Focus on Sarah Nemtsov

31. Mai. 2024 // 20.00
Graz, Kunstuniversität Graz,
MUMUTH Probebraum

Ivana Pristašová Zaugg, violin
Mathilde Hoursiangou, piano/keyboard
Roland Schueler, cello
Maximilian Ölz, electric bass
Igor Gross, percussion

Alfred Reiter

eine Produktion von open music in Kooperation mit der KUG. Zentrum für Genderforschung und Diversität (ZfGD)und PHACE 

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. Not afraid of breaks and profound interventions in the sound, Nemtsov likes to use electronic means of alienation and artificiality, but also manages to breathe an organic liveliness into the music that can hardly be imitated. For example, when the fingers on the drum dance in a duet with a robot beetle in Bugs. And the composer does not shy away from something else: the big, the difficult and the unpleasant themes. Be it dealing with death, loss and memories in Seven Colours or looking at the contrasts in the reality of life between rich and poor, between the first and third worlds in Mountain & Maiden, where the piano, almost like a 21st-century silent film pianist, plays over beautiful images of huge mountains of garbage in the film by Shmuel Hoffman and Anton von Heiseler. Nemtsov doesn’t hide anything in her music, doesn’t sugarcoat it, she uses tones and sounds to focus on the core. Reason enough for a closer look at the outstanding work of one of the most exciting composers of our time and a focus on Sarah Nemtsov.




Sechs Zeichen for cello und (prepared) piano, 2010. 8′

Seven Colours for amplified cello, electric bass, prepared piano and sampler, drum set und electronics, 2018 D: 15‘

Bugs – study for snare, mini robot, hands and amplification, as well as live video ad libitum, 2021. 5′

Kadosh  for (amplified) violin solo (with effect pedals), 2021 14′

Mountain & Maiden
a Film by Shmuel Hoffman & Anton von Heiseler
with a composition by Sarah Nemtsov for keyboard solo (with amplified piano and voice), 2019 d: 24′



21./23./25./26./27./28./30. Sep. 2023
sirene Operntheater
Jugendstiltheater am Steinhof

Julia Purgina,
Kristine Tornquist, Text
Julia Libiseller, Trickfilm

Johanna Krokovay, Mia
Romana Amerling, Sachbearbeiterin
Ingrid Haselberger, Arbeitslose, Gärtnerin
Benjamin Boresch, Sachbearbeiterin,

Vladimir Cabak, Arbeitsloser, Gärtner
Johann Leutgeb, Sachbearbeiterin, Kunde

Vokalensemble Momentum Vocal Music
Ekaterina Krasko, Sopran
Elisabeth Kirchner, Mezzosopran
Aleksandar Jovanovic, Countertenor
Simon Erasimus, Tenor und Leitung
Benjamin Harasko, Bassbariton

Ensemble PHACE
Doris Nicoletti, Flöte
Reinhold Brunner, Klarinette
Dominik Fuss, Trompete
Stefan Obmann, Posaune
Berndt Thurner, Percussion
Maria Chlebus, Percussion
Tina Žerdin, Harfe
Mathilde Hoursiangou, Klavier/Celesta
Maria Mogas Gensana, Akkordeon
Thomas Wally, Violine
Jacobo Hernández Enríquez, Violine
Anna Lindenbaum, Viola
Barbara Riccabona, Violoncello
Stefanie Prenn, Violoncello
Manuel Schager, Violoncello
Michael Seifreid, Kontrabass

Antanina Kalechyts, Musikalische Leitung
Kristine Tornquist, Regie
Michael Liszt, Markus Liszt, Je Jesch, Bühne
Maria Mitterlehner, Kostüm
Klara Leschanz, Maske
Paul Eisemann, Licht
Germano Milite, Animation und

Petra Giacalone, Korrepetition und

Selina Umundum, Assistenz und Inspizienz
Anna Skrepek, Hospitanz und Übertitel

Zine Tornquist, Grafik
Barbara Vanura, PR und Presse
Barbara Palffy, Fotographie
Peter Landsmann, Paul Landsmann,
Martin Horváth, Produktionsleitung
Jury Everhartz, Produktion

Mia can understand the language of plants. But there is no use for this ability in the world. At the employment office, she is placed in jobs where plants are traded like objects. But she is no good either as a flower seller or in the large gardening business, wherever she goes, she always understands too much about the needs of the plants. When she realizes that there is no longer room in the human world for those who can hear, she flees into another existence. Even if we cannot hear them, the silent sisters are not mute. Their language is growth, their ceaseless unfolding, multiplying, branching and differentiating is their narrative of overcoming entropy.

