by Maria Ossowski
Take a paper napkin for noting a concept, a historic location with a touching family history, a big birthday for the special idea, a passion for making music together and a belief in the future of Europe. So begins the story of a chamber music festival that is unique of its kind worldwide: German and Polish in equal measure, artistically at the highest level and at the same time politically orientated, with 50 young musicians from 20 nations who could become stars and mentors or seniors who are world-famous, but who do not impress their status on anyone here during the two summer weeks in Lower Silesia.
Family place and the future of Europe
It all began in 2013, when Matthias von Hülsen and his wife Dorothy invited friends and family to the Kreisau Estate to celebrate his milestone birthday. As a member of the board of trustees of the Freya von Moltke Foundation and the Polish meeting centre in Krzyżowa, von Hülsen was keen to bring this place on the outskirts of Poland, but so central to European history, back into the focus of international cultural life. Once refurbished by the famous Field Marshal General, the estate was owned by the von Moltke family for almost a hundred years. Dorothy’s uncle, Helmuth James Count von Moltke, was a staunch opponent of the Nazi regime, and so in 1942 and 1943, in the middle of the war, he invited democratically and humanistically minded friends to Kreisau, secretly of course, to work with them to create a humane future for the time after the Nazi terror. The friends of the Kreisau Circle wanted to restructure Europe according to the principles of peaceful coexistence, self-determination and the political responsibility of the individual.
Helmuth James Count von Moltke and some of his friends paid for this civil courage with their lives.
”… she had just returned from this chamber music haven
in Vermont, full of experiences and ideas”
Von Hülsen himself lost his parents during a night of bombing in Berlin; relatives brought the baby to Kreisau, which the rest of the family then had to flee from to go to the North-West in 1945. The site thus symbolises not only the history of an important part of the German resistance, but also the family fates of Dorothy von Moltke and her husband Matthias von Hülsen.
The paper napkin
Former paediatrician Dr Matthias von Hülsen, co-founder of the Schleswig-Holstein Music Festival and founder of the Festspiele Mecklenburg-Vorpommern, seemed to have arrived at a place that suited the idea of European unification, German-Polish friendship and his family history like none other. The violinist and long-time friend of the family, Viviane Hagner, was crucial to the success of the musical endeavours. A regular guest at the traditional American music festival in Marlboro, she had just returned from this chamber music haven in Vermont for the birthday party, full of experiences and ideas.
And now the paper napkin is put to good use. Von Hülsen and Hagner sat down with like-minded people in 2014 and drew up a concept for Krzyżowa: strategies, locations, people in charge, patrons, costs.
The napkin was full, the structures clear, the money, as always, restricted, but the dedication to the project huge. The art of chamber music was to take centre stage, rehearsing together, listening attentively in a circle of like-minded people.
Friendship instead of stardom
Thanks to Viviane Hagner, the spirit of Marlboro hovered over the beginnings of Krzyżowa-Music. Due to her extensive experience there, Viviane was able to invite chamber music luminaries such as Arnold Steinhardt as a Senior to Lower Silesia. Seniors are not teachers, but active listeners who discuss compositions with the Juniors and Mentors and point out different interpretations or readings of the score. They do not act as omniscient experts but pass on their personal experiences to the Juniors.
”… with its decelerated spirit,
Krzyżowa has become an insider tip.“
Mentors, on the other hand, are musicians who have already proven themselves as Juniors and who play together with Juniors in various formations. They all form a large musical family that has two weeks for in-depth rehearsals together. No travelling to an anonymous hotel to get to the stage of a concert hall through the back entrance, play, take a bow and rush on the next morning.
No, Krzyżowa is different. Time, peace, exchange, shared leisure time, close contact with the audience and unusual venues in churches, castles, the princely theatre in Szczawno-Zdrój (former Bad Salzbrunn) or the university, the synagogue or the National Music Forum in Wrocław: with its decelerated spirit, Krzyżowa has become an insider tip. Alfred Brendel, Midori, Judith Serkin, the famous Polish pianist Krzysztof Jabłoński, the Krakow-born concertmaster of the Berlin Philharmonic, Daniel Stabrawa, the pianist Veronika Jochum von Moltke, the cellist Eckart Runge, the violists Tabea Zimmermann, Volker Jacobsen, and Nils Mönkemeyer, all of them and many other world-famous musicians have imparted ever more glamour to the festival.
Viviane Hagner selects the Juniors with a jury of experts and invites the Mentors and Seniors to join her in designing the programmes, which are usually only finalised two days before the concerts after intensive rehearsals on the Krzyżowa estate. “The friendly, warm, modest and down-to-earth atmosphere makes us all happy,” says Viviane Hagner. “Krzyżowa is the opposite of luxury. There is no classic jet set here. None of the usual distractions. Just music, concentration, friendships, and time, lots of time.
„Thanks to the symposia, Krzyżowa
also makes people aware of how
political and moral the study of
music can and should be“
Rehearsing together, the audience listening, sharing meals and, above all, reflecting together on the political realities of the historical site and the present are what make Krzyżowa-Music so unique.
Music and politics
“The musicians should know where they are playing, what makes this place special, and this knowledge should be linked to the current issues and the upheavals that are driving us,” says Matthias von Hülsen. The musicians will discuss climate change and the ecological footprint of their travels with experts, while experts on the podium will discuss the background to the war in Ukraine.
