L o ud,

Line, Log

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.