Arnold Kasar is a Berlin-based pianist, composer and mastering engineer. Over the past three decades, his work has moved fluidly between ambient, electronic, and contemporary classical spaces, often erasing the distinctions between them.
He began his career in Berlin’s post-club landscape. His collaborations with performance artist Friedrich Liechtenstein introduced surreal, genre-fluid pop into his orbit. A long-running partnership with Hans-Joachim Roedelius, including their 2017 Deutsche Grammophon release Einfluss, cemented his standing as a cross-generational connector of musical worlds.
His solo albums have been praised for their quiet innovation and tonal depth. Whether performing at the Elbphilharmonie or composing in solitude, Kasar’s work is marked by balance: between touch and tone, intuition and restraint, structure and openness. His new album Spring Songs unfolds across eight distilled pieces, interconnected yet self-contained, where Kasar’s acoustic piano drifts within finely drawn electronic contours. Evolving from the quiet architecture of Spring Song, first heard on Kasar’s 2019 album Resonanz, this new work extends the theme into a larger spatial meditation. The result is a sound world that feels both grounded and aerial, analogue and spectral, where memory, structure, and silence hold equal presence.
Martina Bertoni is a Berlin-based experimental composer whose work “dissolves the boundaries between emotion and architecture (A Closer Listen). Bridging classical rigour with avant-garde exploration, her research lies at the intersection of embodied sound practices and post-instrumental identities. Her discography includes All the Ghosts Are Gone (2020), Music for Empty Flats (2021), her “study in haunted minimalism” of Hypnagogia (2023) and the recent double LP Electroacoustic Works for Halldorophone (2025), which furthers her inquiry into destabilised tunings and generative systems.
Her performance, Electroacoustic Works for Halldorophone Live, for laptop and electronics, presents compositions generated on the Halldorophone and computer. Using tetraphonic scales and tuned feedback, Martina creates an interplay of harmonic frequencies that morph into evolving, immersive soundscapes. Blurring the lines between control and chaos, the music unfolds as an exploration of time, tuning, and perception. From subtle beginnings, to vast, resonant architectures, her performance balances algorithmic precision and organic unpredictability within a profound auditory experience.
