig van Beethoven: Symphony no. 4 in B-flat major op. 60

61

s at 6 o C t 8 p M



Ludwig van Beethoven: Symphony no. 8 in F major op. 93Steven Stucky: “radical Light” for orchestra (America)Ludwig van Beethoven: Symphony no. 5 in C minor op. 67

64

s u n 7 o C t 6 p M


Martin Grubinger & FriendsGiselle Allen Soprano

Anne-Marie owens Alto

Andrew Kennedy tenor

James Rutherford Bass

wDR Rundfunkchor KölnnDR ChorPhilharmonia orchestraEsa-Pekka Salonen Conductor

Matthias Schmitt / Martin Grubinger: “Ghanaia ii” (Africa)Ludwig van Beethoven: Symphony no. 9 in d minor op. 125

66

6


In Focus: Beethoven String Quartet Cycleailored specially to the performers: a cycle of all of Beethoven’s

string quartets. these are combined with russian works for the same instrumentation, many of which were based on Beethoven’s example. the Borodin Quartet seems predestined for this program-me; it was formed more than 50 years ago, and maintained a close relationship with Shostakovich. while the 18 string quartets by Beet-hoven have hitherto been distributed across a number of ensembles, this year, for the first time, the oldest and best-known russian quartet of our age will be devoting themselves exclusively to this body of work for the first time over the next three years 2012 to 2014.

T

the events of the String Quartet Cycle can be booked together at a discount. Subscription price:

? 115

M o n 2 4 s e p 8 p M

l a r e d o u t e

String Quartets by Ludwig van Beethoven and Dmitri Shosta-kovich

40

t u e 2 5 s e p 8 p M

B e e t h o v e n - h a u s

String Quartets by Ludwig van Beethoven and Dmitri Shosta-kovich

41

t h u 2 7 s e p 8 p M

a u l a d e r u n i v e r s i t ä t

String Quartets by Ludwig van Beethoven, Peter Tchaikovsky and Igor Stravinsky

44

f r i 2 8 s e p 8 p M

s t. h i l d e g a r d

M e h l e M

String Quartets by Ludwig van Beethoven and Alexander Borodin

47

Borodin QuartetRuben Aharonian Violin

Andrei Abramenkov Violin

Igor naidin Viola

Vladimir Balshin Cello

7


In Focus: Beethoven

Piano Sonata Cyclendrás Schiff is one of the leading Beethoven interpreters world-

wide, and not just because of his current recording of the entire pia-no sonatas. in conversation with Martin Meyer of the “neue Zürcher Zeitung” newspaper, recorded in the book “Für jeden ton die Spra-che finden …” he has given an account of his work and shown him-self to be an artist who studies original manuscripts and makes a close critical examination of everything he plays. Evidence of this is provided by a number of performances of Beethoven sonatas at ear-lier festivals in Bonn. taking up from where these concerts left off, he will, for the first time, be playing all 32 of the sonatas at the 2012 and 2013 festivals, spread over seven concerts. András Schiff seems qualified like no other pianist for this cyclic confrontation.

A

s u n 2 3 s e p 6 p M


Sonatas for piano op. 2 and 7

206

the events of the Piano Sonata Cycle can be booked together at a discount.Subscription prices:

? 115 i 90 i 60

w e d 2 6 s e p 8 p M


Sonatas for piano op. 10, 13 and 14

207

s at 2 9 s e p 8 p M


Sonatas for piano op. 22, 26, 27, 28 and 49

208

András Schiff Piano


In Focus:John Cage

o other composer has so modestly, and yet so radically, thrown the western musical tradition overboard than the American John Cage (1912–1992). no other has more fundamentally revolutionized our ideas of what music is and can be. John Cage had, in addition, a special rela-tionship with Bonn. Between 1972 and 1985 he regularly took part in the tage für neue Musik (contemporary music festival) in Bonn and per-formed numerous works here. to mark his centenary, the Beethoven fest Bonn is dedicating a “long night” to John Cage at three venues along the city’s “museum mile”. in the Bundeskunsthalle, the Kunstmuseum Bonn and the Haus der Geschichte der Bundesrepublik deutschland, Cage works will be played alongside other key works of modernism. the title of the project, “in the Bird Cage”, alludes to the work of the same name for 12 tapes, which are to be distributed by a single per-former in a space “where people are free to move and birds to fly”.

N

s at 1 5 s e p 7 a n d 1 0 p M

B u n d e s k u n s t h a l l e

k u n s t M u s e u M B o n n

h a u s d e r g e s C h i C h t e

“ i n t h e B i r d C a g e ”

with Pierre-Laurent Aimard, Tamara Stefanovich, Duo d’Accord, Leipzig String Quartet, Salome Kammer and many others

6 p m

k u n s t M u s e u M B o n n ,

a u d i t o r i u M

C o n C e r t i n t r o d u C t i o n

14 15 19 20

16 21

17 22

On the order card in the back cover you can select a small “Cage subscription”, namely two of the eight concerts, one at 7 pm (nos. 14 to 17) and one at 10 pm (nos. 19 to 22).

? 15 for one concert? 25 for two concerts

Before and during the “Cage night” films by and about John Cage will be shown in the rotunda of the Kunstmuseum.

For information about the programme and the performers at the individual concerts, see pages 26 to 33.

Sponsored by:

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In Focus:Young Beethovenfest

he Beethovenfest Bonn has since its inception been concerned to bring children and young people into contact with classical music. the Young Beethovenfest Bonn 2012 is offering the following projects and concerts:

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• “Student managers” School students from Bonn organize a concert and work-shops with Samy deluxe

• “Questions” School students interview artists

• “Backstage” A day at the festival

• “How does it work?” Artists visit schools

• “Young and curious – Beethoven for trainees” Concert and workshop

• Rehearsal visits rehearsal visits with intro-ductions

• Campus encounters 2012 Meetings with musicians from the turkish national Youth Philharmonic Orchestra

• “The 100 strings of Matthew Barley” Strings workshop and work-shop concert with young musicians from Bonn

• Sound installations at the Young Beethovenfest 2012 Young it specialists experiment with music

• “Music is communication” Preparation for attending the concert given by the Youth Orchestra of Caracas


Samy Deluxe & Tsunami Band

Concert of the “Student Managers” project

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s u n 3 0 s e p 6 p M

f a M i lY C o n C e r t

Matthew Barley Cello, Conductor

with students from Bonn schools

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t u e 2 o C t 6 p M

Youth orchestra of Caracas

workshop Concert with Bonn school orchestras

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the student managers of the Young Beethovenfest were the national winners in 2011 of the “365 Places in the Land of ideas“ competition.

[email protected]: 0228 – 20 10 323

• Encounter-fest 320 young musicians from Caracas and Bonn play Beethoven together

C o n C e r t r e C o M M e n d at i o n s

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“Clear the stage for Beethoven”School students make music in the city centre

Programme in Chronological order

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Programme in Chronological order

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La Scala on the Rhine


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s p e C i a l C o n C e r t

Christine Schäfer Soprano

Filarmonica della ScalaDaniel Harding Conductor

Giuseppe Verdi: Overture to the opera “La forza del destino” (“the Force of destiny”)Richard Strauss: “Four Last Songs” for soprano and orchestra o. op. AV 150Antonín Dvorák: Symphony no. 8 in G major op. 88? 95 i 80 i 66 i 49 i 39

non-bookable reserved seats for students.

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Christine Schäfer

n order to add a symphonic dimension to the operatic tradi-tion of La Scala in Milan, in 1982 Claudio Abbado founded the Filarmonica della Scala. Since then, the orchestra has regularly toured as a mediator between opera and concert music. For the Beethovenfest Bonn, the con ductor daniel Harding has selected, alongside the overture to Verdi’s opera “the Force of destiny”, two more works by well-known operatic composers. the soprano Christine Schäfer, who is making her first appear-ance at the Beethovenfest Bonn, will be singing richard Strauss’s “Four Last Songs”, a late work of overpowering emotional depth. the concert will close with dvoráks warm and optimistic eighth symphony.

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ndris nelsons, since 2008 Chief Conductor of the City of Birmingham Symphony Orches-tra and currently one of the most sought-after young con-ductors, will be solemnly open-ing the Beethovenfest Bonn 2012. On the basis of two texts by Friedrich Schiller, he will be exploring two emotional ex-tremes: with his intense choral piece “nänie” Johannes Brahms takes up a poem by Schiller in the form of an ancient lament, mourning the death of “beauty”. in contrast, Beethoven’s ninth symphony, with the “Ode to Joy” describes the classical ideal of a society of human beings with equal rights linked by the bonds of joy and friendship.

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Andris nelsons

Strong Emotions

f r i 7 s e p 8 p M


o p e n i n g C o n C e r t

Lucy Crowe Soprano

Mihoko Fujimura Alto

Toby Spence tenor

Georg Zeppenfeld Bass

CBSo ChorusCity of Birmingham Symphony orchestraAndris nelsons Conductor

Johannes Brahms: “nänie” for chorus and orchestra to words by Friedrich Schiller op. 82Ludwig van Beethoven: Symphony no. 9 in d minor op. 125? 120 i 100 i 80 i 60 i 40


deutsche welle Festival Concert.

Sponsored by Ernst & Young.

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Groundbreaker

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Emanuel Ax Piano

London Symphony orchestraMichael Tilson Thomas Conductor

Ludwig van Beethoven: Concerto for piano and orches tra no. 3 in C minor op. 37Gustav Mahler: Symphony no. 1 in d major (“the titan”)? 95 i 80 i 66 i 49 i 35


7 . 3 0 p m

C o n C e rt i n t r o d u C t i o n

“All Ears for Half”this concert is part of the residency of the London Symphony Orchestra.

Sponsored by Bechtle.

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Emanuel Ax

eethoven’s third piano con-cer to is regarded as ground break-ing: for the first time, the piano is an equal partner in a work of almost symphonic dimensions. Beethoven himself was the solo-ist at the work’s first perform-ance in Vienna in 1803. the com-poser of the second work was also actively present at its pre-mière: Gustav Mahler conducted his first symphony when it was played for the first time in Buda-pest in 1889. Mahler is seen as consummating the grand late-romantic symphony and break-ing the ground for Modernism. the London Symphony Orchestra, “Orchestra in residence” at the 2011 and 2012 Beethovenfest Bonn, will be exploring these paths in Bonn under Michael til-son thomas, its chief conductor from 1986 to 1995 together with the American pianist Emanuel Ax.

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Inspired oboe

s u n 9 s e p 1 1 a M

s C h u M a n n h a u s

p r i Z e w i n n e r s ’ C o n C e r t 1

Philippe Tondre Oboe(2nd Prize Ard international Music Com-petition 2011 and Audience Prize, Special Prize for the best performance of the commissioned work, and ifp Music Prize)

Pierre Gomes Bassoon

Eguchi Masako Piano

Robert Schumann: three romances for oboe and piano op. 94Robert Schumann: three Fantasie Pieces for clari-net and piano op. 73 (arranged for oboe d’amore and piano)Ludwig van Beethoven: trio for clarinet, cello and piano in B-flat major op. 11 (“Gassen-hauer-trio”, arranged for oboe, bassoon and piano) as well as further works by Poulenc and Kalliwoda? 22Joint event with the Schumannfest Bonn.

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Philippe Tondre

hilippe tondre was just 18 when he was chosen as solo obo-ist for the Stuttgart radio Sym-phony Orchestra of the Swr. Last year he won the second prize in the oboe category of the highly acclaimed Ard international Music Competition. He also won the Audience Prize and the prize for the best performance of the commissioned work. that these prizes were entirely justified was explained by the “Süddeutsche Zeitung” with the words: “For no one played with such a variety of expression, with such a beautiful sound, such precision, such in-spiration.”

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symphonic-theatrical evening of superlatives: the overture from the incidental music to “King Stephen” is followed by the fourth movement of the fifth symphony by Charles ives, a gigantic sound painting on thanksgiving day. the climax of the evening is what Berlioz himself described as a “musical drama”, namely his “Symphonie fantastique”, one of the most fascinating works of the romantic period, and the symphonic key work to this year’s Beethovenfest: an idiosyncratic biographical document and the mirror of the (suffering) soul of the artist.

