[...] There are no fixed criterions. There can be a program which is dedicated to a precise period in the history of music, or a program which combines classical, romantic and modern pieces. What remains important is that there is a musical and a dramaturgical sense. And it should stimulate the hearer to go further than the music’s simple hedonistic function. On the other hand, this is exactly what the real music lovers expect from us.
Now I’m talking about single concerts, but this concept is of course applicable even more so for the preparation of a concert season, or festival program. I’ve noticed that more and more often parallel to conventional programs, programs based on cultural projects are being elaborated. I think that this isn’t only simply the correct, but possibly also the only procedure, if we want a future.
Hiding behind the audience’s apparent laziness doesn’t only denote a lack of courage, but especially, it means lack of respect for this same public. There also is the problem of constantly innovating and rejuvenating the audience. We can find very encouraging examples of such innovation in the great European festivals, which used to be old fashioned and conventional. [...]