Conductor Elena Schwarz has spoken publicly for the first time about her withdrawal from the concerts of the Essener Philharmoniker at the NOW! Festival in Essen, which were originally to feature the world premiere of Clara Iannotta’s Violin Concerto sand like gold-leaf in smithereens with Carolin Widmann as soloist.
In a statement posted on Instagram, Schwarz explained that she had been “thrilled to be involved in this new project” after conducting Iannotta’s Piano Concerto in Vienna and Cologne earlier this year. Following the cancellation of the premiere, she decided not to continue with the engagement:
“Deciding not to proceed with my engagement was not easy, but given the circumstances surrounding the cancellation, I found myself unable to continue in a way that felt artistically and personally aligned.”
She concluded with a reflection that extends beyond this particular case:
“In addition to bold artistic vision there is a vital need for open dialogue and courageous action — both individually and collectively — to nurture and sustain the creation of new music.”
In the same post, Schwarz expressed gratitude to the composer and soloist, writing:
“Thank you to @claranoise and @carolinwidmannviolin for your support and friendship. I’m looking forward to the future premiere of the piece — this one is going to be special.”
She also thanked colleagues and well-wishers for their messages, ending her statement with a gesture of goodwill:
“Gratitude to the many friends and colleagues who reached out these last days and for the meaningful conversations. Wishing all involved in this week’s concerts in Essen the very best for the upcoming performances.”
A controversy that continues to unfold
The premiere was cancelled shortly before its scheduled debut. The Essener Philharmoniker announced that the work would not be performed, citing delays in the delivery of materials and technical difficulties related to the use of special instruments and objects. Elena Schwarz, who was to conduct the concerts, subsequently withdrew from the program.
Clara Iannotta’s statement
Clara Iannotta, the festival’s portrait composer, published a detailed statement describing the episode as “the first time in [her] career” that an orchestra had refused to perform one of her works. She explained that, after receiving assurances she could employ unconventional objects as part of the orchestration, the orchestra “held a vote” that ultimately led to the cancellation.
Later, Iannotta edited her text to clarify the circumstances. She wrote that the musicians’ internal vote had actually concerned a financial offer proposed by the festival regarding the additional fees for using objects, not whether to perform the work. The final decision to cancel, she said, was taken by management.
Iannotta acknowledged that she delivered the score “later than ideal,” explaining that most materials had been sent in stages and that she personally financed and prepared all the objects required for performance. The festival, she added, had since apologised for not clearly communicating that the use of objects “was simply not an option.”
“The whole situation arose from miscommunication and a lack of dialogue,” she wrote. “They should have probably commissioned a different composer.”
Carolin Widmann’s reaction
Violinist Carolin Widmann, for whom the concerto was written, also expressed her disappointment. She wrote that she had “immersed [herself] in [Iannotta’s] soundworld” and was “heartbroken to hear that the orchestra has decided in a vote not to perform this violin concerto premiere.”
Widmann described the work as “already having a special place in [her] heart” and confirmed she would still perform Berg’s Violin Concerto, which remained on the program, but not Iannotta’s new work.
“I deeply regret the loss of opportunity to hear and play this music, for the composer, for myself, us musicians and the audience alike,” she added.
The institution’s response
The Philharmonie Essen later issued its official explanation, saying that the composer had “not complied” with agreed parameters regarding the use of special instruments and that the materials had been delivered “significantly delayed.” The short preparation time, the statement said, “prevented necessary solutions for a professional performance.”
General Director Merle Fahrholz and Philharmonie Director Marie Babette Nierenz both expressed regret, with Nierenz noting that it was the first time in the NOW! Festival’s 15-year history that a planned premiere had to be cancelled.
The orchestra’s voice
After these statements, the members of the Essener Philharmoniker issued their own declaration clarifying that the orchestra had not refused the piece as a group. They said they had “tried to make the premiere possible until the very end,” while noting that the materials arrived shortly before the concert and that some musicians had raised safety concerns about using Styrofoam panels and stones near delicate string instruments.
“A large majority of the musicians were willing to carry out the premiere as planned,” the statement read, “though some colleagues expressed understandable concerns that could not be resolved in the short time available.”
The musicians expressed regret over the public escalation of the issue and reaffirmed their commitment to new music, hoping that “the importance of contemporary creation will remain at the centre of public attention.”
The concert
The Philharmonie Essen later appointed Tito Ceccherini to replace Schwarz for the concerts, adding Elena Firsova’s Night in Appen (2021) in place of Iannotta’s concerto. The rest of the program, including works by Lisa Streich, Hindemith, and Berg, remained unchanged.
What began as a single cancelled premiere has evolved into one of the most widely discussed cultural debates of the season — a complex episode that continues to raise questions about communication, artistic risk, and how institutions engage with the composers of our time.
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