During the 2019 protests, the symposium organisers switched a line to the Belarusian capital Minsk and listened to those affected there. Music in occupied Poland was a key topic, with the widow and son of Władysław Szpilman, “The Pianist”, reporting as contemporary witnesses. In the anniversary year 2024, the pianist and Putin critic Evgeny Kissin will join the symposium via Zoom. Krzyżowa does not mean escaping into music, far away from all worries. Musicians can educate themselves politically and historically here, broaden their horizons and, if they like, take a stand on burning political issues.
During the 2020 Covid pandemic, Krzyżowa-Music was the only chamber music festival that could take place. Worldwide. Everyone who was able to attend, musicians and visitors alike, remember it with gratitude. Matthias von Hülsen simply refused to allow this jewel to be abandoned. A Rostock sponsor, Centogene, had made constant testing possible. Despite all the uncertainties, the mantra of the enabler applied: “We have to make it work,” says von Hülsen. And they did it.
The networkers
Volker Jacobsen, grand seigneur of chamber music, one of the founders of the Artemis Quartet, internationally acclaimed solo violist and university lecturer in Hanover and Brussels, has taken part in the festival as a Senior since the early years. The networking of musicians from different generations is an important aspect of these two weeks. Young musicians get to know each other and the older ones, while older musicians like him are dismayed at the challenges that young artists face today. Nothing can be taken for granted anymore during a career.
The industry has changed, young people have to take more initiative. Jacobsen himself was still able to utilise existing structures. “The right doors were opened to me at the right time. Today, young people must establish their own doors. They have to work for their place. Chamber music experience from Krzyżowa helps. The young musicians carry Krzyżowa’s spirit out into the world, and some of them have already founded their own festivals, committed to the Krzyżowa principles.”
“Nobody here should insist on playing the first fiddle. Anyone who demands that has neither understood chamber music nor the spirit of Krzyżowa,” says Jacobsen. Thanks to the symposia, Krzyżowa also makes people aware of how political and moral the study of music can and should be. He remembers great moments working with the Juniors on the Enescu Octet in Wrocław, Brahms’ rarely played Piano Quartet in A Major or the Mendelssohn Quintet in A Major with two violas.
„This has now changed, the halls
are full, well over half of them
filled with guests from the
surrounding area.“
Krzyżowa, according to Jacobsen, does not run itself. Matthias von Hülsen’s youthful energy and enthusiasm carry the festival. He repeatedly succeeds in winning the support of the foreign ministers of Poland and Germany as patrons of the festival. The awarding of the Federal Cross of Merit on Ribbon to the founder and to Viviane Hagner was a wonderful gesture and more than deserved.
Football as recreation.
Violinist Niklas Liepe, a successful laureate of many competitions, has played in the Krzyżowa-Music festival twice as a Junior. He was just as fascinated by the historical background of the location as he was by the European ideal. Despite the many different languages, the language of music unites them. And a passion for football. After rehearsals, the goals are set up on the pitch in the centre of the estate. Football as compensation for the long hours of rehearsals: “Football is not so dissimilar to chamber music. We have to put together a functioning team. We have to anticipate what the others are going to do. We have to divide up the roles. Who is the striker? Midfield? Defence? Goalkeeper?” As a violinist, he would be more of a striker, but his talent, according to Liepe, is better suited as a right winger in midfield.
Audience
Lower Silesia as a new centre of European chamber music – who even knows about it? Who is coming? Who enjoys the rehearsals? Who drinks a glass of wine with the musicians in the evening, converses with them? Is there a loyal audience from the region? Or do the guests travel from far and wide to Lower Silesia? Ten years ago, says Matthias von Hülsen, they were amongst themselves, the chamber music lovers from Berlin, Hamburg, and the surrounding area. This has now changed, the halls are full, well over half of them filled with guests from the surrounding area. There is no money for advertising, but thanks to the tireless and voluntary efforts of Sven Sochaczewsky und Janusz Gregorowicz, all information finds its way onto the internet and into important publications. This year, the national broadcaster Radio Polskie will broadcast some of the concerts.
Sabine Richter travels to Krzyżowa every year together with her husband and friends from Berlin. She loves chamber music, is curious about the young, fresh interpretations, enjoys the evenings and the free time with the musicians. For her, three people are the good spirits of Krzyżowa: Matthias von Hülsen as the organiser, as a persistent, un-
wavering campaigner for sponsorship in Germany, the USA and Poland. Dorothy von Hülsen, who keeps the history of Kreisau alive, offers guided tours of the Berghaus and yet never puts her family history centre stage. And Viviane Hagner, who characterises the festival in a unique way as Artistic Director.
According to the founder of Krzyżowa-Music, the Krzyżowa cosmos is complex. The financing causes sleepless nights every year, he says, he is a pickpocket on behalf of culture, begging friends, companies, and foundations, and yet he manages the miracle every summer: Krzyżowa-Music takes place. Matthias von Hülsen raises half a million euros each year, grateful for every small and large donation. He is also grateful to all the helpers who work for a “thank you”.
When the first rehearsal begins, when the pianos have finally been tuned and all the artists and guests immerse themselves in the shared happiness of great music, then it unfolds and enchants – the spirit of Krzyżowa.
Maria Ossowski, after studying history and literature, worked as a reporter and editor in leading positions and now lives as a cultural journalist in Berlin.