chamber music / performance

12 TON #3

Dialog der Generationen

26.6.2021 – 19:30
Herklotzgasse 21 / 1150 Wien



Petra Ackermann | viola
Barbara Riccabona | violoncello



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
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.

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


Markus Schinwald, idea, concept, stage

Matthew Chamberlain, music

Lars Mlekusch, conductor musical rehearsals

with Oleg Soulimenko a.o.



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!

Venue: F23
Duration: ca. 50 Min.
Tickets: 30 Euro
chamber music, performance, electronics

Portrait Peter Ablinger

16. Dec. 20021 // 20:00
Auditorio CentroCentro – series VANG


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.


for snare drum and noise (1994, 2007), 1’20”

for piano and ensemble (min. 5 players in variable instrumentation), (1990,92), 6′

for 12 world-receivers (1996), 8′


aus: “Instruments &”
for saxophone, piano, percussion, water, membranes (2006)  12‘


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‘‘


for 6 percussions (1993), 20′

chamber music

In Conversation – Voices and Piano
Ein Live-Hörspiel


2.Dec.2018 // Wien, MUMOK

11:00 guided tour
12:00 concert

soloists of PHACE

Mathilde Hoursiangou, piano
Berndt Thurner, percussion
Gina Mattiello, voice
Reinhold Schinwald, electronics, idea and concept


co-production büro lunaire, PHACE and mumok.


Morton Feldman: John, wouldn’t you say, that what we are depended on, we call reality and what we don’t like, we consider an intrusion on our live. Consequently, I feel that what’s happening is that we are continually being intruded upon.

 John Cage: But that would make us very unhappy, hm-mh?!

John Cage and Morton Feldman held four open discussions between July 1966 and January 1967, which were recorded in the studios of the WBAI radio station in New York. Both had arrived at this point at turning points in their artistic work. In these relaxed conversations between two old friends, the two smoked and laughed a lot and the talk was full of warmth and moments of thoughtfulness. This unique document gives deep insights into the notions of music, art, society and politics, which were already influential in their time. At the same time one becomes a silent witness of the unique friendship of two outstanding personalities.

The live radio drama In Conversation – Voices and Piano seeks to work out the issues of the two artists in terms of the relationship between reality, art and everyday life in conversations and to explore the extent to which they are valid for our contemporary society as well as current art discourses. Works by Morton Feldman, John Cage and Peter Ablinger will be performed, with Peter Ablinger’s works especially dealing with the relationship between art and reality.


Morton Feldman
nature pieces for piano
(1951) for piano

Peter Ablinger
Weiss / Weisslich 17a
(1994) for piano and noise

Peter Ablinger
for piano and tape

Peter Ablinger
Das Wirkliche Als Vorgestelltes 
(2012) vor voice and noise

Peter Ablinger
The Vertical Unthought (UA, 2017) for stereo-soundfile

Peter Ablinger

John Cage
Child of Tree
(1975) for percussion solo
for solo percussion using amplified plant materials










Dance Theatre

H / A / U / T

Musiktheatertage Wien, 9. & 11.09.2016
Transart 20.09.2016

eine Produktion von PHACE und Cie. Off Verticality, in Koproduktion mit Musiktheatertage Wien, mit Unterstützung des BKA Kunst & Kultur, Stadt Wien, Land Oberösterreich und Stadt Linz. Mit freundlicher Unterstützung der Anton Bruckner Privatuniversität.

Jagoda Szymtka


Rose Breuss


Cie. Off Verticality


Reinhard Fuchs

SOUND Design

Christina Bauer



Sylvie Lacroix, flute
Yaron Deutsch, electric guitar
Mathilde Hoursiangou, piano/sampler
Berndt Thurner, percussion
Ivana Pristasova, violin
Sophia Goidinger-Koch, viola
Roland Schueler, cello

In H / A / U / T , Rose Breuss, Jagoda Szmytka and PHACE play with sounds, images and noises and examine the materiality of sound. „Sound touches the skin, penetrates cloth, gets into the bones. It’s intermediate. Bodies immersed in sound are not only touched; they coalesce with the sound“.

