61^st Gstaad Menuhin Festival | 13 July – 2 September 2017

Pomp can be the expression of art, beauty, wealth, decadence, generosity or power. In German, “Prunk” represents something artistic and beautiful and yet rather static; it is an appropriate expression with regard to architecture, for example, such as “prunkvolle Bauwerke” [grand, luxurious buildings]. Pomp, on the other hand, is derived from the Latin word “pompa” [procession, retinue] and refers to something more dynamic in nature but also colored by less positive attributes such as extravagance, ostentatiousness, excess, opulence, kitsch or insipidity. The contrast between “Pomp” and “Prunk” is perhaps most evident when employed as expressions for beauty and art or (!) for excessive desire and material wealth. Another use of the word alludes to more spiritual dimensions in the glorification of supernatural “entities” that transcend our system of values and are characterized by extraordinary magnitude and ostentatious power. This form of expression can take on spiritual and religious dimensions, on the one hand, or philosophical intricacy, on the other hand. Its dark side, at times the darkest in the history of mankind, is in the expression of bombastic works of art (architecture and music) as symbols for power and superiority.  For centuries artists of all kinds have given expression to pomp in their works as one of the most intuitive means to evolve and develop. The representation of inexplicable grandeur in music, images or architecture, however, will only become tangible and meaningful when it is possible for others to participate in the wealth embodied in the work of art. The generosity of artists and patrons is nourished by the act itself of sharing their riches with others, the pleasure of giving or creating a gift. Whereas the contribution and sharing of plenitude and wealth is viewed as positive behavior, the excessive “flaunting” of opulence is scorned upon and controversial in our enlightened, democratic culture. The treatment of pomp has undergone a fundamental transformation over the course of the past centuries in music history, from the representation of material wealth to the expression of supernatural, immaterial grandeur to the abusive declaration of great power and political dominance. Monarchs and rulers in the Baroque and early Classic periods often had their own court composers create works for them that were to represent their supremacy and greatness, or sacred compositions that gave expression to the glory of divine powers, whereby the grandeur of royal and divine were considered by contemporary culture as equivalent. The organ as the “king of instruments” (Liszt even referred to it as the “Pope of instruments”) could represent this dimension upon call with pure instrumental power. Magnificent Baroque compositions such as Handel’s Messiah or Bach’s Magnificat testify to the potency and supremacy of the divine (and royal) powers at this time. During the Classic period until the French Revolution princes such as the benevolent Nicolaus I, Prince Esterhazy, called “the Magnificent”, granted themselves the luxury of their own court orchestra and composer – in this case Joseph Haydn – and to some extent he shared his wealth with the common people by offering concerts open to the public in his castle. With works such as the “Coronation Mass” and the “Coronation Concerto” composers such as Mozart and later Beethoven payed honor to the grandeur of the sovereign rulers, who were often their employers. It was only in the late Romantic and the early modern periods that philosophers such as Friedrich Nietzsche began to focus their search for what might be described as supernatural and intangible powers outside the system of Christian beliefs.  As a contrast to these more material and quantitative measures of pomp in various epochs, the chamber music cycle “Richesse intérieure” [interior riches] will spotlight the riches of chamber music, particularly in the works of Brahms and Beethoven: their music is characterized by dense harmonies, an outpouring of thematic ideas, a wealth of melodies and effusive forms of expression and represent their richest and most effusive compositional periods. Opulence, abundance and wealth can be experienced in over 60 concerts at eleven different locations over the course of seven weeks at the Festival in 2017, which commences on 13 July. 
We are looking forward to welcoming you!