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flute and keyboard

Johan Treichel
hieu Schneider



Sunday February 4, 2024

Morning Sun Classic 11:00 a.m.

Café du Soleil Saignelégier


Friday July 7, 2023

Romanesque Church

Ailhon Ardèche (F)7:00 p.m.


Saturday July 8, 2023

Saint Cirice Church

Saint Cirgues de PradesArdèche (F)7:00 p.m.



flute, bass flute, Neolithic flute (R1)


piano and organ

Mathieu Schneider is a musician with a resolutely personal and original style. As part of this concert, he intends to use the particular acoustic potential of his brass flute "Inderbinen" starting with the performance “432 Hz”, a captivating play on the electromagnetic waves that are present in space, and which vibrate in the same way as sound waves.


Next comes an improvised set on the bass flute, with the support of a looper, an electronic device allowing you to record and loop musical sequences in real time.


In the third part, the public will have the opportunity to discover the“R1 flute”. Insatiable experimenter, without a flute on a beach in Tuscany in August 2011, Mathieu Schneider cuts a piece of reed with a wooden point and obtains an excellent primitive flute which connects him with the material and acoustic reality of prehistory.

He will have the pleasure of sharing the organic and captivating sound of this improbable instrument on stage with the most beautiful arias of Italian Bel Canto, accompanied on piano and organ by Johan Treichel.



“432Hz”(flute and audio)

Improvisations with a Looper(bass flute solo)

Arioso Cantata BWV 156 J.S Bach

Largo Vivaldi

Air Dolce SuonoDonizetti

Wally AirCatalan


You ca no Chiagne Curtis

Torna a SurrientoCurtis

Once upon a time in the westMorricone


Duration 1h15


Ebben? Ne Andro Lontana "La Wally" (A.Catalani)


Great music and little flute!

With this version of "La Wally" I attempt to bring together and synthesize the entire musical heritage from the Neolithic to the present day, the lyricism and finesse of the classical in the service of the energy and freedom of jazz, but all synthesized and conveyed by the improbable vibration of this small piece of reed and its sound coming from our distant past. The necessity and need for expression takes precedence over all stylistic considerations. music is too sacred to put it into small boxes in a functional way. The mere fact of being able to express myself musically with a flute that I shaped with my own hands, offers me the possibility of setting my own rules and freeing myself from all constraints by putting all my sensitivity and seeking purity and authenticity in expression. In this whole musical process, perfection does not exist! with this rudimentary instrument, I try to tame imperfection.

Matthew Schneider


RECITAL blue and green.jpg
RECITAL2 blue green.jpg

Johan Treichel was born in the Canton of Neuchâtel, Switzerland. After beginning his professional studies in Catherine Courvoisier's piano class at the La Chaux-de-Fonds Conservatory, he followed the teaching of Paul Coker and Marc Pantillon at the Haute École de Musique de Neuchâtel (Master of Interpretation and Master of Teaching). At the same time, he studied composition with Michael Jarrell and Luis Naón at the HEM in Geneva, then with Marco Stroppa at the Hochschule für Musik und Darstellende Kunst in Stuttgart. Finally, he completed his training in the organ class of Pascale Van Coppenolle at the Haute École des Arts in Bern, obtaining a Diploma of Advanced Studies then a Master of Advanced Studies.


He followed the master classes and workshops of Eric Gaudibert, Helmut Lachenmann, Matthias Pintscher, Tristan Murail, Henri Dutilleux, Brice Pauset and Martin Matalon (composition), the Aviv Quartet, the Wanderer Trio, Jean Piguet, Sergey Ostrovsky and Omar Zoboli (chamber music), by Michel Kiener, Florence Malgoire and Serge Saïtta (early music). During his years of study, he obtained several distinctions as a pianist: first prize at the Friborg Contemporary Music Competition in 2005 and 2007, first prize at the Racconiggi Competition (Italy) in 2007, Faber Music Prize in 2005, Prize Miéville-Hory in 2007, third prize at the Frédéric Chopin Competition in Rome (Italy) in 2006. He was also a grant recipient of the Jean Tanner, Lyra, Fritz Gerber, Irène Dénéréaz and Friedl-Wald foundations.


A pianist with a passion for chamber music, he shares the stage with several performers in groups ranging from duos to large ensembles. He is notably a member of the Gamajun Trio with cellist Marina Zinsstag-Cotallo and violinist Jeanne-Lise Treichel, a group with which he has given numerous concerts in Switzerland and France since 2014. He is also harpsichordist of the Ensemble Hexacorde and pianist of the Neuchâtel Symphony Ensemble. In a completely different register, he collaborates with the artist Swann Thommen within the electronic music duo ILS.


Since 2021, he has played the keyboards of the organ of the collegiate church of Saint-Imier, in the Bernese Jura. Its accompaniment of the liturgy gives space to various music: baroque and romantic organ repertoire, piano, electronic music and, above all, improvisation. In the wake of his appointment, he founded the Association Musique à la Collégiale, which offers numerous concerts to audiences in the region.

Recorded on June 12, 2022 at the Collegiate Church of St-Imier
Production: STUDIOP3 6/2022

Ebben? Ne Andro Lontana "La Wally" (A.Catalani)


Originally, there was... the reed which, in the wind, bent without ever breaking. Centuries later, the reed became a transverse flute. It retains the pride of its distant ancestor in its broad and bewitching sounds.

And breath is always a question but it comes from the musician this time! 


The strange music of cut reeds. Thousands and thousands of years ago, in a field of reeds or bamboo, a storm broke hundreds of stems. They then looked like thin pipes, cut to different lengths, and open at the top. Suddenly, the wind having become calmer again, a strange music began to resonate in nature and seemed to come from the stems of cut reeds.

"Torna a Surriento"




Mathieu Schneider

brass flute "Inderbinen"


This performance is supported by recordings on which we can listen to the sounds produced by spatial electromagnetic waves.


Due to the emptiness of virtual space, it is not sounds like those we hear all the time, which are actually sound waves, but these come from the electromagnetic waves that are present in space, and which vibrate in the same way as sound waves.

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