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 musical fragments by
Franck Bedrossian,
Pierre Jodlowski, Lorenzo Troiani
and Johannes Brahms.
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.
The term “social dance,” traditionally associated with the waltz, proves unexpectedly productive in this context, as the social – and therefore political – dimensions of ostensibly entertaining and leisurely techniques are given particular emphasis. The dark sequences explore issues of authority and class, offering an associative analysis of Michel Foucault’s “microphysics of power,” that ominous interplay of everyday forces of tension and pressure acting upon bodies and subjects.
The performance unfolds as a gallery of images reflecting desires and fears, followed by a ballroom of sensory deception. In the visual spaces of this performance, a series of perceptual experiments take place. The images shift, unhurriedly, not so much accompanied by their mysterious soundtracks as clinically dissected by them. The art forms intertwine, blending choreography with cinema, sculptural and painterly elements, and musical compositions in a carefully choreographed swirl of media.
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 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.
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!
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.
In the Blink of an Ear
3. Oct. 2023 // 18:30
SUSSUDIO
Wolfgang-Schmälzl-Gasse 19, 1020 Wien
Improvisations and Compositions
Free entrance
PHACE
Roland Schueler, cello
JSX, Turntables
“Excuse me, do you say in English, ‘I look at the window,’ or do you say in English, ‘I look out the window’?” In Jim Jarmusch’s film Down By Law, the Italian drifter, Bob (played by Roberto Benigni), draws a window on the wall of his windowless jail cell. Bob, who speaks little English, asks his cellmate, Jack (played by John Lurie), which preposition to use when speaking of his window. Jack replies, “In this case, Bob, I’m afraid you’ve got to say, ‘I look at the window.’” (Seth Kim-Cohen, ›In the Blink of an Ear‹) …
From September 20, 2023, the exhibition BLINK OF AN EYE can be seen at the artspace SUSSUDIO. It brings together new location-specific works by Kaja Clara Joo and Michael Kienzer in order to trace elective affinities and interactions and to create an exciting dialogue at the interface between sculpture and installation. As part of the exhibition, PHACE will connect with the works of art on October 3rd with a performance by Roland Schueler and Jorge Sánchez-Chiong in order to trace the above relationships and effects inside the sonic art space.
When In the Blink of an Ear minimalism and maximalism merge, lowercase and hyperpop collide, Schueler & Sánchez-Chiong are playing and listening, , to paraphrase Seth Kim-Cohen, definitely “out of the jail cell”. It is another facet in PHACE’s regular collaboration with Jorge Sánchez-Chiong and his incomparable mix of musical spontaneity and boundary-pushing understanding of sound – as a composer, on the turntables or in educational projects – and also a foretaste to PHACE | ANIMAL SMILEYS , our cycle concert on May 7th, 2024, where we will once again deepen our collaboration with Sánchez-Chiong.
In the Blink of an Ear
Improvisations and Compositions by Schueler and Sánchez-Chiong
PHACE
Roland Schueler | Cello
JSX | Turntables
Exhibition: BLINK OF AN EYE 20.09.—11.10.2023, Sussudio, Wolfgang-Schmälzl-Gasse 19, 1020 Wien
music / performance
Stand-Alones
PHACE / LIQUID LOFT
Bozen, Transart Festival
Sept. 16, 2022 – 17:00
Sept. 17, 2022 – 20:30
Ort:
Dr.Schär
Winkelau 9
39014 Burgstall
Diese Produktion im Rahmen des TransArt Festivals ist eine Kooperation von Liquid Loft und PHACE
Liquid Loft wird gefördert von der Kulturabteilung der Stadt Wien und vom Bundesministerium für Kunst, Kultur, öffentlichen Dienst und Sport.
PHACE wird gefördert vom SKE-Fonds (Austro Mechana), vom Bundesministerium für Kunst & Kultur (BMKÖS) und der Stadt Wien Kultur.
