Juergen Boos

Juergen Boos trained as a publisher at Herder Verlag (Freiburg) in the early 1980s and has degrees in both Marketing and Organisational Theory. He has held management positions at Droemer Knaur Verlag (Munich), Carl Hanser Verlag (Munich), as well as Springer Science and Business Media (today Springer Science) and John Wiley & Sons (Weinheim). He became President and CEO of the Frankfurter Buchmesse GmbH (Frankfurt Book Fair) in 2005 and is President of LITPROM (Society for the Promotion of African, Asian and Latin American Literature) and Managing Director of LitCam (Frankfurter Buchmesse Literacy Campaign).

On 20 November 2013, he was awarded the Austrian Cross of Honour for Science and Art. In January 2017, Juergen Boos received an honorary degree from the Ivane Javakhishvili Tbilisi State University. In February 2018, he was conferred the cultural distinction of “Chevalier des Arts et des Lettres“ (Knight of the Order of Arts and Letters) at the French embassy in Berlin. He is also a member of the Scientific Committee of Sheikh Zayed Book Award and a member of Akademie Deutscher Buchpreis (German Book Prize Academy).

Elizabeth Diller

Elizabeth Diller is a founding partner of Diller Scofidio + Renfro (DS+R). Liz’s cross-genre work has been distinguished with TIME’s “100 Most Influential People” list and the first MacArthur Foundation fellowship awarded in the field of architecture. She is currently leading two cultural works significant to New York: The Shed—the first multi-arts center designed to commission, produce, and present all types of performing arts, visual arts, and popular culture – and the expansion of MoMA (both opening 2019). Liz also created, directed and produced The Mile-Long Opera, an immersive choral work staged on the High Line. Most recently, DS+R was selected to design the Centre for Music, a permanent home for the London Symphony Orchestra and a new Collection and Research Centre for the V&A in London’s Olympic Park. Liz is a Professor of Architecture at Princeton University.

Mark Berry

Mark Berry was born and grew up in Yorkshire, proceeding to study and to teach at the University of Cambridge. Since 2009, he has taught at Royal Holloway, University of London, where he is Reader in Music History. Equally at home in history and musicology, ranging from the later seventeenth century to the present day, his publications include Treacherous Bonds and Laughing Fire: Politics and Religion in Wagners ‘Ring’ (Ashgate/Routledge, 2006), After Wagner: Histories of Modernist Music Drama from ‘Parsifal’ to Nono (Boydell: 2014), and Arnold Schoenberg (Reaktion, 2019). The Cambridge Companion to Wagner’s ‘Der Ring des Nibelungen’, of which he is co-editor, will be published next year. Dr Berry is now starting work on a critical study of Mozart’s operas and sacred music. He also regularly writes programme notes for major international orchestras, festivals, and houses (e.g. Salzburg and Bayreuth Festivals, Teatro Real Madrid, London Philharmonic Orchestra, the BBC Proms), as well as speaking to academic and non-academic audiences across the world, from Seattle to Vienna. He regularly reviews concert and opera performances, as well as writing on other musical topics, for a variety of publications and websites, most of which are also published on his blog, ‘Boulezian’.

Lukas Bärfuss

Lukas Bärfuss (*1971) lives and works as a writer in Zurich. He writes novels (One Hundred Days, 2008; Koala, 2014 and Hagard, 2017) and plays (The Sexual Neuroses of Our Parents, The Bus and Oil, among others) that are being staged to critical acclaim around the world. His works have been awarded the Mülheimer Dramatikerpreis (2005), the Berliner Literaturpreis (2013) and the Swiss Literature Prize (2014). He has published two collections of essays (Stil und Moral, 2015 and Krieg und Liebe, 2018). Since 2015, Lukas Bärfuss has been a member of the prestigious German Academy of Language and Literature.

Jan Assmann

Jan Assmann, Dr. phil. (born 1938) taught as full professor Egyptology at Heidelberg University from 1972 to 2003 and is since 2005 Honorary Professor of Cultural and Religious Theory at Constance. He has published on ancient Egyptian religion, literature and history, on cultural theory (“cultural memory”), history of religion (“monotheism and cosmotheism”), the reception of Egypt in European tradition, literary theory and historical anthropology. Assmann taught as visiting professor in Paris, Oxford, Jerusalem and in various universities in the USA (Rice, Yale, Chicago). He received honorary degrees from Münster, Yale and Jerusalem (Hebrew University) and is member of various German and foreign Academies.

