Antje Weithaas & Mahan Esfahani

A different kind of cross-over: violinist Antje Weithaas and her duo partner Mahan Esfahani on the cembalo build a bridge between the music of the 18th and 20th centuries. Connecting moments here are the historical keyboard instrument, rediscovered about a hundred years ago and since then also considered by composers with new compositions, as well as Johann Sebastian Bach, who is omnipresent in this program. And then, of course, there is the great passion of both performers for old and new music.

Concert with intermission. Followed by KÜNSTLER | TALK for members of the Freundeskreis (Senatssaal).

In cooperation with Heidelberg University

Please check the current Corona regulations and our hygiene rules before attending the concert.

Vilde Frang & Herbert Schuch

Oh, how beautiful it is to sing on a violin! Vilde Frang, who already opened the Heidelberger Frühling 2014, is accompanied by Herbert Schuch. In Brahms’ warm, heartfelt first violin sonata, she intones two of the composer’s »Rain Songs«, while in the middle of Schubert’s C major Fantasy are virtuoso variations on the melody of the love song »Sei mir gegrüßt«. Bartók’s more avant-garde first sonata takes a decidedly different approach: form and tonality dissolve, the voices of violin and piano become independent. Singing becomes free rhapsody, the playing leads into furious dance.

Concert with intermission

In cooperation with the University of Heidelberg

Please check the current Corona regulations and our hygiene rules before attending the concert.

Hemsing. Müller-Schott. Stadtfeld.

The long-time festival friends Daniel Müller-Schott and Martin Stadtfeld, together with the Norwegian violinist Eldbjørg Hemsing, will form a piano trio on the opening weekend: even Beethoven’s Opus 1 was dedicated to the piano trio genre. Far more important, however, is his contribution listed as Opus 70/1, which is nicknamed the »Geistertrio« because of the spooky middle movement. While the German classical composer eventually wrote a total of seven piano trios in several movements, the Norwegian Edward Grieg completed only a single, melancholic and passionate piece for this instrumentation, the Andante con moto. Peter Tchaikovsky, on the other hand, actually rejected piano trios altogether for tonal reasons – and yet created his most valuable chamber music work with the A minor Trio.

Concert with intermission

In cooperation with the University of Heidelberg

Please check the current Corona regulations and our hygiene rules before attending the concert.

Standpunkte | Entgrenzung

Igor Levit overwrites his »Standpunkte« – the culmination phase of chamber music within the Heidelberger Frühling curated by him together with the festival – as »Entgrenzung« (Dissolution of Boundaries). Johann Sebastian Bach is the constant fixed point of the »Standpunkte« around the topic of »Entgrenzung«. Find out more about the »Standpunkte«.

Concert with a break »Standpunkte« subscription: 25% discount when booking five different »Standpunkte« events from March 31 to April 3, 2022. Available from our telephone card service (+49 (0) 6221 – 584 00 44) and from the Rhein- Neckar newspaper.

Please inform yourself about the current Corona regulations and our hygiene regulations before attending the concert.

In cooperation with the University of Heidelberg

Standpunkte.LAB | In memoriam Frederic Rzewski

With Frederic Rzewski, art had the task of critically reflecting on current events. He used his artistic means to challenge the public with societal, political and social issues. The composer died in New York in the summer of 2021. The performance of his monumental cycle of variations »The People United Will Never Be Defeated!« by Igor Levit in 2012 is unforgettable in the history of the festival. How can today’s young generation respond to this work in its musical and political dimensions? Curated by Igor Levit and the Heidelberger Frühling, the young artist Mert Yalniz takes on the original protest song together with young musicians he has chosen and creates his own work and a concert format in memory of his great role model Rzewski.

The result will be premiered that evening.

Find out more about the »Standpunkte«.

Concert with intermission

Please inform yourself about the current Corona regulations and our hygiene regulations before attending the concert.

