There are festivals within the festival this year. What is the thinking behind that?

When the festival began [in 2015] it was concentrated on, let’s say, an almost classical way of presenting contemporary music mostly based on scores. That expanded particularly strongly in this edition, but I was also thinking of the audience-performer relationship. And that led us to program Marino Formenti’s “Nowhere” project, where he will perform in the Goethe-Institut for two weeks. He will not speak; he will just play piano all day long. People can go in and out. It breaks down the idea of the performer being in front on a stage and a little higher than everybody, lecturing , and the audience admiring the performance.

The same is true for Christina Kubisch’s “Electrical Walks,” where she takes small groups around the DiMenna Center to experience the transformation of electromagnetic sounds into acoustic sounds. And then of course the other thing I wanted to do is break up this atmosphere of a concert hall, where you control the sound, the light — everything. In Klaus Lang’s “bright darkness,” an outdoor event, the opposite is the case. The natural light, the sun going down, is part of the performance.