Jörg Widmann
Jörg Widmann is one of the most distinguished and versatile artists of his generation. In 2026 he became Artistic Director of the Lucerne Festival Academy, a central pillar in the field of contemporary music within the festival since its founding by Pierre Boulez in 2004. At the same time, he serves as Associated Artist of SWR Experimentalstudio in 2026 and 2027, while continuing his roles as Principal Guest Conductor of NDR Radiophilharmonie and Associated Conductor of Münchener Kammerorchester. The 2026/27 season at Semperoper marks a historic first: for the first time, Staatskapelle Dresden has entrusted the positions of Capell-Compositeur and Capell-Virtuose to the same artist, Jörg Widmann. Concurrently, Rundfunk-Sinfonieorchester Berlin has dedicated a major residency to him as Artist in Residence.
Following notable engagements in the previous season, including appearances with The Cleveland Orchestra, Oslo Philharmonic, Finnish Radio Symphony Orchestra and Orchestre Philharmonique de Radio France, Widmann continues to demonstrate his exceptional versatility as a clarinettist, conductor and composer on the international concert stage throughout the 2026/27 season. In March 2027, Widmann is set to make two major conducting debuts with Royal Concertgebouw Orchestra and Lucerne Festival Orchestra. Further return engagements take him to Oslo Philharmonic, Royal Stockholm Philharmonic Orchestra and National Symphony Orchestra of Taiwan among others.

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Composition continues to occupy a central place in Widmann’s artistic activities. His latest orchestral work, Overture on B‑A-C‑H based on sketches by Ludwig van Beethoven, will be premiered by Gewandhausorchester under Andris Nelsons in May 2027 within a Beethoven cycle. A month earlier, in April 2027, Staatskapelle Dresden under Daniele Gatti will give the world premiere of a new version of his VIII. Streichquartett (Beethovenstudie III) as part of a Beethoven focus at Semperoper.
As a passionate chamber musician, Widmann maintains long-standing artistic partnerships with Carolin Widmann, Isabelle Faust, Sir András Schiff, Antoine Tamestit, Dénes Várjon and Clemens Hagen, with whom he appears throughout 2026/27 at venues including Semperoper Dresden, Boulez Saal and Lucerne Festival Forward.
Leading composers have dedicated concertos to Widmann. At the Donaueschinger Musiktage 2015 he gave the world premiere of Mark Andre’s Clarinet Concerto über. Other milestones include Wolfgang Rihm’s Musik für Klarinette und Orchester (1999) and Aribert Reimann’s Cantus (2006). Most recently he premiered Olga Neuwirth’s clarinet concerto Zones of Blue, written for him, with Symphonieorchester des Bayerischen Rundfunks and Sir Simon Rattle in February 2026, followed by international first performances with orchestras such as Orquestra Simfònica de Barcelona and The Cleveland Orchestra.
Conductors including Daniel Barenboim, Daniel Harding, Kent Nagano, Franz Welser-Möst, Christian Thielemann, Iván Fischer, Andris Nelsons and Sir Simon Rattle have championed Widmann’s music for many years. His works have been premiered by leading orchestras such as Wiener and Berliner Philharmoniker, New York Philharmonic, Royal Concertgebouw Orchestra, The Cleveland Orchestra, Orchestre de Paris and London Symphony Orchestra, where they have become an established part of the repertoire.
Jörg Widmann was Composer in Residence with Berliner Philharmoniker during the 2023/24 season. The residency culminated in the widely acclaimed world premiere of his Concerto for Horn, performed by soloist Stefan Dohr and the orchestra under Sir Simon Rattle. In February 2025, Cantata in tempore belli received its first performance with Staatsorchester Hamburg under Kent Nagano at Elbphilharmonie. This was followed in June 2026 by the premiere of Jupiter-Etüde at Mozartfest Würzburg.
Jörg Widmann studied clarinet with Gerd Starke in Munich and Charles Neidich at the Juilliard School in New York. He later became Professor of Clarinet and Composition, first at the University of Music Freiburg and since 2017 as Chair Professor for Composition at the Barenboim-Said Academy Berlin. Widmann is a full member of the Bavarian Academy of Fine Arts, Free Academy of the Arts in Hamburg and Academy of Sciences and Literature Mainz. In June 2024, he was elected to the Royal Swedish Academy of Music. He also holds an Honorary Doctorate from the University of Limerick, Ireland and serves as President of the International Max-Reger-Society. In November 2026, he will be awarded the International Mendelssohn Prize Leipzig.
He studied composition with Kay Westermann, Wilfried Hiller, Hans Werner Henze and Wolfgang Rihm. His work has received widespread recognition, including the prestigious Bach-Preis der Freien und Hansestadt Hamburg, as well as Musikpreis der Landeshauptstadt München.
Contacts
Katharina Dziersk Assistant Artist Manager Jasper Parrott Executive Chairman HP Group & Associated Companies Sabine Frank Senior Director, Co-Head of Artist Management | Managing Director HP Munich | Head of International Offices
worldwide general management
Katharina Dziersk Assistant Artist Manager Jasper Parrott Executive Chairman HP Group & Associated Companies Sabine Frank Senior Director, Co-Head of Artist Management | Managing Director HP Munich | Head of International Offices
worldwide general management
Jasper Parrott Executive Chairman HP Group & Associated Companies Sabine Frank Senior Director, Co-Head of Artist Management | Managing Director HP Munich | Head of International Offices
Sabine Frank Senior Director, Co-Head of Artist Management | Managing Director HP Munich | Head of International Offices
worldwide general management
“But what makes him so irresistible as a composer and performer alike is the hefty dose of sheer joy in what he does: the pleasure of vital, visceral musicality that promises to bind together classical music of the past and present – and forge a way into the future.”
“He’s a smiling, buoyant presence on stage, responding to each section of the orchestra in turn, locking eyes as well as semiquavers with the strings, and moulding melodies and passagework alike with a lithe, transparent tone. This was one of the least indulgent Mozart clarinet concertos I’ve heard, and its special grace lay in the unforced way Widmann, Gražinytė-Tyla and the orchestra played off each other.”
“Widmann had a weight of expression with a lightness of manner while playing Brahms, Berg, and Schumann that was captivating, exciting the mind and touching the heart. The Berg and Schumann pieces share qualities of each composer’s vocal music; Berg’s Op. 5 seemed a twin in color and expressive quality to his Sieben frühe Lieder, and the Fantasiestücke echoed the likes of Dichterliebe. Widmann’s clarinet sang like a great vocalist.”
“Jörg Widmann’s five string quartets make up a kind of meta quartet – a massive web of musical dialectics that celebrate, explode and generally redefine the genre’s lofty, loaded heritage. No other contemporary composer has grappled with quartet form quite so intelligently or so probingly. It’s astoundingly virtuosic stuff, mentally and musically, and jaw-droppingly beautiful at times: just listen to the gossamer-fine and haunting textures of the fourth quartet, or the stark violence that ends the third.”
“Tuesday’s performance featured Germany’s lively and engaging Jörg Widmann, a welcome presence whether as composer, clarinettist or conductor…Throughout he displayed masterfully fluid tone control over every register, from the highest cloud-covered peak to the lowest velvet burblings.”
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