TICKETS
7:00 p.m. -BODY
Georg Friedrich Haas Les Espaces for quarter-tone piano (2019), Austrian premiere, 40’
Benjamin Kobler, Laura Álvarez, Yeji Jung und Thibaut Surugue, quarter-tone piano
8:00 p.m. - VOICE
Sepideh Raissadat improvisation, solo, vocals and setar
Mildred Couper Dirge for two quarter-tone pianos (1937)
Mazyar Kashian new work for vocals, quarter-tone piano and percussion (2026), world premiere
Commissioned by Klangspuren Schwaz
Sepideh Raissadat, vocals and setar
Benjamin Kobler, quarter-tone piano
Dirk Rothbrust, percussion
9:00 p.m. - PULSE
Hannah Kendall Tuxedo Hot Summer No Water for cello (2020), 6’
Hannah Kendall Weroon Weroon for cuffed violin, viola, cello (2022), 5’
Benjamin Patterson Paper Piece for three players (1960), 8’
Oscar Bianchi new work for string trio, percussion & beatboxer (2026), world premiere
Commissioned by Klangspuren Schwaz
Hannah Weirich, violine
Axel Porath, viola
Dirk Wietheger, violoncello
Dirk Rothbrust, percussion
Adriana Nikolova (Pe4enkata), Beatbox
This triptych breathes: across three blocks framed by two pauses, the program brings together microtonal piano music, the Persian vocal tradition, and beatboxing with contemporary chamber music. The deliberate pauses give the music space to breathe. Each of the three encounters refocuses the listener’s attention and invites a constant shift in perspective.
The program opens with a quarter-tone piano: familiar in appearance, yet its sound offers a new dimension. Four pianists perform on the specially constructed keyboard in a virtuosic eight-handed choreography. In Georg Friedrich Haas’s Les Espaces, floating microtones layer into dense surfaces. These sounds slip beneath the threshold of perception and yet fill the entire space.
Then the stage belongs to the voice. The Persian singer Sepideh Raissadat accompanies herself on the setar; in the tradition of her homeland, music is not merely interpreted, it is inhabited. In Mazyar Kashian’s new commissioned work for Raissadat and the quarter-tone piano, two musical systems then converge: the Radif tradition of Persian music and the microtonality of the Western avant-garde. This encounter gives rise to more than a dialogue — it becomes a metaphor for diasporic experience, in which different cultural languages seek to exist simultaneously with and without one another.
At the center of the third part stands multiple beatbox world champion Adriana Nikolova (Pe4enkata). Her practice expands beatboxing with complex meters drawn from Bulgarian folk music, pushing the boundaries of an aesthetic otherwise strongly shaped by 4/4 time. Oscar Bianchi’s commissioned work for beatbox, string trio, and percussion contrasts the precise score with the intuitive bodily knowledge of a performer whose instrument is built from tongue, lips, and palate.
With its intimate atmosphere, the Brux offers the ideal setting to experience these three musical perspectives up close.
BRUX Freies Theater Innsbruck
Wilhelm-Greil-Straße 23, 6020 Innsbruck
Der Veranstaltungsort ist barrierefrei zugänglich.
Eine Anreise mit öffentlichen Verkehrsmitteln ist möglich.
Vom Bahnhof Innsbruck sind es ca. 6 Minuten zu Fuß.
Parken: Kaufhaus Tyrol Garage (Wilhelm-Greil-Straße 10)
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