LIQUID LOFT
Tanz, Choreografie: Luke Baio, Stephanie Cumming, Dong Uk Kim, Katharina Meves, Dante Murillo, Hannah Timbrell
Künstlerische Leitung, Choreografie: Chris Haring
Komposition, Sound: Andreas Berger
Lichtdesign, Szenografie: Thomas Jelinek
Stage Management: Roman Harrer
Company Management, Produktion: Marlies Pucher
PHACE
Doris Nicoletti, Flöte
Reinhold Brunner, Kontrabassklarinette
Michael Krenn, Saxophone
Mathilde Hoursiangou, Keyboard
Berndt Thurner, Percussion
Petra Ackermann, Viola
Roland Schueler, Cello
Alexandra Dienz, Kontrabass
Samuel Toro Perez, E-Gitarre
Produktion: Markus Bruckner
Künstlerische Leitung: Reinhard Fuchs
Stand-Alones are choreographic and musical compositions made up of simultaneously performed solos/duos/trios, which at certain moments of the performance enter a Dialogue with each other, are synchronized and come together to form a polyphony.
Each individual piece is based on an independent music, speech or sound composition. The dramaturgy of the evening enables the visitors to experience the performance individually, according to their own rhythm and is influenced by the spatial arrangement, the movement of the audience and the random order of the individual performances. The Stand-Alones combine to form an overarching sound and performance space whose unstable diversity can be freely and very personally explored by visitors.
Stand-Alones was originally developed by Liquid Loft for the Leopold Museum in Vienna. The concept was subsequently adapted for spaces such as the Musée des Beaux-Arts Nancy and the Musée d’Art Moderne Paris; later versions were created in public space, where the choreographies fit into the existing architecture and surroundings.
With Liquid Loft and PHACE, outstanding soloists and performers from contemporary dance and music meet for the first time at the TransArt Festival and perform in the impressive architecture of the Dr. Schär building in Burgstall.
Programm PHACE
Bernhard Lang DW22
Winterlicht for bass recorder and double bass, 2010 (third movement)
Salvatore Sciarrino
Addio case del vento for recorder solo, 1993
Fuminori Tanada
Mysterious morning III for saxophone solo, 1996
Iván Adriano
Grattos of Netanya for electric guitar solo, 2021/22
Samuel Toro Pérez
Lobster Studies #2 Beige for electric guitar solo, 2022
Christoph Dienz
Bass surface for double bass solo with two players, 2014
Pierre Jodlowski
Serie C for piano and tape, 2011
Nadir Vassena
Rivolto verso terra – rivolto verso il mare for viola and cello, 2001
Roland Schueler
Staub for cello and viola, 2020
Gérard Grisey
Anubis-Nout for contrabass clarinet, 1983
chamber music / performance
12 TON #3
Dialog der Generationen
26.6.2021 – 19:30
Erbsenfabrik
Herklotzgasse 21 / 1150 Wien
SOLISTINNEN VON PHACE
Petra Ackermann | viola
Barbara Riccabona | violoncello
PROGRAMME
12TON is a cycle of events for new music that was launched in autumn 2020 in the pea factory (laboratory for art and cultural production) on the Brick-5 area in Rudolfsheim-Fünfhaus. The starting point of this series of events relates to works by composers of the 20th and 21st centuries. The primary aim is to create a musical dialogue between the works of a living composer from the 21st century and a renowned composer from the 20th century. The musicians invited by 12TON choose a representative from the 20th century who has shaped them in terms of content, aesthetics or composition. From a musical – but also character and personal point of view – the concept of this series should create a bridge between the generations and at the same time create similarities and contrasts within the broad field of contemporary music.
