Listen and learn: The 30 minutes long introductory talks contain all necessary information that you need to know about the played artist's life and work

The second Round-Table at the Grafenegg Academy deals with artistic positions in politics and society. The focus is on those working in the arts and their relationship to power and politics. Using historical and current examples, a panel of experts will debate this issue – and as before, interested members of the public are warmly invited to join in the debate.

Prelude in the castle courtyard.

Listen and learn: The 30 minutes long introductory talks contain all necessary information that you need to know about the played artist's life and work.

The stirring programme for this concert is shot through with dramatic images. The Swiss composer Othmar Schoeck had already denounced society’s uncaring attitude towards the individual in his song cycle «Lebendig begraben» («Buried Alive»). And in his Fifth Symphony of 1937, Dmitri Shostakovich managed to compose his way back into Stalin’s favour after years of criticism and vilification. Only years later did he reveal the ironic allusions to criticism of the regime in his work.

Listen and learn: The 30 minutes long introductory talks contain all necessary information that you need to know about the played artist's life and work

The second Round-Table at the Grafenegg Academy deals with artistic positions in politics and society. The focus is on those working in the arts and their relationship to power and politics. Using historical and current examples, a panel of experts will debate this issue – and as before, interested members of the public are warmly invited to join in the debate.

Prelude in the castle courtyard.

Listen and learn: The 30 minutes long introductory talks contain all necessary information that you need to know about the played artist's life and work.

The stirring programme for this concert is shot through with dramatic images. The Swiss composer Othmar Schoeck had already denounced society’s uncaring attitude towards the individual in his song cycle «Lebendig begraben» («Buried Alive»). And in his Fifth Symphony of 1937, Dmitri Shostakovich managed to compose his way back into Stalin’s favour after years of criticism and vilification. Only years later did he reveal the ironic allusions to criticism of the regime in his work.