Jagoda Szmytka

Born in Legnica (Poland) in 1982, Jagoda Szmytka studied art history, philosophy, music theory and composition in Wrocław, Graz, Frankfurt/Main and Karlsruhe. Her music has received international recognition through numerous features at festivals and institutions such as Warsaw Autumn, Wien Modern, Lucerne Festival, Huddersfield Contemporary Music Festival,  Ultraschall Berlin, ECLAT Stuttgart, Ferienkurse Darmstadt, Tonhalle Düsseldorf, Deutschlandfunk Cologne, Royaumont Paris, Polish National Opera Warsaw and many others. Among other things she received Staubach Honorarium and the Stipend Prize of the Darmstadt International Summer Course for New Music, scholarships from the DAAD, the Art Foundation Baden-Württemberg, residencies at Herrenhaus Edenkoben  and La Muse en Circuit Paris. In 2017 artist in residency at Villa Serpentara. Many time artist-in-residency at ZKM|Centre for Art and Media Karlsruhe. In 2015 WERGO/EZM released her portrait CD “BLOODY CHERRIES”. Jagoda Szmytka composes “for people”, “about people”, “with people”. Szmytka’s “social composing” examines social and interpersonal processes such as communication and identity often in relation to phenomena that influence modern life or referring directly to the social dimension of making music. Szmytka’s “intertextual music” is written for ear, eye and thought – incorporates mixed-media, trans-media and cross-genre formats – her compositions are mixture of texts, images and sounds that build dense structures in reference to high & pop culture, philosophy, or reality (music theater projects: LIMBO LANDER – social-media music theatre, LOST – trans-media music theatre, LOVE LABEL – mass-media music theatre). Jagoda Szmytka is a founder and leader of two projects: PLAY – Platform for art and culture social initiatives & ENTER – Collective specialized in performing Referential Music.

Rose Breuss

Born in Vorarlberg, Austria
Studies: Hochschule für Musik und Darstellende Kunst Wien, Theaterschool Amsterdam, Temple University Philadelphia USA, University of Surrey, Labanotation Institute.
Choreographed for a number of theatres and festivals pieces with her own company and with the support of Stadt Wien, Stadt Linz, Land Oberösterreich und Bundesministerium für Unterricht und Kunst: Niederösterreichische Donaufestival, Wiener Festwochen, Kammeroper Wien, dieTheater Künstlerhaus, Österreichische Galerie Belvedere, Ballettschule der Wiener Staatsoper, Posthof Linz, Staatsgalerie Stuttgart, szene bunte wähne, Jeunesse musicale, Wiener Konzerthaus, Klangforum Wien, Tanzquartier Wien, Grand Theatre Luxemburg und Philharmonie Luxemburg, Festspielhaus St. Pölten, Bregenzer Festspiele, Odeon Wien, Berliner Sophiensäle. Together with Johannes Randolf she founded  2009 the Dance Company Cie. Off Verticality C.O.V in Linz.From 2010 – 2011 residency for choreography  in Wiener Odeon.

Prizes: Max Brand Preis for experimental music, Theodor Körner Preis for Science and Art, Prämie des Bundeskanzleramtes for the choreography “Drift”
Since 2006 Director of IDA – Institute for Dance Arts at Anton Bruckner Privatuniversität in Linz, habilitation 2005.
Guest teaching: u.a. Ballettschule der Wiener Staatsoper, Universität Salzburg Musik- und Tanzwissenschaft, Hochschule für Musik und Darstellende Kunst, Frankfurt, CEFEDEM Bordeaux, Academy of Performing Arts Bratislawa.

Ensemble – Electronics


17. Oct.2012 // 19:30
Wiener Konzerthaus, Berio-Saal
PHACE Series 12/13 – N°1


Simeon Pironkoff



Sylvie Lacroix, flute
Reinhold Brunner, bass clarinet
Mathilde Hoursiangou, piano
Berndt Thurner, percussion
Ivana Pristasova, violin
Roland Schueler, cello
Maximilian Ölz, double bass
Alfred Reiter, sound
Gerhard E. Winkler, live electronics


Edgar Varèse
Poème électronique für Tonband (1958)

Iannis Xenakis
Charisma für Klarinette und Cello (1971)

Magnus Lindberg
UR (1986) für Klarinette, Klavier, Violine, Cello, Kontrabass und Elektronik

Gerhard E. Winkler
Bikini . Atoll (Les arbres VIIb) für Klarinette(n), Klavier, Percussion und interaktive Live-Elektronik (2009)

Yan Maresz
Entrelacs für 6 Instrumente (1998)

Francesco Filidei
I funerali dell’anarchico serantini für sechs Ausführende


Im Anschluss an das Konzert feiern wir gemeinsam mit WIEN MODERN die Eröffnung unseres Zyklus und den Kick-off zur 25.Saison von WIEN MODERN im Café Heumarkt.
Feiern Sie mit uns!


