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Sir András Schiff bei Klosters Music 2021 © Marcel Giger
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David Whelton © Yanik Bürkli

Exclusive insights: Sir András Schiff in discussion with David Whelton

We were able to enjoy a total of eight wonderful and inspiring concerts at Klosters Music 2021. Both the versatile program and the outstanding performers were able to inspire the audience night after night with unique and expressive interpretations. Many of us will have lasting memories of the masterful and sensitive recital by Sir András Schiff on August 5. The artistic director of Klosters Music, David Whelton, conducted an extensive “fireside chat” with Sir András Schiff, which gave us a deeper insight into the work and life of the world-famous pianist.

For young pianists, Sir Andras Schiff’s performance of the D minor Concerto by JS Bach in the 1975 Leeds Piano Competition was a revelation. Here was a brilliant, young pianist who was not worried that a competition jury would only be impressed by a performance of one of the great romantic piano concertos. It showed an independence of spirit and clarity of thought that became the hallmarks of Sir Andras’s career.  The rest as they say is history, Andras went on to make a huge impact on the musical world and formed a close relationship with audiences in London, especially at the Wigmore Hall, one of the finest halls for chamber music in the world.  Andras felt at home in London, perhaps helped by the presence of George Malcolm, one of his mentors, an important figure in London’s musical life.

Following my appointment as Managing Director of the Philharmonia Orchestra in 1987, I made it a priority to invite Sir Andras to work regularly with the Orchestra.  Fortunately for me, Andras had a very high regard for Otto Klemperer, the musical father of the Philharmonia.  He had in Terry Harrison an astute and sympathetic manager who helped me to convince Andras of the musical potential of this relationship.  It also helped that I was able to bring the great German conductor Kurt Sanderling to the Philharmonia, a musician in the same tradition as Klemperer.

What followed more than lived up to our expectations and Sir Andras’s concerts were always amongst the highlights of the London season.  Programme planning usually took place over leisurely lunches at the Bombay Palace and, over time, focussed on creating cyclical projects of Bach, Haydn, Mozart and Beethoven.  This approach allowed Andras to give free rein to his artistic ideas and gave him an opportunity to direct and conduct the orchestra.  He was an inspiration to work with, his musical ideas were compelling and the concerts full of energy and joie de vivre.  With Andras, the players felt they were making chamber music together and they looked forward keenly to each collaboration.  He was also very good company and post- concert dinners with Yuko were punctuated by an immense repertoire of jokes!

In 1991 I had the honour of joining the Board of trustees of IMS Prussian Cove, a remarkable seminar founded by Andras’s friend and colleague, the great Hungarian violinist, Sandor Vegh.  Here I was able to observe Andras pass on to the young generation of musicians the musical ideals which guide his life.  As a European rooted it the highest cultural values, he also gives a perspective on the world which is invaluable to musicians as they find their own musical identity. 

It is both a pleasure and privilege to invite Sir Andras to Klosters in my role as Artistic Director of Klosters Music.  As in London, his concerts are an absolute highlight of the festival.   The natural beauty of the Swiss Alps creates a unique ambience in which to experience the profound musicianship of one of the most important pianists of our time.

David Whelton, 28/05/2021


David Whelton: The last 18 months have been exceptionally difficult for the arts with most concert activity suspended.  In addition to the concerts you have been able to give, would you be kind enough to tell us how you have spent your time?

Sir András Schiff: To be honest I haven’t enjoyed this time although it was good to be at home and rest. However I have lost my rhythm of life, the urge to work, to study, there was no energy, no targets, no motivation. A serious lack of adrenalyne and a danger of depression. As a very disciplined person I managed to get up every day and practice and study but it wasn’t easy. There were some good things too, for example I took up cooking. A small repertoire of mostly Hungarian dishes but immensely satisfying.

The different phases of lockdown have been used by artists to stream concerts.  The Wigmore Hall series in which you participated have been very well received and reached a wide public.  Do you feel that there is a role for streaming concerts in the future when concert life returns to normal, or is this just a phenomenon to keep live music available whilst the concert halls were closed?

The Wigmore Hall has the perfect equipment and there the cameras and microphones don’t intrude, you don’t even notice them. Elsewhere it’s a mixed bag, there have been some horrible experiences. Music is not a visual art. You can close your eyes and just listen. In a concert there are some visual elements but these are not the most important ones. Most television and film people don’t understand the essence of music, they are desperate to make it ‘interesting’ for the viewer. Instead of trusting the music and musicians they constantly interfere with frequent camera changes and thus interrupting the natural flow. There are few exceptions but this is almost the rule. As for the future, I hope that we’ll gradually get back to concerts with live audiences, although this will be a long process, first with a limited number of listeners. If there is also streaming, simultaniously, then so much the better. To me it’s better to play in the Wigmore Hall or the Teatro Olimpico in Vicenza and have it streamed to Australia or the USA than having to go there and go through the nightmare of travelling.‎

Everyone I have spoken to has missed live music making.  I believe the communication that happens between musicians and audiences during a live performance is central to how we experience music and cannot be replicated.   Do you think that this is one of the reasons why we are drawn to live performance and why it continues to be so important to performers and listeners?

Live concerts are irreplaceable‎. It’s a communal experience. It’s a one and only time, tomorrow it’ll be different.

A number of musicians have experimented with different concert formats in order to maintain live music making during the last 18 months.  Are there any that you felt should be continued, or should we revert to the conventional format as soon as possible?

We have to think about this carefully but urgently. It’ll be difficult to bring people back into the concert halls although it’s clear how much they have been missing the arts and music. But there is the element of fear.

The way we go to concerts and follow a set of rules and routines is very stiff and old-fashioned and this needs to be challenged if we want to appeal to younger ‎people. Let me mention a few examples. We musicians have been told by the presenters to give a precise programme, one or two or more years in advance. So that the public should know exactly what we’ll be playing. Is this a good thing? How do I know what I’ll be feeling like playing on August 6 in 2025? And why does the audience need to know everything in advance? Can’t we have a little bit of imagination, some surprises, some flexibility? I would like to announce the works on the spot, from the stage. Maybe to give the names of the composers in advance but not more. This is certainly possible in a piano recital although not in opera or symphonic concerts. Also, today we cannot expect to have audiences that are as well-informed and educated as they used to be when there was plenty of amateur music-making at home. Therefore we can make the concert a learning experience, talking about the compositions, inviting the public to listen. Of course it has to be done with subtlety, less is more.

What has been your most memorable musical experience during the last 12 months?  Can you let us which was the most memorable book you read during lockdown? 

As You know my very favourite composer has always been J.S.Bach. He is unique in every way. If I had to name his greatest achievement it would have to be The Art of Fugue. And yet this is the ONE major work of his that I have not yet learned. So I have to thank Covid that now I have the time to do just that. It’ll take many years. The pandemic hopefully will not… And in literature I’m reading Proust, in four languages, French (my weakest), English, German and Hungarian. A life-changing experience‎.

Non lockdown. I remember you speaking at length about Otto Klemperer when you were with my old orchestra in London.  Which other musicians have been, and/or continue to be significant for you. 

Yes, Klemperer. The older I get the more I admire him. Even next to Furtwängler, Bruno Walter, Toscanini. He has no vanity, the others have plenty. No ego whatsoever. He really serves the composer, the work. His Missa Solemnis, Fidelio, Jupiter symphony, I could go on and on. Other artists of the past that I adore are Casals, Adolph Busch, Joseph Szigeti. Of the pianists, Schnabel, Cortot, Edwin Fischer. Also Annie Fischer.

Your performances are renowned for their integrity as well the sheer joy of music making.  Looking ahead, do you see the younger generation embracing these values? 

These are not good times for the performing arts. There is no lack of talent and many pianists play extremely well,fast and loud,without mistakes. These are the measurable elements. But this is not even technique, it’s only efficiency, good mechanics. Thechnique is much more, elegance, fantasy, imagination, tone quality, millions of coulours. Integrity means the utmost respect to the composer, fidelity to the text, but you also have to know how to read a text. Like with the old scriptures. And then to bring it to life. Musical notation is not perfect, far from it. There are so many tiny details that are impossible to write down, it’s an art of timing. You can’t teach that.

And yes, the joy of music. It’s much easier to make people cry than to make them smile or laugh. Music is a great privilege and joy and it’s a pleasure to share it with others.

 

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KLOSTERS MUSIC 30 JULY – 7 AUGUST 2022

In its fourth edition, Klosters Music celebrates the 800th anniversary of the founding of Klosters with a journey through time with concerts from the early Re- naissance to the present day. At the opening concert, the Munich Chamber Orchestra and Swiss Pianist, Francesco Piemontesi, conducted by Pablo Heras- Casado will take you back to the Romantic era with Mendelssohns’s “Italian Symphony” and Schumann’s Piano Concerto. The following evening, the interna- tionally renowned Freiburger Barockorchester – a guest in Klosters for the first time, – awaits you with masterpieces from the Baroque and early Classical periods. On Swiss National Day the ensemble Philhar- monix – The Vienna Berlin Music Club will entertain with a refreshing mix of classical, jazz, folk and pop. During the week, the flautist Maurice Steger and the Spanish soprano Nuria Rial will take the audience on a journey to the Middle Ages and thus to the founding era of Klosters in the Church of St. Jakob.

The second weekend of Klosters Music begins with a special event. In the 20th century, Klosters was also known as “Hollywood on the Rocks”. Inspired by great film stars of the day, the musical “Singing in the Rain” with Gene Kelly will be shown on the big screen on Friday, 5 August, again with live orchestral music by the City Light Symphony Orchestra. This will be followed on Saturday by the outstanding orchestral concert with the Mozarteum Orchestra Salzburg conducted by Riccardo Minasi with the overture from “A Midsummer Night’s Dream” by Mendelssohn, Haydn’s Symphony No. 104 and the violin concerto by Brahms with Arabella Steinbacher. The crowning finale of the 2022 concert series will be the piano recital with Sir András Schiff on Sunday, 7 August.

