A Chain of Solidarity
Many leading cultural institutions from around the world support A Festival of New Music in various ways and have joined the Pierre Boulez Saal in its effort to raise awareness for the fundamental importance of culture and the arts during the crisis we are facing.
We are proud and grateful for their help in forging a chain of solidarity in the international music community.
Many of them have sent us heartwarming messages of hope and suggestions for foundations and initiatives supporting artists and musicians that we would like to share with you.
Together we will #KeepCultureAlive!
Musical organizations from around the world
have joined with the Pierre Boulez Saal to call attention to the plight of musicians and to encourage support of local entities which support freelance musicians.
The Ojai Festival is honored to partner with the Pierre Boulez Saal in Berlin in their online Festival of New Music, curated by Daniel Barenboim and Emmanuel Pahud. The Pierre Boulez Saal, designed by our Ojai Festival friend Frank Gehry, has become a vibrant center of new music life in Europe. The hall’s namesake, Pierre Boulez, was Ojai Festival music director seven times in the years between 1967 and 2003.
We happily invite you to join this online musical adventure, which has such sympathetic resonance with the Ojai Festival. But there is also a greater purpose to this collective international effort. Our colleagues at the Pierre Boulez Saal have also created this online event in part to bring attention to the severe impact of the coronavirus pandemic on musicians worldwide. Concert halls and festival have gone silent. Countless musicians around the world have suffered devastating financial impact from all of the lost work, an effect most deeply felt by freelance musicians. Musical organizations from around the world have joined with the Pierre Boulez Saal to call attention to the plight of musicians and to encourage support of local entities which support freelance musicians. The Ojai Festival asks that you consider making a contribution to two wonderful new music ensembles, which have had such a profound impact literally from coast to coast: the Wild Up ensemble in Los Angeles (https://www.wildup.org) and ICE, the International Contemporary Ensemble in New York (https://www.iceorg.org). Both these ensembles provide regular work for some on the most imaginative and accomplished musicians in the country. With their concerts now cancelled for months, these ensembles need our support more than ever.
Artistic and Executive Director
At the Border
of the Fertile Country
Whenever Pierre Boulez, co-founder and former director of the Lucerne Festival Academy, was in Lucerne, he would visit the Rosengart Collection, which has an excellent collection of works by Paul Klee. One of his favorite paintings there was a watercolor titled “Monument at the Border of the Fertile Country” (Monument an der Grenze des Fruchtlandes, in the original German). Ever since the 1950s, Boulez often made reference to it. For him, this painting was a symbol (tableau-symbole) of artistic thought, in particular a symbol for being aware of the risks of tipping over into barren terrain as opposed to reaching fertile land through creativity and boldness.
During this era of the coronavirus pandemic, we are going through very different borderline experiences. Along with health risks, there is also an existential threat that musicians are facing. We must look after them to ensure that their music does not run dry.
The Festival of New Music that Daniel Barenboim and Emmanuel Pahud have conceived and curated for the Pierre Boulez Saal makes a powerful statement on behalf of new music—a plant that needs to be nurtured and cultivated, in these times above all. Chapeau!
Executive and Artistic Director
Supported Fund: Deutsche Orchester-Stiftung
“Art is about searching and sometimes finding;
it defines pain and sorrow and sometimes softens them; it is about exploring and listening to silence; it is lasting but not immediate; it is valuable but not priceless; it is based in the past but reaches for the future; it is free to anybody but may not be used by everybody; it is universal though it may be attacked as exclusive; it is diverse and not homogenized; it resists categories and makes connections across them. Art is all the things that the rest of life is not.”
These words of Sir John Tulsa have been indelibly seared in my mind since I first read them about 15 years ago. They give me the fortitude and burning desire to carry on sharing musical experiences in my community. Our ability to come together to share musical experiences under one roof is temporarily on hold, but by retaining connections through technology and all other possible means, I have confidence that when the time comes to reopen our world, the desire to come together to share great music and art will rebound and be stronger than ever. Thanks to the innovations of the Pierre Boulez Saal and its family, and many others, we’ll keep the flame burning.
