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MaerzMusik

Key Visual MaerzMusik 2025

Concerts, Performances, Installations, Discourse Formats

Tickets for “MELENCOLIA” available from 14 November

MaerzMusik 2025

MaerzMusik will take place from 21 to 30 March 2025 under the artistic direction of Kamila Metwaly. The 24th festival edition will open with the multimedia music theatre production “MELENCOLIA – A Show Against the Indifference of the Universe” by Brigitta Muntendorf and Moritz Lobeck at Haus der Berliner Festspiele. The work, commissioned by the Bregenz Festival and Ensemble Modern, will celebrate its German premiere at MaerzMusik in cooperation with the Staatsoper Unter den Linden. Immersed in 3D soundscapes, performers from Ensemble Modern and the Apollo Choir of the Staatsoper Unter den Linden take listeners into a deep exploration of enigmatic, melancholic worlds where reality and virtuality are combined on stage.

Further multidisciplinary projects as well as current compositions for percussion will be presented over the following nine festival days: the new work “Streik” for ten drumsets by Enno Poppe, “POETICA” by Chaya Czernowin and Steven Schick for Les Percussions de Strasbourg and “Minor Characters” by Jennifer Walshe and Matthew Shlomowitz with Ensemble Nikel. In addition to the New York ensemble Yarn/Wire and the performance duo Nguyễn + Transitory, the programme also includes current works by Mark Barden and Ligia Lewis.

Advance ticket sales for „MELENCOLIA“ will start on 14 November and for the other programme items in mid-January. The complete festival programme will be published in February.

MaerzMusik 2024

Impressions

  • A person is sitting in front of a light installation with loudspeakers and a laptop in front of them. Another person is sitting opposite in front of a microphone. In the background is an observing audience.

    Hugo Esquinca and Audrey Chen during their performance "THE GRADUAL TONGUE" as part of “Topographies of Hearing”, MaerzMusik 2024

    © Berliner Festspiele, photo: Camille Blake

  • Performer Miriam Parker dances in an undulating, sculptural robe, with the stone wall of St Elisabeth’s Church in the background.

    Performer Miriam Parker in Merche Blasco’s “Através”, MaerzMusik 2024

    © Berliner Festspiele, photo: Fabian Schellhorn

  • Musicians of the International Contemporary Ensemble on stage. In the background, an illuminated arch frames the stage of the Delphi Theatre.

    The International Contemporary Ensemble on stage at the Delphi Theatre

    © Berliner Festspiele, photo: Fabian Schellhorn

  • A person with wired gloves stretches their arms upwards. Transparent cans dangle in the air; transparent plates are placed diagonally to the right and left.

    The Black Page Orchestra with “Pulp Science”, MaerzMusik 2024

    © Berliner Festspiele, photo: Fabian Schellhorn

  • Illuminated speakers on the dark stage.

    The loudspeaker orchestra Acousmonium by INA grm, MaerzMusik 2024

    © Berliner Festspiele, Foto: Fabian Schellhorn

  • Worm’s-eye view of the bells of a Carillon tower, in the background the blue sky.

    The bells of the Parochialkirche carillon during Jessica Ekomane’s “Bonds” as part of “Topographies of Hearing”, MaerzMusik 2024

    © Berliner Festspiele, photo: Camille Blake

  • Musician Christine Chapman holds a conch shell to her mouth.

    Christine Chapman in “Horn”, MaerzMusik 2024

    © Berliner Festspiele, photo: Fabian Schellhorn

  • Musician Gunnhildur Einarsdóttir playing the harp during a performance. She is wearing a thin headset microphone.

    Gunnhildur Einarsdóttir from Ensemble Adapter, MaerzMusik 2024

    © Berliner Festspiele, photo: Camille Blake

  • Two dancers during a performance, two string players in the background.

    Two dancers perform a choreography by Katherine Duke to music by Lucia Dlugoszewskis at “Contemplations into the Radical Others: To Everybody Out There”, MaerzMusik 2024

    © Berliner Festspiele, photo: Camille Blake

  • Five human outlines can be recognised behind a red curtain. A human silhouette hangs in the air on several wires.

    Les Percussions de Strasbourg in Simon Steen-Andersen’s production of Karlheinz Stockhausen’s “Musik im Bauch”, MaerzMusik 2024

    © Berliner Festspiele, photo: Camille Blake

  • Three people sit on a stage. Elif Kara sits in the centre at a toy piano, with musicians Bertram Wee and Lynette Yeo sitting to her right and left with controllers in their hands.

    b-l duo, MaerzMusik 2024

    © Berliner Festspiele, photo: Fabian Schellhorn

  • A luminous rectangular light installation hangs from the ceiling. Below it are seating elements on which people have taken a seat and a sculptural bookshelf in the background on the left.

    The Library of MaerzMusik, MaerzMusik 2024

    © Berliner Festspiele, photo: Camille Blake

About MaerzMusik

MaerzMusik sees itself as a place to exchange artistic knowledge(s) through new encounters and collective experiences. The festival is rooted in the multimodality of listening, contemporary music, and sound, employing concerts, performances, installations, music theatre, film screenings, and discursive formats to open up a space where life, art, and theory can co-exist.

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