Reserve the dates for Klosters Music today: Saturday 30 July to 7 August 2022. Online ticket sales will start on 1 March 2022. Advance orders can be made in writing from December 2021 via the flyer.

Great success for Klosters Music

From July 31 to August 8, Klosters Music took place for the third time under the motto “Heimat. My Homeland”. The audience experienced an exciting and energetic journey into the fascinating and rich world of Bohemian music from the 18th and 19th centuries. The interpreters of the eight concerts gave the more than 3,000 listeners in front of an almost sold-out audience unforgettable and unique musical moments.

The planning and performance of Klosters Music was again associated with high risks this year due to the pandemic. Nevertheless, the audience and organizers were rewarded with musical delights and a smooth running of the events. This summer, the concert series has once again proven to be a qualitative highlight in the Swiss classical music season as well as an equally great enrichment for the destination of Klosters. Within the framework of the attractive programming of the artistic director David Whelton, former director of the London Philharmonia Orchestra, a true firework of music history was ignited. The international stars Sir András Schiff (piano), Christian Tetzlaff (violin), Steven Isserlis (cello), Hanno Müller-Brachmann (bass-baritone) and the sopranos Giulia Semenzato and Julie Fuchs allowed an enthusiastic audience to participate in the top-class musical performances with tangible immediacy and intensity. In addition to numerous solo performances, ensembles and smaller orchestral works, large-scale symphonies by Wolfgang Amadeus Mozart, Antonín Dvořák and Johannes Brahms also made their appearance.

Media images in a higher resolution can be downloaded here.

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Kammerorchester Basel unter der Leitung von Jakub Hrůša beim Eröffnungskonzert © Marcel Giger
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Giulia Semenzato und Hanno Müller-Brachmann beim Eröffnungskonzert von Klosters Music © Marcel Giger
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Rudolf Lutz und Sévérine Payet, Orgelrezital Klosters Music © Marcel Giger
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Sir András Schiff © Marcel Giger
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Arena Klosters © Marcel Giger
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Christian Tetzlaff bei Klosters Music © Marcel Giger
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Steven Isserlis bei Klosters Music 2021 © Marcel Giger
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Cinema Paradiso mit dem City Light Symphony Orchestra und Thiago Tiberio © Marcel Giger

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Gerne möchten wir einen Artikel von Christian Albrecht teilen, welcher am 5. August in der Südostschweiz über das Konzert «Zeitlose Pracht» erschienen ist: Hier geht es zum Artikel

A premiere of a special kind: Cinema Paradiso

On the last evening of Klosters Music 2021 there will be a large cinema: the timeless film classic “Cinema Paradiso” by the Sicilian master director Giuseppe Tornatore (* 1956) will be shown on the big screen. With its sensitive and elegiac visual language, the Oscar-winning work is dedicated to the story of the fictional Sicilian director Salvatore and the small fishing village of his childhood. Internationally renowned by now, Salvatore returns to his rural home to attend the funeral of the local film projectionist, Alfredo. The return, brought about by the death of his father’s friend, whom Salvatore was allowed to assist at the film screenings in his youth, leads him back to the world of memories and the images of his childhood. The music for the cinematic showpiece from 1988 comes from the masterful hand of composer Ennio Morricone and his son Andrea Morricone. Morricone, who was born in Rome in 1928 and died there in 2020, worked with Sergio Leone (“Play Me the Song of Death”), Bernardo Bertolucci, Federico Fellini and Pier Paolo Pasolini, among others.  He shaped Italian film music like no other. In Klosters, the wonderful music to the film will be performed live by the Lucerne City Light Symphony Orchestra, conducted by Thiago Tiberio. Tickets (from CHF 45) can be bought here.

One of the greatest works for cello 

On the evening of 7 August, we will hear the sensitive British cellist Steven Isserlis and Die Deutsche Kammerphilharmonie perform Dvořák’s Concerto for Cello, composed in America in 1895.  The work is regarded as one of the greatest compositions ever written for this instrument. Johannes Brahms, whose Symphony No. 1 will also be performed on 7 August, is said to have exclaimed enthusiastically after reading the score: “Why did I not know that a cello concerto like this could be written? If I had known, I would have written one a long time ago!” The first movement begins with the memorable main theme, and a melodic dialogue soon develops between the late cello and the orchestra. The second movement, dominated by longing and homesickness, quotes melodies from “Leave me alone”, the favourite song of Dvořák’s sister-in-law, who died in spring 1895. The third movement begins calmly, but gradually builds up to a captivating interplay of tempo, calm and intensity, only to fade away gently in a sensitive foreboding of painful longing.

In the run-up to the concert, Klosters Music was able to talk to the well-known cellist about Dvořák’s Cello Concerto and his collaboration with the Deutsche Kammerphilharmonie Bremen, among other things.


Much has been written about the Dvořák cello concert and its place in the pantheon of the repertoire.  In your view, what makes it such a great work?

The Dvořák concerto was, I think, the first classical piece of music with which I truly fell in love – so I’ve lived with it for a long time! And I love it even more now than i did then. It has everything – heroism, joy, tragedy, a plethora of gorgeous melodies and a folk-like simplicity of spirit that allows it to speak directly from the heart.

What is it about your musical relationship with DKB that is so special?

The DKB is a very, very special orchestra. Every time I play with them, it is as if we’re playing chamber music. Each member of the orchestra is fully committed to the music they play – extraordinary.

Which book have you most enjoyed reading during lockdown?

Hmmm…I’ve read quite a lot – novels, spy thrillers, non-fiction, etc. Since several books were by people I know, and I don’t want to offend anyone by not mentioning them, maybe I will just go for Silas Marner by George Eliot. What a writer!

Your on-line masterclasses have been immensely popular – is this a format that you will use in the future?

Well, I’d prefer live classes – but I’m happy for them to be filmed. I so much enjoy working with young people – it feels like both a duty and a pleasure. 

A great voice rises in the bucolic mountain landscape

After a successful opening weekend the concert week begins with an evening devoted entirely to the magnificent music of the Baroque. The Zurich Orchestra La Scintilla and the French soprano Julie Fuchs give a guest performance in Klosters. Klosters Music spoke to the evening’s soloist Julie Fuchs in the run-up to the concert.


When and why did you decide to spend your life with music?

I didn’t! As a child, I loved dancing, and also took violin lessons. After being introduced to making music with the violin, a few years later, I joined a children’s choir and shifted my focus to singing, which I loved even more! I continued to study music and also theater to see where it would lead me, but there wasn’t really a point when I decided that this would for sure be my career…I was just going with the flow and doing what I loved! 

The works you sing in Klosters: What is your relationship to them?

Baroque music has always been part of my artistic life. I think its really the beginning of Bel Canto. It touches my heart directly and it’s a musical style which gives a lot of freedom to the interpreters. And I love freedom.

For the future: What would be your dream regarding singing? Any special works? And if yes: Why?

I am very lucky that I have sung and will sing several of my dream roles, and that there are two more dream role debuts to come during this 2021/22 season, Juliette in Roméo et Juliette, and Melisande in Pelléas et Mélisande. In general, keeping my repertoire varied while including a lot of Mozart and bel canto is a priority. I would love to sing Manon and Violettta one day, but I have to see how my voice continues to develop! 

Regarding Klosters: What are you looking forward to?

While part of the ensemble at the Opernhaus Zürich, I fell in love with beautiful Switzerland, so I am always happy to discover and perform in different areas of this beautiful country. Most often, opera houses are in big cities, yet I love being in nature, so I am also excited to be in such a bucolic setting in the mountains, and share this music that I love with a new audience. 

Anything else you would like to say? 

I start my season with Poppea in L’incoronazione di Poppea in one of my favorite productions of all time by Calixto Bieito. If those that live in Kloster or near Zürich would like to see me in an opera, I can’t recommend this amazing piece enough! Here is the trailer:  https://www.youtube.com/watch?v=tyZqSr8Z-Ho

“Tangible infinity”

It is clear from this year’s Klosters Music programme that the world of music and the developments within the musical universe inhabit almost infinite dimensions. Just how tangible this infinity is is described by the musician and composer František Janoska, who, along with his virtuoso ensemble, we will have the honour of welcoming on 1 August. In the following interview he gives a fascinating in-depth insight into the musical roots of the Janoska Ensemble and into the position of folk music influences, both past and present. Informative and entertaining, this interview is well worth reading. František Janoska’s reflections on Bohemian music, his arrangements and his own compositions are the ideal aperitif to whet your appetite for the “Bohemian Rhapsodies”.

To what extent does music mean home to the Janoskas? Especially given their intense relationship with the music of their homeland.

In the context of music we associate the term folk music most closely with the word “homeland”. By this we mean the melodies that we heard as children, that our mothers sung to us, that we somehow picked up and hummed along to – we still have all these songs, tunes and melodies in our heads and pass them on – consciously or subconsciously – to our own children. In our geographical homeland, the one where we grew up, Slovakian and Hungarian were spoken and of course there were and are musical similarities as well as clashes. For example, we know of folk songs that were originally Hungarian and were translated into the other language and were then, so to speak, no longer seen as adaptations but as their “own” songs, and of course the reverse was also true. But both – as Kodály said – took root and were absorbed with our “mother’s milk”. It is also important to say that we grew up in a family heavily influenced by music and were exposed from a very early age to a wide variety of music styles. We all have a particular passion for composers who lived and worked in our region and were therefore akin to role models for us. Composers such as Franz Liszt, Bela Bartók, W. A. Mozart and Joseph Haydn. For us these composers live on in this world and are always here for us, always present. For the Janoska Ensemble, the word “home” also means the place where we make music, which for us is primarily the stage. The important thing in this respect is that we are inspired by music at any time and in any place. We are mainly interested in local folk music and its rhythms and seek it out, listen to it, play it and ultimately like to incorporate what we have heard into our improvisation.