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Michael Tilson Thomas

The Symphony as Grand Theatre

s u n 9 s e p 6 p M


London Symphony orchestraMichael Tilson Thomas Conductor

Ludwig van Beethoven: Overture to August von Kotzebue’s “King Stephen or Hungary’s First Benefactor” op. 117Charles Ives: “thanksgiving and Forefathers’ day“. Fourth move-ment from the Symphony no. 5 JS 5 (“A Symphony: new Eng-land Holidays”)Hector Berlioz: “Symphonie fan-tastique – Épisode de la vie d’un artiste” (“An episode in the life of an artist”) op. 14? 95 i 80 i 66 i 49 i 35


5 . 3 0 p m


“All Ears for Half”this concert is part of the residency of the London Symphony Orchestra.


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Paprika, Courgettes et al.


s u n 9 s e p 8 p M

pa n t h e o n

The Vegetable orchestraown compositions and per-formances of works by, among others, Igor Stravinsky, the German electronic-music pioneers Kraftwerk, and the Vien nese sound-ensemble Radian.? 22

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The Vegetable orchestra

ou can’t make a soup from a Stradivarius, but you can from these instruments! the Vege-table Orchestra from Vienna has perfected the art of building in-struments from vegetables (yes, really!), and uses them to create surprising sounds somewhere between pop and classical, Free Jazz and House beats. the en-semble comprises eleven musi-cians, a sound engineer and a video artist, and promises a truly weird and unforgettable evening! the workshop at Knauber is open to all those who want to get more closely involved in the topic of vegetable-instrument construc-tion.

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s at 8 s e p 2 p M t o 5 p M

k n a u B e r f r e i Z e i t M a r k t

B o n n

workshop (from the age of 10)register via the Freizeitmarkt. Phone 0228 – 51 24 00

Sponsored by Knauber.

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gudesman & Joo are talented musicians whose satire on the classical music business is as droll as it is serious. After “A Little nightmare Music”, which they played at the 2008 Beetho-venfest Bonn, the pair have in-vited a special guest this year: the pianist Emanuel (“Manny”) Ax. Unfortunately Hyung-ki Joo doesn’t know that he’ll have a rival on the concert stage in the form of this second pianist. there is a bitter struggle between the two piano accompanists, fought out with Beethoven’s “Spring So-nata”. igudesman & Joo played the programme with Emanuel Ax at the celebrations to mark con-ductor Bernard Haitink’s 80th birthday. “i almost died laugh-ing,” wrote the maestro after-wards.

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Igudesman & Joo

“I almost Died Laughing”

s u n 9 s e p 8 p M

r h e i n - s i e g - h a l l e

Igudesman & JooAleksey Igudesman Violin

Hyung-ki Joo Piano

Emanuel Ax Piano

“Manny Spring Sonatas”Ludwig van Beethoven: Sonata for violin and piano no. 5 in F major op. 24 (“Spring Sonata”) and further works ? 25 i 19Sponsored by Kreissparkasse Köln.

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“American Songs”


M o n 1 0 s e p 8 p M


Susan Graham Mezzo-soprano

Deutsches Symphonie- orchester BerlinTugan Sokhiev Conductor

Igor Stravinsky: “Pulcinella” Suite for chamber orchestraLeonard Bernstein & George Gershwin: Selected “American Songs”Sergei Rachmaninov: Symphony no. 3 in A minor op. 44? 65 i 50 i 38 i 29 i 19


7 . 3 0 p m

o r C h e s t r a p o rt r a i t

“All Ears for Half”deutsche welle Festival Concert.

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Susan Graham

he programme of this concert unites russian and American traditions. while in the works of Stravinsky and rachmaninov their russian roots are evident, there are hardly two other com-posers who sound “more Ameri-can” than Bernstein and Gersh-win. As a specialist in both, the American singer Susan Graham will present songs from her homeland. the concert will be conducted by the young Ossetian tugan Sokhiev, the chief conduc-tor designate of the deutsches Symphonie-Orchester Berlin and one of the great talents of the younger generation. He will be taking up his post at the start of the 2012/2013 season, and his first concert outside of Berlin will be bringing him to Bonn.

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isa Batiashvili wowed the au dience in 2006 with her spark-ling per formance of Beethoven’s Violin Concerto. in 2012 she is returning to Bonn with this work, which she has since successfully released on Cd. She will be ac-companied by the wdr Sinfonie-orchester Köln under its new chief conductor Jukka-Pekka Saraste, who in recent years has done much to give the music of Scandinavia a firm base in con-cert halls around the world. For the Beethovenfest he has chosen the Sibelius’s first symphony, whose vigorous and acerbic themes made the work popular within a short time.

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Lisa Batiashvili

Sparkling Performance

t h u 1 3 s e p 8 p M


Lisa Batiashvili Violin

wDR Sinfonieorchester KölnJukka-Pekka Saraste Conductor

Ludwig van Beethoven: Concerto for violin and orchestra in d major op. 61Jean Sibelius: Symphony no. 1 in E minor op. 39? 65 i 50 i 38 i 29 i 19


7 . 3 0 p m


“All Ears for Half”Sponsored by Phoenix reisen.

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“Homage to Joseph Joachim”


t h u 1 3 s e p 8 p M


Daniel Hope Violin

Sebastian Knauer Piano

“Homage to Joseph Joachim”Johannes Brahms: Scherzo for violin and piano in C minor for Joseph JoachimClara Schumann: romance for violin and piano in d-flat major op. 22/1Ludwig van Beethoven: Sonata for violin and piano no. 9 in A major op. 47 (“Kreutzer Sonata”)Felix Mendelssohn: two Songs (version for violin and piano)Joseph Joachim: romance for violin and piano in B-flat major op. 2/1Johannes Brahms: Sonata for violin and piano in G major op. 78 ? 42

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Daniel Hope

aniel Hope is famous for his musical versatility and crea-tivity – he himself describes him-self as a “violinist, broadcaster, author, musical activist and pro-duc er”. in his latest programme he devotes himself to a vio linist who was largely responsible for popularizing and indeed canon iz-ing Beethoven’s Violin Concerto: Joseph Joachim. the programme unites compositions written for Joachim, or else in spired, first performed or com posed by him. daniel Hope is accompanied by Sebastian Knauer, who is known at the Beethovenfest Bonn for his sensitive artist portraits.

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he violinist Gilles Apap is at home in many worlds. He was born in Algeria, grew up in France, and now lives in the USA. He is no respecter of styles, and is a virtuoso in classical music, jazz and world music alike. that’s why Yehudi Menuhin gave him the accolade as the “arche-type of a universal musician of the 21st century”. in Bonn, together with three other musi-cians, the “Colours of invention”, he is presenting excerpts from his new Cd “Sans Orchestre”.

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Gilles Apap

The Colours of Fantasy

t h u 1 3 s e p 8 p M

v o l k s B a n k - h a u s

Gilles Apap Violin

Myriam Lafargue Accordion

Philippe noharet double Bass

Ludovit Kovac Cymbal

“Gilles Apap & the Colours of Invention” works by wolfgang Amadeus Mozart, Maurice Ravel, Manuel de Falla, Fritz Kreisler and traditionals.? 29Sponsored by Volksbank Bonn rhein-Sieg.

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he Artemis Quartet, winners of an ECHO Klassik award in 2011, has come up with an idio-syncratic programme for the Beethovenfest Bonn. Between two great quartets of the early-romantic period, they are ven-tur ing to present Johann Sebas-tian Bach and Astor Piazzolla. Both were in their way highly idiosyncratic artists. As he grew older, Bach probably realized that his puzzling and complex works were way ahead of their time. Piazzolla also broke moulds, those of the traditional tango, which he reinterpreted in his “tango nuevo” – which brought him a lot of admirers, except in Argentina, the birth-place of the old tango.

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Artemis Quartet

Bach Meets Piazzolla

t h u 1 3 s e p 8 p M

k u r s a a l B a d h o n n e f

Artemis Quartetnatalia Prishepenko Violin

Gregor Sigl Violin

Friedemann weigle Viola

Eckart Runge Cello

Felix Mendelssohn: Quartet for two violins, viola and cello no. 3 in d major op. 44/1Johann Sebastian Bach: Preludes and Fugues from the “Art of Fugue” and “the well-tempered Clavier i” combined with Astor Piazzolla: tangos, among others “Muerte del angel” and “Milonga del angel”Franz Schubert: Quartet for two violins, viola and cello no. 15 in G major op. 161 d 887? 32 i 25Sponsored by Kreissparkasse Köln.

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Herbert Blomstedt

Beethoven’s work of Superlatives

f r i 1 4 s e p 8 p M


Simone Schneider Soprano

Bernarda Fink Alto

Dominik wortig tenor

Jochen Kupfer Bass

Chorus of Bayerischer RundfunkDie Deutsche Kammer-philharmonie BremenHerbert Blomstedt Conductor

Ludwig van Beethoven: Mass for four solo voices, chorus, orchestra and organ in d major op. 123 (“Missa solemnis”)? 65 i 50 i 38 i 29 i 19


7 . 3 0 p m


“All Ears for Half”Sponsored by Comma Soft.

203t least 600 pages of sketches, sometimes concurrent sales ne-gotiations with seven publishers, a personal avowal at the start of the score: simply the accom-paniment to the creation of Beet-hoven’s “Missa solemnis” make it a work of superlatives. Beet-hoven proceeds as if he were writ ing a symphony, painting scenes and moods in sound. the deutsche Kammerphilharmonie Bremen, the Beethovenfest Bonn’s long-serving “Orchestra in residence”, has looked at the work in detail for the first time. it was the work which Beethoven himself considered his best. it will be conducted by Herbert Blomstedt, whose fidelity to the work on the programme, what-ever it is, is legendary.

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“Dear Pierre – cher John”



B u n d e s k u n s t h a l l e ,

f o r u M


Pierre-Laurent Aimard Piano

Tamara Stefanovich Piano

Pierre Boulez: Sonatas for piano nos. 1 to 3 and further works for two pianos? 15 for one concert? 25 for two concertsOn the order card in the back cover you can select a small “Cage subscription”, namely two of the eight concerts, one at 7 pm (nos. 14 to 17) and one at 10 pm (nos. 19 to 22).

the “Cage night” is supported by the Kunststiftung nrw.

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Pierre-Laurent Aimard

etween 1949 and 1954 Pierre Boulez and John Cage exchanged a series of remarkable letters, documenting an unusual friend-ship. Very different as the paths were that the two finally took – Boulez the serialist, Cage the ad-vocate of the greatest-possible compositional freedom – they were both crucially involved in the development of twentieth-century music. the total œuvre for one or two pianos by Pierre Boulez is currently almost cer-tainly being played most compe-tently by the duo Pierre-Laurent Aimard and tamara Stefanovich. with their fingers on the keys, the algorithmic-mathematical structures of the piano works take on an intoxicating character.

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Cage + + +

+ + + night

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he Freyer Ensemble sees it-self as a theatre workshop which concerns itself with forms of the-atre using themes which it has laid down itself – a borderline area transcending theatre, acro-batics, ballet, language, music and pictures. the members of the ensemble meet two or three times a year to create new the-atrical works. For the Beetho-venfest Bonn, under the direction of rupert Huber, they have ar-ranged the “Song Books” by John Cage for a new stage concept that integrates the exhibition ar-chitecture of the Bundeskunst-halle. this unique combination of different disciplines of the per-forming and visual arts stands for a theatre sui generis, created for the “Cage night” at the Beet-hovenfest.

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Members of Freyer Ensemble with Ensemble musikFabrik

Theatre sui Generis



e x h i B i t i o n


Ensemble Spinario (4 singers)

Members of Freyer Ensemble (4 actors)

Rupert Huber Concept, Artistic director

“CAGE | V = a3”John Cage: from “Song Books i and ii”? 15 for one concert? 25 for two concertsOn the order card in the back cover you can select a small “Cage subscription”, namely two of the eight concerts, one at 7 pm (nos. 14 to 17) and one at 10 pm (nos. 19 to 22).


15

Cage + + +

+ + + night

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Pianos in Concert





Duo d’AccordLucia Huang Piano

Sebastian Euler Piano

Susanne Kessel Piano, Concept

Helmut Zerlett Keyboard, toy Piano

Peter Hölscher Video on ”the Seasons“

Leipziger StreichquartettMike Svoboda trombone

works by John Cage, among others “Bird Cage” for 12 tapes recorders, “Music walk”, “Sona-tas and interludes”, “4’33’’” and further works by Sergei Prokof-iev, Francis Poulenc and others? 15 for one concert? 25 for two concertsOn the order card in the back cover you can select a small “Cage subscription”, namely two of the eight concerts, one at 7 pm (nos. 14 to 17) and one at 10 pm (nos. 19 to 22).


