contents - Berliner Philharmoniker

contents - Berliner Philharmoniker


4 Editorial

by Martin Hoffmann

6 Spotlight

News of the Berliner Philharmoniker



The future of copyright

Classical music between 0 and 1 by Carsten Fastner

Culture for free is the end of all culture by Jonas Kaufmann

Beethoven for all? by Mareile Büscher and Felix Laurin Stang

Culture for free on the internet by Johannes Moser

“The human brain is not for sale” by Carsten Fastner


Language Music

by Dirk von Petersdorff


“The world is full of

treasures – they just have

to be found and studied”

A conversation with Cecilia Bartoli




25 years of the Kammermusiksaal

by Gerwin Zohlen, Frederik Hanssen, Volker Tarnow


Literary Score

by Herta Müller


“I think it’s going to be

a thing of greatness”

Interview with Measha Brueggergosman


“Not authentic, but true”

Claude Debussy at 150

by Karl Dietrich Gräwe


Leonidas Kavakos –

Artist in Residence 2012/2013

by Shirley Apthorp


The bow is the violin

by Cornelia de Reese


Dietrich Fischer-Dieskau and the Berliner Philharmoniker

by Wolfgang Stähr


Cameron Carpenter

The eccentric organ virtuoso in conversation with

Oliver Hilmes and Mark Schulze Steinen


Musical puzzle

Name the composer


Richard Wagner –

sleuth on the track of modernity

by Martin Geck


New Releases

New CDs and DVDs



All concerts to December 2012


What are you listening to at

the moment, Donna Leon?

A conversation with Europe’s best-known writer of

detective stories

44 56 74 90 98



Classical music

between 0 and 1

the future of copyright

by Carsten Fastner

Classical music is facing the greatest process of transition since the invention of sound

recording. Digitalisation and the internet are bringing wide-reaching changes affecting

everything from production to reception, everyone from the artist to the listener. The on-going

discussion about copyright and online piracy is only one aspect of the debate, though certainly

the most important one. But outside the focus of the media, much has already been achieved.

In this issue, we focus on the topic of the prospects for classical

music in the digital future:

Tenor Jonas Kaufmann reports in his guest commentary on

how he as a successful young artist is directly affected

by the “something for nothing” mentality on the internet,

and how he nevertheless benefits from YouTube. page 22

Illegal copying went on as early as the 18th century, at a

time where copyright did not yet exist. Read extracts

from Haydn, Mozart and Beethoven’s letters to find out

how they dealt with it. page 27

It’s been a long time since there was such a heated cultural

debate in Germany as the discussion about the future of copyright

in the digital age. The topic has dominated the cultural

pages of newspapers and internet forums, kindled by the

test case between the video platform YouTube and GEMA,

the German agency representing copyright holders, heated

up by the election successes of the Pirate Party and fanned

by manifestos, polemics and fiery speeches on all sides.

Much of the debate appears to be conducted in legal

terms but this is only a superficial impression. It actually centres

on online piracy and the erosion of copyright, the something-for-nothing

mentality on the internet and the protection

of intellectual property. But the discussion also includes

many other aspects which are mostly not explicit: the general

Berlin copyright experts Mareile Büscher and Felix

Laurin Stang give the non-expert a very readable introduction

to the legal aspects of the issue and indicate

some possible solutions. page 24


topic of the way art and culture are changing under the pressure

of digitalisation; the developments in reception attitudes

and audience expectations, in creative processes and performances,

in the way they are valued and exploited; even

the generation gap is a latent participant in the argument. In

a word, copyright is also a placeholder for the cultural, societal,

political and economic implications of what was initially a

purely technological revolution.

This is no doubt the reason for the passionate nature of

the discussion. It finally cooled off a little in the heat of the

summer, but the combatants (and the public) appear to be

not just weary, but also at a loss. So far, hardly anything has

been clarified or solved. It has however become very clear

how complex the matter is, on the legal side alone.

focus 19


Archetype of the Chamber Music Hall by architect Hans Scharoun


“The primal human experience of music

is convening in a group, in a circle,

whenever improvised music sounds.”

Hans Scharoun

25 th

The Chamber Music Hall is celebrating its

birthday – if you regard the competition for

the Berlin State Library in 1964 as the starting date, by now

it’s been standing for several years longer than were consumed

by the planning period. Anyone who’s even casually

aware of the Kammermusiksaal’s building and planning history

will not fail to hear noble astonishment in this simple

statement. What infighting and quarrels, what squabbling

in the media before the opening fanfares finally sounded on

28 October 1987, to allude to Kleist’s Prince of Homburg.

And how these disputes were later kept alive by the architect

of the Chamber Music Hall, Edgar Wisniewski. And how

people kept talking about them.

