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Trio Catch excels in blending the distinct sounds of clarinet, cello, and piano, seamlessly navigating classical and modern realms.

In this concert, they join composer and organist Michael Pelzel for a program of German Romantic masterpieces by Schumann, Brahms, and Mendelssohn. Pelzel also presents a new composition inspired by bells and his travels to Varanasi, India, and will perform works both as composer and performer.

Sun-Young Nam, Piano
Eva Boesch, Violoncello
Olivier Vivares, Clarinet

Klangforum Wien opens the 51st Darmstadt Summer Course with Situations by Georges Aperghis, who believes “Music is the best way towards understanding another person.” Drawing on personal stories from the ensemble’s soloists, Aperghis creates a triptych of sound narratives, blending solos, duets, trios, and quartets into a unified fabric of individual and collective expression. Emilio Pomàrico, who conducted the world premiere in 2013, leads the performance.

It started with a dream: 50 pianos as one instrument. Georg Friedrich Haas has created a unique sound experience that is coming over us like a force of nature from the depths of the universe.

With 11.000 Saiten, Georg Friedrich Haas explores a microtonal space for 50 pianists on just as many pianos and an ensemble. The result is a unique concert installation.

After its premiere at the Bolzano Festival Bozen, the first follow-up performance is part of the 2023 Edition of Wien Modern Festival.

The Ensemble of Klangforum Wien, together with 50 pianists from the University of Music and Performing Arts Vienna, will perform the thrilling piece for the first time in the Great Hall of the Wiener Konzerthaus.

Together with the ORF Radio Symphony Orchestra, Klangforum Wien will perform Wound by Rebecca Saunders. The work is closely related to her piece Skin. Melodic, expressive and lyrical parts develop a dynamic between opening and re-closing sound surfaces, like a wound that opens and heals again. The Ensemble forms soloistic blocks that always remain in motion and resonate with the orchestra. Extremes of concentration and reduction meet.

Heinz Holliger has never really been interested in mainstream music. Instead, what fascinates him is the offbeat. That which takes place away from the usual in the niches of new music. To mark his 85th birthday, he is coming to Frankfurt with an exquisite programme that highlights precisely this facet.

Everything has been discharged. Clara Iannotta questions the empty chest from which the heart has stolen away, and George Lewis contemplates the indissoluble bipolarity of the human being between spiritual and physical being. Brendan Champeaux, Shiqi Geng and Yiran Zhao drive their stakes of new sound architectures into this inhospitable terrain of being lost in the world: three world premieres of works by a new generation of composers.

In his search for his own musical language in the 1920s, Carl Orff closely followed developments in modern music, while drawing inspiration from the old masters. His compositions of the period are both historicist and provocative in their modernity, thanks to an uncompromising vocal line and rhythm.

Peter Tilling presents the world premiere of one of his works after Giovanni Battista Riccio. He also compares Orff's works with compositions by Hans Jürgen von der Wense and Birke J. Bertelsmeier.

Works for Clarinet & Piano by Claude Debussy, Gabriel Pierné, Philippe Gaubert, Germaine Tailleferre, Eugène Bozza and Ernest Chausson.

Eva-Maria Neidhart, piano

For the third time, Ensemble Risonanze Erranti presents music by Bavarian composers. The composer Joachim W. Schneider, from Aschaffenburg, has re-composed Bach’s Italian Concerto for the ensemble. A new work by Klaus Ospald is always a sensation. His Musik für Ensemble “alla tedesca” is a reflection on Hölderlin. Pianist and composer Jacopo Salvatori created a piece inspired by bird languages, during a residency in Japan, influenced by Italo Calvino’s short story The Origins of Birds. Peter Tilling’s Fragment. Mirroring moves between echoes of Renaissance music, percussive elements, and jubilant fantasies.

Under the title Night Flowers, pianist Marino Formenti curates a distinctive concert series: short, atmospheric nocturnal sounds of contemporary music, performed after evening concerts with various ensembles as part of the Musikverein festival Clara’s Flower Album. Inspired by Clara Schumann’s floral gift to Johannes Brahms, the program explores themes of friendship, love, and solidarity, conveyed through musical dedications and dialogues. Works by Nono, Saunders, and Kurtág meet Mozart and free improvisation, offering a nocturnal encounter with contemporary sounds that invite reflection and provide a poetic conclusion to the evening.

Olivier Vivares welcomes Beat Furrer to the Bern University of the Arts for a performance of his Clarinet Concerto with ensemble, recently recorded with Klangforum Wien.

