Adjacent rooms, a part of a labyrinth
Commissioned by impuls Academy & Festival
Live recorded on 16.8.2021 in the framework of impuls Academy & Festival 2021
Recording: ORF

Conductor: Bas Wiegers
Klangforum Wien

Thomas Frey, Flute(s)
Olivier Vivares, Clarinet(s)
Gerald Preinfalk, Saxophone(s)
Nenad Markovic, Trumpet
Mikael Rudolfsson, Trombone
Aurelie Saraf, Harp
George Lolas, Accordion
Hsin-Huei Huang, Piano
Olivia De Prato, Violin
Dimitrios Polisoidis, Viola
Leo Morello, Cello
Paul Salomon, Double bass

Artwork: Midjourney AI

Adjacent rooms, a part of a labyrinth (2021) | Wiegers & Klangforum Wien

Hybrid Technologies (2022)

Emre Sihan Kaleli: [No.9:2] Seventeen Thoughts on a Chamber Concerto 
Written for the Nieuw Ensemble (Amsterdam), commissioned by Wittener Tage für Neue Kammermusik

Nieuw Ensemble
Conductor: Celso Antunes

Flute: Harrie Starreveld
Clarinet: Jelrik Beerkens
Oboe: Ernest Rombout
Mandolin: Hans Wesseling
Guitar: Helenus de Rijke
Harp: Marieke Schoenmakers
Piano: Sepp Grotenhuis
Percussion: Herman Halewijn
Violin: Lisanne Soeterbroek
Viola: Frank Brakkee
Cello: Jeroen den Herder
Double bass: James Oesi

Seventeen Thoughts on a Chamber Concerto (2013) | Spanjaard & Nieuw Ensemble)

A Dark Light / A Black Sun (2023) | De Paz & PHACE

A Labyrinth, A Ritual (2024)

The work revolves around two central concepts: the ritual and the labyrinth. What unites these ideas is the principle of repetition. In rituals, specific sounds, movements, and symbols are continuously repeated, creating a sense of rhythm and structure. Similarly, a traveler in a labyrinth is inevitably confronted with recurring paths and familiar places.

This piece seeks to evoke a fragment of an imaginary labyrinth—fully aware that such a structure can never be grasped in its entirety. Woven into this image are sounds and musical gestures that conjure an unknown ritual, enveloping the listener in an atmosphere of mystery and recurrence.

between feathers ensemble 

Elīna Viļuma-Helling | Voice
Audrey G. Perreault | Flute
Maria Mogas Gensana | Accordion
Hannes Schöggl | Percussion


Sound engineer: Aron Ludwig

A Labyrinth, A Ritual (2024) | between feathers

Herkunft is a musical exploration—a journey through places that exist not only on a map but continue to live on in the depths of memory. The piece has autobiographical elements and reflects the cultural and musical influences that shape both a person and an artist. It is not merely a movement backward but also forward, a searching exploration of the invisible threads that form identity.
Memories change. They come to the forefront, fade, and return in new forms. Nostalgia is more than looking back—it is movement, a bridge between past and present. It questions what remains of a place when it exists only in memory and what origin means when it is not tied to a single location.

ensemble XXI. jahrhundert 
Elena Gabbrielli, Flutes
Heinz-Peter Linshalm, Clarinets
Samuel Toro-Perez, E-Guitar
Piotrek Motyka, Accordion
Harry Demmer, Percussion
Le Liu, Piano
Bojidara Kouzmanova-Vladar, Violin
JIngyi Zhai, Viola
Dorottya Standi, Violoncello

Conductor:Peter Burwik
Sound direction: Georg Zichy

Herkunft (2025) | Burwik & ensemble XXI. jahrhundert

I am a Diptych (2021) | Trio Tempestoso

Tongue and Trace
for soprano and contrabass flute

Tongue and Trace engages with ecstasy in its dual form; as sacred rapture and as 
sensual intensity. The piece moves within this tension, where the voice becomes 
both vessel and threshold — carrying memory, desire, and rupture in equal measure.

Fragments of text drawn from diverse sources — including Hildegard von Bingen and 
Anaïs Nin — evoke this polarity: spiritual elevation and embodied longing. Their words, 
lifted into sound, create a layered texture in which devotion and desire resonate 
without resolution.

The piece unfolds as a multilingual mosaic — in Latin, Italian, Latvian, German, French, 
and English — where no single language governs. Meaning remains fluid, shaped 
by breath, by musical form, and by the grain of the voice itself. Ecstasy here is not singular 
or transcendent, but fractured and intimate — something traced across the tongue, 
left behind in its wake. Tongue and Trace gives form to this condition: luminous, unstable, 
and composed from what cannot be fully held.

