# Friday, 05.October 2012

6 p.m. || Musical graphic || Berghain

A legendary musical graphic by Earle Brown (1952-54) as a kick-off to the festival.


# Earle Brown – Folio(1952-54) for variable instrumentation

A legendary musical graphic by Earle Brown that fundamentally questioned the role of the interpreter in the fifties will be interpreted as a kick-off to the festival in various constellations.


Cathy Milliken – Oboe & Production ++ Shabaka Hutchings & Kai Fagaschinksi – Klarinet ++ Clare Cooper – Harp ++ Garth Knox & Jessica Rona – Viola ++ Anton Lukoszevieze – Violoncello

7 p.m. || Podium || Panoramabar

Fidelity and Betrayal: Peter KrautDiedrich DiederichsenJörg Königsdorf & Lothar Zagrosek; Moderation – Lydia Jeschke


Two musicians meet two music theorists. As kick-off to the festival, a discussion will take place about the differences in how the significance of the interpreter is construed. This discussion will concern itself as much with the performative aspects of performance as with the concepts of fidelity and betrayal. To what extent is subordination to the will of the composer the highest duty of the interpreter, to what extent is its infringement sometimes allowed or even necessary?

9 p.m. || Re-Work 1 || Berghain

Kerry Yong (MIDI-Keyboards) plays John Cage, Steve Reich and Giacinto Scelsi.


# Kerry Yong – COVER ME CAGE

# Kerry Yong / Scelsi – AITSI

# Kerry Yong / Reich – CASIO PHASE

The English pianist Kerry Yong transfers John Cage’s works for prepared piano and works by Steve Reich and Giacinto Scelsi to MIDI instruments in a brilliant and creative way.

10 p.m. || The Vegetable Orchestra || Berghain

Gemüsesinfonie Nr. 1, Massacre de Primtemps and other pieces……


# Gemüsesinfonie Nr. 1 (2012) UA

# o.t. 02 (2012) UA

# o.t. 01 UA

# Transplants (Minimaltechno Genre-Remix)

# Pocketstampede (inspired by Steve Reich)

# Popcorn UA

# Massacre de Printemps

# Krautrock

# Saftwerk

# Radian

# Scoville (Genre-Remix Moton)

# Brazil

# Greenhouse (Genre-Remix Techno/House)


The carrot as clarinet and in each eggplant hides a contrabass. The Viennese Vegetable Orchestra is certainly one of the most unusual ensembles in the current musical landscape. faithful! confronts the ensemble with works of contemporary music, interrogating which parts of the original can be transferred to the completely different instrumentation. Do parallels go beyond mere superficialities and can’t structural congruities perhaps be established?

11 p.m. || DJ-Culture || Berghain

DJ Culture: DJ Olive DJ Hashimoto


DJ Olive from Canada has found a very personal way of treating the record player, positioning him outside hiphop culture as well as experimental turntablism. In Berlin he will present his vinyl scores, an extensive fund of material allowing him to evoke sound paintings live at the turntable.

# Saturday, 06.October 2012

2 p.m. || Karaoke-Matinee || King Karaoke Bar

Genuine and fake – The new music karaoke


Bill Dietz – concept and realisation; Hans Peter Kuhn – Moderation

faithful! presents an unusual karaoke event in which the audience can select from different avantgarde numbers. Specially for this project, the instrumental parts of all pieces will be programmed and orchestrated in MIDI without the vocal part so that they can be replayed with the available karaoke machines. On the screen, the karaoke performers will see the notes synchronized to the text of the corresponding piece.

Arnold Schönberg – Heimfahrt (Barcarole) from Pierrot Lunaire

Pierre Boulez – L’artisanat furieux aus Le marteau sans maître

John Cage – Solo for Voice

Gérard Grisey – La mort de la voix aus Quatre chants pour franchir le seuil

Cornelius Cardew – Smash the Social Contract


5 p.m. || Podium || Wabe

“Quartet of critics” with Ingeborg Allihn, Ludolf Baucke, Hartmut Lück und Max Nyffeler.


