It is always a special added value when a vacation abroad is seasoned with a concert visit. When that concert takes place in the Wieskirche – one of the world's most refined Baroque churches – the experience becomes something magical. In this evocative pilgrimage church, where music and contemplation meet, the Werkgemeinschaft Musik presents its annual summer concerts. These are intense musical encounters that captivate not only through their choice of repertoire, but especially through their unique performance practice.
An inclusive approach with generations together
On Monday afternoon, July 21, the new concert series was opened with a program in which romanticism and devotion went hand in hand. A special aspect of this concert – and of the entire project – is the inclusive approach of the Werkgemeinschaft Musik. For a week, amateur musicians of all ages rehearse under the guidance of experienced conductors and pedagogues on a rich program. In addition to the major repertoire, smaller and surprising works are also studied. Intriguing is how generations come together in a shared musical process. Thus the so-called "Nachwuchsorchester" stood out, in which young musicians played with great enthusiasm and were clearly being prepared to eventually move on to the main orchestra. It was also striking how young percussionists – sometimes barely teenagers – took their place alongside their teachers in the great works of Tchaikovsky and Finzi. It was a pleasure to see them at work!
Passionate Tchaikovsky in a heavenly space
The opening came with a passionate performance of Tchaikovsky's Romeo and Juliet, a fantasy overture that has already inspired countless orchestras to great expression. In the acoustic richness of the Wieskirche, the work received a moving glow. The performance was perhaps not flawless in every detail – which in this context need not be a drawback – but the intensity and dedication of the musicians made a deep impression. It was especially the involvement of the entire ensemble that moved us. Every musician seemed to be part of a larger whole, one breath, one heartbeat. These are the moments when music shows its true power: connecting, genuine and profoundly human.
Chamber music as a voyage of discovery
The smaller ensembles also made their mark. The string ensemble surprised with an elegant dialogue between Elgar's lyricism and Piazzolla's brooding melancholy. An unexpected gem came from the wind ensemble: the Intrada by Leland Albert Cassard – a work that seems to have completely disappeared from concert halls. In this arrangement with harp and winds, it proved to be a true discovery: layered, subtle, yet also playful. The choir surprised with the Templar hymn "Non nobis, domine" in the setting of (presumably) William Byrd and that of Patrick Doyle (from the film music of Henry V).
Rhythmic energy and youthful fire
Totally different, but equally striking, was Talkshow by Eckhard Kopetzki, performed by the Body Percussion Ensemble. Young people declaimed and clapped their way through a rhythmic dialogue that was brought with freshness and precision – the joy of playing was evident. The wind ensemble concluded with a majestic version of Alexandre Guilmant's Grand Choeur in d. The arrangement played optimally with the space and the natural sonority of the ensemble.
A spiritual climax with Finzi
The absolute highlight of the evening came in the form of a rare performance of For Saint Cecilia by Gerald Finzi – a moving ode to the patroness of music. This work, which is seldom heard on Belgian or German stages, found in the serene acoustics of the Wieskirche an almost perfect home. The space seemed, as it were, built to carry this poetic and spiritual musical piece.
More than a hundred performers stood on stage – choir, orchestra and soloists – and brought the work with an impressive combination of refinement, dedication and inner conviction. The solo parts were not entrusted to external guest singers, but were sung by members of the choir themselves. A sober, but particularly meaningful choice, which powerfully emphasized the sense of community and the inclusive philosophy of the project.
Finzi's score – elegant and lyrical, yet permeated with subtle drama – unfolded in this performance with great care and inspiration. From the grandiose, solemn overture to the concluding hymn of praise, a strong inner logic sounded, supported by clear orchestration and warm, convincing text treatment. English poet Edmund Blunden provided a text full of reverence and poetic power, which Finzi elevated into a meditative sound universe.
For many in the audience, this performance felt like a revelation: music that not only sounds, but says something essential – as hymn, as prayer, as a shared moment of connectedness. It became a collective experience in which the beauty of the music grew into a tribute to the power of sound – and to the meaningful silence that lies between.
More than music: a ritual of connectedness
As always, the Werkgemeinschaft Musik is a guest for five weeks at the Landvolkshochschule Wies. What grows behind closed doors in intensive rehearsals eventually flourishes in the various concerts in the Wieskirche. Not everything has to be perfect – it is precisely the audible pleasure of making music, the sincere dedication and the special atmosphere that make these concerts so remarkable.
It is an inspired tradition that connects music with community, craftsmanship and spirituality. Those who get the chance to attend these concerts experience more than a performance: it is a shared ritual, a listening experience that touches something essential. In a world full of noise and speed, this initiative reminds us of the power of harmony and silence, of deepening and joy – carried by people, nourished by music.