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SALZBURG FESTIVAL | CONCERT 2013

Ouverture spirituelle • Haydn: Die Schöpfung

Grosses Festspielhaus

Performers: Nikolaus Harnoncourt, Martina Janková, Michael Schade, Florian Boesch, Arnold Schoenberg Choir, Erwin Ortner, Concentus Musicus Wien
Works by Joseph Haydn

Ouverture spirituelle • Mozart: Requiem

Stiftung Mozarteum

Performers: Thomas Hengelbrock, Katja Stuber, Marion Eckstein, Virgil Hartinger, Marek Rzepka, Balthasar-Neumann-Chor, Detlef Bratschke, Mozarteum Orchestra Salzburg
Works by Tōru Takemitsu, Wolfgang A. Mozart

Ouverture spirituelle • Hindemith: Marienleben

Stiftung Mozarteum

Performers: Juliane Banse, Martin Helmchen
Works by Robert Schumann, Paul Hindemith

Ouverture spirituelle • Shōmyō – Buddhist Ritual Chants

Kollegienkirche

Performers: Yūshō Kojima, Karyōbinga Shōmyō Kenkyūkai Priest's Choir (Kashōken)
Dai Hanya Tendoku'e Ceremony

Ouverture spirituelle • Vigil

Stiftung Mozarteum

Performers: Thomas Hengelbrock, Johanna Wokalek, Balthasar-Neumann-Chor, Detlef Bratschke
Works by Joseph von Eichendorff, Johannes Brahms, Eduard Mörike, Edvard Grieg, Felix Mendelsohn Bartholdy, Fanny Hensel, Heinrich Heine, Clemens Brentano, Robert Schumann, Friedrich Silcher, Clara Schumann, Max Reger, Novalis, Josef Rheinberger, Johann Schulz / Adolf Seifert

Ouverture spirituelle • New Seeds of Contemplation

Kollegienkirche

Performers: Ensemble Yūsei, Tokyo
Works by Toshio Hosokawa
and traditional Gagaku music.

Ouverture spirituelle • Shōmyō and Gregorian Chant

Kollegienkirche

Performers: Cantori Gregoriani di Cremona, Fulvio Rampi, Karyōbinga Shōmyō Kenkyūkai Priest's Choir (Kashōken), Yūshō Kojima
Traditions of sacred songs in comparison

Ouverture spirituelle • Mahler: Symphony No. 8

Grosses Festspielhaus

Performers: Gustavo Dudamel, Emily Magee, Juliane Banse, Anna Prohaska, Yvonne Naef, Birgit Remmert, Klaus Florian Vogt, Detlef Roth, Kurt Rydl, Pablo Castellanos, Choristers of "superar", Gerald Wirth, Salzburger Festspiele und Theater Kinderchor, Wolfgang Götz, Simón Bolívar National Youth Choir of Venezuela, Lourdes Sánchez, Wiener Singverein, Johannes Prinz, Simón Bolívar Symphony Orchestra of Venezuela
Works by Gustav Mahler

Ouverture spirituelle • Messiaen: Visions de l’Amen

Stiftung Mozarteum

Performers: Pierre-Laurent Aimard, Tamara Stefanovich
Works by Franz Liszt, Olivier Messiaen

Ouverture spirituelle • Mozart: Church Sonatas

Stiftung Mozarteum

Performers: Adam Fischer, Jörg Widmann, Gereon Kleiner, Mozarteum Orchestra Salzburg
Works by Wolfgang A. Mozart, Ludwig v. Beethoven

Ouverture spirituelle • Japan: From Tradition to Modernity

Kollegienkirche

Performers: Titus Engel, Junko Handa, Tadashi Tajima, œnm . österreichisches ensemble für neue musik
Works by , Tōru Takemitsu, Toshio Hosokawa

Ouverture spirituelle • Haydn: Die Jahreszeiten

Grosses Festspielhaus

Performers: Nikolaus Harnoncourt, Dorothea Röschmann, Michael Schade, Florian Boesch, Concert Association of the Vienna State Opera Chorus , Ernst Raffelsberger, Vienna Philharmonic
Works by Joseph Haydn

Ouverture spirituelle • Mozart: Great Mass in C minor

Stiftskirche St. Peter

Performers: Gustavo Dudamel, Anna Prohaska, Roberta Invernizzi, Mauro Peter, Florian Boesch, Pablo Castellanos, Simón Bolívar National Youth Choir of Venezuela, Lourdes Sánchez, Simón Bolívar Symphony Orchestra of Venezuela
Works by Wolfgang A. Mozart

SALZBURG FESTIVAL BLOG

Ouverture spirituelle under the Sign of Buddhism

18 JUL2013

by FESTSPIELKIEBITZ  11:55 h;
posted in: Concert

Last year, the newly-introduced concert series Ouverture spirituelle met with a most enthusiastic echo. Also this year, the Salzburg Festival will once again open with sacred music, and again, works by Catholic and Protestant composers will be juxtaposed with another religion – this time, it will be Buddhism, brought to you via traditional and recent music from Japan.

