english version - Beethovenfest Bonn

Transcription

B e e t h o v e n f e s t
B o n n
4 . 9. – 3 . 1 0 . 2 0 0 9
glish
n
e
+
+
+
+++
n
o
i
s
r
ve
I n t h e L i g h t
1
P r o g r a m m e
B
eethoven »is a purely Romantic composer«,
declared E.T.A. Hoffmann. Beethoven’s influence left
its mark not just on the music of the Romantic
period, in which almost all musical genres made some
reference to Beethoven’s œuvre. Likewise it was
during Beethoven’s lifetime that the soloist increasing
ly developed into an artistic personality in his own
right. This marked the starting point for the idealized
view of the artist in the Romantic imagination:
the cult of the celebrity and the genius was born.
It is against this background that the motto »In the
Light« is to be understood, drawing attention as
it does to fascinating artistic personalities. Look for
ward to celebrities and virtuoso performers who,
with leading orchestras, are never out of the glare of
publicity, such as Kent Nagano, Ingo Metzmacher,
Sol Gabetta, Valery Gergiev, Gustavo Dudamel and
Maurizio Pollini. Dare to confront the innovative
orchestral models and their programmatic approa
ches for which the Deutsche Kammerphilharmonie
Bremen stands. Under the baton of Paavo Järvi
they will provide new listening experiences with a
new Beethoven symphony cycle.
The string quartet experienced its heyday with Beet
hoven: what new formats with what bordercrossing artistic potential do we have today? This is
the question we shall be asking over a weekend
with four international young string quartets. Classic
Quartet meets Hip Hop – something for you to
experience at the concerts given by einshoch6 and the
Minguet Quartett, which are being organized in
their entirety by a school-student management team
as a pilot project.
This year too we have been able to develop most
events exclusively for you, something for which we
have to thank our loyal high-quality sponsors and
benefactors, who share our values and our concept
to the enjoyment of us all!
Ilona Schmiel
Director of the Beethovenfest Bonn
B e e t h o v e n f e s t B o n n 4. 9. – 3. 1 0. 2 0 0 9
Paavo Järvi
Ludwig van Beethoven, Engraving by Aimé de Lemud
Beethoven’s
Symphony Cycle
B eethoven’s composition of his
nine symphonies resembles »a
kind of ascent of a mountain« ac
cording to Paavo Järvi. Beethoven
opened the gate to musical ro
manticism far and wide and was
also the first composer who came
to public attention as a freelance
artist in the sense of the 2009
motto »In the Light«. Every
symphony is part of a great de
velopment; every one has its own
face. The entire symphony cycle
is performed by the Deutsche
Kammerphilharmonie Bremen,
an orchestra model that, with its
exemplarily small amount of
public grants, represents the
»autonomous artist« particularly
well. The audience will be pre
sented with a downright revolu
tionary interpretation and also a
cross reference to be made to
two of the composer’s significant
concertos.
I n t h e L i g h t
Historical cycle
of sonatas
B e e t h o v e n h a ll e
Die Deutsche Kammer
philharmonie Bremen
Paavo Järvi Conductor
204
Wed 9 Sept 8 pm
205
Thu 10 Sept 8 pm
206
F r i
207
S at 1 2 S e p t 8 p m
11 Sept 8 pm
Tickets for the Beethoven symphony cycle
can be booked together at a discount.
Subscription prices:
? 280 I 230 I 185 I 140 I 90
S ometimes, when one is enjoy
ing the rich sound of a Steinway
grand piano, one asks oneself
how a piano sonata would have
sounded in Beethoven’s time.
For the first time Beethovenfest
Bonn presents all 32 of Beetho
ven’s piano sonatas in the origi
nal sound, on reconstructions of
historic pianofortes. Six pianists
of the middle generation who are
specialists on historic perform
ance practices with the »Ham
merklavier«, are taking the plunge
with the »New Testament« of
piano literature: Andrea Lucchesini,
who is at home with Viennese
Classicism as well as modern
music, Andreas Staier, who has
worked with Christine Schorns
heim and Alexander Melnikov on
some duo projects, Mari Kodama
and Ronald Brautigam, who are
working on a Beethoven CD cycle.
30
M o n 1 4 S e p t 8 p m
33
Wed 16 Sept 8 pm
34
Thu 17 Sept 8 pm
39
Beethoven-Haus
Beethoven-Haus
La Redoute
F r i
18 Sept 8 pm
S t . Hil d e g a r d ,
Mehlem
51
53
54
65
Tue 22 Sept 8 pm
Beethoven-Haus
Wed 23 Sept8 pm
Beethoven-Haus
Thu 24 Sept8 pm
Beethoven-Haus
Mon 2 8 S e p t 8 p m
Beethoven-Haus
The events of the sonata cycle can be
booked as an elective subscription that
offers a discount. Select three of the
eight sonata evenings for the price of
? 84
5
Australian String Quartet
Pavel Haas Quartett
Kuss Quartett
Pacifica Quartet
String quartet
project
F our young string quartets are
coming from Prague, Berlin,
Adelaide and Urbana-Champaign
(Illinois) to Bonn to perform five
concerts together during one
weekend. The ensembles will
mingle, so that quintet and octet
orchestrations are made possible.
Next to the »normal« concerts in
the evening there are also other
concert forms: a lecture recital
and a teatime concert. Each of
the quartets is bringing a special
piece with them from their homes.
The concert introductions »All
Ears for Half« have also been
created in an individual fashion.
38
F r i 1 8 S e p t 8 p m
Kuss Quartett
Pacifica Quartet
41
43
45
48
Kuss Quartett
Pavel Haas Quartett
S u n 2 0 S e p t 4 p m
Pavel Haas Quartett
S u n 2 0 S e p t 8 p m
Kuss Quartett
Pacifica Quartet
Pavel Haas Quartett
The events of the string quartet project
can be booked as a package deal at a
discount:
? 65
Bundeshaus, September 7 th 1949
The Path
of Democracy
Beethoven-haus
I n t h e L i g h t
H ow short and inspiring Bonn’s
paths of democracy are can be
experienced on this Sunday: for
some jazz to the Museum Koenig
at 11am, then a lunch break,
classical and tango music in the
Schürmann-Bau at 3pm, then a
walk along the Rhine, and then to
»Abbey Road« at the Altes Wasser
werk in the evening. This is one
possible itinerary that would trans
port audiences to the musical
worlds of the past 60 years. The
Beethovenfest Bonn is celebrat
ing the founding of the Federal
Republic of Germany in the lat
ter’s birthplace for one day only
with a total of 14 one-hour con
certs in six political locations.
Each one of them stands for one
of the decades of the past 60 years
and every one of these decades
is presented through a surprising
mix of musical styles.
Sun
6 Sept
C o n c e r t s at
p o li t ic a l v e n u e s
Museum Koenig
11 am and 3 pm
P a l a i s Sc h a u m b u r g
1 pm, 5 pm and 9 pm
Al t e s W a s s e r w e r k
1 pm and 9 pm
D e u t s c h e W e ll e
3 pm, 5 pm and 7 pm
B u n d e s r at
D e b at i n g C h a m b e r
11 am and 3 pm
H a u s d e r G e s c h ic h t e
1 pm and 7 pm
Sponsored by the Federal government’s
commissioner for culture and the media
following a resolution of the Bundestag
(parliament).
7
I n t h e L i g h t
Pierre-Laurent Aimard
Daniel Barenboim
Beethoven’s
Piano Concertos, Part 1
B eethoven’s five piano concer
tos are considered the touch
stone of every virtuoso. They can
be heard in an outstanding inter
pretation at the 2009 Beethoven
fest Bonn. The french master
pianist Pierre-Laurent Aimard will
first play the first three piano
concertos in this special concert
together with the Chamber
Orchestra of Europe. Piano con
certos no. 4 and no. 5 will follow
on 29 September. It is an awardwinning combination: in 2003
Pierre-Laurent Aimard and the
Chamber Orchestra of Europe
received the Echo Klassik award
for their recording of Beethoven’s
five piano concertos.
202
Fri
2 4 Ap r il
8 pm
Sp e ci a l C o n c e r t
Piano, Conductor
Ludwig van Beethoven:
Concerto for piano and orchestra
No. 2 in B flat major op. 19
No. 1 in C major op. 15
No. 3 in C minor op. 37
7.30 pm
Concert introduction
»All Ears for Half«
? 53 I 44 I 35 I 27 I 19
Sponsored by Deutsche Telekom.
The Other Ninth
B eethoven’s ninth symphony
was a milestone. Many subsequent
composers did not manage to go
beyond the magical threshold of
the number nine. Mahler did not
either, his tenth symphony re
mained but a fragment. His ninth
was composed in 1908/1909
when Mahler was himself regu
larly conducting Beethoven’s
final symphony all over the world.
Mahler’s ninth symphony is con
sidered the consummation of
romanticism and the bridge to
modernity. Daniel Barenboim,
specialist in Romantic repertoire,
and the Staatskapelle Berlin,
who have such a rich tradition,
are coming to the city of Beetho
ven’s birth where they will per
form this pinnacle of Mahler’s
symphonic compositions exclu
sively in Germany exactly a cen
tury after its inception.
203
Sun
2 6 Ap r il
6 pm
Sp e ci a l C o n c e r t
Staatskapelle Berlin
Daniel Barenboim Conductor
Gustav Mahler:
Symphony No. 9 in D major
5.30 pm
? 105 I 90 I 73 I 48 I 35
9
I n t h e L i g h t
Enrique Sánchez Lansch
Ingo Metzmacher
Look
at Beethoven
F ilms and installations on
music – for four years the project
»Look at Beethoven«, run by the
Beethovenfest Bonn, has been
encouraging young media profes
sionals from different aesthetic
and technical backgrounds to
engage with the topic »Beethoven«
and the effect of music. The
director and documentary pro
ducer Enrique Sánchez Lansch
presents the short films that
have been created during the 2009
project – they are all premieres!
After the presentation there is
the opportunity for a discussion
with the filmmakers and the
presenter.
Visitors
from Berlin
1
Thu
3 Sept
7 pm
F o r u m d e r K u n s t- u n d
A u s s t e ll u n g s h a ll e
d e r B u n d e s r e p u blik
Deutschland
Presentation of the
film contributions to
»Look at Beethoven« 2009
Enrique Sánchez Lansch
Presenter
Admission free.
Sponsored by the Filmstiftung NRW.
T he new capital is coming to
visit the old one: the Beethoven
fest Bonn 2009’s opening concert
will be performed by the Deutsches
Symphony-Orchester Berlin,
founded in 1946. This concert will
also act as a prelude to the cele
brations of the 60th anniversary
of the establishment of the Fede
ral Republic of Germany. Moritz
Eggert has composed a new work
in honour of this special occasion.
Also to be heard will be Alban
Berg’s 1935 Violin Concerto, the
score he frenetically composed
in the year of his death and about
which he said it was »dem An
denken eines Engels geweiht«
(i.e. »dedicated to the memory of
an angel«). This angel was Manon
Gropius, Alma Mahler’s deceased
daughter. In addition to this
instrumental »requiem« Beetho
ven’s »heroic« and politicophilosophical symphony is also
on the programme.
2
Fri
4 Sept
8 pm
Op e n i n g C o n c e r t
Moritz Eggert Piano, Sampler
Christian Tetzlaff Violin
Deutsches SymphonieOrchester Berlin
Ingo Metzmacher Conductor
Moritz Eggert: »Number Nine VIII:
Zeitarbeit« for soloist and orchestra
(world premiere, commissioned
by the Beethovenfest Bonn)
Alban Berg: Concerto for violin
and orchestra (»Dem Andenken
eines Engels«)
Symphony No. 3 in E flat major
op. 55 (»Sinfonia eroica«)
7.30 pm
? 85 I 72 I 59 I 48 I 32
Deutsche Welle Festival Concert.
Sponsored by Ernst & Young and by the
Federal government’s commissioner for
culture and the media following a resolu
tion of the Bundestag (parliament).
11
Thomas Hengelbrock