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Duo d’Accord

wo aspects make this con-cert, which takes place concur-rently in three exhibition rooms, a central event of the “Cage night”: firstly, it features the work that gave the project its name and which, with its compo-sitional randomness, is, so to speak, a key to understanding Cage’s work (likewise “4’33’’”, which Mike Svoboda will per-form). Secondly listeners can experience an instrument which Cage is regarded as having in-vented: the prepared piano. the duo d’Accord are playing on four different pianos, two of them “prepared”. there are also a toy piano and an electric piano. Be-fore and during the “Cage night” films by and about John Cage will be shown in the rotunda of the Kunstmuseum.

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Cage + + +

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hance and indeterminacy as compositional principles – for John Cage, this was not a contra-diction. this programme takes up both components in that as its context it takes the form of a mov-ing concert: the musicians take the audience to different venues, and as a result the space and the acoustics become variable quanti-ties. in addition, we have two works whose instrumentation is left to chance to a certain extent: “Five” is composed for five play-ers, but they are not specified more closely. the “Six Melodies” are deliberately titled as a work “for violin and keyboard instru-ment”, so that the accompanying instrument may vary – chance as principle.

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Salome Kammer

Chance as Principle



d e r B u n d e s r e p u B l i k

d e u t s C h l a n d


Salome Kammer Voice

Steffen Schleiermacher Piano

Andreas Seidel Violin

Friedrich Gauwerky Cello

Stefan Hussong Accordion

John Cage: “Six Melodies” for violin and keyboard instrumentJohn Cage: Parts from the “44 Harmonies From Apartment House 1776”John Cage: “the wonderful widow of 18 Springs”and further works ? 15 for one concert? 25 for two concertsOn the order card in the back cover you can select a small “Cage subscription”, namely two of the eight concerts, one at 7 pm (nos. 14 to 17) and one at 10 pm (nos. 19 to 22).


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Cage + + +

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his programme presents two composers closely linked to John Cage’s music: Erik Satie and Josef Matthias Hauer. when Satie died, Cage was just 13 years old, and so the relationship was one-sided, but all the more intense for that. Hauer and Cage were contemporaries, although Hauer was, compositionally, quite a away ahead, something that at-tracted little note even in Europe. Even so, they have much in com-mon: like Cage, Hauer too inte-grated Asian and cosmic world views into his music, and fur-thermore both were obsessed with numerology. in 1957, finally, John Cage played the piano part in Hauer’s ballet music “Labyrin-thian dances”.

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Piano Duo Tal & Groethuysen

weave of Relationships

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f o r u M


Piano Duo Tal & GroethuysenYaara Tal Piano

Andreas Groethuysen Piano

works by Johannes Brahms, Reinhard Febel, Erik Satie, Josef Matthias Hauer and Ludwig van Beethoven? 15 for one concert? 25 for two concertsOn the order card in the back cover you can select a small “Cage subscription”, namely two of the eight concerts, one at 7 pm (nos. 14 to 17) and one at 10 pm (nos. 19 to 22).


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Cage + + +

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Highly Relevant Statement

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e x h i B i t i o n


Ensemble Spinario (4 singers) Members of Freyer Ensemble (4 performers)

Rupert Huber Concept,Artistic director

“CAGE | V = a3”John Cage: from “Song Books i and ii”? 15 for one concert? 25 for two concertsOn the order card in the back cover you can select a small “Cage subscription”, namely two of the eight concerts, one at 7 pm (nos. 14 to 17) and one at 10 pm (nos. 19 to 22).


20hat the ‘Song Books’ in their anarchic vehemence are under-stood not as a dangerous and still highly relevant political state-ment, but rather as the expres-sion of a particular aesthetic, i regard as a tragic error of recep-tion.” (rupert Huber). the conduc-tor, composer and performance artist rupert Huber has been in-tensively confronting the music of John Cage since the early 1980s. with the Ensemble Spinario, which he formed in 1982, and members of the Freyer Ensemble, Huber is putting his own inter-pretation on a dimension of the “Song Books” which is as peace-able as it is socially anarchic: “… equal rights for all, individual competences, and – very impor-tant – the absolute rejection of any form of hierarchical struc-ture.”

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Rupert Huber

Cage + + +

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ohn Cage had the idea of ig-noring the boundaries between the arts and expressing himself on the same themes both in mu-sic and in the visual arts. Contin-uing this idea, Susanne Kessel integrates sound sculptures by Peter Hölscher into her perform-ance of the “Concert for piano and orchestra” by John Cage. in parallel, the Jewish-Palestinian piano duo Amal will play russian classics alternating with a new israeli and a new Palestinian composition, thus overcoming national borders. in the third hall, finally, the Leipzig String Quartet play Beethoven’s “Great Fugue” in direct confrontation with Cage’s compositions “Four” and “Music for Five”. Before and during the “Cage night” films by and about John Cage will be shown in the rotunda of the Kunstmuseum.

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Susanne Kessel

Ignoring Boundaries

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Piano Duo AmalBishara Harouni Piano

Yaron Kohlberg Piano Susanne Kessel Piano, Concept

Leon Milo Soundscapes to Messiaen

Peter Hölscher Sound Sculptures

Leipzig String QuartetMike Svoboda trombone

works by John Cage, wolfgang Amadeus Mozart, Ludwig van Beethoven, Igor Stravinsky, olivier Messiaen and others? 15 for one concert? 25 for two concertsOn the order card in the back cover you can select a small “Cage subscription”, namely two of the eight concerts, one at 7 pm (nos. 14 to 17) and one at 10 pm (nos. 19 to 22).


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Cage + + +

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Cage Specialists

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d e r B u n d e s r e p u B l i k

d e u t s C h l a n d


Salome Kammer Voice

Steffen Schleiermacher Piano

Andreas Seidel Violin

Friedrich Gauwerky Cello

Stefan Hussong Accordion

John Cage: “Six Melodies” for violin and keyboard instrumentJohn Cage: Parts from the “44 Harmonies From Apartment House 1776”John Cage: “the wonderful widow of 18 Springs”and further works ? 15 for one concert? 25 for two concertsOn the order card in the back cover you can select a small “Cage subscription”, namely two of the eight concerts, one at 7 pm (nos. 14 to 17) and one at 10 pm (nos. 19 to 22).


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Stefan Hussong

his concert features five musicians who can rightly be called Cage specialists, having drawn attention to themselves with highly acclaimed Cds. while Stefan Hussong’s solo Cd “dream” with works by John Cage was declared “best record of the year” by J apan record Guide in 1999, Steffen Schleier-macher, by dint of his recording of the whole œuvre is regarded as the best-known interpreter of Cage’s piano repertoire and, together with Andreas Seidel, of the works for violin and piano. Salome Kammer in turn is known as an interpreter of the “Aria”, a key work by Cage, which the vocal virtuoso performs “breath-takingly well”.

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34


Arcs of Sound, Unfinished but Perfect



Bayerisches StaatsorchesterKent nagano Conductor

Franz Schubert: Symphony no. 7 in B minor d 759 (“the Unfinished”)Anton Bruckner: Symphony no. 9 in d minor wAB 109? 95 i 80 i 66 i 49 i 35


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o r C h e s t r a p o rt r a i t

“All Ears for Half”this concert is part of the residency of the Bayerisches Staatsorchester.


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Kent nagano

re the fragments which have come down to us from the 19th century not the forms that, un-intentionally, point to the future? the open question “How might it go on?” has been left by a num-ber of great symphonic compos-ers as a puzzle for posterity to answer. two of the weightiest fragments, from either end of the century, have been combined by Kent nagano to create a ten-sion-filled programme. nagano’s clearly structured Bruckner was heard in Bonn once before, in 2010 (on that occasion, the seventh symphony); at the Beet-hovenfest 2012 he will complete the arcs of sound of the unfin-ished ninth.

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our thoroughbred virtuosos and two “Four Seasons”: the classic can’t-shake-it-off melody by the Venetian Baroque master Antonio Vivaldi meets the “new tango” by the Argentinean Astor Piazzolla. Both cycles are arran-gements for guitar, violin, piano and percussion, and were written specially for the quartet formed by the neapolitan brothers Aniello, Gennaro and Gaetano desiderio. the three musicians are supported by the fabulous percussionist Salvatore Minale.

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Aniello Desiderio Quartet

2 x 4 Seasons

s u n 1 6 s e p 1 1 a M

h o t e l k ö n i g s h o f

Aniello Desiderio QuartetAniello Desiderio Guitar

Gennaro Desiderio Violin

Gaetano Desiderio Piano

Salvatore Minale drums

“Vivaldi 4 & 4 Piazzolla Seasons”Antonio Vivaldi: “Le quattro stagioni” (“the Four Seasons”) for violin, strings and basso continuo from “il Cimento dell’Armonia e dell’invenzione” (“the Contest Between Harmony and invention”) op. 8/1–4 (arranged for guitar, violin, piano and percussion)Astor Piazzolla: “Cuatro Estaciones Porteñas”? 29Sponsored by Verlag für die deutsche wirtschaft.

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Mature and Poetic Playing


s u n 1 6 s e p 5 p M

B u r g w i s s e M

t r o i s d o r f

Jan Lisiecki Piano

olivier Messiaen: Préludes pour piano (Selection)Johann Sebastian Bach: Partita for piano no. 1 in B-flat major BwV 825Ludwig van Beethoven: Sonata for piano no. 24 in F-sharp major op. 78Felix Mendelssohn: “Variations serieuses” in d minor op. 54Frédéric Chopin: 12 Études for piano op. 25? 29Sponsored by Kreissparkasse Köln.

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Jan Lisiecki

rodigy! the 16-year-old Cana-dian of Polish descent doesn’t like this description at all: “i may have talent, but that also means a lot of hard work,” says pianist Jan Lisiecki. But in view of his extraordinary career, the term seems altogether appropriate: Jan Lisiecki made his orchestral debut at the age of seven, and was just 13 when he first ap-peared at the Carnegie Hall. the critics praised his mature and poetic playing, his relaxed man-ner. in his debut concert at the Beethovenfest Bonn, Jan Lisiecki can be heard in a solo recital.

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he German-Swiss Amaryllis Quartet were trained in Basel by walter Levin, the leader of the LaSalle Quartet, and studied un-der the Alban Berg Quartet in Cologne from 2007 to 2009. the quartet has already won several prizes, including the 1st Prize and the Grand Prize at the 6th Melbourne international Cham-ber Music Competition in 2011. the rediscovery of forgotten masterpieces is a major concern of the young foursome. they are particularly interested in this re-gard in the Hungarian composer and Bartók-pupil Géza Frid. in Bonn they will be combining his First Quartet with ravel’s only string quartet and Beethoven’s Opus 131, whose “wealth of har-mony” was already appreciated by contemporaries.

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Amaryllis Quartet

Discovery

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B u r g n a M e d Y

a n d e r n a C h

Amaryllis QuartetGustav Frielinghaus Violin

Lena wirth Violin

Lena Eckels Viola

Yves Sandoz Cello

Maurice Ravel: Quartet for two violins, viola and cello in F majorGéza Frid: Quartet for two violins, viola and cello no. 1 op. 2Ludwig van Beethoven: Quartet for two violins, viola and cello no. 14 in C-sharp minor op. 131? 25with support by Jürgen Ponto-Stiftung.

in co-operation with “Concerts at Burg namedy”.

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A Bridge to the Modern Age

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Kit Armstrong Piano

Bayerisches StaatsorchesterKent nagano Conductor

Ludwig van Beethoven: Concerto for piano and orches-tra no. 1 in C major op. 15Gustav Mahler: Symphony no. 9 in d major? 95 i 80 i 66 i 49 i 35


6 . 3 0 p m


“All Ears for Half”this concert is part of the residency of the Bayerisches Staatsorchester.


Sponsored by westLotto.

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Kit Armstrong

eethoven’s ninth symphony was a milestone. Many later composers failed to pass the magic limit of nine – including Mahler, whose tenth symphony remained no more than a frag-ment. His ninth, though, was composed in 1908/09, when Mahler himself was regularly conducting Beethoven’s final symphony worldwide. Mahler’s ninth is regarded as the consum-mation of romanticism and a bridge to the modern age. what can accompany this work on the programme? An early work that shows Mahler’s great role model Beethoven on the threshold of world fame: the first piano con-certo, composed in Vienna in 1796 – played by the 20-year-old Kit Armstrong.

