EASTER FESTI VAL - musik-reisen.jp · a program of Gregorian chorales and music from their homeland by the com-posers Charles Gounod, César Franck, Camille Saint-Saëns, and Gabriel

Program

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E A S T E RF E S T IV A L6 – 14 April 2019

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Venues: KKL Luzern: A Auditorium | KS Concert Hall FK Franziskanerkirche | JK Jesuitenkirche | MH Church Hall MaiHof

Sat 6.4. 18.30 | JK Choral Concert 1 Les Petits Chanteurs à la Croix de Bois |Marie-Noëlle Potot J.S. Bach, Fauré, Gounod, Mozart, Vivaldi, et al.

p. 9

Sun 7.4. 17.00 | FK Choral Concert 2 Collegium Vocale zu Franziskanern Luzern | Ulrike Grosch | soloistsBrahms, Rheinberger, Dvořák

p. 10

Mon 8.4. 19.30 | MH Choral Concert 3 Junge Philharmonie Zentralschweiz | Akademiechor Luzern | Howard Arman | Marie-Claude Chappuis Caplet, Arman

p. 11

Tue 9.4. 19.30 | FK Early Music 1 Le Concert d’Astrée | Emmanuelle HaïmScheidt, Biber, Charpentier, J.S. Bach, et al.

p. 12

Wed 10.4. 18.30 | A19.30 | KS

IntroductionChoral Concert 4

with Susanne Stähr (in German)musicAeterna orchestra and chorus of Perm Opera | Teodor Currentzis | soloistsVerdi

p. 13

Thu 11.4. 18.30 | A19.30 | KS

IntroductionSymphony Concert 1

with Susanne Stähr (in German) Filarmonica della Scala | Riccardo Chailly |Denis MatsuevTchaikovsky, Mussorgsky/Ravel

p. 14

Fri 12.4. 19.30 | KS Early Music 2 Le Concert d’Astrée | Emmanuelle Haïm | Sandrine Piau | Tim MeadHandel

p. 15

Sat 13.4. 17.30 | A18.30 | KS

IntroductionSymphony Concert 2

with Susanne Stähr (in German)Bavarian Radio Symphony Orchestra | Iván Fischer | Janine JansenMozart, Bartók

p. 16

Sun 14.4. 17.00 | KS Symphony Concert 3 Bavarian Radio Symphony Orchestra | Bernard Haitink | Till FellnerMozart, Bruckner

p. 17

Easter Festival | 6 – 14 April 2019

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Saturday, 6 AprilChoral Concert 1

18.30 Jesuitenkirche

Ticket prices CHF 60/30Event no. 19101

Les Petits Chanteurs à la Croix de Bois

Marie-Noëlle Potot conductor

works by Johann Sebastian Bach, Giulio

Caccini, François Couperin, Alexis Duffaure, Gabriel Fauré,

César Franck, Charles Gounod, Antonio Lotti, Wolfgang Amadé

Mozart, Camille Saint-Saëns, Antonio Vivaldi, et al.

This concert has no intermission and ends at approx. 20.00

On their chests, over their white choir shirts, they wear wooden crosses. Artists such as Charles Aznavour, Louis Chedid, and Mireille Mathieu have performed with them. The successful film La Cage aux rossignols (and its 2004 adaptation The Chorus) was inspired by them. There’s no question that Les Petits Chan-teurs à la Croix de Bois are an institution in France and rank among the most famous boys’ choirs on the international scene. Now based in Autun, Les Petits Chanteurs were founded in Paris in 1907, which is why they are also known to many music lovers as The Little Singers of Paris. They have already sung more than 17,000 concerts and are now coming to Lucerne for the first time to open the 2019 Easter Festival in the atmospheric setting of the Jesuitenkirche with a program of Gregorian chorales and music from their homeland by the com-posers Charles Gounod, César Franck, Camille Saint-Saëns, and Gabriel Fauré. And with their crystal-clear voices, they will also sing works by Antonio Vivaldi, Mozart’s Alleluia, and the Bach chorale Jesu, Joy of Man’s Desiring.