I n t h e L i g h t
The 12 Cellists of the Berliner Philharmoniker
Baroque
ray of hope
T homas Hengelbrock’s career
is on the up. Since he wowed the
crowds at the Beethovenfest
2006 and at the Salzburg Festival
with Mozart’s »Il Rè pastore«,
the charismatic conductor has
brought out new productions and
re-recordings in the Festspiel
haus Baden-Baden, at the Salz
burg Festival and at the Parisian
Bastille Opera. He returns to the
Beethovenfest 2009 with his
Balthasar-Neumann-Ensemble
and -Choir. On the 250th anniver
sary of George Frideric Handel’s
death, the programme includes
the »Messiah«, one of the grea
test of all Baroque oratorios.
48 Strings
3
S at
5 Sept
8 pm
Tanya Aspelmeier,
Gudrun Sidonie Otto,
Katja Stuber Soprano
Delphine Galou,
Peter Kennel Alto
Hermann Oswald,
Julian Podger Tenor
Matjaž Robavs,
Marek Rzepka Bass
Balthasar-Neumann-Chor
Balthasar-Neumann-Ensemble
Thomas Hengelbrock Conductor
George Frideric Handel:
»Messiah« HWV 56
Oratorio with words from the
Bible for solos, choir and
orchestra (original English
version, text compilation:
Charles Jennens)
? 65 I 50 I 38 I 26 I 15
T hey are virtuosos on their in
struments: more than 30 years
ago the 12 cello players of the
Berliner Philharmoniker began
making music with their own
idiosyncratic combination of mu
sical instruments. The result has
been an original string ensemble
and an exciting crossover. The
unique »Berlin 12«, which has
already been awarded the ECHO
Klassik twice, has mastered an
extensive repertoire including
many arrangements and original
compositions. They captivate
their audiences through the change
from seriousness and humour,
from profundity to light-hearted
ness.
4
S at
5 Sept
8 pm
Steigenberger
Grandhotel
Petersberg
The 12 Cellists of the
Berliner Philharmoniker
Works by
Johann Sebastian Bach,
Francis Poulenc, Boris Blacher,
Gabriel Fauré, Maurice Ravel
and Astor Piazzolla
amongst others
? 35
Sponsored by the Kreissparkasse Köln
and the LBS West.
13
I n t h e L i g h t
John Goldsby
György Ligeti‘s »Poème symphonique«
Song of the Youths
T hat the stuffed giraffe peered
over the shoulders of the mem
bers of the Parlamentarischer
Rat (parliamentary council) is an
anecdote. However, it was here
in the Alexander Koenig Zoologi
cal Museum that the Basic Law
was debated. Meanwhile the
stuffed animals waited patiently
behind the curtains. Sixty years
later they are allowed to enjoy a
daring musical mix. Represent
ing the 50s, Swing, Bebop and
modern jazz are names like
Benny Goodman, Duke Ellington,
Charlie Parker, Thelonious Monk,
Miles Davis and Dave Brubeck.
At the same time Karlheinz
Stockhausen composed electronic
studies that suggest surprising
links to cool jazz.
Sun
6 Sept
Museum Koenig
5
11 am
10
3 Pm
The Path of Democracy –
60th Anniversary: Federal Re
public of Germany (1949-1959)
John Goldsby Quintet
John Goldsby Double Bass
Joachim Schönecker Guitar
Hans Dekker Drums
NN Saxophone
NN Piano
Works by Benny Goodman,
Duke Ellington, Charlie Parker,
Thelonious Monk, Miles Davis
and others
Karlheinz Stockhausen:
»Gesang der Jünglinge« and more
e 7 I concession e 5
(parliament).
Hundred
Metronomes
T he place where Konrad
Adenauer once held his cabinet
meetings is now the venue where
concertgoers will take their seats.
The view of the park all the way
down to the Rhine can be enjoyed
completely free from any pressure
to take political decisions. The
wild 60s are portrayed by Stefan
Litwin at the piano with works by
the »enfants terribles« Helmut
Lachenmann, John Cage and
Karlheinz Stockhausen. A per
formance typical of that era will
fill the magnificent hall of Palais
Schaumburg with unusual sounds:
György Ligeti’s famous »Poème
symphonique« will make 100
metronomes tick; from the rush
ing wave of sound to a gentle
ticking to a halt, it is a bizarrely
poetic sound experience.
Sun
6 Sept
P a l a i s Sc h a u m b u r g
7
3 Pm
13
5 Pm
17
9 Pm
Stefan Litwin Piano
Soloists of the musikFabrik
Piano works by
Helmut Lachenmann,
John Cage and
Karlheinz Stockhausen
György Ligeti:
»Poème symphonique«
for 100 metronomes
(parliament).
15
I n t h e L i g h t
Atrium Ensemble
Beethoven Trio Bonn
Abbey Road
I n the Altes Wasserwerk (Old
Waterworks) political opponents
were always in close contact with
each other because the 19thcentury building was cramped,
yet still popular amongst the
deputies. This was the Bundes
tag’s provisional debating cham
ber at the time of re-unification,
and the interior décor remained
intact after the deputies moved
out to their new purpose-built
chamber. Any concertgoer taking
a seat in the parliamentary semicircle is allowed to feel a little bit
like a politician. Another place
also became famous: Abbey Road
in London. This street was the
address of the studio in which the
Beatles recorded their famous
eponymous album in 1969. The
Atrium Ensemble presents »Abbey
Road« in a refreshing a capella
version. The title »Because« was
even inspired by Beethoven …
Retro
Movements
Sun
6 Sept
Al t e s W a s s e r w e r k
8
1 pm
18
9 pm
Atrium Ensemble
Sebastian Lipp Tenor
Philipp Neumann Tenor
Martin Schubach Baritone
Frank Schwemmer Bass
Beatles:
»Abbey Road« a cappella
(parliament).
I n 1983 architect Joachim
Schürmann’s design prevailed:
an office building for the mem
bers of the Bundestag would be
built directly on the banks of the
Rhine right next to the »Lange
Eugen« skyscraper. Construction
began in 1989, but in 1993 the
unfinished building was severely
damaged when the Rhine flooded.
It was a perfect scandal. Today
the award-winning »SchürmannBau« is used by Deutsche Welle.
The name means »German
Wave«, but it was an Argentinean
wave that reached Germany in
the 1980s: the Tango Nuevo wave
that helped Astor Piazzolla’s
compositions achieve great suc
cess. At the same time Wolfgang
Rihm confronted the Romantic
tradition of the piano trio. Two
very different retro movements
that can be heard together in this
concert.
Sun
6 Sept
D e u t s c h e W e ll e
11
3 pm
14
5 pm
15
7 pm
Beethoven Trio Bonn
Mikhail Ovrutsky Violin
Grigory Alumyan Cello
Rinko Hama Piano
Astor Piazzolla: Tangos
Wolfgang Rihm: Selection from
»Fremde Szene I-III« and more
In cooperation with the
Beethoven Orchester Bonn.
(parliament).
17
I n t h e L i g h t
musikFabrik
Salome Kammer
Precision
Motor Skills
T he debating chamber of the
Bundesrat (the second chamber
of the German parliament) exu
des the spirit of the sixties: a
businesslike work atmosphere in
a dignified décor. The large coats
of arms of the federal states on
the end wall were supplemented
and renewed for the reason given
after 1990. The massive tables at
which sat state premiers of days
gone by are also highly suitable
for table percussion. In the crazy
90s anything was possible. Thus
the clarinettist in Barrett’s »Inter
ference« also uses a »pedal bass
drum« and sings over more than
four octaves. How closely this
music, between Performance and
concert piece, is related to the
aesthetics of the DJ scene is
shown by musikFabrik and the
DJs of the Institut für Feinmotorik
(Institute for precision motor
skills).
Portrait of a
Vocal Artist
Sun
6 Sept
Bu ndes rat Debat ing Chamber
6
11 am
12
3 pm
musikFabrik
Carl Rosman Clarinet
Marco Blaauw Trumpet
Alban Wesly Bassoon
Thomas Oesterdiekhoff,
Dirk Rothbrust Drums
Institut für Feinmotorik
Dieter Schnebel: »Bauernszene«
Richard Barrett: »Interference«
Thierry de Mey:
»Musique de Tables«
Tracks between minimalist
techno and rock rhythms
(parliament).
B etween Adenauer’s official
Mercedes and the fifties’ icecream parlour, visitors to the
Haus der Geschichte der
Bundesrepublik Deutschland
(museum of the history of the
Federal Republic of Germany)
quickly forget that it is in fact the
youngest venue for the path of
democracy. In the hall of the
museum, which was opened in
1994, the vocal artist Salome
Kammer sings, whispers and
screams her very personal por
trait of modernity. Music of the
past ten years, extreme sounds
that are counterpointed with irony
by Peter Ludwig’s »Chansons
bizarres«. The world premiere of
a »BRD-Song« by Peter Ludwig
completes the musical journey
through the past sixty years.
Sun
6 Sept
H a u s d e r G e s c h ic h t e
9
1 pm
16
7 pm
Salome Kammer Vocals
Ensemble Aventure
Peter Ludwig
Piano, words and composition
Helmut Oehring /
Iris ter Schiphorst: »Live«
Carola Bauckholt: »Die Alte«
and »EMIL« for solo voice
Hildegard von Bingen: »O quam
praetiosa« for solo voice accom
panied by a bourdon
Peter Ludwig: »Chansons
bizarres«, »BRD-Song« (world
premiere, commissioned by the
Beethovenfest Bonn)
(parliament).
19
François-Frédéric Guy
Inspired by
Nature
B eethoven was often inspired
by nature. He occasionally
jumped up suddenly and stormed
outside with pen and paper to
work there. »Such excursions«,
remembered Anton Schindler,
»resembled those done by bees
to collect nectare«. Beethoven
took all of these musical ideas he
had collected and composed
magnificent sonatas such as the
lyrical »Pastorale«, the mysterious
»Moonlight Sonata« and the
great »Hammerklavier Sonata« so
feared amongst pianists. At the
Beethovenfest Bonn they will be
performed by François-Frédéric
Guy on a Steinway, who thus
presents a modern counterpart
to the historical sonata cycle.
19
Mon
7 Sept
8 pm
1:
ige
e
z
An G
DHP
Beethoven-Haus
François-Frédéric Guy Piano
Sonata for piano No. 15
in D major op. 28 (»Pastorale«)
in C sharp minor op. 27/2
(»Moonlight Sonata«)
in B flat major op. 106
(»Hammerklavier Sonata«)
? 32
21
I n t h e L i g h t
Paavo Järvi
Christian Tetzlaff
Climbing the Peak,
Part 1
I t was clear for Beethoven that
the symphony was his actual ele
ment. According to Järvi his first
one is »an incredible study of
how symphonies developed from
Haydn to Mozart and ultimately
to Beethoven«. He »turned a lot
upside down« and elevated the
genre to »a clearly new level«.
With the second symphony »eve
rything developed away from
Haydn and Mozart (...) in a new
direction that is more headstrong,
more committed and less tradi
tional«. In 1802 Beethoven want
ed to »go down a new path«; with
the Third as an expression of an
autonomous person, Beethoven,
according to Järvi, »changed the
history of the symphony and of
music in general«. The Deutsche
Kammerphilharmonie Bremen
will explore this development.
204
Wed
9 Sept
Climbing the Peak,
Part 2
8 pm
Beethoven
S y m p h o n y C y cl e I
Die Deutsche Kammer
philharmonie Bremen
Symphony No. 1 in C major op. 21
Symphony No. 2 in D major op. 36
op. 55 (»Sinfonia eroica«)
7.30 pm
Orchestra Portrait I
? 75 I 62 I 49 I 38 I 22
(Single ticket prices)
? 280 I 230 I 185 I 140 I 90
(Subscription prices)
T aking a break when climbing
a peak? According to Järvi, Beet
hoven could have said about the
fourth symphony: »Let us com
pose something where everyone
can recognize what is actually
expected of the symphony«. It is
»probably the most cheerful
one«. Siblings Tetzlaff and Lars
Vogt will play with the Deutsche
Kammerphilharmonie Bremen,
performing Beethoven’s unique
»Triple Concerto« between the
symphonies. Järvi believes the
fifth symphony is »another one
of these groundbreaking sym
phonies« in which »something
becomes completely different«,
