Robert Valentine — Sonata No. 4 in B-flat major

Georg Philipp Telemann — Viola da Gamba Fantasia No. 12

Georg Friedrich Händel — 2nd Sonata in E minor

Anne Danican Philidor — Sonata in D minor

Georg Philipp Telemann — Viola da Gamba Fantasia No. 6 & Viola Concerto

Richard Elliot Haynes — clarinets in C and G

Tatjana Fuog — organ

Music by Clara Schumann, Robert Schumann, Johannes Brahms and Philip Feeney

Cathy Marston — choreography & production
Daniel Capps — conductor
Philip Feeney — composer & arranger
Ragna Schirmer — piano soloist
Philharmonia Zürich — orchestra
Ballett Zürich — ballet
Junior Ballett — children’s ballet

TICKETS

Music by Clara Schumann, Robert Schumann, Johannes Brahms and Philip Feeney

Cathy Marston — choreography & production
Daniel Capps — conductor
Philip Feeney — composer & arranger
Ragna Schirmer — piano soloist
Philharmonia Zürich — orchestra
Ballett Zürich — ballet
Junior Ballett — children’s ballet

TICKETS

Music by Clara Schumann, Robert Schumann, Johannes Brahms and Philip Feeney

Cathy Marston — choreography & production
Daniel Capps — conductor
Philip Feeney — composer & arranger
Ragna Schirmer — piano soloist
Philharmonia Zürich — orchestra
Ballett Zürich — ballet
Junior Ballett — children’s ballet

TICKETS

Walter Feldmann « une géométrie » (2005–2007) based on the triptych « une géométrie » von Anne-Marie Albiach

I. « figurations de mémoire »  Synchroniestudie Nr. 2 (2005–2006), version for reed quintet (2017)
II. « incantation » (2007) for solo guitar, bass flute, baritone saxophone and viola
III. « vertical et blanc » (2006) for alto/bass flute, bass clarinet, baritone saxophone, two violas and guitar

Elise Jacoberger — bassoon
Ivana Pristašová — viola
Jonas Tschanz — baritone saxophone
Karin Dornbusch — bass clarinet
Martin Bliggenstorfer — cor anglais
Mats Scheidegger — guitar
Nils Kohler — bass clarinet
Petra Ackermann — viola
Richard Elliot Haynes — clarinet, bass clarinet
Walter Feldmann — alto & bass flute

Christoph-Mathias Mueller — conductor

TICKETS

Mein Lied von der Erde / My Song of the Earth

Based on Gustav Mahler’s original work Das Lied von der Erde

I. Das Trinklied vom Jammer der Erde — arr. Leo Hofmann & Sasha Amaya
II. Der Einsame im Herbst — arr. Yiran Zhao
III. Von der Jugend — arr. Leo Hofmann & Sasha Amaya
IV. Von der Schönheit — arr. Richard Elliot Haynes
V. Der Trunkene im Frühling — arr. Sasha Amaya
VI. Der Abschied — arr. Leo Hofmann, Yiran Zhao, Richard Elliot Haynes & Sasha Amaya

Ensemble Proton
Bettina Berger — piccolo, flute, bass flute
Martin Bliggenstorfer — oboe, cor anglais, lupophone
Richard Elliot Haynes — clarinet in Eb, basset horn in G, contrabass clarinet
Elise Jacoberger — bassoon, contraforte
Vera Schnider — harp
Coco Schwarz — piano, synthesiser
Malwina Aram-Sosnowski — violin
Jan-Filip Ťupa — violoncello

Leo Hofmann — performance
Sasha Amaya — performance
Yiran Zhao — performance

Mein Lied von der Erde / My Song of the Earth

Based on Gustav Mahler’s original work Das Lied von der Erde

I. Das Trinklied vom Jammer der Erde — arr. Leo Hofmann & Sasha Amaya
II. Der Einsame im Herbst — arr. Yiran Zhao
III. Von der Jugend — arr. Leo Hofmann & Sasha Amaya
IV. Von der Schönheit — arr. Richard Elliot Haynes
V. Der Trunkene im Frühling — arr. Sasha Amaya
VI. Der Abschied — arr. Leo Hofmann, Yiran Zhao, Richard Elliot Haynes & Sasha Amaya

