Die Musiker

4th Movement – The Musicians

Before their sounds began to shape the project, they stood in the room as individual voices: personalities formed by different countries, influences, schools, and biographies. And yet they were connected by a shared openness—that readiness to listen to a motif before shaping it. This section introduces the musicians not as a catalogue, but as moments of approach: sound sketches of people whose presence made the project possible in the first place.

Here, space opens up to get to know the musicians—in words, images, interviews. Each voice its own horizon, its own breath. Those who listen to them can understand why precisely these constellations were able to carry the music.

Between these two formations stood a connecting figure: myself. Not only as a drummer, but as someone who held the lines between the groups, enabled encounters, opened conversations, and encouraged the musicians not only to work, but to experience. Culinary excursions, walks, spontaneous discoveries—all of this was as much a part of the process as the rehearsals. It mattered to me that we did not come together only musically, but also as people—in the landscape, in food, in shared wonder at the Münsterland and its neighboring regions.

For the work, the musicians were divided into two groups—not for organizational reasons, but because of their musical compatibility and the different expressive worlds they carried within them. The first formation worked in Heek in June: Alberto Arteta, Claudio Vignali, Romy Camerun, and Ugonna Okegwo. Their shared musical language was shaped by lyrical precision, concentrated depth, and transparent interplay.

The second group developed its approach at the Künstlerhaus in Schwalenberg: Theo de Jong, Kristina Fuchs, Noé Clerc, and Fabrice Alleman. Here, a more open, far-reaching idiom emerged—shaped by song forms, European lines, and the atmospheric openness of the place.