On the Road

With a reference to the novel “On the Road” by Jack Kerouac, we present a selection of pieces by composers who have continually amazed us with their outstanding language in our shared musical journey over the last few years. A program like the flower collection you take home with you as a child.

On the Road: The video trailer for the concert series

On the Road: The Beginning

Claude Vivier (1948-1983): Pulau Dewata (1977)

Claire-Mélanie Sinnhuber (*1973): Tracasseries (2006)

James Tenney (1934-2006): Beast (1971)

Fausto Romitelli (1963-2004): Domeniche alla periferia dell’impero(1996-2000)

Zygmunt Krauze (*1938): Aus aller Welt Stammende:Teil: Molto espressivo, molto rubato,
molto vibrato (1973)

Daniel Eichholz (*1978): Habakuk 5 „the Oakwood Maze“
(UA,2021)

Terry Riley (*1935): in C (1964)

On the Road: Wedding

Written by a friend for his own wedding, „Ona“ is a short, unusual and beautiful speech. It’s the starting point, but it’s not at the start. After the wedding – dances, maybe wild. Before: a walk in John´s melody, then – a cry? That’s Manuela´s solo cello piece, discovered at midnight. You’ll probably hear some signs of spring with Salvatore´s black bird.
What characterizes this couple’s journey? I’ll leave you to tell me. Jonah and Zeynep form and guide their path for a while. Is it your wedding, a story about an imagined couple, or is it just that you went through Wedding and got caught up in some special sounds?

John Cage: Melody No. 1 (1950), violin and harp

Manuela Guerra (1996): Clamor (2021), violoncello

Salvatore Sciarrino (1947): Fauno che fischia a un merlo (1980), harp and flute

Hèctor Parra (1976): Ona (2006), flute and viola

Iannis Xenakis (1922-2001): Dhipli Zyia (1951), violin and violoncello

Halim El-Dabh (1921-2017): Sonic No. 10 (1955), percussion

Jonah Haven (1995): Another Ditch (2018), Flöte, Viola und Schlagzeug

Zeynep Gedizlioğlu (1977): Ungleiche Gleichungen (2006), Violoncello und Klarinette

Ruth Zechlin (1928-2007): Mobiles für Harfe (1978)

On the Road: eccentric dialogues

Zafraan’s new concert series “On the Road” takes us into the middle of eccentric dialogues and encounters. A single point explodes out of nowhere in Christophe Bertrand’s “Aus” and becomes a bubbling organism. We are returning to the path we started last autumn: Claude Vivier and Daniel Eichholz are performing new works in new surroundings. Solos and duos remain energetically in dialogue until the evening leads us together to a listening silence with “Lauschgut” by Charlotte Seither.

Christophe Bertrand: “Aus” (cl, sax, piano, vla) (2003)

Daniel Eichholz: “Habakuk 1” (2021) (2’), percussion

Claude Vivier: “pièce pour violon et clarinette” (1975)

Georg Katzer: Dialog Imaginär 6“ Stockendes Lied“ für Tenorsaxophon und Tonband (1983)

Iris ter Schiphorst: “Hi Bill!” for solo bass clarinet (2005)

Beat Furrer: „Presto” for flute and piano (1998)

Pär Lindgren: “Beep-Ooh” for clarinet and percussion (1995)

Charlotte Seither: „Lauschgut” (2018/19 for (inside) piano

On the Road: Paramirabo

Very subtle quiet sounds, changed by a wave of electricity, before extra-terrestrial presence invisibly surrounds us, that’s what we, already born human beings, might hear listening to the first three pieces by Marta Liisa Talvet, Sofia Gubaidulina and Ádám Bajnok. But what does a baby, still in its mother’s belly, hear from the sounds that we share in our “external world”? In “9:30 pm, Lullaby”, which will be premiered in this concert (!), Lin Yang draws with us this imaginary picture.
Coming back to our “direct” hearing experience and before leaving each other for the summer, there is one more, very important place where we want to meet you: Claude Vivier’s Paramirabo, will you be there?