Let everything that has breath praise the LordPsalm 150

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“This Caplet is an artist!”Claude Debussy

“Such a human – and he believes in nothing!”Antonín Dvořák on Johannes Brahms

Monday, 8 AprilChoral Concert 3

19.30 Church Hall MaiHof

Ticket prices CHF 60/30Event no. 19103

Junge Philharmonie Zentralschweiz

Akademiechor LuzernHoward Arman conductor

Marie-Claude Chappuis mezzo-soprano

André CapletLe Miroir de Jésus. Mystères du Rosaire

for mezzo-soprano, women’s chorus, strings, and harp

ca. 60’

Howard ArmanThe Cries of London for soloists,

choir, and stringsSwiss premiere

ca. 8’

This concert has no intermission

Mystical meditation meets the colorful activity of the secular marketplace in this concert. Deeply shaken by the horrors of the First World War, the French-man André Caplet turned increasingly to religion and sacred music after 1918. His final years saw the creation of Le Miroir de Jésus, a musical setting of the Rosa-ry that recounts the life of Jesus from Mary’s perspective. Caplet’s mystical, in-ward-directed musical language combines influences from his friend Debussy and Gregorian chant. Howard Arman will then take us back to his native Eng-land: “In old London, it was customary to advertise certain commodities in the markets and on the streets by using music. Someone selling fish would sing melodies different from those of a chimney sweep.” The Cries of London, which he composed in 2015 for the Bavarian Radio Choir, revives this tradition with a sense of humor: “In the middle, the songs of the market criers become jumbled together, while at the same time the two violins in particular play many echoes of folk violin music, in a very sturdy and rhythmic way.”

Sunday, 7 AprilChoral Concert 217.00 FranziskanerkircheTicket prices CHF 60/30Event no. 19102

Collegium Vocale zu Franziskanern LuzernUlrike Grosch conductorMarián Krejčík baritoneSophie Luise Hage celloTobias Willi organ

Johannes BrahmsMotet Warum ist das Licht gegeben dem Mühseligen? Op. 74, no. 1

Josef Gabriel RheinbergerTribulationes and Dextera Domini from Five Hymns, Op. 140Elegie for Cello and Organ, Op. 150, no. 5Prelude from the Organ Sonata No. 7 in F minor, Op. 127Cantus Missae. Mass in E-flat major, Op. 109

Antonín Dvořákexcerpts from Biblical Songs, Op. 99


“A small discourse on the great question ‘Why’” is how Johannes Brahms de-scribed the first of his two Op. 74 motets. His choral works frequently take up questions of faith, fate, and death: questions that concerned him throughout his life, since Brahms, who was well versed in the Bible but a freethinker, had no easy answers. The Collegium Vocale zu Franziskanern juxtaposes the North German Protestant composer, who found his adopted home in Vienna, with the Biblical Songs by the Czech Antonín Dvořák and with works by the Catholic Josef Rheinberger from Liechtenstein, who at that time worked in Munich. Like Brahms, Rheinberger also kept his distance from the “New German School” centered around Liszt and Wagner. And yet he was no hardcore traditionalist, as his opponents would have us believe. Consider the Cantus Missae for double choir, Rheinberger’s best-known work along with his Organ Sonatas, whose expressive harmonic language takes a stand against the conservative, purist Cecilianist movement, which aimed to drive out experimentation and individ-uality in church music.

10 11

“Spirituality has nothing to do with wellness”Teodor Currentzis

Concert Introduction18.30KKL Luzern, Auditoriumwith Susanne Stähr (in German)

“Baroque music fires the imagination”

Emmanuelle Haïm

Wednesday, 10 AprilChoral Concert 4

19.30 KKL Luzern, Concert Hall

Ticket prices CHF 200/170/130/90/60/30Seating map 1, p. 26 | Event no. 19105

musicAeterna orchestra and chorus of Perm Opera

Teodor Currentzis conductorZarina Abaeva soprano

Hermine May mezzo-sopranoDmytro Popov tenor

Tareq Nazmi bass

Giuseppe VerdiMessa da Requiem

ca. 90’

