Evis Sammoutis’ music is a dynamic fusion of physicality, virtuosity, and cultural depth. Drawing on his Cypriot roots and diverse training, his compositions explore tactile soundscapes, poetic contrasts, and neurological aesthetics.

The music of Fabien Lévy thrives on ambiguity, paradox and sonic illusion. Influenced by spectralism and his mentors Grisey and Risset, Lévy embraces musical allusions–from visual arts to world traditions …

Often, it is events from private life that lead to the creation of works. »Sarà dolce tacere« (1960), for example, was composed for the 40th birthday of Nono’s (former) teacher and close friend, Bruno Maderna; and »Ha venido«, also composed in 1960, was written for the first birthday of his daughter. In contrast, »Djamila Boupachà« (1962), »Dónde estás, hermano« (1982), and »Quando stanno morendo« (1982) reflect the politically involved, engaged global citizen Nono.

It is remarkable how he infuses each of the works with specific sonic individuality while ultimately drawing on similar motifs: »Whether it is the monody of Djamila Boupachà or the multifaceted interactions between singing voices and instruments in Quando stanno morendo, which are further transformed and spatially moved through live electronics–as defined by the composer: This music possesses a distinct, musical eloquence. It ranges from the night-blackness of the second part of Quando stanno morendo to the spring enchantment of Ha venido, the gentle–in Sarà dolce tacere–to the painfully compelling call for another silence, for other, light-filled days in Djamila Boupachà.«

(Jürg Stenzl)

Johannes Schöllhorn

José M. Sánchez-Verdú

In 2015/16, filmmaker Wiebke Pöpel travelled across Europe together with cameraman Michael Zimmer to a total of nine concert preparation phases with various orchestras that were rehearsing orchestral works by Helmut Lachenmann as part of the ‘Lachenmann Perspectives’ project. The composer himself accompanied all the rehearsals.

12 Madrigali–A New Ecology of Sound

Salvatore Sciarrino, in collaboration with the Neue Vocalsolisten Stuttgart, explores a new ecology of sound through a chamber music-reduced form of polyphony. The Italian composer has used six Haikus by the Japanese poet Matsuo Bashō (1644–1694) as the text.

works by

Georges Aperghis, Manuel Hidalgo,

Lucia Ronchetti, Luciano Berio,

Paolo Perezzani, Carola Bauckholt