Programme

ra ny
days 2024

Blurry upside down photo of a road in the desert
©: Véronique Kolber

«Extremes» is the motto of this year’s rainy days.

Many things can be considered and regarded as extreme – and art has always been a playground and test tube for all kinds of exaggerations, a place to push boundaries. In the second edition of the festival, curated by the Luxembourg composer Catherine Kontz, a wide range of extremes will converge, forming new relationships. Modern classics from such composers as John Cage, Morton Feldman or even Erik Satie will stand alongside brand new works. How extreme will our experience be today to music that caused scandals decades ago? The full Luxembourg Philharmonic with soloists on the one hand, and the invisible interpreter in a new piano concerto without pianist by Liam Dougherty on the other, mark extremes just as much as do 17 electric guitars or a single harp. And the age and career spectrum of the participants also holds extremes with names such as those of the old masters of the Arditti Quartet stand next to the participants in the composition workshop for children.
Ticket information

festival pass 21-24.11. (4 days) - sold out

Day pass:

  • 20.11. - sold out
  • 21.11.: 18 €: Tickets
  • 22.11.: 18 € for the events at the Rotondes: Tickets
  • 23.11.: 22 €: Tickets
  • 24.11.: 22 €: Tickets

Young people under 30: 40% discount on day passes from 21.11. to 24.11. or on the pass for the entire festival.

The passes entitle holders to attend all the events on the days indicated on the pass. They must be shown when entering. Seating is general (depending on venue capacities). The festival pass gives access to all events except the children’s composition workshops Music of Extremes and active participation in the Vexations project.

Full Programme

Interview

Throwback to rainy days 2023

The vibrant sounds of the 2023 rainy days festival are still echoing inside the Philharmonie – and in our memories! Let’s revisit some of the highlights of this extraordinary edition. 

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