Artist in residence
Isabelle Faust in conversation with Christoph Gaiser (2019) and Lydia Rilling
Since 2012 you have appeared seven times at the Philharmonie Luxembourg. Is there one among those concerts which you remember in particular?
I have always felt very at home here, both in the main and the smaller hall. The acoustics are excellent in both cases, the audience is very atten- tive, and behind the stage one is very well taken care of and comfortable. I enjoy remembering the Schubert Octet, for example. It was the first time we were all playing on historic instruments. It was a very intriguing and happy concert, which opened new sound perspectives to my colleagues.
A residency always aims for a more intense connection with the listeners. What would you wish for from the Luxembourg audience in this regard?
I think it can be a chance for the audience to understand a musician and his intentions better and with greater differentiation if it can encounter that artist in very different programmes and formations. Ideally, curiosity about the musician should be transformed into curiosity about the music I have chosen.
Which of the works scheduled for Luxembourg are you looking forward to most?
It is truly impossible to single out one of these fantastic works! They are indeed all favourite pieces of mine… Perhaps I am particularly looking forward to the evening of Bach and Westhoff, since we have not had so many opportunities to programme it so far.
The past year has almost brought cultural life to a standstill. Has this year changed you as an artist?
The year of the coronavirus was a great challenge for all of us, especially the artists and freelance artists. Many saw craters suddenly opening and threatening their existence; some were actually forced to give up their art. Even a year later, the situation remains precarious and the future uncertain. For me personally this was a very depressing year, as the role of music was questioned and doubted in many different ways, and I also had ample opportunity to question and examine the necessity of the arts and music in our society. During this time, my conviction that music must have a fixed and important place in our lives has only grown, and that every musician should take their role as ambassador even more seriously than they have done so far. Every single one of the few concerts in the presence of an audience that were possible during this time of corona has only strengthened my conviction.
Cover photo: Felix Broede
Isabelle Faust, Anne Katharina Schreiber
Timothy Ridout, Danusha Waskiewicz alto
Jean-Guihen Queyras, Christian Poltéra violoncelle
With an impressive journey through music history, violinist Isabelle Faust opens her season as artist-in-residence at the Philharmonie on September 27. Together with her regular chamber music partners Anne Katharina Schreiber, Timothy Ridout, Danusha Waskiewicz, Jean-Guihen Queyras and Christian Poltéra, she interprets two compositions which are key works of their genre, but also exceptional: Ludwig van Beethoven’s String Quintet in C-minor and Arnold Schoenberg’s string sextet Verklärte Nacht, offering a meaningful survey of what might be considered the beginning and end of musical romanticism.
For this concert, all visitors aged six and up must show proof of eligibility to attend via CovidCheck. For further information, click here
Orchestre Philharmonique du Luxembourg
Gustavo Gimeno direction
Isabelle Faust violon
Sensuous and gripping sounds from three musical individualists – such is the territory the OPL, Gustavo Gimeno and artist-in-residence Isabelle Faust chart at the Grand Auditorium on Feb. 25: Benjamin Britten, Henri Dutilleux and Maurice Ravel. Britten’s Violin Concerto, written while the composer was on his way into exile in the USA, is as rich in dramatic contrasts as in nuanced sonic discoveries – such as also characterize Dutilleux’ First Symphony. In this concert, it follows Ravel’s sparkling and profound La Valse before the evening’s soloist invites the audience to intimate and personal sonic voyages, in keeping with the spirit of «Aventure+».
This concert takes place under the CovidCheck 3G regulations (vaccinated, recovered or tested negative) for visitors aged 12 years and 2 months and up. You must wear a facemask for your entire stay at the Philharmonie, including for the duration of the concert, if you are over the age of 6. For further information, click here
Ce concert sera enregistré par radio 100,7 et retransmis le 4 mai 2022.
Kristin von der Goltz violoncelle
Elizabeth Kenny théorbe
Kristian Bezuidenhout clavecin
For decades, the words «baroque violin literature» mainly brought to mind the names Johann Sebastian Bach and Antonio Vivaldi. Artist-in-residence Isabelle Faust now sets out to broaden our horizon. Together with three prominent colleagues who are as familiar as she with historically informed performance practice, Faust juxtaposes Bach’s violin music with compositions by Heinrich Ignaz Franz Biber, Georg Muffat and Johann Paul von Westhoff. Thus, the associated musical traditions of Bohemia, France, Central Germany and the Alsace are placed in a truly «European» context.