Albrecht Maurer has been a member of the Paris ensemble Dialogos since 2005. Under the direction of Katarina Livljanic, Dialogos creates various programmes in various formations.
Albrecht Maurer plays in the monodrama "Judith" after texts by Marko Marulic, in a musical reconstruction by Katarina Livljanic with light and text projection, in the concert program "Barlaam and Josaphat", in "Heretical Angel" that Dialogos created together with the Croatian group Kantaduri and in "Nexus Winchester" that premiered in 2018 at the festival Laus Polyphoniae Antwerp.
The ensemble Dialogos is internationally active, it has its home in Paris where Katarina Livljanic heads the medieval music department at the Sarbonne. For further information please visit the website of Diologos.
"With Dialogos in 2004, I immersed myself in a completely new world. The kind of medieval accompaniment is based on a culture of improvisation and experience with different modes. My experience in jazz and with archaic timbres is very beneficial to me here. I love the harmony of Katarina's alto voice with transverse flute and gothic fiddle. Even before Dialogos, I began an intensive musical collaboration with my Cologne colleague Norbert Rodenkirchen, in which we improvised freely on our instruments without comment. The result is a sound that is very rich in resonances of the purely tuned fiddle and the transverse flute. Such an experience of overtones and their superimposition I did not know before". AM
The Boston Globe, USA:
„"It takes an eloquent artist and a patient scholar to recruit and arrange the relics of a truly distant past in a way that creates a work capable of enthralling modern listeners. The resulting piece is a mesmerizing and at times hauntingly beautiful work, with Livljanic's pure-toned voice at its core. ... The undulating vocal lines provide a certain melancholy expressive tug, and a rich array of piquant dissonances makes the music sound both very old and very new. Sanda Hrzic has provided a subtle and organic staging that makes poetic use of light and shadows as the fine musicians Norbert Rodenkirchen and Albrecht Maurer drift and hover around the singer. ... It is an exercise in a kind of generative musicology at its best..."
Vancouver Review, Canada:
"All three musicians were so attuned and so responsive to one another they seemed as one, none dominant, all equally necessary. Playing a selection of early and Croatian folk instruments, Norbert Rodenkirchen, flutist and medievalist and Albrecht Maurer, string player, jazz musician and specialist in improvization, followed every nuance of Katarina Livljanic’s very powerful, flexible voice.
The music is rich and opulent in sound with long, hypnotic lines.
Livljanic’s subtle interpretations of the story kept the audience rivetted. Using mostly song with very effective spoken or half-spoken passages, Livljanic unrolled Judith’s story with awful inevitability, her firm and unbending character reflected by the supreme confidence of the singer."
New York Times:
Ms. Livljanic enacted the ancient drama with splendidly pure singing in Croatian, urgent narration, a penetrating gaze and expressive hands. (…) What makes “Judith” seem almost startlingly modern and metaphysical at times is Ms. Livljanic’s incorporation of other 16th-century texts dealing with inner dialogues at climactic moments in the story.