11.05, 20:00
𝕴𝖒𝖕𝖆𝖐𝖙𝕵𝖆𝖒
With:
𝙴𝙽𝚂𝙴𝙼𝙱𝙻𝙴 𝙺𝚁𝙰𝙽
The ensemble looks for music that is created in the moment, characterized by a sense of intimacy, rawness, and authenticity. As far away as possible from clichés and learned gestures, the focus is on direct interaction and musical communication between the four musicians. KRAN is particularly interested in the relationship between sound and the physical motion involved in its creation. The musicians try to think of music in a larger context, exploring new sound structures and improvisational concepts at this boundary. The result is a fascinating mixture of musical choreographies, unexpected noises and unique textures out of airy, wooden, plucked and voiced sounds
Aurora Pajón Fernández – flutes
Ilmārs Šterns – voice & gestures
@ilmarssterns
Mathilde Bernard – harp
@mathildebernardharpe
Noel Schmidlin – violin
Doors, 20:00
Concert, 20:30
Jam, 21:15
PROGR Bern
Pakt Raum 013
@pakt_bern@progr_bern
#freeimprovisation #bern #musikbern
Improvisations sonores sur des poèmes bretons à la Crêperie de Rue 🎶🥁🥞
Mille Papillons 🦋 :
Alice Aubert et Mathilde Bernard, harpes
Aurélien Perdreau, percussions
"Courlis"
Juillet 2025 à L'Atelier, Fribourg
Composition et interprétation : Mathilde Bernard
En hommage au courlis à bec grêle, oiseau officiellement déclaré éteint.
On a day like today, November 14th, 29 years ago, Kaija Saariaho had just completed her piece New Gates.
Tomorrow, New Gates will resonate in our TURM at the Graber Areal in Liebefeld.
We are delighted to perform it twice in our live concerts at 11:00 and 19:00.
In addition, the piece will be part of the light & sound installation throughout the entire day.
•••••••••••••••••
New Gates is an adaptation of Gates, a movement from the ballet Maa (the harp taking over the ornate cembalo part), and can be understood as a synthesis of Kaija Saariaho’s musical thinking in the 1990s, in which the interplay of sound parameters has moved from a stricter focus on timbre and harmony to a full use of all parameters. The three instruments, each unfolding very different lines idiomatic of Saariaho’s writing for them, move closer and away from each other, and in the overlaps and interstices new wide landscapes seem to open out of sparse means.
