Space for Knowledge Exchange & Installation

Library of MaerzMusik

Several people sit on sofa elements in front of two speakers. To their right, a glass façade and books on deep shelves can be seen. A large light installation consisting of nine squares hangs above the visitors.

Library of MaerzMusik 2023 © Berliner Festspiele, photo: Camille Blake

16.3. – 19.3./22.3., from 14:00
21./23.3. – 24.3., from 12:00
20.3. closed

Free admission

The MaerzMusik Library opens during the festival as a site of embodied knowledge and encounters. In addition to an installation by Christina Kubisch and scores by Lucia Dlugoszewski, the programme includes artists’ talks with François Bonnet, Sarah Nemtsov, George Lewis and many others.

Library of MaerzMusik – Opening

16 March 2024, 14:00
To the programme


Programmebooklet Library of MaerzMusik

Knowledge comes from experience, and in turn it can create new experiences. The MaerzMusik Library facilitates interaction among and with artists, audiences and the media. The modular archive at the Haus der Berliner Festspiele will pull together different threads from the festival programme. In the second part of the comprehensive research project “Contemplations into the Radical Others” on the life and work of Lucia Dlugoszewski, visitors can look at the composer’s scores and sketches and listen to her music. Christina Kubisch’s installation “KUPFERGARTEN” (“Copper Garden”) fills the room, inviting visitors to actively experience rather than passively consume: Her use of discursive sound deals with the aesthetics and political dimensions of an everyday material. The agenda also includes talks with composers and artists. On 22nd March, the MaerzMusik Library will make a guest appearance at the Akademie der Künste to promote exchange across institutions, including conversations and a presentation of the new book “Composing While Black. Afrodiasporic New Music Today” with its co-editors George Lewis and Harald Kisiedu and others.

Saturday 16.3.

14:00 | Conversation: INA grm’s Acousmonium

with KMRU, Jessica Ekomane, Eve Aboulkheir and François Bonnet
Moderated by Jessica Ekomane
Welcome note: Kamila Metwaly

Related event: Acousmonium

For the opening of the festival, the loudspeaker orchestra Acousmonium, designed by François Bayle, will feature works by Beatriz Ferreyra, Eve Aboulkheir and Iannis Xenakis, among others. The Library of MaerzMusik brings together sound artists, composers and music theorists to discuss the technical possibilities and the significance of the loudspeaker orchestra for the presentation of acousmatic music.

16:00 | Conversation and Guided Tour: KUPFERGARTEN

with Christina Kubisch and Antonia Alampi
The tour and coversation is in English.

Related Sound Installation: Topographies of Hearing: KUPFERGARTEN

In her “KUPFERGARTEN” as part of “Topographies of Hearing”, Christina Kubisch consolidates aesthetic and ecological issues as well as political and economic problems. In conversation with Antonia Alampi, the artist provides insight into her work through a conversation and a guided tour of her installation to shed light on the ambivalence of the material and its relation with the arts.

Monday 18.3.

16:00 | Conversation and Listening Session

with Sarah Nemtsov and Ernst Surberg

Related events: b-l duo (bertram wee / lynette yeo)Pulp Science

Thursday 21.3.

12:00 – 16:00 | Contemplations into the Radical Others: Laboratory Part 1

The series is part of the festival’s focus on Lucia Dlugoszewski.


12:00 | Performance: Lucia Dlugoszewski’s “Clarinet Music for the Left Ear in a Small Room”
for clarinet
by Carl Rosman (Ensemble Musikfabrik)

Listening Session: Re-Inventing the Inventions
with Dirk Rothbrust, followed by a conversation with Thomas Meixner

13:30 | Conversation: Ensemble Perspective on Performing Dlugoszewski’s Music
with Christine ChapmanLilianna KrychAgnese ToniuttiLiwia Bargieł and Monika Żyła

Over the past two years, Ensemble Musikfabrik has dedicated itself towards significant efforts in researching the works of Lucia Dlugoszewski. This pursuit has involved multiple visits to the Library of Congress in Washington, D.C., aimed at gathering, analysing, understanding and advancing the ensemble’s approach to Dlugoszewski’s compositions, philosophy and ingeniously crafted instruments. In this listening session, Dirk Rothbrust delves into Lucia Dlugoszewski’s innovative percussive instruments, providing insights into their musicality, sonority and performance. The instruments under exploration encompass wooden and glass ladder harps, glass tangent rattles and others, meticulously reconstructed by Thomas Meixner for this project. Meixner discusses the unique challenges of reconstructing these instruments, drawing upon fragmented information, construction references and sound cues. The session illuminates the ensemble’s enduring commitment to the realms of reconstructive and imaginative music.

