In the beginning was the aulos. A history of music might well begin this way, for this double flute is one of the earliest instruments from antiquity to be mentioned in mythology. Lukas de Clerck researches, plays, and reconstructs it: for a long time, the aulos did not physically exist, but through this small-scale revival, he has now managed to produce a distinctive sound—booming, hypnotic, and impressive all at once.

Norwegian sound artist Ellen Arbro, on the other hand, occupies the opposite end of the spectrum. The minimalism of the second half of the 20th century—the music of La Monte Young and Marian Zazeela, from whom she herself took lessons—resonates throughout her dreamlike experiments. As expansive as the aulos, yet presented with greater harmonic intricacy on the organ.

The fact that both are performing at the Evangelical Reformed Church in Leipzig is entirely in keeping with the spirit of the “Bells Echo” series, which celebrated its 10th anniversary last year. In this sacred space, mythological echoes and experimental sound art resonate to their fullest effect. A numinous experience—one that can be savored with intensity and grandeur against the backdrop of imposing architecture.