Orchestra plays only to two percent of composers: A Berlin festival holds out

Imagine a bookstore where 98 out of 100 books are by men. In the world of classics, this is the norm. According to a 2021 study evaluating the programs of 120 German professional orchestras, works by female composers appeared in subscription lists for less than two percent. Beethoven, Brahms, Bruckner, and in between sometimes a female composer as a "gesture of the day." They were always there: Hildegard, Barbara, Alma, Lilli, and Florence. They were just not played very often. That is, with due respect, a scandal. And where else in the world should someone respond to that than in Berlin? From October 23rd to 25th, the Atalanta Women Composers Festival will take place for the first time in the Villa Elisabeth and the St. Elisabeth Church on Invalidenstraße in Berlin-Mitte. The namesake of the festival is Atalanta, the fastest runner in Greek mythology, who did not want to marry or be caught until golden apples got in the way: Atalanta could not resist gathering them during a race—and thus lost her lead. Who is allowed to "run" in the world of music? A fitting icon for a festival that wants to catch up centuries: Kassia from Byzantium, Baroque with Elisabeth Jacquet de la Guerre, Berlin Modernism from Ruth Schonthal to Ursula Mamlok, plus premieres by contemporaries. The artistic director is, by the way, the pianist Fidan Aghayeva-Edler, who recently played only works by female composers for 24 hours straight. Whoever manages something like that plans a festival with left. The heart of the festival is three commissioned works for harp, piano, and soprano, which are to appear as a digital album in 2027. In addition, there will be lunch and conversation concerts and a text music performance about the question of who is actually allowed to "run." For the finale on Sunday, October 25th, there will be two evening concerts that should not be missed. "Fermi Paradox" in the St. Elisabeth Church The physicist Enrico Fermi once asked where all the aliens are, if there are so many stars. The composer Jobina Tinnemans, who lives in Wales, answers cheekily: "We have always been here." For the harpist Gunnhildur Einarsdóttir, she has written a journey through space and time that does not take itself too seriously: "Fermi Paradox" at 7 p.m. in the St. Elisabeth Church. Along the way you meet Mother Nature, the world turtle, the tree of life, and an Amazon who arrives as a Trojan horse in a package. The harp is linked with a self-developed virtual interface, along with rustling objects and movements. This probably has little to do with it. Travel Highlights Travel Highlights exclusively for you More "Asteria – echo // fragment // light" in the Villa Elisabeth From 8:30 p.m., the Berlin Ensemble LUX:NM will take over the Villa Elisabeth. They play, inspired by the poetry of the poet Sappho, from which only fragments are received, also a case of systematic loss. The musicians fill the gaps with miniatures, echoes—and silence. One can hear the premiere of the two-part work "Asteria," along with pieces by Lisa Streich, Bára Gísladóttir, Rebecca Saunders, and Birke Bertelsmeier. These are names that could be in every new music program, only they appear much too rarely. The festival is a sign that something is turning, and at the same time proof of how much is still missing. A pure women composers festival is an interim solution, although a very charming one. Until Mamlok and Saunders sound as self-evident as their male colleagues in concert life, what is missing in Atalanta can be somewhat caught up. May no evil apples prevent us in Berlin-Mitte! Atalanta Women Composers Festival, October 23rd to 25th, Invalidenstraße 3, 10115 Berlin. Program and tickets at atalanta-festival.com. Unheard Music in Interview: "30-year Beethoven ban to make room for the contemporary" Agnes Obel: "Berlin was a revelation for me – the Berliners are more direct, unashamed, honest." Your opinion is important to us. Send us your feedback on this article to: briefe@berliner-zeitung.de