To what extent does music give you a sense of identity? At home as well as abroad.

Rhythm and dance are important hallmarks of music. They are felt and experienced most intensively throughout childhood and through children’s songs, rhymes and folk tunes, they become “rooted”. It is much the same as learning a language. The rhythm, the beat and the intonation are the building blocks and always remain with us, through childhood and beyond, regardless of where we settle or move to later.

How does František Janoska approach his work as composer in terms of the interplay between tradition and the present day?

The Slovakian, Hungarian and Austrian origin is deeply rooted in František’s compositional works and is one of the key themes. This is reflected, for example, in his “Janoska Symphony No. 1” in three movements known as “Bratislava”, “Vienna” and “Budapest”. František explains: “The work represents a journey in three scenes through countries and cities in the Danube region, whose long musical tradition has influenced me musically since childhood. The themes are completely independent, new compositions and in each movement I have incorporated a musical quotation as a miniature as a small musical nod to my childhood; that is to say a few seconds of a melody that is typical of and familiar to the country in question. And in each movement an instrument appears that is typical of the country in question.” In the first movement this is the Slovakian shepherd’s flute, the Fujara. This is certainly the first time this has been heard in a “classical” symphonic work. For Vienna the zither is used and in the third movement the exotic tárogató makes its appearance. This “wooden saxophone” is an old Hungarian folk instrument and has a uniquely soft sound.

What challenges and aims does this involve?

As described in the example of “Janoska Symphony No.1“, not only can this musical “DNA“ not be denied, it literally bursts forth in the context of a new composition, comes to life again and presents itself and a refined form. The important thing here is to find one’s own “authentic” formula and stay true to it, i.e. to one’s own style.

Every composer has their own way of writing and František writes in a very harmonious world, best explained in his own words as follows: “I am a 21st century composer but I was and am a romantic. That’s to say I write beautiful, harmonic melodies but allow the musicians a lot of freedom to bring their own musical interpretation to the pieces, not only for compositions for the Janoska Ensemble, but also for symphonic pieces. In each of my compositions there are improvisation sections that give entirely free reign for interpretation. This personal touch puts its own stamp on each interpretation and performance and so gives the piece something very individual, even unique. But for me it is very important that something new emerges from each piece. I am, as it were, open to ‘experiments’ and always want to see a development. On the whole I think that constant development is an important factor.”  

What is the Janoska Ensemble looking forward to in Klosters?

Klosters is wonderful. We’ve been here before and are especially looking forward to the surroundings, the impression of unspoiled nature, the magnificent landscape, the green meadows, the incredible panorama with its imposing mountains. We can especially remember the space, the incredible vastness that you experience here, truly a gift from Nature. We reflect this “space” in the concert in free improvisations and simply enjoy the good vibes from this as well as interacting with the very international audience. And then of course there is the cuisine and the fantastic hospitality.

How does the ensemble see the future for music in terms of being rooted in the folk music tradition?

As I said earlier, folk music always has a firm anchor. For example, multicultural Vienna is a mix of many cultures, styles and ultimately traditions. Folk music has a future if composers incorporate it into their works and by doing so bring it to the attention of the wider public. For example, it is because of Astor Piazzolla that we know about the tango and because of Carlos Jobim that we have come to love the samba. But even the classical composers have all been inspired by folklore. Would the whole world know about Hungarian rhapsodies if Liszt or Brahms had not written them? I very much doubt it!

Many composers, from Schubert, Beethoven or Haydn to Dvořák, Liszt and Brahms to Bartok, Pärt or Lutoslawski dedicated a considerable part of their work to folklore and incorporated traditional melodies in their works.

The Janoska Ensemble is also committed to folklore, clearly acknowledges the language of folk in its compositions and with virtuoso improvisations in the “Janoska style” puts its multicultural stamp on works from all countries of origin.

The “Janoska style“ cannot be explained in a single sentence, because it would take a long time to list all the biological and artistic ingredients that make up this style, but it can perhaps be summed up as follows: The “Janoska style” is a new, jointly created musical vision, a mix of classical, jazz, pop and other stylistic elements. Perhaps the most important ingredient of this musical collaboration is the forgotten art of improvisation in classical music.

Will it continue to evolve to keep pace with time?

So far it has stood the test of time, after all, the musical universe is infinite, tangibly so, which is to say that music is constantly developing in all its parameters including instrumentation, sound editing and playback, harmony and interaction with other media. Folk music as well as our own roots or “musical home” will always play an important individual role in this regard, because it keeps reinventing itself. It evolves in a kind of “contemporary balance” and – in our case – the “Janoska style” described earlier.

Order concert tickets now.

Tuesday, 3 August: Splendid music and a great voice: Julie Fuchs

It is a great pleasure for us to welcome soprano Julie Fuchs, born in Meaux (F) in 1984, to Klosters for the first time this year. Together with the Zurich orchestra La Scintilla, the singer and studied violinist will bring elegant and dramatic arias by George Friedrich Handel and Antonio Vivaldi to the stage on the evening of 3 August. Fuchs, who served as a permanent member of the Zurich Opera House ensemble from 2013 to 2015, has been honoured with numerous prizes and awards throughout her career. We are delighted that Julie Fuchs has now also found a musical home in Klosters. The concert concludes with the 3rd Brandenburg Concert by Johann Sebastian Bach.

 

A world tour for the Swiss National Day

Klosters Music celebrates Swiss National Day together with the “Janoska Ensemble” with a trip around the world. This is however without leaving our homeland in the true sense of the word. Because “musically, we associate the term ‘homeland’ above all with folk music: by this we mean those melodies that we heard in childhood, that our mother sang to us, that we picked up somewhere and hummed along to; we still have all these songs, tunes and melodies in our heads and pass them on – consciously and also unconsciously – to our own children today,” says František Janoska. So let’s head off to distant homelands and listen to the memories the “Janoskas” share with us Antonin Dvořák’s “Songs My Mother Taught Me”, composed in 1880 for vocal and piano, and Roman Janoska’s own composition “Hello Prince!”. Astor Piazzolla’s “Oblivion” (newly in place of Adiós Nonino” in the programme), composed in 1982 as film music track for the Italian drama Henry IV, takes us as far as Argentina. The “Bohemian Rhapsody”, with which the front man of the pop group “Queen” made history in 1975, also went around the world. Further information about the concert can be found here.


Due to a broken finger Ondrej Janoska (violin) unfortunately cannot participate in the concert. Nevertheless, the Janoska Ensemble will still perform. Moreover, we are pleased to welcome another member of the Janoska family: Arpád Janoska (singer) will perform as a surprise guest on Piazzolla’s Tango. The program can be kept for the most part. We are convinced that the Janoska Ensemble will make the concert an event thanks to their great art of improvisation And we at this point wish Ondrej Janoska a speedy recovery!

Fabulous opening weekend

Only a few more days and the annual concert series of Klosters Music will begin with a fabulous weekend. Even on the first day, after a festive welcome, we are plunged into the musical world of Bohemia in the 19th century.

The evening of 31 July is dedicated to the special relationship that the Salzburg composer Wolfgang Amadeus Mozart (1756-1791) cultivated with the Bohemian metropolis. 

At the beginning, the Basel Chamber Orchestra, conducted for the first time by the well-known Czech conductor Jakub Hrůša, will play Mozart’s Symphony No. 38, the “Prague Symphony”. 

“A Gift from Heaven”

Hrůša says of the magic of Mozart’s music, which can still be felt in Prague today: “Mozart in Prague” that is a historical phenomenon per se. We all love Mozart’s music because it is a gift from heaven. Not everyone felt that way during his lifetime. Knowing that Mozart spent some of the happiest moments of his short life in Prague warms my heart. I still remember well that when I conducted in the State Theatre for the first time, I was standing in the exact same place as Wolfgang hundreds of years before. The very same place, marked with a memorial plaque. I felt filled with inspiration and overwhelmed with awe. It was beautiful.” The arias and duets from Mozart’s operas Le Nozze di Figaro and Don Giovanni, sung by the renowned Italian soprano Giulia Semenzato and the distinguished baritone Hanno Müller-Brachmann, also sound enchanting. In addition to dramatic and elegant arias, the “Prague Symphony” and the overture from “Le Nozze di Figaro”, the Piano Concerto No.23 by Wolfgang Amadeus Mozart will be another highlight of the evening. The concerto, played by the up-and-coming and multi-award-winning French pianist Lucas Debargue, is considered one of Mozart’s greatest creations ever. 

Songs our mother sang

The second evening of the opening weekend with the virtuoso Janoska Ensemble is dedicated to the tradition of Bohemian rhapsody and folk song. 

The varied programme includes “melodies we heard as children, the lullabies our mothers sang, the pieces that stayed in our heads and ears and are still with us today. We carry all this music in our minds, consciously or unconsciously, and pass it on to our children,” says Fantišek Janoska.

The evening began with Franz Liszt’s Hungarian Rhapsody No. 2 in C-sharp minor, a weighty and dance-like homage by a homeless man to his homeland, followed by Antonin Dvořák’s “Songs My Mother Taught Me”, composed in 1880 for voice and piano. Když mne stará matka zpívat učívala”), the fourth song from a cycle of seven gypsy songs with texts by the Czech poet Adolf Heyduk (1835-1923). With “Hello Prince!” by Roman Janoska, the ensemble transports us to the immediate musical present with its first original composition. The “Janoskas” take an outspoken step into the recent past with the song “Bohemian Rhapsody”, with which the front man of the rock group “Queen”, Freddie Mercury, who was born in India in 1946 and died in 1991, wrote pop history in 1975. The piece, which in its original form can be divided into six sections, was released, among other things, from the album “A Night at the Opera”. The German composer and musicologist Hartmut Fladt writes about Mercury’s “Bohemian Rhapsody”: “The whole thing is a declaration of love to the opera of the late 19th century, which is, however, cleverly staged with 20th century means. The song is a very intelligent piece of postmodern pop culture.” After the excursion into the world of pop music, the “Janoskas” take us on a long journey to South America and dedicate themselves to the Tango Nuevo with Astor Piazzolla’s “Adiós Nonino”. Piazzolla composed the piece in 1959 as a tribute to his late father. The brilliant finale of the evening is František Janoska’s well-known and popular original composition Esterházy Rhapsody No. 1 “Old Times – Young Notes”.