Ensemble Proton
Bettina Berger — piccolo, flute, bass flute
Martin Bliggenstorfer — oboe, cor anglais, lupophone
Richard Elliot Haynes — clarinet in Eb, basset horn in G, contrabass clarinet
Elise Jacoberger — bassoon, contraforte
Vera Schnider — harp
Coco Schwarz — piano, synthesiser
Malwina Aram-Sosnowski — violin
Jan-Filip Ťupa — violoncello

Leo Hofmann — performance
Sasha Amaya — performance
Yiran Zhao — performance

Paul Wranitzky — Parthia in F Major arr. R. Haynes
Isaac Albéniz — Iberia: Suite arr. R. Haynes
George Gershwin — An American in Paris arr. R. Hekkema

Elise Jacoberger — bassoon
Jonas Tschanz — alto saxophone
Martin Bliggenstorfer — oboe & cor anglais
Nils Kohler — clarinet in C & Bb, bass clarinet
Richard Elliot Haynes — clarinet in Eb & A, basset horn, bass clarinet

www.blattwerkquintett.com

Paul Wranitzky — Parthia in F Major arr. R. Haynes
Isaac Albéniz — Iberia: Suite arr. R. Haynes
George Gershwin — An American in Paris arr. R. Hekkema

Elise Jacoberger — bassoon
Jonas Tschanz — alto saxophone
Martin Bliggenstorfer — oboe & cor anglais
Nils Kohler — clarinet in C & Bb, bass clarinet
Richard Elliot Haynes — clarinet in Eb & A, basset horn, bass clarinet

www.blattwerkquintett.com

Paul Wranitzky — Parthia in F Major arr. R. Haynes
Isaac Albéniz — Iberia: Suite arr. R. Haynes
George Gershwin — An American in Paris arr. R. Hekkema

Elise Jacoberger — bassoon
Jonas Tschanz — alto saxophone
Martin Bliggenstorfer — oboe & cor anglais
Nils Kohler — clarinet in C & Bb, bass clarinet
Richard Elliot Haynes — clarinet in Eb & A, basset horn, bass clarinet

www.blattwerkquintett.com

Mauricio Kagel ~ Die Stücke der Windrose (1988-1994): West & North-West

Ensemble Paul Klee, cond. Kaspar Zehnder
Richard Haynes — clarinet
Philippe Talec & Felicia Pasca — violin
Shelley Sörensen — viola
Matthias Schranz — cello
Ivan Nestic — double bass
Roberto Fiscato — piano
Camille Sublet — harmonium
Mathis Pellaux — percussion

Tickets: www.musikfestivalbern.ch

Mauricio Kagel ~ Die Stücke der Windrose (1988-1994): South & South-West

Ensemble Paul Klee, cond. Kaspar Zehnder
Richard Haynes — clarinet
Philippe Talec & Felicia Pasca — violin
Shelley Sörensen — viola
Matthias Schranz — cello
Ivan Nestic — double bass
Roberto Fiscato — piano
Camille Sublet — harmonium
Mathis Pellaux — percussion

Tickets: www.musikfestivalbern.ch

Mauricio Kagel ~ Die Stücke der Windrose (1988-1994): East & South-East

Ensemble Paul Klee, cond. Kaspar Zehnder
Richard Haynes — clarinet
Philippe Talec & Felicia Pasca — violin
Shelley Sörensen — viola
Matthias Schranz — cello
Ivan Nestic — double bass
Roberto Fiscato — piano
Camille Sublet — harmonium
Mathis Pellaux — percussion

