Events   /  die Reihe

Michael Harenberg, Frank Fiedler and Ernesto Molinari

Berlin Interdisciplinary Workshop on Timbre

13 January 2017 | concert

Pho­tos © Kathrin Scheidt

Michael Haren­berg, Frank Fiedler, and Ernesto Moli­nari 


Fri­day, 13 Jan­u­ary 2017 | 8 pm


10785 Berlin


For the third and last die Rei­he event this semes­ter, the com­pos­er, musi­col­o­gist and media sci­en­tist Michael Haren­berg meets the sound artist Frank Fiedler and the swiss clar­inetist Ernesto Moli­nari on Jan­u­ary 13, 2017 for a con­cert in the Musikin­stru­menten-Muse­um Berlin.


The event will focus on Harenberg’s vir­tu­al instru­ments, which will be mod­u­lat­ed, expand­ed and new­ly con­fig­ured in col­lab­o­ra­tion with the per­cus­sive res­onat­ing bod­ies of Frank Fiedler and the sounds of the new­ly con­trived dou­ble bass clar­inet of Ernesto Molinari.


From this phys­i­cal and vir­tu­al instru­men­tal inter­lac­ing new forms of inter­play and col­lab­o­ra­tive impro­vi­sa­tion of sounds, struc­tures and forms will arise, cul­mi­nat­ing in moments of amal­ga­ma­tion into one joint big instrument.


The event is part of the Berlin Inter­dis­ci­pli­nary Work­shop on Tim­bre, 12–13 Jan­u­ary 2017


Michael Haren­berg is a com­pos­er, musi­col­o­gist and media sci­en­tist  and DAAD Edgard Varèse guest pro­fes­sor at the Audio Com­mu­ni­ca­tion Group at the Tech­ni­cal Uni­ver­si­ty Berlin. His work focus­es on dig­i­tal sound cul­ture, exper­i­men­tal inter­faces, and com­po­si­tion­al mod­els of vir­tu­al­i­ty of the dig­i­tal. He cre­ates vir­tu­al instru­ments, stress­ing on their sounds but also on the aes­thet­ics and new pos­si­bil­i­ties of musi­cal expres­sion. This also includes the bod­ies and actions of the musi­cians. How do they move the music and vice ver­sa ? What hap­pens, when the rela­tion­ship between sound, struc­ture, body and per­for­mance is no longer pre­de­ter­mined but open to the unob­struct­ed deci­sions of the players ?

The sound artist Frank Fiedler teach­es per­cus­sion at the Freie Musikschule Berlin and is part of var­i­ous ensem­bles and inter­dis­ci­pli­nary projects. In his music he focus­es on the inter­face between archa­ic or rit­u­al sound-things and the free play of the insist­ing sound explor­er who is lost in thought : a fool in the res­o­nance between sound­ing and doing.

The swiss clar­inetist Ernesto Moli­nari is present­ly a pro­fes­sor for clar­inet at the HKB (Col­lege of Arts) in Bern, Switzer­land, and has also been teach­ing at the Inter­na­tion­al Music Insti­tute in Darm­stadt and the Impuls Acad­e­my in Graz. He is an accom­plished soloist on each of the instru­ments in the clar­inet fam­i­ly and applies  him­self to the inter­pre­ta­tion of clas­si­cal, roman­tic, and con­tem­po­rary woks as well as to Jazz and Impro­vi­sa­tion with a fear­less approach to playing.


Pho­to © Kathrin Scheidt

die Reihe.

Beiträge zu auditiver Kunst und Kultur 

die Rei­he. Con­tri­bu­tions to audi­to­ry art and cul­ture is an event series of the Master’s pro­gram Sound Stud­ies and Son­ic Arts at the Berlin Career Col­lege at Berlin Uni­ver­si­ty of the Arts the Audio Com­mu­ni­ca­tion Group at Tech­ni­cal Uni­ver­si­ty Berlin. A colab­o­ra­tion between the Elec­tron­ic Music Stu­dio, the DAAD Artists-in-Berlin Pro­gram and the Master’s pro­gram Sound Stud­ies and Son­ic Arts at UdK. |