Excurstion to Bad RagARTz on 2 August 2021

Klosters Music has come up with something special for the concert-free day on 2 August. A wonderful  opportunity has arisen to take a fascinating trip into the visual arts by visiting the 8th Swiss Triennial Festival of Sculpture, Bad RagARTz. There are a total of 400 sculptures by 83 artists from all over the world to discover. Guests of Klosters Music will be guided through the exhibition by art historian Andrin Schütz while taking a leisurely stroll in the immaculate parks of Bad Ragaz. A highly recommended, relaxed and at the same time inspiring excursion into the world of international art and into the wonderful nature at the gateway to Graubünden. The transfer Klosters-Bad Ragaz-Klosters is organised by Klosters Music. Follow this link for the registration.

Jérémie Rhorer conducts in place of Maxim Emelyanychev

Unfortunately Maxim Emelyanychev has had to withdraw from his appearance at Klosters Music this year due to the still challenging travel conditions as a result of the Covid pandemic. In place of Maxim Emelyanychev, we are pleased to welcome the French Conductor Jérémie Rhorer. Ticket holders for the two concerts have already been informed separately.

Jérémie Rhorer is one of the most exciting and versatile conductors of his generation equally at home in the Concert Hall and Opera House. Founder and Music Director of Le Cercle de l’Harmonie, Jérémie Rhorer has conducted at Europe’s most prestigious festivals including Aix-en-Provence, Glyndebourne, Edinburgh, the BBC Proms and Salzburg. He has a close relationship with the Théâtre des Champs-Elysées in Paris and has led productions at the Vienna State Opera, the Bavarian State Opera and La Monnaie in Brussels.  As a guest conductor, Jérémie performs with the major European orchestras including the Philharmonia Orchestra, the Gewandhausorchester Leipzig, the Orchestre de Paris and the Deutsche Kammerphilharmonie Bremen with whom he is conducting a Tchaikovsky Cycle.

Book the tickets now for the concerts on 6 August 2021 (only few tickets left) and 7 August 2021.

Vernissage for the exhibition of prints by Le Corbusier at Atelier Bolt

A world-class artistic surprise awaits visitors to this year’s Klosters Music: as part of the cooperation with the Swiss Triennial Festival of Sculpture, Bad RagARTz, an exhibition of important prints by the world-famous architect, artist and designer Le Corbusier (1887-1965) will be on display in Christian Bolt’s studio in Klosters from 31 July to 31 October. The prints were edited by Heidi Weber in Zurich in the early 1960s and commissioned in Paris from the famous lithographer Fernand Mourlot. The exhibition of works from the permanent collection of the Swiss Triennial Festival of Sculpture Foundation – a donation by Ms Weber – offers a rare opportunity to experience various self-contained graphic work cycles by Le Corbusier in their entirety.

opening hours: Monday to Friday 10am – 12am / 2pm – 5pm, or by prior agreement by telephone at +41 79 715 43 83
Address: Atelier Bolt, Doggilochstrasse 121, Klosters

Show your colours: We sell flags in the Klosters Music design.

On 31 July, Klosters will be transformed into a place of musical excellence. We would like to celebrate this by decorating Klosters with flags in our design. In addition to flagpoles, which are provided thanks to the generosity of local hotels and shops, we also produce flags for private households on request (cost: Fr. 200.-). As a thank you, we would like to give you a gift voucher in the value of Fr. 100.- for any concert of Klosters Music which can be redeemed this or next year. If you would like to attend, please contact us by email at julia.maeder@klosters-music.ch by Friday, 16 July 2021. We will arrange the production and distribution of the flag.

Music for timeless moments

On 4 August St. Jakob Church will play host to the keenly anticipated organ recital “Between Here and There – A time there was” with the talented organist and improviser Rudolf Lutz. This promises to be an evening of special and above all unique musical moments. The evening will begin with Johann Sebastian Bach’s Prelude in B Minor and end with his Fugue in B-Minor and these compositions will bookend organ renditions and improvisations by Rudolf Lutz of works by Mozart, Dvořák and Schubert.

Entrance is free of charge (collection) but for reasons of capacity it is required to book in advance. To register, please use the online form. You can register from today.

Read here about what Rudolf Lutz himself says about the unique evening in Klosters and about safe havens, remembrance and feelings of homesickness:

“To be homesick you have to have a homeland, a home. For me, Bach is both a rock and a safe haven. His late Prelude and Fugue in B Minor provide the framework for this programme. They bookend my own interpretation of the 2nd movement of Dvořák’’s symphony ‘From the New World’. The lyrical leitmotif reminds me of the view from the Hotel Waldhaus onto Lake Sils, bathed in evening light. This wonderful music echoes my own longing. Can music express homesickness? Or is it perhaps the memory of homesickness. You will also hear Mozart’s Rondo in A Minor. For me it is filled with an indescribable autumn light, as reflected in the words of Luisa Famos:

‹Per mai es stat quel di                             ‹For me that day
L’ultim da mi’utuon                                   the last day of my autumn,
Tant glüminusa                                          so full of light,
Preferida                                                     was the best of all days;
Tuot oter d’eir il tschêl                              so different the sky
D’ün blau chafuol                                       deep blue,
Masdà da desideris e dümperar              interwoven with wishes and
Dumandas sainza gnir respusas.›            unanswered questions.›

(From the poetry collection “eu sun la randolina d’ünsacura”, translated by Mevina Puorger.)

The improvisations are made up on the spot. Some of Schubert’s melodies are interwoven in a Lutzian ‘garland of songs’. You will hear these and other creations for the first and last time on 4 August.”

2 July 2021 – a feast for the eyes and ears

On Friday 2 July, before indulging in the delightful music of the Argentine cello star Sol Gabetta and the sensitive and virtuoso keyboard artistry of the South African Kristian Bezuidenhout, guests of Klosters Music will have the opportunity to take part in three exclusive and expert guided tours of Europe’s biggest open-air exhibition.

The 8th Swiss Triennial Festival of Sculpture, known as Bad RagARTz, will feature around 450 works by 83 artists from all over the world. At 10:30, 13:00 and 15:00, the art historian Andrin Schütz and his colleagues will take the concert audience on an hour-long tour of the artworks in the Kurpark.

Enjoy this leisurely and inspiring art tour. This is a day full of art and music that you will not want to miss, so be sure to reserve your tickets soon for the Klosters Music concert in the Grand Resort Bad Ragaz at 18:00 or 20:30. You can book your concert tickets here. Information and registration for the guided tours (CHF 25) can be found here.

Art and music: Bad RagARTz and Klosters Music

People who are open to the charms of music are usually also sensitive to the visual arts. And those who love art also love music. In order to bring these two strands together in their entirety across the regions, Klosters Music and the Swiss Triennial of Sculpture Bad RagARTz have come together this summer to deliver two outstanding events. In keeping with the motto of this year’s Bad RagARTz: “Distance sharpens the eye and art creates closeness”. And this “closeness” is important, reports Rolf Hohmeister:

“I am passionate about connecting people and generations through culture. And these connections must go far beyond the regions, Hohmeister continues. Because: “In this way, we deepen people’s cultural awareness. But not only this: We mutually strengthen our positions and our events. We know that shared enjoyment brings a range of benefits. We can look forward to this shared enjoyment again on 2 July in Bad Ragaz at the preview of Klosters Music as part of the jointly organised concert “Second Home”. While Klosters Music moves into the beautiful Rhine landscape, Bad RagARTz is starting out in the imposing mountain world of Klosters:

During the summer concerts, guests of Klosters Music can expect a world-class artistic surprise in the studio of Klosters sculptor Christian Bolt. But we are not revealing any more details on this just now. More information can be found here.

“Second home”: Additional concert with Sol Gabetta and Kristian Bezuidenhout

On 2 July 2021, the Grand Resort Bad Ragaz will host the additional concert “Second Home”. The concert is actually the start of the collaboration between Klosters Music and the Swiss Triennial of Sculpture. The Grand Resort is an excellent venue for this special concert with a star-studded line-up. We look forward to seeing the wonderful cellist Sol Gabetta and the outstanding pianist Kristian Bezuidenhout, who will perform sonatas for cello and piano by Mendelssohn and Brahms.

While Mendelssohn’s Sonata No. 1 in B flat major initially sounds playful and light in the first movement, it soon develops into an exciting narrative carried by the cello. The second movement, in turn, is gently inspired, while the third movement is marked by melancholy and sometimes turbulent drama at the same time. The Sonata for Violoncello and Piano No. 1 in E minor by Johannes Brahms may be described as the first work of his more mature period. While he composed most of the sonata in 1862 in the idyllic spa town of Bad Münster am Stein, the last movement was composed in 1865. The first movement is elegiac in its breadth, giving us a sense of the serene tranquillity of the spa stay. The middle movement is characterised by a dance-like and almost teasing lightness that reminds us of Schubert and Chopin, while the last movement reflects the complex musical architecture of Bach’s fugue.

Due to the high number of visitors expected and the Coronavirus measures in force, the concert will be performed twice in the Kursaal of the Grand Resort on the evening of 2 July: 6:00 pm and 8.30 pm (concert duration 65 minutes). Detailed information can be found here.

Thursday, 5 August: A Musical Master’s Journey with Sir András Schiff

Born in Budapest in 1953, Sir András Schiff is today regarded as one of the world’s most sought-after and above all most versatile pianists. At Klosters Music, he will introduce the audience with his master’s touch to masterpieces from the musical cradle of Europe and will present works by Joseph Haydn, Ludwig van Beethoven, Franz Schubert and Johannes Brahms on 5 August 2021. Sir András Schiff, who has been awarded several international prizes, was knighted by Queen Elizabeth II in June 2014 for his services to music.

Start of ticket sale  «Heimat. My Homeland»

The time has finally come again: Klosters Music starts the ticket pre-sale for the concerts from 31 July to 8 August. As you can see from the programme brochure and the homepage, our artistic director, David Whelton, has once again succeeded in designing and delivering a programme which offers outstanding quality and thrilling musical drama. Under the motto “Heimat. My Homeland” you will go on a journey to the musical cradle of Europe with outstanding orchestras, great soloists, wonderful voices and internationally renowned conductors and enjoy the charm of Bohemia in the 18th and 19th century. We hope you enjoy this year’s musical highlights in Klosters, surrounded by the majestic peaks of the Graubünden Alps.

Tickets with seat-specific booking for all concerts are now available online or at the tourist offices in Klosters and Davos. Social distancing is observed when booking by blocking seats between groups of visitors.

 

Saturday, 7 August: A moving concert and a sensitive cellist

Under the baton of the Russian conductor Maxim Emelyanychev, the Deutsche Kammerphilharmonie Bremen and the British cellist Steven Isserlis will lead us through a special evening on 7 Augustthe concert will open with the overture from «The Bartered Bride» by Bedřich Smetana, while Antonin Dvořák’s Concerto for Violoncello and Orchestra in B minor will form the centrepiece of the evening. Born in London in 1958, Isserlis, whose family tree can be traced back to Felix Mendelssohn, has been honoured for his musical merits with numerous accolades, including the «Order of the British Empire». This evening of contrasts concludes with Johannes Brahms’ Symphony No. 1 in C minor.

 

The great tradition of the rhapsody

Originally a poem performed by “rhapsodes”, minstrels in ancient Greece, the rhapsody has over the centuries become an integral part of Bohemian folk music and has increasingly informed the work of many classical music composers, including Dvořák, Brahms, Smetana and Liszt. On 1 August the Bratislava-based Janoska Ensemble will take the Klosters Music audience on a journey through the great tradition of the rhapsody past and present, right up to the compositions of František Janoska himself. To get an initial impression of fascinating technical virtuosity and experience the ensemble’s joy of playing, go to the following link.

 

Klosters, still David Whelton’s artistic home

It is with great pleasure that we can tell you that Klosters Music has secured the services of its artistic director, David Whelton, for a further two years. Himself an organist and pianist, Whelton was for some 30 years the director of the London Philharmonic Orchestra and has been awarded many honours for his work in Great Britain. In the course of his impressive career, during which he has worked with world-renowned conductors such as Riccardo Muti, Valery Gergiev, Andris Nelsons, Paavo Järvi and many others, David Whelton has built up an irreplaceable global network on the classical music-making scene. As well as these personal contacts, Whelton has an immense musical expertise and an infallible instinct for putting together high-quality, exciting, sensitive and creative programmes. The decision to continue our musical journey with David Whelton means that Klosters Music can in the coming years continue to look forward to programmes and performances of unrivalled international quality. “His whole personality, his knowledge, his creativity and his vital international network are a significant cornerstone in the continued development and success of Klosters Music. David Whelton is an absolute godsend, not only for Klosters Music, but for the whole region”, says Heinz Brand, President of the Foundation Art & Music, Klosters.

Friday 6 August: Thoughts from home. My Homeland

Intimate ties with home, a breezy cheerfulness and unfamiliar sounds from faraway lands will fill the air on the evening of 6 August. In his famous “Moldau” from the “My Fatherland” cycle, Bedřich Smetana (1824–1884) transports us on a musical journey along the river of his beloved homeland and beyond. Written in 1874, the piece follows the course of the mighty river through forests and meadows, skitters over rapids and eventually fades quietly into the distance. In contrast, Mozart’s Violin Concerto No. 5 in A major (“The Turkish”), performed by Christian Tetzlaff, is at turns strong and whimsical. The varied programme ends with Antonín Dvořák’s joyous Symphony No. 8 in G major from 1889. Performed by the violin virtuoso Christian Tetzlaff and the Deutsche Kammerphilharmonie Bremen under the direction of the young Russian composer Maxim Emelyanychev, this inspiring and rousing piece is guaranteed to have the audience in raptures.

 

Mozart and Prague: A Special Love

The very first evening of Klosters Music 2021 will make the hearts of all music lovers and especially aficionados of the great Salzburg composer Wolfgang Amadeus Mozart (1756-1791) beat faster: together with the Basel Chamber Orchestra conducted by the renowned Czech conductor Jakub Hrůša, the French pianist Lucas Debargue, the Italian soprano Giulia Semenzato and the German baritone Hanno Müller-Brachmann, we will follow in the footsteps of Mozart, who visited Prague at least four times.

Klosters Music takes you away for an evening into the charm and vibrant musical life of the Bohemian metropolis of the 18th century, where Mozart celebrated great successes with “Le nozze di Figaro”, “Don Giovanni” and “La clemenza di Tito”, among others. The opening evening of Klosters Music 2021 will therefore be dedicated to Mozart’s special musical relationship with Prague, which is said to have led him to exclaim enthusiastically, “My Praguers understand me!” The fact that Mozart found a musical home in Prague is shown, among other things, by the fact that Mozart’s Symphony No. 38 was premiered in Prague in 1787, which is why it is often referred to as the “Prague Symphony”. This fascinating musical masterpiece is a wonderful “prelude” to the start of the first evening in Klosters, followed by the Piano Concerto No. 23 in A major, which is considered one of Mozart’s greatest musical creations. After a short break, overtures and sensitive arias from “Le nozze di Figaro” and “Don Giovanni” among others, let the soul float.

Sparkling energy and precision: Giulia Semenzato, soprano

A great joy for all friends of the great Mozart arias: After the ambitious CD recording “Angelica Diabolica” with the Basel Chamber Orchestra at the beginning of the year, the splendid Italian soprano Giulia Semenzato returns to Switzerland in July and will honour Klosters Music on the first concert evening. Semenzato, who completed her vocal studies at the “Benedetto Marcello” Conservatory in Venice with distinction in 2015 and subsequently specialised in baroque music at the “Schola Cantorum” in Basel with Rosa Dominguez, was a prize-winner at the International Competition “Toti dal Monte” in Treviso in 2012. She is also a prize-winner of the “Cesti Singing Competition” in Innsbruck 2014 and received the “Premio Farinelli” as the best baroque singer. However, the young singer and law graduate is not only at home in Baroque, but is also endlessly fascinated by the music of Wolfgang Amadeus Mozart.

In February 2015, Semenzato made her debut as “Celia” at Teatro alla Scala in Mozart’s “Lucio Silla” under the baton of Marc Minkowski and was heard in Mozart’s Coronation Mass, the Requiem and as “Zerlinda” in “Don Giovanni”, among other roles. What is outstanding about Giulia Semenzato’s singing is the soprano’s gift for combining palpable power, sparkling energy and the highest precision and sensitivity at the same time.

Interview with Giulia Semenzato

We had the opportunity to ask the exceptional soprano a few questions in the run-up to Klosters Music:

KM: Ms. Semenzato. Thanks for giving us some of your time. You did some of your studies in Basel. Has Basel become a kind of “home” for you? What do you like about Basel?

GS: I did my Master’s degree in Basel. The city means a lot to me: it was my first life experience abroad, in what is perhaps the best school for early music in Europe, Schola Cantorum, and in a multicultural, international environment: it is very easy to meet people from all over the world, not only in the school, but across the whole city. Basel signifies a huge step in my musical development, and I also made a lot of new good friends there. I find it the perfect city: not too big, lots of opportunities and a very rich cultural life. I find it incredible how you can have so many museums, an opera theatre, a variety of concert venues, and all this within a stone’s throw of woods, hills and rivers! I believe it is the perfect place to live. I always feel very welcome in Basel and I come back as often as I can.

 

KM: Have you been to “Graubünden” and Klosters before?

GS: I have never been to Graubünden and I am looking forward to discovering it! Rich in nature and culture, it sounds amazing!

 

KM: What does music mean to you personally? Why is music so important to you and maybe for us all?

GS: For me, music is above all a universal language. There is no skill or education required to appreciate music. Anyone can understand its emotional message and that is why it has a strong power of communication and connection between people. This is always central to my performances: when we play music and we listen to music played live, a kind of “timeless” moment is created, a moment when we forget about our daily routine, and through sound and theatre we attune to our inner being. This is also why I encourage people who have never been to opera theatre to go and experience it and see that anyone can enjoy it. It is very sad though that in our schools, history of music is still not given the same importance as history of art.

 

KM: How can music, in your opinion, influence and shape a society, given that music is always an expression of era and a culture status? Are there any examples which you think were or are symbolic in these aspects?

GS: Music has always followed social development and changes, it has accompanied every important historical event (marriages of kings, deaths of princesses, but also changes of political powers, political oppositions). What I love when I approach a new composition, is to firstly understand the context of how and when a piece was born: for example “Ercole Amante” by Francesco Cavalli, which I sang in 2019 at “Opéra Comique” in Paris was composed for the coronation of Luis XIV!! We all know the importance of this French emperor, and it is so fascinating to be able to know and hear which music accompanied this event.

 

KM: Regarding your current recording in Basel: Can you tell us something about this? How did this recording come about?