Leila Getz, C.M., O.B.C., D.F.A
Founder and Artistic Director
Vancouver Recital Society
Supported Fund: Vancouver Academy of Music
As a major international arts institution,
we feel obliged to raise our voice in unity with like-minded institutions and bring forward the message that without income, freelance artists are about to lose their professional existence.
As a consequence of the corona virus pandemic, freelance artists across the world are now struggling. With no performances and therefore, no income, many artists are suffering severely. The Bergen International Festival wishes to create awareness surrounding this challenge and to encourage the community to donate money to foundations that can actively help freelance artists who find themselves in an extraordinary situation. Together with prolific international partners, we wish to highlight the problem and be instrumental in alleviating the hardships experienced in this urgent matter.
A few months into the pandemic, we are gradually gaining a feeling that this crisis may go on for years. Therefore, there are reasons to think deeply about how cultural life may not only survive, but actually thrive in the times ahead. We can expect our new reality to persist in one way or another, even when the crisis is officially over. This is because, on a global level, humankind has been so affected and alarmed that our collective behavioural patterns will certainly be changed for a whole generation. As a major international arts institution, we feel obliged to raise our voice in unity with like-minded institutions and bring forward the message that without income, freelance artists are about to lose their professional existence. As a consequence, audiences, culture and the arts itself will suffer, too.
CEO and Artistic Director
Bergen International Festival
Supported Fund: Fond for Utovende Kunstnere
At this moment the world needs positive signals
to help us keep believing that our culture will survive and continue to thrive.
During his multi-faceted career, Daniel Barenboim has often come up with strong statements addressing the challenges facing not only music, but society itself. This new initiative, masterminded by himself and Emmanuel Pahud to foster creation is, in my view, the perfect action for this point in time.
Pierre Boulez is an impeccable example of a musician, who tirelessly advocated for new music as a means to help the progress of culture and, indeed, our society. His promotion of living composers was unprecedented.
The two close friends Pierre Boulez and Daniel Barenboim have both been closely connected to the Gulbenkian Foundation’s musical activities, and their example has inspired us to promote projects that give audiences new ways of understanding the richness of our contemporary culture. The attention now given by the Festival of New Music and the Pierre Boulez Saal to contemporary musicians is a valuable addition towards the survival of our culture.
Gulbenkian Foundation, Lisbon
The resilience and creativity of both musicians and colleagues
during the last few months have impressed and inspired us.
We felt connected with many of them around the world, we saw and discovered heartwarming initiatives and beautiful statements.
At the same time, we are aware of the long-term global consequences of the coronavirus pandemic for the arts and the community of freelance artists around the world. The String Quartet Biennale Amsterdam wants to express compassion for all those who are facing difficult times and struggle. We encourage our supporters and friends to donate money to foundations that actively help freelance artists.
Yet, especially during these times, we first and foremost have to stimulate music and music making—not mourn its current silence. That is why we share the message of A Festival of New Music—to express our gratitude and solidarity with all artists and creative minds and to inspire and promote new works of art, thriving under these trying circumstances.
The Team of the String Quartet Biennale Amsterdam
In times of crisis—
and this is an unprecedented time of crisis in all our lifetimes—music has immense and unique power not only to reflect the challenges of our day, but also to lift our vision to dreams of a better future for mankind, bringing people together in discovery and common understanding.
Carnegie Hall is proud to join institutions around the world in saluting Daniel Barenboim and Emmanuel Pahud for this special project at the Pierre Boulez Saal, with artists exploring and responding to this pivotal moment in history. Rooted in the philosophy of one of the most visionary, ever-exploring and extraordinary artists any of us ever had the privilege to work with and call a friend, the late Pierre Boulez, it is an important reminder of the fundamental role the arts and our organizations can play in connecting all of us, whilst also inviting new ideas and perspectives.
Executive and Artistic Director
Music brings us together,
it resonates within us, it speaks to our humanity, above all.