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n the 1960s he was still the “enfant terrible” of contemporary music, in 1990 he set an almost classic standard for the violin-concerto genre: György Ligeti, the composer who was always searching. For the violin concerto he sought, by his own admission, for “imprecise intonation and a ‘dirty’ sound”. who could do justice to this contradictory personality better than Patricia Kopatchinskaja, the barefoot, energy-charged eccentric for whom even the “ugly” noises made by the bow are part of mu-sic making, and who, like Ligeti, is searching for the ”dirt” in music?

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Patricia Kopatchinskaja

In Search of the Dirty Sound

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Patricia Kopatchinskaja Violin

Münchener KammerorchesterAlexander Liebreich Conductor

Salvatore Sciarrino: new work (first performance, work commissioned by the Beethovenfest Bonn and the Münchener Kammerorchester)György Ligeti: Concerto for violin and orchestraLudwig van Beethoven: Symphony no. 7 in A major op. 92? 53 i 44 i 35 i 27 i 19


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“All Ears for Half”

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Unique Presence

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Mojca Erdmann Soprano

Gerold Huber Piano

Richard Strauss: twelve songs for voice and piano, incl. “die nacht” op. 10/3, “Ständchen” op. 17/2, and “ich schwebe” op. 48/2wolfgang Amadeus Mozart: Six songs for voice and piano, incl. “das Veilchen” KV 476 and “dans un bois solitaire” KV 308Aribert Reimann: “Ollea”. Song cycle for soprano solo to poems by Heinrich Heine? 327 . 3 0 p m



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Mojca Erdmann

he unique presence exuded by this young singer is enchanting: in Mojca Erdmann voice and cha-risma combine in a natural, un-forced way. in the first of her two concerts at the Beethovenfest Bonn 2012, the Hamburg-born soprano shows herself as an ar-tist who designs her program-mes according to her own ideas. thus she begins with songs by two composers, Mozart and Strauss, whom she has inten-sively confronted time and again both on the stage and in concert. Versatile like few others, she is also a sought-after performer of contemporary music. in Bonn she gives the song cycle “Ollea” by Aribert reimann which she premièred in 2006.

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w e w o u l d l i k e t o t h a n k t h e s p o n s o r s o f t h e B e e t h o v e n f e s t B o n n 2 0 1 2 + + +

Main Sponsors:

Event Sponsors:

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w e w o u l d l i k e t o t h a n k t h e s p o n s o r s o f t h e B e e t h o v e n f e s t B o n n 2 0 1 2 + + +

Public Sponsors:

Cultural Partner:Event Sponsor of the rhein-Sieg-Kreis:

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Foundations:

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“Beethoven ile Bulusma” Encounter with Beethoven

park – “the Classical Band” are presenting their fans with a form of swashbuckling folk music which is all their own. in virtuoso fashion the ensemble, who al ready appeared at the 2010 Beethovenfest Bonn in this un usual arrangement, weave tra-di tional songs and dances with classical music, avantgarde, Minimal Music and art pop. with an ear for the unusual and the previously unheard, Spark show how excit ing music sounds when it feels bound to its classical roots and at the same time does not shy away from innovation. Old German ballads, evergreens from the British isles, fiery Bal-kan rhythms, the russian soul, Mediterranean joie de vivre and a hint of Bavarian “oom-pa-pah” all fuse into a concert experience that transcends all boundaries.

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Spark

Swashbuckling Folk Music

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h a u s d e r s p r i n g -

M a u s

SparkDaniel Koschitzki Flute

Andrea Ritter Flute

Stefan Glaus Violin / Viola

Victor Plumettaz Cello

Mischa Cheung Piano

“Folk Tunes” traditional songs and dances mixed with classical music, avantgarde, Minimal Music and Art Pop? 23

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urkey – a country in upheaval. in order to accompany this eco-nomically and culturally highly interesting development, the Orchestra Campus organized by deutsche welle and the Beet-hovenfest Bonn has invited the turkish national Youth Philhar-monic Orchestra, which, based in istanbul, has been doing excel-lent work for several years under the direction of Cem Mansur. A musical insight into the pulsat-ing life of this highly interesting metropolis is given by the first performance of the work com-missioned by deutsche welle from Mehmet Erhan tanman.

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Turkish national Youth Philharmonic orchestra

“Beethoven ile Bulusma” Encounter with Beethoven

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Deutsche welle presents:C a M p u s C o n C e r t

Hande Küden Violin

Efe Baltacigil Cello

Hüseyin Sermet Piano

Turkish national Youth Philharmonic orchestraCem Mansur Conductor

Ludwig van Beethoven: “triple Concerto” in C major op. 56Mehmet Erhan Tanman: “the traffic” for orchestra (first performance, work com-missioned by deutsche welle) as well as works by Maurice Ravel (Boléro), Richard Strauss and Béla Bartók? 29 i 22 i 15


7 . 3 0 p mC o n C e r t i n t r o d u C t i o n“All Ears for Half”Sponsored by the German Foreign Ministry.

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the Orchestra Campus organized by deutsche welle and the Beethovenfest Bonn is one of the winners of “365 Land-marks in the Land of ideas” 2011.

the turkish national Youth Philharmonic Orchestra is sponsored by Sabanci Stiftung.

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Look at Beethoven


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s h o r t- f i l M p r o J e C t

“ l o o k at B e e t h o v e n ”

Presentation of a selection of the best short films since 2006, with a view of the future Enrique Sánchez Lansch Presenter

Admission free

Further information at: www.beethovenfest.de/festival- programm/look-at-beethoven

in co-operation with the Kunstmuseum Bonn.

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Enrique Sánchez Lansch

ince the start of the short-film project “Look at Beethoven” in 2006, numerous original, thoughtful, poetic and witty short films on Beethoven and the an-nually changing themes of the Beethovenfest have been creat-ed. After six years, the film direc-tor Enrique Sanchez Lansch will now show a selection of the best of these films. in addition, a new focus of “Look at Beethoven” will be presented: in 2012 students from selected film colleges and schools will accompany the Or-chestra Campus organized by deutsche welle and the Beetho-venfest, which, this year, will fea-ture the turkish national Youth Philharmonic Orchestra. the film series “Look at Beethoven” will also be casting an eye at the rich turkish film scene.

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he Programme “4 Elements – 4 Seasons” combines the exciting historical musical style of the Akademie für Alte Musik Berlin with the innovative choreographic work of the Compagnie Sasha waltz & Guests. the focus of the evening is on two works com-posed within a short time of each other– the dance suite “Les élé-ments” (1737) by Jean-Féry rebel and the violin concertos known as the “Four Seasons” by Antonio Vivaldi (before 1725) – in which images of nature are set to music in a skilful fashion. this music is the starting point for a production in which dance and music are combined in a new way that dissolves the boundaries between musicians and dancers and thus creates new forms of perform ance that transcend the tradi tional concert.

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“4 Elements – 4 Seasons”

Choreographic Concert

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Midori Seiler Violin

Akademie für Alte Musik BerlinClemens-M. nuszbaumer Conductor

Juan Kruz Diaz de Garaio Esnaola director, Choreography, dance

Gabriel Galindez Cruz dance

Antonio Ruz dance

“4 Elements – 4 Seasons”Jean-Féry Rebel: “the Ele-ments”. Symphonie nouvelle for strings and basso continuoAntonio Vivaldi: “the Four Seasons” for violin, strings and basso continuo op. 8/1-4? 45Presented by Beethovenfest Bonn in co-operation with the Bundeskunsthalle.

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Bubbling Performing Pleasure


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Isabelle Faust Violin

La Chambre PhilharmoniqueEmmanuel Krivine Conductor

Ludwig van Beethoven: Overture to Salvatore Viganò’s Ballet “the Creatures of Prometheus” op. 43Ludwig van Beethoven: Concerto for violin and orches-tra in d major op. 61Ludwig van Beethoven: Symphony no. 6 in F major op. 68 (“Pastoral”)? 53 i 44 i 35 i 27 i 19


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Isabelle Faust

eethoven as a challenge to continually examine the content of every note – for the violinist isabelle Faust, a regular guest at the Beethovenfest Bonn since 1999, the much performed and much reproduced Beethoven Violin Concerto is one of those works that deserve this special approach. to accompany her, she has chosen La Chambre Philharmonique conducted by Emmanuel Krivine, whose lively, gripping new Beethoven cycle on historic instruments bubbles with performing pleasure and in highly effective fashion clears out the all too fusty sameness that has crept in recent years.

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e was leader of the Palesti-nian-israeli west-Eastern divan Orchestra, he worked with Michael Brooks in the “Sound Factory” in Los Angeles and collaborated on Yo-Yo Ma’s “Silk road” project. the Lebanese violinist and composer Claude Chalhoub has always had a lot of time for foreign cultures. African, indian, and Chinese influences mingle with his own Arab-Euro-pean background. together with tobias Koch, one of the most ver-satile pianists of his generation, Chalhoub has worked out a haunt ing duo programme. For his second programme, he is cladding his own intense violin sound in gentle string tones and has invited the Eros Quartet to accompany him in his arrange-ments.

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Claude Chalhoub

Global Jazz

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h a r M o n i e e n d e n i C h

Claude Chalhoub Violin

Tobias Koch Piano

Mixture of classical and traditional Arabic music.? 23Joint event in association with Harmonie Endenich.

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Claude Chalhoub Violin

Tobias Koch Piano

Eros QuartetTimothy Braun Violin

Eduard Bayer Violin

François Lefèvre Viola

Erik Ásgeirsson Cello

“Ornament”, “tango”, “Cello-melody, “Oriental images” and further works by Claude Chalhoub.? 23Joint event with Harmonie Endenich.

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he trio headed by the young charismatic clarinettist david Orlowsky won the 2008 ECHO Klassik prize in the category “classical music without fron-tiers”. their new project, “Chro-nos”, integrates the sounds of the mandolin and bandoneon and thus extends the musical spec-trum considerably: while klezmer music is still an important com-ponent, Latin American and Spanish elements are present no less than the cheerful asymmetry of Balkan music, the easy every-day of pop, and the individual phrasing of jazz. the “Chronos” project with 14 pieces of their own composition bears impres-sive witness to the musical passion and the attractive sound of this trio.

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Musical Passion


s t r a s s e n B a h n h a l l e

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David orlowsky TrioDavid orlowsky Clarinet

Florian Dohrmann double Bass

Jens-Uwe Popp Guitar

Special Guests:Avi Avital Mandolin

Klaus Paier Bandoneon

Christian weißkircher Light design

“Chronos”Arrangements and compositions between world music and pop, klezmer and jazz.? 27 i 19Sponsored by Stadtwerke Bonn.

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David orlowsky Trio

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Compositional Emancipation


András Schiff

ndrás Schiff is no stranger to Bonn – he has been a guest at the Beethovenfest a number of times, with solo recitals or as soloist and conductor with his Cappella Andrea Barca. in 2012 and 2013 he is returning to Bonn as a soloist, and will be present-ing a complete cycle of all of Beet hoven’s 32 piano sonatas, on three evenings at the Beetho-venfest 2012, and four evenings in 2013. the cycle, which is con-ceived chronologically, begins with the Piano Sonatas 1 to 4, which were composed during Beethoven’s early years in Vienna, and already gave some inkling of Beethoven’s emanci-pation from his role models Haydn and Mozart.

A s u n 2 3 s e p 6 p M


B e e t h o v e n

p i a n o s o n ata s 1


Ludwig van Beethoven:Sonata for piano no. 1 in F minor op. 2/1 Sonata for piano no. 2 in A major op. 2/2Sonata for piano no. 3 in C major op. 2/3Sonata for piano no. 4 in E-flat major op. 7? 45 i 35 i 25the events of the Piano Sonata Cycle can be booked together at a discount.Subscription prices: e 115 i 90 i 60

non-bookable reserved seatsfor students.

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ike many creative figures in the years following the trauma of the First world war, Hindemith too was concerned, in these three one-act plays written be tween 1919 and 1921 to convey a more authentic picture of hu man ity released from the big otries of bourgeois moral con straints. the work was thus described as a scandal even before it was ever performed, and as a result, this “Einakter-triptychon” even to-day is unjustly ignored by theatre managers. 90 years after its first complete performance, the theater Bonn, in co-operation with the Beethovenfest Bonn, is staging a new production of this unusual stage work.

