Campus Project 2026: Georgian and German Musicians Unite for Bonn Concerts

Last June, approximately 20 young musicians from Germany’s Federal Youth Orchestra and Choir arrived in Tbilisi, the capital of Georgia. While the artists were struck by the city’s vibrant and relaxed atmosphere, they remained mindful of the region’s complex political climate and the recent pro-European demonstrations that had taken place in the Caucasus metropolis.

These German musicians joined their Georgian counterparts from the Tbilisi Youth Orchestra and the independent music scene for rehearsals aimed at a joint performance at the Beethovenfest in Bonn. The collaboration required the two groups to discover a common artistic language and develop a program that honors the distinct musical traditions of both nations.

Mirian Kokhunaishvili, the conductor and artistic director of the project, noted the cultural stereotypes often applied to Georgian musicians. “We Georgians are known as hot-blooded Southerners with a lot of raw emotion,” Kokhunaishvili explained. “Sometimes the intensity of our emotions is higher than in German music. But once you listen to German music, you understand that people are full of emotions there, too, but there’s different approaches to how we express them. In music, I couldn’t see any differences.”

Following final rehearsals in Bonn, the ensemble will perform on September 23 and 24. The concerts will debut at the Beethovenfest in Bonn, with a follow-up performance in Berlin the next day. Deutsche Welle (DW) plans to stream the concert live via its Classical Music YouTube channel.

Beyond artistic exchange, the Campus Project carries significant political weight. Kokhunaishvili emphasized that the performers could not ignore the reality surrounding them. “Our concert is about the geopolitical reality we live in,” he said. “We want to express our hope for Europe — not just the hope of joining something somewhere, but that this is our shared home. We are fighting to belong there. The core message is that in Georgia, we share Western European values of human rights.”

A centerpiece of the program is a new arrangement by Georgian composer Mika Mdinaradze, which synthesizes Beethoven’s choral work “Europa steht!” from the cantata “The Glorious Moment” with traditional Georgian folk songs. Mdinaradze described the composition as a “sonic model of Europe” that fosters dialogue rather than forced conformity, asserting Georgia’s place within the continent.

Since 2001, the Beethovenfest Bonn has used the Campus Project to facilitate cultural exchange with young musicians from countries undergoing historic transformation. Previous participants have included delegations from Ukraine, Afghanistan, and Iran. Thomas Scheider, who leads the project team, noted that Georgia returned for the second time, having first participated in 2003. “These are places where culture is not simply a side effect of history, but becomes a central field where history is understood, negotiated and questioned,” Scheider stated.

Sönke Lentz, director of the Federal Youth Orchestra (BJO) and a project organizer, highlighted that the partnership extends beyond performance. He pointed to the personal connections, cultural richness, and the challenging political landscape observed during visits to Tbilisi and Kutaisi, where sold-out shows and standing ovations demonstrated strong public interest. Lentz expressed solidarity with pro-European artists and the Georgian population.

The project also features 17-year-old pianist and composer Tsotne Zedginidze, who was previously described by conductor Daniel Barenboim as “the new Mozart” at age 16. Zedginidze is the youngest composer ever commissioned for the Campus Project. He composed “Chmebi: Georgian Fantasia” for piano and chamber orchestra; “chmebi” translates to “voices.” Zedginidze will perform the world premiere of his work in Bonn and repeat it in Berlin.

In his composition, Zedginidze blends ancient Georgian folk traditions with unconventional harmonies and energetic dance elements. “I tried not to be artificial,” he said. “It resembles as much as possible Georgian music — all genres and styles. But at the same time, it’s my individual understanding, my own interpretation of Georgian music.”

Violinist Lisa Batiashvili, a prominent figure who moved from Georgia to Germany at age 12, is supporting the young composer through her foundation, which provides scholarships to emerging Georgian artists. Reflecting on the decades-long growth of cultural ties between the two nations, Batiashvili expressed hope that such collaborations might inspire a vision of a shared future, transcending the power of music alone.