Music reveals us to ourselves. During these unprecedented and incredibly difficult times we are going through, it is a powerful unifying force, drawing us to the recognition of others, to be more tolerant and wiser. Music shows us that peace is possible in this world. Despite the very real and serious threats that our musical ecosystem is facing, I take great comfort in witnessing how closely interconnected our world truly is. The Lanaudière festival is incredibly proud to partner with Daniel Barenboim, Emmanuel Pahud, and the Pierre Boulez Saal on this extraordinary initiative. It stands for so much of what we sorely miss right now, and undoubtedly for some time to come: beauty, joy at being together, the pleasure of sharing, discovering, playing, being. In times like these, silence is not an option. Keeping music alive, keeping culture alive—it is a responsibility greater than ever.
Festival de Lanaudière
Artists need the stage,
artists need an audience.
And the desire to experience music live and together with others has become more urgent than ever. I am delighted by the Pierre Boulez Saal’s initiative to foster new artistic ideas and support artists during these challenging times. The Festival of New Music curated by Daniel Barenboim and Emmanuel Pahud is an important signal to raise awareness for the vital relevance of culture and the arts. We share their purpose in our efforts to make the 2020 Salzburg Festival happen—in a different form and under the highest safety precautions. We need live events, for both our live and digital audiences, in the Festival’s theaters and concert halls here in Salzburg and around the world. And for those of you at home who would like to spend your summer enjoying music: join us in August for at least one daily broadcast from the Salzburg Festival.
Artists nourish our soul;
they enrich our lives and take us beyond the mundane to the realm of beauty and the core of our humanity. Art and music define us as a species. We as human beings create the values of our society, and as a society, we create the world we live in. What is the world we want to create for tomorrow?
Ulrike Klein AO
Founder and Director
UKARIA Cultural Centre, Adelaide
Founded by Ulrike Klein AO, the UKARIA Cultural Centre opened in August 2015 in the Adelaide Hills just outside Mount Barker, South Australia. Purpose-built for chamber music, UKARIA presents an annual series of concerts featuring national and international musicians, showcasing their art in a uniquely Australian setting. Musicians create projects and experiences here that they can’t realize elsewhere, inviting colleagues to join them as they bring long-held dreams to life.
In solidarity with Daniel Barenboim and Emmanuel Pahud’s Festival of New Music Distance / Intimacy at the Pierre Boulez Saal Berlin, UKARIA has made a donation to Freelance Artist Relief Australia—an initiative founded by Australian operatic soprano Nicole Car in March to support Australian classical singers affected by the COVID-19 crisis.
Supported Fund: Freelance Artist Relief Australia
Periods of crisis invite us to broaden the temporal space of our reflection
and to question without taboo our history and the values we defend—those stemming from the Age of Enlightenment, which strongly favored the inclusion of artists in society.
The salutary initiative of Daniel Barenboim and Emmanuel Pahud reminds us that a world without artists would lose its raison d’être, its vitality and its capacity to regenerate itself. Our past has shown us that a society without artistic and cultural bubbling can very quickly become nostalgic and withdraw into itself. In this respect, “thinking about music today,” as Pierre Boulez would have said, means “thinking about the structure that connects” universes that we perceive as disjointed. It means putting creation in relation to heritage, research and science, it means revisiting some boundaries between artistic disciplines, and even questioning our frenzy of production, which encourages the multiplication of superficial initiatives, sometimes to the detriment of their deepening.
Therefore, all these issues cannot be separated from a crucial question for our future: what can we do to develop artistic and intellectual convergences capable of nurturing the solidarity that a more harmonious world presupposes? The global project of the Pierre Boulez Saal and its new online Festival of New Music show us the way forward and how to re-imagine new identities that do not deny specificities and do not impose the supremacy of a single cultural vision, but which are bearers of a true dialogue that presents itself as a conversation between a plurality of voices—something Daniel Barenboim’s friend, the intellectual Edward W. Said, would have called “contrapuntal humanism.”