Where does the process of interpreting Lucia Dlugoszewski’s music begin? What does it mean to revive her scores and how does her music remain relevant to today’s audiences? While the archive plays a significant role in the context of Dlugoszewski’s legacy, the extent of her collected manuscripts and writings may seem overwhelming. Why does accessing Dlugoszewski’s scores remain a challenge and a mystery to current and future interpreters of her work? In their conversation, Christine Chapman, Lilianna Krych, Agnese Toniutti and Monika Żyła share their reflections and experiences with Dlugoszewski’s scores retrieved from the archive from the perspective of musicians, researchers and writers.

18:00 | Conversation: Listening to Helmut Lachenmann

With Helmut Lachenmann and Björn Gottstein
Unfortunately, the talk with Helmut Lachenmann on Thursday, 21 March, cannot take place.

Related events: teeth

Friday 22.3.

14:00 – 18:00 | Library goes AdK

Akademie der Künste, Hanseatenweg

14:30 | Reading and Conversation: Composing While Black. Afrodiasporic New Music Today
with Dr. Harald Kisiedu, George Lewis and voice recorded reading by Elaine Mitchener

A panel of scholars and artists will read and discuss excerpts from the book “Composing While Black. Afrodiasporic New Music Today” by George Lewis and Harald Kisiedu. The essay collection presents unique new perspectives on Afrodiasporic contemporary composers active between 1960 and the present, a period that academic inquiry, concert programming and journalistic accounts have largely ignored up to now, particularly in Europe.

Saturday 23.3.

12:00 – 16:00 | Contemplations into the Radical Others: Laboratory Part 2

The series is part of the festival’s focus on Lucia Dlugoszewski.


12:00 | Performance: Lucia Dlugoszewski’s “Clarinet Music for the Left Ear in a Small Room”
for clarinet
by Carl Rosman (Ensemble Musikfabrik)

Conversation: Taking Time to be Vulnerable
with Marco Blaauw, Mazyar Kashian, Elena RykovaBethan Morgan-Williams

13:00 | Conversation: Performing the Archive: Focus on Dance
with Katherine Duke, Edivaldo Ernesto and Louis Kavouras

14:00 | Performative Lecture: Problem as Possibility: Dialoguing with Dlugoszewski’s Scores
with Kate Doyle and Agnese Toniutti

Marco Blaauw meets with composers Mazyar Kashian, Elena Rykova and Bethan Morgan-Williams to delve into the progress of developing their commissioned works by MaerzMusik and Ensemble Musikfabrik. Some works that appear at the festival respond to the music and philosophy of Dlugoszewski in different ways. Still, rather than focusing on a direct line of ideas relating to Dlugoszewski’s legacy, the discussion will consider various aesthetical perspectives on music and beyond.

In this conversation, choreographers Katherine Duke, Edivaldo Ernesto and dancer Louis Kavouras discuss various perspectives on dance, movement and shed light on Dlugoszewski’s relation to composing works for dance and her long lived relation to Erick Hawkins.

In a continuation of their ongoing dialogic cycle about Lucia Dlugoszewski’s practice and scores, Kate Doyle and Agnese Toniutti perform a dialogue about a dialogue – that is, they consider anew (and in new forms) the possibilities that the “problems” of Dlugoszewski’s radical and innovative scores and notational structures offer. The musical score can be a site for dynamic exchange between performance and analysis, a place for conversation about material and meaning. As is typical in conversation, conundrums or disagreements generate new ideas and new forms. Problems become possibilities. A circularity emerges as Doyle and Toniutti perform, evaluate and question every solution. With attention to this process and its iterations, they engage with various schemes to understand parts of the score as a reader and a performer. Limitation and potential, intention and invention, the exploration and learning – a need for constant humility provided – is explored.