Tickets: www.musikfestivalbern.ch

Helena Winkelman — Rechterhand die Sonne (2024) for vocal quartet
Annette Schmucki — grenze&flur_west (2024) for four voices and four instruments
Daniel Ott — 6/7 gare du sud (2014/20) for bass clarinet, harp, violin and violoncello
Michael Pelzel — Ruta del fin del mundo (2024) for four voices and ensemble

Cantando Admont cond. Cordula Bürgi
Elina Viluma-Helling — soprano
Helena Sorokina — alto
Bernd Lambauer — tenor
Piotr Pieron — bass

Ensemble Proton
Bettina Berger — piccolo, flute & bass flute
Martin Bliggenstorfer — oboe
Richard Elliot Haynes — Eb & Bb clarinet, bass clarinet
Sergei Khvorostianov — bassoon
Vera Schnider — harp
Coco Schwarz — synthesiser
Maximilian Haft — violin
Jan-Filip Ťupa — violoncello

Helena Winkelman — Rechterhand die Sonne (2024) for vocal quartet
Annette Schmucki — grenze&flur_west (2024) for four voices and four instruments
Daniel Ott — 6/7 gare du sud (2014/20) for bass clarinet, harp, violin and violoncello
Michael Pelzel — Ruta del fin del mundo (2024) for four voices and ensemble

Cantando Admont cond. Cordula Bürgi
Elina Viluma-Helling — soprano
Helena Sorokina — alto
Bernd Lambauer — tenor
Piotr Pieron — bass

Ensemble Proton
Bettina Berger — piccolo, flute & bass flute
Martin Bliggenstorfer — oboe
Richard Elliot Haynes — Eb & Bb clarinet, bass clarinet
Sergei Khvorostianov — bassoon
Vera Schnider — harp
Coco Schwarz — synthesiser
Maximilian Haft — violin
Jan-Filip Ťupa — violoncello

Mauricio Kagel ~ Die Stücke der Windrose (1988-1994): North & North-East

Ensemble Paul Klee, cond. Kaspar Zehnder
Richard Haynes — clarinet
Philippe Talec & Felicia Pasca — violin
Shelley Sörensen — viola
Matthias Schranz — cello
Ivan Nestic — double bass
Roberto Fiscato — piano
Camille Sublet — harmonium
Mathis Pellaux — percussion

Tickets: www.musikfestivalbern.ch

Charles Chaplin — Les Temps modernes / Modern Times (1936)

Orchestre des Jardins Musicaux cond. Valentin Reymond

Coproduction: Opéra Décentralisé Neuchâtel, La Lanterne Magique, Cinémathèque suisse

Modern Times marks the last appearance of The Tramp, who brought worldwide glory to Charles Chaplin and who remains a universal fictional character. The world that the vagabond leaves is very different from the one where he was born, two decades earlier. At the time, it symbolised the suffering of all the under-privileged of a world that emerged from the 19th century. Mass unemployment in the face of the beginnings of industrial automation. Chaplin is deeply concerned about the social problems of this new age, with unemployment being the central question. Machines should serve the good of humanity, instead of causing tragedy and job-loss. In Modern Times, he transforms his worries into comedy: an immortal work magnified by the exceptional music composed by the filmmaker himself.

Tickets

Johann Sebastian Bach arr. Raaf Hekkema — Goldberg Variations: Selections
Clara Schumann arr. Elise Jacoberger — Soirées musicales: Suite
Claude Debussy arr. Oliver Boekhoorn — Suite Bergamasque
George Gershwin arr. Raaf Hekkema — An American in Paris