An opera about plants. Plants are not opera characters. You can only approach them through metaphors. First of all, in the intuitive way in which music can represent a language of plants. Julia Purgina has written lively and fragile music that makes botanical structures and the fractal growth of plants tangible. The language of plants. Even the human voice, which is used without words for the plants, can represent something “outrageous”, non-human. In her stop motion film, Julia Libiseller shows the tireless and surreal movements of leaves, blossoms and roots in their eternal search for light and water.



Miameide – opera in 8 scenes with a prologue
With text by Kristine Tornquist, music by Julia Purgina and stop motion film by Julia Libiseller

 A sirene-production in cooperation with PHACE and Momentum Vocal Music



20.Mrz.2024 // 19:30
Wiener Konzerthaus, Berio-Saal

PHACE Series 23/24 – N°2

Doris Nicoletti, flute
Walter Seebacher, clarinet
Michael Krenn, saxophone
Mathilde Hoursiangou, piano
Maria Chlebus, percussion
Ivana Pristasova Zaugg, violin
Petra Ackermann, viola
Roland Schueler, cello
Samuel Toro Perez, e-guitar

Alfred Reiter



Raquel García-Tomás
Estudio Sonomecánico no. 1 – Tiempo Suspendido for ensemble, electronics and video, 2018

Lorenzo Troiani 
La voce delle conchiglie for amplified bass clarinet and electronics, 2022

Joanna Bailie
Dissolve or ensemble, electronics and video, 2020 (ÖEA)

Daniela Terranova
Rainbow Dust in the Sky for string trio, 2018 (ÖEA)

Clara Iannotta
Outer Space for bariton saxophone, percussion, electric guitar, object performer, film und electronics, 2018
Film by Peter Tscherkassky


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. Music and film are closely intertwined in very different ways in Estudio Sonomecánico no. 1 – Tiempo Suspendido by Raquel García-Tomás. Less of a soundtrack or background to the images, García-Tomás allows cinematic gestures and movements to emerge anew in the music and approaches standstill and timelessness with humorous everyday images. Daniela Terranova takes the musical classic “Over the Rainbow”, burned into the collective memory by Judy Garland in the Wizard of Oz and a Hawaiian ukulele, as the starting point for Rainbow Dust in the Sky. Subtly pulverized and crushed to dust, the tracks of the song become nuanced, diluted echoes that, circling meditatively within themselves, suggest the ritualistic character of a lullaby. A constant, unstoppable flow is evident in Joanna Bailie’s Dissolve. In time-absorbing transitions, both the film and the sonic events alternate between concrete states and abstract moments, reality dissolves beyond recognition. Lorenzo Troiani goes into the inner world, playing in La Vita delle Conchiglie with the returning resonances and feedbacks in the body of instruments, creating a hidden and mysterious sound world, as if inside a conch shell.

Abonnements & Ticketpreise

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Mitglieder 75,10 Euro
Normal 91,- Euro

Rollstuhlplatz + Begleitperson
Mitglieder 81,50 Euro
Normal 89,50 Euro

Jugendmitglieder der WKHG
Normal 48,- Euro

Preise Einzeltickets ab Herbst 2022 verfügbar!

ensemble – electronics


our series at
Wiener Konzerthaus


Nacho de Paz


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

The surface reveals nothing about the nature of the reverse side. The closer you get to it, the greater the counterpressure. Whoever wants to cross the threshold to see what lies behind it must expend an additional measure of energy. In LIMINA, everything revolves around the idea of considering sound and image as material into which one immerses oneself in order to forge one’s physical features as well as one’s mode of perception. Distorted images, deformed reflections of what has been, bent perspectives, following their own logic generate audiovisual constellations where reality melts into unrecognizability. Processes of extreme deceleration and acceleration, let us examine, as if with a magnifying glass, how grainy, holey, luminous, dense and elastic a sound can be when viewed from the other side of the threshold.

Before each concert, at 6:45 p.m., Juri Giannini will speak with composers of that evening at Salon PHACE

Termine in diesem Zyklus
DI 09.01.2024 KH Zyklus 1 – PHACE | PROFESSOR BAD TRIP
MI 20.03.2024 KH Zyklus 2 – PHACE | TIEMPO SUSPENDIDO
DI 07.05.2024 KH Zyklus 3 – PHACE | ANIMAL SMILEYS

Details zum Programm finden Sie auf den jeweiligen Seiten.

