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.

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

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.

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“

INSULÆ Invites us to question the porous boundaries of reality, and the monstrosity of images—those we endlessly recreate, until we no longer know what is real.

Step by step, humans do not like to be alone, but the boundless intoxication only occurs in the virtual world. Bodies mix with objects and their ornaments to form unstable hybrids.

Step by step, humans do not like to be alone, but the boundless intoxication only occurs in the virtual world. Bodies mix with objects and their ornaments to form unstable hybrids.

Step by step, humans do not like to be alone, but the boundless intoxication only occurs in the virtual world. Bodies mix with objects and their ornaments to form unstable hybrids.

Capricccio: This means joyful violation of rules, imaginative transgression of the norm, playful fearlessness; but it also means the artistic and technical discipline necessary to achieve the demonstrative ease of this “freaking out.”.

INSULÆ Invites us to question the porous boundaries of reality, and the monstrosity of images—those we endlessly recreate, until we no longer know what is real.

A tragicomedy of survival by Tomasz Skweres (music) and Kristine Tornquist (libretto and direction), first staged by the sirene Operntheater.

A tragicomedy of survival by Tomasz Skweres (music) and Kristine Tornquist (libretto and direction), first staged by the sirene Operntheater.

A tragicomedy of survival by Tomasz Skweres (music) and Kristine Tornquist (libretto and direction), first staged by the sirene Operntheater.

A tragicomedy of survival by Tomasz Skweres (music) and Kristine Tornquist (libretto and direction), first staged by the sirene Operntheater.

A tragicomedy of survival by Tomasz Skweres (music) and Kristine Tornquist (libretto and direction), first staged by the sirene Operntheater.

A tragicomedy of survival by Tomasz Skweres (music) and Kristine Tornquist (libretto and direction), first staged by the sirene Operntheater.

A tragicomedy of survival by Tomasz Skweres (music) and Kristine Tornquist (libretto and direction), first staged by the sirene Operntheater.

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.

Not only the muse, but also leisure should not be neglected this evening. With works by Ivičević, Nemtsov, Saariaho, Maresz, Cheng, Barret, Klement, and Ferreyra, we aim to provide a delightful and entertaining finale. to an eventful year

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

INSULÆ Invites us to question the porous boundaries of reality, and the monstrosity of images—those we endlessly recreate, until we no longer know what is real.

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.

An unstoppable transformation process begins, defying any explanation and simultaneously evoking both fascination and uncertainty.

An unstoppable transformation process begins, defying any explanation and simultaneously evoking both fascination and uncertainty.

An unstoppable transformation process begins, defying any explanation and simultaneously evoking both fascination and uncertainty.

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.