Heinz Holliger © Priska Ketterer
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Heinz Holliger © Priska Ketterer
Susanne Elmark © Lars Andreas
Susanne Elmark | Heinz Holliger | JACK Quartet | Marie-Lise Schüpbach et al.
Marking Heinz Holliger’s 80th birthday
In cooperation with the Paul Sacher Foundation
Heinz Holliger has been closely associated with LUCERNE FESTIVAL for almost six decades: as a composer, oboist, and conductor. He was a member of the former Swiss Festival Orchestra, shaped the program as composer-in-residence in 1998, and has also collaborated with the LUCERNE FESTIVAL ACADEMY on several occasions. Holliger thus is part of the family. In May he will turn 80 – and we will celebrate this anniversary later with a chamber concert. The honoree himself will perform pieces that Rudolf Kelterborn and György Kurtág wrote for him. Kurtág, Younghi Pagh-Pan, and Roland Moser have created new works in Holliger’s honor. The program also presents important works by Holliger, including the Second String Quartet, which violinist Thomas Zehetmair once described as an “explosion of color,” and Not I, a monodrama based on Samuel Beckett. Holliger has characterized this piece for soprano as a “Verstummung” (“being silenced”), since the soloist’s stream of words is electronically multiplied and defamiliarized live, becoming increasingly blurred before, in the end, it is completely extinguished.
Die dänische Sopranistin Susanne Elmark wurde an der Königlichen Opernakademie in Kopenhagen ausgebildet, gab 1996 am dortigen Neuen Theater ihr Operndebut als Adele in der Fledermaus und erarbeitete sich an der Königlichen Oper Partien wie die Celia in Lucio Silla, die Zerlina im Don Giovanni oder die Eurydice in Philip Glass’ Orphée. Ihr Repertoire reicht von Mozart bis Schnittke; zu ihren Paraderollen zählen die Königin der Nacht und die Zerbinetta in Ariadne auf Naxos, mit denen sie u. a. an den Staatsopern in München und Stuttgart, an der Deutschen Oper Berlin, in Frankfurt und in Leipzig gastierte. In der vergangenen Saison debutierte Susanne Elmark in Rennes als Konstanze in der Entführung aus dem Serail – eine Rolle, die sie anschliessend auch bei einem Gastspiel der Kölner Oper im Irak gestaltete. Im Konzertbereich hat sie mit Dirigenten wie Gary Bertini, Paul McCreesh, Colin Davis und Eliahu Inbal zusammengearbeitet.
Heinz Holliger © Julieta Schildknecht
Heinz Holliger was born in 1939 in Langenthal in the Canton of Bern. He studied oboe (with Émile Cassagnaud and Pierre Pierlot), piano (with Sava Savoff and Yvonne Lefébure), and composition (with Sándor Veress and Pierre Boulez) in Bern, Paris, and Basel. His international career as an oboist, which has taken him to the major music centers all over the world, began in 1959, when he won first prize at the International Music Competition in Geneva; he additionally won the ARD Music Competition in Munich in 1961 – the same year in which he made his debut at the Internationale Musikfestwochen Luzern, now known as LUCERNE FESTIVAL. Holliger has expanded the technical capacities of his instrument and remains a strong supporter of contemporary music as well as of lesser-known works. Many composers, including Henze, Ligeti, and Lutosławski, have dedicated new scores to him. In 1977 Holliger took up his career as a conductor, which soon brought him to the most renowned orchestras, including the Berlin and Vienna Philharmonics, the Cleveland Orchestra, the Royal Concertgebouw Orchestra Amsterdam, and the Philharmonia Orchestra. He has also enjoyed a longterm partnership with the Chamber Orchestra of Europe. A composer in his own right, Heinz Holliger was featured in 1998 as composer-in-residence at the IMF Luzern. His opera Schneewittchen premiered in Zurich in 2002, where his latest stage work, Lunea, which is based on scenes from Nikolaus Lenau, was produced in the spring of 2018. Holliger has received numerous awards, including the Sonning Music Prize (1987), the Frankfurt Music Prize (1988), the Siemens Music Prize (1991), the Premio Abbiati of the Biennale di Venezia (1995), the Zurich Festival Prize (2007), and, most recently, the Robert Schumann Prize (2017). He has been a member of the American Academy of Arts and Sciences since 2016.
LUCERNE FESTIVAL (IMF) debut on 31 August 1961 as oboe soloist in the Passacaglia concertante by Sándor Veress, with Rudolf Baumgartner conducting the Lucerne Festival Strings.