Four critics will discuss different recordings of Helmut Lachenmann’s piano piece Serynade.

7 p.m. || Solosemble 1 || Wabe

Works by Heinz HolligerIannis XenakisKarlheinz StockhausenSalvatore SciarrinoShabaka HutchingsKai Fagaschinski & Helmut Lachenmann.


# Heinz Holliger – “Cardiophonie” (1971) für Oboe und drei Magnetophone – Cathy Miliken

# Iannis Xenakis  – “Kottos” (2011) für Violoncello – Anton Lukoszevieze

# Iannis Xenakis  – “Kottos” (2011) für Violoncello – Séverine Ballon

# Helmut Lachenmann – “Pression” (1970) für Violoncello – Séverine Ballon

# Salvatore Sciarrino – “Tre notturni brillanti” (1974-75) für Viola – Garth Knox

# Shabaka Hutchings  – “Improvisation”

# Karlheinz Stockhausen  – “SPIRAL” (1968) für Solisten und Kurzwellenempfänger

(Version für Violoncello) – Anton Lukoszevieze

# Salvatore Sciarrino – “Tre notturni brillanti” (1974-75) für Viola – Jessica Rona

# Kai Fagaschinski  – “The dark side of success” (2012) für Klarinette UA – Kai Fagaschinski

# Shabaka Hutchings & Kai Fagaschinksi – “Improvisation”

# George Benjamin  – “Viola Viola” (1997) für zwei Bratschen

# György Kurtág – “Signs, Games and Messages” (Auswahl) – Garth Knox, Jessica Rona

# Karlheinz Stockhausen  – “SPIRAL” (1968) für Solisten und Kurzwellenempfänger (Version für Oboe) – Cathy Milliken


Each interpreter is part of a tradition, a school, that is related to his personality, his taste and his teacher. How different the music cultures can be, becomes clear when one hears musicians with different characteristics in direct comparison. Garth Knox, for example, insists upon playing the viola in the gentle style of tai chi, while others search for the full-bodied, dramatic sound. This concert marathon contrasts works of traditional provenance with those of experimental leanings to reveal the different approaches. Starting off is Heinz Holliger’s Cardiophonie with which the oboist and composer actually “composes in” the performance pressure that the interpreter is subjected to.


Cathy Milliken – Oboe ++ Shabaka Hutchings & Kai Fagaschinksi – Clarinet ++ Garth Knox & Jessica Rona – Viola ++ Anton Lukoszevieze & Séverine Ballon – Violoncello

10 p.m. || No More Vivaldi || Wabe

Mattias Petersson & George Kentros – There Are No More Four Seasons (2004) for Violine and Electronic


Auf ganz eigene Weise wurde Interpretation in diesem Projekt umgesetzt. Die beiden Musiker bedienen sich jedenfalls aller Freiheit, um den Vier Jahreszeiten, dem Ohrwurm von Vivaldi ein neues Gewand zu geben. Haben sie damit aus dem barocken Stück Musik wieder eine neue und zeitgemäße Musik geschaffen?

# Sunday, 07.October 2012

4 p.m. || Lecture/ Concert || Wabe

Interpreters are at the service of the music: Christoph Grund & Ernst Surberg – Gespräch & Klavier; Stefan Fricke – ModerationWorks by Rebecca SoundersMarianthi Papalexandri-Alexandri.


# Rebecca Saunders  – “crimson” (2004-05) for Piano

# Marianthi Papalexandri-Alexandri  – Neues Werk (2012) UA/AW for Piano

# Rebecca Saunders – “Choler” (2004) for two Pianos

Interpreters are at the service of the music. They perform works which they are sometimes not only not fond of, but for which they even develop a certain dislike. They slip into a role for the composer and expose something of their personality, in the double sense of the word. The two Berlin pianists, Christoph Grund and Ernst Surberg report, in conversation, about strategies that help to transform this aversion into positive emotion.