This performance has no intermission

Giuseppe Verdi did not think much of the Church. He found it outrageous that the Vatican claimed political power for itself and was appalled by Rome’s re-jection of such values as tolerance and freedom of conscience, as well as by its critical attitude towards Italian Unification. He also had a personal quarrel with God after losing his wife and children at an early age and suddenly find-ing himself alone. Yet it was this heretic, of all people, who created one of the most shattering and powerful settings of the Catholic Mass of the Dead. You can almost smell the incense in Verdi’s music, which stages the Last Judgement with a graphic naturalism and which celebrates the celestial dimension with the most exhilarating “Sanctus” ever written. And in its most beautiful moments, as in the plea for salvation, it feels as if the sky is actually opening up… Verdi’s magnificent Messa da Requiem is a work that seems to have been created for Teodor Currentzis, since this Greek-Russian conductor is a master of musical truth-telling whose performances tend to radically push the envelope: to heav-en and hell.

This concert is under the auspices of the Friends of LUCERNE FESTIVAL

Tuesday, 9 AprilEarly Music 119.30 FranziskanerkircheTicket prices CHF 60/30Event no. 19104

Le Concert d’AstréeEmmanuelle Haïm organ, harpsichord and musical direction

“Sacro Profanum”Instrumental Music for Court and Church

works bySamuel Scheidt, Heinrich Ignaz Franz Biber, Johann Rosenmüller, Marc-Antoine Charpentier, Francesco Onofrio Manfredini, Johann Sebastian Bach, and John Blow and from the Manuscrit de Kassel


When the French Maestra Emmanuelle Haïm performs, she radiates a joy and boundless enthusiasm for the music that are spontaneously transmitted to the audience. She has been described as “Ms. Dynamite of the French Baroque,” and that’s quite fitting, because her performances simply catch fire and have explosive power. Over two evenings with her ensemble Le Concert d’Astrée, Emmanuelle Haïm, who made her debut at LUCERNE FESTIVAL leading the Vi-enna Philharmonic in 2016, will be artist-in-residence at this year’s Easter Fes-tival. Her residency begins with an exploratory journey covering half of Europe – from France via Italy, Germany, and Austria to Sweden and Great Britain – and presents sacred and secular instrumental music that many have likely never heard before. But it is just this that inspires Emmanuelle Haïm: to snatch works from oblivion and to awaken them to life anew. In doing so, she will also show what pleasure she takes from improvising: “The Baroque gives you an incred-ible freedom as an interpreter,” she explains, comparing making music played by the Concert d’Astrée with a jazz band.

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“An earthly, passionate man of the theater” Emmanuelle Haïm on George Frideric Handel

Concert Introduction18.30

KKL Luzern, Auditoriumwith Susanne Stähr (in German)

“Music is revelation”Pyotr Ilyich Tchaikovsky

Friday, 12 AprilEarly Music 2



Le Concert d’AstréeEmmanuelle Haïm conductor

Sandrine Piau sopranoTim Mead countertenor

“Desperate Lovers”

George Frideric HandelConcerto grosso in B-flat major,

Op. 3, no. 2, HWV 313ca. 12’

Arias, duets, and instrumental movements from the operas

Rodelinda, Tamerlano, Ariodante, Alcina, and Orlando and the dramatic

cantata Aci, Galatea e Polifemoca. 65’

Political intrigue and sorcery, stage spectacles with the leading stars, social events for the snobs, and a chance for the gourmands of vocal art to display their adulation: the Italian operas that the German George Frideric Handel presented to his audience in London were record-breaking productions that earned the finest praise. Their enthusiastically acclaimed and controversial pre-mieres caused sensations and scandals. But the best news of all still holds true: that after two centuries of almost complete oblivion, Handel’s music for the stage has outlived its glorious past and returned to contemporary concert and theater life. “Desperate Lovers”: this is the theme of Emmanuelle Haïm’s sec-ond program for LUCERNE FESTIVAL, in which she presents overtures, dances, arias, and duets from Handel’s enchanting, heart-rending, melodious, musi-cally magnificent operas. A timeless feast of Baroque music that will welcome concertgoers with love (and will certainly not drive them to despair).

