This event has had to be cancelled – it will not be rescheduled on an alternative date. Ticket buyers will be informed by e-mail. Under the following link you can find information about ticket price refunds: Information on refunds
Keywords: Electronic Music
| Nala Sinephro | Harp, Synthesizers |
| James Mollison | Saxophon |
| Dwayne Kilvington | Synthesizer bass |
| Edward Wakili-Hick | Drums |
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These events are similar in terms of concept, place, musicians or the program.
This event has had to be cancelled – it will not be rescheduled on an alternative date. Under the following link you can request a refund of your ticket price: Information on tickets refunds
This event has had to be cancelled – it will not be rescheduled on an alternative date. Under the following link you can find information about ticket price refunds: Information on refunds
Due to illness this event has had to be cancelled – it will not be rescheduled on an alternative date. Under the following link you can find information about ticket price refunds: Information on refunds
This concert has been cancelled due to illness. Tickets can be refunded at point of purchase. 40 years ago, Mischa Maisky recorded the six solo suites for cello by Johann Sebastian Bach – a legendary recording. »Bach was the greatest Romantic of his time, and on many different levels.« With these words, cellist Mischa Maisky describes his approach to the music of Johann Sebastian Bach. Bach not only wrote the greatest amount of remarkable music in the history of music, he was also a father and was therefore at the centre of life. Maisky’s gripping, emotionally charged interpretation of the Thomaskantor’s music is based on this understanding, making it certainly one of, if not the central work in Maisky’s concert repertoire. With a mischievous smile, he declaims: »If I say that music is my religion, then these six solo suites are my bible.« Who is still surprised that Maisky’s cello suites are an absolute hit on YouTube? The first suite currently has over 58 million views, a figure that dwarfs anything comparable. But contact with the audience has always been the most important thing for Maisky. Performing the complete Bach suites is one of the most strenuous tasks as a soloist: »They are undoubtedly the greatest challenge. And the most beautiful when they succeed.« However, he is never interested in showing how well he can play. »I will never be the best cellist, but I could certainly play more precisely and clearly if I concentrated on that.« But then something else that is more essential to him would be lost: »Expressiveness. That’s more important to me than perfection.«
This concert has been cancelled due to illness. Tickets can be refunded at point of purchase. 40 years ago, Mischa Maisky recorded the six solo suites for cello by Johann Sebastian Bach – a legendary recording. »Bach was the greatest Romantic of his time, and on many different levels.« With these words, cellist Mischa Maisky describes his approach to the music of Johann Sebastian Bach. Bach not only wrote the greatest amount of remarkable music in the history of music, he was also a father and was therefore at the centre of life. Maisky’s gripping, emotionally charged interpretation of the Thomaskantor’s music is based on this understanding, making it certainly one of, if not the central work in Maisky’s concert repertoire. With a mischievous smile, he declaims: »If I say that music is my religion, then these six solo suites are my bible.« Who is still surprised that Maisky’s cello suites are an absolute hit on YouTube? The first suite currently has over 58 million views, a figure that dwarfs anything comparable. But contact with the audience has always been the most important thing for Maisky. Performing the complete Bach suites is one of the most strenuous tasks as a soloist: »They are undoubtedly the greatest challenge. And the most beautiful when they succeed.« However, he is never interested in showing how well he can play. »I will never be the best cellist, but I could certainly play more precisely and clearly if I concentrated on that.« But then something else that is more essential to him would be lost: »Expressiveness. That’s more important to me than perfection.«
As Rosaceae, the multidisciplinary artist Leyla Yenirce condenses down sounds, images and documentations of feminist resistance in her works. Rosaceae’s audiovisual works are multiform collages. She assembles impactful speech samples and auratic field recordings with musical elements of noise, ambience and techno. Rosaceae performs her work »A Piece Of The Storm« as part of the ePhil series. Electronic sound fields and the voice of vocalist Simav Hussein open up a space of resonance that negotiates that which spoken language cannot reveal. Leyla Yenirce studied Fine Arts in Hamburg. She has been awarded the Karl H. Ditze Kunstpreis, the Bundespreis für Kunststudierende, the Playground Art Prize and, most recently, the Ars Viva Preis 2023. Her works have been performed at the Münchner Kammerspiele and the Berliner Festspiele, among other festivals, and include both audiovisual and performative elements. Her composition »Helbest« was published in collaboration with Deutschlandfunk Kultur.
JakoJako needed quite some time to realise what it means to be a resident DJ at Berghain. She joined that elite circle in 2021, and she has been regularly generating hypnotic atmospheres in the legendary club ever since. She is also one of the leading Berlin experts on analogue synthesizers. To get into »SchneidersLaden«, the mecca of modular synthesizers in Berlin Kreuzberg, you have to know where to go and which bell to ring. Sibel Koçer, better known by her DJ moniker JakoJako, worked there for many years, supporting others on their journey to master the art of sound synthesis. JakoJako also needs the feel and the aura of the real instrument in her live sets. What really gets her fired up is her »Korg« or the »Arturia MiniBrute«, and she loves it most when the sound-chemical reactions even confound her. »When I turn the knobs, see the lights or patch the cables, it calms me.« Together with the grand master Rødhåd she created the album »In Vere«, featuring fast, driving structures that still have a peaceful undertone. In her solo work »Metamorphose« she relies on the more patient patterns of ambient tones. She recently also released »Verve«, her debut on the legendary label Mute, for which she had already remixed New Order and Depeche Mode frontman Martin Gore. This season JakoJako is playing Crave Festival in The Hague, the Nation of Gondwana just outside Berlin, and Glitch in Malta. JakoJako is the sound-sorceress of the hour.
In the Finnish national epic »Kalevala«, the magical singer Väinämöinen makes a stringed plucked instrument from the jaws of a giant pike and a second one from birch wood. As he plays, all the animals of the forest come to him and even the people stop their work to listen to this Nordic Orpheus. The sounds of the so-called »kantele« – a box zither that is not only common in Finland, but also in Estonia and north-west Russia – enchant listeners to this day.
They search for new forms. For the undiscovered sound and the as yet unspoken word. Since their foundation on 1 April 1980, Einstürzende Neubauten have been shifting the parameters of mainstream and subculture in order to make the inaudible audible. And perhaps also the outrageous. An attempt at field research spanning four decades that is now entering the next stage. In its 44th year of existence, the formation is going far back to its roots in order to redefine itself at the same time. A changed self-image for which the Berlin quintet plus one has created its own genre in 2024: »apm – alien pop music«.
Wherever classical and electronic music meet, the Icelander Valgeir Sigurðsson is not far away. In the ProArte X series, he joins forces with Belgian theatre maker and countertenor Benjamin Abel Meirhaeghe and violinist Elisabeth Klinck to form an unconventional trio. Together they explore the fluid transitions between spherical soundscapes, as only Sigurðsson knows how to create them, and the classical sounds of voice and violin. The desire to experiment and the wish to create an atmospheric antithesis to the torn present can be heard in every note of her »Isabelle Lewis« project: close your eyes, open your ears and go with the flow of sound.
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