Abonnements & Ticketpreise

Sichern Sie sich jetzt Ihr Abo und werden Sie Teil der

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

Mitglieder 61,10 Euro
Normal 74,- Euro

Rollstuhlplatz + Begleitperson
Mitglieder 64,20 Euro
Normal 70 Euro

Jugendmitglieder der WKHG
Normal 36,- Euro

Preise Einzeltickets ab Herbst 2023 verfügbar!


ins Innere

31.Mrz.2023 / 20:00
Osterfestival Tirol,
Hall i.T.,  Salzlager

Doris Nicoletti, flute
Walter Seebacher, clarinet
Michael Krenn, saxophone
Mathilde Hoursiangou, piano
Berndt Thurner, percussion
Ivana Pristašová Zaugg, violin
Petra Ackermann, viola
Stefanie Prenn, cello
Maximilian Ölz, e-bass
Alexandra Dienz, double bass
Samuel Toro Pérez, e-guitar

Christina Bauer

At this year’s Osterfestival Tirol, PHACE plays with the most diverse forms of artistic expression, lets them seamlessly merge. In the spatial expanse of the Salzlager, sound, image, tone, reverberation and reflection concentrate, condense, lead to the inside. Beginning with Seven Colours by Sarah Nemtsov, which pays homage to her deceased mother – the painter Elisabeth Naomi Reuter – by letting colours be experienced through sounds and auditory perception. These acoustic images merge into Lorenzo Troiani’s La voce delle conchiglie. Troiani allows the inside of the shells to radiate outward. Raquel García-Tomás takes a fresh approach to image and sound in Estudio Sonomecánico no. 1 – Tiempo Suspendido, questioning the rigidity of mechanical time. Opposing this is Ondrej Adamek’s Chamber Nôise, a bow to Japanese Nô theater. Katharina Rosenberger’s blur abandons clear forms, works with washed out contours, blurring edges and outlines. Clara Iannotta’s setting of Peter Tscherkassy’s Outer Space forms a counterpoint: not only the music, but also the live musicians become part of the film. The final and resting point is Sarah Nemtsov’s Schwelle. Nemtsov reworks and fragments the Bach chorale Komm o Tod, du Schlafes Bruder, thus closing the circle.


Sarah Nemtsov
Seven Colours for amplified cello, electric bass, prepared piano and sampler, drum set and electronics, 2018 D: 15‘

Lorenzo Troiani
La voce delle conchiglie for amplified bass flute and electronics, 2022  

Raquel García-Tomás
Estudio Sonomecánico no. 1 – Tiempo Suspendido for ensemble, elektronics and video, 2018

Ondřej Adámek
Chamber Noise for cello and double bass, 2010

Katharina Rosenberger
blur for flute, clarinet, percussion, piano, violin and cello, 2019
WIth support by Pro Helvetia Swiss Arts Council

Raquel García-Tomás
Excerpt from logolepsy / lethologica for  electronics, 2016 

Clara Iannotta
Outer Space
for baryton sax, percussion, electric guitar, one object performer, film and electronics, 2018
Film by Peter Tscherkassky

Sarah Nemtsov
Schwelle for  electric guitar und cello, 2019/20


Tarapacá Música Festival

Dec. 16, 2022 // 20:00
Iquique / Tarapacá Música Festival – Casino Español

Dec. 17, 2022 // 20:00
Iquique / Tarapacá Música Festival – Zofri S.A, Sala Raúl Cámara

Dec. 18, 2022 // 20:00
Iquique / Tarapacá Música Festival – Paseo Puerto EPI

Walter Seebacher, clarinet
Stefan Obmann, trombone
Michael Krenn, saxophone
Mathilde Hoursiangou, keyboard / piano
Berndt Thurner, percussion
Roland Schueler, cello
Alexandra Dienz, double bass
Samuel Toro Perez, electric guitar


Dec. 16, 2022 // 20:00 – Casino Español

Johannes Brahms
Trio a-Moll für Klarinette, Cello und Klavier, op. 114, 1. Satz, 1892

Reinhard Fuchs
Tox 1b für Klarinette, Cello und Klavier, 2012/17

Ludwig van Beethoven
Klaviertrio für Klarinette, Cello und Klavier in B-Dur, op.11., 1. Satz, 1797