Thursday, 11 AprilSymphony Concert 119.30 KKL Luzern, Concert HallTicket prices CHF 240/200/150/100/60/30Seating map 2, p. 26 | Event no. 19106

Filarmonica della ScalaRiccardo Chailly conductorDenis Matsuev piano

Pyotr Ilyich TchaikovskyPiano Concerto No. 1 in B-flat minor, Op. 23ca. 35’

Modest Mussorgsky/Maurice RavelPictures at an Exhibition ca. 35’

“I look up to Mussorgsky, because I think he is the greatest Russian composer,” Dmitri Shostakovich professed. But the most Russian of the Russian works by Mussorgsky, his Pictures at an Exhibition, actually is set in France and Italy as well: in the Tuileries, in Limoges, in the Roman catacombs. And it will be played in Maurice Ravel’s orchestral version (made in Paris) by the legendary Filarmonica della Scala Orchestra from Milan. Maestro Chailly will indulge his internation-al audience by combing Pictures with another of the greatest hits from Russia: Tchaikovsky’s B-flat minor Piano Concerto. Can there really be only one “great-est Russian composer”? Incidentally, the world premiere of this most famous of all piano concertos took place far from home: in Boston in 1875. The pianist had hands “as elastic as rubber, as durable as steel, as light as down feathers, and, if needed, as solid as granite,” Tchaikovsky rhapsodized about the soloist of the premiere, Hans von Bülow. Exactly the same might also be said of Denis Matsuev, the magnificent Russian virtuoso and prize-winner of the Tchaikovsky Competition.

Zurich Insurance Company Ltd – Main Sponsor

14 15

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Enjoy – Together

at the Concert

see p. 23

“I admire this music, I love it”Bernard Haitink on Anton Bruckner

Concert Introduction

17.30KKL Luzern, Auditorium

with Susanne Stähr (in German)

“Mozart’s instrumental music sounds like opera”

Iván Fischer

Sunday, 14 AprilSymphony Concert 3



Bavarian Radio Symphony Orchestra

Bernard Haitink conductorTill Fellner piano

Wolfgang Amadé MozartPiano Concerto in C major, K. 503

ca. 35’

Anton BrucknerSymphony No. 6 in A major,

WAB 106Performed in the version edited

by Leopold Nowakca. 55’

The grand Easter Festival finale celebrates two milestone anniversaries: Bernard Haitink will have just turned 90 in March, and the Bavarian Radio Symphony Or-chestra, which was founded in 1949, marks its 70th birthday. Haitink has chosen two of his “desert-island” composers: Mozart and Bruckner. Together with the Austrian pianist Till Fellner – who is likewise an unpretentious artist dedicated entirely to music – he will perform Mozart’s late-period, symphonically rich C major Piano Concerto, K. 503, and Bruckner’s Sixth Symphony, which Haitink has never before conducted in Lucerne. “Even as a child, I had a relationship with Bruckner,” the Dutch maestro once said. “I was eight years old when I lis-tened to a radio broadcast of the Eighth Symphony and was tremendously im-pressed. Since then I have never left this composer.” This great experience that he has gathered over the course of his career is what makes Haitink’s Bruckner interpretations seem so compelling and at the same time so natural.


Saturday, 13 AprilSymphony Concert 218.30 KKL Luzern, Concert HallTicket prices CHF 240/200/150/100/60/30Seating map 4, p. 27 | Event no. 19108

Bavarian Radio Symphony Orchestra Iván Fischer conductorJanine Jansen violin

Wolfgang Amadé MozartSymphony in C major, K. 338ca. 21’

Béla BartókViolin Concerto No. 1, Sz 36ca. 22’

Wolfgang Amadé MozartSymphony in E-flat major, K. 543ca. 32’

Béla BartókRomanian Dances for orchestra, Sz 68ca. 6’

