The announcement by Bavaria’s Prime Minister Markus Söder (CSU) that the construction of the long-planned Munich concert hall would be put to the test triggered a wide variety of reactions among those involved in culture and in politics. Söder had in an interview with the Süddeutsche Zeitung said that in view of the massive challenges posed by the pandemic and the Ukraine war, one must now “pause for thought”: “We cannot finance everything indefinitely.” He now anticipates construction costs of more than one billion euros, compared to 350 million when planning began.
The concert hall was to become the home of the Bavarian Radio Symphony Orchestra. Söder announced that he would start talks with the city of Munich. After all, in addition to the new Isar Philharmonic Hall, the state capital also has the Hercules Hall and the Gasteig Cultural Center. So the obvious question is: “Isn’t it worthwhile to develop a better joint presentation?”
Munich’s Lord Mayor Dieter Reiter (SPD) was open to talks about cooperation at the weekend. “Of course, when the Gasteig-Philharmonie is available again as a concert hall after the renovation, we will have two outstanding municipal concert halls in Munich. I already had my doubts when the Isarphilharmonie opened – and at the time I didn’t think that the concert hall could be canceled in the Werksviertel – that it would stay with an “interim construction”,” said Reiter of the SZ. Of course, synergies could definitely be created, but it remains exciting.
“We need this living room of creative flights of fancy like the air we need to live!”
The violinist Anne Sophie Mutter, who in the past had repeatedly campaigned personally for Söder to build the concert hall, reacted adamantly to his initiative: “With all the past, current and future crises, a contemporary meeting place is of existential importance for us humans For centuries we have struggled to find the most diverse forms of expression to give voice to our deepest thoughts, hopes and emotions.” People need this diversity of expressiveness in order to endure and process the trauma of global history. Anne Sophie Mutter wants to keep fighting for the prestige property in the Werksviertel, she says: “We need this space to feel together and to celebrate the community of cultures. We need this living room of creative flights of fancy like the air we need to live!”
The director of the Bayerischer Rundfunk (BR), Katja Wildermuth, also continued to advertise intensively to the SZ for the planned concert hall as a separate venue for the BR symphony orchestra. “We offer creativity and radiance! State-of-the-art music education for school classes and young people from all over Bavaria, creative cooperation with the lively Werksviertel scene and the first “digital concert hall” of the 21st century – that’s what we as BR combine with the planned concert hall,” said them on the weekend.
The BR is not the client, but never understood the concept as a “temple” made of “stones”, but as a very lively place. Wildermuth demands a “clear commitment and a sustainable investment in the future in which I am convinced that art and creativity, from high culture to the independent scene, will always have a very high priority.”
Munich’s deputy mayor Katrin Habenschaden (Greens) called it “reasonable” to critically question the construction of the concert hall. Time passed over the project. With the Philharmonie im Gasteig and the Isarphilharmonie, the city of Munich already has two concert halls of the highest quality, a third for one billion euros would be questionable in view of the great need in other areas of culture. “We mustn’t give the wrong impression now: investments in art and culture must also take place in times of tight budgets, because they support our society. But we have to use the scarce resources sensibly,” said habenharm. The state capital and Gasteig GmbH are open to constructive talks with the Free State.
“You can’t rely on the prime minister. Announce it and don’t implement it!”
Wolfgang Heubisch (FDP), in his former position as Minister of Art, was already intensively involved with the project, called Söder’s statements a “fatal signal for both the international music location Munich and the cultural state of Bavaria”. The cultural policy spokesman for the FDP announced corresponding inquiries in the state parliament: “This is a dramatic development for the Bavarian Radio Symphony Orchestra with its top conductor Sir Simon Rattle.”
For Heubisch, this proves once again: “You can’t rely on the prime minister. Announce it and don’t implement it! Söder’s decision is transparent and heralds the death of the project.”
Heubisch also attacks his successor in office, the new Minister of Art Markus Blume (CSU): “He only does what Markus Söder wants. No backbone, no self-confidence and mission.” It clearly shows how low the importance of art and culture is for this Bavarian state government.”
Sanne Kurz, cultural policy spokeswoman for the Greens in the state parliament, sees Söder’s arguments in the pandemic and the war. At the beginning of January 2020, he called for a “feasibility study” – which is unusual for ongoing construction projects. “I think the fact that Markus Söder is continuing to delay the discussions about Bavaria’s most expensive parking lot is a sign of weakness in leadership,” said Kurz. The BRSO needs its own venue, not only because of Sir Simon Rattle. The most important thing now is a quick decision: “No more burning money for something Markus Söder doesn’t want.” If the concert hall is already buried within the CSU, investments must now be made quickly and sensibly in joint action with the city.
Anton Biebl, the city of Munich’s cultural advisor, emphasized that he was happy to be available for well-founded considerations – and listed the variety: With the Isarphilharmonie and the renovated Gasteigphilharmonie there are two outstanding concert halls in Munich. In addition, Biebl brings the Herkulessaal, the Prinzregententheater “and possibly another concert hall in the Paketposthalle” into play. On the other hand, according to the culture officer, the concert hall in the Werksviertel could also become an architectural highlight in Munich. Biebl: “The ball is in the playing field of the Free State.”