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2026 Edition — Peter Ablinger and Thirty Years of Cantica Symphonia
Saturday, November 28, 6:00 pm – Sala Italo Tajo
In the Piano and Voices cycle, Ablinger places the piano in dialogue with recordings of speech, interviews, and readings. The voices are not sung but spoken, while the piano analyses and translates their sonic characteristics. As the composer himself explains, “the piano part constitutes a temporal and spectral scan of the respective voice”, a kind of coarse-grained snapshot of spoken language. The piano does not therefore accompany the voice, but observes and compares it, establishing a relationship between reality and perception, between what is said and the way we hear it. Performed by Ana Ostojić, the works in the cycle thus turn speech into musical material, bringing the very act of listening to the fore. Completing the section devoted to Ablinger, Weiss / Weisslich 31e explores the limits of audibility through the sound of water, performed by Sylvain Lemêtre.
The second part of the concert celebrates Cantica Symphonia’s thirtieth anniversary with a programme devoted to Guillaume Dufay, a central figure in the ensemble’s history. Since 1998, the group has devoted six recordings to his music, several of which have received major international awards, including the Diapason d’or de l’année. The choice also carries a particular significance for Pinerolo: according to documentary tradition, Dufay is believed to have stayed there in 1438 as part of the retinue of the House of Savoy.
In his motets, Dufay’s writing reflects the complexity of a period of transition between the tradition of the Ars nova and the emerging Renaissance language. Alongside monumental celebratory motets, associated with important political and ecclesiastical occasions, are more intimate and devotional works, in which the rigour of contrapuntal structures gives way to a more fluid, song-like style. The variety of these forms reveals the richness of a body of work that combines compositional rigour, melodic clarity, and a new attentiveness to the expressive possibilities of the voice.
The concert spans seven centuries of musical history, bringing Peter Ablinger’s exploration of sound perception into dialogue with the vocal music of the fifteenth-century composer Guillaume Dufay.
Two worlds separated by time, yet united by a particular attention to the voice, its structure, and the possibilities of musical writing to convey its complexity.
In the Piano and Voices cycle, Ablinger places the piano in dialogue with recordings of speech, interviews, and readings. The voices are not sung but spoken, while the piano analyses and translates their sonic characteristics. As the composer himself explains, “the piano part constitutes a temporal and spectral scan of the respective voice”, a kind of coarse-grained snapshot of spoken language. The piano does not therefore accompany the voice, but observes and compares it, establishing a relationship between reality and perception, between what is said and the way we hear it. Performed by Ana Ostojić, the works in the cycle thus turn speech into musical material, bringing the very act of listening to the fore. Completing the section devoted to Ablinger, Weiss / Weisslich 31e explores the limits of audibility through the sound of water, performed by Sylvain Lemêtre.
The second part of the concert celebrates Cantica Symphonia’s thirtieth anniversary with a programme devoted to Guillaume Dufay, a central figure in the ensemble’s history. Since 1998, the group has devoted six recordings to his music, several of which have received major international awards, including the Diapason d’or de l’année. The choice also carries a particular significance for Pinerolo: according to documentary tradition, Dufay is believed to have stayed there in 1438 as part of the retinue of the House of Savoy.
In his motets, Dufay’s writing reflects the complexity of a period of transition between the tradition of the Ars nova and the emerging Renaissance language. Alongside monumental celebratory motets, associated with important political and ecclesiastical occasions, are more intimate and devotional works, in which the rigour of contrapuntal structures gives way to a more fluid, song-like style. The variety of these forms reveals the richness of a body of work that combines compositional rigour, melodic clarity, and a new attentiveness to the expressive possibilities of the voice.
The concert spans seven centuries of musical history, bringing Peter Ablinger’s exploration of sound perception into dialogue with the vocal music of the fifteenth-century composer Guillaume Dufay.
In the Piano and Voices cycle, Ablinger places the piano in dialogue with recordings of speech, interviews, and readings. The voices are not sung but spoken, while the piano analyses and translates their sonic characteristics. As the composer himself explains, “the piano part constitutes a temporal and spectral scan of the respective voice”, a kind of coarse-grained snapshot of spoken language. The piano does not therefore accompany the voice, but observes and compares it, establishing a relationship between reality and perception, between what is said and the way we hear it. Performed by Ana Ostojić, the works in the cycle thus turn speech into musical material, bringing the very act of listening to the fore. Completing the section devoted to Ablinger, Weiss / Weisslich 31e explores the limits of audibility through the sound of water, performed by Sylvain Lemêtre.
The second part of the concert celebrates Cantica Symphonia’s thirtieth anniversary with a programme devoted to Guillaume Dufay, a central figure in the ensemble’s history. Since 1998, the group has devoted six recordings to his music, several of which have received major international awards, including the Diapason d’or de l’année. The choice also carries a particular significance for Pinerolo: according to documentary tradition, Dufay is believed to have stayed there in 1438 as part of the retinue of the House of Savoy.
In his motets, Dufay’s writing reflects the complexity of a period of transition between the tradition of the Ars nova and the emerging Renaissance language. Alongside monumental celebratory motets, associated with important political and ecclesiastical occasions, are more intimate and devotional works, in which the rigour of contrapuntal structures gives way to a more fluid, song-like style. The variety of these forms reveals the richness of a body of work that combines compositional rigour, melodic clarity, and a new attentiveness to the expressive possibilities of the voice.