“Mozart in Hungarian style” might be the title of this concert, with which the Bavarian Radio Symphony Orchestra will open its residency at the Easter Fes-tival. The Hungarian conductor Iván Fischer will juxtapose two symphonies of the Viennese classicist with music by Béla Bartók, with results that are sure to be insightful. As a teacher and pianist, Bartók has moreover made a significant contribution to the modern understanding of Mozart, giving the lie to all those clichés about graceful rococo art. “Through Bartók, we were made acquainted with a new Mozart, the right one,” recalled his pupil Júlia Székely, describing the composer’s unsentimental style of Mozart playing, which could even sound dramatic, austere, and dark. By the same token, Iván Fischer will upend the prejudices that regard Bartók as a supposedly “brittle” composer and show his popular side in orchestral dances as well as the sumptuous First Violin Concer-to. Fischer says that his enthusiasm for Bartók is by no means only the result of both of them hail from the same homeland: “I would also love his music if he came from Honolulu.”


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Seating Maps

Seating Map 1

Seating Map 2

Seating Map 3Event

Easter Festival 19107

Price per Categoryin CHF

I 120

II 100

III 80

IV 70

V 50

VI 30

Note on the seating maps: The organizer reserves the right to release individual sections for sale at a later date.Updated information on all available seats can be found at lucernefestival.ch.

Seating Map 4

Seating Map 5Event



I 240

II 200

III 150

IV 100

V 60

VI 30

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I 200

II 170

III 130

IV 90

V 60

VI 30

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I 240

II 200

III 150

IV 100

V 60

VI 30

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I 240

II 200

III 150

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VI 30

4. Gallery right3. Gallery right2. Gallery right1. Gallery right

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Front stalls gallery right

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4. balcony

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4. balcony

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4. balcony

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Hirschmattstr.

Morgartenstr.

Murbacherstr.

Winkelriedstr.

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Obergrundstr.Obergrundstr.

Hirschengraben

Bruchstr.

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Pilatusstr.

Pilatusstr.

Bahnhofstr.

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Hertensteinstr.

Dreilindenstr.

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VenuesKKL | KKL Luzern, Europaplatz 1, LuzernFK | Franziskanerkirche (Franciscan Church), Franziskanerplatz, LuzernJK | Jesuitenkirche (Jesuit Church), Bahnhofstrasse 11a, LuzernMH | Kirchensaal MaiHof (Church Hall MaiHof ), Weggismattstrasse 9, Luzern

ARRIVAL VIA TRAIN: YOUR CONCERT TICKET IS ALSO VALID AS A TRAVEL TICKET! Arrival and Departure by Train: 40% Rebate in the Swiss Rail NetworkAs a concertgoer you can receive a discount of 40% for 1st or 2nd class for a round trip to Lu-cerne. (The concert ticket must be presented to the inspector on the train.) With the half-fare card, the trip will cost only 30% of the full fare.

This special ticket must be purchased at a Swiss Rail ticket counter, by calling the Rail Service line at 0848 44 66 88 (CHF 0.08/min-ute in the Swiss telephone network), or online at the SBB ticket shop (sbb.ch/lucernefestival) before beginning your trip.

ARRIVAL VIA CARThe KKL Luzern is located right next to Lu-cerne’s main train station. Owing to the park-ing and traffic situation, we recommend using public transportation during the Festival sea-son. Guests who travel by car are advised to observe the city’s parking guidance system and to take the bus from the parking garages to the KKL Luzern. The parking garages are indicated on the ad-jacent map; you can find additional informa-tion at parking-luzern.ch. Park & RideSeveral train stations outside the City of Lu-cerne offer Park & Ride for rail travel to Lu-cerne. The following stations are especially convenient and provide ample parking: Sur-see, Rotkreuz, Zug, Wolhusen, Arth-Goldau, and Sarnen.

Would you like to learn more about Lucerne and its surrounding area? Are you in need of accommodation?Tourist InformationTourist Information LuzernZentralstrasse 5 | CH–6002 Luzernt +41 (0)41 227 17 17

AccommodationLucerne’s Tourist Office can help you find accommodation.Central reservations no.: t +41 41 227 17 27 | [email protected]

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Documents

EASTER FESTI VAL - musik-reisen.jp · a program of Gregorian chorales and music from their homeland by the com-posers Charles Gounod, César Franck, Camille Saint-Saëns, and Gabriel