Third Ear Music as a Space for Encounter
MUT#14 once again demonstrated that improvised music can be not only a form of artistic expression but also a powerful tool for building relationships and fostering dialogue. An important aspect of the event was the series of conversations that took place between the performances, offering audience members the opportunity to meet the artists directly and exchange thoughts about their creative work and artistic approaches.
The fourteenth edition of the series also highlighted Lublin’s continuing importance on the map of European improvised and experimental music. Through the collaboration of local artists with musicians active on the international scene, the event offered not only a high level of artistic quality but also a platform for new inspirations, ideas, and future projects. Once again, Third Ear Music reminded us that the most exciting developments often occur precisely where genre definitions end and genuine artistic freedom begins.
Organized by the L.A.S. Listening and Sounding Foundation and Grzegorz Lesiak, the event was presented in partnership with the Centre for Culture in Lublin and Lublin Jazz. The project was co-financed by the Ministry of Culture and National Heritage under the “Music” programme, implemented by the National Institute of Music and Dance.
Wieland Möller – An Artist Between Two Worlds
Without a doubt, one of the central figures of the evening was Wieland Möller, who performed in both concert sets. The Berlin-based percussionist, performer, and sound artist presented an exceptionally broad spectrum of his artistic practice. In the first set, he co-created organic and collective improvised structures, while in the second he became a catalyst for more dynamic and experimental sonic explorations.
His approach to rhythm, sound, and performativity extended far beyond the traditional understanding of a percussionist’s role. Every gesture became part of the musical narrative, while his percussion setup functioned as an expanded instrument for shaping and transforming sonic space. Thanks to Möller’s presence, both sets—despite their contrasting aesthetics—formed a coherent and thoughtfully constructed whole.
Art, Nature, and Spirit in an Improvised Dialogue
The first set brought together Piotr Damasiewicz, Antti Virtaranta, and Wieland Möller. The meeting of these three artists proved to be an intense experience in which the music developed organically, free from predetermined structures or expectations. Damasiewicz’s trumpet guided a narrative rich in emotional tension, Virtaranta’s double bass built deep and often almost meditative sonic landscapes, while Möller’s percussion and extended percussion setup introduced a constant sense of movement and transformation.
Together, the musicians created a multilayered story based on attentive listening and mutual responsiveness to every impulse emerging within the performance space. Ideas of the interconnection between art, nature, and spirituality were clearly present throughout their music and served as the conceptual foundation of the project. The audience witnessed a creative process unfolding in real time—without predefined solutions, yet with remarkable openness to unpredictability and dialogue.
Berlin Meets Lublin
After a short intermission, the stage once again filled with sound, this time through the collaboration of Tadeusz Cieślak, Sławomir Księżniak, and Wieland Möller. The second set introduced a completely different energy to the evening’s program. The acoustic voices of saxophone and flute intertwined with guitar textures and electronics, creating a space filled with tension, contrast, and sonic experimentation.
Particularly compelling was the interaction between instrumental improvisation and electronic sound processing. At times, the music took the form of dense, almost noise-like structures, only to shift moments later into more subtle and spacious sonic environments. This encounter between Lublin-based artists and the Berlin percussionist demonstrated how inspiring international collaborations can be when built on openness, trust, and artistic curiosity.
MUT#14 / 16.04.2026 / THE THIRD EAR MUSIC
On April 16, 2026, the Chamber Hall of the Centre for Culture in Lublin became a gathering place for enthusiasts of improvised, experimental, and exploratory music. The fourteenth edition of the Third Ear Music (Muzyka Ucha Trzeciego) concert series confirmed once again that the event has become a permanent fixture among the most compelling initiatives presenting contemporary musical practices beyond the mainstream. This year’s edition took place in a refreshed format, emphasizing international artistic collaboration and creative encounters between representatives of diverse musical backgrounds.
The audience, which gathered in large numbers at the Centre for Culture, had the opportunity to experience an evening filled with sonic contrasts, spontaneous interactions, and musical exploration. The program featured two distinct concert sets, united by a shared commitment to transcending genre boundaries and discovering new sonic possibilities.
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