Bio:

Fabio Turchetti is an Italian musician, composer, and accordionist known for his diverse

and genre-spanning body of work. Born in Cremona, Italy, Turchetti has a background in

classical music but has explored a wide range of genres throughout his career, including

world music, folk, jazz, and tango. His unique musical style combines traditional Italian

melodies with influences from Latin America and the Mediterranean, often incorporating

elements of Argentine tango and Brazilian choro, among others. Turchetti is a skilled

multi-instrumentalist, primarily known for his expertise with the accordion and bandoneón,

though he also plays the guitar and various other instruments. His compositions are often

characterized by their lyrical quality, emotional depth, and technical sophistication. Over

the years, he has released several albums and collaborated with a variety of artists, creating

a body of work that appeals to audiences across cultural and musical boundaries. In

addition to his recording career, Fabio Turchetti is also an active performer, participating in

concerts and festivals around Europe and beyond. His work often emphasizes a deep

connection to Italian musical traditions while embracing a modern, global perspective.

This unique fusion has made him a respected figure in both Italian and international music

scenes.

Concert Program:

Claudio Monteverdi - Si Dolce Tormento
Tarquinio Merula - Sentirete Una Canzonetta
Giovanni Steffani - Amante Felice
Claudio Monteverdi - Damigella Tutta Bella
Giulio Caccini - Amor Che Attendi
Tarquinio Merula - Non Ha Regno D'Amor
Anonimo - Ballo Di Mantova
G.F. Handel - Lascia Ch'io Pianga
Tarquinio Merula - Non Mi Chiedete Cari Amici
Andrea Falconieri - E Vivere E Morire
Giulio Caccini - Tu Ch'ai Le Penne Amore
Tarquinio Merula - Folle È Ben Chi Si Crede

Bio:

How was music played in the eighteenth and nineteenth centuries – and can we rediscover the means of expression that were lost in the twentieth century?

Tamuz was created in Berlin in 2017 by a group of young musicians who all wanted to experiment with classical and romantic chamber music in a radically different way, developing a common language based on a historically informed approach. By becoming familiar with the traditions and tastes of the past and by reading between the lines of the musical text, they engage with the music they play in a new way, allowing expression to be the leading principle of their performances even if this means diverging from modern concert hall and recording practices. Using original scores and historical documents, the members of the ensemble try to achieve both a faithful and a personal interpretation. 

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Inspired by the 19th-century salons, the Tamuz Ensemble aims to create intimate concert experiences in which direct communication with the audience is a central element. By talking about the music they play and sitting in a circle amidst their listeners rather than on a stage whenever possible, they engage in conversation with their audience, away from the formality of modern-day concert halls.  Casting a wide net, the ensemble works on a very diverse repertoire including the “Art of Fugue” by Johann Sebastian Bach, the string quintets of Schubert, Onslow and Boccherini, but also arrangements of Lieder by Beethoven or Fanny Mendelssohn and arias of Mozart. Collaborating with singers and other instrumentalists, the ensemble seeks to bring forgotten works or neglected composers back onto the stage and cast a new light on each of the pieces they play.

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During the last few years, the Tamuz Ensemble has played in Holland, Switzerland, Italy and Germany, including their debut concert at the Konzerthaus Berlin.  In 2022, the ensemble was invited to spend some time at the Centro di Musica Antica Ghislieri in Pavia, Italy, in order to continue their research into romantic performance practice in collaboration with Professor Clive Brown. The Centre for Early Music Cologne supported the musicians through its ‘Zamus: advanced’ program, and in 2023 they recorded quintets by Schubert and Onslow for WDR in Cologne. In 2025, the Tamuz ensemble's first CD with two string quintets by George Onslow will be released by Arcana/Outhere Music. Thanks to funding from the Berlin Senate, the ensemble will also be able to realize a research project with the pianist Avinoam Shalev and the Carl Bechstein Foundation in 2025.