Ondrej Adamek
Chamber Noise für Cello und Kontrabass, 2010

Michail Glinka
Trio Pathétique für Klarinette, Cello und Klavier, 3.Satz, 1832

Toshio Hosokawa
Für Walter – Arc-Song II für Saxophon, Klavier und Schlagwerk, 2010

Nino Rota,
Trio für Klarinette, Violoncello und Klavier, 3.Satz, 1973


Dec. 17, 2022 // 20:00  – Zofri S.A, Sala Raúl Cámara

Christoph Dienz
Bass surface für Kontrabass solo mit 2 Spielern, 2014

Horacio Vaggione
Timpani Trek für Schlagzeug und Elektronik, 2018

Pierre Jodlowski
Serie C für Keyboard und Zuspielung, 2011

Alexander Kaiser
Neues Werk für E-Gitarre solo und Elektronik (world premiere)

Mirela Ivičević
Lil für E-Gitarre, Saxophon, Cello und Elektronik, 2022


Dec. 18, 2022 // 20:00 – Paseo Puerto EPI

Raquel García-Tomás 
Alice‘s Adventures in Wonderland
für Klavier, Elektronik und Videoanimation, 2014 (ÖEA)

Jacob Ter Veldhuis
Buku für Saxophon & Elektronik, 2006

Louis Andriessen
Workers Union for any loud-sounding group of instruments, 1975

Jorge Sánchez-Chiong/TE-R
Salt Water for ensemble, tape and video, 2014
Video: Thomas Wagensommerer, Louise Linsenbolz


video opera


Nov. 27, 2022 – 18:00 (wp)
Vienna, Wien Modern
Odeon, Taborstr. 10

Dec. 6th, 2022 – 20:00
Espacio Turina

Alberto Carretero, music
Francisco Deco, libretto
Miguel Alonso (Cyan Animática), video

Nacho de Paz, conductor
Johanna Vargas, soprano

Doris Nicoletti, flute
Reinhold Brunner, clarinet
Spiros Laskaridis, trumpet
Stefan Obmann, trombone
Berndt Thurner, percussion
Anna Lindenbaum, violin
Alexandra Dienz, double bass

Alfred Reiter

supported by the Spanish Embassy in Vienna

Renacer addresses the natural cycles of birth and rebirth and looks into a possible future at the dawn of a biotechnological revolution. Francisco Deco’s lyrics open up multifaceted visions of existence where death and transience take a back seat to the power of germination and regeneration. In many of Alberto Carretero’s works, biological processes serve as inspiration and blueprint for his music. Using artificial intelligence and membrane computing, he develops algorithmic compositions that simulate the growth and behavior of living organisms and translate them into sonic narratives. On the one hand, life within a cell and its membranes is made audible by means of sonification. On the other hand, the personal interpretation of these biological processes creates a symbiosis with libretto and images, and from this in turn new musical gestures, sounds and forms. Electronics and video are closely and mutually connected to the bio-inspired compositional processes. Mutation, mitosis, meiosis, tissue formation, reproduction, and nerve connections open a musical reflection process and become a metaphor of genesis: birth, rebirth, and creation itself.


Video-Oper von Alberto Carretero
for voice, seven instruments, electronics and video, 2022 (wp) D: 65′

Libretto: Francisco Deco
Video: Miguel Alonso (CYAN ANIMÁTICA) based on paintings by  Juan Lacomba

a production by PHACE in co-production with Wien Modern and Espacio Turina Sevilla, financed and made possible with a 2021 Leonardo Grant for Researchers and Cultural Creators, BBVA Foundation.

Ensemble & Electronics

Shifting Mirrors

6.Apr.2022 – 20:00
Osterfestival Tirol
Hall, Salzlager


Doris Nicoletti, Flöte
Reinhold Brunner, Klarinette
Michael Krenn, Saxophone
Berndt Thurner, Percussion
Mathilde Hoursiangou, Klavier
Ivana Pristasova, Violine
Petra Ackermann, Viola
Roland Schueler, Cello
Alexandra Dienz, Kontrabass
Samuel Toro Perez, E-Gitarre
Christina Bauer, Klangregie & Elektronik




PHACE is a regular guest at the Osterfestival Tirol and looks at the respective theme with works from the 21st century, including Tyrolean premieres. This year it is the expansion of musical possibilities through the integration or imitation of technology. The concert is dedicated to one of the pioneers of electronic music, Horacio Vaggione. The Argentine composer (*1943) influenced and inspired entire generations, both as a teacher and through his music. Two of his most recent works for solo instrument and electronics can be heard this evening. Playing with the constant shifting of sounds in Shifting Mirrors, a network of non-connected mirrors in which the performer moves. The expansion of sound spaces and the reinterpretation of instruments is the focus of Timpani Trek. He is supported by young composers who deal with the now very advanced possibilities of technology in their own personal way: Lorenzo Troiani in search of the inner sound of shells, Helmut Oehring and his musical implementation of the locked-in syndrome , Pierre Jodlowski with This Leads To An Emotional Stasis about the timeless state and Mirela Ivičević with a premiere.

