When is a composition perfect? At what point in his life does a composer feel that he can write a perfect work? Are we not constantly striving for perfection in life, perhaps for perfect happiness? The Festival sponsors, on the other hand, aren’t they also constantly striving for perfect products, and yet they continue to develop new ones that are always even better? Perfection in art is considered complete, ordered and thus a beautiful whole, but in commerce and industry it is bound to the idea of development and progress. Given this dichotomy it is thus only natural that a classic music festival refers to both aspects of the concept of perfection. Until the 18th century the concept of “perfection” signified “divine harmony and order”. It made the analogy between natural order and the mythological origins of the arts and suggested that the ratios and proportions between certain numbers in music and dance reflected corresponding proportions in the universe and in the human soul.

The Enlightenment introduced the concept of the relationship between progress and perfection in the 18th century, which was reflected in the structure of sonata form employed in symphonies and chamber music. After the horrors of totalitarian wars the post-modern introduced a more differentiated concept of progress and perfection.

Numerous composers have written their most significant compositions toward the end of their life. Schubert wrote his chamber music masterpieces in his late period, some, in fact, in the last months of his life. Beethoven’s late string quartets are some of the greatest in music history. Bach’s works are considered some of the most perfect in the whole of Western culture. Many composers seem to have freed themselves from the constrictions of earlier forms and models in their late works, refining and accentuating their own personal style and language.

The concept of “perfection” in music in the 2009 edition of the Menuhin Festival should serve as a source of inspiration for guests, stimulating thought and contemplation about our daily life in the 21st century. Composers constantly strove for perfection in their music, and many believed that they never achieved this, even though they bequeathed us with great and beautiful masterpieces. Schubert and Tchaikovsky referred to each of their latest compositions as their best, and with each work they reached a new level in the path to perfection without ever believing that they had achieved this goal.

The search for “perfection” is a source of incentive and inspiration for all creative beings, continually motivating to more profound thought, increasingly consummate works and new forms of expression. Isn’t the situation comparable for the makers of watches and automobiles, each inspired and driven to create increasingly consummate works. Perfection remains a great mystery, and achieving it would represent standstill.

The concept of the “perfect interpretation” also plays a significant role in the 2009 edition of the festival. The eminent artists who will be performing in 2009 have earned renown for their brilliant art of playing or singing, each unique in their level of perfection!

Perfect works such as Bach’s Mass in B Minor (which Franz Liszt referred to as the “Mont Blanc of sacred music”), his Goldberg Variations, his “Art of Fugue”, Brahms’ Clarinet Quintet, Beethoven’s last string quartets, Haydn’s late symphonies, Mozart’s late symphonic works, Bruckner’s 9th Symphony, Tchaikovsky’s 5th Symphony and Haydn’s “Creation” make up the thread under the theme of perfection that runs through the programmes.