Due to the Covid19 situation, many of the projects we planned for spring 2020 had to be postponed until autumn. Since we are trying to stage all projects this autumn some concerts of the season 2019/20 on the topic “finally” will alternate with the concerts of the season 2020/21 on the topic “The complexity of simplicity”.

For a better overview, we keep our event calendar in chronological order and will mark the project affiliation for you.


For concert season 2019/20, projects were sought that are “endlich” in one or more aspects or deal with the topic of “Endlichkeit”.The end of a long wait, the impatience, finally, in the end – space and time limited by one word. The finiteness always shows itself on the edge, on the border – a place full of tension – that is, where we have to look.

[´zımple]. The complexity of simplicity

For the 2020/21 concert season, projects were sought that explore the various facets of simplicity and its inherent complications. A complex structure, whose ingenuity lies in its simplicity, is usually hidden under an undemanding and unadorned facade.

20. August 2020 – Knusperimpro – Start 22:00

With the Knusperimpro we – the curator team of the New Music St.Ruprecht – want to establish a new format of encounter. Once a season we invite esteemed musicians of real-time music to play and create music with us.

At this gathering, different forms of synergies should be practised and cultivated: social networking, a commitment to each other, a handout and recognition among colleagues and artists. But more importantly, creating and experiencing together, meet in open-mindedness, attentiveness and respect.

For this we have chosen a place of gathering, a sacred place, a place of silence and prayer, but also a place of celebrations and joy.

Susanna Gartmayer | Bass Clarinet
Margarete Mayerhofer-Lischka | Double bass
Gobi Drab | Recorders
Klaus Haidl | Stringed instruments

30. August 2020 – SCHAUM / Klaus Haidl – endlich.

Foam (Schaum) conforms to its state, an amorphous construct that creates, moves and envelops content, in constant change through the environment, that occupies and encloses it while reflecting and concealing it.

The group Schaum improvises paradigm-free from atonal to harmonious, creative and reactive. The acoustic signals of the instruments are recorded live, electronically altered and then returned to the musicians, who adapt their play to the new quality of their sounds.

Thus, the non-insightful, constantly changing tension conditions of the spheres within define the final appearance for the viewer – foam

Klaus Haidl – Guitar/Effects/Noise
Laura Pudelek – Cello/Effects
Ralph Wakolbinger – Drums/Percussions
Florian Höfinger – Live Electronics/Live Samples/Technique

20. September 2020 – Les Marquises – simplicity

Emilie Skrijelj and Tom Malmendier need not say much, they improvise. Two voices breathe together, exchange, tangle up like a twisted plant.

Tom Malmendier – drums and objects
Emilie Skrijelj – accordion, turntables, electronics

04. October 2020 – ENDLICH FREI! / Fie Schouten – endlich.

Two musicians meet on stage to play compositions and improvisations, but also to listen to each other. ENDLICH FREI celebrates the freedom in- and outside of compositions and shows the boundaries in- and outside of improvisations.

Double bass solo:

Helmut Lachenmann – Toccatina

Georges Aperghis (1945) – Obstinate

Rebecca Saunders (1967) – Fury

(Contra) bass clarinet solo:

Petra Stump-Linshalm – from Uisge Beatha (A Guide to Flavours) (2015)

Rozalie Hirs – Article 7 (2012)

Unsuk Chin – Advice from a Caterpillar

double bass & bass clarinet

Frederik Neyrinck – 4 Fragments (2018)

Fie Schouten – low clarinets

Florentin Ginot – double bass

11. October 2020 – Thanksgiving / [mahd] – simplicity

Mr. Löschel is sitting at the Rhodes. Mr. Klien on the computer.
Music is played freely and without support, coincidence as a friend by the side. Paths are found, progress traces its path and the air mixes what came from different sources before the transducers.

Hannes Loeschel – Rhodes electric piano
Volkmar Klien – computer

24. October 2020 – Doña Sebastiana_for V / Angelica Castello & Jérôme Noetinger – endlich.

Start 23:55

St. Vitalis has been a faithful companion during very important years of my life, when I founded the series for contemporary Music in St.Ruprecht and supervised it for over 13 years, he was always there, in some cases he was also involved in the music or productions. A good old friend.

Santa Muerte (“holy death”), also La Santísima Muerte (“the most holy death”); Doña Sebastiana, is a female figure who is especially called to love, happiness, protection, health or the recovery of lost things, especially in Central and Latin America. La Santa Muerte is mainly called in Mexico, Cuba and in US cities with a high proportion of Latin American, mainly Mexican -born inhabitants. Their followers are made up of members of all walks of life, but are traditionally found in the criminal milieu.

This evening is dedicated to Saint Vitalis … and to all the other dead. The flutes hiss and engulf the tapes of the tape recorder, field recordings of old vanished voices, funerals, and ghost brass bands embrace the room and the sounds want to invite Vitalis to dance a dead (sweet) dance with Doña Sebastiana.

Angélica Castelló – Paetzold, tapes, radios, electronics, häkeln, Installation
Jérôme Noetinger – Revox, radio, tapes, electronics

29. October 2020 – lapse / Drøøm – endlich.

Start 21:00

Drøøm (Clemens Hausch & Benjamin Tomasi) investigate the spatial condition, its extension and finiteness in an acoustic and visual transformation process in the project lapse for the St. Ruprecht church. Using pulses, the space is measured and time divided into segments. The architecture comes to the fore in the areas of tension between the individual impulses. The fading of space – understood as a sensible past – is a key player in sound choreography.

