The Reformed Lukaskirche (Church of St. Luke) is but a few minutes’ walk from the main train station, right next to the popular Lucerne park known as the Vögeligärtli. The building, which features an imposing outside staircase and a stunning tower, was designed between 1933 and 1935 by the Lucerne-based architects Alfred Möri and Karl-Friedrich Krebs. Shortly before they had created the Villa Senar in Hertenstein for the Russian composer Sergei Rachmaninoff – another example of early Modernism. Dominating the interior of the Lukaskirche are the colorful stained-glass windows that Eduard Renggli executed from the designs of Louis Moillet.
Michael Engelhardt and Stefan Wirth

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Lucerne Summer Festival 2021
Four weeks of more than 100 concerts: International classical music stars in the heart of Switzerland.
They never met each other. Nor is there any evidence of the one engaging artistically with the work of the other. Yet Ludwig van Beethoven and Friedrich Hölderlin have far more in common than simply their year of birth, 1770. Both figures exhausted the possibilities of their respective arts in terms of form and content, both transgressed the aesthetic conventions of their time. And both were isolated at the ends of their lives: Beethoven by his deafness, Hölderlin in the Tübingen Tower, where he spent an incredible 36 years following a mental breakdown. The Bagatelles, Op. 126, and the so-called Tower Poems sparkle like crystals in the late work of these two artists: condensed and concentrated, summations of their experience. When they are placed side by side, amazing correspondences become apparent: the linguistic aspects of Beethoven’s music and Hölderlin’s poetic sonority cross-fertilize. As Jean Paul once observed: “Everything about a great man is interesting, and the trivial things about him are not the least interesting.”