meaning the use of the pithy cen
tral theme. It traces »a kind of
musical journey« and »a huge
battle of C minor and C major«.
Fighting into light: »Per aspera
ad astra«!
205
Thu
10 Sept
8 pm
Beethoven
S y m p h o n y C y cl e I I
Christian Tetzlaff Violin
Tanja Tetzlaff Cello
Lars Vogt Piano
Die Deutsche Kammer
philharmonie Bremen
Ludwig van Beethoven: Sym
phony No. 4 in B flat major op. 60
Concerto for violin, cello and
piano in C major op. 56
(»Triple Concerto«)
Ludwig van Beethoven: Sym
phony No. 5 in C minor op. 67
7.30 pm
Orchestra Portrait II
? 75 I 62 I 49 I 38 I 22
? 280 I 230 I 185 I 140 I 90
23
I n t h e L i g h t
Die Deutsche Kammerphilharmonie Bremen
Christiane Oelze
Climbing the Peak,
Part 3
B eethoven’s first piano concerto
with Elisabeth Leonskaja as
soloist is framed by two sympho
nies. The sixth moves Järvi
»because of all the symphonies,
if you go through them one by
one, it sticks with you the longest«.
It paved the way for something
important and its Programmatik
was »a striking departure« for
Beethoven. Järvi believes that he
»wanted to do something pro
foundly human«, the symphony is
»almost like a life cycle«. A »dance
symphony« is an apt description
of the seventh one as is the label
»a masterpiece«, since it in
geniously »takes this fantastic
style of composition that repre
sents dance music and puts it
into a symphonic context«.
206
Fri
11 Sept
Climbing the Peak,
Part 4
8 pm
Beethoven
S y m p h o n y C y cl e I I I
Elisabeth Leonskaja Piano
Die Deutsche Kammer
philharmonie Bremen
Symphony No. 6 in F major
op. 68 (»Pastorale«)
No. 1 in C major op. 15
Symphony No. 7 in A major op. 92
7.30 pm
Orchestra Portrait III
? 75 I 62 I 49 I 38 I 22
? 280 I 230 I 185 I 140 I 90
Sponsored by Bechtle.
B eethoven’s eighth is, for Järvi,
»new music« because here »Beet
hoven simply took what everyone
knew and put it into a different
light, took everything apart and
turned everything upside down in
such a way as if he were almost
making fun of the traditional
symphonic form.« With the ninth
Symphony Beethoven reached
the peak. After it nothing in the
history of this genre remained
the way it was. According to Järvi
it contains more than the human
ist message: »There must be an
other level because this senti
mental message would not be
characteristic of Beethoven.«
Together with the Deutsche
Järvi will go in search of this
other level.
207
S at
12 Sept
8 pm
Beethoven
S y m p h o n y C y cl e I V
Christiane Oelze Soprano
Annely Peebo Alto
Jorma Silvasti Tenor
NN Baritone
Deutscher Kammerchor
Die Deutsche Kammer
philharmonie Bremen
Symphony No. 8 in F major op. 93
Symphony No. 9 in D minor op. 125
7.30 pm
Orchestra Portrait IV
? 95 I 80 I 63 I 48 I 35
? 280 I 230 I 185 I 140 I 90
Sponsored by Phoenix Reisen.
25
I n t h e L i g h t
Seiya Ueno
e 2:
g
i
e
Anz rkasse
Spa Bonn
Köln
Angels’ Music
for Flute and Harp
I t’s not just angels who play
the harp. The combination of
flute and harp and its special
auditory appeal was already
popular in ancient Egypt and has
remained thus in almost every
period of history. Two Japanese
artists at the beginning of their
career come to the house where
Schumann spent the last years of
his life. Both won prizes at inter
national competitions hosted by
the city of Paris in 2008: flute
player Seiya Ueno was awarded
first price in the flute competi
tion »Jean-Pierre Rampal«,
harpist Rino Kageyama was the
best participant at the harp com
petition »Lily Laskine«.
24
Sun
13 Sept
11 am
Sc h u m a n n h a u s
PrizeWinner Concert
Seiya Ueno Flute
(1st prize of the Concours »Jean-Pierre
Rampal« Paris 2008)
Rino Kageyama Harp
(2nd prize [1st prize not awarded] of the
Concours »Lily Laskine« Paris 2008)
Johann Sebastian Bach:
Sonata for flute and harpsichord
in G minor BWV 1020 (arrange
ment for flute and harp)
Robert Schumann:
Romance for oboe and piano No. 2
in A major op. 94 (arrangement
for flute and harp)
Ludwig van Beethoven: Romance
for violin and orchestra in F major
op. 50 (arr. Pierre Paubon)
and works by Henriette Renié,
Pierre-Octave Ferroud,
Benjamin Britten and others
? 19
Joint event with the
Endenicher Herbst Festival.
27
I n t h e L i g h t
Corinna Harfouch
Wiener Masken- und Musiktheater
Fortunate
Misfortune
T he little mermaid can really
evoke our pity: she lives deep in
the ocean in a castle and is only
allowed to see what the world
above the ocean’s surface looks
like when she turns 15. And then
she falls in love with a young
prince. The problem? He is a hu
man with a soul, she is a mer
maid with fins. A solution is given
by Sea Witch ... The programme
presents one of the most beauti
ful and tragic stories ever writ
ten. Andersen dreamed himself
to a better life with his wonderful
fairytale. Grieg’s piano gems
»Lyric Pieces« provide the right
musical atmosphere for the
magical, touching fairytale of
fortunate misfortune.
Arthur and August –
The Disaster Concert
25
Sun
13 Sept
11 am
Hotel Königshof
»Face of a Dream«
Corinna Harfouch Recitation
Hideyo Harada Piano
Hans Christian Andersen:
»The Little Mermaid«
(Fairytale)
Edvard Grieg:
»Lyrical Pieces« for piano
(selection)
e 25 (concert)
e 55 (concert incl. brunch)
The Hotel Königshof is offering its popular
prosecco brunch after the concert.
Further information:
www.hotel-koenigshof.de
Sponsored by the
Verlag für die Deutsche Wirtschaft.
H ow do artists feel and what
perils do they have to contend
with? When August wants to play
a concerto on the violin and when
Arthur wants to conduct the
musicians, audiences have to be
prepared. The violin is stricken
by a musical hangover, there’s
clarinet salad and the special
conductor’s trick has to be applied.
The Wiener Masken- und Musik
theater from Vienna, founded in
1986, brings the adventure that is
music to its audiences with a lot
of fun. Using their popular clown
duo the artists portray music in
an entertaining manner as they
have done for years at the Beet
hovenfest in the guise of members
of the Deutsche Kammerphil
harmonie Bremen in the musical
paperchase. An hour-long feast
for the ears and eyes!
26
Sun
13 Sept
2 pm
Pa n t h e o n
F a m ily C o n c e r t
Wiener Maskenund Musiktheater
Angelika Kippenberg August
Thomas Kippenberg Arthur
Members of the Deutsche
For children aged 6−10.
? 9
Sponsored by Knauber.
29
I n t h e L i g h t
Sir John Eliot Gardiner
Sol Gabetta
Hommage
to Handel
I n 2009 the musical world will
see the 250th anniversary of
Handel’s death and the 200th of
Mendelssohn’s birth. In addition
to the »Messiah« (5 Sept) the
Beethovenfest Bonn will thus
also present Handel’s second
great oratorio on the stage of the
Beethovenhalle: in an authentic
interpretation with experienced
specialists from the historicalcritical performance practice
Handel-pioneer Sir John Eliot
Gardiner will conduct the orato
rio »Israel in Egypt« from the
year 1738 that was rediscovered
by Mendelssohn in the 19th cen
tury and has since been consi
dered the sister work of the
»Messiah«.
Argentinean
Virtuoso
208
Sun
13 Sept
6 pm
Monteverdi Choir
English Baroque Soloists
Sir John Eliot Gardiner Conductor
George Frideric Handel:
»Israel in Egypt« HWV 54
Oratorio for solos,
choir and orchestra
(original English version)
? 65 I 50 I 38 I 26 I 15
Sponsored by Kunststiftung NRW.
T he music is in the air. Take as
much as you want.« Thus the
words of Sir Edward Elgar as he
liberated England of its 200-year
musical twilight. His elegiac
Cello Concerto, »a really great
work« according to Elgar, wal
lows in melancholy melodies.
The solo part is played by Sol
Gabetta, whose recital at the
Beethovenfest Bonn 2008 was
sold out within days. Now there
is a second chance to hear Sol
Gabetta live! In addition to
Elgar’s late-Romantic virtuoso
concerto Beethoven’s Fifth is
also on the programme.
209
Mon
14 Sept
8 pm
Sol Gabetta Cello
City of Birmingham
Symphony Orchestra
Andris Nelsons Conductor
Edward Elgar:
Concerto for cello and orchestra
in E minor op. 85
Symphony No. 5 in C minor op. 67
7.30 pm
Orchestra Portrait
? 53 I 44 I 35 I 27 I 19
31
I n t h e L i g h t
Andrea Lucchesini
Valery Gergiev
With and Without
Hammerklavier
T he Piano Sonata cycle at the
Beethovenfest Bonn 2009 will
begin with the greatest and most
difficult of all of Beethoven’s
sonatas, the »Grosse Sonate für
das Hammerklavier«. At the
same time a huge arch is made
from the historical Hammer
flügel (from Conrad Graf) to the
modern Steinway. In order to
bring out the universality and
fragility of the genre piano sonata
a »foreign« work has been intro
duced on this opening night,
the only one in the entire cycle:
the sonata by Luciano Berio.
30
Mon
»Too Close to the
Hereafter«
14 Sept
8 pm
Beethoven-Haus
Hi s t o r ic a l
S o n a t a C y cl e I
Andrea Lucchesini Piano
in F sharp major op. 78
Luciano Berio:
Sonata for piano
(»Hammerklavier Sonata«)
7.30 pm
Concert Introduction
e 32
e 84 ( Subscription price for
3 out of 8 sonata evenings)
S chönberg thought, »Those
who had written a Ninth stood
too close to the hereafter«. The
number nine was a burdensome
boundary after Beethoven’s sym
phonic legacy. Bruckner dedi
cated his Ninth, left behind as
torso in 1896, according to an
oral tradition »to God«. The London
Symphony Orchestra is coming
to the Beethovenfest Bonn with
this »divine« work of avowal in
their luggage. On the rostrum is
his chief conductor and person
of many talents: Valery Gergiev.
Beethoven’s second Piano Con
certo, the early version com
posed in Bonn in around 1790,
the epitome of Classicism stands
in contrast to the monumental
late-Romantic universe.
31
Tue
15 Sept
8 pm
Alexei Volodin Piano
London Symphony Orchestra
Valery Gergiev Conductor
Concerto for piano and orches
tra No. 2 in B flat major op. 19
Anton Bruckner:
Symphony No. 9 in D minor
7.30 pm
? 125 I 105 I 85 I 60 I 35
Sponsored by E.ON-Ruhrgas.
33
I n t h e L i g h t
Viktoria Mullova
Andreas Staier
Great Melodies
B eethoven only left one violin
concerto to posterity but with it
he broke through the boundaries
of what was customary at the
time and moved the genre into a
new stage of development. The
work had its world premiere in
1806 and with its widely flowing
melodies it is one of the great
virtuoso concerts of music his
tory. It is framed by two Romantic
masterpieces: in addition to the
famous overture to Weber’s
»Freischütz« visitors will also be
treated to the eighth symphony
by Dvořák, who found original
solutions for the antiquated sym
phonic framework.
210
Wed
No Tempest
16 Sept
8 pm
Viktoria Mullova Violin
Pittsburgh Symphony Orchestra
Manfred Honeck Conductor
Carl Maria von Weber:
Overture to
»Der Freischütz« op. 77
Concerto for violin and orchestra
in D major op. 61
Antonín Dvořák:
Symphony No. 8 in G major op. 88
7.30 pm
Orchestra Portrait
? 105 I 90 I 73 I 48 I 35
T he tempest is of no import,
not in Beethoven’s D minor so
nata and not really in Shakes
peare’s drama »The Tempest«
either, with which Beethoven
allegedly wanted this to be asso
ciated. Of much greater signifi
cance is the invention of the
instrumental recitative that from
then on every now and again
raises its wordless voice all the
way to the ninth symphony.
Opus 31: the perfectly balanced