6 p.m. || Long Night of String Quartets 1 || Wabe

Anima Quartett, Minguet Quartett & Pellegrini Quartett play works by John Cage, Peter Ablinger, Giorgio Netti & Wolfgang Rihm


# John Cage – “String Quartet in Four Parts: 1. Quietly Flowing Along” (1949-50)

Pellegrini Quartett

# Peter Ablinger – “Wachstum und Massenmord” (2010)

Minguet Quartett

# Giorgio Netti –  )place( (2001)

Anima Quartett

# Wolfgang Rihm – Grave “In memoriam Thomas Kakuska” (2005)

Minguet Quartett

# Peter Ablinger – “Wachstum und Massenmord” (2010)

Pellegrini Quartett

# John Cage – “String Quartet in Four Parts: 2. Slowly Rockin (1949-50)

Anima Quartett


Three string quartets that are famous for their outstanding technique and which pursue very different ideas of the string quartet and represent different generations. Here, works were chosen to let the differences become apparent. In Peter Ablinger’s Wachstum und Massenmord, the work will be rehearsed on stage at first sight. Michael von Biel confronts musicians with a musical graphic which, in most cases is interpreted with noise. John Cage, however, with his simple string quartet movements, requests restraint and a harmonic-like, vibrato-free sound from the musicians. These movements run like a common thread through different interpretations of the quartets through the entire evening. James Tenney’s In A Large, Open Space for 12 string instruments represents a further level of interpretation, in which, after a rehearsal phase, the three string quartets find a common style for the composition.

8 p.m. || Vortrag || Wabe

Frank Hilberg – Wie Interpretation das Werk verändert


Frank Hilberg, music critic and radio producer, has devoted himself to questions of musical interpretation in the field of the musical avant garde for several years. In so doing, he not only emphasizes continuity and breaks in the relationship to past eras, but also questions concepts such as “fidelity to the work”. (Lecture in German)

9 p.m. || Long Night of String Quartets 2 || Wabe

Anima Quartett, Minguet Quartett, Pellegrini Quartett


# John Cage – “String Quartet in Four Parts: 3. Nearly Stationary” (1949-50)

Minguet Quartett

# Michael von Biel  – “Quartett 2” (1963) Urfassung

Pellegrini Quartett

# Michael von Biel – “Quartett 2” (1963) UE-Fassung

Anima Quartett

# John Cage  – “String Quartet in Four Parts: 4. Quodlibet” (1949-50)

Pellegrini Quartett

# James Tenney  – “In A Large, Open Space” (1994) für mindestens 12 Streichinstrumente

Anima Quartett, Minguet Quartett, Pellegrini Quartett

# Friday, 12.October 2012

8 p.m. || Oral cultures || Berghain

sfSound – Intuitively reinterpretations of works by György Ligeti, Luciano Berio, Mathias Spahlinger, and Brian Ferneyhough


# Øyvind Torvund  – “Falling Constellations” (2012) UA/AW

# Boris Hegenbart  – Neues Werk (2012) UA/AW

# Intuitively reinterpretations of works by György Ligeti, Luciano Berio, Mathias Spahlinger, and Brian Ferneyhough


sfSound is an ensemble from the California Bay Area. They became famous with their intuitive interpretation of works by imitating the gesture without resorting to the written score. A virtuosic practice emerges in which the work is intact in its outlines, but in which the actual elaboration provides great freedom. During faithful! sfSound will also work with two composers. Øyvind Torvund realizes works in which the interpreters learn the music orally, without a score, in which a “teacher” plays the original and the musician adopts this original through permanent repetition. Boris Hegenbart became famous with his own versions of the classics of the avant garde, in particular works by John Cage, which he adapts to contemporary material standards.

