Seid umschlungen, Millionen!

1. Mar. 2025 //19:30
Premiere

3. Mar. 2025 //19:30
4. Mar. 2025 //19:30

Johann Strauss 2025 Wien
REAKTOR

Liquid Loft
Luke Baio, dance/ choreography
Andreas Berger, composition/ soundconcept
Valentina Diaz, social media
Kim Dong Uk, dance/ choreography
Stefan Grissemann, text
Chris Haring, artistic director/ choreography
Roman Harrer, stage management
Verena Herterich, dance/ choreography
Thomas Jelinek, light design/ scenografie
Cornelia Lehner, companie management
Michael Loizenbauer, video
Katharina Meves, dance/ choreography
Dante Murillo, dance/ choreography
Anna Maria Nowak, dance/ choreography
Stefan Röhrle, costume
Judith Thaler, production
Hannah Timbrell, dance/ choreography

PHACE
Petra Ackermann, viola
Manuel Alcaraz Clemente, percussion
Stefan Obmann, trombone
Maximilian Ölz, bass
Roland Schueler, cello
Doris Nicoletti, flute
Reinhard Fuchs, artistic director
Markus Bruckner, production
Michael Eder, promotion

with works by Lorenzo Troiani,
Pierre Jodlowski, Christoph Herndler
and musicians of PHACE

An utopian ball night – a futuristic dance ball

 

“Time is out of joint” – yesterday is dancing with tomorrow. Liquid Loft and PHACE are contributing a “utopian ball night” to the Johann Strauss 2025 Vienna festival year – an etude in esprit and euphoria in the spirit of the composer. Strauss, Vienna’s waltz king, composed his dance piece Seid umschlungen, Millionen! in 1892: ten minutes of exuberance, idealism and world reconciliation. The freedom of rearranging Strauss’s late work also spans the centuries, combining electronic preparation with live music. People dance and make music, sound and movement become one in the ballroom of historical futurism. The title of the waltz goes back to Friedrich Schiller’s Ode to Joy, a poem in which the dream of a “better world”, a democracy of the flying sparks of the gods, is intact: This kiss, as Schiller suggests, belongs to the whole world.

A production by Liquid Loft and PHACE on behalf of Johann Strauss 2025 Vienna in cooperation with REAKTOR

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Fast Darkness

18. Jan. 2025 // 19:30
Wien, Reaktor

20. Jan. 2025 // 19:30
Klagenfurt, Konzerthaus

Michael Wendeberg, conductor
Ivana Pristašová Zaugg, violin

PHACE
Doris Nicoletti, flute
Walter Seebacher, clarinet
Michael Krenn, saxophone
Mathilde Hoursiangou, piano
Ivana Pristašová Zaugg, violin
Petra Ackermann, viola
Roland Schueler, cello
Alexandra Dienz, double bass

A production by PHACE, in cooperation with IGNM, ZZM and REAKTOR Wien

In Fast Darkness III: Moonwords, Chaya Czernowin embarks on a wild and virtuoso exploration of the unknown. Fast, sharp gestures, charged with over-the-top energy, indicate the existence of a far-reaching sound universe that only the imagination can penetrate. The two premieres in this program also promise fascinating, unknown sound worlds. Thomas Wally builds the intricate sound structures in his Concertino around the virtuoso and expressive possibilities of the violin at the center, while Bruno Strobl in Schatten pushes tonal, tonal and dynamic contrasts to the limit and creates differentiated rhythmic patterns. In Notturno in forma di una rosa, Daniela Terranova draws a more relaxed soundscape. The structures unfold leisurely to reveal new, tempting details again and again. In Immagini d’orizzonte, Pasquale Punzo looks at distant, indeterminate, blurred borderlines that remain variable throughout the course of the music and yet characterize the entire event. It is up to the listeners to define the width of the horizon.

PROGRAMM

Thomas Wally
Concertino for violin and ensemble, (2024, wp)
Comissioned by PHACE, with financial support by BMKOES and SKE-Fonds

Bruno Strobl
Schatten for ensemble, (2024, wp)
Comissioned by PHACE, with financial support by SKE-Fonds

Daniela Terranova
Notturno in forma di rosa for Flute, Clarinet in Bb, Piano, Violin and Cello (2016, ap)

Pasquale Punzo
Immagini d’orizzonte for flute, clarinet, piano, violin and cello (2021, ap)

Chaya Czernowin
Fast Darkness III: Moonwords Sextet for amplified flute, clarinet, piano, violin, viola and violoncello (2022, ap)

airborne extended and PHACE will not only meet at the doorstep at REAKTOR on January 18th and 19th. The double dose of new music also includes – besides works by Bruno Strobl and Thomas Wally in both concerts – one or two musical connections that may become apparent when listening.

