2026 Edition
By its twelfth edition, Musica in Prossimità returns to Pinerolo from 27 to 29 November
to explore the complexity of the contemporary sound landscape and its multiple trajectories of research. Curated by Quartetto Maurice, the festival presents a rich and varied programme, ranging from the visionary vocal music of the 15th century to tributes to the great composers of the 20th century, while also turning its attention to some of the most compelling proposals emerging on the contemporary scene: from the monographic focus on the promising Brendan Champeaux, to the expressive urgency of L’Beel, and the noise experiments of Klein.
Friday 27 November, 9.00 pm – Sala Italo Tajo
The music of Brendan Champeaux opens the twelfth edition of Musica in Prossimità
With Ensemble Cairn, the festival presents a portrait of French composer Brendan Champeaux
through a selection of works for different ensembles and instrumental combinations, in dialogue with Music for Piano with Amplified Sonorous Vessels by Alvin Lucier, whose research into the propagation of sound serves as a source of inspiration. Opening the concert is Byword for 12 clarinets, performed by the young ensemble in residence following a period of study and in-depth exploration of the contemporary repertoire.
Saturday 28 November, 6.00 pm – Sala Italo Tajo
Peter Ablinger e and the 30th anniversary of Cantica Symphonia
From contemporary composition to 15th-century vocal music, a journey through seven centuries of music.
From contemporary composition to 15th-century vocal music, a journey through seven centuries of music. The evening opens with the work of Peter Ablinger, performed by Serbian pianist Ana Ostojić, who presents some of the most significant pieces from the Piano and Voices cycle – dedicated to the speeches of figures who have shaped history, such as Angela Davis – and by French percussionist Sylvain Lemêtre of Ensemble Cairn, performing the evocative Weiss / Weisslich 31e. The programme continues with Cantica Symphonia, celebrating thirty years of activity with a concert dedicated to the Motets of Guillaume Dufay, a leading figure of the fifteenth-century European musical scene, whose work played a major role in the transition from the Ars nova tradition to the Renaissance.
Saturday 28 November, 9.00 pm – Sala Italo Tajo
L'Beel
In L’Beel’s live set, her Moroccan heritage and Arabic cultural references blend seamlessly with the urban rhythms and flamenco of the contemporary Barcelona scene.
Her vocals weave through lyrics marked by love, desire, and loss, shifting effortlessly between quiet intimacy and raw intensity. What emerges is a profoundly personal voice where emotional depth and compelling rhythm coexist and interact in a sound rooted in tradition, yet tuned into the tensions of the present.
Sunday 29 November, 6.00 pm – Sala Italo Tajo
Klein
On stage, Klein creates a restless and unpredictable experience, where music, voice and gesture come together in a kaleidoscope of constantly shifting forms.
The London-based artist and musician moves between hip-hop, noise and ambient music with an instinctive and oblique approach, creating physical and theatrical performances in which reality and fiction overlap. Her practice unfolds through unexpected juxtapositions, interferences and perceptual shifts, drawing on themes such as surveillance, urban cartography and identity. A constantly evolving practice that questions the boundaries between experience, observation and imagination, and which in recent years has found a place both in major international art institutions and within independent and underground scenes.
Sunday 29 November, 7.30 pm – Sala Italo Tajo
Feldman at 100: Three Voices featuring Kristia Michael
To mark the centenary of his birth, Musica in Prossimità pays tribute to Morton Feldman with Three Voices, the composer’s final work for solo voice,
in which the voice multiplies and overlaps with itself, building a rarefied, almost immaterial polyphony. The expansion of time alters our perception of it, rendering it as a suspended presence, stripped of its physical dimension. The piece is performed by Cypriot vocalist and sound artist Kristia Michael, whose research spans contemporary and early music, experimental vocal practices and the ritual dimension of listening.
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