GS: I wanted to sing a program about a strong, free-minded woman, someone who is not afraid to follow her true feelings, to fight for her beliefs. I met Giovanni Andrea Sechi some years ago and when I explained my concept, he suggested to create a program about the women of Orlando Furioso.

 

KM: What will we hear from you once the recording is finished? The different “Angelicas”: It seems to be about strong-willed, intelligent and powerful women that are going their own way. With which of the several versions of “Angelica” do you identify most and why? Or is a part of each “Angelica” in all of us?

GS: “Angelica” is indeed the main character of Ludovico Ariosto’s poem, but the CD traces a path through many of the women in the story: Bradamante, Ginevra, Melissa, Alcina… When I was in secondary school I read many rhymes, they are a masterpiece of Italian literature, but when I recently came back to read these I did so with a different eye: maybe more mature, more able to discover the different characteristics of these women.

Angelica is strong but also aware of her power on all the men she encounters. I am absolutely fascinated by this self-awareness, and her ability to lie to the Chavalier Orlando in order to get rid of him and thus deeply and freely love Medoro, the simple soldier. A love that defies the conventions of who a princess should fall in love with. I definitely see myself as a non-conventional person, quite stubborn, but I am a very bad liar, I just can’t hide it!

 

KM:  Regarding Klosters: Why are you looking forward to this small and exclusive event?

GS: I am very much looking forward to singing at Klosters Music which is regarded as a very special and high quality festival to which top level artists are invited.

 

KM: Which characters will be on stage and what is your relationship to them?

GS: I will sing some of “Susanna’s” arias and duets from “Le nozze di Figaro”, and “Donna Anna’s” aria, which I never performed on an opera stage before.

 

KM: What is your relationship to Mozart’s music?

GS: I have had the pleasure of performing in many operas by W.A. Mozart already, and mostly in the role we normally call the Soubrette-Fach: “Susanna”, “Despina”, “Zerlina” (also with Basel Chamber Orchestra), “Serpetta”, “Celia”. Most of them are lower class characters (servants, maids), who are nevertheless witty, sincere, down to earth and very skilled.

 

KM: Do you particularly like some of them?

GS: I love how “Despina” teaches her two sisters to love frivolously; I love how Susanna is faithful to “Figaro” and her developing relationship with the Countess. I enjoy playing both sides of “Zerlina”: on the one hand attracted to “Don Giovanni’s” power, and on the other the honesty towards “Masetto”. I believe I learn something from each of the characters I play. Mozart can always teach us something, even after 275 years!!

Music is a wonderful gift!

With a gift voucher from Klosters Music your family and friends can enjoy an unforgettable experience immersed in music. Be inspired by our international programme and give the gift of an exquisite concert evening with a star cast in the magnificent mountain world of Klosters. We will be happy to create a personal gift voucher for the desired amount and, if required, inform you about suitable accommodation offers with regards to Klosters Music.

Gift vouchers can be ordered from the Klosters Music office at info@klosters-music.ch or online. Redeemable for all Klosters Music events, online at klosters-music.ch, kulturticket.ch or on site at the tourist offices in Klosters and Davos.

Famous names and international stars

David Whelton has once again succeeded in enlisting international stars for the concert series, which has meanwhile developed huge appeal throughout Switzerland. The audience can look forward to famous names such as Steven Isserlis (cello), Christian Tetzlaff (violin), Giulia Semenzato (soprano), Hanno Müller-Brachmann (baritone) as well as the star conductors Jakub Hrůša and Maxim Emelyanychev, to name but a few. Likewise, it is a special pleasure that Sir András Schiff (piano) and soprano Christiane Karg will honour Klosters again with their performances in the summer of 2021.

Yearning for home

Under the motto “Heimat. My Homeland”, Klosters Music will take the audience on an exciting journey into the musical world of 18th and 19th century Bohemian Romanticism on a total of eight concert evenings from Saturday 31 July to Sunday 8 August. While Mozart’s love of Prague is the musical focus at the beginning of the concert series with Symphony No. 38 in D major (“Prague Symphony”) and Piano Concerto No. 23 in A major and a selection of arias and overtures, the second evening with the Janoska Ensemble will focus on the great tradition of rhapsody from past to present. The Orchestra La Scintilla and Christiane Karg promise a homage to the splendour of the Baroque, while the organist Rudolf Lutz turns to well-known themes and improvisations on Bach, Mozart, Schubert and Dvořák on 4 August. In turn, Sir András Schiff will take the audience on a real master’s journey to the musical cradle of Europe on 5 August with a selection of works by Mozart, Beethoven, Schubert and Brahms. Under the direction of Maxim Emelyanychev, the Deutsche Kammerphilharmonie Bremen and violinist Christian Tetzlaff unfold the tension between the homeland and strangers with Bedřich Smetana’s famous “Moldau” and Mozart’s Violin Concerto No. 5 in A major on the following day. Another highlight is Antonín Dvořák’s Concerto for Cello and Orchestra in B minor, performed on 7 August by Steven Isserlis and the Deutsche Kammerphilharmonie Bremen under the baton of Russian conductor Maxim Emelyanychev. This masterpiece allows us to experience first-hand not only Dvořák’s profound homesickness during this creative period in the US but also his sense of loss following the death of his beloved at this time. The concert series will conclude with “Cinema Paradiso”, also a premiere: for the first time, Klosters Music will be dedicated to film and film music.

Premiere for a timeless classic

Enjoy the Oscar-winning masterpiece “Cinema Paradiso” by Sicilian director Giuseppe Tornatore (*1956) on the big screen. The impressive images about friendship, strangers and love are accompanied by the wonderful film music of the Italian composer Ennio Morricone who died in 2020, and his son Andrea Morricone (*1964), played live by the experienced and successful City Light Symphony Orchestra from Lucerne under the direction of Thiago Tiberio, who is wholly committed to the performance of film music. A timeless film classic with German and English subtitles.

Nov. 5, 2020, 20.00: Broadcast of the Opera Gala on SRF 2 Kultur

For those who could not be present in the concert hall of the Klosters Arena on the evening of 2nd August («Opera Gala») and of course for all those who would like to relive the unforgettable musical moments with Christiane Karg, the opportunity is offered to listen again to the voice of the exceptional German soprano and the Basel Chamber Orchestra (Riccardo Minasi, Conductor) on 5 November at 20.00 on Radio SRF2 Kultur. The concert recording from Klosters takes us back to the world of Symphony No. 35 in D major as well as the realm of the playful and emotional arias of Wolfgang Amadeus Mozart.

SRF2 Kultur «Im Konzertsaal» («In the Concert Hall»)

 

Listen to it again: Pablo Heras-Casado conducts Beethoven milestones

Ludwig van Beethoven was represented on the memorable evening of the Opera Gala only by the dramatic scene «Ah! Perfido!», but the 150th birthday of the great composer of Viennese classical music was celebrated all the more festively on 7 August («Reason and Revolution»): Under the direction of Pablo Heras-Casado (pictured), guests were able to enjoy the Overture from «The Creatures of Prometheus», Opus 43, Symphony No. 3 in E flat major, «Eroica» Opus 61 and the Concerto for Violin and Orchestra in D major, Opus 55. Both the Deutsche Kammerphilharmonie Bremen and Veronika Eberle (violin) were able to present to the audience a worthy tribute to the composer, who died in 1827.

Listen again on SRF2 Kultur

Klosters Music 2021 takes you on a fascinating journey into the musical world of emerging romanticism in Germany, Austria and today’s Czechia. It is a special honour for us to welcome Sir András Schiff to Klosters again next year. On Sunday, August 8 2021, we will risk a small detour to the far south with «Cinema Paradiso», a classic film on the big screen with live orchestral accompaniment.

The detailed programme will be announced in December 2020. Allow «your musical homeland» of Klosters to surprise you for the third time!

The music can transport us further and further. Even in difficult times. As we know: music has a special power. But as we all know too: music needs strength. It needs not only the strength and tireless commitment of the participants, but also the strength and support of those who love and care for music.

We are looking forward to other great concerts as well as joint, touching musical moments in Klosters and pass on our thanks for your past and future commitment to Klosters Music.

The numerous possibilities to join the Patrons’ Association Art & Music, Klosters or to continue your involvement can be found here.

“Beethoven and the ‘Call of the Mountain’ in the majestic Alpine world provided the perfect setting to bring musicians and audiences together again. Outstanding performances by outstanding artists from around the world delighted the audience in Klosters. The week of great concerts reminded us how much live music enriches all our lives.”

David Whelton, Artistic Director

For ten days we honoured Beethoven’s 250th birthday with the performance of a selection of his most important works and can look back on an extremely successful performance.
We would like to thank the more than 3,000 visitors, the artists, the volunteers, the patrons, partners, foundations, the Canton of Graubünden, the Klosters Cultural Fund, the municipality of Klosters-Serneus, the Protestant Reformed parish of Klosters-Serneus and Destination Davos Klosters for their trust and great support for Klosters Music 2020.