Lorenzo Troiani
La vita delle conchiglie for ensemble, 2020 12‘
commissioned by PHACE, supported by Wiener Konzerthaus

Helmut Oehring
Locked – In – (1992) for guitar, violin, viola and cello, d:13’

Horacio Vaggione
Shifting Mirrors for saxophone and electronics, 2016   d:10′

Horacio Vaggione
Timpani Trek for percussion and electronics, 2018 d: 8′

Mirela Ivičević
Lil for electric guitar, saxophone, cello and electronics, 2022
commissoned by PHACE, in cooperation with Osterfestival Tirol, supported by Wiener Konzerthaus

Pierre Jodlowski
This Leads To An Emotional Stasis for violin, piano, percussion, video, lights and electronics, 2016 D: 24′

ensemble, video & voices


23.Nov.2022 // 19:30

Wien Modern, Wiener Konzerthaus, Mozart-Saal
PHACE Series 22/23 – N°1

17.Nov.2022 // 20:30
Pordenone, Teatro Verdi

19.Nov.2022 // 20:30
Festival Aperto, Reggio di Emilia, Teatro Cavallerizza

A coproduction by PHACE, Wien Modern, Fondazione I Teatri Reggio Emilia, Teatro Verdi Pordenone & Wiener Konzerthaus (Zyklus PHACE) with support by


Stefano Gervasoni, composition
Paolo Pachini, video
Nacho de Paz, conductor

Company of Music

commissioned by PHACE & Wien Modern, in cooperation with Fondazione I Teatri Reggio Emilia and Teatro Verdi Pordenone


In Nomine PPP – Cantata per Pier Paolo Pasolini für 8 voices, 16 instruments and video (2022) (Austrian premiere)
Text by Laurent Feneyrou on Pier Paolo Pasolini‘s writings selected by Roberto Calabretto, with a poem by Biagio Marin.


The Cantata per Pier Paolo Pasolini, composed on the occasion of his 100th birthday, pays homage to the work and life of the great Italian artist and intellectual and his political and cultural role in Italian and European society of the 1960s and 1970s. Stefano Gervasoni sets Pasolini’s poetry and writings to music in a large cantata, which also incorporates melancholic interludes by Josquin Desprez, all about lamentation, grief and loss, and grows into a broader musical connective tissue (so to speak: déploration pour la mort de Pier Paolo Pasolini). Following Pasolini’s anthropological vision, the eye of the camera in Paolo Pachini’s video explores poetic images of man and nature, countered by contemporary media streams. The closely interwoven interactions between music and images create a unique atmosphere in which perception is completely immersed.The hybridization of languages gives rise to a torn, but sometimes also forgiving expression, a homage to Pasolini’s harsh gaze, whose maieutic power lays bare things and – especially today in a globalized world – shows those intertweavings of modernity and tradition for which the poet was a prophet.


Prior to each concert, at 18:45, Juri Giannini will discuss the music with the composers within the setting of “Salon PHACE”.

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chamber music / performance / video

Mürz im März

PHACE im Dialog mit Timm Ulrichs

Live-Recording am
kunsthaus muerz

online 8.5.2021


Mathilde Hoursiangou | piano / clavichord / keyboard / toys / concept
Roland Schueler | violoncello / concept
Ernst Kovacic | portable (field) harmonium / typewriter
Markus Bruckner | camera / editing / sound / concept




From the concert hall to the exhibition room: PHACE takes the Covid19 restrictions as an occasion and a challenge to design new formats apart from the usual concert settings. In “Mürz im März” we enter into a dialogue with the works of art by Timm Ulrichs, to which a solo exhibition at the kunsthaus muerz is dedicated.

With works by Katharina Klement, John Cage, Nigel Osborne, Juliana Hodkinson, Anton Webern and others.

Online from 8 May 2021 – 7:30 p.m.

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