Christina Pluhar © Marco Borggreve

Christina Pluhar & L‘Arpeggiata

“Music for a while shall all your cares beguile”. Has there ever been a more eloquent tribute to the salutary power of music than Purcell’s setting of these verses by John Dryden? Purcell was very much at home in London’s theatres, whose declared aim was to magic their audiences away into other (and better) worlds. For plays typically combining dance, song and the spoken word, Purcell wrote countless songs and incidental scores of bewitching beauty. With “Music for a While”, Christina Pluhar and her L’Arpeggiata ensemble have devised a homage to this late-17th century Orpheus britannicus, assembling early music specialists and jazz performers for the purpose and thus carrying on very much in Purcell’s liberal theatrical tradition. May the “while” be a very long one!

“Zugabe” Jörg Tröger in conversation with Christina Pluhar

Hanna Elisabeth Müller © Chris Gonz

Hanna-Elisabeth Müller & Juliane Ruf

Dazzled by Richard Strauss’ magnificent operas, one is sometimes tempted to lose sight of the fact that he is also one of the great Lied composers. In the course of his life he penned no fewer than 200 of these small-scale masterpieces. Alban Berg’s “Seven Early Songs” are an intriguingly ambivalent works, oscillating between his admiration for Strauss and the ideas of his teacher Arnold Schoenberg. To the ears of his contemporaries, Mussorgsky’s “Nursery” cycle must have sounded primitive and awkward, but the “wrong-note” harmonies were an intentional side-effect of his highly original musical idiom. Hanna-Elisabeth Müller’s “nursery” as a Lied singer was Thomas Hampson’s master-class at the 2009 Frühling. She is now a member of the Bavarian State Opera ensemble and in 2014 made her much-acclaimed debut in Arabella at the Salzburg Festival.

Hanna-Elisabeth Müller is
SWR2 New Talent


In cooperation with Ruprecht-Karls-Universität Heidelberg

Special thanks to
Freundeskreis Heidelberger Frühling



Jörg Tröger in an interview with Hanna-Elisabeth Müller

Hanna-Elisabeth Müller © Chris Gonz

Thomas Hampson © Kristin Hoebermann

Thomas Hampson & The Deutsche Kammerphilharmonie Bremen

“Serious” music in the United States was long defined solely by the musical traditions of Europe. Gradually, however, the ethnic and cultural diversity of the inhabitants asserted themselves and specifically “American” idioms began to emerge. These range from Samuel Barber’s “Serenade for Strings”, composed when he was only 18, and Aaron Copland’s celebration of the first settlers in his ballet “Appalachian Spring” with its folksong reminiscences to Leonard Bernstein’s exuberant overture to “Candide”. Thomas Hampson, who for many years has so greatly enriched the Frühling both musically and personally, presents a work written for him in 2009 by Michael Daugherty: “Letters from Lincoln”, a musical homage to the famous president and champion of the abolition of slavery.

Special thanks to
Freundeskreis Heidelberger Frühling



The concert will be recorded by
Deutschlandradio Kultur


Broadcast: 6 April 15 8:03pm Deutschlandradio Kultur

Ian Bostridge © Benjamin Ealovega

Ian Bostridge & Julius Drake

“Winterreise”, “Die schöne Müllerin”, “Schwanengesang”. Usually it’s the big Schubert song cycles that we get to hear in the concert hall, making it easy to forget for a moment that the composer wrote some 600 other songs besides. Tenor Ian Bostridge, internationally famed for his Schubert interpretations, has delved into this treasure trove and come up not only with hardy perennials but also a variety of little-known gems from the period 1816 to 1827 that impressively illustrate the way in which Lied composition was a constant component in Schubert’s creative life. With its history as a locus of Romanticism, song and poetry, Heidelberg is uniquely qualified to offer these treasures a forum and enable the festival audiences to immerse themselves in Schubert’s universe.