Our program guide offers an overview of all the events pertaining to the Ouverture spirituelle series: 





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Untitled, © Eva Schlegel

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Ouverture spirituelle

Buddhism is based on the teachings of the Indian sage Shākyamuni. About 2500 years ago, he began showing humanity a path towards overcoming the pain perceived in this worldly existence and achieving redemption in Nirvāna. At his death (presumably in 483 B.C.) Shākyamuni is said to have travelled this path before us, becoming a Buddha (one of the “enlightened”). During subsequent centuries, his teachings evolved into a complex religion now spread throughout Asia, albeit with major regional differences.

The predominant form of the faith in East Asia is Mahāyāna Buddhism, the teaching of the “Great Vehicle”, which involves transporting all beings across the “sea of suffering” to the “other shore”, i.e. Nirvāna. Around this, a multi-faceted and highly differentiated cult has arisen which has integrated music, dance and theatre in prominent roles. In the grand temple ceremonies of Japanese Buddhism, shōmyō, the ritual chanting of the priests, is of central importance. Since its introduction from the Asian mainland around the middle of the first millennium, it has developed into an independent form of meditative vocal music.

In the concert “Shōmyō – Buddhist Ritual Chants”, the Japanese priests’ choir Karyōbinga Shōmyō Kenkyūkai presents the ceremony Dai Hannya Tendoku’e (“Symbolic Reading of the Great Sūtra of Transcendental Wisdom”). The central ritual of the cursory reading of the Sūtra, staged like an avant-garde sound performance, will be flanked by recitations and shōmyō chants conveying hymns, prayers, confessions of repentance and blessings to Buddhas and Bodhisattvas. Individual instruments, for example the conch, hand bell, bronze bowls, rattle-stick, cymbals and gongs, serve to lend a structure of sound to the proceedings.

Even in historic times, larger instrumental ensembles were used, familiar from the ancient music at the imperial court known as gagaku. The dignified character of this music is understood in the Buddhist context as an image of transcendence in sound. The Japanese composer Toshio Hosokawa (b. 1955) hearkens back to this practice in his work New Seeds of Contemplation – Mandala (1986/1995), which will be performed by the Ensemble Yūsei from Tokyo. Here, the ritual and sound sequences of Buddhist ceremonies, complete with their philosophical and spiritual matrix, may be experienced in an artistic arrangement and with a new meaning. Nine musicians are placed on the nine sectors of a mandala carpet: four priests as shōmyō singers and five gagaku musicians. They play characteristic instruments which will also be heard in the first part of the concert in shorter solo and ensemble pieces from the traditional repertoire.

Shōmyō is usually sung as solo or choral chant in unison. Therein, but also in its liturgical function and its age, it resembles the Gregorian chant of the Christian tradition. The concert “Shōmyō and Gregorian Chant” brings together the Buddhist priests’ choir Karyōbinga Shōmyō Kenkyūkai with the Cantori Gregoriani di Cremona directed by Fulvio Rampi. The direct juxtaposition of chants on subjects such as adoration, veneration and contemplation illuminates the common ground and the differences of both traditions.

The shōmyō style of singing also influenced Japanese epic singing, which is accompanied by the lute called biwa and was originally developed by blind lay priests in order to spread the Buddhist teachings among the people. During the 13th century, the Heike epic was added, which tells of the rise and fall of a medieval noble dynasty, using the Buddhist vanitas motif of the Shogyō mujō (“All earthly things are transient”). Zen-Buddhist monks began to use the bamboo flute shakuhachi during the 17th century and used it to create honkyoku, an unusual sound art which was designed to aid meditation. In the concert “Japan: From Tradition to Modernism”, Junko Handa and Tadashi Tajima first present samples from their respective traditional repertoire. In the meantime, composers such as Tōru Takemitsu (1930–1996), who rediscovered Japan’s traditional music in the 1960s, have also created numerous new works. Takemitsu wrote Eclipse (1966) for the two instruments and also transferred his experience with the Japanese sound world to works like Bryce (1976). Toshio Hosokawa’s Voyage X “Nozarashi” (2009) for shakuhachi and a Western instrumental ensemble refers to a Buddhist-sounding haiku poem by Bashō (1644–1694). Tadashi Tajima performs the work together with the ensemble oenm led by Titus Engel.

Heinz-Dieter Reese
Translated by Alexa Nieschlag

Disputationes form part of the Ouverture spirituelle

Just like last year, the Herbert Batliner European Institute cooperates with the Salzburg Festival in giving the Ouverture spirituelle a framework of scientific lectures and discussions. Reflecting the Buddhist meditations, ritual chants and the Japanese sound-world of the Festival’s programme, the Disputationes will explore issues of intercultural and interreligious dialogue. The attractiveness of Buddhism for our European world is steadily increasing. One of the reasons for this is a growing spiritual need, a search for divine energy which seems easier to attain through the insight-based Buddhist religion than through Christianity with its dogmatic structure – especially not in our secularized society. Under this aspect, the Ouverture spirituelle as a starting point to examine this phenomenon is essential for our times. Music provides a bridge for comprehending the spiritual diversity of the present.

The opening event takes place on July 19, 2013, followed by three panel discussions as part of the Ouverture spirituelle.

EDITORIAL 2013

The Concert 2013

by Alexander Pereira and Florian Wiegand

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