Three Piano Sonatas group.
33
Wed
16 Sept
8 pm
Beethoven-Haus
Hi s t o r ic a l
S o n a t a C y cl e I I
Andreas Staier Pianoforte
Sonata for piano No. 12 in A flat
major op. 26 (»Sonata with the
funeral march«)
in G major op. 31/1
in D minor op. 31/2 (»Tempest«)
in E flat major op. 31/3
? 32
35
I n t h e L i g h t
Christine Schornsheim
Raschèr Saxophone Orchestra
No Moonlight
S onata quasi una Fantasia,
»like a fantasy«, wrote Beethoven
about the two sister pieces op.
27. This meant nothing other
than that the constitution of the
piano sonata was spontaneously
cancelled in favour of eccentric
musical ideas that seem freely
fantasized. This had nothing to
do with »moonlight«, but instead
with the bold attempt to bring
extreme emotional states together
in a very small space.
34
Echoes of Light and
Rays of Hope
Thu
17 Sept
8 pm
La Redoute
Hi s t o r ic a l
S o n a t a C y cl e I I I
Christine Schornsheim Pianoforte
in E major op. 14/1
in G major op. 14/2
in G major op. 79
(»Quasi una Fantasia«)
in C sharp minor op. 27/2
(»Moonlight Sonata«)
? 32
T he saxophone is a »late
starter« amongst the instruments.
The internationally renowned
»Raschèr Saxophone Quartet«,
founded by Sigurd Raschèr, the
pioneer of the classical saxo
phone, has teamed up with other
professional musicians. The
result is a saxophone ensemble
with a core group of 12 players.
The virtuoso sound of a saxophone
ensemble in this constellation
is rather unusual. It can be ex
tremely gentle and slender, with
out losing its powerful funda
mental character. The programme
combines famous compositions
of past centuries with two world
premieres. It is not just Beet
hoven’s overture op. 124 that is
put into a new musical light here.
35
Thu
17 Sept
8 pm
V o lk s b a n k h a u s
Raschèr Saxophone Orchestra
Gustav Meinig Timpani
Ekhart Wycik Conductor
Edvard Grieg:
»Holberg Suite« op. 40
Frank Zabel: »Echoes of Light«
Edward Elgar:
Serenade in E minor op. 20
Ludwig van Beethoven /
Frank Zabel: Overture for Carl
Meisl’s »Consecration of the
House« in C major op. 124.
Arrangement for 12 saxophones
and timpani by Frank Zabel
Johannes Brahms:
Variations on a Theme by
Joseph Haydn in B major op. 56b
? 29
Sponsored by the
Volksbank Bonn Rhein-Sieg.
37
I n t h e L i g h t
Stefan Blunier
Martin Grubinger
The Struggle
of the Two Souls
O n the programme for the
Beethovenfest Bonn 2009 is
Wagner’s great romantic opera
about the minstrel Tannhäuser.
It is the story of an outsider and
his conflict with social conventions.
Tannhäuser is torn in two: he
lives away from the world but has
soon had enough of his pleasur
able life with the goddess of love
and longs to have his earthly
existence back. Thus he comes to
the Wartburg, where a singers’
contest with the subject of »true
love« becomes quite turbulent,
whereupon Tannhäuser is ba
nished to go on a pilgrimage.
36
Fri
The Magician and the
Elementary Event
18 Sept
7 pm
Op e r n h a u s
Premiere
Ramaz Chikviladze Hermann
Scott MacAllister Tannhäuser
Lee Poulis Wolfram von Eschenbach
Ingeborg Greiner Elisabeth
Daniela Denschlag Venus
Ensemble and Choir
of the Theater Bonn
Beethoven Orchester Bonn
Stefan Blunier Conductor
Klaus Weise Director
Richard Wagner:
»Tannhäuser und der
Sängerkrieg auf Wartburg«
WWV 70
A Theater Bonn production in cooperation
with the Beethovenfest Bonn.
? 65 I 52 I 39 I 32 I 20
M artin Grubinger is a virtuoso
of his instrument, a magician,
and since 2006 a firm fixture at
the Beethovenfest Bonn. This
year he is bringing a handful of
friends and companions of his
up-and-coming career. The pro
gramme proves how varied the
instruments from bongos to
xylophones can be: it is peppered
with compositions for the many
percussion instruments with
which Martin Grubinger & Friends
can live out their artistic talents,
as is clear for Grubinger: »Rhythm
is simply an elemental event«.
37
Fri
18 Sept
7.30 pm
Steigenberger
Grandhotel
Petersberg
Martin Grubinger & Friends
Martin Grubinger jun. Percussion
Leonhard Schmidinger Percussion
Manuel Hofstätter Percussion
Rainer Furthner Percussion
Ismael Barrios Percussion
Martin Grubinger sen. Percussion
NN Electronic bass
Iannis Xenakis: »Okho«
Rod Lincoln:
»Moods for interaction«
Astor Piazzolla:
Tango Suite No. 3
Martin Grubinger:
»Planet Rudiment«
Matthias Schmitt: »Ghanaia«
Andrew Thomas: »Merlin«
Keiko Abe: »The Wave«
? 30
Sponsored by Comma Soft.
39
I n t h e L i g h t
Pacifica Quartet
Mari Kodama
From Berlin
to the West Coast
E lectrifying: George Crumb’s
»Black Angels« for electric
string quartet is one of the show
pieces of the Pacifica Quartet,
the ensemble from the American
West Coast. »Musical America«
elected Pacifica Quartet as
»Ensemble of the Year« 2009.
With works by Wolfgang Amadeus
Mozart and Johannes Brahms,
the Berlin Kuss Quartett provides
a Classical-Romantic contrast.
38
Fri
18 Sept
Authentic
Farewell
8 pm
Beethoven-Haus
String quartet
project I
Kuss Quartett
Pacifica Quartet
Wolfgang Amadeus Mozart:
Quartet for 2 violins, viola
and cello in B flat major KV 458
(»Hunt«)
Johannes Brahms:
Quartet No. 3 for 2 violins, viola
and cello in B flat major op. 67
George Crumb:
»Black Angels – Thirteen
images from the dark land«
for Electric String Quartet
7.30 pm
? 22
? 65 (Package price for the events
T he two sonatas op. 49 can
still be played by piano students;
the same is not true, however,
for the great E flat major sonata
op. 7, which is Beethoven’s most
comprehensive piano sonata after
his »Hammerklavier Sonata«
op. 106. Contrasted to the early
monument in E flat major is the
»Les Adieux« sonata, composed
13 years later. The subheading
comes from the composer
himself for once and also has
something to do with the music:
»Farewell, Absence and Reunion«.
39
Fri
18 Sept 8 pm
S t . Hil d e g a r d ,
Mehlem
Hi s t o r ic a l
S o n a t a C y cl e I V
Mari Kodama Pianoforte
in G minor op. 49/1
in G major op. 49/2
in E flat major op. 81a
(»Les Adieux«)
in E flat major op. 7
? 32
of the string quartet project)
41
I n t h e L i g h t
einshoch6
Team of Students
Hip Hop
Classic
E inshoch6 is an unusual
combination of young classical
musicians, rappers and pop
musicians. They are creating a
new and entertaining kind of
music that blurs the boundaries
between the genres and that
reflects the motto of the Beetho
venfest Bonn 2009 in their own
way. Virtuoso live performance,
peppered with thrilling classical
quotations and intelligent texts
with subjects that concern every
one. Their original mix of styles
shines through in their interpre
tation of the »Moonlight Sonata«
by taking the artistic self-image
first established by Beethoven
to the extreme. Another notable
fact is that both concerts are
completely managed by a team of
students from schools in Bonn.
»Young
Beethovenfest«
Dransdorf Tram Depot
40
F r i 1 8 S e p t
8 pm
44
S at 1 9 S e p t
8 pm
einshoch6
Tobias Baum – Tobbz MC
Kurt Achatz – Meix MC
Dennis Rosenberger – Dero MC
Lorenz Blaumer Violin
Sebastian Hollunder
Piano, Synthesizer, Violin
Amadeus Hiller Drums, Percussion
Jakob Haas Cello
Andreas Hiermeier
Double Bass, Electronic Bass
Thomas Sporrer Percussion
Minguet Quartett
Ulrich Isfort Violin
Annette Reisinger Violin
Aroa Sorin Viola
Matthias Diener Cello
Bruno Tait Veejays
? 27 I 19
T he two concerts of the hiphopclassical band einshoch6 are
organized completely by a team
of students, the »Young Beetho
venfest«. 15 students from four
different schools in Bonn were
chosen from around 40 students.
They were assigned in small
groups to the various departments
of the Beethovenfest Bonn and
then trained so they could deal
with their tasks, from artistic
planning to marketing and tech
nical implementation, as pro
fessionally as possible. The pro
ject in this form is a pilot project
which is attracting great media
interest since it is the first and so
far only one of its kind to date.
Marie Christine Schwalb,
Student dramaturge
Max Böckel, Felina Wittke
Student directors
Fabian Wittich, Anna Keding
Student commercial directors
Pascal Majewski, Jens Natelberg
Student artistic administration
Jens Natelberg, Anatol Käbisch
Student technical directors
Marie Christine Schwalb,
Tobias P. Wolf Student dramaturges
Tobias P. Wolf, Hanna Weber,
Julius Balzien, Ilian Duhme
Student marketing officers
Paula Lange, Nikolas Körner
Student press officers
Tobias Winter Documentation
The student management project
is sponsored by the
Sparkassenstiftung Rheinland.
7.30 pm
Sponsored by the Stadtwerke Bonn.
43
I n t h e L i g h t
Kuss Quartett
.)
e 3: (engl
g
i
e
Anz dt Bonn
Sta
Avant-garde
for the curious
A milestone of the modern
string quartet literature, Helmut
Lachenmann’s work »Grido«
from 2001 is elucidated by Oliver
Wille, second violinist of the Kuss
Quartett, to detail composition
technique. Helmut Lachenmann
himself has rehearsed the work
with the Kuss Quartett. A Lecture
Recital: a musical lesson at
the highest level, followed by a
concert.
41
S at
19 Sept
4 pm
Beethoven-Haus
String quartet
project II
L e c t u r e R e ci t a l
Kuss Quartett
Helmut Lachenmann:
String Quartet No. 3
(»Grido«)
? 10
45
W e
w o u l d
lik e
t o
t h a n k
t h e
s p o n s o r s
o f
t h e
Main Sponsors:
Public Sponsors:
Event Sponsors:
Foundations:
B e e t h o v e n f e s t
Event Sponsors of the Rhein-Sieg-Kreis:
B o n n
2 0 0 9
Cultural Partners:
Media Partners:
Bonn Partners of the Beethovenfest:
47
I n t h e L i g h t
Maurizio Pollini
Colin Currie
Thinker
at the Piano
V irtuosity reached a first
climax in the 19th century, when
pianists elicited almost every
thing from a piano, which it could
express. The Beethovenfest
Bonn has invited one of the most
charismatic artistic personages
of our time and a visionary
when it comes to interpretation:
Maurizio Pollini. As an ex
perienced specialist of his instru
ment he draws audiences into
his spell through his famous
interpretational handwriting and
in doing so he is more than a
mere virtuoso, he is a technically
meticulous researcher of detail.
Every note has its purpose, every
nuance its significance. Pollini
takes a stance, regardless of
whether he is playing the stan
dard repertoire from Beethoven to
Chopin or contemporary pieces.
From Down Under
to Prague
42
S at
19 Sept
8 pm
Maurizio Pollini Piano
The programme will be
announced at a later date.
? 75 I 62 I 49 I 38 I 22
Sponsored by WestLotto.
P owerful: the percussionist
Colin Currie loves the sound of
the Scottish snare drum. But
in the Phantasy, inspired by
Shakespeare’s sonnet »Since
Brass, nor Stone«, he has to deal
with a substantially larger set of
instruments. He is accompanied
by the Pavel Haas Quartett, who
have brought with them from
their Czech homeland the musical
travelogue »Aus dem Affen
gebirge«. The four ladies of the
Australian String Quartet are
the only music group on that con
tinent affiliated with the legen
dary chamber music ensemble
the Alban Berg Quartet. They
play a composition of their com
patriot Nigel Westlake.
43
S at
19 Sept
8 pm
Beethoven-Haus
String quartet
project III
Pavel Haas Quartett
Colin Currie Percussion
Nigel Westlake:
»High Tension Wires«.
String Quartet No. 1
Felix Mendelssohn:
Quartet for 2 violins, viola and
