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DTSTART;VALUE=DATE:20250718
DTEND;VALUE=DATE:20250907
DTSTAMP:20260405T151220
CREATED:20250519T165816Z
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SUMMARY:Gstaad Menuhin Festival 2025
DESCRIPTION:The 2025 Gstaad Menuhin Festival edition explores migration across four dimensions: Origin; Escape to Exile; Inner Emigration; Nostalgia. \nMigration stands among the most pressing challenges facing global society today\, alongside climate change\, conflicts around the world and the ripple effects they bring. Leaving one’s homeland – whether by choice or under duress – and beginning anew in exile often leads to profound ruptures in personal histories. By 2022\, nearly 40% of Switzerland’s population had a migration background\, underscoring how deeply migration shapes modern society. Embracing the unfamiliar\, whether through the local Italian restaurant or the kebab stand at the station\, is part of daily life. The 2025 edition of Gstaad Menuhin Festival & Academy seeks to illuminate the many dimensions of migration through the language of music. \nMusic has the unique ability to reflect the emotional spectrum of migration\, from the pain of displacement to the hope of new horizons. Central topics such as memory\, identity and belonging find expression through music\, offering a source of resilience and connection. Music becomes a medium for the deep\, unspeakable yearning for what is familiar\, what is lost and what has been left behind. It also serves as a “repository” for those who are displaced or have a background in migration. It serves as a cultural archive and a means of preserving traditions\, while also acting as a conduit for intercultural exchange and the reimagining of social and artistic landscapes. \nDuring the 2025 Festival edition\, we explore migration across four dimensions: “Origin”: Music rooted in one’s homeland; “Escape to Exile”: Music born from the experience of flight and exile; “Inner Emigration”: Music by composers living under oppressive political regimes or those who\, whether by choice or necessity\, turn inward to find a path to self-liberation; “Nostalgia”: A yearning for the homeland left behind\, voluntarily or otherwise – capturing the deep ache of homesickness. \n  \nIn 1957 Yehudi Menuhin and his family moved to Gstaad where he was fascinated and inspired by the elemental power of the region’s natural environment and commanding mountains. He was impressed not only by the Saanenland’s magnificent alpine arena\, but also by the meeting of Western Switzerland\, German-speaking culture\, and the nearby South with its Italian lifestyle. Since Gstaad and its surrounding area also offered an ideal environment for an international education for his children (among others\, the «Le Rosey» Institute and the International Kennedy School are based in the Saanenland)\, Menuhin settled with his family in the area. Walking in the mountains with his children\, the city-dweller discovered the natural world of the native population\, who were also to inspire Menuhin with their folklore and music.
URL:https://gfpa.ngo/event/gstaad-menuhin-festival-2025/
LOCATION:Gstaad\, Gstaad\, Switzerland
CATEGORIES:Festivals
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DTSTART;VALUE=DATE:20240712
DTEND;VALUE=DATE:20240901
DTSTAMP:20260405T151220
CREATED:20231216T162237Z
LAST-MODIFIED:20231216T162306Z
UID:10000187-1720742400-1725148799@gfpa.ngo
SUMMARY:Gstaad Menuhin Festival 2024
DESCRIPTION:The Gstaad Menuhin Festival & Academy 2024 will run from 12 July through until 31 August in Gstaad\, Switzerland. \n  \nWritten orders for all concerts at the Gstaad Menuhin Festival 2024 are possible from 15 December 2023. \n\n\n\nTickets for the concerts in the Gstaad Festival Tent are available online and by phone as of 15 December 2023\, for all other concerts on 1 February 2024. \n\n\n  \n  \nTRANSFORMATION – CYCLE “CHANGE II” \nWe find ourselves in a time of change. Our organisation is committed to execute the Festival in a more resource-efficient and sustainable manner\, thereby positioning it in the right place for the future. With this project\, named “Mission Menuhin”\, we eagerly enter the second year of our three-year programme cycle “Change”. \nTransformation. Transformation has always been an integral part of human development\, or else we would still be dwelling in caves nowadays. However\, the term “transformation” is being used excessively in the years 2023 and 2024. In the current German coalition agreement\, the term appears no less than a total of forty-two times. The energy transition is a technology revolution of huge impact\, while the term digital transformation has been introduced to talk about the various changes in business and society due to the increased usage of digital technologies. Social values are changing rapidly\, and anything that needs to change must undergo processes of transformation. Clinging to the old equals stagnation. Innovation is in high demand. The continuous pursuit of the unknown has kept the cultural scene in an unceasing state of change from the very beginning. Humanity continues to evolve culture from one generation to the next\, constantly shedding new light on their own surroundings. Simultaneously\, it requires courage to create something new and to experiment. To maintain relevance\, we must exhibit a certain level of consistency and radicalism in artistic expression. We need new concert forms\, fresh formats\, innovative modes of expression\, and new musical languages to effectively fulfill our cultural mission and\, in the process\, reach new audiences. \nTransformation unleashes forces\, as resources are converted into new forms of expression. The energy gained from transformation