»Brahms is like a home to me«

A remarkable conductor of our time is bringing a series to a close at the end of the 2026 Beethovenfest: Anja Bihlmaier is now in her third year as a guest in Bonn, working with a wide variety of orchestras and presenting exceptionally diverse programmes. With the BBC Philharmonic Orchestra, of which she has been Principal Guest Conductor since 2024, she will present Lili Boulanger’s Psalm 24 and Johannes Brahms’s German Requiem.

Why did you choose these two pieces for the concert programme?

It has long been my dream to finally be able to conduct the Brahms Requiem. It is one of the great works that I have not yet sung myself as a chorister. I am a huge Brahms fan. For me, alongside Beethoven, he is the composer who means the most to me. There is nothing superfluous in his music; everything is pure essence. And for me, this authenticity is also audible in the very distinctive, rounded, velvety sound of his works – a beauty that comes from within and moves me deeply.
Lili Boulanger’s setting of the Psalms at the beginning has a completely different energy and musical language to the Requiem – an immediate, dramatic expressiveness. With Brahms, on the other hand, the focus for me is on consolation rather than a scenario of horror. It is precisely this contrast that I find so appealing.

The theme of the 2026 Beethovenfest is ‘Home’. It sounds as though Brahms is a home for you.

Yes, that’s him. He has had a huge influence on my musical journey. Brahms’s Nänie was part of the repertoire for my final exam in choral conducting, and thanks to a scholarship I was able to live at the Brahms House in Lichtental for a while. I associate very special memories with his music – for example, an a cappella concert during a boat trip on a fjord in New Zealand. Ever since then, his works have accompanied me at my concerts all over the world.
And perhaps it is precisely this authenticity that makes his music feel so closely connected to home for me. This feeling is particularly palpable in the Requiem. In the fourth movement, the words go: »How lovely are your dwellings«. There is the idea of a place where one feels safe and secure. In the face of death, this takes on an immensely comforting quality: the music conveys a sense of calm and takes some of the fear away from the unknown. For me, that is a feeling of having arrived.

Your concert brings together two works that touch on the theme of death. Do they convey different messages about death?

Lili Boulanger, sadly, died far too young from serious illnesses. She lived constantly under the threat of death. She also lived through the First World War and wrote Psalm 24 in the midst of it. It is almost like a cry for help to humanity – or a plea to reflect on what is actually happening at this time. It is not beautiful music; it is meant to shake us awake – it is dramatic and relentless. Brahms focuses more on the transcendental aspect of death. His Requiem speaks of a trust we may place in the beauty of life and tells us of another, spiritual world that lies beyond. Yet these contrasting approaches to the theme share a common humanistic underlying principle.

What challenges do these two works present to you as a conductor?

Singing Boulanger takes a great deal of energy. Her piece has an almost ritualistic quality – it’s meant to stir the soul. To achieve this, I need to find a compelling, powerful sound with the choir. With Brahms, I’m looking for something much more lyrical. I need stamina for the sweeping melodies. For the choir, this is technically a marathon, because even after an hour you still need the strength and breath to carry those long phrases through to the end. I sometimes perceive the Brahms sound as a blossom slowly opening – you sometimes have to take a step back and give the music time so that its poetry can unfold. That requires trust and great foresight.

You are conducting the BBC Philharmonic Orchestra, of which you are the principal guest conductor, and the Audi Youth Choir Academy. Why did you choose this choir?

Brahms wrote the Requiem in his early 30s, so he was still in the prime of his life. Boulanger was also very young when she composed the piece. That’s why I thought of the Audi Youth Choir Academy. These young people bring a fresh energy all of their own and a different perspective on the big themes. Added to this is their very cohesive choral sound, which suits both pieces wonderfully. For me, both pieces represent life, but also the idea of living consciously and shaping the future.

This festival marks the end of a three-year residency at Beethovenfest, during which you have worked with various orchestras. Are there differences in working with different orchestras? How do you continually adapt to a new ensemble?

In my job, I’m on the road with a different orchestra almost every week. So adapting to whoever I’m working with is part of my daily routine. It’s a form of communication – not just talking, but listening too. It’s not merely a matter of giving instructions that the musicians simply follow. I tend to convey an idea of how the piece should sound – but then it’s mainly about getting everyone on board. That’s different with every orchestra or project, of course. You have to feel it anew each time and experience it together. This leads to incredible experiences, which also take on a life of their own during the concert.

Is there anything from these three years as artist-in-residence that will stay with you in particular?

Last year was a highlight when we did a ‘side-by-side’ project: people from Bonn were able to play alongside the Deutsches Symphonie-Orchester Berlin on the market square. It was brilliant; lots of the participants wrote to me afterwards to say thank you. For me, it feels like coming home when I can make music with people who share this passion. Now, of course, I’m looking forward to performing at the Beethovenhalle for the first time. I’ve never performed there before. Being able to perform Brahms’ Requiem on German Unity Day with my BBC orchestra and this wonderful young choir is something truly special.