Completely detached from all pandemic inconveniences and annoyances, serenely dedicated to the Good True Beautifulas much as one might wish for this, it is unfortunately completely unrealistic, not only because the pandemic situation has a lasting effect on the daily routine of the organizers, on artistic and organizational work processes, but also because the need to adjust to unprecedented and never feared facts, being thrown upon oneself and confronted with oneself and the needs of others, directly affects art.

Thus, a pandemic festival program lies before us, even more dense than usual, because some things from last year still had to be said, because the artistic need for expression is great in the face of pressing world events, because substantive decisions have demanded dramaturgical additions, and last but not least, because artists are given a different kind of attention in the international festival context than in singular projects. Of course, we want to make this attention possible.


The artistic reactions to this challenging time are very different. Evening-length works allow us to comprehend the expansion of time and direct our ears, as it were, with a magnifying glass to the smallest differences and frictions, focused and concentrated on the beauty of details. Other works playfully seize the technical achievements of the »new reality« and take us on a hybrid digital adventure. And there is music that unfolds completely self-referentially, unaffected by the pandemic situation. This year’s festival thus once again represents a great diversity of what is currently relevant, pressing or questioning in the world of new music.


Those who have followed our work over the past two years have experienced two strands as particularly formative. The first is the mission that our colleague and friend Maria Kalesnikava has virtually conveyed to us, after we followed her charismatic and powerful advocacy of democracy with growing respect and sympathy in the summer of 2020 and accepted her decision, which had become a myth, to achieve more for her homeland as a dissident in prison than as a musician in Stuttgart. Once again we focus on Belarus, invite Belarusian artists to draw a differentiated picture of their situation between exile and resistance with the means of music, poetry, visual and conceptual art. The dramatic developments in Eastern Europe give rise to fears that we are once again heading towards a lasting East-West conflict. All the more important is the exchange on the level of civil society, the understanding of life in patriarchal and autocratic societies. An impressive insight is provided by Sergej Shabohin’s installation »Practises of Subordination« (concert 13), which illuminates life under dictatorship in a way that is as enigmatic as it is revealing, and whose visual language also permeates this preliminary program.


Another focus is the examination of social distancing and the digital means of communication that have grown out of it. In this way, formats have emerged that will certainly complement the traditional concert form in the long term. ECLAT ’21 has shown that online hosting can develop its own charms and produce an exciting festival. In 2022, the focus will be on how we can connect the booster- and FFP2-armed 2G+ live audience that will hopefully flock to our halls with a worldwide online audience. Together with the festival’s protagonists, we are inventing an independent stage space for the computer screen that will translate the individual aura of each work into the digital. Special film perspectives, text and video animations, collages, hybrid and interactive music theater formats will be used to create exciting concert events and an informative and communicative ECLAT portal that will provide a stimulating festival experience for audiences near and far.


This hybrid combination of the local concerts with their elaborate online presentation is made possible by the support of the Baden-Württemberg Foundation, to whom we would like to express our sincere thanks, as well as to all the sponsors mentioned inside the program.


It will be challenging to perceive the whole complex program of the six festival days. But fortunately we have not only 21, but 42 events, and the concerts streamed in real time will be available »on demand« on the Internet for several more weeks. So develop your own festival dramaturgyand also decide for yourself what quantity discount you want to allow yourself, which we have so far always given you through festival passes, whichagain due to the pandemicis not practical this time.


We look forward to seeing you in a few days when the curtain will rise on our web portal and the doors will open in the Theaterhaus: Welcome to ECLAT 2022!


Christine Fischer Artistic Director and the entire festival team

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Theaterhaus, T3

Performing Precarity I

To excel on the instrument, but to live precariously: This is what freelance musicians have always done. Now, however, the arts are increasingly calling the »masterful« into question. A project about the precarious as a principle of form and about giving up control over the musical situation.


Werke von Carola Bauckholt & Elizabeth Hobbs ᵁᴬ, Simon Løffler, Laurence Crane, Lisa Streich
mit Ellen Ugelvik piano/performance, Jennifer Torrence percussion/performance, Anders Førisdal performance

Theaterhaus, T1

Prize Winner Concert

for the Composition Prize of the State Capital Stuttgart 2021

Three prize winners, three different aesthetic concepts. The »tonal found objects« of the first prize winner Benjamin Scheuer, who tries to recreate sounds with various toys and sound objects, are often humorous, strange and full of extra-musical associations.


Works by Mikołaj Laskowski, Benjamin Scheuer and Francesco Ciurlo with Kilian Herold clarinet, Teodoro Anzellotti accordion, Peter Veale oboe, Ensemble Musikfabrik, Clement Power conductor




Practises of Subordination

From text, images, photos and objects, artist Sergey Shabohin formulated a poignant narrative about the state structures that put citizens in Belarus under pressure. Musically commented by Christoph Ogiermann, the »Practises of Subordination« are decoded for us by Lena Prents. Valzhyna Mort talks with Georg Büchner Prize winner Jan Wagner about her poetry collection »Music for the Dead and the Risen,« from which Oxana Omelchuk musically interprets the poem »Music for Girls Voice and Bison.«

Theaterhaus, T3

Zurück in der Zukunft

Uli Löffler and Hannah Weirich expose their impressive arsenal of analog keyboards »to the innovative spirit of the current generation of composers« and let the formerly futuristic instruments experience a not at all nostalgic renaissance.


Works by Dariya Maminova, Eivind Buene, Oxana Omelchuk ᵁᴬ, Milica Djordjević ᵁᴬ, Gordon Kampe with Hannah Weirich violine/e-Violin, Ulrich Löffler Minimoog, Behringer 2600 Synthesizer, Yamaha YC-30 Orgel, Hohner Clavinet, Philicorda, Hohner String Melody

Theaterhaus, T2


Musiktheater hybrid ᵁᴬ

To understand our involvement in global structures, the actors start a mushroom expedition. With their hypothesis that the bizarre world of hyphae and mycelia could be the model for a better world, they also engage the digital audience in an adventurous hybrid game.


Andreas Eduardo Frank composition, Matthias Rebstock stage direction/libretto, Sabine Hilscher stage and costume design, alisch berlec hönow graphic design, Miguel Ángel García Martín percussion / objects, Neue Vocalsolisten

Theaterhaus, Sporthalle


As if it were a figure with a thousand faces: thanks to the guitar’s innumerable possibilities (microtonal, agile, resonant, percussive, spectral, rhythmic, harmonic, melodic), Fuentes forms a gigantic instrument that »floats above a great labyrinthine sound space.«


Poème Maudit for microtonal guitar quartet & guitar ensemble ᵁᴬ
Arturo Fuentes composition/direction/light, aleph Gitarrenquartett, Jugend-Gitarrenorchester Baden-Württemberg


Theaterhaus, T1

SWR2 JetztMusik

Unfortunately, the SWR Vokalensemble had to cancel its participation in ECLAT due to Corona. The soloists of this concert have developed an alternative program with chamber music and juxtapose the two world premieres for trombone quartet with the nucleus of the originally planned choral work by Valerio Sannicandro, »Visio« for three violas. In three solo works for voice, the overtone singer Anna-Maria Hefele gives us the opportunity to discover the phenomenon of polyphonic overtone singing.