Conducted by the composer himself, HKB students will have the rare opportunity to perform alongside this key figure in contemporary music, celebrating his 70th birthday.

A unique event not to be missed where the composition will come to life through the composer’s own interpretation.

Conducted by Barbara Hannigan and staged by Romeo Catellucci around Pergolesi’s Stabat Mater, Contrechamps performs Giacinto Scelsi’s Quattro pezzi (su una nota sola), a pioneering work written for a 26-instrument chamber orchestra in 1959. Each of the Quattro pezzi is spontaneously inventive while rigorously adhering to a single note. With his exquisitely crafted orchestration and unrivalled use of timbre, Scelsi harnesses this formal constraint into the power of sound in a way that is both subtle and powerful.

Conducted by Barbara Hannigan and staged by Romeo Catellucci around Pergolesi’s Stabat Mater, Contrechamps performs Giacinto Scelsi’s Quattro pezzi (su una nota sola), a pioneering work written for a 26-instrument chamber orchestra in 1959. Each of the Quattro pezzi is spontaneously inventive while rigorously adhering to a single note. With his exquisitely crafted orchestration and unrivalled use of timbre, Scelsi harnesses this formal constraint into the power of sound in a way that is both subtle and powerful.

Conducted by Barbara Hannigan and staged by Romeo Catellucci around Pergolesi’s Stabat Mater, Contrechamps performs Giacinto Scelsi’s Quattro pezzi (su una nota sola), a pioneering work written for a 26-instrument chamber orchestra in 1959. Each of the Quattro pezzi is spontaneously inventive while rigorously adhering to a single note. With his exquisitely crafted orchestration and unrivalled use of timbre, Scelsi harnesses this formal constraint into the power of sound in a way that is both subtle and powerful.

Conducted by Barbara Hannigan and staged by Romeo Catellucci around Pergolesi’s Stabat Mater, Contrechamps performs Giacinto Scelsi’s Quattro pezzi (su una nota sola), a pioneering work written for a 26-instrument chamber orchestra in 1959. Each of the Quattro pezzi is spontaneously inventive while rigorously adhering to a single note. With his exquisitely crafted orchestration and unrivalled use of timbre, Scelsi harnesses this formal constraint into the power of sound in a way that is both subtle and powerful.

Conducted by Barbara Hannigan and staged by Romeo Catellucci around Pergolesi’s Stabat Mater, Contrechamps performs Giacinto Scelsi’s Quattro pezzi (su una nota sola), a pioneering work written for a 26-instrument chamber orchestra in 1959. Each of the Quattro pezzi is spontaneously inventive while rigorously adhering to a single note. With his exquisitely crafted orchestration and unrivalled use of timbre, Scelsi harnesses this formal constraint into the power of sound in a way that is both subtle and powerful.

Conducted by Barbara Hannigan and staged by Romeo Catellucci around Pergolesi’s Stabat Mater, Contrechamps performs Giacinto Scelsi’s Quattro pezzi (su una nota sola), a pioneering work written for a 26-instrument chamber orchestra in 1959. Each of the Quattro pezzi is spontaneously inventive while rigorously adhering to a single note. With his exquisitely crafted orchestration and unrivalled use of timbre, Scelsi harnesses this formal constraint into the power of sound in a way that is both subtle and powerful.

Conducted by Barbara Hannigan and staged by Romeo Catellucci around Pergolesi’s Stabat Mater, Contrechamps performs Giacinto Scelsi’s Quattro pezzi (su una nota sola), a pioneering work written for a 26-instrument chamber orchestra in 1959. Each of the Quattro pezzi is spontaneously inventive while rigorously adhering to a single note. With his exquisitely crafted orchestration and unrivalled use of timbre, Scelsi harnesses this formal constraint into the power of sound in a way that is both subtle and powerful.

The second Prague Offspring concert presents Sir George Benjamin not only as a composer; listeners will also have a rare opportunity to see him in action as a superb conductor. The maestro will present the work of British composer Oliver Knussen, he will perform the world premiere of a new piece by Czech composer Slavomír Hořínka, and he will conduct a concert performance of his first opera Into the Little Hill, based on the old German legend about the ratcatcher (Pied Piper) and his pipe.

In his libretto based on Macbeth by William Shakespeare, Salvatore Sciarrino offers a fresh perspective on monstrous events.

Vimbayi Kaziboni, Conductor in Residence, leads Klangforum Wien and Cantando Admont at this concert performance at the Kollegienkirche, Salzburg.