One line


ECLAT 2024 invites you to a change of perspective. For the duration of the festival, we will remove the grandstand from the large Theaterhaus hall and bring the audience and art into different, new relationships every day on the resulting free playing space. Where on the opening day we can follow the emergence of sounds in intimate proximity to the performer, on the following day we experience a wide, almost cathedral-like space.

Wed 31.01.

Despite their very different artistic backgrounds, the three prizewinners we are celebrating in the opening concert share a great musical imaginative power. Inspired by Mediterranean cultures, Uday Krishnakumar creates a fictional art music tradition. Irene Galindo Quero unfolds a telepathic communication between two parallel worlds through sensitive threads of sound, while Philipp Krebs, with great gesture, cranks up an ensemble machinery that increasingly picks up speed, from which individuals repeatedly detach themselves as impulse generators.


After the rapid finale of the first concert, there is contemplation. Embedded in two performative concept pieces, the admirably versatile percussion artist Vanessa Porter makes the directness and physicality of Rebecca Saunders’ music tangible in the midst of the audience sitting close to her, revealing the production of her often seemingly enigmatic sounds through a live camera and alienating them at the same time.

Thu 01.02.

»I find the idea of spaces enlivened by the focus of attentive ears very inspiring. In such moments of collective concentration, it almost feels as if invisible threads are growing between us, connecting us for a moment before we disperse back into the world. The ritual of performance is not just about the music being played, but more importantly about spending time together in that special state of consciousness.«

(Christian Mason)


Inspired by the pop music concept of »featuring,« two acclaimed ensembles then unleash a whole new energy as they work together. In constellations of soloists against groups, the attempt to outbid each other to the point of sonically devouring the others, composers and ensembles make the critical discourse on hierarchies and power structures come alive on an artistic level.

Fri 02.02.

A musical theater for children about friendship, trusting and helping each other, diving into fantastic worlds as well as the boundless fantasy of playing opens Friday. In the orchestral concert, baroque instruments meet the classical-romantic orchestra, and Don Quixote and Sancho Panza may be resurrected as pianist and percussionist: For ECLAT fans, this is a re-encounter with Franck Bedrossian’s great work, which can now finally come to the festival in its original version after the chamber version in 2021.


Finally, Friday ends with an artist’s »self-encouragement« for an increasingly free approach to given materials and notes. Beginning with a fantasy on Stefan Wolpe’s »Battle Pieces«, Christoph Ogiermann’s work reaches out into a wide variety of playing styles, expressive attitudes and themes.

Sat 03.02.

For the authors, the romantic song in the tradition of the bourgeois salons is a prototype for the objectification of women and the abuse of power in the art industry. The two female interpreters of the song in the music theater literally become projection surfaces; post-digitally processed hybrid beings emerge from voice, instrument and body, acting on the border between physical and digital space.


In the choral concert, the SWR Vokalensemble not only moves away from the usual in terms of vocal technique: Michael Reudenbach’s work is staged in unusual lighting and meticulously choreographed.


Yair Klartag describes the story of the mystical composer Moshe Najara, who is rooted in Sabbatianism, as a »historiographical extreme case that reaches the limits of rationality and dissolves into irrational mysticism«. Najara’s messianic sound visions inspired his multi-layered lecture-concert.


In a special space-sound setting, Max Marcoll slowly transforms morphing sound masses of equally slowly changing pulses, and he gradually unsettles our perception of time through accelerations and decelerations, shifts and broadenings.

Sun 04.02.

For Poetry Affairs, five poets and five composers from ten different European countries have jointly explored the multifaceted relationships between language and music. From the most diverse perspectives of poetry and composition, nine large performances between concert, installation and music theater are created for ECLAT. In two large event parts, ever new constellations arise from the almost homely closeness of the audience to the performers to the far distance: images and scenes full of rhetorical finesse, powerful, shocking, irritating, sublime poetry, labyrinths of linguistic and musical permutations and subtle shifts in meaning. They lead us into different states of being, describe the aesthetics of error, a life in seven panic attacks, a bizarre odyssey in search of the perfect word or a swan song to the alpine glaciers.


Rock my Religion: The no-wave film by Dan Graham with music by Patti Smith, a counter-design to the religious Shaker rituals, is the model for the Heavy Metal Ritual, which embeds the concentrated experience of Poetry Affairs in three ecstatic, ritualistic moments. Those in the audience who not only want to immerse themselves in the music, but also give free rein to a suppressed rage, can »sacrifice« sounds to the stage from isolated smash or shout booths, where they will be processed and burn up in the frenzy of Sarattma’s volume.


The big hall, meanwhile, will be transformed again for the After Show and we will set the stage free for experimental improvisation, intense conversations, party and dance.

ECLAT online

Welcome to ECLAT ONLINE!

ECLAT 2024 invites you to change your perspective. This also means that a selected part of the festival can once again be experienced live and digitally. Seven of the fourteen ECLAT 2024 concerts will be streamed live for audiences all over the world:


Concert 1 on January 31, 2024 (18:30)

Prizewinners’ concert for the Composition Prize of the State Capital Stuttgart 2023, with works by Uday Krishnakumar, Irene Galindo Quero and Philipp Krebs

Ensemble Apparat/Ensemble Modern/Conductor Angus Lee


Concert 2 on January 31, 2024 (21:30)

DUST with works by Anna Sowa, Rebecca Saunders and Jennifer Walshe

Vanessa Porter, percussion/Stephanie Roser, dance/Rafael Ossami Saidy, dramaturgy/live cam


Concert 4 on February 1, 2024 (21:00)


with works by Svetlana Maraš, Ellen Arkbro and Philipp Krebs

Pony Says/Ensemble Ictus


Concert 8 on February 2, 2024 (22:00)

ENCOURAGEMENTS with works by Eric Wubbels and Christoph Ogiermann

Yarn/Wire/Siddhii Devii Lagrutta, voice and stuff/Gunnar Brandt-Sigurdsson, voice, electronics and stuff/Christoph Ogiermann, piano, violin, electronics and stuff


Concert 9 on February 3, 2024 (16:30)


Concept, composition, dramaturgy, direction, choreography, text: Belenish Moreno-Gil & Óscar Escudero

Duo LAB 51


Concert 11 on February 3, 2024 (21:30)

Yair Klartag: Music of the Sefiras

Ensemble Recherche


Concert 14 on February 4, 2024 (14:30 and 17:30)

POETRY AFFAIRS with works by Bnaya Halperin-Kaddari and Deryn Rees–Jones, Maria Barnas, Dariya Maminova, Vera Burlak, Gemma Ragués Pujol, Luljeta Lleshanaku, Georgia Koumará, Cia Rinne, Severin Dornier

Neue Vocalsolisten


Access to the ECLAT livestream on the concert websites


Live broadcast on SWR2 Kultur

Concert 7 with works by Milica Djordjević, Turgut Erçetin and Franck Bedrossian
ELISION/Christoph Grund, piano/Jochen Schorer, assistant and percussion/SWR Symphonieorchester/conductor Brad Lubman


Recordings SWR Kultur

Concerts 1, 4, 10, 11 and 14 will be recorded by SWR Kultur and broadcast at a later date (see details on the program page of



You can find all past events in our archive.