Pedro Carneiro

Pedro Carneiro



»Different« is an attempt to find other aesthetic directions, away from the aesthetics established in the 20th century. Although »Different« was written in 2019-2020, it belongs to the period between 2004-2006, when I tried to synthesize Arabic music with contemporary Western music.

»Different« is a modest attribute for any creative spirit that strives for independence and individuality and wants to stand out from the collective mind, from the style or way of thinking that prevails in a certain field, art or era. I can find no better words than the following quotes to express this:

»It is not always good to howl with the wolves.« (Debussy)

»Otherness is that which eludes definition when definition is established.« (Derrida)

»Style is man himself.« (Buffon)
Saed Haddad

Saed Haddad

The Jordanian-German composer and lecturer Saed Haddad (*1972 in Jordan), after training at the Catholic seminary of Beit-Jala (with the aim of becoming a priest), continued his philosophy studies in Belgium and subsequently composed in Jordan, Israel and England.

In his works from 2004-2006, he focused on a synthesis between the Western and Arab traditions; this was (and still is) accompanied by an extensive study of so-called Arab culture. From 2007 to 2014, Haddad used certain musical techniques to interrogate the idea of oblivion in Arab culture. They allow filtering the memory and at the same time introducing elements of oblivion. From 2015 to the present, Haddad sees musical composition as an ethical responsibility, linked to compassion for human suffering. In addition to clearer Arabic musical traces (which in a way form a synthesis of the two periods already mentioned), melancholy, darkness and some shades of pale light are salient features of this period.

Haddad’s music has been commissioned and performed by the most prestigious international ensembles and orchestras in Europe, North America, Asia, Africa, and Australia, under the direction of Daniel Barenboim, Heinz Holliger, and George Benjamin, among others. His work has been recognized with numerous awards, including the French and German Prix de Rome in 2008-10, the German Record Critics Award in 2010, and a commission from the Koussevitzky Music FoundationLibrary of Congress in 2014.

528 Hz 8va

528 Hz 8va

A fast but pleasantly active heartbeat, an unconscious smile that does not fade away, a constantly changing sound that nevertheless always leads exactly to where even more energy is releasedas if one had directed it oneself; the tempo always brisk, but enough pauses to take a breath, never a screaming contrast that abruptly interrupts the pulse.

528 HZ 8va places itself deliberately and energetically in the service of an optimistic view of facts and the world. The piece does not aim at a drama of high flights and low falls, and it avoids abrupt contrasts. Instead, it is a music of joy in several stations that slide into one another. That a music that draws from the abundant fund of positive sound connotations and emotions need not drift into New Age major chords or empty brass jubilation becomes clear after only a few bars of the piece. Euphoric, chaotic moments can be found in the piece as well as warmly embracing lullaby melodies. Again and again, soloistic moments emerge from the orchestra, forming small moving groups within the flow of sound and, taking us by the hand, leading us through the piece. The piece then moves into an upward spiraling virtuosic cadenza in which material from all the preceding orchestral moments of bliss, polyphonically linked, culminates in an orgasmic climax. Music is a fountain of youth and is to be explicitly dug anew as such here. A bit like Mdma without side effects.

Now this piece is also rejuvenatedin a new version with electronics from the SWR Experimental Studio. Ying Wang sets out in search of other, digital moments of happiness that lie behind those analog ones that have already sounded. There is nothing merely zeitgeisty in this, but the digital everyday life, not only that in Zoomlandia. Individual moments of happiness in the piece are electronically paused so that they can be enjoyed longer, like a digital freezeglitch at the favorite spotcoitus extensus. Some moments are now also inverted to see if the joy inscribed in them can’t sound different. The dynamics are also expanded, everything becomes more extreme and more, that also needs a new acoustic space, 8 channels sothe electronics can do that.
Ying Wang

Ying Wang

In her compositions, Ying Wang (1976 in Shanghai) deals with topics such as environmental pollution, global social ills, political persecution, or man’s relationship to technology. In her work, she constantly seeks new interfaces with other media and arts such as dance, video, digital art, light, visual art and performance.
Ying Wang came from Shanghai in 2003, first to Cologne and finally to Berlin. She has collaborated with numerous orchestras and ensembles in Europe as well as Asia. In 2013, she was awarded the Giga-Hertz Prize Production Award and the Composer Award of the 5th Brandenburg Biennale. In addition to the IEMA scholarship in 2009/10, she received further scholarships from the Experimental Studio of the SWR, the Federal Ministry of Vienna and, at the suggestion of Peter Eötvös, from the Herrenhaus Edenkoben. In 2014 she won the 35th Irino prize for chamber orchestra in Tokyo. In 2015 the Deutschlandfunk invited her as »composer in residence« to the festival »Forum Neuer Musik« in Cologne. In 2017 she received the Heidelberg Künstlerinnenpreis. In 2020, she was a fellow of the German Academy in Rome.
Ying WANG completed her composition studies with York Höller, Rebecca Saunders and Johannes Schöllhorn at the HfMT Cologne. She studied electronic composition with Michael Beil. In 2010, she completed the master’s program in contemporary music at the Frankfurt University of Music and Performing Arts on a scholarship from the International Ensemble Modern Academy (IEMA). In 2012 she participated in the Cursus de Composition et d’informatique musicale/Ircam Paris.