Foundation Art & Music, Klosters

Reason and Revolution, Concert Hall Arena Klosters, 7 August 2020

Veronika Eberle, Violine, und Die Deutsche Kammerphilharmonie Bremen © Marcel Giger
Veronika Eberle, Violine, und Die Deutsche Kammerphilharmonie Bremen © Marcel Giger
Veronika Eberle, Violine, und Die Deutsche Kammerphilharmonie Bremen © Marcel Giger
Veronika Eberle, Violine, und Die Deutsche Kammerphilharmonie Bremen © Marcel Giger
Klosterser Himmel vor Beethovens «Eroica» © Marcel Giger
Klosterser Himmel vor Beethovens «Eroica» © Marcel Giger
Die Deutsche Kammerphilharmonie Bremen unter der Leitung von Pablo Heras-Casado © Marcel Giger
Die Deutsche Kammerphilharmonie Bremen unter der Leitung von Pablo Heras-Casado © Marcel Giger

Reaching for the Heavens, Concert Hall Arena Klosters, 8 August 2020

Martin Helmchen am Konzertflügel © Marcel Giger
Martin Helmchen am Konzertflügel © Marcel Giger
Martin Helmchen, Klavier, und Die Deutsche Kammerphilharmonie Bremen unter der Leitung von Pablo Heras-Casado © Marcel Giger
Martin Helmchen, Klavier, und Die Deutsche Kammerphilharmonie Bremen unter der Leitung von Pablo Heras-Casado © Marcel Giger
Martin Helmchen, Klavier, und Die Deutsche Kammerphilharmonie Bremen unter der Leitung von Pablo Heras-Casado © Marcel Giger
Martin Helmchen, Klavier, und Die Deutsche Kammerphilharmonie Bremen unter der Leitung von Pablo Heras-Casado © Marcel Giger
Die Deutsche Kammerphilharmonie Bremen © Marcel Giger
Die Deutsche Kammerphilharmonie Bremen © Marcel Giger

The Crowning Glory, Concert Hall Arena Klosters, 9 August 2020

Ansprache des Stiftungsratspräsidenten Heinz Brand © Marcel Giger
Ansprache des Stiftungsratspräsidenten Heinz Brand © Marcel Giger
Sir András Schiff © Marcel Giger
Sir András Schiff © Marcel Giger
Sir András Schiff © Marcel Giger
Sir András Schiff © Marcel Giger
Sir András Schiff © Marcel Giger
Sir András Schiff © Marcel Giger

The Classical Style, Concert Hall Arena Klosters, 3 August 2020

Quatuor Van Kuijk © Marcel Giger
Quatuor Van Kuijk © Marcel Giger
Liisa Randalu, Schumann Quartett © Marcel Giger
Liisa Randalu, Schumann Quartett © Marcel Giger
Schumann Quartett und Pablo Barragán, Klarinette © Marcel Giger
Schumann Quartett und Pablo Barragán, Klarinette © Marcel Giger
Schumann Quartett und Quatuor Van Kuijk © Marcel Giger
Schumann Quartett und Quatuor Van Kuijk © Marcel Giger

Sturm und Drang, Concert Hall Arena Klosters, 4 August 2020

Das Orchester «Il pomo d'oro» unter der Leitung von Maurice Steger © Marcel Giger
Das Orchester «Il pomo d'oro» unter der Leitung von Maurice Steger © Marcel Giger
Christoph Croisé, Violoncello, und das Orchester «Il pomo d'oro» unter der Leitung von Maurice Steger © Marcel Giger
Christoph Croisé, Violoncello, und das Orchester «Il pomo d'oro» unter der Leitung von Maurice Steger © Marcel Giger
Das Orchester «Il pomo d'oro» © Marcel Giger
Das Orchester «Il pomo d'oro» © Marcel Giger
Christoph Croisé, Violoncello, und das Orchester «Il pomo d'oro» unter der Leitung von Maurice Steger © Marcel Giger
Christoph Croisé, Violoncello, und das Orchester «Il pomo d'oro» unter der Leitung von Maurice Steger © Marcel Giger

The Early Romantics, Concert Hall Arena Klosters, 5 August 2020

Quatuor Modigliani © Marcel Giger
Quatuor Modigliani © Marcel Giger
Amaury Coeytaux und Loïc Rio, Quatuor Modigliani © Marcel Giger
Amaury Coeytaux und Loïc Rio, Quatuor Modigliani © Marcel Giger
Boris Giltburg, Klavier mit Graham Mitchell, Kontrabass und dem Quatuor Modigliani © Marcel Giger
Boris Giltburg, Klavier mit Graham Mitchell, Kontrabass und dem Quatuor Modigliani © Marcel Giger
Boris Giltburg, Klavier mit Graham Mitchell, Kontrabass und dem Quatuor Modigliani © Marcel Giger
Boris Giltburg, Klavier mit Graham Mitchell, Kontrabass und dem Quatuor Modigliani © Marcel Giger

Organ Recital, St Jacob’s Church, 6 August 2020

Benjamin Righetti beim Orgel-Rezital © Marcel Giger
Benjamin Righetti beim Orgel-Rezital © Marcel Giger
Benjamin Righetti beim Orgel-Rezital © Marcel Giger
Benjamin Righetti beim Orgel-Rezital © Marcel Giger

Welcome Reception Klosters Music 2020, Hotel Vereina, 31 July 2020

Stiftungsratspräsident Heinz Brand und Regierungsrat Jon Domenic Parolini © Marcel Giger
Stiftungsratspräsident Heinz Brand und Regierungsrat Jon Domenic Parolini © Marcel Giger
Stiftungsratspräsident Heinz Brand © Marcel Giger
Stiftungsratspräsident Heinz Brand © Marcel Giger

Opening Concert A Golden Age, Concert Hall Arena Klosters, 31 July 2020

Wiener Klaviertrio © Marcel Giger
Wiener Klaviertrio © Marcel Giger
Wiener Klaviertrio © Marcel Giger
Wiener Klaviertrio © Marcel Giger
Benjamin Appl, Bariton und Simon Lepper, Klavier © Marcel Giger
Benjamin Appl, Bariton und Simon Lepper, Klavier © Marcel Giger
Benjamin Appl, Bariton und Simon Lepper, Klavier © Marcel Giger
Benjamin Appl, Bariton und Simon Lepper, Klavier © Marcel Giger

Fascinating Rhythm, Concert Hall Arena Klosters, 1 August 2020

Gershwin Piano Quartet © Marcel Giger
Gershwin Piano Quartet © Marcel Giger
Gershwin Piano Quartet © Marcel Giger
Gershwin Piano Quartet © Marcel Giger

Opera Gala, Concert Hall Arena Klosters, 2 August 2020

Christiane Karg, Sopran © Marcel Giger
Christiane Karg, Sopran © Marcel Giger
Christiane Karg, Sopran, und das Kammerorchester Basel unter der Leitung von Riccardo Minasi © Marcel Giger
Christiane Karg, Sopran, und das Kammerorchester Basel unter der Leitung von Riccardo Minasi © Marcel Giger
Riccardo Minasi © Marcel Giger
Riccardo Minasi © Marcel Giger
Christiane Karg, Sopran, und das Kammerorchester Basel unter der Leitung von Riccardo Minasi © Marcel Giger
Christiane Karg, Sopran, und das Kammerorchester Basel unter der Leitung von Riccardo Minasi © Marcel Giger

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Klosters Music: On 2 August, you will perform a Mozart Opera Gala together with the Basel Chamber Orchestra and Riccardo Minasi at “Klosters Music 2020”. What was your first contact or your first personal encounter with Wolfgang Amadeus Mozart?
Christiane Karg: The first encounter was quite early. My father is a great opera fan and classical music was always there. As a little girl I sang all the parts of “The Magic Flute” in my children’s room. I found Pamina the most boring at the time.
When I was five I wanted to become a singer and I can still remember my first Salzburg Festival, which I was allowed to experience with my parents as a seven-year-old. On the programme: The Magic Flute. Fate was kind to me and I was later allowed to study at the Mozarteum. In the Mozart year 2006 I graduated with a Master’s degree and made my debut at the Salzburg Festival with Mozart.
Mozart is a constant companion.

KM: There are arias from various Mozart operas on the programme. Which Mozart opera or opera part are you currently working on?
CK: Very fresh is the part of Contessa di Almaviva (“Le nozze di Figaro”), with which I made my debut last year at the Hamburg State Opera under the direction of Riccardo Minasi. In January I also sang this part in the Felsenreitschule with Sir András Schiff at the Mozart Woche in Salzburg.
“Così fan tutte” is now at the top of my pile: I should have sung the part of Fiordiligi at the Bavarian State Opera in June. Now the production has been postponed to September.

KM: What was your most moving moment as an opera singer, what was your most curious?
CK: There were so many wonderful moments, I can’t name the one that was most moving. But one that changed and shaped my life a lot was a stage accident where I broke my knee during a performance.

KM: This is not the first time you share the stage with the Basel Chamber Orchestra. How did you come together with the orchestra?
CK: The first project was “Les Illuminations” by Benjamin Britten. I have fond memories of this project, which brought me back to my Bavarian home in Neumarkt.

KM: “Klosters Music” in 2020 is all about Ludwig van Beethoven. What do you associate with Beethoven?
CK: Above all, of course, the Ninth Symphony. The soprano solo is one of the works that I probably sang most often and that you never get tired of. Unfortunately, Beethoven wrote far too little for the vocal part. I never sang the part of Marzelline in “Fidelio” on stage and so, apart from songs and folk songs, the wonderful concert aria “Ah, perfido!” remains for me, which I love to perform.

KM: You are performing for the first time in the mountain village of Klosters in the Swiss Grisons. What does that mean for you?
CK: I am curious. There aren’t so many new cities and festivals where I haven’t been a guest yet. At the beginning of my career, cities like London, Paris, New York were incredibly exciting and thrilling.
In the meantime I am very happy to be able to perform far away from the big city. I am looking forward to the peace and quiet and nature and to a new, relaxed, excited audience.

KM: Which of your future engagements are you most looking forward to and why?
CK: I think that at the moment all artists are looking forward to performing again. My profession is my childhood dream and I have always loved it. The forced break made me realize this once again.