is the only element that can reduce the acceleration of climate change\, accompanied by the adoption of new\, sustainable energy sources. Transformative processes within our society also come along with altered ways of life\, new values\, shifts in mindset\, new positionings and priorities\, as well as the rise of a new generation\, the Generation Z (1995 – 2010)\, which fundamentally embraces different stances regarding sustainability and climate protection\, as evidenced by global movements like “Fridays for Future”. \n“Trans” is a Latin preposition that translates to “across” or “beyond”. It signifies movement from one place to another (trans-port)\, or a transition from one state to the next (trans-formation). In nature\, transmissions guide the journey from the earthly realm to the ethereal\, or even the mystical (trans-cendence). Values and knowledge are handed down from one generation to the next (trans-mission)\, close connections and cultural exchange facilitate the transfer of language (trans-lation)\, and so on … \nIn view of the 68th edition of Gstaad Menuhin Festival & Academy 2024\, our aim is to infuse these transformative energies into music. Therefore\, we’ve grouped all concerts into three thematic areas\, creating a programme that unfolds on three unique levels: “Trans-cendence”\, “Trans-Mission”\, and “Trans-Classics”. \nMusic inherently wields a profound metaphysical influence\, hovering in its expression between the earthly and the ethereal\, between sensual perception and access to formless dream worlds. The transcendence of a tragic moment through love forms the core of Richard Dehmel’s “Verklärte Nacht”\, that inspired Arnold Schönberg in composing his eponymous string sextet in 1899. The transcendental quality in the songs of Franz Schubert and the lyrical elements in his mass compositions beautifully converge in his Mass No. 5 in A-flat major. From Richard Strauss’ “Metamorphosen” resonates a transcendent music\, liberated from all externalities\, that bears witness to profound emotional turmoil\, which burdened Strauss heavily after witnessing the destruction of his hometown\, Munich\, in 1946. Few operatic works delve as deeply into the yearning for transcendence as Wagner’s “Tristan”. The wish for annihilation in “love-death” as the only path to the union of lovers and the glorification of night as a mysterious metaphysical homeland: Friedrich Nietzsche even called “Tristan and Isolde” the “true opus metaphysicum of all the arts”. In Gustav Mahler’s Symphony No. 1\, the core concept revolves around the idea of suffering. Bearing the subtitle “Titan” in reference to a writing by Jean Paul\, it follows the structure of a funeral march after the first two movements\, mourning the world’s misery and sorrow. The finale commences as “the sudden eruption of a profoundly wounded heart” (in Mahler’s own words). Differing from Goethe’s “Werther\,” the final movement concludes with an apotheosis. During its first performance in Weimar\, the choral movement was titles “Dall’ Inferno al Paradiso” (“From Hell to Paradise”). \nIn Gustav Holst’s “The Planets”\, the focus shifts towards celestial music. The suite sketches the life journey of a person from youth to the old age\, who\, after leaving behind their human life\, ascends to a new mystical plane. Along this journey\, specific stages of personality development are portrayed through individual planetary movements. These movements encapsulate the entire spectrum of human personality\, commencing with Mars as a symbol of rebellion\, youth\, and aggression and culminating with Neptune\, representing metaphysical clarity and tranquillity (Source: Greene\, Richard. Holst: The Planets. Cambridge University Press\, 1995). All seven movements as part of the composition embody the musicalization of a human soul’s journey\, serving the personal process of self-maturation and culminating in the transcendence of the soul to a higher level of consciousness. \nWe delve into the concept of “Trans-Mission” when it comes to the evolution of values\, knowledge\, culture and traditions across generations and eras. The transfer of wisdom\, sharing experiences from one generation to the next\, from idols to their admirers\, from mentors to students\, from parents to children\, … all of it is intertwined with change\, challenges of adaptation\, metamorphosis\, and reorientation. What we’ve been practicing as part of our academies for many years in the spirit of our Festival founder\, Yehudi Menuhin\, will now also become a central part of our concert programme. Think about Mozart\, who pays tribute to his idol when dedicating his string quartets to Haydn\, or about Bruckner and his art of transforming harmonies as made popular by Wagner in his Symphony No. 7\, or the portrait of the almost forgotten 19th-century cellist Lisa Cristiani\, or the premieres of composers like Emilie Mayer and Fanny Hensel – transmission is understood as the preservation and dissemination of musical values and compositions and is considered in the context of the constant transformation of the social environment in today’s world. \nFinally\, we’ll get to explore what we call the “Trans-Classics” series\, which deals with the realm of performance and concert formats. I am convinced that in 10 years\, there will be no more festivals revolving purely around classical music. Even in physical performance formats\, transformations will occur\, especially when it comes to the most “basic principle” of analogue performances: the concert. In the Baroque and Classical eras\, concertgoers freely imbibed\, dined\, conversed\, even danced\, and made love during performances. However\, as the Biedermeier and Romantic periods unfolded\, and the educated bourgeoisie took