Inspired by the descriptions of the effects of mescaline in the works of Henri Michaux, Fausto Romitelli's work is all about "the artificial, the distorted, the filtered." Romitelli forges sound sculptures that materialize like surreal musical visions of the deformations, distortions and disfigurements in Francis Bacon's paintings. Influenced by the distorted and "dirty" sounds of psychedelic rock music, Romitelli creates a unique music

Voices & Ensemble

Thrown back to its origin, its emptiness, the voice in Pierluigi Billone's FACE Dia.De is joined by a second one, in an energetic confluence, in the merging and exploration of various tonal-ritual constellations with powerful instrumental islands of the ensemble.

A woman, on the run from her own reflection, pursued by invisible enemies, driven into an errant scenario of annihilation. A horror-like dance of faces and reflections that spills over the edges and takes possession of the space outside. With music by Clara Iannotta, Peter Tscherkassky's short film Outer Space unfolds an almost overwhelming sensual effect...

Landschaftsreste tauchen auf, Erinnerungspartikel, Tag- oder Nachtträume: Fragmente, die in verschiedene Richtungen wegrauschen. Die Sprache oszilliert zwischen dem, was die Autorin beobachtend erfasst, sowie objets trouvés aus bildender Kunst, Literatur und Philosophie.

Opus latericium ist von einer römischen Lehmziegelbauweise der Kaiserzeit inspiriert. Dreieckige Ziegel, zu einer gepunkteten, polierten, harten und feuerfesten Oberfläche vereint: von der Außenseite durchbricht die repetitive Musik von Mikel Urquiza zerstörerisch hämmernd im Zeitraffer die harte Schale, legt die Ruine frei. Was von der Mauer stehen bleibt zeigt nur noch wenig Ähnlichkeit zum Anfang, ...

Focus on Sarah Nemtsov
31. Mai. 2024 // 20.00, Graz, Kunstuniversität Graz, MUMUTH Probebraum

Sarah Nemtsov's music doesn't fit into one or even all drawers. Finely branching sound structures, peppered with countless signs, metaphors, phrases, symbols and influences from all imaginable directions can be found and yet the deep roots in the tonality of European musical tradition can also be heard. Reason enough for a closer look at the outstanding work of one of the most exciting composers of our time.

The City without Jews (Austria, 1924)

directed by: Hans Karl Breslauer
music: Olga Neuwirth (2017)

The silent film THE CITY WITHOUT JEWS (1924), one of the most important Austrian productions of the interwar period. H. K. Breslauer's satirical dystopia shows the cultural and economic impoverishment of a city that drives out its Jewish population, and in its portrayal of murderous anti-Semitism in Vienna in the aftermath of the First World War, it is disconcertingly irritating and prophetic.

Mit Werken von Mike Urquiza, Mirela Ivičević und Jagoda Szmytka ist PHACE zu Gast beim Eröffnungskonzert des Musikforum 2024 in Klagenfurt. Und auch abseits davon gibt es viel zu hören an diesem Abend im Arkadenhof des Stift Viktring.

The City without Jews (Austria, 1924)

directed by: Hans Karl Breslauer
music: Olga Neuwirth (2017)

The silent film THE CITY WITHOUT JEWS (1924), one of the most important Austrian productions of the interwar period. H. K. Breslauer's satirical dystopia shows the cultural and economic impoverishment of a city that drives out its Jewish population, and in its portrayal of murderous anti-Semitism in Vienna in the aftermath of the First World War, it is disconcertingly irritating and prophetic.

The City without Jews (Austria, 1924)

directed by: Hans Karl Breslauer
music: Olga Neuwirth (2017)

The silent film THE CITY WITHOUT JEWS (1924), one of the most important Austrian productions of the interwar period. H. K. Breslauer's satirical dystopia shows the cultural and economic impoverishment of a city that drives out its Jewish population, and in its portrayal of murderous anti-Semitism in Vienna in the aftermath of the First World War, it is disconcertingly irritating and prophetic.

More a "choreography of sound" than an orchestration - music as a physical experience, between popular and classical music. Rhythmic, melodic, sound and structural elements of electronic dance music merge with experimental methods of contemporary music production. With works by Clara Iannotta, Bernhard Gander, SCHTUM (Pockfuß & Mayr).