Tickets for both concerts are therefore available in a combined offer of €20 at the box office at reaktor.art

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SOIRÉE DANSANTE

16./17./18. Dec. 2024 // 18:00

Salon Gudrun,
Laxenburgerstraße 28-30, 1010 Wien

PHACE
Doris Nicoletti, flute
Stefan Obmann, trombone
Petra Ackermann, viola
Roland Schueler, cello
Manuel Alcaraz-Clemente, percussion
Maximilian Ölz, double bass

Liquid Loft

Liquid Loft and the ensemble PHACE have the honor of inviting you to a soirée dansante at Salon Gudrun, located at the corner of Laxenburgerstraße and Gudrunstraße in Vienna. Inspired by the former grand establishments of the suburbs, this immersive ball evening invites the audience to explore freely, unfolding across multiple rooms and spanning three hours. Here, the ballroom becomes a container where the decadence and upheavals of the 19th and 20th centuries flash like a double exposure. The deconstructed Viennese waltz is no longer a couple’s dance, yet it unmistakably retains the utopian energy of its sweeping motions and rotations. A valse capricieuse emerges – a playful act that serves as the prelude to a larger, serialized project.
This event also acts as a preliminary study for performances that Liquid Loft, once again collaborating with PHACE, will realize as part of the Johann Strauss 2025 festival year.

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ensemble & WKH series

SALON PHACE

45 minutes prior to every concert
at the Wiener Konzerthaus / Zyklus PHACE

ARTISTS

Roland Schueler & Juliana Hodkinson

 

 

 

SALON PHACE

25.11.2024  – 20:15 

In dieser Salon PHACE Sonderausgabe präsentieren wir das Stück “Nothing breaking the loosing” von Juliana Hodkinson unter Beteiligung des Publikums.
Live-Performance: Roland Schueler, Juliana Hodkinson

Der Salon hat sich in den vergangenen Jahren zu einem festen Bestandteil der PHACE-Zyklusabende im Wiener Konzerthaus entwickelt. In einer informellen, offenen Gesprächsrunde diskutiert Juri Giannini (Institut für Musikwissenschaft, MDW Wien) die aufgeführten Werke gemeinsam mit den KomponistInnen, InterpretInnen, DirigentInnen und anderen Mitwirkenden. Anhand dieses Formats möchten wir dem Publikum Zugänge auf unterschiedlichen Ebenen eröffnen, sei es durch Einblicke in den Entstehungsprozess, die Probenarbeit, die Klangvorstellungen, die musikalischen und außermusikalischen Bezüge oder die ganz persönlichen Kontexte der Beteiligten.
Wir freuen uns auf zahlreiche Teilnahme, angeregten Austausch und inspirierende Beiträge!

Eintritt frei!

Sirene Operntheater | Christof Dienz

Die Puppe

1. Nov. 2024 // 18:00
2.-7. Nov. 2024 // 20:00
Wien Modern, REAKTOR

François-Pierre Descamps, conductor
Anna Clare Hauf, voice

Serapions Ensemble
Elvis Alieva,
Ana Grigalashvili,
Zsuzsanna Enikö Iszlay,
Julio Cesar Manfugas Foster,
Selina Rosa Nowak (guest),
Gerwich Rozmyslowski,
Mercedes Miriam Vargas Iribar,
Miriam Mercedes Vargas Iribar

PHACE
Doris Nicoletti, flute
Reinhold Brunner, clarinet
Yukiko Krenn, saxophone
Stefan Obmann, trombone
Maria Chlebus, percussion
Iosua Dascal, percussion
Mathilde Hoursiangou, piano
Anna Lindenbaum, violin
Sophia Giodinger-Koch, viola
Roland Schueler, cello
Alexandra Dienz, double bass

Christof Dienz, composition
Kristine Tornquist, director
Florian Bogner, sound
Xaver Dienz, sound
Marlen Duken, props
Michael Liszt, stage
Jakob Scheid, music automatons & robots
Roman Spiess, Markus Liszt, puppets
Jan Maria Lukas, lights & technics
Germano Milite, sound & video
Jury Everhartz, production

Christof Dienz
Die Puppe. Ein Operoid (2024, UA)
Production sirene Operntheater | cooperation Wien Modern

 

