Klári
Concerts for Voice, piano, video art
& Guests
Manchmal kann man Musik sehen - in dem KLÁRI-Projekt etwa. Denn in diesem einzigartigen Konzertprogramm verwenden wir eigens kreierte Videokunst, um die Musik durch eine weitere „Stimme“ zu ergänzen. Die Filme erhalten so eine eigene Funktion; Bewegung und Farben weben ein eigenes Bild. Jedes einzigartig, folgend der jeweiligen Komposition. Gemeinsam wächst beides zu einem starken, einzigartigen Kunstwerk.
KLÁRI – der Name des Projektes erinnert an die Textdichterin Klára Gombossy. Sie war es, die Béla Bartók aus seiner Schaffenskrise erlöste, die ihm die Energie zum Komponieren zurückgab – und die ihn zu seinem Zyklus op.15 inspirierte, mit dem unser Projekt begann.
Mehr Videomaterial auf Anfrage unter: info[at]klari.art
from the programme Klári-Suite
GORECH! GORECH! von Peter Eötvös
Support us
Die Finanzierung unserer Projekte erfolgt überwiegend durch Sponsoring und private Spenden.
Für das neue Konzertprogramm Spiegelbilder suchen wir Sponsoren.
Kontakt: info[at]klari.art
Donation
Make a donation directly via PAYPAL
Many thanks for your support!
Concerts for Voice, Piano, Video
& Guests
Manchmal kann man Musik sehen - in dem KLÁRI-Projekt etwa. Denn in diesem einzigartigen Konzertprogramm verwenden wir eigens kreierte Videokunst, um die Musik durch eine weitere „Stimme“ zu ergänzen. Die Filme erhalten so eine eigene Funktion; Bewegung und Farben weben ein eigenes Bild. Jedes einzigartig, folgend der jeweiligen Komposition. Gemeinsam wächst beides zu einem starken, einzigartigen Kunstwerk.
KLÁRI – der Name des Projektes erinnert an die Textdichterin Klára Gombossy. Sie war es, die Béla Bartok aus seiner Schaffenskrise erlöste, die ihm die Energie zum Komponieren zurückgab – und die ihn zu seinem Zyklus op.15 inspirierte, mit dem unser Projekt begann.
from the programme Klári-Suite
GORETCH! GORETCH! by Peter Eötvös
Die Finanzierung unserer Projekte erfolgt überwiegend durch Sponsoring und private Spenden.
Unterstützen Sie unser neues Konzertprogramm Reflections
Contact: info[at]klari.art
Donation
Make a donation directly via PAYPAL
Many thanks for your support!
About us
.voice .concept
Born in Berlin, Sarah van der Kemp began her musical education by studying musicology and piano. Even before her diploma, she decided on a singing career and studied singing at the Berlin HfM with Julia Varady. Working with Dietrich Fischer-Dieskau in his master classes had a strong influence.
The mezzo-soprano moves in a wide-ranging repertoire. Whether Judith (Duke Bluebeard's Castle), Composer (Ariadne on Naxos), Rosina (Barbiere di Siviglia), Hänsel (Hänsel and Gretel), Carmen (Carmen), Fox (The Cunning Little Vixen), Eboli (Don Carlos), Sieglinde (Valkyrie).
After graduating, permanent engagements brought her to the Deutsche Oper Berlin and the Staatstheater Schwerin. Engagements have taken Sarah van der Kemp to the Shenzhen Philharmonic Orchestra in China, the Dresden Philharmonic, the Berlin State Opera, the Konzerthausorchester Berlin, the Festival d'Avignon, the Festival de Radio France in Montpellier, the Philharmonie Baden Baden, and others.
In concert, her special passion is the interpretation of orchestral songs. Her repertoire includes songs by Mahler, Wagner, Berlioz, Berg, de Falla and others.
Her own projects and conceptions broaden and deepen the singer's expressive spectrum - she has developed concert series and individual events in various dimensions and constellations, in the recent past for example a juxtaposition of Mahler's Song of the Earth with commissioned works for solo instruments by Peter Eötvös, Toshio Hosokawa and Nathan Currier.
.Video art
Robert Pflanz lives in Berlin and has his studio there.
Equipped with cameras and laptops, however, he works always and everywhere and sees himself as a hunter of the visual, whether concert, opera, dance, theatre or installation.
Robert, born and raised in the Ruhr area, began studying architecture there, at the same time gaining his first experience in the field of theatre design, and then went to Berlin to complete his main studies, first at the Weissensee School of Art, then at the University of the Arts (now the UdK). As a guest student at the Free University of Berlin, he intensively studied philosophical aspects of design. Finally, he completed a master's degree in stage design at the TU-Berlin.
As a central, highly paradoxical theme of his stage design, Robert Pflanz always states that he wants to make the world and worlds beside or behind the physical physically tangible.
On the other hand, Pflanz is a precise theatre practitioner who is also enthusiastic about clear structuring, the joining of elements. He experiences the artistic process as an essential part of the result.
In addition to his many years of experience as a freelance stage and costume designer, his focus since 2004 has been on video art.
He has worked at renowned theatres, opera houses and concert halls such as the Staatstheater Schwerin, the Komische Oper Berlin, the Staatsoper Unter den Linden, the Theater Schloss Maßbach, the Opernhaus Kiel, the Deutsche Oper Berlin, the Bad Hersfelder Festspiele, the Palacio de Bellas Artes in Mexico City, the Teatro Juárez in Guanajuato, the Staatstheater Cottbus, the Stadttheater Fürth, the Hamburg State Opera, the Michailowski Theatre in St. Petersburg, the Bavarian State Opera, the Mozarteum Foundation Salzburg, the Anhaltisches Theater Dessau, the Philharmonie Luxembourg, and many others. Petersburg, the Bavarian State Opera, the Mozarteum Foundation Salzburg, the Anhaltisches Theater Dessau, Philharmonie Luxembourg, and many more.
.management .equipment
Some lives fit more than others - Saule Moldalukova's is one of those. Perhaps because her roots are so widely scattered: all over Central Asia.
Saule was born in Bishkek on the Silk Road. Since then, she has carried the desire to travel, the business sense, the preference for colours and the passion for good fabrics. She wanted to study fashion design as long as she could remember; she knew that clothes would determine her career ever since she could button her own skirt.
Brotlose Kunst, befand ihr Vater. Also studierte Saule am Tage in Kirgisistan Internationale Politik – und lernte am Abend, die Kleider zu schneidern, die sie selber gerne tragen würde. Beide Ausbildungen schloss sie ab. Ein verschlungener Weg führte sie u.a. nach Istanbul, wo sie in der Projektentwicklung für Konzerne arbeitete, später zu einer Modefirma nach Paris; von dort aus wiederum wurde sie nach Berlin entsandt, um im KaDeWe einen Shop für das Label zu eröffnen. Bald darauf wechselte die Unternehmerin zu ihrer eigenen Boutique in Berlin Schöneberg.
Klári 1
Klári - Suite
Chamber Concert For Voice, Piano. Video
& flute
Music
Voice, Piano
5 Songs op. 15
1. A vágyak éjele
(Night of Desire)
2. Szines álomban
(In a colourful dream)
3. Nyár
(Summer)
4. Itt lent a völgyben
(Down in the valley)
5. Az én szerelmem
(My love)
Piano:
Outdoors No. 4
Sounds of the night
Piano Solo:
Piano Étude Nr. 2
Sequences
Voice, piano, flute:
Shéhérazade
Nr. 1 Asie
Nr. 2 The Magic Flute
Voice Solo:
Gorech’! Gorech’!
(Bitterness! Bitterness!)
Flute Solo:
8 aşa-zise studii din traista fluieraşului călător
(8 Etüden aus dem Ranzen des wandernden Spielmanns)
Musicians
.Piano
Her brilliant CD debut with works by Chin, Boulez, Ligeti and Messiaen won the "Coup de Coeur" of the Académie Charles Cros in France and her most recent Scriabin album was nominated for the Preis der Deutschen Schallplattenkritik and the In- ternational Classical Music Awards.
She has worked with composers such as Pierre Boulez, Unsuk Chin, conductors such as Kent Nagano, Steven Sloane, orchestras/ensembles such as the Philharmonic State Orchestra Hamburg, the Bochum Symphony Orchestra, the MDR Symphony Orchestra, the Staatskapelle Halle and the 1B1 Ensemble and has developed chamber music projects with Jörg Widmann, Jan Bjøranger, Eszter Haffner, Lars Anders Tomter and Torleif Thedéen, among others.
Yejin Gil has performed at the Festspiele Mecklenburg-Vorpommern, the Thüringer Bachwochen, the Klavier-Festival Ruhr, the International Piano Festival La Roque d'Anthéron and has given concerts at the Grand Théâtre de Genève, the Essen Philharmonie, the Salle Cortot, the Weimarhalle and the Konzerthaus Berlin. In addition to her artistic work, she devotes herself to pedagogical activities and regularly gives semina- res and master classes in the USA, Germany, England, Norway, France and Italy. She is also active as a juror at international competitions.
.voice .concept
Born in Berlin, Sarah van der Kemp began her musical education by studying musicology and piano. Even before her diploma, she decided on a singing career and studied singing at the Berlin HfM with Julia Varady. Working with Dietrich Fischer-Dieskau in his master classes had a strong influence.
The mezzo-soprano moves in a wide-ranging repertoire. Whether Judith (Duke Bluebeard's Castle), Composer (Ariadne on Naxos), Rosina (Barbiere di Siviglia), Hänsel (Hänsel and Gretel), Carmen (Carmen), Fox (The Cunning Little Vixen), Eboli (Don Carlos), Sieglinde (Valkyrie).
After graduating, permanent engagements brought her to the Deutsche Oper Berlin and the Staatstheater Schwerin. Engagements have taken Sarah van der Kemp to the Shenzhen Philharmonic Orchestra in China, the Dresden Philharmonic, the Berlin State Opera, the Konzerthausorchester Berlin, the Festival d'Avignon, the Festival de Radio France in Montpellier, the Philharmonie Baden Baden, and others.
In concert, her special passion is the interpretation of orchestral songs. Her repertoire includes songs by Mahler, Wagner, Berlioz, Berg, de Falla and others.
Her own projects and conceptions broaden and deepen the singer's expressive spectrum - she has developed concert series and individual events in various dimensions and constellations, in the recent past for example a juxtaposition of Mahler's Song of the Earth with commissioned works for solo instruments by Peter Eötvös, Toshio Hosokawa and Nathan Currier.
Robert Pflanz lives in Berlin and has his studio there.
Equipped with cameras and laptops, however, he works always and everywhere and sees himself as a hunter of the visual, whether concert, opera, dance, theatre or installation.
Robert, born and raised in the Ruhr area, began studying architecture there, at the same time gaining his first experience in the field of theatre design, and then went to Berlin to complete his main studies, first at the Weissensee School of Art, then at the University of the Arts (now the UdK). As a guest student at the Free University of Berlin, he intensively studied philosophical aspects of design. Finally, he completed a master's degree in stage design at the TU-Berlin.
As a central, highly paradoxical theme of his stage design, Robert Pflanz always states that he wants to make the world and worlds beside or behind the physical physically tangible.
On the other hand, Pflanz is a precise theatre practitioner who is also enthusiastic about clear structuring, the joining of elements. He experiences the artistic process as an essential part of the result.
In addition to his many years of experience as a freelance stage and costume designer, his focus since 2004 has been on video art.
He has worked at renowned theatres, opera houses and concert halls such as the Staatstheater Schwerin, the Komische Oper Berlin, the Staatsoper Unter den Linden, the Theater Schloss Maßbach, the Opernhaus Kiel, the Deutsche Oper Berlin, the Bad Hersfelder Festspiele, the Palacio de Bellas Artes in Mexico City, the Teatro Juárez in Guanajuato, the Staatstheater Cottbus, the Stadttheater Fürth, the Hamburg State Opera, the Michailowski Theatre in St. Petersburg, the Bavarian State Opera, the Mozarteum Foundation Salzburg, the Anhaltisches Theater Dessau, the Philharmonie Luxembourg, and many others. Petersburg, the Bavarian State Opera, the Mozarteum Foundation Salzburg, the Anhaltisches Theater Dessau, Philharmonie Luxembourg, and many more.

Aaron Dan tours internationally as a soloist, composer, chamber musician and presenter; he is the winner of several competitions, including the flute competition The Winner of Belgrade, 2005. In 2013, the ensemble he co-founded, Berlin Counterpoint, was awarded the Usedom Music Prize.
Aaron Dan's extensive compositional oeuvre includes dozens of new arrangements and compositions for his ensembles, many pieces for music theatre, orchestral works, choir and chamber music as well as more and more works for flute and loop station. In 2021 he created the sound installation BABEL for 40 loudspeakers (premiere Kunstmuseum Reutlingen). The Hungarian version of his children's opera The Little Prince will premiere in the spring of 2023 at the Hungarian State Opera in Cluj-Napoca, the city of his birth.
Aaron Dan lives in Berlin with his family.
For the concert programme KLÁRI-SUITE for voice, piano and video, the Villa Elisabeth in Berlin was transformed into a meeting place for the arts on 18 September 2022.
The term "suite" can be understood not only as the musical genre concept of a sequence of character pieces, but also - analogous to the suite of the same name - as the sequence of sonic spaces to be experienced. In the video projection, another space opens up that adds an independent contribution to the interpretation of the music.
Programmatically, Béla Bartók's Five songs op. 15 (Klári-Songs) become the nucleus of an exploration of the entire span of passion between creative and destructive, intoxicating and ecstatic power. Bartók took the emotionally intense, thoroughly youthful and controversially received texts of the 14-year-old Klára Gombossy and her four-year older friend Wanda Gleiman as the basis for his song cycle op. 15, one of only two original song works from his pen.
Bartók's interest in the connections between mathematics and nature is reflected in his music. He liked to use the proportions of the golden section or the Fibonacci number sequence. The complete programme of the KLÁRI SUITE now also follows these principles of proportion. Based on the order in Bartók's manuscript and cyclical connecting points in terms of content, the Klári songs are heard in a new order that deviates from the publisher's usual counting - accompanied by the video with a black-and-white, blurred world of mist. This is followed by three solos that present the artistic media as individual elements: First for piano Unsuk Chin's Etude No. 2 Sequences, then Peter Eötvös' bitter Goretsch! Goretsch! for solo mezzo-soprano. Finally, the increasingly colourful and insane video solo leads into two songs from Shéhérazade, Ravel's settings of texts by Tristan Klingsor, exuberant with exotic sensuality, eroticism and violence. In the works originally conceived as orchestral songs, a delightful effect is created by the rapturously colourful video projections. In the second piece, La flûte enchantée, special guest Aaron Dan takes over the part of the solo flute before the programme is reflected in a concluding cadenza, releasing the audience into their own dreams with Bartók's Sounds of the Night.
The overall dramaturgy of the programme elevates formal peculiarities from Bartók's composition to a guiding principle: the piece complexes with the circumferences 8/5/3/2/1 follow the reverse Fibonacci sequence, emotional lows and climaxes are heard at the dividing point of the Klári songs and the entire suite respectively, corresponding to the golden ratio. These proportions also determine the colour and lighting direction. The programme as a whole expands from the formal density of the Klári songs to the fantastic expanse of Shéhérazade and the finale.
Béla Bartók's Five Songs op. 15 (Klári-Songs) confront us with all the highs and lows of a young woman's intoxicating longings for love. In the posthumously published first edition by his son Peter Bartók, this cycle ends with the song Itt lent a völgyben (Down in the valley), the only song marked by hopelessness, loneliness and resignation. This sequence of songs tells a love story that ends in failure. Bartók himself had laid down a different order in his manuscript, which convinced Sarah van der Kemp far more and inspired the KLÁRI SUITE project: Bartók emphasises the cyclical change of emotional states. The Klári-Songs begin in the dark of night with the song A vágyak éjjele (Night of Desire), which describes the longing for love through the unsteady ups and downs of passionate emotions and erotic dreams. All five songs are assigned to times of day. Songs two to five, moreover, are also seasons, with temperature and weather conditions being related to the feelings of longing for love. Similar to Bartók's opera one-act and relationship drama Duke Bluebeard's Castle the song cycle begins in darkness and has its brightest and hottest (in the opera, most dramatic) climax at the dividing point of the golden section. (Song No. 3 Summer: “Offenen Mundes trink’ ich die Sonnenfluten, der flammende Himmel stürzt auf mich herab!“) In the opera, the circle is closed by the return to darkness, the relationship has failed. In the In five songs, op. 15 reihen sich die facettenreich dargestellten Liebesgefühle in das Werden und Vergehen der Natur ein. Bartók beendet den Zyklus mit dem Verklingen des Klaviernachspiels bei gehaltenem Pedal im “The rapture of delight!“
Klári 2
Reflections
Chamber Concert For Voice, Piano, Video,
Flute & Cello
In 1916, immediately after the First World War, Béla Bartók composed the two love song cycles op.15 (part of Klári-Suiteand op.16 (part of the Mirror Pictures) after a long creative crisis. Reflections). Beide sind musikalisch und thematisch aufeinander bezogen; fallen jedoch durch ihre gegensätzlichen emotionalen Lebenswelten auf.
Während Bartók in den Liedern op.15 eine Fülle unterschiedlichster Gefühle einer jungen, hoffenden Liebenden vertont, verharrt er musikalisch und thematisch in allen fünf Liedern op.16 in Unmut und Resignation und sieht die einzige Auflösung im Tod. Bartók selbst nennt diese Lieder Herbsttotenlieder.
L’homme n’existe pas
In the program Reflections the five Autumn Songs of the Dead zum Teil eines neuen Gegensatzpaars zwischen Resignation und Aufbruch (Utopien) in Form von fünf neuen musikalischen Werken zeitgenössischer Komponisten. So wie sich Bartók durch seine akribische Forschung von Pflanzenkunde und Tierwelt ein Beispiel an Wachstum und Proportionen in der Natur nimmt, und sie in seinen Kompositionen überträgt, werden sich auch die fünf Utopien in musikalischen Welten bewegen, die Gesetzmäßigkeiten der Natur zum Vorbild haben.
But unlike Bartók's lifetime a hundred years ago, today, in view of the dramatically growing problems of climate change, the question arises as to why the illusion of human superiority over other living beings and nature persists so stubbornly despite the self-inflicted destruction of our own habitat. The five new compositions break with this false consciousness of man and create five different musical worlds in which the human species is part of a community of all living beings. They are attempts to find new musical languages that take symbiotically functioning life worlds from nature as their model.