Just as light illuminates parts of the body of the church visually, so does the impulse ‘illuminate’ them in an acoustic way. The “aural architecture” of the church becomes audible. (See Blesser, Salter: Spaces Speak, 2006) This coupling of sound, light and directionality creates very complete and physical impressions for the visitors and creates a “sensory certainty”.

C. Hausch (Elektronics)

Benjamin Tomasi (Elektronics)

EXTERNAL – Alte Gerberei, St.Johann in Tirol

presented by New Music St.Ruprecht

October 30, 2020 – KNUSP – start 8:00 p.m.

As the first project, this ensemble stands for a new format of encounter, initiated by Neue Musik St.Ruprecht. Once a season, the team of curators invites valued musicians of real-time music to exchange musical ideas with you.

At this meeting, synergies as well as opposites are cultivated and cultivated. A musical exchange of opinions and experiences between protagonists of the contemporary art of improvisation.

Susanna Gartmayer | Bass clarinet

Margarete Mayerhofer-Lischka | double bass

Gobi Drab | Recorders

Klaus Haidl | Plucked instruments

08. November 2020 – sound automat Ruprechtskirche / WIEN MODERN – simplicity

As part of the Vienna Modern workshop tour, we are transforming the Ruprechtskirche itself into a studio for instrument makers.

Timothy Didymus and Joshua Legallienne are two British artists who work with the possibilities of an unimpeded acoustic sound.
For Wien Modern they prepare the room with instruments, musical automatons and kinetic sculptures that deal with the specific historical architectural and acoustic qualities of the building.

The idea of ​​reConvert is based on the need to examine the room, to grasp its properties and acoustic potential and to use these as a starting point. To make these room properties audible, only percussive impulses are used. The sound body is formed by the room itself with all its materials and surfaces. Solenoids are used as a medium for the implementation.
The work of reConvert is based on the theory of Marshall McLuhan “The Extension of Man”. The idea that technology is an extension of the human organism is found regularly in the history of thinking about technology. The idea in its most basic form is that technical objects expand the human organism by replicating or strengthening physical and mental abilities.

This event enlivens the area between a conventional concert and a sound art exhibition. Before and after the performances, viewers are encouraged to explore St. Ruprecht and discover the sonic interventions and their relationship to the location.
Joshua Legallienne

EXTERNAL – Forum Stadtpark, Graz

presented by New Music St.Ruprecht

January 21, 2021 – KNUSP – start 8:00 p.m.

As the first project, this ensemble stands for a new format of encounter, initiated by Neue Musik St.Ruprecht. Once a season, the team of curators invites valued musicians of real-time music to exchange musical ideas with you.

At this meeting, synergies as well as opposites are cultivated and cultivated. A musical exchange of opinions and experiences between protagonists of the contemporary art of improvisation.

Susanna Gartmayer | Bass clarinet

Margarete Mayerhofer-Lischka | double bass

Gobi Drab | Recorders

Klaus Haidl | Plucked instruments

07. March 2021 – The Acousmatic Project – simplicity

Acoustic music denotes musical-acoustic events, the sound of which is not related to their objects of origin. In the imagination of the audience, individual phantom images are created that become their own stories. In other words, the acousmatic is the hearing.

In order to make this process tangible, sound compositions are projected over many loudspeakers – a loudspeaker orchestra, the Akusmonium.

Thomas Gorbach – interpretation
Tobias Schubert – technology

April 2021 – Hedda – simplicity

The duo Hedda musically pursues three goals:
-) To play the current music of our time.
-) To cultivate the musical language of our time.
-) To maintain the format of chamber music.

The first program of this intimate line-up consists of new works by Peter Ablinger, Gunter Schneider, Susanna Gartmayer, Tamara Friebel and Hannes Dufek.

Sophia Goidinger-Koch – violin
Klaus Haidl – guitar

09. May 2021 – Heilbron & Hvizdalek DOUBLE CONCERT – simplicity

The Australian-German musician Jonathan Heilbron overlays, interweaves and moves the sounds of four portable chord organs. These well aged instruments bring their individual sound and playing characteristics (microtonal fluctuations, noises, dynamic blurring) into the musical process. The sound result is simple, meditative and highly complex at the same time.

Agnes Hvizdalek is conceiving a new work for the sound space of the Ruprechtskirche. With curiosity and persistence, the voice virtuoso always moves to the limit of the inhumane and finds materials and opportunities that become good friends in the process of getting to know each other.

Each performance takes about 40 minutes, there will be a break.

Jonathan Heilbron – chord organs
Agnes Hvizdalek – composition, voice
Daniel Lercher – sound engineering

13. June 2021 – The Space Between Us – simplicity

This musical duo is an intimate, intense look between two contrasting characters. By listening to the contrasting tones and tendencies of our individual instruments, we create the space between us. In the circulation of our sound we find common tones and construct our music from this common resonance and silence. This music is our constant private conversation. As with all good conversations, the spirit of our spontaneous co-compositions is simple and honest, while the space for exploration and expression is ripe for complexity.

The unexpected combination of baritone saxophone and viola d’amore with contrasting idiomatic timbres and tendencies offers fascinating material for creative debates and surprising agreement.

Jennifer Thiessen – Viola d’amore
Ida Toninato – baritone saxophone