Blattwerk has established itself as one of the leading reed quintets in Europe and fascinates audiences with its captivating yet sensitive style of playing. The ensemble regularly performs in the context of festivals and chamber music series, for example at the Davos Festival, Musikfestival Bern and Murten Classics. The ensemble makes a mark with its own arrangements of works by Mel Bonis, Carlo Gesualdo, Paul Wranitzky, Joachim Raff and Clara Schumann, and others. With an emphasis on instrumental diversity, the quintet explores new sonic terrain, gives world premieres and enters into collaborations with other artists. Outside of their work at the Blattwerk, the individual musicians can be heard regularly with orchestras and ensembles such as the Berner Symphonieorchester, Tonhalle Orchester Zurich, Ensemble Musikfabrik, Ensemble Proton and the Basel Sinfonietta. In spring 2022, their debut album "figurations" featuring works by Béla Bartók, Claude Debussy, Walter Feldmann and Maurice Ravel was released on the label Schweizer Fonogramm. The recording was enthusiastically received by the critics, was nominated in three different categories for the Opus Klassik Award and received a place on the Gold Best List of the German Record Critics.

Tickets

Charles Chaplin — Les Temps modernes / Modern Times (1936)

Orchestre des Jardins Musicaux cond. Valentin Reymond

Coproduction: Opéra Décentralisé Neuchâtel, La Lanterne Magique, Cinémathèque suisse

Modern Times marks the last appearance of The Tramp, who brought worldwide glory to Charles Chaplin and who remains a universal fictional character. The world that the vagabond leaves is very different from the one where he was born, two decades earlier. At the time, it symbolised the suffering of all the under-privileged of a world that emerged from the 19th century. Mass unemployment in the face of the beginnings of industrial automation. Chaplin is deeply concerned about the social problems of this new age, with unemployment being the central question. Machines should serve the good of humanity, instead of causing tragedy and job-loss. In Modern Times, he transforms his worries into comedy: an immortal work magnified by the exceptional music composed by the filmmaker himself.

Tickets

Charles Chaplin — Les Temps modernes / Modern Times (1936)

Orchestre des Jardins Musicaux cond. Valentin Reymond

Coproduction: Opéra Décentralisé Neuchâtel, La Lanterne Magique, Cinémathèque suisse

Modern Times marks the last appearance of The Tramp, who brought worldwide glory to Charles Chaplin and who remains a universal fictional character. The world that the vagabond leaves is very different from the one where he was born, two decades earlier. At the time, it symbolised the suffering of all the under-privileged of a world that emerged from the 19th century. Mass unemployment in the face of the beginnings of industrial automation. Chaplin is deeply concerned about the social problems of this new age, with unemployment being the central question. Machines should serve the good of humanity, instead of causing tragedy and job-loss. In Modern Times, he transforms his worries into comedy: an immortal work magnified by the exceptional music composed by the filmmaker himself.

Tickets

Charles Chaplin — Les Temps modernes / Modern Times (1936)

Orchestre des Jardins Musicaux cond. Valentin Reymond

Coproduction: Opéra Décentralisé Neuchâtel, La Lanterne Magique, Cinémathèque suisse

Modern Times marks the last appearance of The Tramp, who brought worldwide glory to Charles Chaplin and who remains a universal fictional character. The world that the vagabond leaves is very different from the one where he was born, two decades earlier. At the time, it symbolised the suffering of all the under-privileged of a world that emerged from the 19th century. Mass unemployment in the face of the beginnings of industrial automation. Chaplin is deeply concerned about the social problems of this new age, with unemployment being the central question. Machines should serve the good of humanity, instead of causing tragedy and job-loss. In Modern Times, he transforms his worries into comedy: an immortal work magnified by the exceptional music composed by the filmmaker himself.

Tickets

Charles Chaplin — Les Temps modernes / Modern Times (1936)

Orchestre des Jardins Musicaux cond. Valentin Reymond

Coproduction: Opéra Décentralisé Neuchâtel, La Lanterne Magique, Cinémathèque suisse

Modern Times marks the last appearance of The Tramp, who brought worldwide glory to Charles Chaplin and who remains a universal fictional character. The world that the vagabond leaves is very different from the one where he was born, two decades earlier. At the time, it symbolised the suffering of all the under-privileged of a world that emerged from the 19th century. Mass unemployment in the face of the beginnings of industrial automation. Chaplin is deeply concerned about the social problems of this new age, with unemployment being the central question. Machines should serve the good of humanity, instead of causing tragedy and job-loss. In Modern Times, he transforms his worries into comedy: an immortal work magnified by the exceptional music composed by the filmmaker himself.

