Ensemble | Patricia Kopatchinskaja et al.

Beethoven | Ives | Haydn | Cage | Bach | Kurtág | Oliveros

Sun, 22.11. | 19.30 | No. 20505

KKL Luzern, Concert Hall

Vergangenes Konzert

Beethoven Farewell – Cancelled

20.11.-22.11. 2020





    Ensemble | Patricia Kopatchinskaja et al.

    Members of the LUCERNE FESTIVAL ALUMNI  
    Members of the the Lucerne Symphony Orchestra  
    Patricia Kopatchinskaja  violin, concept, and musical direction
    Lani Tran-Duc  stage coordination
    Louis Dupras  stage coordination
    Ricarda Schnoor  lighting
    Jonas Link  video

    “Bye-Bye Beethoven”
    A staged concert

    Ludwig van Beethoven (1770–1827)
    Violin Concerto in D major, Op. 61

    Fragments from

    Charles Ives (1874–1954)
    The Unanswered Question
    Joseph Haydn (1732–1809)
    Symphony in F-sharp minor, Hob. I:45 Farewell Symphony
    arranged by Angel Hernández Lovera
    John Cage (1912–1992)
    Living Room Music
    Johann Sebastian Bach (1685–1750)
    Es ist genug from the cantata O Ewigkeit, du Donnerwort BWV 60
    arranged for two bassoons and two French horns by Peter Whelan
    György Kurtág (*1926)
    Pauline Oliveros (1932–2016)
    Horse Sings from Cloud

    With the Beethoven year, Patricia Kopatchinskaja believes, we should also say farewell to some of the petrified rituals of todayʼs concert life. To conclude “Beethoven Farewell,” she presents a staged concert to show what this might look like. Or rather, she presents a music installation, like one you might come across in a museum. “You are left to make an image for yourself and to allow what you have heard, seen, and felt affect you.” But Kopatchinskaja admits: “Maybe this title Bye-Bye Beethoven is provocative. Of course, we don’t want to say goodbye to him. But I want to say goodbye to a business that adores only the old monuments and that is losing its relevance. New music should be our beloved child, whose words we must heed.” She illustrates this belief in her staged concert for this evening, which turns the usual state of affairs upside down. And so, for example, the finale of Haydn’s Farewell Symphony, in which the orchestra gradually leaves the stage in the original score, here takes place in reverse: the musicians come in, and the music runs backwards, so to speak.


    «Happy Hour» with Patricia Kopatchinskaja 

    Our Safety Guidelines and Plan

    Patricia Kopatchinskaja

    The violinist Patricia Kopatchinskaja was born in 1977 in Chişinău in the Republic of Moldova into a musical family – her mother is also a violinist and her father plays cimbalom. In 1989 the family emigrated to Vienna, where Kopatchinskaja began her studies at the Music Academy at the age of 13; she transferred four years later to the Academy of the Arts in Bern, completing her education there with Igor Ozim. She became known in professional circles through her victory at the International Szeryng Competition (2000) and won the Credit Suisse Young Artist Award in 2002. Today Kopatchinskaja works with leading orchestras and attracts attention through her unusual, often radical performances. Equally at home in early music, the Romantic repertoire, and contemporary fare, she is also an animated chamber musician and designs staged concerts. As LUCERNE FESTIVAL’s “artiste étoile” in 2017, she was able to showcase this wide spectrum. In the 2018-19 season, Kopatchinskaja appeared under Kirill Petrenko with the Bavarian Staatsoper Orchestra as well as the Berlin Philharmonic. She made her debut with the Cleveland Orchestra with Peter Eötvös’s violin concerto Seven, played the Tchaikovsky Concerto on a tour with Teodor Currentzis to Japan, and concertized with the Orchestre symphonique de Montréal under Kent Nagano. She also joined with musicians from the Berlin Philharmonic to sing and play as the narrator in Schoenberg’s Pierrot lunaire. Among the awards that Kopatchinskaja’s recordings have garnered are the International Classical Music Award, the Prix Caecilia, and Gramophone magazine’s Recording of the Year Award. Her album Death and the Maiden, which includes works from Dowland to Kurtág, won a Grammy Award in 2018. Her most recent release, with the pianist Polina Leschenko, is of sonatas by Bartók and Poulenc.

    LUCERNE FESTIVAL debut on 7 September 2002 playing the Sibelius Concerto with the Vienna Philharmonic under Mariss Jansons.

    July 2019

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    Lani Tran-Duc

    Lani Tran-Duc wurde 1982 in München geboren. Nach ihrem Architekturstudium an der Berliner Universität der Künste und an der Escola Tècnica Superior d'Arquitectura del Vallès (ETSAV) in Barcelona arbeitete sie von 2010 bis 2012 als Ausstattungsassistentin am Hamburger Thalia Theater. Bereits während ihrer Assistenzzeit entwarf sie Bühnenbilder für das Thalia Theater und für die Theater-Fabrik Kampnagel. Seither ist sie freischaffend als Bühnen- und Kostümbildnerin tätig, für Theater- und Opernproduktionen wie auch im Tanz- und Performance-Bereich, u. a. bei den Wiener Festwochen, am Staatstheater Darmstadt und bei Konzert Theater Bern. In der vergangenen Spielzeit führten sie Produktionen ans Theater Erlangen, ans Opernhaus Graz und ans Deutsche Theater Göttingen. Für Jon Fosses Besuch am Hamburger Lichthof Theater wurde Lani Tranc-Duc 2014 in der Kategorie «Bestes Bühnenbild» mit dem Rolf-Mares-Preis ausgezeichnet.

    Juli 2017

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    Jonas Link

    Parallel zu seinem Studium der Medientechnik an der HAW Hamburg war Jonas Link, geboren 1987 in Würzburg, freiberuflich als Videotechniker am Hamburger Thalia Theater tätig und assistierte dort u. a. Peter Baur, Meika Dresenkamp und Studio Braun. Nach seinem Studienabschluss im Jahr 2013 erarbeitete er das Videodesign für Matthew Herberts musikalische Performance One Day sowie, gemeinsam mit Peter Baur, Bühnenvideos für Bastian Krafts Jedermann-Inszenierung beim Young Directors Project der Salzburger Festspiele; zudem entstanden am Thalia Theater und am Deutschen Theater in Berlin erste eigene Arbeiten als Videokünstler. Die Zusammenarbeit mit Peter Baur führte Jonas Link 2016 ans Schauspielhaus Zürich (Andorra und Homo Faber) und ans Wiener Burgtheater (Ludwig II.); in Frankfurt arbeitete er mit Ulrich Rasche zusammen (Sieben gegen Theben/Antigone), und für Patricia Kopatchinskajas szenisches Konzert Bye Bye Beethoven schuf er die Video-Animationen.

    Juli 2017

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    Concert Partner Carla Schwöbel-Braun