centre stage\, a distinct style of concert emerged\, and its traditions continue to show their influence up until today. This includes dress codes for musicians and the audience\, and suddenly\, applause was only allowed at designated moments during the concert\, next to strict times for entry and exit. Fortunately\, classical music organisers have recognised that new audience segments and the younger generations have different expectations for the live music experience compared to what was considered the norm until recently. They want to be caressed\, stimulated\, challenged\, but also just entertained by music. The classical music world is currently going through a period of transformation. To engage people and capture their long-term interest\, there is a high demand for a shift and transformation in concert formats. The conventional classical concert format can no longer rely on repeating the same patterns and routines. Instruments are no longer confined to a specific era or genre; they traverse boundaries and evolve within concert programmes. The ideas behind programmes and styles of performances are transforming. The distinction between the so-called “E”- and “U”- music (the “high” and rather “popular” music) is becoming blurred. There will be fewer classical concerts in the “puristic” style in the future. The scene calls for opening itself and a character marked by accessibility and broad appeal. Musicians are exemplifying this transformation through inventive programme sequences and configurations\, blending genres\, styles\, epochs\, and exploring novel modes of expression and interpretation. When a lutenist and a soprano perform John Dowland\, Henry Purcell\, and Bob Dylan in the same program\, or when a guitarist\, backed by a Baroque orchestra\, intertwines Vivaldi and Bach with Beatles classics\, it can be seen as an immersive concert experience. When a breakdance group interpret Mozart\, we perceive it as enthralling and pioneering – a concert format rich of experiential value. When a classical string quartet freely improvises on jazz and pop standards following a rendition of Shostakovich\, and the evening culminates in a DJ party or ultimately when Dvorak’s Bohemian folk music becomes woven into his symphonies\, these are transformative processes\, accompanied by the deliberate dismantling of outdated barriers. \nHow do we place the concerts of the “Music for the Planet” series within the context of transformation? Venice\, a city of longing and dreams\, a city steeped in the echoes of its glorious musical past\, yet it also symbolises death as a place of haunting\, of immersion in forces that cannot be controlled. In her tribute to Venice\, Anastasia Kobekina meditates through a blend of old and new melodies on the imagery of dreams and the grand topic of the transience of this lagoon city\, whose existence is now challenged by rising sea levels. \nPatricia Kopatchinksja’s “Time and Eternity” delves into stages of transformation\, moments of catastrophic warfare and their consequences\, while also embracing hope. In 1939\, Karl Amadeus Hartmann composed his Concerto funebre as an expression of despair in face of the horrors unleashed by the Nazi regime\, which threatened the European civilization with its downfall. The Concerto funebre can be seen as a portrayal of passion\, a testimony to the suffering inflicted upon humans\, all living beings\, the very act of creation itself\, and\, perhaps\, even the Creator (God?). In his Polyptyque (a violin concerto composed in 1973 for Yehudi Menuhin)\, Frank Martin set to music the Passion of Christ\, drawing inspiration from paintings by Duccio di Buoninsegna (ca. 1255 – 1319) that he saw on the backside of the famous Maestà Altarpiece in Siena. Frank Martin found himself moved by the narrative of the Passion\, which tells of God’s empathy with the suffering of the world. According to the Christian belief\, this suffering paves the way for eternal redemption – a wellspring of hope during times of transformative upheaval\, including the challenges posed by climate change. \nWhat does change\, any form of transformation within myself\, within all of us really mean? As we navigate between societal responsibility and our individual lives\, and oscillate between pessimism and hope\, the 2024 Festival edition offers countless opportunities to collectively explore these questions. Surrounded by music\, with all its varying emotions\, images\, and thematic connections\, there is more time and space to contemplate these significant questions than in our hectic everyday lives. \nInspired by the programme of the 68th Gstaad Menuhin Festival & Academy 2024\, we look forward to sharing a transformative\, energising\, and joyful summer of concerts with our audience from July 12th to August 31st\, 2024. \nFired up and filled with enthusiasm\,\nChristoph Müller\nArtistic Director\, Gstaad Menuhin Festival & Academy \n\n\n\n\n  \n  \nIn 1957 Yehudi Menuhin and his family moved to Gstaad where he was fascinated and inspired by the elemental power of the region’s natural environment and commanding mountains. He was impressed not only by the Saanenland’s magnificent alpine arena\, but also by the meeting of Western Switzerland\, German-speaking culture\, and the nearby South with its Italian lifestyle. Since Gstaad and its surrounding area also offered an ideal environment for an international education for his children (among others\, the «Le Rosey» Institute and the International Kennedy School are based in the Saanenland)\, Menuhin settled with his family in the area. Walking in the mountains with his children\, the city-dweller discovered the natural world of the native population\, who were also to inspire Menuhin with their folklore and music.