Tickets

Charles Chaplin — Les Temps modernes / Modern Times (1936)

Orchestre des Jardins Musicaux cond. Valentin Reymond

Coproduction: Opéra Décentralisé Neuchâtel, La Lanterne Magique, Cinémathèque suisse

Modern Times marks the last appearance of The Tramp, who brought worldwide glory to Charles Chaplin and who remains a universal fictional character. The world that the vagabond leaves is very different from the one where he was born, two decades earlier. At the time, it symbolised the suffering of all the under-privileged of a world that emerged from the 19th century. Mass unemployment in the face of the beginnings of industrial automation. Chaplin is deeply concerned about the social problems of this new age, with unemployment being the central question. Machines should serve the good of humanity, instead of causing tragedy and job-loss. In Modern Times, he transforms his worries into comedy: an immortal work magnified by the exceptional music composed by the filmmaker himself.

Tickets

Nina Shekhar — red (2018)
Patrick Jones — Uncanny Vale (2019)
Edward Rushton — Catalogue des fleurs infernales (2024)
Isaac Albeniz — Iberia: Suite (1905-09) arr. Richard Elliot Haynes

Elise Jacoberger — bassoon
Jonas Tschanz — soprano & alto saxophone
Martin Bliggenstorfer — oboe & cor anglais
Nils Kohler — clarinet & bass clarinet
Richard Elliot Haynes — clarinet & bass clarinet

To observe nature, to describe it, to understand it, to reflect on it through the arts or to use it as inspiration for useful inventions, even the attempt to reproduce it and oneself, is particular to humankind. In the works of this programme each composer illuminates an aspect of their fascination with nature. Nina Shekhar describes in red the unpredictability of a flame and tries to capture the dancing quality of the unstable movements. In Uncanny Vale Patrick Jones reflects on the emotional field of tension that we perceive when looking at human forms in robotics and animation. Isaac Albeniz deals with man-made structures and the resulting atmospheres and moods in Iberia, describing the lively activities of the people of various Andalusian cities. Edward Rushton's musical language is seductive and his brand new work Catalogue des fleurs infernales strikes a humorous, shocking chord within the idea of nature - human - machine…

Pre-concert talk at 4:30pm

Martina Lussi — Proximity (2024) WP
Pauline Oliveros — Earth Ears (1983)

The very first collaboration between Lucerne-based electronics artist Martina Lussi and Ensemble Proton unites two very different worlds of sound in Proximity. Lussi's work explores methods and techniques to merge acoustic instruments with an electronic soundscape and explore the extremes of this "psycho-acoustic" mix. Inspired by Pauline Oliveros’ state of deep listening, the project bridges the gap between contemporary instrumental composition and a wide range of field recordings and electronic synthesis. Earth Ears, written by Oliveros in 1983, explores the subtlety and complexity of a space-time continuity.

Martina Lussi's works are surprising because they do not start from a classic musical point of view. They deliberately stage themselves in the "haze circle" of visual arts, sound installations and the experimental-electronic music scene.

Martina Lussi — Proximity (2024) WP
Pauline Oliveros — Earth Ears (1983)

The very first collaboration between Lucerne-based electronics artist Martina Lussi and Ensemble Proton unites two very different worlds of sound in Proximity. Lussi's work explores methods and techniques to merge acoustic instruments with an electronic soundscape and explore the extremes of this "psycho-acoustic" mix. Inspired by Pauline Oliveros’ state of deep listening, the project bridges the gap between contemporary instrumental composition and a wide range of field recordings and electronic synthesis. Earth Ears, written by Oliveros in 1983, explores the subtlety and complexity of a space-time continuity.

Martina Lussi's works are surprising because they do not start from a classic musical point of view. They deliberately stage themselves in the "haze circle" of visual arts, sound installations and the experimental-electronic music scene.