10 p.m. || Re-Work 2 || Berghain

Éliane Radigue, OCCAM VI (2012) – Thomas Lehn, EMS Analogsynthesizer


# Eliane Radigue – OCCAM VI (2012) for Synthesizer WP

The master of the analog synthesizer Thomas Lehn applies his way of playing the EMS synthesizer to a piece by the enigmatic composer Eliane Radigue. For OCCAM VI he has worked closely with the French composer.

11 p.m. || Dead Songwriter Society || Berghain

[-†] Without Additives No Stars Big Band presents: “Club der toten Songwriter” with songs by Kurt CobainIan CurtisSid ViciousØystein AarsethJanis JoplinJim Morrison a.o.


Damian Marhulets – Beats, Finger-drumming, E-Gitarre

Sebastian Wendt – Klarinetten, Toys, Live-Elektronik

Julia Mihály – Stimme, Synthesizer, Live-Elektronik

“In Ihrer neuen Show “C-27” untersucht [-†] Without Additives No Stars Big Band das einzig echte Musik-Genre der  Postmoderne – das Genre des kulturwissenschaftlichen Nekrologes. Berühmte Rock’n’Roll-Kamikaze und nonkonformistische Selbstmörder stehen im Fokus der schwarzen Punk-Messe: Kurt Cobain, Ian Curtis, Sid Visious, Janis Joplin, Nick Drake, Jim Morrison, Amy Winehouse und Pergolesi… Ihre zerfallenden Lebern wecken sogar bei Zombies kein Appetit mehr! Dafür verbergen ihre Gehirne – zerstört vom bunten Drogen-Potpourri – die ekstatische Essenz der Realität. Was können wir von diesen Helden der Vergangenheit lernen? – Um wirklich cool zu sein, müsste man die Löcher im Kopf nicht mit der Stecknadel punktieren, sondern mit dem Gewehr bohren!”


[-†] Without Additives No Stars Big Band verfremdet und überformt klassische Rocksongs und wählt dabei Stücke solcher Songwriter, die mit dem Druck des Startums nicht klar kamen und sich unter tragischen Umständen das Leben nahmen.

# Saturday, 13.October 2012

3 p.m. || Organ concert 1 || Bartholomäuskirche

Bernhard Haas (Orgen) plays György LigetiGiacinto ScelsiAnton von Webern und Klaus Lang.


# György Ligeti – Etüde No. 1 “Harmonies” (1967)

# Giacinto Scelsi – “In nomine Lucis” (1974)

# Anton von Webern  – “Variationen op. 27” (1936) (Arr. für Orgel von Xavier Darasse)

# Klaus Lang – “17 Symmetrien” (2012) UA/AW

With the organ of the Gethsemane Church, Haas and Lang are provided with a purely mechanical organ which, in contrast to an electronically-driven instrument, enables the many in-between spaces and grey zones in the organ sound.

6 p.m. || Lecture || Villa Elisabeth

Siegfried Mauser: Visionen oder einfach nur “al fresco”?


Visionen oder einfach nur “al fresco”? Zur Interpretationskategorie der Spielbarkeit” – Concert lecture with musical examples performed live on the piano.

8 p.m. || Tout seul, mais ensemble || Villa Elisabeth

Alter Ego, Ives Ensemble, Ensemble Mosaik, Solistenensemble Kaleidoskop play  Conlon NancarrowEduardo Moguillansk, Gabriel FauréJohannes SchöllhornJames TenneyMalin Bång u.a.