Giacinto Scelsi
Zwei Sätze aus “Elegia per Ty” für Viola und Cello
Manto 1 für Viola solo
Stefan Fraunberger
interval crisis
chamber music / performance / video
Mürz im März
PHACE im Dialog mit Timm Ulrichs
Live-Recording am
30./31.3.2021
kunsthaus muerz
Mürzzuschlag
online 8.5.2021
PHACE
Mathilde Hoursiangou | piano / clavichord / keyboard / toys / concept
Roland Schueler | violoncello / concept
Ernst Kovacic | portable (field) harmonium / typewriter
Markus Bruckner | camera / editing / sound / concept
PROGRAMME
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.
music, visual arts, performance
Danse Macabre
4.Jun.2021 // 19:30
Wien, Wiener Festwochen
F23, Breitenfurter Str. 176, 1230 Wien
world premiere
further performances: 5.-9.6.2021 (except 7.6.)
commissioned by Wiener Festwochen
supported by Dorotheum
Artists
Markus Schinwald, idea, concept, stage
Matthew Chamberlain, music
Lars Mlekusch, conductor musical rehearsals
with Oleg Soulimenko a.o.
PHACE
Doris Nicoletti, flute
Alessandro Baticci, flute
Markus Sepperer, oboe
Claire Colombo, oboe
Reinhold Brunner, clarinet
Theresa Dinkhauser, clarinet
Christof Dienz, bassoon
Christian Walcher, bassoon
Reinhard Zmölnig, horn
Manuel Egger, horn
Peter Lengyelvari, horn
Michael Wachter, horn
Spiros Laskaridis, trumpet
Luis Abicht, trumpet
Stefan Obmann, trombone
Daniel Holzleitner, trombone
Thomas Märzendorfer, trombone
Taiko Distelberger, trombone
Bernhard Plos, trombone
Simon Teurezbacher, tuba
Friedrich Gindlhumer, tuba
Kimiko Krutz, keyboard
Luca Lavuri, keyboard
Mathilde Hoursiangou, keyboard
Berndt Thurner, percussion
Igor Gross, percussion
Following a commission by the Wiener Festwochen, austrian-born and internationally acclaimed visual artist Markus Schinwald has produced a Danse Macabre. This visual scheme first adopted in the 14th century is an allegory symbolising Death’s equalising power over people and became a major iconographic theme of the Late Middle Ages. A personification of death invites protagonists from all walks of life to join in this final, inescapable dance. With his new work, Markus Schinwald, renowned for his visual manipulations of bodies and spaces, returns to the medium of performance. Here he elaborates a system of fragmented partition walls that wrap themselves around the audience like a membrane, permeable only to the physical bodies of the performers. A new composition for 23 live musicians by young American artist Matthew Chamberlain accompanies the macabre procession. There is no escape!
information on schedules and reservation soon!
chamber music, performance, electronics
Portrait Peter Ablinger
16. Dec. 20021 // 20:00
Auditorio CentroCentro – series VANG
Madrid
PHACE
Doris Nicoletti, flute/perc
Michael Krenn, saxophone
Roland Schueler, percussion
Berndt Thurner, percussion
Mathilde Hoursiangou, piano/perc
Reinhard Fuchs, percussion
supported by
From listening, and not so much from the sound itself; from our way of relating to sounds and their memory, and not so much from their materiality. These are some of the main starting points of the work of Austrian composer Peter Ablinger, one of the most singular and influential composers of the last 20 years, always questioning our listening habits and pointing towards new poetics of sound.
Programm
WEISS / WEISSLICH 17c
for snare drum and noise (1994, 2007), 1’20”
WEISS/WEISSLICH 4
for piano and ensemble (min. 5 players in variable instrumentation), (1990,92), 6′
Circle for 12 world-receivers (1996), 8′
REGENSTÜCK
aus: “Instruments &”
for saxophone, piano, percussion, water, membranes (2006) 12‘
WEISS / WEISSLICH 22
Haydn, Mozart, Beethoven, Schubert, Bruckner, Mahler (1986,96), 4′
for tape
Voices and Piano – John Cage And Morton Feldman
for piano and tape (2018) 8’
Verdopplung 4.03 (“Der Papagei”/”The Parrot”) (world premiere) 4‘ 28‘‘
REGENSTÜCK 1-6
for 6 percussions (1993), 20′