Marta Liisa Talvet (1998): A Dream of Blowing Glass (2021) (fl, hrf, sax)

Sofia Gubaidulina (1931): II. aus “Fünf Etuden“ (1965) (perc., kb, hrf)

Ádám Bajnok (1992): Пикник (Piknik), deutsche UA (2023) (fl, kl, vl, vlc)

Lin Yang (1982): 9:30 pm, Lullaby UA (2024) (tutti Zafraan)

Claude Vivier (1948-1983): Paramirabo (1978) (fl, vl, vlc, pno)

On the Road: Cadavre Exquis

« Glissade », that could be the title. We enter the concert hall and we’re taken in this huge slide to land in – in a logical machine world?
But the title might as well be « Sandwich » as the bass clarinet stands there, alone and intense in Brett Dean’s Confessio, between two broader program parts…or what about « B.B. » which would stand for « Ballade for a Bulldozer »? Yes, we will be playing that too, not to mention Sofia Gubaidulina’s sonata and Wolfgang Rihm’s In nuce.
No, let’s stick to the original idea: this will be the « Cadavre Exquis » concert. And how does it sound? And how does it sound?

James Tenney (1934-2006): Glissade: I. Shimmer (1982)

Iris ter Schiphorst (*1956): Transformationen IV (2024, UA)

Version für verstärkte Violine und Zuspiel

Sofia Gubaidulina (*1931): Sonate für Kontrabass und Klavier (1975)

Brett Dean (*1961): Confessio (2017)

für Bassklarinette

Wolfgang Rihm (*1952-2024): In nuce (1994)

für Streichtrio

Iris ter Schiphorst: Ballade für einen Bulldozer (1989) (UA Berlin, 1990)

Zafraan Ensemble (2009;-) Cadavre Exquis (2024, UA)

On the Road: Zwei Akte

Can you hear it? Is this huge instrument making any kind of sound whatsoever?
Wait a little … yes, yes, definitely some loud animals are now crawling out of it. Don’t miss them, they never stay for long.
So now that they’ve gone, two violins have space for a dance in the middle of the wilderness.
Meanwhile, in a theatre, two naked people start to dress very slowly. Not quite decided. Saxo and harp unveil it all, the theatre, the couple and the crazy real stories. They end up turning into –
well, it’s not quite possible to write this here. Why then, would scent and music exist?

Oscar Bianchi, ”Docile Ascesa” (2015) für Kontrabass

Chrysoula Vernadaki, ”Rebetiko” (UA) für zwei Geigen

Mauricio Kagel, ”Grand Duo” (1988) für Saxophon und Harfe

Clara Iannotta, ”Limun” (2011) für Violine, Viola und 2 Umblätterer

On the Road: Con-Sequenzas

As a prelude to our big Berio celebration in the Philharmonie, we get a foretaste of his musical work with a narrative full of consequences.

The game is on – Liam gives the signal: this is our language. We wait briefly, the rhythm grows, the earth turns. In 2 hours, 75 years and several continents appear. Explosive? Implosive? Sensually balanced?

Luciano Berio: Sequenza I (1958)

John Cage: Living Room Music (1940)

Maija Hynninen: Mask the absence (2021)

Péter Eötvös: Derwischtanz (1993)

Luciano Berio: Sequenza IV (1965-1966)

Jaakko Kuusisto Miniö (2012)

Agata Zubel: connect 2 (2023)

Beat Furrer: Trio (1985)

Claudia Jane Scroccaro: Overdrive (2020)

On the Raod: Holes and Bones/ We should get to know each other

Welcome to our autumn celebration with the turbulent programme ‘Holes and Bones/ We should get to know each other’. With works by Mani Hosseini, Kristine Tjøgersen, Brian Ferneyhough, Samir Odeh-Tamimi and Clara Maïda, we share an intimate chamber music programme with our favourite audience, where feelings, thoughts and humour shape the menu.

Clara Maïda: Holes and bones (2002) Commissioned by the FRENCH MINISTRY OF CULTURE and the ACCROCHE NOTE ensemble

Mansoor Hosseini: Unharpy (2025) Part of the Musikdrömmen project

Brian Ferneyhough: Time and Motion Study I (1971-77)

Samir Odeh-Tamimi: Efráh (2018)

Conrado del Rosario: Equinoctial verses II (2005)

Salvatore Sciarrino: Canzona di ringraziamento (1985)

Kristine Tjøgersen: We should get to know each other (2016)