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Stefan Blunier

Three one-Act Plays

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o p e r n h a u s

Chor des Theater BonnBeethoven orchester BonnStefan Blunier Conductor

Klaus weise director

Raimund Bauer Stage set

Dorothea wimmer Costumes

Paul Hindemith: “Einakter- triptychon” (Première): “Mörder, Hoffnung der Frauen” op. 12; “das nusch-nuschi” op. 20; “Sancta Susanna” op. 21? 57 i 45 i 34 i 28 i 17Presented by theater Bonn in co-opera-tion with the Beethovenfest Bonn.

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Further performances:s at 2 9 s e p 7 . 3 0 p M

t h u 4 o C t 7 . 3 0 p M

i n e a C h C a s e at 7 p M

i n t r o d u C t i o n

i n t h e o p e r n f o Y e r

? 45 i 36 i 27 i 22 i 13

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Beethoven and Russia


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l a r e d o u t e

B e e t h o v e n

s t r i n g Q u a r t e t s 1



Igor naidin Viola


Dmitri Shostakovich: Quartet for two violins, viola and cello no. 1 in C major op. 49Dmitri Shostakovich: Quartet for two violins, viola and cello no. 8 in C minor op. 110Ludwig van Beethoven: Quartet for two violins, viola and cello no. 1 in F major op. 18/1? 38the events of the String Quartet Cycle can be booked together at a discount.Subscription price: e 115

7 . 3 0 p m



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Borodin Quartet

he Borodin Quartet is begin-ning a three-year cycle of string quartets by Beethoven and rus-sian composers with two works by dmitri Shostakovich, who wrote a total of 15 works in this genre. the Quartet no. 1, the only one to pre-date the Second world war and is being matched by Beethoven’s no. 1, is being fol lowed by the eighth string quartet. it was composed in 1960 in Gohrisch in Saxony, under the impact of the ruins of dresden, and performed in the composer’s presence before the public première by the Borodin Quartet (albeit not the present members).

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hen Beethoven, a true angel, let us hear his new, as yet un-printed, quartets, which are the loftiest of their kind. […] imagine what a joy that was!” with these words, Countess von deym de-scribed a first private perform-ance of the Quartets op. 18 by Beethoven. in this concert, the Borodin Quartet are combining two quartets of a very different character: the one serene and entertaining, the other full of pathos and passion. Shosta ko-vich’s String Quartet no. 3 is one of his most popular and acces-sible quartets, very much geared to Beethoven’s model.

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“The Loftiest of Their Kind”

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Igor naidin Viola


Ludwig van Beethoven: Quartet for two violins, viola and cello no. 2 in G major op. 18/2Ludwig van Beethoven: Quartet for two violins, viola and cello no. 4 in C minor op. 18/4Dmitri Shostakovich: Quartet for two violins, viola and cello no. 3 in F major op. 73? 38the events of the String Quartet Cycle can be booked together at a discount.Subscription price: e 115

Sponsored by dHPG.

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Borodin Quartet

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Beethoven Specialist


András Schiff

ndrás Schiff is an acknowl-edged Beethoven specialist, and there are doubtless few pianists who have occupied themselves with Beethoven so profoundly, meticulously, and with such scholarly competence. He is also one of the few pianists who regu-larly play all of Beethoven’s pia-no sonatas. Schiff’s performance of the collected Beethoven piano sonatas has been received by the highest critical acclaim. On the second evening of his piano-sonata cycle in Bonn, András Schiff is performing six sonatas dating from Beethoven’s period of intense creativity between 1795 and 1799.

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Ludwig van Beethoven:Sonata for piano no. 5 in C minor op. 10/1Sonata for piano no. 6 in F major op. 10/2Sonata for piano no. 7 in d major op. 10/3Sonata for piano no. 8 in C minor op. 13 (“Pathétique”)Sonata for piano no. 9 in E major op. 14/1Sonata for piano no. 10 in G major op. 14/2? 45 i 35 i 25the events of the Piano Sonata Cycle can be booked together at a discount. Subscription prices: e 115 i 90 i 60


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Three-Legged Elephants


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Matthew Barley Cello

Julian Joseph Piano

“Dance of the Three-Legged Elephants”works by Matthew Barley, Maurice Ravel and others? 22

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Julian Joseph and Matthew Barley

here exists a photograph on which Matthew Barley and Julian Joseph can be seen in profile standing behind each other – a two-headed, one-handed, three-legged fabulous creature. Maybe it is the strange proportions of this picture which give the music of this brilliant duo its charming and rugged drive. if a classical cellist, who also improvises on the electric cello, meets a jazz pianist who’s been playing in the top league for 20 years, the re-sult is very idiosyncratic music – e.g. the “dance of the three-Legged Elephants”.

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he Borodin Quartet has main-tained its symphonically dense sound in spite of all its changes in personnel. they are regarded as the specialists for the russian repertoire – from tchaikovsky across their eponym Borodin all the way to Shostakovich. the quartet was founded in 1945 in the former Soviet Union as the “Moscow Philharmonic Quartet” and is thus one of the oldest quartets still in existence. One dream of Valentin Berlinsky, still an active founder member in the 21st century, only came true after 60 years – “the great vision of playing all the Beethoven quar tets from the first to the last”. in Bonn this dream is com-ing true once again.

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Borodin Quartet

The Great Dream

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a u l a d e r u n i v e r s i t ä t

B e e t h o v e n




Igor naidin Viola


Ludwig van Beethoven: Quartet for two violins, viola and cello no. 3 in d major op. 18/3Igor Stravinsky: Concertino for two violins, viola and celloPeter Tchaikovsky: Quartet for two violins, viola and cello no. 1 in d major op. 11? 32the events of the String Quartet Cycle can be booked together at a discount.Subscription price: e 115

reader’s concert of General-Anzeiger.

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Pinnacle of Late-Romantic Music


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Christiane Iven (tove)

Dubravka Musovic Mezzo-soprano(waldtaube)

Jon Villars tenor (waldemar)

Andreas Conrad tenor (Klaus-narr)

Ralf Lukas Baritone (Peasant)

Salome Kammer narrator

nDR ChorusCzech Philharmonic Choir BrnoBeethoven orchester BonnStefan Blunier Conductor

Arnold Schönberg: “Gurre-Lieder”. Oratorio for soloists, choir and orchestra based on poems by Jens Peter Jacobsen? 65 i 50 i 38 i 29 i 19


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“All Ears for Half”Sponsored by General-Anzeiger Bonn.

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Stefan Blunier

ith their exuberantly lyrical sounds of nature and their thril-ling drama, Arnold Schönberg’s work “Gurre-Lieder”, begun in the 19th century and completed in the 20th, represents the pin-nacle of late-romantic music – and uses more instruments and voices than almost any other work. Schönberg called it the “key to my whole development”, a development for which Beetho-ven too was of great importance. Bonn’s general music director Stefan Blunier has decided to tackle this gigantic composition together with the Beethoven Orchester Bonn.

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ncredible musicality across the ages and genres: the six King’s Singers from Great Britain present themselves as masters of purity of intonation, immacu-late harmony and perfect articu-lation. in their new programme, they draw on myths and legends from different ages and regions – with elves and satyrs, native Ameri- can wanderers and the bucolic denizens of Arcadia, awa k ened in the renaissance to new life and still unfolding their magic in the concert halls of today. Exuberant arrangements and new compo-sitions by Gabri ela Lena Frank round the evening off.

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The King’s Singers

The Magic of Myths

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s t e i g e n B e r g e r

g r a n d h o t e l

p e t e r s B e r g

The King’s Singers David Hurley Countertenor Timothy wayne-wright Countertenor

Paul Phoenix tenor

Christopher Bruerton Baritone

Christopher Gabbitas Baritone

Jonathan Howard Bass

“Myths”works by Palestrina, Thomas weelkes, Giovanni Gabrieli, Gabriela Lena Frank and others? 32Sponsored by Kreissparkasse Köln.

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Milestones


he fourth and last concert of the string quartet cycle with the Borodin Quartet focuses on the second quartet by the ensemble’s eponym. Borodin, a self-taught composer, succeeded, in this work full of electrifying ideas, in cre-ating a milestone in the quartet repertoire, in which the cello – which Borodin himself played – takes on the major role. Equally life-affirming is Beethoven’s fifth quartet, which is modelled on Mozart’s quartet KV 464. the Borodin Quartet final piece at the 2012 festival is the second quartet from Beethoven’s opus 59. with this collection of three quartets, the composer was moving on to new territory, almost approaching the complexity of a symphony in his musical language and form.

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Andrej Abramenkov Violin

Igor naidin Viola


Ludwig van Beethoven: Quartet for two violins, viola and cello no. 5 in A major op. 18/5Alexander Borodin: Quartet for two violins, viola and cello no. 2 in d majorLudwig van Beethoven: Quartet for two violins, viola and cello no. 8 in E minor op. 59/2 (“rasumowsky Quartet” no. 2)? 32the events of the String Quartet Cycle can be booked together at a discount.Subscription price: e 115

in co-operation with Bürgerstiftung rheinviertel.

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Borodin Quartet


t first sight, the works being played on this third piano sonata evening by András Schiff seem to be in the wrong order. the numbering of the works however does not reflect the order in which they were composed. An-drás Schiff has reconstructed the compositional history in order to bring out the developments in the sonatas. the climax and fi-nale of this first part of the Beet-hoven piano sonata cycle is the Sonata no. 15, also known as the “Pastoral”, which has achieved fame through the rustic, folksy character especially of the last two movements.

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András Schiff

Haunting Piano Melodies



B e e t h o v e n



Ludwig van Beethoven:Sonata for piano no. 19 in G minor op. 49/1Sonata for piano no. 20 in G major op. 49/2Sonata for piano no. 11 in B-flat major op. 22Sonata for piano no. 12 in A-flat major op. 26Sonata for piano no. 13 in E-flat major op. 27/1 (“Sonata quasi una fantasia”)Sonata for piano no. 14 in C-sharp minor op. 27/2Sonata for piano no. 15 in d major op. 28 (“Pastoral”)? 45 i 35 i 25the events of the Piano Sonata Cycle can be booked together at a discount.Subscription prices: e 115 i 90 i 60


208

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“Blackwhite”



t e l e k o M f o r u M

Samy Deluxe & Tsunami Band Organized by the “Student man-agers of Young Beethovenfest 2012”? 23 (Standing room)7 . 3 0 p m


“All Ears for Half”Project for deutsche telekom.

the project “Student managers of Young Beethovenfest” is sponsored by deutsche Bank Stiftung and rheinEnergie Stiftung Kultur.

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Samy Deluxe

his year, for the fourth time, the award-winning “Student man agers of Young Beethoven-fest” project is being held once more. it involves students from Bonn’s schools taking on the and in 2012 they are organizing a con cert with rapper Samy deluxe, one of the greats of German hip hop. His current album “Schwarzweiss” (“Blackwhite”) is a clear statement on his con-trast-rich view of life, and con-sists of a skilful collage of texts and topics, beats and songs, raps and melodies. the concert is being preceded by a three-day workshop with school students from Bonn who will be involved in the concert.

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he Hilliard Ensemble, along-side the King’s Singers without a doubt the world’s best-known vocal ensemble, combine in their programme, as also in this con-cert, the music of the Middle Ages and renaissance with works by modern composers. with “Ques tions …” by the Estonian composer Erkki-Sven tüür, they at the same time build a bridge to the homeland of the conductor Paavo Järvi: the two musicians have known each other since childhood, and more than 30 years ago Paavo Järvi was the percussionist in tüür’s rock band “in Spe”. the programme is completed by a further “nor thern light”, the composer Johannes Brahms, whose second sym-phony forms a romantic counter-weight to the first half of the concert.

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Paavo Järvi

Bridge to the Homeland

s u n 3 0 s e p 6 p M


The Hilliard EnsembleDie Deutsche Kammer-philharmonie BremenPaavo Järvi Conductor

Guillaume de Machaut: Five MotetsIgor Stravinsky: “Monumentum pro Gesualdo di Venosa ad Cd annum” for orchestra on the basis of three Madrigals Erkki-Sven Tüür: “Questions ...” for male voices and stringsJohannes Brahms: Symphony no. 2 in d major op. 73? 65 i 50 i 38 i 29 i 19


5 . 3 0 p m


“All Ears for Half”deutsche welle Festival Concert.

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e’s a crazy border-crosser of classical music who can enthuse his audiences within minutes: Matthew Barley, virtuoso cellist and specialist in the concert as a “social event”. He has the rare ability to weld together a group of very different people – non-specialists and professionals alike – into an ensemble through the power of music. in Bonn he’ll demonstrate this at a four-day workshop with a string orchestra made up of 25 Bonn students, not least with the “tightrope act” of joint improvisation. Matthew Barley succeeds in turning this “social act” into a concert expe-rience.

