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fluchtlinien
Herta Reich was twenty and a half years old when she was forced to leave Austria within two days. Her testimony — factual and precise — tells of a flight that lasted almost five years and knew no return.
Fluchtlinien takes this text as the starting point for an electroacoustic performance that runs two paths in parallel: Herta Reich, driven from Styria through Europe to Palestine, and a Spanish freedom fighter who moves through the same devastated continent and ends in Mauthausen. Two narrative strands that follow the model of Homer's Odyssey — touching, but never resolving into one.
Adrián Artacho's music weaves Herta Reich's text together with electroacoustic material into a series of miniatures for voice, trombone, and playback. Different sonic layers overlap: sounds generated live meet pre-recorded, remembered traces. The miniatures assemble from fragments — half-remembered sketches that follow the inner logic of memory rather than chronology. Like memories, they surface, disappear again, and combine into new constellations.
Reinhold Schinwald's Verwirbelungen Ib for trombone and live electronics forms a further strand: impulseless swelling tones of the trombone are processed through a feedback delay network into a spatially expansive sound continuum. The Verwirbelungen (vortices) are both compositional technique and metaphor — whirlpools that set everything caught in them into motion and remove it from control. What the delay network holds and releases mirrors the movement of flight itself — the faltering, the freezing, the being driven onward again.
· Voice, text version, dramaturgy: Gina Mattiello
· Composition, performance, lighting concept: Adrián Artacho
· Composition, live electronics: Reinhold Schinwald
· Trombone: Stefan Obmann
In cooperation with büro lunaire.
vogelfuß, menschenschuh
vogelfuß, menschenschuh geht es um das Leichte, das Spielerische, das Übermütige in den Gedichten des „Luftikus“ Christian Loidl, Natur- und Liebesgedichte, Ironisches und Witziges, und nicht zuletzt Haikus und Kurzgedichte.
membra disiecta
Komposition & Live-Elektronik: Reinhold Schinwald
Text, Konzeption, Stimme: Gina Mattiello
Kostüm: Flora Miranda
membra disiecta
für Kontrabassklarinette, Stimme und Live Elektronik (2016/2017)
membra disiecta läßt sich mit zerstreute oder zerrissene Glieder übersetzen und bezeichnet aus ihrer organischen Ordnung gerissene Teile eines Ganzen. Der dem Stück zugrunde liegende Text basiert auf den Mythen um „Isis und Osiris“ und beschreibt einen Prozess des Erinnerns, Suchens, Auflesens und Benennens von Körperfragmenten. Für den Ägyptologen Jan Assmann erschließt sich die Zerrissenheit als Todesbild einerseits aus dem altägyptischen Körperbild als eine zur beseelten Einheit verbundenen Vielheit von Gliedern und andererseits aus den Gegenbildern in Gestalt der Todesheilung durch Sammeln, Zusammenfügen, Vereinigen und Verknüpfen. Der tote Körper als membra disiecta soll Lähmung überwinden und Handeln ermöglichen. Dieses metaphorische Todesbild dient also als Folie für das Lebensbild, in der der Körper durch den Vollzug von Einbalsamierungsritualen überführt werden soll. Bei den Ritualen wird der Tote ununterbrochen angeredet. Dieser Sprachstrom hat die Funktion, die zerstreut vorgestellten Gliedmaßen in einen Text zu versammeln, der sie als neue Einheit beschreibt (Reinhold Schinwald)
Der Text von Gina Mattiello entstand 2016.
10 Years of büro lunaire
kofomi#30/2026 - Das Blaue vom Himmel – dreißig Jahre Ortsbezug
CD Presentation APNOIA — Sigrid Trummer, piano, with works by Katharina Klement, Elisabeth Harnik, Maria Gstättner, Judith Unterpertinger, and Julia Purgina, plus a reading from Topographie des Schweigens: Gina Mattiello
foris
foris — brings together seven positions in contemporary music devoted to the border between inside and outside: the body and its surroundings, the instrument and its extension, the voice and what exceeds it. An evening oscillating between analytical rigor and performative dissolution of boundaries.
Peter Ablinger — Weiss / Weisslich 21a, Analytische Integration (1996), for Turkish cymbal and string instrument(s) ad lib.
The chosen cymbal is analyzed for its fundamental frequencies; these are notated as a microtonal scale for string instruments and played simultaneously with the cymbal's roll — a continuous transition from impenetrable sonic density to audible structure.
Simon Steen-Andersen — Study for String Instrument #3 (2011), for cello and video
A study in movement that overlays the performer's live image with a pre-recorded second layer, bringing the physical, gestural side of instrumental playing to the fore.
Alexander Schubert — Your Fox's a Dirty Gold (2011), for solo performer — voice with motion sensors, electric guitar, and live electronics
Franck Bedrossian — la solitude coureur du fonds (2000), for saxophone
After Alan Sillitoe's story The Loneliness of the Long Distance Runner — the mounting physical and sonic intensity mirrors social pressure and culminates in a deliberate refusal.
Marco Döttlinger — corpus XI (2025), for voice, saxophone, cello, electric guitar, percussion, and live electronics
The concert hall as a resonating body: passages played live are recorded, played back into the room, and spun further until the space's own resonant frequencies become audible. Text source: Jean-Luc Nancy's corpus (1992), algorithmically deformed.
Katarina Gryvul — SHCHERB (2025), for e-drums, MIDI keyboard, and electric guitar
Reinhold Schinwald — HYDRA (2025), text: Heiner Müller, Herakles 2 oder die Hydra, for voice, saxophone, cello, electric guitar, percussion, and live electronics
Heiner Müller's struggle with the Hydra as an image for powerlessness in the face of unsolvable conflict: instrumental identities merge into a hyper-sound in which loss of control is structurally inscribed.
· Concept: büro lunaire
· Voice, performance: Gina Mattiello
· Sound direction, live electronics: Reinhold Schinwald
· Saxophone: Yukiko Krenn
· Cello: Barbara Riccabona
· Electric guitar: Márk Seres
· Percussion: Igor Gross
· Conducting, keyboard: Jaime Wolfson
· Costume: Flora Miranda
In cooperation with Komponist:innenforum Mittersill.
caput mortuum
The conservator Laura Noves travels from Vienna to Pisa to work on the fresco Trionfo della Morte. The novel follows the structure of Petrarch's Trionfi – love, loss, transience – and interweaves the historical sources of the fresco with the sediments of a female genealogy that defies memory. The family history reveals itself only in fractures, gaps, and contradictions. What cannot be reconstructed becomes the true statement – the missing piece as a bearer of meaning.
Aufzeichnungen einer Blinden
Portrait Concert – Reinhold Schinwald
incl. HYDRA
· Text: Heiner Müller, Herakles 2 oder die Hydra
· For voice, saxophone, cello, electric guitar, percussion and live electronics
· Voice: Gina Mattiello · Costume: Flora Miranda
JONKIPEL
Texts by Gert Jonke at the centre
with settings by further Jonke Prize winners
· Compositions & electronics: Wolfgang Seierl
· Viola: Lena Fankhauser
· Voice: Gina Mattiello
Schiffbruch mit Zuschauer
· Text: Stefan Schmitzer
· Concept and dramaturgy: büro lunaire
Compositions (world premieres): Alexander Bauer · Florian Kindlinger · Reinhold Schinwald · Germán Toro Pérez · Tímea Urban
· Elisa Azzarà: flute
· Pablo Marin-Reyes: trombone
· Philipp Lamprecht: percussion
· Gina Mattiello: voice
· Reinhold Schinwald: sound direction & live electronics