Standpunkte | Levit’s Late Night

Levit’s Late Night has long been an institution at the Heidelberger Frühling and stands for an intimate encounter with artistic content and its interpreters. This time Franz Liszt and Ferruccio Busoni and their Bach arrangements are at the center of the program, which Igor Levit will contest with Cosima Soulez Larivière and Fabian Müller (both alumni of the Chamber Music Academy).

Bach’s construction principles became the medium for the two composers in their search for consolation and orientation. At the end of Liszt’s piano variations on “Weeping, Lamenting, Worrying, Feeling” stands – just like in Bach’s Weimar cantata of the same name – the conciliatory chorale “What God does, that’s probably done”. The »Fantasia contrappuntistica« by Ferruccio Busoni, on the other hand, has a chorale sound right at the beginning, in order to then attempt a genuinely maximalist homage to Bach. It is as if ten fingers encompassed the whole world.

Find out more about the »Standpunkte«.

Concert without a break (approx. 90 min)

In cooperation with the University of Heidelberg

Please inform yourself about the current Corona regulations and our hygiene regulations before attending the concert.

Change of program and line-up: Streichquartettfest | RIHM-Night

Unfortunately, the Minguet Quartet cannot take part in the Streichquartettfest due to a corona infection of a member. However, thanks to the commitment of the other quartets and in close cooperation with Wolfgang Rihm, it was possible to replace the program items with works suggested by the respective quartets from their current repertoire. As well as through selected piano pieces that the Karlsruhe pianist and Rihm friend Florian Steininger will bring with him.

Please inform yourself about the current Corona regulations and our hygiene regulations before attending the concert.

Podcast with Nepomuk Braun from Adelphi Quartet (in German)

Podcast with Raphael Paratore from Goldmund Quartet (in German)

Streichquartettfest | Adelphi Quartett & Leonkoro Quartet

“The piece is to be performed extremely emphatically and with lots of gestures,” is Wolfgang Rihm’s playing instructions for his second string quartet, which he composed when he was 18 years old. Schumann’s enthusiastic, suction-suggestive A major quartet calls for something similar, only in Italian: “agitato”, “espressivo” and “risoluto”. The great G major quartet by Dvořák, which is characterized by relaxed creativity, then frame Rihm’s “little things”: the first two pieces from his eight-part work group “Fetzen” and “In Connectedness” – an expression of his longstanding artistic friendship with the London Arditti String Quartet.

€ 29 | 19 Half-day ticket including reading with Eleonore Büning. Concert with a break.

Please inform yourself about the current Corona regulations and our hygiene regulations before attending the concert.

Podcast with Nepomuk Braun from Adelphi Quartett

Podcast with Amelie Wallner from Leonkoro Quartet

Streichquartettfest | Goldmund Quartett

Quartet No. 4 is something like the classic among Wolfgang Rihm’s string quartets. Composed in 1983 and dedicated to the Alban Berg Quartet, the soulful and passionate work has since been performed by numerous other ensembles. The »Grave in memoriam Thomas Kakuska« forms the counterpart, so to speak, because it was created in 2005 as a kind of requiem for the long-time violist of the Alban Berg Quartet. Between these “mountain works” stands Antonín Dvořák’s “American” string quartet, which is shaped by the vastness of the Iowa landscape.

Concert with a break. Please inform yourself about the current Corona regulations and our hygiene regulations before attending the concert.

Streichquartettfest | Quatuor Danel

A group of works by Wolfgang Rihm is called »Across the Line«. In this context, the seemingly wordless chants of the wind instrument are to be seen as clarinet pieces “Four Times” from the year 2000. An arabesque music of dazzling wealth heard in the string quartet by Debussy. Rihm’s one-movement sextet, commissioned for the Quatuor Danel, adds a horn to the line-up of Brahms’ clarinet quintet. The fact that the latter was declared a progressive composer by Schönberg is primarily due to the technique of “developing variation”, which is exemplified in the Brahms ‘A minor quartet.

Please check before the concert of the current corona regulations and our hygiene regulations.