S Solidarity with Ukraine can be shown in one way or another. The Klikerklub concert series, for example, presents Ukrainian musicians who are often unknown in this country in its program. On Saturday, the underground musician will be playing at the Hotel Continental Svitlana Nianio, who was already active in Kyiv bands in the 1990s. In her music she combines folk traditions, ambient and medieval elements in a fragile way. Her colleague uses broken and out-of-tune instruments Cloth in their also rather quiet songs. Completely different Regina Collage, in whose music analog synthesizers with 80s charm meet Krautrock motor skills (Hotel Continental, 7. 2., 6.30 p.m., VVK: 18 EuroAK: 20 euros).
Taking things out of context can sometimes lead to pleasantly unexpected results. The composer Dasom Baek for example, uses traditional Korean instruments such as the bamboo flute Daegeum to further develop classical styles, especially the folk music Sanjo, according to their needs. On Monday she will meet the improvisation musician at the Kühlspot Social Club Eiko Yamada, who has been exploring the tonal possibilities of the recorder since the 1980s.
The pianist will play the second part of this evening Anaïs Tuerlinckx and the sound artist Peter Cusack. The former uses, among other things, the noise potential of her keyboard instrument, the latter uses field recordings, i.e. recordings of environmental noises, to work out their very own acoustic “ecology”. What only at first glance sounds like two completely different approaches (Kühlspot Social Club, February 9, 8:30 p.m.).
The pianist also has an interest in the combination of piano and noise Kelly Moran. On several albums she demonstrated how the clattering sounds of the prepared piano, reinforced with everyday objects, can be used for quiet ambient studies. She has also tried out programmable devices such as the Disklavier in her often dreamlike, shimmering music. On Tuesday she plays Silent Green, complemented by a cosmically informed solo performance from the guitarist Franz Bargmann, otherwise a member of the Berlin Krautrock revivalists Camera (Silent Green, 10. 2., 7 p.m., 26,90 Euro).
Without any claim to musicological correctness, it could be claimed that the most beautiful Wagner music does not come from himself, but from Arnold Schönberg. His “Gurre-Lieder”, completed in 1911, is in the tradition of the famous and controversial late romantic, but exaggerates it in several ways. Schönberg even uses spoken singing in his setting of a cycle of poems by the Danish writer Jens Peter Jacobsen, and the bombastic orchestral and choral apparatus can also be seen and heard.
The work is rarely performed, not least because of the high personnel costs, but is, to steal an adjective from pianist Glenn Gould, “colossal” in the best sense. If the Deutsche Oper is now on Tuesday in the Philharmonie under the direction of its outgoing general music director Sir Donald Runnicles You shouldn’t think about it too long when you bring it to the stage (Philharmonic, February 10, 8 p.m., 24–92 Euro).