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

Since the Stone Age, the likenesses have accompanied their creators and served them as companions, slaves and gods to overcome the inadequacies of organic existence. The dolls of antiquity are animated by imagination, their aura and power lie in the imagination of the doll creators and the viewers. Just two points in a circle are enough to create the illusion of a face, a simply carved piece of wood already marks a figure. Doll creators of the Enlightenment, on the other hand, use complicated mechanics as a drive to obtain a tireless, obedient and deceptively real improvement on the purely natural model. Following the legend of the sculptor Pygmalion, the aim is to fertilize the lifeless artefacts with the spark of life. Where reality and appearance come so close together, the dolls appear alive, but the person himself seems like an automaton. We are puppets, pulled on a wire by unknown forces, Büchner was horrified, nothing, nothing is ourselves.
The Japanese roboticist Masahiro Mori coined the term Uncanny Valley in the 1970s: Since then, the fascination has been accompanied by a shudder when the artificial approaches the natural – to the point where a perfect android is considered equal and believed to be alive.
Not only human bodies, but also their voices, their senses and ultimately even their minds are to be artificially recreated. In the data centers of AI projects, the imitative drive is running at full electronic speed. The self-deception succeeds – almost! The technical homunculi are still a long way from the complexity of organic life, no AI has yet passed the Turing test, but the goal is clear: the artificial doppelgangers should not only ape their creators, but be intellectually equal to them, even superior to them – independent creatures, a role model to the role models.
In the dark, however, a scarecrow and a little imagination are still enough to give the material a spirit.

Christof Dienz’s music for the eleven musicians of the PHACE ensemble, Anna Hauf as a wordless voice and the automatic drummer by Jakob Scheid reflects the strangeness in the similarity. Kristine Tornquist and the eight actors of the Serapions Theater illuminate the mysterious relationship between people and their puppets in a silent sequence of scenes.

sirene Operntheater

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MANOS TSANGARIS: ARNOLD ELEVATORS 3

Schönes Wetter in Gmunden

19.-21. Nov, 2024 // ab 18:50
Wien Modern
Musikverein, Brahms-Saal

Visit in small groups,
detailed times:

Hyun-Jung Berger, violoncello
Paula Jeckstadt, Mathilde 1 (soprano)
Annette Schönmüller, Mathilde 2 (mezzosoprano)
May Garzon, Elsa Bienenfeld (actor)
Rupert Lehofer, Arnold 2 (actor)
Valentin Postlmayer, Arnold 1 (actor)

PHACE

Doris Nicoletti, flute
Reinhold Brunner, clarinet
Michael Krenn, saxophone
Spiros Laskaridis, trumpet
Stefan Obmann, trombone
Igor Gross, percussion
Maria Chlebus, percussion
Mathilde Hoursiangou, piano & keyboard
Ivana Pristasova Zaugg, violin
Petra Ackermann, viola
Roland Schueler, cello
Maximilian Ölz, double bass

Georg Klüver-Pfandtner, costumes
Martin Laumann, sound
Ulli Napp, technical director
Bernhard Günther, dramaturgy
Markus Oppenländer, technics littlebit
Eva Maria Müller, coordination littlebit
Manos Tsangaris, staging

Manos Tsangaris
Schönes Wetter in Gmunden. six public private performances (2023–2024 UA) – 60′
Comissioned by Wien Modern in the context of Schönberg 150

When Manos Tsangaris composes, not only sounds and words find new forms, but also spaces and audiences. The composer, percussionist, artist and poet, born in Düsseldorf in 1956 (incidentally, he has just been awarded the Mauricio Kagel Music Prize and elected President of the Berlin Academy of Arts), is summarizing his engagement with Arnold Schönberg in a large, new, and in a certain sense, walk-in group of works at Wien Modern.

Schönes Wetter in Gmunden (19th–21st November), a series of six “public private performances” at various locations in the Brahms Hall for nine listeners each, leads into one of the most dramatic and momentous episodes in Schönberg’s biography at the Musikverein.

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Spaces of Freedom

Oct. 5 2024 // 21:00
ORF Musikprotokoll,
Helmut List Halle, Graz

Lars Mlekusch, conductor

PHACE
Doris Nicoletti, flute
Walter Seebacher, clarinet
Michael Krenn, saxophone
Thomas Märzendorfer, trombone
Mathilde Hoursiangou, piano
Maria Chlebus, percussion
Ivana Pristasova Zaugg, violin
Myriam García Fidalgo, cello
Maximilian Ölz, double bass
Manu Mayr, e-bass
Maria Mogas Gensana, accordion

SOUND DESIGN
Alfred Reiter

In cooperation with
Österreichischen Gesellschaft für
Zeitgenössische Musik (ÖGZM)

How do AI, robotics, and virtual reality affect the freedoms of contemporary composing? What musical questions arise with a view toward future digital revolutions? PHACE from Vienna brings these topics together in three world premieres.

