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

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

Somewhere in the distance, where the sea meets the horizon, the sonic worlds of the three very different works in this concert converge and yet find some common ground.

In 2025, the aspekteFESTIVAL Salzburg and PHACE, in cooperation with Ö1, issued a call for scores for the second time at Austrian music universities and commissioned four composers to create a new work.

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.

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.

Schritt für Schritt ist der Mensch nicht gern alleine, doch der entgrenzende Rausch stellt sich nur im Virtuellen ein. Die Leiber mischen sich untereinander mit den Dingen und ihren Ornamenten zu instabilen Hybriden.

Cristobal de Morales' Lamentations, composed for the liturgy of Holy Week, combine rigorous contrapuntal artistry with extraordinary expressive depth. In contrast, Klaus Huber's Miserere hominibus for seven voices and seven instrumentalists stands as one of the most impressive works of liturgical music of the 20th century.

Unter dem Jahresthema global – local widmet sich die isa26 den Spannungsfeldern zwischen globaler Vernetzung und lokaler Verankerung in Musik, Kunst und Wissenschaft. PHACE spielt am 1. August beim Abschlusskonzert druckfrische Werke von Teilnehmenden der Kompositionskurse der Internationalen Sommerakademie.

Corie Rose Soumah finds inspiration wirh Marlen Haushofer's „Die Mauer“ und Emily Carr, Zara Ali adresses heat, dogma and the sounds of rotating coins

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.

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.

In SLOW DOWN, listening together becomes a cultural and social act—a conscious practice of attentiveness within a space where, at least for the moment, other futures become imaginable.

Gemeinsames Hören wird in SLOW DOWN  zum kulturellen und sozialen Akt, zu einer bewussten Praxis der Aufmerksamkeit in einem Raum, in dem andere Zukünfte zumindest für einen Moment vorstellbar werden

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.

A game of identities and meanings – fluid, polyphonic, and full of surprising twists.

Music, performance and architecture once again converge in the latest production of SOIRÉE DANSANTE. Liquid Loft and PHACE transform REAKTOR into an immersive resonant space for Christoph Herndler's Songs Without Places (Lieder ohne Orte).

Music, performance and architecture once again converge in the latest production of SOIRÉE DANSANTE. Liquid Loft and PHACE transform REAKTOR into an immersive resonant space for Christoph Herndler's Songs Without Places (Lieder ohne Orte).

Music, performance and architecture once again converge in the latest production of SOIRÉE DANSANTE. Liquid Loft and PHACE transform REAKTOR into an immersive resonant space for Christoph Herndler's Songs Without Places (Lieder ohne Orte).

Human rights are considered priceless. Yet this word is ambiguous: it can mean that something is irreplaceable and of inestimable value, but it can also imply that something has become too costly. It is precisely this tension that the discussion series "Priceless. Human Rights" addresses.

Space and sound intertwine to form a mobile space-time sculpture, in which perception, space and time can be experienced anew, and existing orders are liquefied and reconceived, perhaps only for the duration of the performance.

Utopian sound devices that are directly linked to personal musical gestures are the “instruments” that initiate transformation.

Human rights are considered priceless. Yet this word is ambiguous: it can mean that something is irreplaceable and of inestimable value, but it can also imply that something has become too costly. It is precisely this tension that the discussion series "Priceless. Human Rights" addresses.

Hoyle's video performance shifts linguistically between bitter seriousness, deliberate taboo-breaking, and cabaret-style mockery. And the music? It responds with equal intensity.