cello in D major op. 44/1
Alexander Goehr:
»Since Brass, nor Stone«.
Fantasia for string quartet
and percussion op. 80
Pavel Haas:
String Quartet No. 2 op. 7
(»Aus dem Affengebirge«)
7.30 pm
? 22
49
I n t h e L i g h t
Pavel Haas Quartett
Starry hour
in the afternoon
Freude, Feuer, Forte.
Das Beste aus der Welt der Musik.
I nvigorating: a one-hour
teatime concert makes the after
noon the day’s highlight. The
programme contains music by
Joseph Haydn, the 200th anniver
sary of whose death is com
memorated this year, and roman
tic sounds of Antonín Dvořák.
With »one of the most brilliant
and exciting young string
quartets in the world today«
(Washington Post).
45
20 Sept
4 pm
Beethoven-Haus
String quartet
project IV
T e at i m e C o n c e r t
Pavel Haas Quartett
Masumi Per Rostad Viola
Joseph Haydn:
Quartet for 2 violins, viola
and cello in D minor op. 76/2
Hob. III:76 (»Fifth«)
Antonín Dvořák:
Quintet for 2 violins, 2 violas
and cello in E flat major op. 97
? 19
wdr 3. Aus Lust am Hören.
Sun
51
Teo Gheorghiu
Konrad Jarnot, Stella Doufexis, Marlis Petersen, Werner Güra
Quasi una fantasia
F antasizing freely at the piano
is just as much part of the
Romantic image as is virtuosity.
The loose form of the toccata
paved the way for this. Beethoven
followed the form of the sonata
with his fantasizing questioning,
Liszt and Busoni took the path
of free fantasizing further. Teo
Gheorghiu is giving his debut
performance as pianist at the
Beethovenfest Bonn. In the film
»Vitus«, which won several
awards, he played a mathemati
cal and musical prodigy at the
side of Bruno Ganz.
I n t h e L i g h t
46
Sun
20 Sept
Love Songs
of the Tortured Soul
5 PM
M e y s F a b r ik H e n n e f
Teo Gheorghiu Piano
Johann Sebastian Bach:
Toccata for piano No. 6
in C minor BWV 911
(»Quasi una Fantasia«)
Ferruccio Busoni:
Sonatina super »Carmen«
for piano KiV 284
Franz Liszt:
Sonata for piano in B minor S 178
? 22
Sponsored by the Kreissparkasse Köln.
N un, ihr Musen, genug! Verge
bens strebt ihr zu schildern, wie
sich Jammer and Glück wechseln
in liebender Brust.« (»Now,
muses, enough! In vain have you
tried to show how misery and
happiness interchange in loving
breast.«) Thus wrote Goethe.
Brahms put it to music. In his
many arrangements he frequent
ly addressed love and the inter
change between »misery and
happiness«, a sign of the attitude
towards life of the Romantic
artist personality. With Marlis
Petersen, Stella Doufexis, Werner
Güra and Konrad Jarnot the
Beethovenfest Bonn has invited
four renowned singers for this
»Brahms-iade«. They will per
form a representative selection
of the Romantic songs of the
melancholy north German com
poser.
47
Sun
20 Sept
6 pm
Steigenberger
Grandhotel
Petersberg
»Brahms-iade«
Marlis Petersen Soprano
Stella Doufexis Mezzo-soprano
Werner Güra Tenor
Konrad Jarnot Baritone
Hartmut Höll Piano
Camillo Radicke Piano
Johannes Brahms:
Songs (selection)
5.30 pm
? 35
53
Bonn MP3 – City Tour
I n t h e L i g h t
Ihre persönliche musikalische Führung
Bonn auf eigene Faust entdecken
Mit dem praktischen Mp3-Player
entdecken Sie die Beethoven-Stadt
entspannt und individuell. Sie können
jederzeit entscheiden, wann und wo
Sie die mit Beethoven-Musik und
unterhaltsamen Texten unterlegte
Stadtführung beginnen, kurz unterbrechen oder beenden wollen.
Dauer
Preis
Kaution
Tipp
ca. 1 Stunde
5,90 €
Verleih nur mit Personalausweis möglich
WelcomeCard-Besitzer
erhalten 1 € Ermäßigung
Mit freundlicher Unterstützung von
Noble Finale
Anbieter
Windeckstr. 1 / am Münsterplatz
oder in vielen teilnehmenden Hotels und gastronomischen Betrieben
(fragen Sie in Ihrem Hotel nach der MP3-City Tour)
N oble: Felix Mendelssohn’s
String Octet oozes lordly grandeur
with perfect balance of spirit
and emotion, just the right piece
for the finale of the string
quartet project at the Beethoven
fest Bonn. It will be preceded
by works of Ludwig van Beetho
ven, György Ligeti and Dmitri
Shostakovich. In this concert all
four world class ensembles
that took part in the project are
performing.
48
Sun
20 Sept
8 pm
Beethoven-Haus
String quartet
project V
Kuss Quartett
Pacifica Quartet
Pavel Haas Quartett
Quartet for 2 violins, viola and
cello No. 6 in B flat major op. 18/6
György Ligeti:
Quartet No. 1 for 2 violins,
viola and cello
Dmitri Shostakovich:
Two pieces for 4 violins,
2 violas and 2 cellos op. 11
Felix Mendelssohn:
Octet for 4 violins, 2 violas and
2 cellos in E flat major op. 20
7.30 pm
»All Ears forHalf«
? 22
55
I n t h e L i g h t
Krzysztof Penderecki
Salut Salon
Birthday
Concert
K rzysztof Penderecki had a
formative impact on the musical
landscape of the 20th century.
On his 75th-birthday tour
Beethoven expert Rudolf Buch
binder congratulate with the
third Piano Concerto, with which
Beethoven set off on the decisive
path for the genre’s history in
around 1800. In addition Dvořák’s
epic »Legends« delivers roman
tic tones and Penderecki’s «Christ
mas Symphony« composed in
1979/80 provides music of a ro
mantic-monumental effect.
A Matter
of the Heart
49
Mon
21 Sept
8 pm
Anniversary Tour
»Krzysztof Penderecki 75«
Rudolf Buchbinder Piano
Sinfonia Varsovia
Krzysztof Penderecki Conductor
Antonín Dvořák:
»Legends«
for orchestra op. 59 (selection)
Krzysztof Penderecki:
Symphony No. 2
(»Christmas Symphony«)
7.30 pm
? 53 I 44 I 35 I 27 I 19
I n centuries gone by life often
took place in salons. The idea for
Salut Salon, whose name stems
from Elgar’s »Salut d’amour«,
one of the musicians’ favourite
pieces, virtually came into exis
tence in a living room. By now
on tour world-wide, its charac
teristic mark is the imaginative
interplay between the genres and
the one-of-a-kind show of de
manding classical music, chanson
and entertainment. They are
sometimes romantic and charm
ing, sometimes cheeky and
surprisingly artistic, sometimes
temperamental and unusually
modern. With their passionate
arrangements they give their
music wings. Their new pro
gramme, like their music, is
»A Matter of the Heart«.
50
Mon
21 Sept
8 pm
R h e i n - Si e g - H a ll e
»A Matter of the Heart«
Salut Salon
Angelika Bachmann Violin
Iris Siegfried Violin, voice
Sonja Schmid Cello
Anne von Twardowski Piano
Works by composers from
Johann Sebastian Bach
to Astor Piazzolla
as well as Songs
and Traditionals.
? 28 I 23 I 18
57
I n t h e L i g h t
Andreas Staier
Gustavo Dudamel
Appassionato
O p. 10/1 is »more pointed and
roaring« than the »Pathétique«
sonata (thus Joachim Kaiser),
op. 10/2 is a mellow intermezzo
and op. 10/3 a great piece of
musical architecture with a pro
found Largo. The virtuoso play
with the minuet trio clichés (op. 54)
is followed by »Appassionata«,
whose popular title is not authen
tic. Beethoven considered it
his best sonata for a long time.
51
Da capo:
Gustavo Dudamel
Tue
22 Sept
8 pm
Beethoven-Haus
Hi s t o r ic a l
S o n a t a C y cl e V
Andreas Staier Pianoforte
in C minor op. 10/1
in F major op. 10/2
in D major op. 10/3
in F major op. 54
in F minor op. 57
(»Appassionata«)
? 32
G ustavo Dudamel achieved
his international breakthrough at
the 2004 Beethovenfest Bonn,
when he acted impromptu as the
conductor for the final concert.
In 2005 and 2007 he conducted the
Simón Bolívar Youth Orchestra
from his Venezuelan home in Bonn.
Now he returns as the principal
conductor of Göteborgs Sym
foniker. The musicians bring with
them Beethoven’s first sym
phonic creation as an expression
of the autonomy newly obtained
by artists in around 1800. In ad
dition they come with Nielsen’s
Symphony no. 4, composed dur
ing World War I, with the subject:
the inextinguishability of life.
Highly romantic sounds are
offered by Anna Larsson’s inter
pretation of Mahler’s Rückert
Songs, in which one of the sub
ject matters is retreat from
the »crush of the world«
(»Weltgewimmel«).
52
Wed
23 Sept
8 pm
Anna Larsson Mezzo-soprano
Göteborgs Symfoniker
Gustavo Dudamel Conductor
Symphony No. 1 in C major op. 21
Gustav Mahler: Five Songs to
words by Friedrich Rückert
»Blicke mir nicht in die Lieder!«
(»Do not look at my songs!«)
»Ich atmet’ einen linden Duft«
(»I breathed a gentle fragrance«)
»Ich bin der Welt abhanden
gekommen« (»I have become
lost to the world«)
»Um Mitternacht« (»At Midnight«)
»Liebst du um Schönheit«
(»If you love for beauty«)
Carl Nielsen: Symphony No. 4
op. 29 (»The Inextinguishable«)
7.30 pm
Orchestra Portrait
? 75 I 62 I 49 I 38 I 22
59
I n t h e L i g h t
Ronald Brautigam
Ronald Brautigam
No Pity
I n 1795 Beethoven entered the
Viennese stage with Three Piano
Trios (op. 1) and Three Piano
Sonatas (op. 2). A roaring perfor
mance, almost defiant, and with
superior compositional means.
Right from the start with the first
piano sonata in F minor Beetho
ven showed the clear shortening
of the two-bar group to a single
note. As if he wanted to say:
»That’s how a sonata should be
composed!« No pity for those
who did not want to follow him.
With Feeling
53
Wed
23 Sept
8 pm
Beethoven-Haus
Hi s t o r ic a l
S o n a t a C y cl e V I
Ronald Brautigam Pianoforte
in F minor op. 2/1
in A major op. 2/2
in C major op. 2/3
in C minor op. 13
(»Sonata pathétique«)
? 32
M it Lebhaftigkeit und durchaus
mit Empfindung und Ausdruck«
(»With liveliness and definitely
with feeling and expression«) –
from piano sonata op. 90 Beet
hoven would often note down in
German the way pieces should
be played. Maybe because the
»Empfindung« (»feeling«, a term
he preferred) was simpler than
the Italian »sentimento«? A vir
tuoso contrast to op. 90 and the
sonata later called »Pastorale«
op. 28 is op. 53 (dedicated to
Count Ferdinand von Waldstein)
with seemingly endless chains of
trills, glissandi and an effective
prestissimo finale.
54
Thu 24 Sept
8 pm
Beethoven-Haus
Hi s t o r ic a l
S o n a t a C y cl e V I I
Ronald Brautigam Pianoforte
in D major op. 28
(»Pastorale«)
in E minor op. 90
in C major op. 53
(»Waldstein Sonata«)
? 32
61
I n t h e L i g h t
Joachim Kühn
Alliage Quintett
From Bach
to Ornette Coleman
H e was born in Leipzig. Johann
Sebastian Bach was, of course,
omnipresent there. Joachim Kühn
has an equally close connection
to the Free Jazz icon Ornette
Coleman, the saxophonist with
whom he has worked numerous
times since 1996. From Bach to
Ornette Coleman – For Joachim
Kühn »it is no longer about the
performance of learnt pieces but
about the depth of sensation«
(Bert Noglik). At the Beethoven
fest Bonn he can be seen in a
solo performance – a must for
every Jazz fan!
55
Thu
24 Sept
Classical Music
without Boundaries
8 pm
H a r m o n i e E n d e n ic h
Joachim Kühn Piano
From Bach to Ornette Coleman
? 18,50
Joint event together with the
Harmonie Endenich.
T he saxophone was invented
by Adolphe Sax in 1840. However,
almost no composer besides
Berlioz had any interest in the new
instrument at first, which crossed
the boundary from classical
music to jazz very quickly. The
Alliage Quintett plays well-known
masterpieces in sensitive and
clever arrangements. Works like
Vivaldi’s »Four Seasons« or Beet
hoven’s piano sonata »Pastorale«
are thus given a new musical
dress. In Mendelssohn’s »A Mid
summer Night’s Dream« one can
almost hear the elves and fairies
hopping through the instruments’
valves. »Classical Music without
