CLOSE UP 2425 SV

Amid heightened awareness of nature, not merely as an idyllic backdrop but as a precious asset imperilled by crisis, the “Klima.Krise.Klingt” concert, led by conductor Jean Beers and the ReAlm Ensemble, serves as a poignant musical reflection on nature and the climate crisis. The first part of the programme begins with Luciano Berio’s “Brin” and “Wasserklavier”, followed by Rebecca Saunders’ “Flesh” – a vocally and musically virtuoso performance that brings the final monologue of Molly Bloom from James Joyce’s “Ulysses” to life. Georg Crumb’s “Makrokosmos” offers a cosmic perspective, stretching from space to Earth, as it explores the intricate relationship between humanity and nature. Each piece in the cycle is uniquely characterized by zodiac signs. The ReAlm Ensemble also performs two improvised pieces: “Hearing inside”, based on collages of Viennese city and nature sounds, and “Animal Farm”, an interaction with the audience that focuses on the animal world and nature sounds. A short interactive workshop invites the audience to become part of the musical exploration themselves. In the second part of the programme, visitors will be taken to the Augarten for a “Sound Walk”. This experience highlights the rich diversity of sounds, their varied textures, and the potential to discover beauty and tranquillity amidst the bustling urban cacophony. It is an invitation to listen to the world with new ears and to deepen the communal experience of listening, which creates closeness and connects people both with the environment and with each other.

The REIHE Zykan + ensemble under the direction of conductor Michael Mautner is dedicated to exploring whether there is such a thing as funny music - a scepticism that has driven composers from Schubert to Michael Gielen. This sonorous exploration of humour with four voices and electronics explores the boundaries between humour and anarchy, inspired by light-hearted poetry and the unmistakable works of Chaplin. The ensemble breaks with the traditional assumption that humour is the domain of men, thereby also honouring the work of the painter Maria Lassnig, who humorously criticises not only herself but also the male sex in her texts. The programme includes a series of works that create a cascade of sounds, gestures and absurd poetry with humour and cheerful detachment. Highlights include the world premiere of the compositional realisation of two central monologues from Chaplin's "The Great Dictator": the "fake German speech" and the emotive"peace speech", both of which capture the essence of Chaplin's mastery of satire and humanist message. The works by Otto M. Zykan, Michael Mautner, Maria Gstaettner after Maria Lassnig, Ernst Toch, Otto Waalkes, Elfi Aichinger after Maria Lassnig, Kurt Schwertsik, HK Gruber and Ivan Eröd offer a diverse spectrum of musical reflections on humour, from the "Geographical Fugue" for spoken music to "The Bet" and the "Elixir of Life" after Richard Bletschacher. There is also a "Dupcheck" with the audience, who are directly involved in the humorous events. __________ This project is made possible with funding from the Federal Ministry of Arts, Culture, Civil Service and Sport, the Federal Ministry of Education, Science and Research and the Art Mentor Foundation Lucerne. Thank you for your support!

The concept of "Visible Music" and "Instrumental Theatre" involves treating gestures, movement, text and voices as equals in the musical composition, creating an innovative interface between new music, theatre and artistic movement. The programme includes works that transform scenic action into sound and expose music-making as a web of relationships. Virtuosity and theatrical scenes merge, based on precise notation and playing from memory. Highlights include Peter Ablinger's "Moabiter Chöre" and Otto M. Zykan's "Verschnitt - Hutszene" as well as "Polemische Arie", which underlines the innovative spirit of the program with the statement "Ich habe eine Erfindung gemacht..." (I've come up with an invention). Other pieces such as John Cage's "Water Walk" in a film recording, Mauricio Kagel's "Aus: Der Turm zu Babel", Carola Bauckholt's "Langsamer als ich dachte" for cello and projection, and Manos Tsangaris' "Wiesers Werdetraum" expand the spectrum. Dieter Schnebel's "Visible music" and Yannis Xenakis' "Psappha per percussioni" demonstrate the breadth and depth of visual music, while Michael Mautner's world premiere "Visible between the lines" for cello, percussion and three vocalists rounds off the program. The concert will also feature Otto M. Zykan's "Kinderreim" (Nursery rhyme), both signed and unsigned, to highlight the diverse expressive possibilities of new music and instrumental theatre. In conjunction with wien modern __________ This project is made possible with funding from the Federal Ministry of Arts, Culture, Civil Service and Sport, the Federal Ministry of Education, Science and Research and the Art Mentor Foundation Lucerne. Thank you for your support!

Ensemble Phoen vividly captures the multifaceted and magical world of the circus through music. Their performance not only pays homage to the artistry of the circus but also celebrates the enduring musical inspiration that artists and composers have drawn from the captivating circus ring over the centuries. Charlie Chaplin, who composed music for the circus he loved so much, and Nino Rota, who skilfully wove circus music’s tonal structures into film scores starting in the 1950s, exemplify the deep bond between the circus realm and musical creativity. Ensemble Phoen, comprising four saxophones and a pianist, carries on this tradition by reviving the circus spirit through their performance. They adeptly weave selected film clips into their musical experience, creating a captivating visual accompaniment. The programme ranges from Ernst Toch’s “The Juggler” for piano to Igor Stravinsky’s “Circus Polka for a Little Elephant”, also for piano, and Charlie Chaplin’s emotive “Smile”. Nino Rota’s music for “La Strada, Il Circo” and other Fellini films expresses the tonal diversity and emotional depth of circus music. Arnold Zamarin’s “A Clown's Trick” and Viola Falk’s “Traurigkeit und Heiterkeit in Zweisamkeit” (Shared sadness and serenity) complement the programme with modern interpretations and reflections on life in the circus.

The ensemble LUX, accompanied by the outstanding musicians Khosro Soltani and Rosboo, presents an extraordinary concert entitled “1000 and One Truths – Fairytales Old and New from Persia”. This program seamlessly blends classical string quartet music with the distinctive sounds of Ney, Duduk, and Santur, creating a harmonious musical bridge between the Orient and the Occident. The concert invites you on a journey of discovery through improvisations, miniatures and works by composers such as Zoltan Kodaly, Thomas Wally, Reza Vali and György Kurtag. Each piece contributes in its own way to exploring the rich musical landscape of Persia and its links to European musical traditions. The fusion of traditional Persian instruments with a classical string quartet produces a distinctive sonic landscape, breathing life into ancient Persian tales while celebrating the richness of contemporary musical expression. Audiences can anticipate a profound musical experience that transcends cultural boundaries, fostering a dialogue between diverse musical traditions from around the world.  

The Chaos String Quartet, hailing from four European countries, can do it all – playing string quartets by Otto M. Zykan and Jörg Widmann classically with two violins, viola and cello. Their ability to also create music with toothbrushes and winter jackets is both virtuoso and astonishing! For the ensemble, there is no such thing as impossible. Composer Manuela Kerer masterfully turns the seemingly impossible into something significant and grand. As a result, her piece aptly bears the title “IMPOs II.” The ensemble’s sonic landscape is replete with overtones, spectra, and a kaleidoscope of tonal colours. Even electric toothbrushes become captivating instruments when you truly listen to them. Composer Carola Bauckholt takes a bold departure from traditional string instruments. Instead, she invites the ensemble to create music using the fabric of their jackets – the very clothes they are wearing! They stroke, tap, squeak, and clap while intently studying their sheet music. Their piece, entitled Hirn und Ei (Brain and Egg), culminates in a furious cacophony of noise.