Pierre-Laurent Aimard
piano
Claude Debussy (1862-1918)
Préludes, Book II
Franz Liszt (1811-1886)
"Unstern!" S. 208
“Les Jeux d’eaux à la Villa d’Este” from “Années de Pèlerinage,” Book 3
Olivier Messiaen (1908-1992)
«Le Baiser de l’Enfant-Jésus» from «Vingt Regards sur l’Enfant-Jésus»
Just a few days before the music world observes the 150th anniversary of Claude Debussy, French master pianist Pierre-Laurent Aimard pays homage to his great compatriot by performing the second volume of the oracular, ambiguous “Préludes.” Debussy was highly receptive to an archaic sense of religiosity, to the “holy origins” of music: “The beauty of a work of art must always remain mysterious,” he once explained. “We can never be absolutely certain ‘how it’s made.’” Catholic inspirations meanwhile come to the fore in the program’s second half: In the score of “Les Jeux d’Eaux à la Villa d’Este,” which glorifies the fountains of the Villa d’Este in Tivoli near Rome, Franz Liszt refers in a footnote to the words Jesus spoke to the Samaritan woman at Jacob’s well: “The water that I will give him will become in him a spring of water welling up to eternal life.” For his part, Olivier Messiaen immerses himself in contemplation of “l’Enfant-Jésus,” the “divine child in the manger.” Music as a credo, a profession of faith.
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