In Alessandro Baticci’s Luminal Mirage, natural and virtual sounds merge. The instruments imitate the sound of electronics, doubling rhythms and timbres. Endlessly ascending and descending lines wind along, as if in an M. C. Escher staircase.

Grzegorz Pieniek is inspired by futuristic films and current digital developments. Nava Hemyari uses balloons as portable instruments. Annesley Black, who has been teaching composition at the University of Music and Performing Arts Graz since 2023, presents her work scrap at ORF musikprotokoll. She works with the live electronic processing of instrumental sounds; the smallest possible distinguishable audio fragments vie for supremacy over hearing and memory.

PROGRAMM

Grzegorz Pieniek
Cyberbrain for amplified ensemble and electronics, 2024 (wp)

Comissioned by PHACE and Radio Österreich 1 in cooperation with ORF musikprotokoll, with support by SKE Austro Mechana and Stadt Wien Kultur

Nava Hemyari
blowfür Ensemble, 2024 (UA)
Comissioned by PHACE, with support by SKE Austro Mechana

Annesley Black
Scrap for ensemble and live-electronics, 2019

Alessandro Baticci
Luminal Mirage for ensemble und electronics, 2024 (UA)
Comissioned by PHACE and Radio Österreich 1 in cooperation with ORF musikprotokoll, with support by SKE Austro Mechana and Stadt Wien Kultur

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ensemble – electronics

PHACE | FOR MORE EARS!

our series at
Wiener Konzerthaus
2024/25

 

CONDUCTORS
Cordula Bürgi
Lars Mlekusch

PHACE
Doris Nicoletti, flute
Walter Seebacher, clarinet
Reinhold Brunner, clarinet
Michael Krenn, saxophone
Mathilde Hoursiangou, piano
Ivana Pristasova Zaugg, violin
Petra Ackermann, viola
Roland Schueler, cello
Maximilian Ölz, double bass
Alexandra Dienz, double bass
and many more …

SOUND DESIGN
Alfred Reiter

Listen and belong. The series draws the gaze into the spaces in between – where opposites overlap, where similarities and differences merge into something new; where identity becomes the plaything of the music. Echoes reflect on the walls of context, pulling on sound and material. There is no force without a counterforce and no form without transformation. Like with Annesley Black, where the smallest sound particles fight for a place in memory. Like with Giorgia Koumará, where the music questions our normatives. Idioms of spontaneity, burned into solid forms, striving for space: muted and suppressed with Huihui Cheng, agitated and exaggerated with Alexander Schubert. It is a galvanic bath for the senses and sensories. Something comes loose, something gets stuck and something is left behind. The voice emerges: instrument of the self, inextricably linked to identity. In Januibe Tejera’s sound unrealities it loses almost all human character. With Beat Furrer and Sarah Nemtsov it leads to the innermost and the outermost.

Subscription & Tickets

Get your ticket now and become a member of the PHACE-Community!

As subscriber you will get detailed information sent by post mail one week before the concerts.

Subscriber Price
members 87,50 Euro
regular price 106,- Euro

Wheelchair space + accompanying person
members 92,60 Euro
regular price 101,- Euro

youth subscription
Normal 60,- Euro

Prices of single tickets are available as from fall 2024!

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voice – ensemble – electronics

PHACE | IRRÉALITÉS / UNREALITIES

PHACE Series 2024/25 – N°2
11.Feb.2025 // 19:30
Wiener Konzerthaus, Berio-Saal

14. Feb. 2025 // 19:30
Austin (TX), Butler School of Music,
Bates Recital Hall

 

Peyee Chen, voice

Thomas J. Jelinek, spatial conception,
media direction, lighting design

PHACE
Michael Krenn, saxophone
Spiros Laskaridis, trumpet
Mathilde Hoursiangou, piano
Maria Chlebus, percussion
Ivana Pristašová Zaugg, viola

SOUND DESIGN
Alfred Reiter

MEDIA
Peter Koger, video technics
Thomas Wagensommer, graphics programming
Christoffer Koller, edit & postproduction
Support: MediaOpera

Program

Januibe Tejera
Lost Alphabet for voice, five musicians and electronics, 2024 (UA)
Comissioned by PHACE

I have arrived in a place. I think I will stay for a while.
[My only life]
Lisa Olstein, Lost Alphabet

In Lost Alphabet, Januibe Tejera explores those feelings between estrangement and new discovery that arise when moving or changing location, when the center of one’s life changes. The starting points are selected passages from Lisa Olstein’s volume of poetry of the same name, in which nature – as a constant reference and at the same time as a completely formless model – intertwines the real and the unreal. On this textual basis (voice: Peyee Chen), Tejera’s music approaches the continuous and natural processes of alienation experienced by those who commute between different countries, continents, social classes and cultural models, while at the same time entering into a musical dialogue with his country of origin. Embedded in a spatial-visual concept (Thomas J. Jelinek), the concert evening reflects a peculiarity of human beings, namely the ability to perceive and reflect on life as something external to oneself, accompanied by the total impossibility of understanding or assigning precise meaning to life. Like a language that we are forgetting while also learning it, like an alphabet that evolves while it fades — a lost alphabet that we try to comprehend.