Concert Program:

• L. V. Beethoven Cello Sonata Op.5 No.1 by Ferdinand Ries (1840 ca.) arranged for string quintet 

• Robert Schumann Six Studies in Canonical Form Op. 56

We are beyond excited to welcome Malika Ayane to Lab der Musik for an exclusive, acoustic house concert. With her unmistakable voice and deep connection to the soul-pop genre, Malika has become a beloved figure in the Italian music scene. This performance is particularly special, as it will be the very first concert of her European tour, celebrating her newest album.

Accompanied by two brilliant guitarists, this intimate concert will give you the chance to experience Malika’s music in a setting that feels personal and unique.

This invite-only event is open to a select few, but we’re thrilled to offer one lucky couple the opportunity to attend. Enter our special draw, and you could be there for this once-in-a-lifetime evening with Malika Ayane.

Stay tuned for more details. We can't wait to share this magical night with you!

Scriabin, the first multimedia artist.

Scriabin's Third Symphony is likely the composition that marks the end of his youth and his entry into artistic maturity.

It was composed between 1902 and 1904 and premiered in Paris in 1905.

In the years immediately preceding this symphony's composition, Scriabin transitioned from the influence of Chopin, his role model in his youth, to that of Wagner and Liszt. However, Scriabin (primarily a pianist) also enhanced his knowledge of orchestration through lessons from Nikolai Rimsky-Korsakov. Finally, Scriabin had been constantly interested in philosophy, starting with the Greek classics (Plato), through Kant, Fichte, Hegel, Schelling, and Feuerbach, and ending with contemporary philosophers (Nietzsche).

His works therefore begin to have a creative motivation of a philosophical nature, since each composition becomes an element of man's path to transcendence and reunion with a higher being. The subtitle of this third symphony, "Divine Poem", is the description of the path that unfolds in the three movements: the first, "Luttes" ("Fights"), describes the struggle between the man who's slave of a personal God, supreme ruler of the world, and the powerful, free man: the man-god. The latter seems to triumph, but only intelligence can affirm a divine ego since the weak individual will is tempted to sink into pantheism. In "Voluptés" ("Pleasures"), the man lets himself be carried away by the pleasures of the sensual world. Pleasures flatter him and he sinks into them, for his personality is annihilated in nature. At this moment, however, the feeling of the sublime rises from the depths of his being, helping him to overcome the passivity of the human ego.” The journey ends in the “Jeu Divin” (“Divine Play”), where “the spirit, finally freed from all the bonds that bound it to the past of submission to a higher power, became the creator of the universe with the sole force of its will, in the awareness of being one with it.” In this universe, he surrenders himself to the sublime joy of free existence: the Divine Play (Jeu Divin).

Even if the performance of this symphony in piano form seems to deny Scriabin’s orchestral research, one must remember that Scriabin was one of the greatest pianists of his generation and one of the main developers of the piano language. Some details in the piano score take us back to elements closely linked to the special bond between Scriabin and his instrument.

This new project (realized with a light setup) leads us to another of Scriabin's passions: music that goes beyond simple listening and - as we would say today - encompasses multimedia. In fact, in 1910, Scriabin designed and built a "clavier a lumières" (keyboard instrument for lights), an instrument producing lights that can be played following a score, where each color/note represents a different concept. It makes every musician's dream come true: to represent each emotion generated in the piece.

The light installation that will be created in this concert, although we do not have explicit references from Scriabin for this symphony, will help us to understand the complexity of the language of Scriabin, who can be likely considered the first multimedia artist in history, according to the modern definition of this term.

An audiovisual work by Philip Henkel will also be premiered in the same concert, this piece explores the relationship between sound and color according to Scriabin's theory.

The Japanese pianist Nao Yamamoto, one of the protagonists of the concert, obtained a PhD on Scriabin's opus; she's coming to Berlin for this concert and to study some documents preserved in the Berlin National Library.

ARTISTS: