Berlin's Boundless Music Series Blurs 900 Years of Sound in One Daring Night
Konzerthaus Berlin's Boundless Music series has presented an evening of bold contrasts and unexpected sounds. The programme spanned nearly 900 years, from medieval composer Hildegard of Bingen to contemporary works by Wen Cheng Wie. Audiences experienced everything from a mysterious drone humming through the hall to lively Bartók duos and a viola tuned like a Norwegian fiddle.
The concert opened with a surprise as Nils Mönkemeyer began playing his viola from the back of the auditorium. His instrument was tuned like a Hardanger fiddle, giving The Reel of Tulloch a bright, folk-like edge. Meanwhile, a deep, sustained drone—called a bourdon or 'humming bass'—pulsed quietly from the wings, filling the space with an eerie resonance.
Konstantia Gourzi's Messages Between Trees followed, weaving together Hildegard's medieval chant with birdsong and delicate Oriental influences. The shift from ancient to modern continued with pieces by John Cage and Morton Feldman, performed with a fluidity that blurred the lines between old and new. Even Bach's music took on fresh energy in this setting.
The programme also featured two spirited Bartók duos, sharp and full of playful wit. Dorothee Oberlinger then joined on flute, responding to Mönkemeyer's viola with her own bright, dancing phrases. The evening closed with a saxophone quartet and a recorder ensemble, rounding off a night that moved effortlessly between centuries and styles.
The performance showcased the Boundless Music series' ambition to break traditional boundaries. Medieval chants met avant-garde compositions, while folk-inspired viola tunes shared the stage with 20th-century minimalism. The result was a concert that defied easy categorisation, offering instead a rich, ever-shifting soundscape.