Ian Bostridge © Benjamin Ealovega

Ian Bostridge

Ian Bostridge’s international recital career has taken him to the Munich, Vienna and Schwarzenberg Schubertiade Festivals and to the main stages of Carnegie Hall and La Scala, Milan. He has held artistic residencies including a Carte-Blanche series with Thomas Quasthoff at the Amsterdam Concertgebouw (2004/2005), a Perspectives series at Carnegie Hall, the Wigmore Hall and Hamburg Laeiszhalle. His recordings have won all the major international record prizes and been nominated for 13 Grammys. Recent recording include ‘Three Baroque Tenors’ with the English Concert and Bernard Labadie, and Britten songs with Antonio Pappano for EMI. He has worked with et al. the Berlin Philharmonic, Chicago Symphony, BBC Symphony and Los Angeles Philharmonic orchestras.

His operatic appearances have included Lysander (‘A Midsummer Night’s Dream’) for Opera Australia at the Edinburgh Festival and Tamino (‘Die Zauberflöte’). Current and future plans include visits to several festivals as well as a recital tour of the United States.
In 2003 Ian Bostridge was made an Honorary Doctor of Music by the University of St Andrew’s and in 2010 he was made an honorary fellow of St John’s College Oxford. He will be Humanitas Professor of Classical Music at the University of Oxford 2014/2015.

Piotr Anderszewski © MG de Saint Venant

Piotr Anderszewski

Piotr Anderszewski is regarded as one of the outstanding musicians of his generation. He regularly performs at London’s Barbican Centre and Royal Festival Hall, the Wiener Konzerthaus, Carnegie Hall New York, the Mariinsky Concert Hall in St Petersburg and Munich’s Herkulessaal. His collaborations with orchestra have included appearances with the Berlin Philharmonic, the Chicago and London Symphony orchestras, the Philadelphia Orchestra and the Orchestra of the Royal Concertgebouw.

He has also given many performances directing from the keyboard, with orchestras such as the Scottish Chamber Orchestra, Sinfonia Varsovia and Deutsche Kammerphilharmonie Bremen.

Recognised for the intensity and originality of his interpretations, Piotr Anderszewski has been singled out for several high profile awards throughout his career, including the prestigious Gilmore award, given every four years to a pianist of exceptional talent. He has also been the subject of two award-winning documentaries by the film maker Bruno Monsaingeon for ARTE. The first of these, Piotr Anderszewski plays the Diabelli Variations (2001) explores Anderszewski’s particular relationship with Beethoven’s opus 120, whilst the second, Piotr Anderszewski, Unquiet Traveller (2008) is an unusual artist portrait, capturing Anderszewski’s reflections on music, performance and his Polish-Hungarian roots.

Christian Tetzlaff © Giorgia Bertazzi

Christian Tetzlaff & Deutsches Symphonie-Orchester Berlin

For many generations of composers, Beethoven has been the supreme ideal, the leading light. This is not only a function of his towering genius, expressing itself in magnificent works like the violin concerto of 1806 with its unprecedented insistence on long paragraphs and symphonic proportions, it is also due to his courageous life as an independent musician. Emulating this ideal, Franz Schubert attempted to achieve fame, financial security and artistic independence with music for the stage. Though much applauded, his overture to “Die Zauberharfe”, later used as incidental music for the play “Rosamunde”, suffered from being pressed into service to embellish a drama universally badmouthed as “boring nonsense”. A far cry from the 21-year-old Mendelssohn’s “Italian” Symphony, which immediately and gloriously conjures up impressions of delightful vistas and joyous departures. The ideal curtain-raiser for a spring festival!

Special thanks to
Prime Partner

Sabine Meyer © Thomas Rabsch EMI Classics

Sabine Meyer & Kammerorchester Basel

Working with Mozart or Mozart the Collaborator. These would be possible titles for the concert performed by world-ranking clarinettist Sabine Meyer and the Basel Chamber Orchestra. The first symphonic essay by the 8-year-old Salzburg prodigy (complete with corrections by über-father Leopold) and his great G minor symphony begin and end the programme. From the numerous arias written by Mozart for other people’s operas (either as a favour or for money) Andreas Tarkmann has made a selection of gems that he has reworked for clarinet and orchestra. In a work commissioned by Heidelberger Frühling, Marko Nikodijevič uses electronic samples from works by Mozart which he transforms into binary codes and then sensitively combines with field recordings of Serbian burial chants.

Special thanks to
Klaus Tschira Stiftung gGmbH



Logo Konzert des Deutschen Musikrats



The concert will be recorded  by



Broadcast: 06 June 15 8:03-10pm SWR2


Interview with Marko Nikodijevic (German)