The musicians of the Ensemble JungeMusik Berlin invite you for lunch! Melodious and tasty treats at lunchtime. From Monday to Friday, our five lunchtime concerts offer a break from the hustle and bustle of everyday life with a varied program, giving you the opportunity to listen to music with different ears and engage in conversation with the artists.

This year the voice takes centre stage. The tenor Berk Altan guides us through the week with miniatures composed especially for the Tafelmusik series. Each day features tenor solos by Artur Kroschel, Samuel Tramin, Raphaëlle Aoun, Burcu Durukan, Anton Wittkowski and Johannes K. Hildebrandt. You can also look forward to works by Alexandra Filonenko, Olga Rayeva, Stefan Streich, Georg Katzer, Emre Dündar, Helmut Zapf, Ilgın Ülkü, Sebastian Stier (WP), Uroš Rojko, Sean Schumann, Margarete Huber, Iris ter Schiphorst, Ralf Hoyer, Hermann Keller, Kathrin Denner, Kaspar Querfurth and Bernd Lauber (WP).

The ensemble's flutist, Erik Drescher, cooks favourite dishes of the composers.

Artur Kroschel: Appetit (2025)
Appetit for solo tenor is a short, abstract story. The first part deals with the feeling of hunger and thirst and the search for a pleasant place to eat. The second movement focuses on the selection and tasting of food in a pleasant atmosphere. The final section is a banquet, expressing the joy of eating. But how long will this last? When will the story and the appetite return?
Artur Kroschel

Olga Rayeva: Shakespeare (2020)
The piece for solo viola Shakespeare was written in 2020 – alongside other solo works – during the pandemic, when the theme of loneliness and the solitary voice took on a particular presence. The ambiguous, mysterious timbre of the viola allowed this idiosyncratic miniature to encode a multitude of images from the great dramatist – both tragic and comic in nature – or to reflect them as if in a mirror. In doing so, it draws a fine thread from our present day back to the era of proto-Baroque.
Olga Rayeva

Stefan Streich: Kontur Weg (2001–06)
Konturen are drawings that leave the interior empty; they describe only the outer form. Weg is an open, unfinished process and therefore essentially unsuited to contour. Yet the word Weg was nonetheless the impulse, pointing to the possibility of a space between an actual state and its representability – to time of the kind that most people know from those moments without sound, word or image, when one is very close to oneself and to things.

A paradox might arise: that one follows the music of this short piece through time as if following a narrative, while simultaneously experiencing it as motionless energy, as a state of being.
Stefan Streich