Daniel Libeskind

An international figure in architecture and urban design, the architect Daniel Libeskind is renowned for his ability to evoke cultural memory and is informed by a deep commitment to music, philosophy, and literature. Mr. Libeskind aims to create architecture that is resonant, original, and sustainable. Born in Lód’z, Poland, in 1946, Mr. Libeskind immigrated to the United States as a teenager and, with his family, settled in the Bronx. After studying music in New York and Israel on an American-Israel Cultural Foundation Scholarship, he developed into a musical virtuoso, before eventually leaving music to study architecture. He received his professional degree in architecture from the Cooper Union for the Advancement of Science and Art in 1970 and a postgraduate degree in the history and theory of architecture from the School of Comparative Studies at Essex University in England in 1972.

Daniel Libeskind established his architectural studio in Berlin, Germany, in 1989 after winning the competition to build the Jewish Museum in Berlin. In February 2003, Studio Libeskind moved its headquarters from Berlin to New York City when Daniel Libeskind was selected as the master planner for the World Trade Center redevelopment. Daniel Libeskind’s practice is involved in designing and realizing a diverse array of urban, cultural and commercial projects internationally. The Studio has completed buildings that range from museums and concert halls to convention centers, university buildings, hotels, shopping centers and residential towers.

As Principal Design Architect for Studio Libeskind, Mr. Libeskind speaks widely on the art of architecture in universities and professional summits. His architecture and ideas have been the subject of many articles and exhibitions, influencing the field of architecture and the development of cities and culture. Mr. Libeskind lives in New York with his wife and business partner, Nina Libeskind.

In addition to the New York headquarters, Studio Libeskind has European partner offices based in Zürich, Switzerland.

Opening speech »Standpunkte«: Prof. Dr. Norbert Lammert

Admission free please tell us you’re coming by sending an email to heidelberger-fruehling@heidelberg.de

Prof. Dr. Norbert Lammert

Professor Norbert Lammert has served as President of the German Bundestag from October 2005 to October 2017. On 22 October 2013, the Members of the Bundestag re-elected him to the top parliamentary post. In terms of protocol, he ranks second only to the President of the Federal Republic. As President of the Bundestag he ensures that Parliament’s rules are upheld and represents Parliament in the public sphere. He also heads the Bundestag Administration, which has around 2500 members of staff, and the Bundestag police.

Political career

Norbert Lammert was born in 1948. After obtaining his Abitur (higher-education entrance qualification) and completing military service, he studied political science, modern history and social economics in Bochum and at Oxford.

He joined the Christian Democratic Union (CDU) in 1966. In 1975, he obtained his doctorate in social science. After holding a range of political posts at local and regional level, he was elected to the Bundestag in 1980. He served as deputy chairman of the Committee for the Scrutiny of Elections, Immunity and the Rules of Procedure from 1983 to 1989, then as a parliamentary state secretary at various federal ministries in the 1990s.

Above the party fray

Regarding his post as President of the Bundestag, he says: “This post is unlike almost any other political office, in fact, because it is clearly positioned at the heart of the political action, not outside of active politics, yet at the same time the President is – as laid down in the Bundestag’s Rules of Procedure – above the party fray. This balancing act demands a great deal of skill at times and is, in a sense, a never-ending intelligence test which every President is required to undertake.”

Cultural policy: not a diversion

Norbert Lammert ensures that Members do not cross the line in the Bundestag’s lively debates. “In my opinion, it does the Bundestag no harm for there to be lighter moments amidst the serious matters we deal with,” he says.

He is keenly interested in cultural policy. In his view, art is not one of life’s most pleasant diversions; it is one of the essentials. “Because what will remain of this generation in our country’s collective memory is not the tax laws we have passed, or the miles of motorway we have built, or the benefits we have increased or reduced; it is our artistic and cultural achievements which will be passed on to future generations,” Lammert says.

Nils Grosch

Nils Grosch holds the chair in Musicology at the University of Salzburg/Austria where he is also Director of the Department of Music und Dance studies. He gained his doctorate at the University of Freiburg i. Br. with a dissertation about „Die Musik der Neuen Sachlichkeit“, and completed his habilitation at the University of Basle with a thesis about „Lied und Medienwechsel im 16. Jahrhundert“. His major research interests are music and media, music and migration, and popular musical theatre.

Inga Mai Groote

Inga Mai Groote is Professor of Musicology at the University of Heidelberg since 2015. She read Musicology, History, and Italian Philology at the University of Bonn and held positions at the universities of Munich, Zurich and Fribourg/Üe. Her current research concentrates on early modern and late 19th-century music history, and on the history of music theory (including a project in the Heidelberg Collaborative Research Centre „Material Text Cultures“, SFB 933); she is also part of an international research project investigating the role of collective musical memory in pre-modern Europe („Sound Memories“, HERA-JRP, 2016–19).