# Conlon Nancarrow – Septet (1940) – Ives Ensemble

# Eduardo Moguillansky – Zaehmungen #2 – bogenwechsel (2012) für Ensemble und Live-Elektronik – Ensemble Mosaik

# Gabriel Fauré – Bacarolle No 7in d-Moll op. 90 (1905) für Klavier – John Snijders

# Johannes Schöllhorn – sérigraphie: barcarolle (2007) für Ensemble – Alter Ego

# James Tenney – Recent Thoughts for Morton Feldman aus Quintexts (1972) für

Streichquintett – Kaleidoskop

# James Tenney – Recent Thoughts for Morton Feldman aus Quintexts (1972) für

Streichquintett – Ives Ensemble

# Malin Bång – epic abrasion (2010) für Ensemble – Ensemble Mosaik

# Malin Bång epic abrasion (2010) für Ensemble – Ives Ensemble

# Salvatore Sciarrino – Trio n° 2 (1987) für Violine, Viola und Klavier – Ives Ensemble

# Salvatore Sciarrino – Trio n° 2 (1987) für Violine, Viola und Klavier – Alter Ego

# Fredereic Rzewski – Les Moutons de Panurge (1969) for any number of melody

instruments – Alter Ego, Ives Ensemble


Four ensembles invite to a comparison of interpretation with several pieces played together. First is a work from the year 1940, whose unfortunate premiere induced the American composer Colon Nancarrow to no longer compose for musicians, but only for the mechanical piano. The Swedish composer Malin Bång has often incorporated the habits and idiosyncracies of the musicians in her works and has thus made possible a personal approach to her works.

# Sunday, 14.October 2012

3 p.m. || Organ concert 2 || St. Matthias Kirche

Bernhard Haas (Organ) plays Heinz Holliger, Nikos Skalkottas, Giacinto Scelsi und Michael Finnissy.


# Heinz Holliger – “Fuga aus Partita” (1999)

# Nikos Skalkottas – “Romance-Lied” (1940)

# Giacinto Scelsi – “In nomine Lucis” (1974)

# Michael Finnissy – “Organ Symphony No. 2″ (2006)

5.30 p.m. || Solosemble 2 ||  Wabe

Works by Nikos SkalkottasBrian FerneyhoughGeorges AperghisMathias Spahlinger, Mauricio Kagel, Martin Schüttler u.a


# Nikos Skalkottas – “Duo” (1938) für Violine und Viola – Kaleidoskop

# Brian Ferneyhough – “Cassandra’s Dream Song” (1970) für Flöte – Kristjana Helgadóttir

# Ondřej Adámek – “Wortspiel 1″  (2012) für Countertenor  UA/AW – Kai Wessel

# Georges Aperghis – “Récitations Nr. 8, 9, 14″ (1978) für Stimme – Gunnar Brandt-Sigurdsson & Kai Wessel

# Mathias Spahlinger – “adieu m’amour – hommage à guillaume dufay” (1982/83) für Violine und Violoncello – Kaleidoskop

# Ondřej Adámek – “Wortspiel 1″  (2012) für Countertenor  UA/AW – Gunnar Brandt-Sigurdsson

# Mauricio Kagel – “Der Turm zu Babel” (2002) Melodien für eine Solostimme (Auswahl) – Kai Wessel

# Martin Schüttler – “schöner leben 1″ (music for K. C.) (2008) für Countertenor mit E-Piano, Megaphon, Verstärkungen, Zuspielungen, Maske & Pistole (Text: Kurt Cobain) – Gunnar Brandt-Sigurdsson

# Józef Koffler – “Streichtrio” op. 10 (1928) – Kaleidoskop


Each interpreter is part of a tradition, a school, that is related to his personality, his taste and his teacher. How different the music culture sometimes is, becomes clear when one hears musicians with different characteristics in direct comparison. In addition, faithful! would like to pay tribute to two composers forgotten due to historical circumstances, the Schönberg students Nikos Skalkottas and Józef Koffler.     

8.30 p.m. || Treatise || Philharmonie, Kammermusiksaal

Cornelius Cardew: Treatise (1970/72) – Alter Ego, Ives Ensemble, Solistenensemble Kaleidoskop


Cornelius Cardew’s epochal musical graphics Treatise becomes a platform where the three ensembles are brought together to cooperate. Cardew leaves the musicians a lot of freedom in elaborating the work. We won’t know until afterward whether the three invited ensembles will find common interpretational solutions or if after this collaboration they would instead be better off not performing again on stage together.