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Matthew Barley

Power of Music

s u n 3 0 s e p 6 p M

d e u t s C h e t e l e k o M

h e a d Q u a r t e r s

f a M i lY C o n C e r t

Matthew Barley Cello, Conductor

with students from Bonn university and schoolsworks by Peter Tchaikovsky, Robert Schumann, Astor Piazzolla, Simon & Garfunkel and others? 9Project for deutsche telekom.

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Mysterious Voices

s u n 3 0 s e p 6 p M

s t. e v e r g i s l u s B r e n i g

Camerataolga Vorobyeva Soprano

Tatyana Drobisheva Soprano

Galina Gordynets Soprano

Julia Korotkevich Alto

Alexander Dovnar tenor

Igor Melnikov Baritone

Alexei Burdelev Bass

“Mystery“A cappella songs from classical music to jazz, from folk music to pop.? 22Sponsored by Kreissparkasse Köln.

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Camerata

amerata, seven singers from Minsk, Belarus, who present the russian choral tradition at its best. their repertoire comprises not just classical works, but also reflects the influences of folk mu-sic and jazz. their current pro-gramme “Mystery” comprises compositions which have prima-rily Slavic roots: the forest idyll “Love Appointment”, “Falcon”, the story of a falcon dying of love, and “Between Heaven and Earth”, a symphonic poem on the crea-tion of the world. it takes the audience off into the expanses of Belarusian nature and tells of the way of life of the people living between the Baltic states, Poland, Ukraine and russia.

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“Sistema” – the Third Generation


M o n 1 o C t 8 p M


Youth orchestra of CaracasDietrich Paredes Conductor

Programme in preparation.? 35 i 27 i 19


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Dietrich Paredes

ore than 380 000 children and young people in Venezuela now play an instrument, thus hoping for an escape from poverty and violence. this is the success story of the “Sistema”, which has made history in a number of ways. Since 2004, the Beethoven-fest Bonn has maintained close relations with the“Sistema” and its founder José Antonio Abreu; this year, the “third generation” of young musicians are coming to Bonn: the Youth Orchestra of Caracas, whose performance at the festival will be their first ap-pearance in Germany. the day after their concert the Venezue-lans will be joining students from school orchestras in Bonn for a workshop. the results will be presented at a concert that same evening.

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t u e 2 o C t 6 p M


Youth orchestra of CaracasDietrich Paredes Conductor

workshop Concert with Bonn school orchestras.? 9

Sponsored by the Ministry of Family, Children, Youth, Culture and Sports of the State of north rhine westphalia.

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his year’s cycle of the nine Beethoven symphonies was plan-ned in association with the Beet-hovenfest Bonn and is special for two reasons. Firstly, while Esa-Pekka Salonen is beginning and ending with the first and ninth symphonies respectively, he is otherwise breaking with the usu-al chronological order. Secondly, he is combining the Beethoven symphonies with contemporary works, each from a different con-tinent, and is thus pointing to the influence of music as a global phenomenon – in line with the idea of the Olympic Games, which are being held in Summer 2012 in London, the orchestra’s home base.

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Viviane Hagner

olympian Beethoven

w e d 3 o C t 8 p M


B e e t h o v e n s Y M p h o n i e s 1

Viviane Hagner Violin


Ludwig van Beethoven: Symphony no. 1 in C major op. 21Unsuk Chin: Concerto for violin and orchestra (Asia)Ludwig van Beethoven: Symphony no. 7 in A major op. 92? 85 i 72 i 59 i 48 i 32the events of the residency of the Philharmonia Orchestra can be booked together at a discount.Subscription prices: e 390 i 330 i 270 i 210 i 150


7 . 3 0 p m

o r C h e s t r a p o r t r a i t

“All Ears for Half”this concert is part of the residency of the Philharmonia Orchestra.


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winner of the Beethoven Prize


n 2011 the Chinese pianist Jingge Yan won the fourth inter-national telekom Beethoven Competition Bonn. “the original-ity of his interpretation along with his virtuosity bear witness to his great talent,” said Profes-sor Pavel Gililov, president of the Jury. Jingge Yan began his musical career in Beijing, where he studied at the Central Conser-vatory of Music. He is currently on a scholarship at the Oberlin Conservatory of Music in Ohio. For his debut at the Beethoven-fest Bonn, he has chosen Beet-hoven’s last great piano work, the “diabelli Variations”, the orig inal manuscript score of which is preserved here in the Beethoven-Haus Bonn.

i w e d 3 o C t 8 p M

C o l l e g i u M l e o n i n u M


Jingge Yan Piano(1st Prize international telekom Beethoven Competition Bonn 2011)

Ludwig van Beethoven: Seven Bagatelles for piano op. 33Ludwig van Beethoven: Eleven Bagatelles for piano op. 119Ludwig van Beethoven: Six Bagatelles for piano op. 126Ludwig van Beethoven: 33 Variations for piano on a waltz by diabelli in C Major op. 120 (“diabelli Variations”)? 25in co-operation with the international telekom Beethoven Competition Bonn.

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Jingge Yan

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Composing Conductor


t h u 4 o C t 8 p M




Ludwig van Beethoven: Symphony no. 2 in d major op. 36Brett Dean: “testament” for orchestra (Australia)Ludwig van Beethoven: Symphony no. 3 in E-flat major op. 55? 85 i 72 i 59 i 48 i 32the events of the residency of the Philharmonia Orchestra can be booked together at a discount.Subscription prices: e 390 i 330 i 270 i 210 i 150


7 . 3 0 p m




58

Esa-Pekka Salonen

ince 2008 the Finnish conduc-tor and composer Esa-Pekka Salonen has been chief conductor of the London-based Philharmo-nia Orchestra. His association with this orchestra goes back much further: since 1983, when he made his London debut at the age of 25, stepping in at the last minute to conduct a now-legend-ary performance of Mahler’s third. Overnight, so to speak, an artist who regarded himself pri-marily as a conducting composer became a composing conductor at the start of a global career – a fantastic precondition for atmos-pheric performances of Brett dean’s “testament” and Beet-hoven’s second and third sym-phonies on the second evening of the symphony cycle.

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omewhere in the borderland between world music, classical music and jazz Mehmet Ergin uses his own music to draw a universally valid picture that seems to depart from all the usual beaten tracks and break all the usual moulds. He takes his listeners with him on a musical dream-trip. Mystically and rhyth-mically, he combines elements from different styles into a kind of music into which one can plunge and lose oneself. At his concerts his music is accompa-nied by oriental tales that provide much scope for improvisation and as a result listeners can ex-perience them in new ways every time.

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Musical Dream-Trip

t h u 4 o C t 8 p M


Mehmet Ergin Guitar

Martin Gjakonovski double Bass

Music in the borderland between world music, classical music and jazz? 18Joint event with Harmonie Endenich.

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Mehmet Ergin

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aurence Sterne’s “the Life and Opinions of tristram Shandy, Gentleman” was one of the most successful novels of its day. in spite of its title, it tells us little about the life and opinions of its eponym, but contains, rather, a collection of stories featuring strange figures and bizarre ideas. Udo Samel, a member of the Burgtheater ensemble, and best known to German audiences as Franz Schubert in the three-part tV series “Mit meinen heißen tränen”, reads from Sterne’s novel. the opinions and the asso-ciated verbal wit find a response in the musical contributions from Haydn’s hand. His two string quartets are played by the Kuss Quartet with exuberant pleas ure, with bright and crystal-clear in-tonation.

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Udo Samel

Haydn and English Humour

t h u 4 o C t 8 p M

s ta d t M u s e u M

s i e g B u r g

Udo Samel recitation

Kuss Quartet“Confusions in opinions about Things” Lecture with music from Laurence Sterne: “the Life and Opinions of tristram Shandy, Gentleman”Joseph Haydn: Quartet for two violins, viola and cello in B-flat major op. 50/1 Hob iii:44 (“Prussian Quartet” no. 1)Joseph Haydn: Quartet for two violins, viola and cello in F-sharp minor op. 50/4 Hob iii:47 (“Prussian Quartet” no. 4)? 25Sponsored by Kreissparkasse Köln.

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open for the Future

f r i 5 o C t 8 p M




Ludwig van Beethoven: Symphony no. 6 in F major op. 68Joseph Phibbs: new work (Europe)Ludwig van Beethoven: Symphony no. 4 in B-flat major op. 60? 85 i 72 i 59 i 48 i 32the events of the residency of the Philharmonia Orchestra can be booked together at a discount.Subscription prices: e 390 i 330 i 270 i 210 i 150


7 . 3 0 p m




61

Esa-Pekka Salonen

he Philharmonia Orchestra was formed in 1945 mainly to make recordings, which indeed came to set standards. Soon however the Philharmonia Or-chestra decided to enlarge its re-putation in public concerts in the royal Festival Hall in London and on numerous tours around the world. Open for the future – not least with a much-acclaimed in-teractive website entitled “the Sound Exchange” – the orchestra has, over the decades, premièred more than a hundred commis-sioned works, and this series is continued today with a work by Joseph Phibbs, to be premièred in summer 2012. it is framed by Beethoven’s fourth and sixth symphonies.

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eethoven’s Fifth is on the programme this evening, the symphony orchestra Camerata Schweiz is playing under Graziel-la Contratto. A perfectly normal concert evening then, were it not for two people who really shouldn’t be there: Ursus & nadeschkin. the famous “di-di-di-da” of the first movement be comes the leitmotif of the two comics, whose unusual ideas turn the concert stage into a stomping ground for highly amusing experiments. in the process, the audience learn how classical music and comedy work together to dig in the or-chestra pit …

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Ursus & nadeschkin

“Digging in the orchestra Pit”

f r i 5 o C t 8 p M

o p e r n h a u s

Ursus & nadeschkinUrsus wehrlinadja Sieger

Camerata SchweizGraziella Contratto Conductor

Tom Ryser director

“Digging in the orchestra pit”Ludwig van Beethoven: Symphonie no. 5 in C minor op. 67 and further works? 45 i 35 i 25Presented by Beethovenfest Bonn in co-operation with theater Bonn.

reader’s concert of General-Anzeiger.

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Revolutionary Classic

f r i 5 o C t 8 p M

B u r g h e i M e r Z h e i M

Mojca Erdmann Soprano

Kuss QuartetJana Kuss Violin

oliver wille Violin

william Coleman Viola

Mikayel Hakhnazaryan Cello

wolfgang Amadeus Mozart: Quartet for two violins, viola and cello no. 21 in d major KV 575Robert Schumann: Six songs op. 107 (arranged for soprano and string quartet by Aribert reimann)Arnold Schönberg: Quartet for soprano, two violins, viola and cello no. 2 in F-sharp minor op. 100? 327 . 3 0 p m


“All Ears for Half”Sponsored by Kreissparkasse Köln.

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Kuss Quartet

n aria album full of effects, and, as a counterweight, an inti-mate chamber-music Cd – for soprano Mojca Erdmann this is no contradiction. Her trademark is her versatility, and so she moves confidently between opera and songs, between Mozart and rihm. For her second appear-ance at the Beethovenfest Bonn 2012, she will be performing, together with the Kuss Quartet, not only the songs op. 107 by robert Schumann, but also a revolutionary classic for string quartet: Arnold Schön berg’s String Quartet no. 2 dat ing from 1907/08, which includes a sopra-no voice (with words by Stefan George) in its fourth move ment. this work is a mile stone on the road to the modern age in music.

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n this compilation, Esa-Pekka Salonen once again breaks with the conventions of concert plan-ning. He juxtaposes the mighty Fifth not with the idyllic Sixth, but with the playful Eighth. For his accompanying contemporary composition, Salonen has select-ed a work by a composer whose professional path crossed his own: Steven Stucky. He was Con-sulting Composer for Con tem-porary Music at the Los Angeles Philharmonic at the time when Salonen was Musical director of the orchestra. in 2007 he con-ducted the first performance of the work be ing played today, “radical Light”, which, according to the “Los Angeles times”, serves up “wondrous sonorities”.

i

Esa-Pekka Salonen

wondrous Sonorities

s at 6 o C t 8 p M




Ludwig van Beethoven: Symphony no. 8 in F major op. 93Steven Stucky: “radical Light” for orchestra (America)Ludwig van Beethoven: Symphony no. 5 in C minor op. 67? 85 i 72 i 59 i 48 i 32the events of the residency of the Philharmonia Orchestra can be booked together at a discount.Subscription prices: e 390 i 330 i 270 i 210 i 150


7 . 3 0 p m




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Bravura Virtuosity

s u n 7 o C t 1 1 a M

s C h u M a n n h a u s


olga Bezsmertna Soprano (1st Prize, internationaler Gesangs-wettbewerb “neue Stimmen” 2011)

Frina Ziskina Piano

Songs and Arias by Johann Sebastian Bach, Georg Friedrich Handel, wolfgang Amadeus Mozart, Ludwig van Beethoven, Franz Schubert, Robert Schumann, Peter Tchaikovsky among others? 22Joint event with the Schumannfest Bonn.

