Musicians invite you to the table! A fine-sounding and delicious experience for the lunch break. With five lunchtime concerts, the Ensemble JungeMusik offers a break from hectic everyday life and a space to be all ears for new types of listening to music and engaging in conversation with the artists. The flutist Erik Drescher cooks for us.

The focus is on five specially composed oboe miniatures, which recure as a theme through the week. Daily oboe solos can be heard from Xuan Yao, Bernd Lauber, Irina Emeliantseva, Kaspar Querfurth and Aigerim Seilova.

Aigerim Seilova: Quraq (2024)
Quraq for solo oboe takes up the traditional Kazakh handicraft patchwork technique and transforms it into a musical syntax. Here, the oboe serves not only as a sonic interface but as a medium for a structural condensation and deconstruction of divergent materials. The various “patches” – articulatory extremes, microtonal shifts, multiphonic textures – stand in deliberate contrast, yet create a formal coherence through subtle networking.

The work, which is also dedicated to the interpreter Cornelius Finke, challenges him both technically and conceptually and reflects the aesthetic dialectic of rupture and cohesion.
Aigerim Seilova

Yasuko Yamaguchi: Windesspuren (2017)
Two instruments paint traces in the air with their breath (wind). Windesspuren (Wind Traces) was composed for the Taifun duo and premiered by them in Oulu, Finland. Today, the piece experiences its German premiere.
Yasuko Yamaguchi

Ulrich Kreppein: Schrift (2015)
Daniil Kharms (1905-1942, born Daniil Yuvachov) was a Russian poet who was active in the Leningrad avant-garde scene since the 1920s. He worked with translogical sound and word experiments in the spirit of Futurism, conceived quasi-Dadaistic actions together with fellow artists, and tested logics of the absurd in prose miniatures. In the cultural-political climate of Stalinism, such writing styles were not welcome. The publication of Kharms' works was largely banned by censorship, and he himself was arrested several times; in 1942, he died in custody. His texts explore the limits and possibilities of depicting the world and comment on the totalitarian reality of the Soviet Union.

In Schrift (Script), Ulrich Kreppein works with two texts by Daniil Kharms: one, “There was once a red-haired man” (1939), he has the flutist speak during musical pauses; the other, “The Infinite, that is the answer to all questions” (1932), is articulated by the flutist during playing, mostly incomprehensible to the listener, as part of the sonic-musical events.

Helmut Zapf: Odem II (2002)
In keeping with the title, the compositions of this series aim to point out the special significance of breathing in music. The word “Odem” (breath of life) has a special meaning compared to the word “Atem” (breath). It stands for condensation, elevation, or exaltation and means more than the purely physical process of breathing; it is a symbol of creation, freedom, and creativity. Odem also stands as the epitome of transience and ever-new becoming: processes in which fragile sound textures emerge that constantly elude concretization, but persistently live on as sound events and allow the unknown and new to be experienced even as they fade away … Thus, the choice of instruments for this piece is not coincidental: the accordion as a true “breathing instrument” and the piano as the total mechanical opposite find their common expression in the various musical parameters (dynamics, phrasing, rhythm, harmony, etc.) and in the indispensable “musical breathing” of both female interpreters.
Helmut Zapf