{"id":75311,"date":"2026-09-01T15:17:32","date_gmt":"2026-09-01T13:17:32","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/?p=75311"},"modified":"2026-09-02T08:34:08","modified_gmt":"2026-09-02T06:34:08","slug":"wie-sebastian-nordmann-musik-in-luzerns-strassen-bringt","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/en\/berichte\/2026\/09\/wie-sebastian-nordmann-musik-in-luzerns-strassen-bringt","title":{"rendered":"How Sebastian Nordmann Brings Music to the Streets of Lucerne"},"content":{"rendered":"
\"\"
At the \u00abSymphonic Jukebox,\u00bb the musicians play pieces chosen by the audience.\u00a0
Photo: Manuela Jans\/Lucerne Festival<\/figcaption><\/figure>\n

In Lucerne\u2019s Old Town, you can hear muffled beats. \u00abIs that a tower clock?\u00bb a tourist asks the person she\u2019s with\u2014and continues on toward the Weinmarkt. Curious onlookers flock to the square from all sides, where a circle of people has already formed and a drummer is tuning his bongos. Two vibraphones and two marimbas are also set up on the pavement. The free concert, part of the newly conceived \u00abIn den Strassen: City Stage\u00bb festival, is ready to begin.<\/p>\n

The new artistic director, Sebastian Nordmann, wants to bring the Lucerne Festival even more into the city. The four young participants of the Lucerne Festival Academy manage to captivate passersby at the Weinmarkt. People pull out their cell phones, and some start moving to the groovy, rhythmically shifted sounds of Steve Reich\u2019s Mallet Quartet<\/em>.<\/p>\n

A few blocks away on Kapellplatz, the experience gets even more interactive. At the \u00abSymphonic Jukebox,\u00bb listeners can choose from over 30 songs, which are then performed live by the Lucerne Festival Contemporary Orchestra. Popular pieces such as the waltz from Shostakovich\u2019s Jazz Suite<\/em> resonates just as much as the rhythmically complex Short Ride in a Fast Machine<\/em> by John Adams. Conductor Joseph Sieber briefly explains the selected pieces and occasionally offers commentary during an excerpt from Jupiter<\/em> by Gustav Holst's The Planets<\/em> hand the baton to a volunteer.<\/p>\n

At the Schirmerturm, \u00absound gardener\u00bb Andres Bosshard welcomes a group of twenty for a \u00abSound Walk.\u00bb Together, they listen to the rain, press their noses against the Musegg Wall while humming, learn about the positive social impact of the \u00abMurmelstrom,\u00bb and are impressed by the echoes produced, which even make the cows grazing on the neighboring meadow flinch.<\/p>\n

Beethoven, as perceived in the 18th century<\/strong><\/h3>\n

With this new awareness, you descend the stairs toward the city with a changed perspective. And you savor the subtleties that can be heard in the Royal Concertgebouw Orchestra Amsterdam\u2019s concert at the packed KKL. The orchestra\u2019s interpretation of Beethoven\u2019s Piano Concerto No. 5 in E-flat major is airy. The strings play with little vibrato, and the timpanist uses wooden mallets. Icelandic pianist V\u00edkingur \u00d3lafsson, who is curating the new Pulse Festival in Lucerne this spring, also approaches Beethoven from an 18th-century perspective\u2014in the cadenza, he makes the Steinway grand sound almost like a fortepiano. The strings\u2019 pizzicatos are perfectly executed; indeed, the Amsterdam orchestra delights with its flawless ensemble playing. \u00d3lafsson plays the Adagio with a completely ethereal touch. He then floods the finale with energy and, even if not every triplet opening is technically flawless, transforms it into a rousing dance through his close interplay with the orchestra.<\/p>\n

In Sergei Prokofiev\u2019s Symphony No. 5, which premiered in 1945, the Royal Concertgebouw Orchestra, under the baton of Finnish guest conductor Santtu-Matias Rouvali, presents itself as a vibrant ensemble in which the individual instrumental sections are perfectly interwoven. In the second movement, the contours become more jarring and the rhythms sharper\u2014the Adagio is filled with tension and urgency. Only when the violins play in the upper registers in a highly exposed manner, as they do here at the beginning of the movement, is the intonation slightly off.<\/p>\n