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olga Bezsmertna

he lyrical soprano Olga Bezs-mertna was the “neue Stimme”, the “new voice” of 2011. thanks to bravura virtuosity with effort-less heights and beautiful shap-ing of the melodic lines, she won the prize of the same name award ed every two years by the Bertelsmann Stiftung in Güters-loh. Some 1 400 singers from all over the world had competed, 41 qualified for a week-long “final” in Gütersloh. in 2010 the 28-year-old opera singer was still a student at the Ukraine national Music Academy in Kiev; since February 2011 she has been a member of the ensemble of the Vienna State Opera – nothing should now stand in the way of a career as an (opera) singer.

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artin Grubinger is not only an artist who constantly draws attention to himself with idiosyn-cratic programmes, but a fre-quent and popular guest at the Beethovenfest Bonn. with “Gha-naia ii” he is presenting a com-position which, with its highly virtuoso rhythms, has far more to offer as a counterweight to the following work than just African drum impressions. the grand finale not just to the Beethoven symphony cycle but to the whole festival is Beethoven’s ninth, the work with which the composer not only crowned his symphonic œuvre, but set a new course for the symphony, breaking the mould of the genre with the final chorale.

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Martin Grubinger

Grand Finale

s u n 7 o C t 6 p MB e e t h o v e n h a l l e

f i n a l C o n C e r tB e e t h o v e n s Y M p h o n i e s 5Martin Grubinger & FriendsGiselle Allen Soprano

Anne-Marie owens Alto

Andrew Kennedy tenor

James Rutherford Bass

wDR Rundfunkchor KölnnDR ChorPhilharmonia orchestraEsa-Pekka Salonen Conductor

Martin Grubinger / Matthias Schmitt: “Ghanaia ii” (Africa)Ludwig van Beethoven: Sym-phony no. 9 in d minor op. 125? 120 i 100 i 80 i 60 i 40the events of the residency of the Philharmonia Orchestra can be booked together at a discount.Subscription prices: e 390 i 330 i 270 i 210 i 150


this concert is part of the residency of the Philharmonia Orchestra.deutsche welle Festival Concert.Sponsored by Zurich Gruppe.

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Our sales partner is

Getting to the concert (local public transport):Admission tickets to concerts are also valid at no additional charge for journeys on the regional public transport network Verkehrsver-bund rhein-Sieg (VrS). You can use all VrS routes at any time within four hours of the start of the event; the return journey must be completed no more than four hours after the end of the event.

Concession rates:Children from the age of 3, stu-dents and trainees below the age of 30, those undergoing compul-sory military service or civilian alternative, federal volunteers, job-seekers, disabled people and those in possession of the “Bonn Ausweis” are entitled to a reduc-tion of 50 % on the ticket price. You are asked to produce evi-dence of such entitlement (with-out having to be specifically asked) at the door.

waiting List:when all seats for a concert are sold out, the Beethovenfest pro-vides a special service: in the in-ternet at www.beethovenfest.de you can enter your name (without obligation) on a waiting list for the event in question. You will then be informed by e-mail if tickets for this concert become available.

Charges:the prices printed in this booklet are inclusive of handling charges and the flat charge made by the VrS for use of its routes, which together account for € 1.58 per ticket. Advance booking offices also charge 10 % of the ticket

price as a booking fee. For written and phone reservations (by post or by e-mail) Bonnticket will charge an additional processing and mailing fee of € 3.90 per order. Admission tickets will by default be sent by standard post, with no liability for loss on the part of the vendor. if you wish your tickets to be sent by regis tered mail, Bonnticket will charge a flat fee of € 6.90 (€ 5.90 in the inter-net). Via www.beethovenfest.de you can print out your tickets comfortably at home. Bonnticket makes a charge of € 1.00 per order for this service.

General Information:Concert tickets cannot be retur-ned or exchanged when orders are only partially taken up. no responsibility is assumed for changes in programmes, performers, dates or venues. no claim for return of tickets may be based on such changes. Only when an event is cancelled altogether will the purchase price be refunded upon presen-tation of the ticket within a two month period. Latecomers are only admitted during breaks in the concert.

Audio-video recordings:no form of recording, whether audio, film, video or photograph, is permitted, not even for private use. in case of violation, the au-dio and video material may be confiscated. Some of the con-certs will be recorded for radio and/or television broadcast. Con-certgoers implicitly declare their consent to these recordings and to any pictures that might be made of them.

g e n e r a l i n f o r M a t i o n

83

h o w t o g e t Y o u r t i C k e t

tickets available from 28 March.The advantage: Choose your own seat and print out your own ticket.

i n t e r n e t

www.beethovenfest.de

Booking possible with immedi -ate effect. Applications will be processed in the order received. tickets, if ordered by 27 March (date of postmark), will be sent where available by 13 April at the latest (with invoice). The advantage: easy booking from home.

i n w r i t i n g

Beethovenfest BonnKurt-Schumacher-Straße 3D-53113 Bonn

tickets are available from all the well-known advance booking offices from 14 April. The advantage: personal service in your vicinity.

a d v a n C e B o o k i n g o f f i C e s

Selected advance booking office addresses can be found on the back flap.

tickets available from 14 April. The advantage: quick and easy service.

t e l e p h o n e

0228 - 50 20 13 13(Mon-Fri 8am to 8pm, Sat 9am to 6pm, Sun 10am to 4pm)

Unsold tickets, if any, can be bought at the venue one hour before the start of the concert. For some concerts, the Beet-hovenfest Bonn guarantees students a quota of last-minute tickets. these concerts are marked in the programme overview with the logo . Please bring a valid student card.

o n t h e d a Y

the addresses of our concert venues can be found on page 83/84.

l i s t o f v e n u e s

B o n n

Aula der Universitätregina-Pacis-weg 3, 53113 Bonn Entrance via Arkadenhof

U/S 16, 18, 63, 66 Universität/Markt

Marktgarage

Beethovenhallewachsbleiche 16, 53111 BonnBox Office: +49-0228 – 7 22 23 33

Bus 551, 600, 601 Beethovenhalle

U/S 62, 65, 66, 67 Bertha-von-Suttner-Platz

in the Beethovengarage, theaterstraße

Beethoven-HausBonngasse 24-26, 53111 Bonn


in the Marktgarage or Stiftsgarage

BundeskunsthalleFriedrich-Ebert-Allee 4, 53113 Bonn

U/S 16, 63, 66 und Bus 610, 611 Heussallee/Museumsmeile

multi-storey car-park, car and bus parking for the “Museum Mile” (access via w.-Flex-Straße)

Collegium Leoninumnoeggerathstraße 34, 53111 Bonn

U/S/Bus Hauptbahnhof (main station) or Stadthaus

at the building and at the main station

Deutsche Telekom headquartersFriedrich-Ebert-Allee 140, 53113 Bonn

U/S 16, 63, 66 deutsche telekom

Harmonie EndenichFrongasse 28-30, 53121 BonnBox Office: +49-0228 – 61 40 42

Bus 606, 607, 631 Frongasse or Brahmsstraße

Haus der Geschichte der Bundesrepublik Deutschlandwilly-Brandt-Allee 14, 53113 Bonn

Bus 610, 611, U/S 16, 63, 66 Heussallee


Haus der SpringmausFrongasse 8-10, 53121 Bonn

Bus 606, 607, 631 Frongasse or Brahmsstraße

Hotel KönigshofAdenauerallee 9, 53111 Bonn

U/S 16, 63, 66 Universität/Markt

in the hotel’s underground garage

Knauber Freizeitmarkt BonnEndenicher Str. 120-140 53113 Bonn Box Office: +49-0228 – 512 270

Bus 609, 610, 611 Karlstraße

at the building

Kunstmuseum BonnFriedrich-Ebert-Allee 2, 53113 Bonn

U/S 16, 63, 66 und Bus 610, 611 Heussallee/Museumsmeile


opernhaus

Am Boeselagerhof 1, 53111 Bonn Box Office: +49-0228 – 77 36 68

Bus 551, 625, 635, 638 Opernhaus


underground garage at Opernhaus

PantheonBundeskanzlerplatz 2-10, 53113 Bonn

Bus 610, 611 Bundeskanzlerplatz

Bus 630 Heussallee

U/S 16, 63, 66 Museum Koenig

at Bonn Center

SchumannhausSebastianstraße 182, 53115 Bonn

Bus 604, 605, 606, 607, 631

Alfred-Bucherer-Straße

Straßenbahnhalle DransdorfGerhart-Hauptmann-Straße, 53121 Bonn

U/S 18, 68 robert-Kirchhoff-Straße

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Telekom ForumLandgrabenweg 151, 53227 Bonn-Beuel

Bus 606, 607 t-Mobile

U/S 62, 65 Schießbergweg

Volksbank-HausHeinemannstraße 15, 53175 Bonn

Bus 610, 611, 631 Volksbank-Haus

at the building

B a d g o d e s B e r g

St. Hildegarddeichmanns Aue 54, 53179 Bonn

train to Bahnhof (station) Mehlem

in the streets of the residential area

La RedouteKurfürstenallee 1, 53177 Bonn Box Office: +49-0228 – 36 77 20

Bus 615, 637, 855 Brunnenallee

U/S 16, 63 Bad Godesberg Bahnhof

at the city hall and the Kurfürstenbad

r h e i n - s i e g - k r e i s

Burg Heimerzheim Kölner Str. 1, 53913 Swisttal

dB Bahnhof (station) weilerswist

in front of the castle

Burg wissem, TroisdorfBurgallee 1, 53840 troisdorf

Bahnhof (station) troisdorf then bus 501, 506, 507, 508 to

Ursulaplatz


Kursaal Bad Honnef Hauptstraße 28, 53604 Bad Honnef

U/S Linie 66 Bad Honnef

underground garage of Seminaris Avendi Hotel (Hauptstraße 22)

Rhein-Sieg-HalleBachstraße 1, 53721 Siegburg

dB, U/S, Bus Siegburg Bahnhof (station)

(approx. 5-minute walk)

at rhein-Sieg-Halle garage

Stadtmuseum SiegburgMarkt 46, 53721 SiegburgBox Office: +49-02241 – 5 57 33

dB, U/S, Bus Siegburg Bahnhof (station)

in the Mühlenstraße (P11), rhenag (P22), and Bahnhof (station) car parks (P10)

St. EvergislusHaasbachstraße 2, 53332 Bornheim-Brenig

Steigenberger Grandhotel Petersberg53639 Königswinter/PetersbergBox Office: +49-2223 – 740

in front of the building

o t h e r s

Burg namedy 56626 Andernach Box Office: +49-02632 – 4 86 25

dB namedy Bahnhof (station)


indicates the name of the nearest bus, tram or underground stop.