Todo el cielo sobre la tierra: El síndrome de Wendy

Der ganze Himmel über der Erde: Das Wendy-Syndrom

Angélica Liddell / Cho Young Wuk

a PRODUCTION by Iaquinandi, S.L. IN COPRODUCTION with Wiener Festwochen, Tanzquartier Wien, Festival d’Avignon, Odéon-Théâtre de l’Europe, Paris, Festival d’Automne à Paris, deSingel, Antwerpen, Le-Parvis Scène Nationale Tarbes Pyrénées
IN COLLABORATION WITH Teatros del Canal, Madrid
SUPPORTET BY Comunidad de Madrid y Ministerio de Educación, Cultura y Deporte – INAEM & THANKS TO Centro Cultural Coreano en España, Biblioteca Miguel de Cervantes, Consulado de España en Shanghai, Maria José F. Aliste


Angélica Liddell


Hong Dae Sung, Jung Hyung Soo, Sok Seung Hui, Lee Ji Yoen


Carlos Marquerie


Félix Magalhães, Antonio Navarro


Mamen Adeva, Gumersindo Puche


Wenjun Gao, Fabián Augusto Gómez Bohórquez, Xie Guinü, Lola Jiménez, Angélica Liddell, Zhang Qiwen, Lennart Boyd Schürmann, Xu Tianda



Much of Angélica Liddell’s work deals with the fear of abandonment. The extraordinary Spanish performance artist now imagines Anders Behring Breivik as a radical Peter Pan and mixes Shanghai street waltzes, the music of a Seoul film composer, love and pistols in a personal exploration of the Peter Pan and Wendy syndromes.

Wendy sings for Yohei the waltz of things I would do for you, „so that you don’t leave me“. Many works by Spanish artist Angélica Liddell are about abandonment, about the fear of being left alone and the pain it causes, about loneliness in the midst of plenty. Modern psychology views Peter Pan and Wendy as coupled syndromes that are increasingly common in western societies and describe adults who act out their emotional immaturity either by continuing their adolescent behaviour or by excessive mothering, by refusing to embrace adulthood (and, consequently, assuming responsibility) on the male side and by panicking at the idea of being left alone (and, consequently, assuming all responsibility) on the female side. Yet how can humanity coexist in a world where the mere attempts of a single individual to live together with another individual already trigger such painful and pathological conditions?

Walking through Shanghai, Angélica Liddell organised a casting for Chinese street waltzers, hunted down the greatest-ever waltz composer for movies in Seoul, identified the most radical Peter Pan conceivable at Utøya in the person of Anders Breivik and his envy and hate of all that is youthful – and finally found the musicians and the right atmosphere for blending this collected input into an artwork in Vienna.

Ensemble – Performance

Monadologie XVIII – Moving Architecture

for voice, ensemble and choreography based on construction plans of the Austrian Cultural Forum New York by R. Abraham as well as quotes by B. Dylan and Rose Ausländer

18.Nov.2015 // 20:30
19.Nov.2015 // 22:00
Tanzquartier Wien / Halle G

Bernhard Lang / Silke Grabinger / PHACE

 a production by PHACE, in coproduction with Tanzquartier Wien and WIEN MODERN. Supported by the cultural department of the city of Vienna



Bernhard Lang

Choreography / motion notation

Silke Grabinger

Light design

Peter Thalhamer


Joseph Trafton


Daisy Press


Barbara Vuzem, Matej Kubus


Alfred Reiter


Bianca Fladerer

Production PHACE

Markus Bruckner

Production SILK Cie.

