of lament and gratitude

16:00, T3
THERE WOULD BE TENDERNESS

Dariya Maminova: Continuums
Vocal cycle for seven singers (2023)
with texts by Cia Rinne, Maria Barnas, Luljeta Lleshanaku

Bnaya Halperin-Kaddari: Consider the Lilies
for five voices from: Bears Nudging at Pleasures in the Dark
A vocal cycle (2023)

*Sven-Ingo Koch: Songs of Love
for violin and 6-part vocal ensemble (2024) ^WP

1. Mille (anonymous)

2. Tithonos, based on a poem by Jan Wagner

3. Hip-hop

4. Love, based on a poem by Steffen Popp

5. Prélude (#20) (solo violin)

6. Lullaby, based on a poem by Gottfried von Neifen

7. Mille regretz (anonym)

Sara Cubarsi, violin
Neue Vocalsolisten

17:15 P1
REFLECTIONS OF ETERNITY

Rolf Riehm: Im Nachtigallental
for solo cello (2009)

Michael Pelzel: Reflections of Eternity
for solo percussion (2025)

Elena Rykova: You exist. I am an illusion
Duo for cello, snare drum, objects and electronic amplification (2016)

Ensemble Ascolta
Erik Borgir, violoncello
Julian Belli, percussion

18:15, T3
OF LAMENT AND GRATITUDE

Anton Schukaŭ: ‘my flower gently weeps under my heavy
whips’
an old story for countertenor (2025/26) ^WP

Liza Lim: Philtre
for Hardanger fiddle (1997)

Gregory Kharaneka: Rekonfiguration
für Countertenor und Elektronik (2026) ^WP

Vahid Hosseini: of lament and gratitude
SoundsTheatre XV for 6 voices (2025/26) ^WP

Neue Vocalsolisten
Johanna Vargas, soprano/Peyee Chen, soprano/Susanne Leitz-Lorey, soprano/Helena Sorokina, mezzo-soprano/Daniel Gloger, countertenor/Martin Nagy, tenor/Johannes Mayer, tenor/Guillermo Anzorena, baritone/Andreas Fischer, bass
Sara Cubarsi, violin

Josquin Desprez’s hit chanson ‘Mille regretz’ (16th century) inspired not only numerous composers of his time, but also Sven-Ingo Koch to create a poetic cycle, which the Neue Vocalsolisten will juxtapose with two special works from their ‘Poetry Affairs’ in the first part of the concert.
In a rapid succession of roles as river, head, sea, flora, fauna, dance and joy, Rolf Riehm’s ‘cellist’ ‘tells’ the story of the Valley of the Nightingales in the myth of Orpheus, where his singing head, nailed to his lyre, was washed ashore. Inspired by the multi-layered sounds of bells in the Indian city of Varanasi, Michael Pelzel’s percussion piece unfolds a web of resonance that interweaves memories, transience and permanence.
In the third part, Anton Schukaŭ explores the dark side of love with texts by the Marquis de Sade, whilst Vahid Hosseini shapes the pidgin languages that have emerged from migratory movements
into a ‘theatre of sounds’, treating them as ‘echoes of the »real« languages’.