zeitfenster - Biennial of Early Music
zeitfenster - Biennale of Early Music was a biennial festival for early music in Berlin from 2002 to 2014 . For eight days each - especially in the Konzerthaus Berlin - early music was presented with a view to current issues.
history
Each time window had a topic, which in terms of content provided the framework for the selection of music and performers. There were also the categories focus and special. In zeitfenster focus great performers presented their instrument. In the zeitfenster special , a special aspect of early music was highlighted and examined in a multi-layered and enjoyable way for its relevance to the present.
The organizer and organizers of the Biennale were the Konzerthaus Berlin in cooperation with Uhde & Harckensee MusikManagement from Berlin. The Capital Cultural Fund supported the project financially.
The time windows and their topics
time window I (2002) - Topic: Spain
made the rich and lively musical tradition of the Iberian Peninsula tangible. The spectrum ranged from the songs of medieval pilgrims to the world premiere of a reconstructed Baroque Zarzuela to flamenco. The focus was on the string quartet , the special revolved around the questions: Do modern media and early music go together? How can one make the original emotional impact of music tangible for today's audience?
zeitfenster II (2004) - Topic: Sound of the distance
brought the range of human voices and the diversity of cultural roots to the fore. In focus , the special thing about the baroque violin could be experienced. The wafer-thin line between life and death was the subject of the special. In the former Postbahnhof, old and new music, light and shadow, experience and memory came together in a scenic project. The myth of going into the underworld will probably always remain topical; the Orpheus project brought together young people and a baroque opera on this subject.
zeitfenster III (2006) - Topic: Neue Deutsche Welle
dealt with German composers like Heinrich Schütz , who made pilgrimages to the Italian avant-garde, studying the latest musical developments there. Only a short time later, the Germans tried to implement what they had learned in their own language. At the turn of the 17th century a musical revolution took place: for the first time, language took precedence over music, the prerequisites for opera were created, and an early new German wave rolled in. In focus , three of the best lutenists in the world played music by the greatest lute virtuoso and composer of all time: John Dowland . The special presented a contemporary version of the first German-language baroque opera Dafne and celebrated Marin Marais' 350th birthday in a long night . In a new series, zeitfenster presented films that deal in a special way with early music.
time window IV (2008) - Topic: Green Week
directed his attention to music in the context of Christian rituals. What sense and meaning do these tones still create today? Music for the week before Easter - the green, green from gronan (screaming, crying) - offered an opportunity to reflect back on old rituals with music from four centuries. Was listed u. a. the Brockes Passion by Georg Philipp Telemann . In focus , four of the world's best harpsichordists introduced the world of the harpsichord . The specially themed baroque cultural funding. The opera's success story would not have been possible without the great Italian aristocratic families. Finally, an “Italian Night” also celebrated other Italian achievements.
zeitfenster V (2010) - Topic: Case studies
targeted hubris, overconfidence and misjudgment of reality. Rise and fall - the story of our life, that's why one has so much joy in art. For learning or / and just for fun: human tragedies in the finest music. In the focus time window, the focus was on the viola da gamba , the special time window was devoted to affect-seeking .
zeitfenster VI (2012) - Topic: The next generation
in April / May 2012 on the occasion of “10 years of time window” pursued the central questions: What or who is still active in early music? What is there to discover: new repertoire, innovative approaches to interpretation, different forms of performance, unknown musicians?
Zeitfenster VII (2014) - Topic: Avant-garde! Avant-garde?
took the 300th birthday of Carl Philipp Emanuel Bach in March / April 2014 as an opportunity to question the history of music about the essence of the avant-garde: What is it that makes music that can be understood as avant-garde in retrospect? Isn't the jubilee as an “original genius” the prototype of an avant-garde?
Footnotes
- ↑ Uhde & Harckensee: Festivals and Concert Series , accessed on November 14, 2016.
- ↑ Capital Culture Fund : Projects 2014 - Music , accessed on November 14, 2016.
- ↑ Manuel Brug, Volker Tarnow: Street festival, digital utopia: Berlin opens a Spanish baroque "window of time" . In: Die Welt, April 23, 2002.
- ↑ The “Zeitfenster” biennale puts the concert hall in a different light. Old music in new forms . In: Berliner Zeitung, April 5, 2002.
- ↑ Carsten Niemann: Judas as a hero . In: Der Tagesspiegel, March 18, 2008.
- ↑ Mind and Money. The "zeitfenster", Berlin's Biennale of Early Music, opens for the fourth time . In: Berliner Zeitung, February 29, 2008.
- ^ Time window VII. Biennial of Early Music