Boundaries« par excellence:
in this category the outstanding
musicians were awarded the
ECHO Klassik in 2005.
56
Thu
24 Sept
8 pm
Casino of The
K f W B a n k e n g r u pp e
Alliage Quintett
Daniel Gauthier Soprano saxophone
Lutz Koppetsch Alto saxophone
Koryun Asatryan Tenor saxophone
Sebastian Pottmeier
Baritone saxophone
Jang Eun Bae Piano
Felix Mendelssohn
(arr. Hendrik Schnöke):
Music to Shakespeare’s play
»A Midsummer Night’s Dream«
op. 61 (selection)
Antonio Vivaldi (arr. Jun Nagao): »Le quattro stagioni«
(»The Four Seasons«) op. 8/1-4
Ludwig van Beethoven
(arr. Sebastian Pottmeier):
Andante from:
in D major op. 28 (»Pastorale«)
? 25
Sponsored by KfW Bankengruppe.
63
I n t h e L i g h t
Stefan Blunier
Johannes Moser
Hark the sound
of planets and suns
I t will get tight on the stage
of the Beethovenhalle … When
Gustav Mahler’s eighth symphony
had its world premiere in the
context of the World Fair in Munich
in 1910 there were around a
thousand choir singers, orchestra
members and soloists on the
stage of the new Musik Festhalle.
The symphony was »the greatest
thing I’ve done to date« for Mahler.
The mammoth work burst the
symphonic boundaries of the time;
according to Mahler, the sym
phonic philosopher, one can hark
the universe here and »it is no
longer human voices, but planets
and suns that circle«. Stefan
Blunier is making his debut as
principal conductor at the Beet
hovenfest Bonn with this work.
57
Fri 25 Sept 8 pm
Arpiné Rahdjian Soprano
Claudia Barainsky Soprano
Lioba Braun Alto
Marina Prudenskaja Alto
Scott MacAllister Tenor
Alexander Marco-Buhrmester
Baritone
Ralf Lukas Bass
Choir and Extra Choir
of the Theater Bonn
Sibylle Wagner Rehearsal
Philharmonic Choir
of the City of Bonn
Thomas Neuhoff Rehearsal
Limburger Domsingknaben
Klaus Knubben Rehearsal
Gustav Mahler:
(»Symphony of a Thousand«)
7.30 pm
? 53 I 44 I 35 I 27 I 19
The Cello is
very grown up!
C ellos are »grown-up violins
that have learned to stand up on
their own«. The cello became a
grown-up in its final form in
around 1700 in Stradivari’s work
shop. Since then its gentle, dark
sound has been touching people’s
emotions. Particularly during
the 19th and 20th centuries com
posers wrote virtuoso literature
for the »singing instrument«.
The two musicians are presenting
an excellent mix that combines
festive melody with the highest
degree of musical skill. Johannes
Moser, who thinks the cello
belonged to him since childhood
»like my own arm«, has been
awarded the ECHO Klassik twice;
this is the first time he is per
forming at the Beethovenfest
Bonn.
58
Fri
25 Sept
8 pm
C o ll e g i u m L e o n i n u m
Johannes Moser Cello
Paul Rivinius Piano
Sonata for cello and piano
No. 5 in D major op. 102/2
Alexander Zemlinsky:
in A minor
Johannes Brahms:
No. 1 in E minor op. 38
? 25
65
I n t h e L i g h t
Ildikó Raimondi
David Garrett
Love, my Love,
what will become?
L iebe, Liebe, laß mich los!«
(»Love, Love, let me go!«): thus
ends Goethe’s poem »Neue Liebe,
neues Leben« (»New Love, New
Life«), put to music by Beethoven.
Many other composers were
fascinated by Goethe’s words
about life and love and let them
selves be inspired by him to
create incomparable music.
Ildikó Raimondi and Charles
Spencer dedicate themselves to
these compositions in their
recital. Great emotions are
promised by the romantic songs
by Franz Schubert, as do the
profound compositions by Hugo
Wolf. Beethoven’s contemporary
Wenzel Johann Tomaschek
was also fascinated by Goethe.
Ildikó Raimondi re-published
his almost forgotten Goethe
Lieder in 2003.
59
S at
26 Sept
Emotions,
Beat and Rhythm
8 pm
Beethoven-Haus
»Herz, mein Herz,
was soll das geben?«
(»Love, my Love,
what will become?«)
Ildikó Raimondi Soprano
Charles Spencer Piano
Songs by
Wenzel Johann Tomaschek,
Ludwig van Beethoven,
Franz Schubert and Hugo Wolf
to words by
Johann Wolfgang von Goethe
7.30 pm
? 32
V irtuosity contributed to the
»romantic revolution«. Violinists
such as Paganini were highly
acclaimed virtuosos of their day.
But all this acclaim also brought
its loneliness, the isolated position
of the stars on the podium, who
were meant to entertain their
emotions by exhibitioning them
selves. David Garrett is one of
those technically experienced
virtuosos of our day who knows
how to wow audiences with the
right amount of show. It is a matter
of the heart for him to win over
young people for classical con
certs. The winner of the ECHO
Klassik 2008 makes an arc from
Beethoven via Romanticism to
crossover pieces, because all of
this signifies »emotions, beat
and rhythm« to him.
60
S at
26 Sept
8 pm
T- M o bil e F o r u m
David Garrett & Band
David Garrett Violin
Julien Quentin Piano
Lichtfront Veejays
Sonata for violin and piano
No. 5 in F major op. 24
(»Spring Sonata«)
Works for violin and piano
from the CD
»Classic Romance Album«
Arrangements for violin and
band from Baroque to Pop,
pieces from »Virtuoso« and
»Encore« by announcement
? 48 I 39 I 32
67
I n t h e L i g h t
Simon Halsey
Scott MacAllister
Faith, Hope, Love,
but no Salvation
I n Romanticism many Baroque
choral works were »revived«,
including by Johannes Brahms.
His affinity to Handel is more
than clear in many aspects: at
the world premiere of six finished
pieces of the »German Requiem«
in Bremen in 1868 he inserted
the aria »I know that my Redeemer
liveth« from Handel’s »Messiah«
after the fourth movement in
order to compensate for the
»missing« thought of salvation;
the complete world premiere
with all seven parts was not per
formed until almost a year later
in Leipzig. The popular »German
Requiem« can be heard at the
Beethovenfest Bonn in a version
for piano four-handed and choir,
however without Handel’s Mes
siah composition.
61
S at
26 Sept
The Struggle
of the Two Souls
8.30 pm
S t. R e m i g i u s
Philip Moll Piano
Philip Mayers Piano
Rundfunkchor Berlin
Simon Halsey Conductor
Johannes Brahms:
»A German Requiem« to the
words of the Holy Scriptures
op. 45 for soloists, choir and
orchestra (arrangement for
piano four-handed by Johannes
Brahms adapted by Philip Moll)
? 25
Readers’ concert of the General-Anzeiger.
O n the programme for the
Beethovenfest Bonn 2009 is
Wagner’s great romantic opera
about the minstrel Tannhäuser.
It is the story of an outsider and
his conflict with social conventions.
Tannhäuser is torn in two: he
lives away from the world but has
soon had enough of his pleasur
able life with the goddess of love
and longs to have his earthly
existence back. Thus he comes to
the Wartburg, where a singers’
contest with the subject of »true
love« becomes quite turbulent,
whereupon Tannhäuser is
banished to go on a pilgrimage.
62
Sun
27 Sept
4 pm
Op e r n h a u s
Ramaz Chikviladze Hermann
Scott MacAllister Tannhäuser
Lee Poulis Wolfram von Eschenbach
Ingeborg Greiner Elisabeth
Daniela Denschlag Venus
Ensemble and Choir
of the Theater Bonn
Klaus Weise Director
Richard Wagner:
»Tannhäuser und der
Sängerkrieg auf Wartburg«
WWV 70
A Theater Bonn production in cooperation
with the Beethovenfest Bonn.
? 52 I 42 I 31 I 26 I 15
69
I n t h e L i g h t
Ensemble Kheops
6:
ige
e
z
An
KAH
Intimate Dialogues
B rahms informed his publisher
in 1890 that »it must be time to
go«. However, then his creative
powers returned and he wrote
the Clarinet Trio op. 114 about
which a friend commented:
»It is as if the instruments loved
each other«. Clarinet, cello and
piano love each other in Beet
hoven’s music too and made for
»a quite good ensemble« in 1799
according to a contemporary.
In opus 11 Beethoven used a
melody that had become a popular
song (Gassenhauer) from an
opera by his contemporary Joseph
Weigl, opus 38 is an adaptation
of the Septet op. 20 that was ex
tremely popular in his day. »A quite
good ensemble« would be an
understatement to describe the
Ensemble Kheops founded in 2006.
63
Sun
27 Sept
6 pm
Burg Namedy
Ensemble Kheops
Ronald van Spaendonck
Clarinet
Marie Hallynck Cello
Muhiddin Dürrüoğlu Piano
Trio for clarinet, cello and piano
(»Gassenhauer Trio«)
Johannes Brahms:
in A minor op. 114
in E flat major op. 38 (after the
Septet for violin, viola, cello,
double bass, clarinet, horn and
bassoon in E flat major op. 20)
? 25
concerts of Burg Namedy.
71
I n t h e L i g h t
Bùi Công Duy
Alexander Melnikov
A Visit
from Vietnam
H anoi is considered one of
southeast Asia’s most fascinating
cities. In 1956 the Vietnam
National Academy of Music was
founded here. On a high artistic
level it is the most important
musical training facility in Vietnam
and one of the most significant
sources of new talent in the Asian
sphere. It does not just support
traditional music, it has also been
conscientiously open to Western
cultures. The orchestra of this
Academy of Music is visiting the
Beethovenfest Bonn. In the Cam
pus concert the young musicians
will play a successful mix of one
Beethoven symphony, one work
of their home country and a world
premiere of an up-and-coming
Vietnamese composer.
64
No Place
Sun
27 Sept
8 pm
Deutsche Welle presents:
Campus concert
Bùi Công Duy Violin
Orchestra of the
Vietnam National Academy
of Music Hanoi
Claire Levacher Conductor
Tran Manh Hung:
Work for violin and orchestra
by the Deutsche Welle)
Symphony No. 7 in A major op. 92
7.30 pm
? 29 I 22 I 15
Sponsored by the German Foreign Ministry,
the State Premier of North-Rhine
Westphalia, the Ernst von Siemens
Musiks tiftung and Deutsche Welle.
B eethoven’s piano sonatas
were called the »New Testament«
of piano music. This is particu
larly true of the last works in this
genre. The characteristics of
these four, late sonatas are very
compact expression and formal
vision of a new world of piano
music. Daring formal construc
tions search for new places of
sound, variations and fugues are
preferred: a farewell to the old
movement form used for sonatas.
At the same time it is a departure,
but to where? To oú-topos, the
non-place of sounds never heard
before. A utopia.
65
Mon
28 Sept
8 pm
Beethoven-Haus
Hi s t o r ic a l
S o n a t a C y cl e V I I I
Alexander Melnikov Pianoforte
in A major op. 101
in E major op. 109
in A flat major op. 110
in C minor op. 111
? 32
73
I n t h e L i g h t
Peter Gülke
Beethoven
Piano Concertos, Part 2
T his much was clear to Beet
hoven: »Nobody who has fully
delved into my music will ever be
able to feel abject misery again.«
Pierre-Laurent Aimard will know
this feeling. In the context of the
Beethovenfest Bonn 2009 he will
delve into all five of Beethoven’s
piano concertos. After the special
concert in April with the first
three piano concertos, piano
concertos no. 4 and no. 5 follow
in this concert. He will be accom
panied by one of the most fasci
nating groups of our day: the
Chamber Orchestra of Europe,
founded in 1981, with its almost
50 members from 15 different
countries.
66
Tue
29 Sept
8 pm
Piano, Conductor
No. 4 in G major op. 58
No. 5 in E flat major op. 73
7.30 pm
? 53 I 44 I 35 I 27 I 19
Romanticism
in the Workshop
A s has become tradition the
Beethovenfest Bonn 2009 will
once again have a campus work
shop with a youth orchestra from
somewhere around the world:
this time it is the orchestra from
the Vietnam National Academy
of Music Hanoi. Peter Gülke will,
as always, run the evening as
