tickets:
regular: 12,- €uro
students, disabled persons: 6,- €uro
doors: 7.15 pm CEST
concert starts:
approx. 8.00 pm CEST
After 15 years in Cologne, the pianist and composer Constantin Krahmer moved to Rostock in November 2021. There he has a teaching position for piano at the HMT and has established the international concert series Bron, in which he invites musicians* to Rostock for concerts with him (e.g. Thomas Morgan, Peter Bruun, Zola Mennenöh, Luise Volkmann, Carlos Bica and many more). He is also a very active sideman (Maik Krahl Quartet, Ampair:e, Zuzana Leharova Quartet, Radius, etc.) and writes music for his own ensembles: after the album Close Up, released in February 2022, his trio debut album with Thomas Morgan (bass) and Leif Berger (drums) will be released this year, recorded in June 2021 at LOFT....
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tickets:
regular: 12,- €uro
students, disabled persons: 6,- €uro
doors: 7.15 pm CEST
concert starts:
approx. 8.00 pm CEST
After 15 years in Cologne, the pianist and composer Constantin Krahmer moved to Rostock in November 2021. There he has a teaching position for piano at the HMT and has established the international concert series Bron, in which he invites musicians* to Rostock for concerts with him (e.g. Thomas Morgan, Peter Bruun, Zola Mennenöh, Luise Volkmann, Carlos Bica and many more). He is also a very active sideman (Maik Krahl Quartet, Ampair:e, Zuzana Leharova Quartet, Radius, etc.) and writes music for his own ensembles: after the album Close Up, released in February 2022, his trio debut album with Thomas Morgan (bass) and Leif Berger (drums) will be released this year, recorded in June 2021 at LOFT.
The Constantin Krahmer Septet is his current project, with whom he is recording an album in the days following the concert, and about which he says the following:
„So far I’ve always written for smaller bands, trio, quartet, quintet, but somehow it’s been tempting me to compose for a medium-sized ensemble. Something that is not yet a „large ensemble“ or a smaller big band, but where all the musicians can still have a large say in the music without it becoming confusing.
The septet is a very good choice: four wind instruments, for example, can create great colours and textures together, and at the same time the instrumentation is still manageable, you still have an overview and can react spontaneously. And that’s very important to me: I want to give my fellow musicians maximum freedom, my compositions should be like a reservoir of musical text, melodies, polyphonic passages, ideas, etc., from which all the participants can help themselves and decide at the moment. Or they have other, good ideas that I wouldn’t have come up with, I don’t want to limit that in any way! That’s why we have planned a lot of rehearsal time in advance, so that everyone can get a feeling for the pieces and actively participate in shaping them.
In terms of sound aesthetics, it’s a bit like my Close Up production: Rather quiet and transparent, chamber music-like I would say. And again there is no bass, but Bertram is a great (acoustic) guitarist who adds an additional percussive element with his instrument. Michael, Luise, Sebastian and Johannes are also all musical personalities that I really appreciate, who have their own special voice on the instrument and can adapt super well to an ensemble. They can also produce a very clear, quiet and compact sound together and that is exactly what I have in mind. Like Leif, he is a super attentive drummer who can play incredibly quietly and yet energetically, he has also been with Close Up and knows my music very well.
So for me, all in all, an absolute dream line-up! I’m really looking forward to the concert and the recording and I’m glad that the Initiative Musik der Bundesregierung has made this project possible!
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