With combative complaints, one could say, as Edgar

Wisniewski, while vehemently espousing his ideas and aims,

which he always presented on behalf of his architectural

mentor and later partner Hans Scharoun, found fault with the

purported hostility to culture in Berlin politics no less than

with his own architect colleagues. Wisniewski believed that

the fact that the Chamber Music Hall was not built in close

succession to the Philharmonic Hall back in the 1960’s was

a typical Berlin affront against musical culture. At all events

throughout the 1970’s he indefatigably organised benefit

concerts and collected a considerable quantity of donations

for the building – but to no avail. Not till in the scope of planning

for Berlin’s 750-year celebration in 1987 Governing

Mayor Richard von Weizsäcker gave the go-ahead for the

chamber music addition to the Philharmonie in 1983-84.

Then again, Wisniewski held against his Berlin architect

colleagues as long as he lived that they had not enthusias-

The Chamber Music Hall turns 25

BY Gerwin Zohlen | TranslaTion nancY chapple

tically championed the general urbanistic idea of the Cultural

Forum as he and Hans Scharoun had couched it in 1964. On

the contrary, Josef Paul Kleihues, the director of new construction

at the International Building Exhibition Berlin (IBA

1984-87), even had a new “evaluation process” carried out,

meaning an urbanistic restatement which the Viennese architect

Hans Hollein won with lots of journalistic pomp in 1984.

This plan as well was scrapped just a bit later due to the political

events around the fall of the wall. But it is one of the

small ironies of history that in the end Wisniewski nevertheless

had his architectural antipode to thank for the construction

of the Chamber Music Hall. Without the capital

made available in Berlin for the IBA 1984-87, the Chamber

Music Hall would probably have continued to remain on the

drawing board. These days it has been almost forgotten, but

in 1980 the southern roof arch of the Congress Hall caved in.

A highly symbolic gift of the Americans to Berlin, its reconstruction

took priority over the Music Hall and tied up

substantial budget resources. Only because of the 750-year

celebration and the associated International Building Exhibition

was it possible to make up for them.

Of course no fanfares sounded when the Chamber Music

Hall opened; such a courtly ceremony, suspiciously military

in nature, would no longer have fit in the democratised civic

culture of the Federal Republic of Germany and of West Berlin.

Instead, a chamber music festival was arranged the likes

of which have not been since. The classy celebration to dedicate

the hall is of course very well documented in sound and

images: former German chancellor Helmut Kohl was the

most prominent political guest; Herbert von Karajan, already

25 Years of The chamBer music hall 25 Years of The chamBer music hall 45

Metropolises, style

and musicians

without an


Cameron Carpenter and oliver Hilmes talk witH

mark sCHulze steinen

pHotograpHy monika rittersHaus


The eccentric shooting star among the

organ virtuosi of our time and a musically

versed historian who has made a name

for himself as a biographer of famous

eccentrics: an encounter with Cameron

Carpenter und Oliver Hilmes cannot help

but be fascinating – even when the very

first question turns out to be a washout.

An exchange about Berlin, style and the

organist’s eternal dilemma ...


Cameron Carpenter and

Oliver Hilmes

What are you listening to

at the moment,

Donna Leon?

photography regine MosiMann

What are you listening to at

the moment, Donna Leon?

At the moment, I am listening

to rehearsals of the

new orchestra, Il Pomo

d’Oro, for a pair of concerts

we are giving in Spain.

Can you recall the moment

in your childhood when you

were first aware of enjoying


I liked music as a kid, but

I never knew much about

classical music until high

school, when I started to

listen to it, discovering

music as I went along, the

usual catalogue of things

like “Bolero” which I’ll never

listen to again.

To what extent did your

parents influence your love

of music?


Not at all. My father liked

jazz, which I loathe, and my

mother listened to just about


Your first detective novel

featuring Commissario Brunetti

was set in the world of

opera; you have recently published

a book about animal

motifs in Handel’s arias and

your new novel is about the

historical Italian composer

Agostino Steffani. Are you

hoping to finally inspire your

audience with your own love

of classical music?

I don’t do “inspire.” I merely

want to talk about a subject

that interests me deeply.

Perhaps by being casual

about it, as I hope I am, I

can suggest to people that

music, classical music, is

meant to be fun to listen to,

not an experience akin to

going to church.

Your passion for Handel is

well known; you are honorary

president of the Venetian

Centre for Baroque Music.

That must have made it easy

for Cecilia Bartoli to awaken

your enthusiasm for Steffani,

mustn’t it – by referring to

his influence on Handel?

As a matter of fact, she

did stress that point when

she suggested the idea to

me. My favorite composer

remains Handel, but Steffani

is certainly worth listening

to with attention and joy. His

music is a revelation.

Agostino Steffani is almost

unknown today – will it be

easier to enjoy his music

when one has read your

book? His life was eventful

enough – there’s plenty to

write about …

What are you listening to at the MoMent? What are you listening to at the MoMent? 121

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