Olga Swietlicka


Reinhard Fuchs



Doris Nicoletti, flute
Reinhold Brunner, clarinet
Peter Putzer, horn
Peter Travnik, trumpet
Mathilde Hoursiangou, synthesizer
Berndt Thurner, percussion
Ivana Pristasova, violin
Anna Lindenbaum, viola
Luis Zorita, cello
Alexandra Dienz, double bass

Monadologie XVIII Moving Architecture’ consists of 22 pieces based on texts by Rose Ausländer and Bob Dylan that refer to the subject of emigration and are located at the intersection of pop culture and contemporary music.
The underlying rhythmic structures are used in the choreographic layer by Silke Grabinger and translated into movement patterns, applying a specially developed dance notation, that became an intrinsic part of the score.


Four walls, a ceiling and a floor
Is it a room ? Is it a cell?
If not for window and for door
It might seem a part of hell
(Rose Ausländer)


22.11.2015 |  Michaela Preiner   European Cultural News
Ensemble PHACE is one of the world’s best ensembles for contemporary music. They distinguish themselves by flexibility and courage… Such impressions may indicate how wonderfully Lang, Grabinger and their musicians did their job. The piece itself has the potential to become an iconic work of the beginning 21th century. One doesn’t need more than understanding eyes and trained ears to recognize what incredible, farseeing creative potential Monadology XVIII “Moving Architecture” contains.       




October 31, 2012 (wp)
Wien Modern – Tanzquartier Halle G

A production by PHACE, in co-production with Tanzquartier Wien and WIEN MODERN in collaboration with the Institute for Computer Music and Sound Technology Zürich and Liquid Loft, supported by Kulturabteilung der Stadt Wien & bm:ukk


Arturo Fuentes

Chris Haring / Liquid Loft

Lars Mlekusch, saxophone
Berndt Thurner, percussion
Roland Schueler, cello
Maximilian Ölz, double bass

Luke Baio, Stephanie Cumming, Ian Garside

Günter Brus

Thomas Jelinek

Alfred Reiter

Marlies Pucher

Italo Calvino, Six Memos for a New Millenium (1988)

„Will the ability to evoke images in the absence of objects continue to develop in an environment where humanity is continuously subjected to a flood of prefabricated images?”
Italo Calvino

In 1984, the Italian writer Italo Calvino conceptualized the collection of essays “Six Memos for the Next Millenium”. In the five essays he completed, notions of Lightness, Quickness, Exactitude, Visibility and Multiplicity are shaped into a poetics that, ideally, should be transferable to all art forms and, moreover, applicable to society and politics.

Lightness, for example, is interpreted by Calvino as a reaction to the burdens of life. Here, the author actually refers to a kind of narrative that is supposed to strip all heaviness off things. According to Calvino, Quickness equals ‘mental speed’, but it also describes the “most intense form of condensation of poetry and thought”. Exactitude is seen as an instrument that is employed against the “plague [that is] afflicting language, revealing itself as a loss of cognition and immediacy, an automatism that tends to level out all expression into the most generic, anonymous and abstract formulas (…).”

Calvinos proposals for a new literary language are the basis of grace note. In this production, visual artist Günter Brus delivers a literary sketch for the unfinished sixth part of Calvino’s collection of essays. In terms of performance as well as music, the piece follows a line which is based on fractures and deviations, and strives to create new forms and meanings. grace note is built upon a ‘sonic script’. Everything that happens on stage is envisaged as ‘acoustic story’. The ensemble PHACE and dancers from the company Liquid Loft create and interpret music, which is continuously moving. At times, the soundscape gives the impression of being ‘harmonic rain’, which intermittently falls on the bodies on stage. Musical and visual scenarios are being created, in which the movement of a body may interfere with the rhythm of the music, and even change it. At other times, something as simple as a brushstroke can determine a series of entirely new events.

grace note is an interdisciplinary project, which was developed as a co-production with Tanzquartier Wien and Wien Modern, as well as in collaboration with ICST Zürich and Liquid Loft. Performance and installation, as well as acoustics and electronics, form a dynamic structure by means of interaction between sound and movement. To composer Arturo Fuentes, the human body when expressed through dance and theatre becomes a sonic map on which different rhythms and tempos follow their paths. Based loosely on Günter Brus’s ideas, he defines the visual and scenic context of his works as “deaf-music”, “unaccented silence”, “dark-room-music” or “eye-music”.

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