The Berlin Music Festival is one of the largest orchestral festivals in the world and will open on August 30th. When representative discourse becomes more and more controversial, what can and must be achieved by such a festival? We discussed this with Winrich Hopp, who has been directing the Berlin Music Festival since 2005.
In addition to the Bayreuth Music Festival, Berlin Music Festival, A large-scale festival belonging to the Berlin Music Festival, the federal government as a financier vigorously participates. What are the opportunities and risks associated with this commitment?
I see fewer risks than opportunities. More than 15 years ago, the Federal Government, together with the then Minister of State for Culture and Media, initiated the Berlin Music Festival. The establishment is undoubtedly regarded as a reconnection with the traditional Berlin music festival, with the Philharmonic Orchestra as the central venue and the Berlin Philharmonic Orchestra as the basic partner.Then there are other big companies based in Berlin band As well as domestic and foreign guests. A structure with such a strong partner requires the federal government to provide reliable financial resources. In addition to opportunities, I also feel obligated to work toward this structure and develop it, rather than go beyond it and let it wither.
When the federal government injects so much money, do you have more program freedom? The proportion of contemporary music is staggeringly high.
Considering the requirements to define the structure of the festival, this is not much money. Maybe more. It cannot operate without third-party funding, which forms an important part of my work. But I thank the federal government for its donation. Because they not only make this festival possible, but also make this festival possible. My impression of the work at the Berlin Music Festival is being closely watched. As for the proportion of contemporary music, I don’t think it is that high. I think that the statement about incorporating contemporary music into the repertoire is not sufficient. I thought of the background of integrating the repertoire into contemporary music. The problems of history always come from today.
If you look at the collection of the Berlin Music Festival, which aims to eliminate the dominance of the artistic and dramatic forms of the classical ensemble association there. Are music festivals with large orchestras still suitable for this environment?
I don’t think the diagnosis is correct. Anyone who proposes or tries alternative forms will not immediately stand up to support the dissolution of traditional structures.its about DiversityTo lively. In terms of music, the Berlin Music Festival also offers alternative start-ups, such as the German Youth Philharmonic Orchestra, Mahler Chamber Orchestra, and modern ensemble houses for experimentation and self-discovery. The Berlin Music Festival continues this tradition. For example, Joolz Gale’s Mini Ensemble and Ensemblekollektiv Berlin are important representatives of new developments and should be given space, time, money and attention, such as at the Berlin Music Festival and beautiful halls like the Philharmonic Orchestra.
The Philharmonic Orchestra is a symbol of civil society representation and integration in the nineteenth century. If, after the demand for diversity, a completely different notion of representational justice determines the discourse, what future will it have?