Cité de la musique – Philharmonie de Paris
Supported Fund: National Center for Music
The limited possibilities we have on the stage right now
should not result in reduced, stripped-down programs, it should rather be a catalyst for new and bold ideas.
The corona pandemic represents an enormous challenge for everybody in the music community. Most freelance artists lost most of their income over night. But even now, with concert activities slowly resuming, it is becoming clear that we will need all of our creativity to make meaningful and vibrant concert experiences possible for our audiences—in the face of all the restrictions. But the limited possibilities we have on the stage right now should not result in reduced, stripped-down programs, it should rather be a catalyst for new and bold ideas. The Festival of New Music at the Pierre Boulez Saal Berlin is one such bold initiative, that puts a strong focus on new music—something that has also been particularly important to us at the Elbphilharmonie during these times of corona.
General and Artistic Director
Elbphilharmonie Hamburg & Laeiszhalle Hamburg
Until we are safely treading the boards of our concert hall stages,
it is important we continue supporting artists in order to create music for our audiences.
The Australian Chamber Orchestra is honoured to partner with Maestro Daniel Barenboim, our dear friend Emmanuel Pahud, and the wonderful team of the Pierre Boulez Saal on this celebration of new music. I can’t recall a moment in my lifetime when music and the arts have faced such a threat as the COVID-19 pandemic. While it has been inspirational to witness the innovation, adaptability and creativity of artists during this time, music without live audiences is distressing. The communal resonance of live performance is immutably the chemistry which allows for the transmogrification of spirit. The audience, captured and enraptured is now an elusive memory and the impact will be felt for generations to come.
So until we are safely treading the boards of our concert hall stages, it is important we continue supporting artists in order to create music for our audiences; let’s work to keep them craving live music. Once that craving dissipates, so do we all.
In this spirit of support and collaboration, we ask that you consider making a contribution to Gondwana Choirs. Gondwana is an organisation that the ACO collaborates with regularly and they have a range of music education programs for young people (including the celebrated Gondwana Indigenous Children’s Choir). Gondwana has made a significant contribution to the Australian music landscape through their training and development programs as well as to new music through their extensive commissioning program.
Australian Chamber Orchestra
Supported Fund: Gondwana Choirs
We believe that music helps us to look forward with hope.
We stand in solidarity with the artistic community all over the world and everybody who is embracing change and creating music with hope.
The Singapore Symphony Orchestra (SSO) is honored to support the Pierre Boulez Saal’s efforts to #KeepCultureAlive.
For the SSO, culture and community are inseparable. The music we make belongs to the community around us. The orchestra is part of the community and we will get through this crisis together. Even as our concerts were put on hold and we encountered challenges in fundraising, we have continued to support initiatives that keep our community alive. For this partnership with the Pierre Boulez Saal, we are supporting the Invictus Fund of the Community Chest of Singapore, and we encourage you to join us in doing so. Your donations will help social service agencies continue to deliver critical services to vulnerable individuals and families in Singapore who have been affected by the economic fallout of the pandemic.
For the SSO, classical music and the international music community are inseparable. Our weekly symphonic concerts at the Esplanade Concert Hall and chamber concerts at the Victoria Concert Hall have been our connection to the world through the international guest artists and the universally loved classical music that we perform. I am excited that so many colleagues from around the world have rallied behind the message of the Pierre Boulez Saal’s festival. New music is a powerful representation of change and hope. We had planned to open our own season with the world premiere of a newly commissioned work. The digital season opening concert we put on instead was an international collaboration including the city of Berlin. The orchestra performed the Largo from Johann Sebastian Bach’s Concerto for two Violins, recorded by our musicians Chloe Chua at home in Singapore and Karen Gomyo in Berlin. Digital media gives us hope of bringing the world closer together through music.
The SSO’s 2020–21 season is centered around the themes of change and hope. We believe that music helps us to look forward with hope. We stand in solidarity with the artistic community all over the world and everybody who is embracing change and creating music with hope.
Singapore Symphony Group
Supported Fund: Invictus Fund