Greeting

Alongside the symphonic repertoire, Musikfest Berlin 2026 also hosts some remarkable opera productions: works such as György Ligeti’s Le Grand Macabre, George Gershwin’s Porgy and Bess and Karlheinz Stockhausen’s Mittwoch aus Licht epitomise the openness of the festival programme.  
During the 1950s, amid the radical changes of a divided world, the Berliner Festwochen had a deliberate political dimension. They stood for a spirit of freedom – for an art that demanded and defended openness. Now, however, we are experiencing how some of those certainties are becoming brittle. All the more need, then, for us to speak up for values like freedom and diversity.

Musikfest Berlin is a place where questions like this can be examined – not in theory, but through collective artistic endeavour. Ensembles from Japan, South Africa, Europe and the USA shape the festival with their own programmes in an artistic dialogue made up of contrasts, connections and inspiring musical encounters. This makes cultural exchange audible and establishes a productive conversation between different positions.

I am delighted that once again in this anniversary year the Berliner Philharmoniker are represented with two symphonic programmes. In one, Brett Dean, our Composer in Residence this year, returns to us as both conductor and composer. He spent over 14 years as a member of the Berliner Philharmoniker’s viola section while simultaneously developing into a composer with an unmistakable signature. He will personally conduct one of his most significant works, Beggars and Angels.

The second symphonic programme by the Berliner Philharmoniker will be conducted by Sir Simon Rattle. Works by Manuel de Falla and Leoš Janáček will be heard together with a world premiere by the composer Cathy Milliken, who as the first director of our education programme championed decisive initiatives within our organisation. Her new work for cor anglais and orchestra – featuring Dominik Wollenweber, a distinguished soloist in the orchestra for decades – demonstrates openness to the musical present.

I would also like to mention Hans Werner Henze, whose centenary we are celebrating this year. Several of his works can be heard at Musikfest Berlin – a fine occasion to honour the oeuvre of this great composer who made a great impression on musical life in the 20th century with his remarkable breadth, depth and humanity..

My thanks go to the Berliner Festspiele – their Director Matthias Pees and Winrich Hopp, the Artistic Director of Musikfest Berlin – for their intense commitment and inspiring collaboration. That the Berliner Festspiele produce this festival with its rich tradition and that we as the Berliner Philharmoniker Foundation are able to help shape it in cooperation with them, we regard as both a joy and a responsibility.

Musikfest Berlin remains a laboratory for artistic ideas and an international platform on which music can display its power to build bridges. May the festival continue to remain a courageous statement in favour of exchange, diversity and the strength of open dialogue – especially in challenging times. 
 
With warm regards,

Andrea Zietzschmann
General Manager of the Berliner Philharmoniker Foundation