85

B e e t h o v e n f e s t B o n n 2 0 1 2 + + + p r o g r a M M e + + + B e e t h o v e n f e s t B o n n 2 0 1 2

s a t 2 J u n 202 8 pM Special Concert p.12

f r i 7 s e p 1 8 p M opening Concert p.14

sat 8 s e p 2 8 p M London Symphony orchestra p.15

s u n 9 s e p 3 1 1 a M Prizewinners’ Concert 1 p.16

4 6 p M London Symphony orchestra p.17

5 8 p M The Vegetable orchestra p.18

6 8 p M Igudesman & Joo: “Manny Spring Sonatas” p.19

M o n 1 0 s e p 7 8 p M Deutsches Symphonie-orchester Berlin p.20

t h u 1 3 s e p 8 8 p M wDR Sinfonieorchester Köln p.21

9 8 p M Daniel Hope & Sebastian Knauer p.22

10 8 p M Gilles Apap & the Colours of Invention p.23

11 8 p M Artemis Quartet p.24

f r i 1 4 s e p 203 8 p M Beethoven: “Missa solemnis” p.25

s a t 1 5 s e p 14 7 p M Cage night 1 p.26

15 7 p M Cage night 2 p.27



19 1 0 p M Cage night 5 p.30




204 8 p M Bayerisches Staatsorchester p.34

s u n 1 6 s e p 23 1 1 a M Aniello Desiderio Quartet p.35

24 5 p M Recital Jan Lisiecki, Piano p.36

25 6 p M Amaryllis Quartet p.38

26 7 p M Bayerisches Staatsorchester p.39

M o n 1 7 s e p 205 8 p M Münchener Kammerorchester p.40

28 8 p M Lieder Evening Mojca Erdmann & Gerold Huber p.41

t u e 1 8 s e p 29 8 p M Spark: “Folk Tunes” p.44

w e d 1 9 s e p 30 8 p M Campus Concert p.45

t h u 2 0 s e p 31 7 p M “Look at Beethoven” p.46

32 8 p M “4 Elements – 4 Seasons” p.47

f r i 2 1 s e p 33 8 p M La Chambre Philharmonique p.48

34 8 p M “4 Elements – 4 Seasons” p.47

B e e t h o v e n f e s t B o n n 2 0 1 2 + + + p r o g r a M M e + + + B e e t h o v e n f e s t B o n n 2 0 1 2

35 8 p M Claude Chalhoub & Tobias Koch 1 p.49

s a t 2 2 s e p 36 8 p M Claude Chalhoub & Tobias Koch 2 p.49

37 8 p M David orlowsky Trio: “Chronos” p.50

s u n 2 3 s e p 206 6 p M Beethoven Piano Sonatas 1 p.52

39 6 p M Paul Hindemith: “Einakter-Triptychon” (Première) p.53

M o n 2 4 s e p 40 8 p M Beethoven String Quartets 1 p.54

t u e 2 5 s e p 41 8 p M Beethoven String Quartets 2 p.55

w e d 2 6 s e p 207 8 p M Beethoven Piano Sonatas 2 p.56

t h u 2 7 s e p 43 8 p M Matthew Barley & Julian Joseph p.58

44 8 p M Beethoven String Quartets 3 p.59

f r i 2 8 s e p 45 8 p M Schönberg: “Gurre-Lieder” p.60

46 8 p M The King’s Singers p.61

47 8 p M Beethoven String Quartets 4 p.62

s a t 2 9 s e p 48 7 . 3 0 p M Paul Hindemith: “Einakter-Triptychon” p.53

208 8 p M Beethoven Piano Sonatas 3 p.63

50 8 p M Student managers project p.64

s u n 3 0 s e p 51 6 p M Die Deutsche Kammerphilharmonie Bremen p.65

52 6 p M Family Concert with Matthew Barley p.66

53 6 p M Camerata: “Mystery” p.67

M o n 1 oC t 54 8 p M Youth orchestra of Caracas p.68

t u e 2 oC t 55 6 p M workshop Concert Youth orchestra of Caracas p.68

w e d 3 oC t 56 8 p M Beethoven Symphonies 1 p.69

209 8 p M Prizewinners’ Concert 2 p.70

t h u 4 oC t 57 7 . 3 0 p M Paul Hindemith: “Einakter-Triptychon” p.53

58 8 p M Beethoven Symphonies 2 p.72

59 8 p M Mehmet Ergin & Martin Gjakonovski p.73

60 8 p M Kuss Quartet & Udo Samel p.74

f r i 5 oC t 61 8 p M Beethoven Symphonies 3 p.75

62 8 p M Ursus & nadeschkin p.76

63 8 p M Kuss Quartet & Mojca Erdmann p.77

s a t 6 oC t 64 8 p M Beethoven Symphonies 4 p.78

s u n 7 oC t 65 1 1 a M Prizewinners’ Concert 3 p.79

66 6 p M Final Concert: Beethoven Symphonies 5 p.80

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t eigensinnig

, läßt sich n

icht i

n sc

hmei

chelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in


t eigensinnig

, l

äßt sich n

icht i

n sc

hmeic

helnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in


t eigensinnig

, l

äßt sich n

icht i

n sc

hm

eichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in


t eigensinnig

, läßt sic

h ni

cht i

n sc

hm

eichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht


t eigensinnig

, läßt si

ch n

icht i

n sc

hmeichelnde Formen zwängen.« »W

ahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich


t eigensinnig

, läßt s

ich n

icht

in s

ch



t eigensinnig

, läßt

sich

nic

ht in

sch



t eigensinnig

, läßt s

ich

nich

t in

sc

hmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig,


t eigensinnig

, läßt s

ich

nich

t in



t eigensinnig

, läßt

sic

h ni

cht i

n



t eigensinnig

, läßt

sic

h ni

cht i

n schmeichelnde Formen zwängen.« »W

ahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist


t eigensinnig,

läßt

sic

h ni

cht i

n schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist


st eigensinnig,

läßt

sic

h ni

ch

t in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre


st eigensinnig

, läß

t sic

h ni

ch

t in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, lä

ßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre


st eigensinnig

, läß

t sic

h ni

cht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensi

nnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.«


st eigensinni g

, läß

t sic

h ni

cht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, lä

ßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.«


st eigensinnig,

läßt

sic

h ni




st eigensinn

i

g, lä

ßt s

ich

ni




t ist

eigensinnig

, läß

t sic

h nic

ht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig



t ist

eigensinn

ig, l

äßt s

ich

nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig



t ist

eigensinn

ig, l

äßt s

ich n


läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kuns

t ist

eigensinn

ig, l

äßt s

ich n




t ist

eigensinn

ig, l

äßt s

ich n




t ist

eigensinn

ig, l

äßt s

ich n




t ist

eigensi

nn

ig, l

äßt s

ich

nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig,



eigensi

nn

ig, l

äßt s

ich

nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinni



eigensin

n

ig, l

äßt s

ich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst is

t eigensinni



t eigensin

n ig,

läßt

sich

nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen


t eigensin

n ig,

läßt

sich

nicht in schmeichelnde Formen zwängen.« »Wahre Kunst is

t eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen


eigensin

n ig,

läßt

sic

h ni

cht in sch meichelnde Formen zwängen.« »Wahre Kunst is

t eigensinnig, lä



eigen

sinn i

g, lä

ßt s

ich

nich

t in sch meichelnde Formen zwängen.« »Wahre Kunst is

t eigensinnig



eigen

sinni

g, lä

ßt s

ich

nich

t in sch meichelnde Formen zwängen.« »Wahre Kunst

ist eigensinnig



eigen

sinni g

, läß

t sic

h ni

ch






t eigen

sinni g

, läß

t sic

h ni

ch






eige

nsinnig ,

läßt

sic

h ni

cht in

schm eichelnde Formen zw

ängen.« »W

ahre

Kunst

ist eigensinnig,



ei

gensinnig , l

äßt s

ich

nich

t in schm eichelnde Form

en zw

änge

n.« »W

ahre

K

unst ist

eigensinnig,



eigensinnig

, läß

t sic

h ni

cht i


en zw

änge

n.« »

Wahre

Kun

st ist

eigensinnig,


»Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kuns t ist eigensinnig,

läßt

sic

h ni

cht i


en zw

änge

n.«

»Wah

re K

unst

ist eigens

innig,



äßt s

ich

nich

t in s

chmeichelnde For

men

zwän

gen.

« »W

ahre

Kun

st is

t eigensinnig

, läßt s

ich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.«


äßt s

ich

nich

t in

schmeichelnde For

men

zwän

gen.

« »W

ahre

Kun

st is

t eigensinnig,

läßt s

ich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre


äßt sic

h ni

cht i

n sc

hmeichelnde For

men

zwän

gen.

« »W

ahre

Kun

st is

t eigensinnig

, läßt

sich

nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre


äßt sic

h ni

cht i

n sc

hm

eichelnde F

orm

en zw

änge

n.«

»Wah

re K

unst

ist eigensinnig

, läß

t sich

nicht in

schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre


läßt sic

h ni

cht i

n sc

hmeic

helnde F

orm

en zw

änge

n.«

»Wah

re K

unst

ist eigensinnig

, läß

t sich

nich

t in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist


läßt s

ich n

icht

in sc

hmeic

helnde

Form

en zw

änge

n.«

»Wah

re K

unst

ist eigensinnig

, läß

t sich

nich

t in sc

hmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist


äßt sich

nic

ht in

schm

eiche

lnde

Form

en zw

änge

n.«

»Wah

re K

unst

ist eigensinnig

, läß

t sic

h ni

cht i

n sch

meichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist

»Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, lä

ßt sich n

icht i

n sc

hmei

chel

nde F

orm

en zw

änge

n.«

»Wah

re K

unst

ist eigensinnig

, läß

t sic

h ni

cht i

n sc

hm

eichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig,

läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist


, läßt sich nich

t in

schm

eich

elnd

e Fo

rmen

zw

änge

n.«

»Wah

re K

unst

ist eigensinnig

, läß

t sic

h ni

cht i

n sc

hmeic

helnde Formen zwängen.« »Wahre Kunst ist eigensinni

g, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist


läßt sich nicht i

n sc

hmei

chel

nde

Form

en z

wän

gen.

« »W

ahre

Kun

st is

t eigensinnig

, läß

t sic

h ni

cht i

n sc

hmeic

helnde Form

en zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig,


läßt sich nicht i

n sc

hmei

chel

nde

Form

en z

wän

gen.

« »W

ahre

Kun

st is

t eigensinnig

, läß

t sic

h ni

cht i

n sc

hmei

chel

nde F

ormen zw

ängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt

»Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinn

ig, läßt sich nicht i

n sc

hmei

chel

nde

Form

en z

wän

gen.

« »W

ahre

Kun

st is

t eigensinnig

, läß

t sic

h ni

cht i

n sc

hmei

chel

nde

Form

en zw

ängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich

»Wahre Kunst ist eigensinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinni

g, läßt sich nicht in

schm

eich

elnd

e Fo

rmen

zw

änge

n.«

»Wah

re K

unst

ist eigensinnig

, läß

t sic

h ni

cht i

n sc

hmei

chel

nde

Form

en

zwängen.« »Wahre Kunst ist eigen

sinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich


, läßt sich nicht in sc

hmei

chel

nde

Form

en z

wän

gen.

« »W

ahre

Kun

st is

t eigensinnig

, läß

t sic

h ni

cht i

n sc

hmei

chel

nde

Form

en zw

ängen.« »Wahre Kunst ist eigen

sinnig, läßt sich nicht in schmeichelnde Formen zwängen.« »Wahre Kunst ist eigensinnig, läßt sich nicht

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e d i t o r i a l

i n f o r M a t i o nInternationale Beethovenfeste Bonn gGmbH Ilona SchmielArtistic director and Manager(responsible for the content)Helmut PojunkeBusiness Manager Kurt-Schumacher-Straße 3, 53113 Bonntelephone +49-228-201030, Fax [email protected], www.beethovenfest.de Editorial Staff: dr. Annette Semrau, dr. tilman Schlömp, Karin Stühn

Translation: dr. Michael Scuffil

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Barbara Frommann (5); Bodo Vitus (12); Marco Borggreve (14, 40, 48, 69); Henry Fair (15); Sigi Mueller (16); Heidrun Henke (18); Julia wesely (19); dario Acosta (20); Anja Frers, deutsche Grammophon (21); Harald Hoffmann, deutsche Grammophon (22); Adam Urban (23); Boris Streubel (24, 77); Martin Lengemann (25); deutsche telekom (26); Marco Borggreve, deutsche Grammo-phon (27); Sumnima arts (28); Christine Schneider (29); Andreas Ludwig (30); Michael Leis (30); Klaus rudolph, Ensemble musik-Fabrik (31); Bernd Zoellner (32); nicolas ruel (34); Andreas Schram (36); June (39); Felix Broede, deutsche Grammophon (41); Peter Hönnemann (44); Sebastian Bolesch (47); Felix Broede (50, 80); Brigitta Kowsky (52, 63); Barbara Aumüller (53, 60); Keith Saunders (55); Sheila rock (56); nick white (58, 66); Bcropped (59); Ben wright (61); Keith Saunders (62); david Königsmann (64); ixi Chen (65); Sonja werner (72); Florian rossmanith (74); Sonja werner (75); Geri Born (76); nicho Soedling (78); Bertelsmann Stiftung (79)

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Programme information: as of Feb 16, 2012we reserve the right to make changes.

Programmübersicht "Eigensinn" 2012 -english version-

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Transcript of Programmübersicht "Eigensinn" 2012 -english version-