conductor and presenter. The
Vietnamese music students have
already worked with him on the
compositions in Hanoi, the re
hearsals will continue in the Beet
hovenhalle. The audience will
get an interesting insight into the
musical workshop of a young
orchestra that has travelled from
far away to be here and can
hear the rehearsals of two highly
Romantic works amongst other
things. It is worth it!
67
Wed
30 Sept
7.30 pm
Campus Workshop
In co-operation with
Deutsche Welle
Bùi Công Duy Violin
Orchestra of the
Vietnam National Academy
of Music Hanoi
Peter Gülke Conductor
Ouverture to Salvatore Viganò’s
ballet »The Creatures of
Prometheus« op. 43
Max Bruch:
Concerto for violin and orchestra
No. 1 in G minor op. 26
Robert Schumann:
Symphony No. 4 in D minor op. 120
? 15
Sponsored by the German Foreign Ministry,
the State Premier of North-Rhine
Westphalia, the Ernst von Siemens
Musikstiftung and Deutsche Welle.
75
I n t h e L i g h t
Adrian and Alfred Brendel
Fadia el-Hage – Sarband
Brendel
reads Brendel
I n 2008 pianist Alfred Brendel
ended his active career. Now
he returns to the podium because
the scholarly musician also
occupied himself in the literary
field and fascinates with his
enigmatic poems as well as with
his music. The joker must be
breathing down his neck: as an
author he has a deliciously
subtle relationship to humour
and possesses an excellent
talent for observing people with
irony. Full of allusions, mystery
and pleasure for the absurd he
builds an airy bridge between
sense and nonsense with his ver
ses. The evening promises to
be an insight into flights of the
mind and with Brendel’s son at the
cello it is also a »family matter«.
68
Sefarad – Songs
from the Golden Age
Thu
1 Oc t
8 pm
S t. E v e r g i s l u s ,
Brenig
Alfred Brendel Recitation
Adrian Brendel Cello
Alfred Brendel:
Poems from »Spiegelbild and
schwarzer Spuk« (»Reflection
and Black Phantom«) (selection)
Works for solo cello by
Johann Sebastian Bach,
Benjamin Britten,
György Kurtág and
Mauricio Kagel
? 25
H aving already been part of
classic Arab culture in the Near
East during the Golden Age, the
Jews then played an important
role in medieval Spain as inter
mediary between Christian and
Arab cultures. When they were
forced to leave Spain, they found
their exile in parts of the Ottoman
Empire; in Constantinople,
Salonica, Egypt, Syria, in Palestine
or in the Balkans – the Sephardi
let themselves be inspired by
local traditions and developed
their »old« culture further. The
Ensemble Sarband, known to the
classical music public through its
collaboration with Concerto Köln,
has been building bridges between
East and West for many years.
69
Thu
1 Oc t
8 pm
H a r m o n i e E n d e n ic h
Ensemble Sarband
Fadia el-Hage (Lebanon) Vocals
Ahmet Kadri Rizeli
(Turkey) Kemenche
Bahadir Sener (Turkey) Kanun
Vladimir Ivanoff
(Bulgaria / Germany) Percussion,
Oud, Musical direction
Sefarad
Songs from the lives
of the Spanish Jews
around the Mediterranean
? 21,50
Joint event together with the
Harmonie Endenich.
77
I n t h e L i g h t
Christoph Spering
Yossif Ivanov
From the Life
of a Prophet
W ithin the music of the Roman
tic era some considered church
music the pinnacle. One important
aspect of this attitude was the
revival of the oratorio in Roman
ticism, for which Felix Mendels
sohn worked particularly hard.
The Beethovenfest Bonn, in the
Mendelssohn year 2009, is per
forming one of the greatest works
of the 19th century with the
dramatic oratorio »Elijah«. Its
magnificent romantic images of
sound make it a significant link
between the Baroque oratorios
by Handel and the later spiritual
choral works of Brahms.
70
Devil’s Trill and
Other Skills on the Violin
Fri
2 Oc t
8 pm
Marlis Petersen Soprano
Franziska Gottwald Alto
Rainer Trost Tenor
Thomas E. Bauer Bass
Chorus Musicus Köln
Das Neue Orchester
Christoph Spering Conductor
Felix Mendelssohn:
»Elijah« op. 70
Oratorio for soloists,
choir and orchestra
? 35 I 22
T hese four works for violin
from three centuries are all great
pieces of virtuosity: Tartini was
ahead of time but not just be
cause of his famous »Devil’s Trill
Sonata«. Beethoven’s »Spring
Sonata« also shows a predilection
for the great virtuoso gesture
in which audiences can hear a
butterfly flapping past here and
there. Peppered with Norwegian
folklore and full of technical
finesse is Grieg’s third Violin
Sonata. Ravel’s »Tzigane« is one
of the famous gypsy melodies, a
showpiece for a young virtuoso
such as Yossif Ivanov, who knows
how to utilize the expressive
powers of his instrument to the
full.
71
Fri
2 Oc t
8 pm
S ta d t m u s e u m
Si e g b u r g
Yossif Ivanov Violin
Dimitris Saroğlou Piano
Giuseppe Tartini:
in G minor (»Devil’s Trill Sonata«)
No. 5 in F major op. 24
(»Spring Sonata«)
Edvard Grieg:
Maurice Ravel:
»Tzigane« for violin and piano
? 19
79
I n t h e L i g h t
Stanislau Anishchanka
Taschen-Oper-Companie TOC
Solo for the
Foundation
D ouble basses are often
drowned by the rest of the
orchestra. They get hardly any
solos but without them an im
portant piece of the foundation
would be missing. In the life of a
musician a double bass can be
friend at times, foe at others, as
is described in Patrick Süskind’s
famous one act play. It is rare
that the lowest and largest string
instrument can be heard on its
own or with a piano on the con
cert podium. To be heard at the
Beethovenfest Bonn 2009 the
up-and-coming talent Stanislau
Anishchanka from Belarus. He
won the first prize at the interna
tional double bass competition in
Brno in the Czech Republic.
The Ghost’s Room
72
S at
3 Oc t
11 am
Sc h u m a n n h a u s
PrizeWinner Concert
Stanislau Anishchanka
Double Bass (1st prizewinner of the
13th International Music Competition,
Brno (Czech Republic))
Dunja Robotti Piano
Franz Schubert:
Sonata for arpeggione and piano
in A minor D 821 (arrangement
for double bass and piano)
Sonata for horn and piano
in F major op. 17 (arrangement
for double bass and piano)
Adolf Misek:
Sonata for double bass and
piano No. 2 in E minor op. 6
Nino Rota:
Divertimento concertante
for double bass and orchestra
(arrangement for double bass
and piano)
? 19
Endenicher Herbst Festival.
I n a locked room in a museum
Lea and Lili come across a lot of
junk, old display cabinets with
musical instruments, strange ear
trumpets and sheet music.
A dusty wax doll is sitting at the
piano and it looks like Beethoven.
Suddenly it comes alive! It is the
beginning of a story in which
Beethoven’s ghost recounts a lot
about his life and much of his
music can be heard. Then the
museum attendant suddenly dis
covers the girls. »What is this
noise?« his voice thunders. But
then it turns out that he can
sing very well himself. A project
developed exclusively for the
Beethovenfest for children aged
6-10.
S at
3 Oc t S e r v ic e z e n t r a l e
Deutsche Telekom
73
11 am
74
2 pm
F a m ily C o n c e r t
An O h r w u r m p r o j e c t by the
Taschen-Oper-Companie TOC
Lea Hausmann Student, Violin
Lili Ullrich Student, Play
Matthias Horn
Museum Attendant, Baritone
Christoph Ullrich Beethoven, Piano
»The Ghost’s Room«
A Beethoven programme for
children aged 6–10.
? 9
81
Kent Nagano
Final concert
T he finale of the Beethovenfest
Bonn 2009 starts with a debut.
Two giants of the music scene
who have never before worked
together will meet: the Mahler
Chamber Orchestra, which
has been greatly influenced by
Claudio Abbado and Daniel Harding,
and conductor Kent Nagano,
a charismatic worker on musical
detail. The Mahler Chamber
Orchestra is performing in Bonn
for the first time! The programme
was put together exclusively for
the Beethovenfest 2009 and it
combines the »modern« Beetho
ven with his Romantic heritage
in the form of Johannes Brahms
and the »Romantic Modern« in
the form of Richard Strauss.
eige
Anz ich
Zur
75
S at
3 Oc t
8 pm
Fi n a l C o n c e r t
Mahler Chamber Orchestra
Kent Nagano Conductor
»Große Fuge« for string quartet
(orchestral arrangement)
Richard Strauss:
»Metamorphosen«.
Study for 23 solo strings
Johannes Brahms:
Symphony No. 1 in C minor op. 68
7.30 pm
Orchestra portrait
? 85 I 72 I 59 I 48 I 32
Sponsored by Zurich Gruppe.
83
L i s t
o f
V e n u e s
B o n n
Beethovenhalle
Wachsbleiche 17, 53111 Bonn
Box Office: + 49 (0)228 -7 22 23 33,
bus 551, 600, 601 to Beethovenhalle,
U/S 62, 65, 66, 67 to Bertha-vonSuttner-Platz, parking in the
Beethovengarage, Theaterstrasse
Beethoven-Haus
Bonngasse 24-26, 53111 Bonn
U/S 63, 65, 66, 67 to Bertha-vonSuttner-Platz, parking in the
Marktgarage or Stiftsgarage
Altes Wasserwerk
Hermann-Ehlers-Strasse, 53113 Bonn,
bus 610, 611 to Deutsche Welle
U/S 16, 63, 66 to Heussallee
Bundesrat Debating Chamber
Platz der Vereinten Nationen 9
(Görrestrasse 15), 53113 Bonn,
Collegium Leoninum
Noeggerathstrasse 34, 53111 Bonn
U/S/bus to Hauptbahnhof (main station)
or Stadthaus, parking at the building
and at the main station
Deutsche Telekom headquaters
Friedrich-Ebert-Allee 140, 53113 Bonn
U/S 16, 63, 66 to Deutsche Telekom
Deutsche Welle
Kurt-Schumacher-Strasse 3, 53113 Bonn,
U 16, 63, 66 to Heusallee
Harmonie Endenich
Frongasse 28-30, 53121 Bonn
Box Office: + 49 (0)228 - 61 40 42,
bus 606, 607, 631 to Frongasse
or Brahmsstrasse
R h e i n - Si e g - K r e i s
Haus der Geschichte
Willy-Brandt-Allee 14, 53113 Bonn,
bus 610, 611 and U 16, 63, 66
to Heusallee/Museumsmeile,
parking spaces on the Museum Mile
approach via W.-Flex-Strasse
Hotel Königshof
Adenauerallee 9, 53111 Bonn
U/S 16, 63, 66 to Universität/Markt,
parking available
Forum der Kunst- und Ausstellungshalle
der Bundesrepublik Deutschland
Friedrich-Ebert-Allee 4, 53113 Bonn
Box Office: + 49 (0)228 – 917 12 00
Parking available
Museum König
Zoologisches Forschungsmuseum
Alexander Koenig
Museumsmeile Bonn
Adenauerallee 160, 53113 Bonn
U 16, 63, 66 to Museum König
Parking available behind the building
Schumannhaus
Sebastianstrasse 182, 53115 Bonn
Box Office: + 49 (0)228 -77 36 56,
bus 604, 605, 606, 607, 631
to Alfred-Bucherer-Strasse,
Dransdorf Tram Depot
Gerhart-Hauptmann-Strasse
53121 Bonn, transfer from
U/S Hauptbahnhof (main station)
St. Remigius
Brüdergasse 8, 53111 Bonn
U/S 16, 63, 66 to Universität/Markt
T-Mobile Forum
Landgrabenweg 151,
53227 Bonn-Beuel, U/S 62, 65
to Schiessbergweg
Volksbank-Haus
Heinemannstrasse 15, 53175 Bonn,
bus 541, 610 to Volksbank-Haus,
parking at the building
B a d
Oper Bonn
Am Boeselagerhof 1, 53111 Bonn
Box Office: + 49 (0)228 -77 36 68,
bus 551, 600, 601, 604, 605 to
Opernhaus, U/S 62, 65, 66, 67
to Bertha-von-Suttner-Platz,
parking in the Opera garage
Palais Schaumburg
Adenauerallee 139/141, 53113 Bonn,
U/S 16, 63, 66 to Museum Koenig,
bus 610, 611 to Bundeskanzlerplatz
parking at the Museumsmeile
or in the Bundesviertel,
approx. 10-minute walk
Pantheon
Reuterstraße 241, 53113 Bonn,
bus 610, 611 to Bundeskanzlerplatz
U 16, 63, 66 Museum König
Parking available in the Bonn Center
multi-storey building
G o d e s b e r g
KfW Bankengruppe
Ludwig-Erhard-Platz 1- 3
53179 Bonn (Mehlem),
bus 613, 615 to Tannenallee,
parking available
La Redoute
Kurfürstenallee 1, 53177 Bonn
Box Office: + 49 (0)228 - 36 77 20
U/S 16, 63 to Bad Godesberg
Bahnhof, parking at the Stadthalle
and at the Kurfürstenbad