Marie-Lise Schüpbach © Mirjam Bollag Dondi
JACK Quartet © Shervin Lainez
The American JACK Quartet was founded in 2003 by four young musicians who studied together at the Eastman School of Music in Rochester, New York. The ensemble’s name comes from the first letter of each member’s first name: John Pickford Richards (viola), Ari Streisfeld (second violin), Christopher Otto (first violin), and Kevin McFarland (Violoncello). During their training, the players also studied with the Arditti and the Kronos Quartets and, as participants in the LUCERNE FESTIVAL ACADEMY, with musicians from the Ensemble intercontemporain, who gave them important advice that would prove useful in the performance of their future repertoire. The JACK Quartet focuses in particular on contemporary music, collaborating closely with the composers whose work they perform. Along with Helmut Lachenmann, this list includes such names as György Kurtág, Matthias Pintscher, Georg Friedrich Haas, Toshio Hosokawa, Wolfgang Rihm, James Dillon, and Beat Furrer. The JACK Quartet has performed at Wigmore Hall in London, Carnegie Hall in New York, the Kimmel Center in Philadelphia, and the Library of Congress in Washington, D.C., and has also appeared at the Donaueschingen Festival, the Biennale in Venice, the Darmstadt International Summer Courses for New Music, and the Ultraschall Festival in Berlin. Between 2012 and 2014 the four players are working closely with Maurizio Pollini as part of his Pollini Perspectives series: following its premiere in Lucerne, the series is also being presented in Tokyo, Paris, Berlin, and Milan. An important component of the JACK Quartet’s work is devoted to young composers and instrumentalists, which entails giving workshops at the Universities of Iowa, Wisconsin-Madison, Buffalo, Illinois, Washington, and New York; the Quartet additionally teaches at various American conservatories.
LUCERNE FESTIVAL debut in the summer of 2005 as participants in the LUCERNE FESTIVAL ACADEMY, when these four musicians took part in a conversation concert with Helmut Lachenmann. Their actual LUCERNE FESTIVAL debut then followed on 16 August 2007, with works by John Zorn, György Kurtág, John Cage, and Peter Eötvös.
Jay Campbell © Beowulf Sheehan
The American cellist Jay Campbell is an “artiste étoile” of the 2017 Summer Festival. He was born in 1989 in Berkeley, California, and studied at the Juilliard School in New York. His repertoire ranges from early music to contemporary works. A significant part of his formation took place at the LUCERNE FESTIVAL ACADEMY, which he attended in the summers of 2010 and 2011; he performed here as a soloist in Boulez’s Messagesquisse and Pli selon pli under the direction of the composer himself. Campbell received the Avery Fisher Career Grant in 2016. In the same year he was engaged by the New York Philharmonic, with whom he made his debut in 2013, as curator of the Ligeti Forward series, which he designed together with the LUCERNE FESTIVAL ALUMNI for the NY Phil Biennial; as part of this series, he performed György Ligeti’s Cello Concerto under the direction of Alan Gilbert. Campbell has collaborated with such composers as Elliott Carter, Matthias Pintscher, and Kaija Saariaho, as well as with many others from his own generation. John Zorn has written more than a dozen works for him, including The Aristos, a Pulitzer Prize-nominated score; it was included on the release Hen to Pan, listed as one of the New York Times’s Best Recordings of 2015. Jay Campbell has concertized at Carnegie Hall and Avery Fisher Hall in New York; the Kennedy Center in Washington, D.C.; the Robert and Margrit Mondavi Center for the Performing Arts in Davis, California; the Krannert Center in Illinois; the Marlboro Festival; Chamber Music Northwest; the Moab Music Festival; and the Heidelberger Frühling. He is a member of the JACK Quartet and the cellist of a new piano trio with violinist Stefan Jackiw and pianist Conrad Tao.
August 2017Other dates
Thomas Kessler © Inge Zimmermann
Thomas KesslerOther dates
Wolfgang Heiniger, Jahrgang 1964, studierte an der Musikakademie seiner Heimatstadt Basel Schlagzeug und Elektronische Musik sowie Komposition bei Thomas Kessler und wurde 1991/92 vom Zentrum für Computermusik der Stanford University als Gastkomponist eingeladen. Sein Œuvre umfasst Werke für Live-Elektronik, In-strumentalmusik und Kompositionen für Tanztheater, Bühne und Film. Er ist Mitbegründer von the B.E.A.M (Basel Electric Art Messengers) und des European Powerbook Orchestra, tritt als Klangregisseur und Interpret live-elektronischer Musik bei Festivals und Konzerten in Europa, Asien und Amerika auf und betreute auch selbst Festivals, so «Echt!Zeit» in Basel oder das Festival Rümlingen. Von 1995 bis 2003 leitete Wolfgang Heiniger den Studiengang «Audiodesign» an der Musikhochschule Basel, anschliessend wurde er als Professor für intermediale Komposition an die Berliner Hochschule für Musik «Hanns Eisler» berufen.