Ferro Canto

Ferro Canto

Instead of a comment
(to Josef Häusler, the then editor for new music at SWF Baden-Baden)


Hey Joe, what should someone say about his music?…
Maybe first play and listen,
play and listen to 247 bars of music and then say something?…
Reports about calculated construct-destruct
and sound and time things, about doubt-delay?…
Saying what after the scaffolding has come down?
Hey Joe, what I can do at best is explain the title:
Ferro Canto sings of the man who sat on the corner of George Street and
and Town Hall, Sydney, beating an iron drum with heavy wooden sticks…
on an iron drum.
So vehemently he did it, as if the drum were the embodiment
embodiment of what was tormenting him….
but also his last iron armor.
At the same time he stomped and shouted at passing gaff people
and spoke of the
»biting late autumn of the white-hot pigs«
and announced that he, who was actually a happy man,
would have liked to become a happy man, too; but
that it had become too late for that here and now.
Oh no, not a street musician with a fancy protest song or complacent denial.
No, his tones were final signs (signals) of despondency
of despair, tones of despair at a dull-dumb human world in failure.
And of his inability he sang,
to sing along to this world’s squeaky-clean song.
No madman, as we would like to have it;
rather one in the process of recognition.
Rather one, whoridden by the demon of knowledgenevertheless
nevertheless blows for departure.


Freely after J.H. (Jimi Hendrix) to J.H. (Josef Häusler)
Volker Heyn 1989

Volker Heyn

Volker Heyn (*1938 in Karlsruhe) emigrated to Australia in 1959. There he acquired a tape machine and experimented with the so-called »hard and soft edges of reverberating metal« as an observation of unpredictable both non-lyrical and poetic aspects of random sound events. In 1960-63 he studied at Sawitzkys Actors School in Melbourne and was a member of a touring theater company. 1966-71 followed guitar studies with Antonio Losada in Sydney, and he studied music theory with Don Andrews at the Sydney Conservatory. In 1972 Volker Heyn returned to Europe and studied guitar in Karlsruhe with Mario Sicca and composition with Werner Eugen Velte, in whose group for creative music he became a member. Since 1979 he has been a freelance composer. He has received grants from the Kunststiftung Baden-Württemberg, the Heinrich Strobel Stiftung des SWF, the Rolf Liebermann and the Körber Stiftung, and the Musikfonds Neustart Kultur, among others. His works have been premiered at numerous festivals for new music.

SWR2 JetztMusik

Theaterhaus, T1
Pedro Carneiro quarter-tone marimba SWR Experimentalstudio Freiburg Thomas Hummel sound direction SWR Symphonieorchester

Saed Haddad: Different

for quarter-tone marimba and orchestra (2021/22) ᵁᴬ

Ying Wang: 528 Hz 8va

for orchestra and electronics (2021/22) ᵁᴬ

Volker Heyn: Ferro Canto

for orchestra and tape (1989) ᵁᴬ

An Australian street musician could not get out of composer Volker Heyn’s head. Not so much because of his special musicality, but because he shouted and drummed out what he perceived as injustice and inattention in the world. Thirty years ago, Heyn already wanted to make this »Eisengesang« (»iron song«) audible with a large orchestra and multi-channel tape; the realization in Donaueschingen was not realized after several attempts. Its message, however, is highly topical; we dare to give the (late) premiere. In view of all the pandemic tensions and negative news, the Chinese composer Ying Wang went in search of positive vibrations. She found the love frequency: 528 Hz. Her piece is based on it.


So accusation and affectionbut what about surprising intermediate tones in polarizing times? Saed Haddad wrote his concert piece for an instrument specially developed by the Portuguese soloist. A quarter-tone marimba challenges the orchestra to dialogue: be different!


Sendung SWR2 Abendkonzert
25. Februar 2022 / 20:0522:00 Uhr

Alle Kompositionen dieses Konzerts sind Auftragswerke des SWR.