ABSTRACT
The job of the concert dramaturge and music curator does not stop at the concert hall entrance. From the point of view of the festival director, Markus Fein reflects on the concert format from within in order to give it new energy. He describes several concert projects whose programs reveal different trends along the path to the concert of the future, with literature, film, ballet, light direction, and video pushing their way into the concert hall, and the line between these forms becoming blurred. Taking a critical stance toward the “festivalization” and “eventization” of the concert, as well as toward the increase in participation and audience education programs, Fein suggests that the future concert needs to focus on the intense aesthetic experience of music itself.