Performers:
Elina Viluma-Helling, Soprano
Alessandro Baticci, Contrabass flute

Live recording from 28 August 2025, REAKTOR Vienna
Recording: Georg Zichy

This piece was commissioned by Cantando Admont. 
https://www.cantando-admont.com/

Tongue and Trace (2025) | Viluma-Helling & Baticci (Cantando Admont)

Through the Interface (2025) for violin, violoncello, and fixed media

Strings&Noise
Sophia Goidinger-Koch, Violin
Barbara Riccabona, Violoncello

Sound direction: Georg Zichy
Audio: Georg Zichy

Live recording from Alte Schmiede, Vienna
Date: 02.11.2025

Through the Interface (2025) | Strings&Noise

Live recording from Dag in de Branding Festival for New Music [The Hague], 05.03.2016

Ensemble Modelo62

Ezequiel Menalled – conductor

Gemma Tripiana Muñoz – flutes
Jorge López García – clarinets
Justin Christensen – trumpet
Santiago Lascurain – guitar
Teodora Stepančić – piano
Klára Andrlová – percussion
Rebecca Huber – violin
Jan Willem Troost – cello
Vasilis Stefanopoulos – double bass


Five Love Songs (2015) | Menalled & Ensemble Modelo62

Il voto dell'innocenza (2014) | Modelo62

Narrator: Selçuk Yöntem
Conductor: Matthew Coorey

Bilkent Symphony Orchestra & Presidential Symphony Orchestra Turkey

Atatürk'ün Bir Genç General Olarak Portresi: 10 Fragman

'I hear the fragile beauty of mortal earth': A Tribute to Claude Vivier (2011)
Live recording, Gaudeamus Muziekweek 2011 (Vredenburg Leeuwenberg/Utrecht)

Nieuw Ensemble

Conductor: Bas Wiegers
Flute: Margreet Niks
English Horn: Ernest Rombout
(Bass) Clarinet: Arjan Kappers
Mandoline: Hans Wesseling
Guitar: Helenus de Rijke
Harp: Ernestine Stoop
Piano: John Snijders
Percussion: Harmen Halewijn
Violin: Emi Ohi Resnick
Viola: Frank Brakkee
Violoncello: Jeroen der Herder
Double Bass: Quirijn van Regteren Altena

I Hear the Fragile Beauty of Mortal Earth (2011) | Wiegers & Nieuw Ensemble

"In this piece, I aimed to create a continuous stream of different thoughts and emotions. It is not only that the consecutive sections significantly differ from each other, but also a number of contrasting layers are often superimposed, i.e. presented simultaneously. The music is dynamic with often and abrupt changes and goes to unexpected directions. The piece is inspired by the fictions of the Argentine writer Jorge Luis Borges. In this piece, I aimed to create a continuous stream of different thoughts and emotions. It is not only that the consecutive sections significantly differ from each other, but also a number of contrasting layers are often superimposed, i.e. presented simultaneously. The music is dynamic with often and abrupt changes and goes to unexpected directions. The piece is inspired by the fictions of the Argentine writer Jorge Luis Borges."

Adjacent rooms, for Borges
performed by Ensemble Reconsil Vienna

Antanina Kalechyts, conductor

Eric Lamb, flute
Helene Kenyeri, oboe/English horn
Mirjam Ilsebill Schiestl, clarinet
Kaori Nishii, piano
Bojidara Kouzmanova–Vladar, violin
Daniel Moser, viola
Maria Frodl, violoncello

Live recording on 10.10.2018 at Reaktor, Vienna
Special thanks to Mehmet Ali Uzunselvi for the mastering of the recording

Adjacent rooms, for Borges (2018) | Kalechyts & Ensemble Reconsil

ensemble XX. jahrhundert
Conductor: Peter Burwik

Flute: Birgit Ramsl-Gaal
Oboe: Gernot Jöbstl
Clarinet(s): Anna Koch
Accordion: Marko Trivunovic
Piano: Kimiko Krutz
Violin: Marianna Oczkowska
Viola: Andjela Sibinovic
Cello: Stefanie Prenn
Double bass: Arisa Yoshida

Recording and mix: Tong Zhang

Imaginary Devices, Book I (2020) | Burwik & EXXI

Performer: Manuel Alacaraz Clemente
Recording/mix: Stefan Warum

Audio-visual version: https://www.youtube.com/watch?v=3nhmWSWjLpA

Proximity (2022) | Manuel Alcaraz Clemente

I am an Austrian composer of Turkish origin, working across genres from chamber music to music theater and multimedia. My music is dynamic and expressive, crafted to captivate listeners with rich narratives and immersive flow.

Emre Sihan Kaleli

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