16:00 | Panel: Improvisation as Praxis: Music as a Form-of-Life

with Professor John Sutton (Macquarie University/University of Stirling), Professor Michael Wheeler (University of Stirling), Ass. Prof. Nanette Nielsen (University of Oslo), Dr. Christopher A. Williams and Dr. Joshua Bergamin from the project “(Musical) Improvisation & Ethics”

Related Event: (Musical) Ethics Lab 6

Music is not a “thing” – music is something we do. But what do we do when we make music?
Music-making involves a wide range of skills, from instrumental technique and theoretical knowledge to empathy and social awareness. To learn these skills is therefore to become a particular kind of person. And if you talk to a musician, it will soon become clear that making music is not simply an action but an identity, a way of being-in-the-world.
This way of being is something shared, because making music is always a social act – it takes place in a context with a distinct cultural and material history. This dimension becomes perhaps especially clear in the practice of experimental improvised music, where the diverse histories of each musician are brought into dialogue.
Our distinguished panel of scholars – drawing on their expertise in musicology, philosophy and cognitive science – will discuss how we use music to make sense of the world and each other, in this scholarly response to the “(Musical) Ethics Lab 6” featuring the Splitter Orchester and Trondheim Jazz Orchestra.
Focusing especially on the practices of free improvisation, they will explore how making music is an expression not just of aesthetic but ethical values.

Sunday 24.3.

12:00 – 16:15 | Contemplations into the Radical Others: Laboratory Part 3

The series is part of the festival’s focus on Lucia Dlugoszewski.

12:00 | Conversation: Processes and Procedures
with Christine Chapman, Marco BlaauwMonika Żyła and Kamila Metwaly

Performance: Song for the Poetry of Everyday Sound
with Katherine Duke, Kate Doyle and others

13:00 | Lecture: Chasing the Morning Star: The Aesthetic and Philosophical Armatures of Lucia Dlugoszewski
with Louis Kavouras

14:00 | Lecture: The Musical Cartography of Lucia Dlugoszewski
with Dustin Hurt

15:00 | Conversation: Transformations of Cantilever
with Dustin Hurt

16:00 | Performance: Lucia Dlugoszewski’s “Violin Music for the Left Ear in a Small Room”
with Hannah Weirich

As the festival is nearing its end, this talk focuses on interpersonal perspectives on Dlugoszewski’s work. The processes and procedures of this two-year-long research will be shared by the musicians and curators, who have found various ways to navigate through the labyrinthine catalogue of art that Dlugoszewski has created. The conversation aims to illuminate the listening conditions and situations of 20th-century music and contemporary music today as well as how a (re-)writing of music history can not only be attained by a perspective coming from the score but also coming from performance and all its implications of liveness.

Lucia Dlugoszewski created a body of music that was uniquely steeped in poetry, aesthetics, philosophy and abstraction. To gain an overview of the topographical soundscape that Dlugoszewski once explored, one must first understand the individual threads. With personal story and philosophical citation, this lecture reveals the aesthetics that underscore and support Dlugoszewski’s artistic process.

Drawing on the archival research in the “Lucia Dlugoszewski Papers” at the Library of Congress, curator, composer and researcher Dustin Hurt explores Dlugoszewski’s creative practice and, in particular, her utilisation of “maps”: pictorial illustrations that amalgamate dance notation, iconographic symbols, graphic analysis and literary references. These maps – which Dlugoszewski eloquently described as “maps of leaping chance and memory swipes” – serve as dynamic blueprints, guiding her creative exploration of timbre, dynamics and formal structures. Using vivid examples and imagery sourced from the archives, this talk will unravel the intricate layers of Dlugoszewski’s musical cartography.

When asked what the title “Music for Left Ear in a Small Room” means, Lucia Dlugoszewski answered: “It means, remember our ears are on either side of the head. It means, especially, to be listened to by very close and beloved friends.”

The project “Library” was initiated by MaerzMusik, designed by Diogo Passarinho Studio and is funded by Hauptstadtkulturfonds.