To the programme Buy Tickets

Klosters Music: You will perform the opening concert of “Klosters Music 2020” on 31 July together with pianist Simon Lepper and the Vienna Piano Trio and sing Beethoven’s song cycle “An die ferne Geliebte”. What do you associate with this work cycle?
Benjamin Appl: During my studies in Munich I learned the cycle, which I was later allowed to work on with Dietrich Fischer-Dieskau. It was also the work I sang in my first concert outside Europe at the Ravinia Festival near Chicago. So Beethoven’s masterpiece is a piece that I’ve been carrying around with me for a long time and I’m always trying to shed new light on it. It is incredibly topical in my eyes, even if some images may seem a bit outdated: In my years as a young adult I often listened to “An die ferne Geliebte”, especially when I was travelling and yet longed for someone or when I was newly in love. This unspent, sometimes naive view in music and lyrics always gave me the drive to see things in a more romantic or positive light.

KM: “Klosters Music” in 2020 is all about Ludwig van Beethoven. What was your first contact with Beethoven or what does this composer mean to you?
BA: My first contact with Beethoven was probably the second movement from the “Pathétique” Sonata. I developed a great love for this music, so I listened to it often and repeatedly as a child to build Lego or Playmobil. Beethoven somehow manages to lift people into all kinds of spheres, whether into the idyll or into the darkest corners. In December 2018, I was allowed to sing Mahler songs in a stadium in Osaka in front of 17,000 people. In the second part of the concert, Beethoven’s Ninth Symphony was on the programme with 10,000 people in the choir. What I experienced there gave me goose bumps. Thousands of Japanese singers – all reciting from memory – gave the text “Alle Menschen werden Brüder” with their whole soul: a sign of togetherness, connected around the globe – that is Beethoven.

KM: You have been working with Simon Lepper for many years. Is there a special moment or a special memory of your concerts with Simon Lepper that you would like to share with us?
BA: With Simon I was able to experience many wonderful moments. He is not only an excellent musician and one of the leading song pianists, but also a special, interesting person with whom one also likes to spend time. This is incredibly important in a musical relationship between song accompanist and singer. There are many excellent pianists, but only a few can convey the trust that the singer on the podium needs. Especially the two concert tours to India with Simon were something very special: from the monkey who suddenly honoured us on stage, to very wonderful encounters with concert visitors who had never heard Western, classical music before.

KM: You are performing for the first time in the mountain village of Klosters in the Swiss Grisons. What do you expect?
BA: I love Switzerland and often toy with the idea of spending more time here. For me, the mountains are the place where I can best recharge my batteries. After having seen pictures of Klosters, I am especially looking forward to it. Such unique surroundings inspire making music immensely.

KM: Which of your future engagements are you most looking forward to and why?
BA: That is a good question, especially from the point of view of Covid-19. I would put it more like this: At the moment I am happy about every engagement that can be carried out. There are some courageous organizers – among them especially Klosters Music – who will organize concerts again under certain hygienic precautions. That is really balm for the soul. In the past months there have been a lot of offers of live streams and broadcasts, but all this does not replace the live concert, where musicians and audience experience and share something together – and that is what I am most looking forward to.

To the programme Buy Tickets

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Christian Tetzlaff & Deutsche Kammerphilharmonie Bremen_Bild Marcel Giger

With the crowning final concert of the violinist Christian Tetzlaff and the Deutsche Kammerphilharmonie Bremen, the ten-day festival “Klosters Music” ended on Sunday. Among the highlights were performances by Sir András Schiff, Kit Armstrong and Maurice Steger. More than 3000 guests visited the high-class classical concerts in Klosters.

Klosters Music took place this year for the first time under the roof of the newly founded foundation “Kunst & Musik, Klosters”. “The enthusiasm of the guests and musicians is great,” says artistic director David Whelton with satisfaction. “We were able to realise concerts of the highest quality and with very good visitor numbers,” says Whelton. “We have thus laid a reliable foundation for the further development of Klosters Music”.

Expectations fulfilled, promises kept
“World class meets mountain world” was the slogan of this year’s concerts. This promise could be fulfilled with high-standing performances by national and international orchestras, ensembles and artists. The highlight was the performance by Sir András Schiff, who performed the monumental solo recital “Das Wohltemperierten Kla-vier, Band 1” by Johann Sebastian Bach in the church of St. Jakob, which was filled to capacity. The concert of the Swiss recorder player Maurice Steger with his programme “Mr Handel’s Dinner” as well as the performance of the Janoska Ensemble with an enthralling homage to the Beatles also provided great enthusiasm.

Over 3000 guests attended the two dozen large and small concerts at five venues in Klosters. In addition to the main concerts, the various performances of various formations on the Bahnhofplatz Klosters and the jazz concert on Madrisa with the South African jazz band Virtual Jazz Reality, held for the first time, were very well attended.

Promoting the location with art and music
“The aim of our foundation is to enrich the destination of Klosters with top-quality art and music. We have succeeded in doing this in the last ten days,” says President Rolf Theiler. “Now the planning for next year begins. We would like to further develop our formats in depth and breadth”.

Next year’s event has already been decided: Klosters Music will take place from August 1 to August 9, 2020.

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Who was Johann Sebastian Bach? On the occasion of our Bach Discovery Days, Dr. Christine Blanken talks about the great composer and his European role models.

Johann Sebastian Bach and his European role models
with Dr. Christine Blanken (Bach Archive Leipzig)
(Lecture with pictures and music examples)

Saturday, 3rd August 2019
11.00 a.m.
Hotel Piz Buin, Klosters
Free admission

In the intimate atmosphere typical of Klosters in the church of St. Jakob, listeners could enjoy Bach, Beethoven, Schumann and Adès.

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Despite the nasty weather, over 300 listeners attended the Virtual Jazz Reality concert in the Alp Madrisa restaurant. The band from Cape Town played an inspiring concert and in the end even pulled the visitors from their chairs.

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Virtuoso, entertaining and, as usual, at the highest level: Maurice Steger and the La Cetra Barockorchester Basel enthused in the church of St. Jakob.

The concert was recorded by Radio SRF 2 Kultur and will be broadcast on Monday, 26 August 2019 at 8 p.m. on “Weltklasse”.

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The new format Shape & Sound met with great interest among the audience and was extended by an introduction to the works of Kurt Oskar Weber at the Atelier Bolt.

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The first concert of this year’s series was given by the Modigliani Quartet from Paris and the pianist Adam Laloum, who also lives in France, with works by Schumann, Schubert and Beethoven. The enthusiastic audience owed the outstanding concert with standing ovations.

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Klosters Music was ceremoniously opened on Friday evening. 60 invited guests listened to the opening sounds of the Kinderjodelchörli Silvrettastärnli under the direction of Dominique Bolt – followed by greetings from President Rolf Theiler and Vice President Heinz Brand.

The first concert of this year’s series was given by the Modigliani Quartet from Paris and the pianist Adam Laloum, who also lives in France, with works by Schumann, Schubert and Beethoven. The enthusiastic audience owed the outstanding concert with standing ovations.

 

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Dear Guests

On behalf of the municipality of Klosters-Serneus, it gives me great pleasure to welcome you!

In 2019, Klosters Music will once again host world-renowned artists who will be performing here in what promises to be a first-class cultural summer programme.

The intimate setting of the Klosters Music concert venues creates a unique experience and a platform for many spontaneous and inspiring meetings between residents, second-home owners and visitors from near and far.

Come and join us and enjoy a varied program of concerts and exceptional talent of the highest level.

On behalf of the community authorities of Klosters-Serneus, I thank all involved including all volunteers for the realization of this unique event and wish all visitors the enjoyment of fond memorable moments.

Kurt Steck
Mayor, Klosters-Serneus

KJFS9273

The weekend programmes Part 1 and Part 2 give a comprehensive insight into the performing artists and the played works. The supporting programme around Klosters Music is also very clearly visible.

You can download the brochures here or obtain them free of charge on site in Klosters.

Detailed Programme First Weekend 26-28 July 2019 (PDF)

Detailed Programme Second Weekend 1-4 August 2019 (PDF)

Janoska_Ensemble_2_(c)Julia-Wesely_NEWSLETTER
Janoska Ensemble
Kit Armstrong_1687_JF Mousseau
Kit Armstrong, (c) JF Mousseau
At this Klosters Music Special, a diversified program of jazz is included for the first time. President Rolf Theiler explains: “The fundamental principle of Klosters Music has always been classical music. To be able to entertain a wider audience, we decided to introduce jazz this year, but would like to include other styles of music in future as well.”

Formed in 1993, Virtual Jazz Reality rates as one of the most versatile and experienced bands on the South African music scene. Their jazz repertoire in all styles ranges from light jazz to their own innovative original compositions. They have collaborated with numerous international artists such as Pavarotti, Jonathan Butler, Shirley Bassey, Liberace, Bono, Anastacia, Shakatak and many more.

As well as their live appearances, the band members teach on various workshops in schools in South Africa and for many years ran the “Artscape Youth Mentoring Programme”.

Kagiso Year End 2016 - High Res © Goosebump Productions-7502
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Under the title “Shape & Sound”, two artistic practices, that are harmoniously interconnected, consolidate in the setting of a matinee.

In an illustrative lecture recital, Swiss sculptor and artist Christian Bolt as well as Austrian composer Wolfgang-Michael Bauer will showcase the affiliation between sculpture, painting and music. Visitors also benefit from an introduction to the legacy of Swiss sculptor Kurt Oskar Weber, with an extensive exhibition of his work dedicated to him in the exhibition rooms.

Both artists give a fascinating insight into their creative process. An audience participation question/answer will put more light on the fascinating worlds of these two diversified artists. All the musical compositions of Wolfgang-Michael will debut in Switzerland. This proves to be a memorable experience.

11.00 am
Opening and introduction to Kurt Oskar Weber exhibition by Andrin Schütz

Saturday, 27 July 2019
Atelier Bolt, Klosters
11.30 am
CHF 180 incl. Apéro riche
Music: Antonia Rössler (Violine), Othmar Müller (Violoncello) and Alexander Rössler (Klavier)
Moderation: Andrin Schütz

Order tickets here

Trio Rössler Rössler Müller  (1)
Wolfgang, Andrin, Christian

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