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.

Irina Emeliantseva: AReCHE (2024)
The piece AReCHE (the 5 “main tones”) consists of 17 fragments/lines and has an open improvisation form. The shortest version of the piece (approx. 3 minutes) is defined in the score and indicates with numbers which fragments should be repeated. However, the interpreter can combine the fragments according to their own ideas; the sequence and number of repetitions can be freely chosen. The main arc of the form (calm – accelerando – prestissimo – rallentando – calm) should be maintained. After each line, improvisation is possible. The improvisation can also consist of just a specific tone or be longer; the duration here should be chosen in favor of the form.
Irina Emeliantseva

Johannes K. Hildebrandt: Aus der Ferne (2024)
Aus der Ferne (From the Distance) is a fragile, delicate piece that describes the search for something that is missing. The composition moves silently and slowly from a single tone. Additions appear quickly and with emphasis, and fade into oblivion after longer pauses. The piece describes brief moments that become the past in the moment they occur. Only at the very end does the saxophone join from the distance and mark a new destination to be explored.
Johannes K. Hildebrandt

Arne Sanders: Etym III (2016)
“What ‘words’ are, you know—?” / (they nodded so quickly: !) / (Happy little people; it wasn't quite clear to me.)).: “So the conscious speaks high-words. But now you know, from FREUD's ‘Interpretation of Dreams’, how the unconscious babbles its own jester's Esperanto; by utilizing on the one hand image symbolism, on the other hand word-relationships, to simultaneously represent multiple meanings – (always closely stored together in the brain of the host animal!). I would now like to call these new, word-like structures – which both well-behavedly serve the apparent precision of normal language; as well as the error-lustful-double-tongued amphibolies of ‘background’ thoughts – ‘ETYMS’: the upper part of the unconscious: speaks ‘Etym’.”

The previous works of the cycle speak “Etym” and are also connected to each other through “ETYMS”.
Arne Sanders

Sean Schumann: Little Bird (2024)
My composition … little bird … is essentially a piece about hope. Among other things, the following poem by the American poet Emily Dickinson served as a source of inspiration for me:

‘Hope’ is the thing with feathers —
That perches in the soul —
And sings the tune without the words —
And never stops — at all —
And sweetest — in the Gale — is heard —
And sore must be the storm —
That could abash the little Bird
That kept so many warm —

Sean Schumann