On the Couch Studiokonzert #99 with thePHACE - string trio

Fausto Romitelli's Professor Bad Trip is all about "the artificial, the distorted, the filtered". The composer forges sound sculptures that materialize like surreal musical visions of the deformations, distortions and disfigurations in Francis Bacon's paintings. Clara Iannotta's composition class expands the evening with a collective composition with changing ideas.

Zwischen KI, scheinbar endlosen Schleifen und der Poesie von Luftballons tänzeln die Kompositionsaufträge an Grzegorz Pieniek, Alessandro Baticci und Nava Hemyari für PHACE. Dazu gibt es ein Stück von Annesley Black, das Instrumentalklänge live elektronisch bearbeitet.

Seven years after our last performance there, PHACE is back in Olomouc this autumn, at this year's MUSICOLOMOUC16. The program once again includes a wide range of contemporary chamber music, where fascinating sound ideas branch out in all directions..

The artificial human – the doll, the figure, the android – reveals three dreams of humanity: creative power, perfection, immortality.

The artificial human – the doll, the figure, the android – reveals three dreams of humanity: creative power, perfection, immortality.

The artificial human – the doll, the figure, the android – reveals three dreams of humanity: creative power, perfection, immortality.

The artificial human – the doll, the figure, the android – reveals three dreams of humanity: creative power, perfection, immortality.

The artificial human – the doll, the figure, the android – reveals three dreams of humanity: creative power, perfection, immortality.

The artificial human – the doll, the figure, the android – reveals three dreams of humanity: creative power, perfection, immortality.

The artificial human – the doll, the figure, the android – reveals three dreams of humanity: creative power, perfection, immortality.

Schönes Wetter in Gmunden (19–21 November) takes nine listeners at the Musikverein into one of the most dramatic and momentous episodes in Schönberg's biography.

Schönes Wetter in Gmunden (19–21 November) takes nine listeners at the Musikverein into one of the most dramatic and momentous episodes in Schönberg's biography.

Schönes Wetter in Gmunden (19–21 November) takes nine listeners at the Musikverein into one of the most dramatic and momentous episodes in Schönberg's biography.

Echoes reflect on the walls of context, pulling on sound and material. No force without a counterforce and no form without transformation. Like with Annesley Black, where the smallest sound particles fight for a place in the memory. Like with Giorgia Koumará, where the music questions our norms

Liquid Loft & PHACE geben sich die Ehre, zu einer Soirée dansante in die Räumlichkeiten des Salon Gudrun in der Wiener Laxenburgerstraße, Ecke Gudrunstraße, einzuladen.

Liquid Loft & PHACE geben sich die Ehre, zu einer Soirée dansante in die Räumlichkeiten des Salon Gudrun in der Wiener Laxenburgerstraße, Ecke Gudrunstraße, einzuladen.

Liquid Loft & PHACE geben sich die Ehre, zu einer Soirée dansante in die Räumlichkeiten des Salon Gudrun in der Wiener Laxenburgerstraße, Ecke Gudrunstraße, einzuladen.

Die Konfrontationen zwischen dem Realen und dem Imaginären ist seit Jahrtausenden ein Teil des menschlichen Zusammenlebens. Gesellschaften schufen Mythologien, Geschichten, Märchen und Gemeinschaftsträume, regten die Vorstellungskraft an und erzeugten einen eigenständigen „kulturellen Korpus“, im Bestreben, das Reale zu erforschen und durch die Vorstellung zu transformieren.Die Stimme tritt hervor: Ureigenes Instrument, untrennbar mit der Identität verbunden. In Januibe Tejeras klanglichen Unwirklichkeiten verliert sie fast jeglichen menschlichen Charakter.

In Fast Darkness begibt sich PHACE auf eine wilde und virtuose Erkundung des Unbekannten.

In Fast Darkness, PHACE embarks on a wild and virtuoso exploration of the unknown.

Confrontations between the real and the imaginary have been part of human coexistence for thousands of years. Societies created mythologies, stories, fairy tales and communal dreams, stimulating the imagination and producing a distinct “cultural body” in an effort to explore the real and transform it through imagination. The voice emerges: primal instrument, inextricably linked to identity . InJanuibe Tejera's sound unrealities it loses almost all human character.