Hadelich, the Aesthete of Sound<\/strong><\/h3>\n

The Berlin Philharmonic also features a rarely performed Russian composition on its program: Alexander Scriabin\u2019s Symphony No. 3 in C minor, Op. 43. How the orchestra shapes this richly textured, complex, and at times bombastic orchestral work\u2014as in the sensuous second movement\u2014 Volupt\u00e9s<\/em> It\u2019s exhilarating to hear the woodwinds chirp like birds and the brass create emotional peaks. Principal conductor Kirill Petrenko draws the extroverted out of the introverted, using his left hand to maintain balance and his right to ensure musical flow. Unfortunately, the tutti entries following the general rests and the chord changes at the end of the first movement aren\u2019t quite in unison.<\/p>\n

In Beethoven\u2019s Violin Concerto, too, the woodwinds\u00ab first entry sounds a bit clattery\u2014but then the orchestra settles into a warm sound, fully resonating through the strings, and a flowing pulse. And it lays down the foundation upon which Augustin Hadelich enters the scene on the violin with delicate octaves. This year\u2019s \u00bbartist in residence\u201d at the festival is a master of sound aesthetics. Not a single bow change can be heard; every figure is played out in full. The Berlin Philharmonic follows him closely, giving him room to unfold. In the Larghetto, Petrenko has the muted strings play extremely softly, while clarinetist Wenzel Fuchs and bassoonist Stefan Schweigert conjure up a cantabile quality\u2014and Hadelich refines the melody with artful ornamentation.<\/p>\n

\"\"
Sebastian Nordmann, Artistic Director of the Lucerne Festival. Photo: Lucerne Festival \/ Priska Ketterer<\/figcaption><\/figure>\n

A total of 20 orchestras will perform at the Lucerne Festival over the course of a month. With 12 world premieres, the new artistic director, Sebastian Nordmann, is continuing the work Michael Haefliger has been doing for many years. He hopes to attract new audiences with a more pop-oriented brand, new formats such as \u00abMittendrin,\u00bb where the audience sits on stage, and free events like the Open Air at the start of the festival.<\/p>\n

With J\u00f6rg Widma<\/strong>nn to the limits of audibility<\/strong><\/h3>\n

Nordmann has appointed J\u00f6rg Widmann\u2014a charismatic composer who succeeds the late Wolfgang Rihm as director of the Lucerne Festival Academy\u2014to the position; Widmann is also active as a conductor and clarinetist\u2014a fact that was particularly evident during the Academy\u2019s fourth concert. Together with the Lucerne Festival Contemporary Orchestra and the SWR Experimental Studio in Freiburg (sound direction: Michael Acker, Joachim Haas, Daniel Miska), Widmann, under the baton of Peter Rundel, About<\/em> by the French composer Mark Andre, created from the breath, features delicate harmonics and soft clarinet tones at the very limit of audibility.<\/p>\n

The world premiere of Tongue of the Land<\/em> (Roche Commissions) by Australian composer Liza Lim is met with a standing ovation. The rediscovered, reconstructed Celtic instrument, the carnyx (soloist: Marco Blaauw), takes center stage in this sensual, theatrical composition. With its rousing performance, Doctor Atomic Symphony<\/em> John Adams\u00ab work also reflects this year's theme, \u00bbAmerican Dreams\"\u2014which has been the subject of much discussion in the run-up to the concert\u2014in the Academy concert. A composition that critiques the atomic bomb? That, too, is possible in American music.<\/p>\n

Lucerne Festival, through September 13. <\/em>www.lucerne-festival.ch<\/em><\/a><\/p>","protected":false},"excerpt":{"rendered":"

The Lucerne Festival runs through September 13. The opening was marked, among other things, by unusual formats with which the new artistic director hopes to attract new audiences.<\/p>","protected":false},"author":58087,"featured_media":75315,"comment_status":"closed","ping_status":"closed","sticky":true,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[1531,28],"tags":[4322,5019,2139,4227,5791,2485],"class_list":["post-75311","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-auffuehrungen","category-berichte","tag-berliner-philharmoniker","tag-joerg-widmann","tag-lucerne-festival","tag-lucerne-festival-academy","tag-lucerne-festival-academy-orchestra","tag-sebastian-nordmann"],"acf":{"author":"Georg Rudiger"},"yoast_head":"\nWie Sebastian Nordmann Musik in Luzerns Strassen bringt - Schweizer Musikzeitung<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.musikzeitung.ch\/en\/berichte\/2026\/09\/wie-sebastian-nordmann-musik-in-luzerns-strassen-bringt\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Wie Sebastian Nordmann Musik in Luzerns Strassen bringt - Schweizer Musikzeitung\" \/>\n<meta property=\"og:description\" content=\"Noch bis 13. 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