Abonnements & Ticketpreise

Sichern Sie sich jetzt Ihr Abo und werden Sie Teil der
PHACE-Community!

Als AbonnentIn erhalten Sie von uns eine Woche vor jedem Konzert per Post genauere Informationen zum Konzert.

Einheitspreis
Mitglieder 87,50 Euro
Normal 106,- Euro

Rollstuhlplatz + Begleitperson
Mitglieder 92,60 Euro
Normal 101,- Euro

Jugendmitglieder der WKHG
Normal 60,- Euro

Preise Einzeltickets ab Herbst 2024 verfügbar!

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chamber music – electronics

PHACE | LIGHTNESS

PHACE Series 2024/25 – N°3
11.Mar.2025 // 19:30
Wiener Konzerthaus, Berio-Saal

 

PHACE
Doris Nicoletti, flute
Reinhold Brunner, clarinet
Michael Krenn, saxophone
Stefan Obmann, trombone
Manuel Alacaraz Clemente, percussion
Mathilde Hoursiangou, piano
Petra Ackermann, viola
Roland Schueler, cello
Francesco Palmieri, e-guitar
Maximilian Ölz, double bass

SOUND DESIGN
Alfred Reiter

Programm

Juliana Hodkinson
Lightness sound and light theatre for three musicians, 2015 (14‘)

Huihui Cheng
Sonic leak for saxophone, electric guitar, piano and percussion, 2020 (17’) (ÖEA)

Oliver Weber
INSCHRIFT II revised version for trombone, cello, keyboard and electronics, 2024 (20‘) (UA)

Franck Bedrossian
We met as Sparks for bass flute, contrabass clarinet, viola and cello, 2015 (12’)

Alexander Schubert
Superimpose I + II for piano, double bass, saxophone, percussion and elektronics, 2009 (13’) (ÖEA)

Fzsch… A flicker illuminates faces and hands, only briefly, the light goes out immediately. The afterimage on the retina, the mental echo of the crackling has no time to solidify, it is carried along by the rhythm of the movements, is bathed in a new light by the next match. Juliana Hodkinson’s Lightness is theater for the ears and eyes, a quiet kind of fireworks music and a deeply hypnotic and archaic experience.
Superimpose I + II by Alexander Schubert, on the other hand, is not inclined to create such trance states. The two pieces quickly and hyperactively zap through styles and stereotypes, a reflection of an accelerated society and its media. It is a juxtaposition and superposition of acoustic instruments and artificial, synthetic replicas of the same. Copy and paste jazz between improvised and notated music.
Sonic leak by Huihui Cheng puts a damper on the enthusiastic events. Developing tones, phrases and rhythms are muted, held back, veiled, and often have to fall silent abruptly. The playing technique of dampening is the central driving force and brake of the composition. The disrupted processes create an exciting dynamic and drama of their own.
The transformation of some verses from Ovid’s Metamorphoses (the iron age) into structural micro-events serves as the starting point for Oliver Weber’s Inscription II. The molecular sound structures come together to form aggregates, break apart again and constantly change their state. They form an independent sound body that penetrates all levels and is inscribed in the bowels of the piece.
We met as Sparks by Franck Bedrossian closes the fiery circle and thrives on an unequal balance of power and the juxtaposition of strong contrasts. The constant exchange between the bass and treble registers creates unexpected tensions and divergences, echoes that shoot through the darkness like glittering sparks.

Abonnements & Ticketpreise

Sichern Sie sich jetzt Ihr Abo und werden Sie Teil der
PHACE-Community!

Als AbonnentIn erhalten Sie von uns eine Woche vor jedem Konzert per Post genauere Informationen zum Konzert.

Einheitspreis
Mitglieder 87,50 Euro
Normal 106,- Euro

Rollstuhlplatz + Begleitperson
Mitglieder 92,60 Euro
Normal 101,- Euro

Jugendmitglieder der WKHG
Normal 60,- Euro

Preise Einzeltickets ab Herbst 2024 verfügbar!

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