PHACE zu Gast an der Butler School of Music, mit Werken von Kompositionsstudierenden

An utopian ball night – a futuristic dance ball

An utopian ball night – a futuristic dance ball

An utopian ball night – a futuristic dance ball

Idioms of the spontaneous, burned into solid forms, striving for space: muted and suppressed with Huihui Cheng, agitated and exaggerated withAlexander Schubert. It is a galvanic bath for the senses and sensors. Something comes loose, something gets stuck and something is left behind. Juliana Hodkinsons Lightness is theater for the ear and eyes, a quiet kind of fireworks music and a deeply hypnotic and archaic experience.

Träume, von Musik, über Musik und durch Musik. Drei Werke blicken auf unerhörte Utopien, ungeahnte Verbindungen und parallele Realitäten und laden, jedes auf seine Weise, dazu ein, den Blickwinkel zu verschieben.

Landschaftsreste tauchen auf, Erinnerungspartikel, Tag- oder Nachtträume: Fragmente, die in verschiedene Richtungen wegrauschen. Die Sprache oszilliert zwischen dem, was die Autorin beobachtend erfasst, sowie objets trouvés aus bildender Kunst, Literatur und Philosophie.

Beat Furrers Akusmata ist inspiriert von jenen enigmatischen Hörsprüchen und Lebensweisheiten, die Pythagoras zugeschrieben werden und wie ein inhomogenes Regelwerk einer fantastischen Gesellschaft erscheinen: manche sind klar verständlich, andere erinnern an die Rätsel von da Vinci und manchen haftet seltsam Groteskes an. Sara Nemtsovs neues Werk from shore to shore gibt sich ähnlich enigmatisch wie Furrers Akusmata und taucht ein in die fließenden Wechselströme zwischen individuellem und kollektivem Bewusstsein in Virginia Woolfs Roman „The Waves“

PHACE ist Ensemble in Residence beim Composers Forum des Vienna Summer Music Festival. In Proben und zwei Konzerten erhalten ausgewählte junge Komponisten und Komponistinnen die Möglichkeit neue Werke mit den Musikern und Musikerinnen von PHACE zu erarbeiten und neues Terrain zu erkunden.

(Konzert nur für FestivalteilnehmerInnen!)

PHACE ist Ensemble in Residence beim Composers Forum des Vienna Summer Music Festival. In Proben und zwei Konzerten erhalten ausgewählte junge Komponisten und Komponistinnen die Möglichkeit neue Werke mit den Musikern und Musikerinnen von PHACE zu erarbeiten und neues Terrain zu erkunden.

(Konzert nur für FestivalteilnehmerInnen!)

Sound organisms move and develop according to their own dynamics, like a broad stream caught in eddies and whirlpools yet still flowing. Intelligent automatons diligently shovel, in rhythm with the server's pulse, until all anomalies are sorted out.

Power lies in repetition; loops and samples duplicate reality. "Play it all back!" is the mantra, fragmented and combined, composed into a new whole.

Funky music in the centrifuge! Categorized, hunted, out of balance. Only to shatter the syntax; only to assemble new meaning from the rubble.

This early silent film by master director Ernst Lubitsch already demonstrates Lubitsch's tremendous talent for timing. Musically, Martin Matalon exploits the entire spectrum of possible relationships between music and images, between the film's editing and the articulation of the music: from the most dependent parallelism to the most complete divergence.

The City without Jews (Austria, 1924)

directed by: Hans Karl Breslauer
music: Olga Neuwirth (2017)

The silent film THE CITY WITHOUT JEWS (1924), one of the most important Austrian productions of the interwar period. H. K. Breslauer's satirical dystopia shows the cultural and economic impoverishment of a city that drives out its Jewish population, and in its portrayal of murderous anti-Semitism in Vienna in the aftermath of the First World War, it is disconcertingly irritating and prophetic.

In the end and in the beginning, the annual cycle closes; at the turning point, everything hangs in the balance. In the clearing of isolation, shrouded in darkness, the sounds emerge with unexpected clarity.