Meys Fabrik Hennef
Beethovenstraße 21, 53773 Hennef,
Parking available behind the building
DB regional express, S 12
Rhein-Sieg-Halle
Bachstrasse 1, 53721 Siegburg
From Siegburg Bahnhof approx.
5-minute walk
Stadtmuseum Siegburg
Markt 46, 53721 Siegburg
Box Office: + 49 (0)2241- 5 57 33
U/S 66 to Siegburg Bahnhof,
parking in the Mühlenstrasse
(P11), Rhenag (P22),
and Bahnhof car parks (P10)
St. Evergislus
Haasbachstrasse 2,
53332 Bornheim-Brenig
Steigenberger Grandhotel
Petersberg
53639 Königswinter/Petersberg
Box Office: + 49 (0)2223 -740,
parking available
A n d e r n a c h
Namedy Castle
56626 Andernach
Box Office: + 49 (0)2632- 4 86 25
Train to Namedy, parking available
in front of the castle
St. Hildegard
Im Meisengarten 47, 53179 Bonn,
bus 613, 615, 857, 852 to
Deichmanns Aue, Bahnhof Mehlem
Parking available in the area
85
C o n c e r t
Tick e t s
is the main box
office for the Beethovenfest
Bonn. Here you will find tickets
available for advance sale
• by phone inside Germany at
0180 – 500 18 12 (0,14 e / Min)
(Mon-Fri, 9 am to 7 pm;
Sat, 10 am to 3 pm)
by phone from outside
Germany at
+49 (0) 180 – 500 18 12 (fee
depending on local provider)
• by fax at
+49 (0) 228 – 910 41 11
• by e-mail at
[email protected]
• in the internet at
www.bonnticket.de or
www.beethovenfest.de
• in writing by sending the
enclosed order form (see
foldout back cover) to the
Beethovenfest Bonn or to:
Bonnticket,
Adenauerallee 131,
D-53113 Bonn, Germany
and at some 270 further advance
booking offices and travel agen
cies nationwide! A list of selected
advance booking offices can be
found on page 86.
a n d
from 2 April if payment is made
by credit card or bank debit.
If you prefer to pay by wire trans
fer, we will send you a confir
mation of your booking with in
voice upon receipt of your order.
Payment of the invoice must be
received on the specified bank
account within two weeks. The
tickets will be mailed to you once
your payment has been received.
Waiting List:
When all seats for a concert are
sold out, the Beethovenfest pro
vides a special service: in the in
ternet 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.
Evening box office:
Any remaining tickets can be
purchased from the box office at
the performance venue one hour
before the concert begins.
Concession rates:
Children, students and trainees
below the age of 30, those under
going compulsory military service
or civilian alternative, job-seekers,
Please enter the identifying num disabled people and those in
possession of the »Bonn Ausweis«
ber of the concert when placing
are entitled to a reduction of 50%
your orders. Written ticket re
servations for all concerts at the on the ticket price. You are asked
Beethovenfest Bonn 2009 can be to produce evidence of such en
titlement (without having to be
submitted from 9 March 2009.
specifically asked) at the door.
Advance ticket sales, including
internet sales, will begin on
Fees:
18 April 2009. Before advance
The ticket prices printed in this
tickets go officially on sale,
brochure include a
will process writ
handling charge of e 0.75 per
ten orders in the order in which
ticket. Advance booking offices
they are received. Please note
also charge 10 percent of the
that written orders cannot be
confirmed before 31 March 2009. ticket price as a booking fee. For
The tickets will be mailed to you written and phone reservations
g e n e r a l
I n f o r m a t i o n
will charge an additional process
ing and mailing fee of e 2.50 per
order, or e 4.90 in the case of
internet bookings. If you wish your
tickets to be sent by registered
will
mail (optional),
charge a flat fee of e 6.90.
certs will be recorded for radio
and / or television broadcast.
Concertgoers implicitly declare
their consent to these recordings
and to any pictures that might be
made of them.
General Information:
Concert tickets cannot be re
turned or exchanged when orders
are only partially taken up. No
responsibility is assumed for
changes in programmes, perfor
mers, 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 presentation of the ticket
within a two-month period. Late
comers are only admitted during
breaks in the concert.
»All Ears for Half« –
concert introductions and
orchestra portraits:
Some of the concerts playing
at the Beethovenfest offer the
chance to be »all ears for half«,
i.e. there is a chance to ex
perience an introduction to that
night’s programme half an hour
before the beginning of the con
cert. Renowned musicologists
will introduce and explain par
ticularly the lesser known works.
The dates and speakers will be
published in August in our festi
val magazine and online.
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
In addition, on some evenings
this year orchestra portraits will
be available, illustrating new
models of orchestral organiza
tion and funding. Details will be
announced in August in our festi
val magazine and on the internet.
accepted
rs will be + + + + +
e
d
r
o
e
c
+
an
+ + + adv from 9 March! +
g
in
it
r
w
in
Deutsche Bahn Spezial In collaboration with Deutsche Bahn (the
German rail network), the Beethovenfest is offering a special ticket
valid nationwide. This ticket is valid from 2 September and 5 October
for all inland train services operated by Deutsche Bahn, including ICE
intercity expresses. Price: 2nd class e 99, 1st class e 159. Tickets can
be booked by phoning 01805 - 31 11 53 **. Keyword: »Beethovenfest«
* Tickets must be booked at least three days in advance; they are valid for a specified
train only. The offer is subject to availability. Exchange or refunds before the first day of
validity possible for a charge of e 15; no exchange or refund after the first day of validity.
** The hotline is open Mondays to Saturdays from 8 am to 9 pm.
87
S e l e c t e d
a d v a n c e
t ick e t
a g e n ci e s
E d i t o r i a l
i n f o r m a t i o n
B o n n
B e r g i s c h
Brückenforum Beuel
Friedrich Breuer-Str. 17
53225 Bonn
0228 – 4 00 09 11
Bürgerhaus Bergischer Löwe
Konrad Adenauer Platz
51465 Bergisch Gladbach
02202 – 3 89 99
Lotto Toto Ruland
Hauptstraße 75
53340 Meckenheim
02225 – 1 48 85
B r ü h l
P u l h e i m
brühl-info
Uhlstr. 1, 50321 Brühl
02232 – 7 95 69
MusikCenter Pulheim
Venloer Straße 91
50259 Pulheim
02238 – 47 78 76
DERPART Reisebüro
Weidenbach
Rochusstraße 174
53123 Bonn
0228 – 97 98 40
General-Anzeiger
Bottlerplatz 7, 53111 Bonn
0228 – 6 04 23 12
Konzertkasse Kaufhof
Remigiusstraße 20
53111 Bonn
0228 – 69 79 80
Kunst- und
Ausstellungshalle
Friedrich-Ebert-Allee 4
53113 Bonn
0228 – 9 17 12 16
Opern- und Konzertkasse
Windeckstraße 1
53111 Bonn
0228 – 77 80 08
B a d
G o d e s b e r g
General-Anzeiger
Koblenzer Str. 61
53177 Bonn
0228 – 3 50 50
Schauspiel Bonn
Theaterplatz / Am
Michaelshof
9, 53177 Bonn
0228 – 77 80 – 22/-33
Gl a d b a c h
D ü s s e l d o r f
Düsseldorf Marketing
& Tourismus GmbH
Immermannstr. 65 B
(Hauptbahnhof) &
Marktplatz 6 (Altstadt)
40210 Düsseldorf
0180 – 5 64 43 32
Heinersdorff GmbH
Heinrich-Heine-Allee 22
40213 Düsseldorf
0211 – 32 91 91
AZ AN Ticketshop &
Service
(Mayersche Buchhandlung)
Buchkremerstr. 1-7
52064 Aachen
0241 – 5 10 11 75
B a d
H o n n e f
General-Anzeiger
Hauptstraße 38
53604 Bad Honnef
02224 – 90 20 80
S-shop im Hit-Markt
Berck-sur-Mer-Straße 1
53604 Bad Honnef
02224 – 181-0
TUI First Reisebüro
Hauptstraße 36-46
53359 Rheinbach
02226 – 9 27 50
R ö s r a t h
TIME Travel Winkler
Bensberger Str. 192
51503 Rösrath-Forsbach
02205 – 92 82 10
Internationale Beethovenfeste Bonn gGmbH
Ilona Schmiel
Artistic Director and Manager
Helmut Pojunke
Business Manager
Kurt-Schumacher-Straße 3, 53113 Bonn
Telephone +49-228-201030,
Fax +49-228-2010333
[email protected], www.beethovenfest.de
Editorial Staff:
Heidi Rogge, Dr. Tilman Schlömp, Karin Stühn
Translation:
Dr. Michael Scuffil
Graphic Design:
parole Gesellschaft für Kommunikation mbH,
München; www.parole.de
Print:
Warlich Druck Meckenheim GmbH
www.warlichdruck.de
Picture copyrights:
We thank the artists, authors and agents
for allowing us to reprint the photographs.
Karten und Veranstaltungsservice KVS
Wiener Platz 2a
51065 Köln
0221 – 9 62 42 41
Henning Koepke (Titel)
Sheila Rock (2, 28)
Beethoven-Haus-Bonn (3)
Boris Streubel (4, 43)
Jaqui Way (4, 53)
Marco Borggreve(4, 29, 31, 49, 58, 71)
Erna Wagner-Hehmke / Hehmke-Winterer,
Düsseldorf; Haus der Geschichte, Bonn (5)
Felix Broede (6, 72)
Monika Rittershaus (7, 51)
Delicatessen (8)
Mathias Bothor (9, 47, 57)
Karl Forster (10)
Christoph Giese (13)
Claudio Kocking (14)
Manfred Esser (15, 63)
Klaus Rudolph (16)
Andreas Ludwig (17)
Vivien Guy (18)
Barbara Frommann (21)
Julia Baier (22)
Bothur (23)
Dirk Dunkelberg (26)
Sasha Gusov (32)
Alvaro Yanez (33, 56)
Laion (34)
Barbara Aumüller (36, 62)
Gisbert Körner (37)
Christian Steiner (39)
Adriane von Carlowitz (41)
Chris Dawes (48)
Christian Altorfer (50)
Marek Beblot (54)
Gassian (60)
Gela Megrelidze (61)
Sabine Hauswirth (64)
Lorenzo Ceva Vallo (65)
Matthias Heyde (66)
Eric Larraydieu (77)
Nicolas Ruel (80)
L e v e r k u s e n
Any copyright holders not mentioned
here should contact us.
Stadtverkehr Euskirchen
Oststraße 1-5
53879 Euskirchen
02251 – 14 14 160
S a n k t
A u g u s t i n
Bücherstube
Sankt Augustin
Markt 25
53757 Sankt Augustin
02241 – 2 86 80
K o bl e n z
Tourist-Information
Bahnhofplatz 17
56068 Koblenz
0261 – 3 03 88 49
Zeitungsgruppe Köln
Service Center
(DuMont-Carré)
Breite Straße 72
50667 Köln
0221 – 2 24 22 92
Köln Musik Ticket
Roncalliplatz
50667 Köln
0221 – 28 01
Theaterkasse Kaufhof
Hohe Straße 1
50667 Köln
0221 – 2 57 88 11
B a d N e u e n a h r A h r w e il e r
General-Anzeiger
Bossardstraße 1-3
53474 Bad NeuenahrAhrweiler
02641- 9 12 61
R h e i n b a c h
E u s ki r c h e n
K ö l n
A a c h e n
M e ck e n h e i m
TicketShop (Feste Feiern)
Wiesdorfer Platz 80a
In den Luminaden
51373 Leverkusen
0214 – 8 40 43 35
Si e g b u r g
Gegenbauer Ticketservice
In der Rhein-Sieg-Halle
Bachstr. 1, 53721 Siegburg
02241 – 23 91 93 19
General-Anzeiger
Markt 45a
53721 Siegburg
02241 – 1 20 10
Stadtmuseum Siegburg
Markt 46
53721 Siegburg
02241 – 5 57 33
Konzertkarten
Wolfgang Overath
(Kaufhof)
Kaiserstraße 25
53721 Siegburg
02241 – 6 79 67
Programm information:
as of Feb 11, 2009
We reserve the right to make changes.
89
H a ll
P l a n s
B Ü H N E
1
2
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
1
2
Ran
e it
gS
e: 1
2
1
2
3
4
5
6
7
8
9
10
price category 1
3
4
5
6
7
8
9
10
price category 2
price category 3
price category 4
price category 5
B e e t h o v e n - H a u s
uniform
price category
The seating shown in the plans above is subject to change. The total amount of seats
and price cate-gories may differ. You can find seating plans of other venues of the
Beethovenfest Bonn 2009 at: www.bonnticket.de. You will find a complete list of our
venues including the addresses on page 82.

english version - Beethovenfest Bonn

Transcription

Similar documents

Tedd Joselson

Franz Schubert Impromptus, Moments Musicaux, Klavierstücke for

Untitled

Piano Spec Sheet Template

JUNE 2014 - Select Music and Video

Bulgarian folk instruments - EST

Detroit Symphony Orchestra

Grades 7-12 July 10-15

e-manhiri -press kit - E

ROLE:!!JERRY!LEE!LEWIS!