Abstract
Questioning whether new music is ‘losing touch’, Lydia Rilling, in her first edition as artistic director of Luxembourg's rainy days festival, curated a programme which sought, via an exploration of ‘the emotional landscapes of contemporary music’, to ‘reveal’ that this is not the case. The festival's scope extended beyond concerts to sound installations, pre- and post-concert talks, an (all female-presented) conference dedicated to the festival topic, a newly affiliated composition academy, and a closing ‘bal contemporain’ which paired Frank Zappa and Alexander Schubert with onion soup, while composers, musicologists and curators let loose after such extensive reflection upon the question that had been posed at every turn, emblazoned on the yellow telephone book-sized festival programmes (from which all quotations in this review are taken), echoed on individual concert programmes, interrogating the listener from the tickets’ fine print: how does it feel?
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