URL:https://gfpa.ngo/event/gstaad-menuhin-festival-2024/
LOCATION:Gstaad\, Gstaad\, Switzerland
CATEGORIES:Festivals
ATTACH;FMTTYPE=image/jpeg:https://gfpa.ngo/wp-content/uploads/2023/12/Gstaad-Festival-2024-e1702742995528.jpg
ORGANIZER;CN="Gstaad Menuhin Festival & Academy":MAILTO:info@gstaadmenuhinfestival.ch
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DTSTART;VALUE=DATE:20230714
DTEND;VALUE=DATE:20230903
DTSTAMP:20260405T151220
CREATED:20221116T152021Z
LAST-MODIFIED:20230806T125524Z
UID:10000042-1689292800-1693699199@gfpa.ngo
SUMMARY:Gstaad Menuhin Festival 2023
DESCRIPTION:The Gstaad Menuhin Festival 2023 will be held from 14 July to 2 September 2023 under the title\, “Humility”. \nIn 1957 Yehudi Menuhin and his family moved to Gstaad where he was fascinated and inspired by the elemental power of the region’s natural environment and commanding mountains. He was impressed not only by the Saanenland’s magnificent alpine arena\, but also by the meeting of Western Switzerland\, German-speaking culture\, and the nearby South with its Italian lifestyle. Since Gstaad and its surrounding area also offered an ideal environment for an international education for his children (among others\, the «Le Rosey» Institute and the International Kennedy School are based in the Saanenland)\, Menuhin settled with his family in the area. Walking in the mountains with his children\, the city-dweller discovered the natural world of the native population\, who were also to inspire Menuhin with their folklore and music. \nThe roots of the Gstaad Menuhin Festival go back to the year 1956 when Paul Valentin\, the director of tourism at the time\, asked Yehudi Menuhin if he would be willing to enhance the summer season with some concerts. Menuhin immediately took to the idea and rang in the birth of the festival only one year later in the Mauritius Church in Saanen. Four musicians came together for “Two Exclusive Concerts” on 4 and 6 August 1957. The four legendary musicians were: Maurice Gendron\, cello\, Benjamin Britten\, piano and harpsichord\, Peter Pears\, tenor\, and Yehudi Menuhin\, of course. From then on the summer concerts in the Saanenland came to be called the «Yehudi-Menuhin-Musiksommer». The two events become nine\, mainly chamber music concerts and concerts with chamber orchestras\, and from 1958 on the famous Zurich Chamber Orchestra under the direction of Edmond de Stoutz also took part. From the beginning the festival was strongly inspired by Menuhin’s intense relationship and interaction with the alpine splendour of the Bernese Oberland. Menuhin’s family (for example\, Yehudi’s sisters Hephzibah and Yaltah or his son Jeremy) and friends (including Ernst and Lory Wallfisch\, Louis Kentner and Peter Lukas Graf) contributed to the success of the unforgettable chamber music evenings in the beautiful church of Saanen. The spirit of making music with friends would become the festival’s Leitmotif.
URL:https://gfpa.ngo/event/gstaad-menuhin-festival-2023/
LOCATION:Gstaad\, Gstaad\, Switzerland
CATEGORIES:Festivals
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ORGANIZER;CN="Gstaad Menuhin Festival & Academy":MAILTO:info@gstaadmenuhinfestival.ch
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