(photo: unbekannt)

Musikfest Berlin

Ensemble Modern

Brad Lubman direction

Norbert Ommer sound direction

Hermann Kretzschmar piano


Klaas Stok chorus master

Cathy Milliken speaker

Visiting: Frankfurt am Main

Edgard Varèse

Déserts for 15 Instrumentalists, 5 Percussionists and Tape

Olga Neuwirth

locus…doublure…solus for Piano and Ensemble

Hermann Kretzschmar piano

In honour of Louis Andriessen II

Louis Andriessen

De Stjil for 4 Womens‘ Voices, Female Speaker and Large Ensemble from the Music Theatre De Materie part III

CHORWERK RUHR choir, Klaas Stok chorus master, Cathy Milliken speaker

A Berliner Festspiele/Musikfest Berlin event.

Supported by the Ernst von Siemens Musikstiftung and the Aventis Foundation.

Dates and Tickets

Wed, 04 Sep 2019, 20:00

Philharmonie | Introduction: 19:10

Online Sale


Berliner Festspiele

Schaperstraße 24
10719 Berlin

Phone: +49 (30) 254 89 100

Fax: +49 (30) 254 89 230

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The musical contribution to the Bauhaus-year. Louis Andriessen dedicated the third part of his full-length work of musical theatre De Materie to the artists’ movement “De Stijl”, which was in close connection to the Bauhaus and its ideas; Piet Mondrian remained their best-known representative. The musical freestyler Andriessen, whose orchestration includes instruments played in rock music, not only incorporates statements about Mondrian and “Plastic Mathematics” as lyrics, but also organises the piece’s dramaturgy and time sequences according to the principles of Mondrian’s geometry – an exciting experiment on freedom and adventure. Andriessen is interested in the “clear line” – and in the music’s physicality. This was, claimed Dieter Schnebel, the “disturbing and fascinating” characteristic of Varèse’s music, regardless of whether he mobilised a huge apparatus, one instrument, or an ensemble with or without electronics. “In Varése’s music, we can physically experience what sound it, as it were; we not only hear the vibrations, we feel them.” The physique of the instrumental sound becomes the centre of Olga Neuwirth’s concept of a modern piano concerto. “The colours of the soloist are complemented by a ‘double’ from the sampler keyboard, which adds microtones to the tonal space of the piano; the ensemble explores an expanded musical space. The material is in a state of flow.” De materia, on music and matter, could be the title of Ensemble Modern’s programme.

(photo: unbekannt)