The concert spans seven centuries of musical history, bringing Peter Ablinger’s exploration of sound perception into dialogue with the vocal music of the fifteenth-century composer Guillaume Dufay.
In the Piano and Voices cycle, Ablinger places the piano in dialogue with recordings of speech, interviews, and readings. The voices are not sung but spoken, while the piano analyses and translates their sonic characteristics. As the composer himself explains, “the piano part constitutes a temporal and spectral scan of the respective voice”, a kind of coarse-grained snapshot of spoken language. The piano does not therefore accompany the voice, but observes and compares it, establishing a relationship between reality and perception, between what is said and the way we hear it. Performed by Ana Ostojić, the works in the cycle thus turn speech into musical material, bringing the very act of listening to the fore. Completing the section devoted to Ablinger, Weiss / Weisslich 31e explores the limits of audibility through the sound of water, performed by Sylvain Lemêtre.
The second part of the concert celebrates Cantica Symphonia’s thirtieth anniversary with a programme devoted to Guillaume Dufay, a central figure in the ensemble’s history. Since 1998, the group has devoted six recordings to his music, several of which have received major international awards, including the Diapason d’or de l’année. The choice also carries a particular significance for Pinerolo: according to documentary tradition, Dufay is believed to have stayed there in 1438 as part of the retinue of the House of Savoy.
In his motets, Dufay’s writing reflects the complexity of a period of transition between the tradition of the Ars nova and the emerging Renaissance language. Alongside monumental celebratory motets, associated with important political and ecclesiastical occasions, are more intimate and devotional works, in which the rigour of contrapuntal structures gives way to a more fluid, song-like style. The variety of these forms reveals the richness of a body of work that combines compositional rigour, melodic clarity, and a new attentiveness to the expressive possibilities of the voice.
The concert spans seven centuries of musical history, bringing Peter Ablinger’s exploration of sound perception into dialogue with the vocal music of the fifteenth-century composer Guillaume Dufay.
In the Piano and Voices cycle, Ablinger places the piano in dialogue with recordings of speech, interviews, and readings. The voices are not sung but spoken, while the piano analyses and translates their sonic characteristics. As the composer himself explains, “the piano part constitutes a temporal and spectral scan of the respective voice”, a kind of coarse-grained snapshot of spoken language. The piano does not therefore accompany the voice, but observes and compares it, establishing a relationship between reality and perception, between what is said and the way we hear it. Performed by Ana Ostojić, the works in the cycle thus turn speech into musical material, bringing the very act of listening to the fore. Completing the section devoted to Ablinger, Weiss / Weisslich 31e explores the limits of audibility through the sound of water, performed by Sylvain Lemêtre.
The second part of the concert celebrates Cantica Symphonia’s thirtieth anniversary with a programme devoted to Guillaume Dufay, a central figure in the ensemble’s history. Since 1998, the group has devoted six recordings to his music, several of which have received major international awards, including the Diapason d’or de l’année. The choice also carries a particular significance for Pinerolo: according to documentary tradition, Dufay is believed to have stayed there in 1438 as part of the retinue of the House of Savoy.
In his motets, Dufay’s writing reflects the complexity of a period of transition between the tradition of the Ars nova and the emerging Renaissance language. Alongside monumental celebratory motets, associated with important political and ecclesiastical occasions, are more intimate and devotional works, in which the rigour of contrapuntal structures gives way to a more fluid, song-like style. The variety of these forms reveals the richness of a body of work that combines compositional rigour, melodic clarity, and a new attentiveness to the expressive possibilities of the voice.
The concert spans seven centuries of musical history, bringing Peter Ablinger’s exploration of sound perception into dialogue with the vocal music of the fifteenth-century composer Guillaume Dufay.
In the Piano and Voices cycle, Ablinger places the piano in dialogue with recordings of speech, interviews, and readings. The voices are not sung but spoken, while the piano analyses and translates their sonic characteristics. As the composer himself explains, “the piano part constitutes a temporal and spectral scan of the respective voice”, a kind of coarse-grained snapshot of spoken language. The piano does not therefore accompany the voice, but observes and compares it, establishing a relationship between reality and perception, between what is said and the way we hear it. Performed by Ana Ostojić, the works in the cycle thus turn speech into musical material, bringing the very act of listening to the fore. Completing the section devoted to Ablinger, Weiss / Weisslich 31e explores the limits of audibility through the sound of water, performed by Sylvain Lemêtre.
The second part of the concert celebrates Cantica Symphonia’s thirtieth anniversary with a programme devoted to Guillaume Dufay, a central figure in the ensemble’s history. Since 1998, the group has devoted six recordings to his music, several of which have received major international awards, including the Diapason d’or de l’année. The choice also carries a particular significance for Pinerolo: according to documentary tradition, Dufay is believed to have stayed there in 1438 as part of the retinue of the House of Savoy.
In his motets, Dufay’s writing reflects the complexity of a period of transition between the tradition of the Ars nova and the emerging Renaissance language. Alongside monumental celebratory motets, associated with important political and ecclesiastical occasions, are more intimate and devotional works, in which the rigour of contrapuntal structures gives way to a more fluid, song-like style. The variety of these forms reveals the richness of a body of work that combines compositional rigour, melodic clarity, and a new attentiveness to the expressive possibilities of the voice.
Program
In the Piano and Voices cycle, Ablinger places the piano in dialogue with recordings of speech, interviews, and readings. The voices are not sung but spoken, while the piano analyses and translates their sonic characteristics. As the composer himself explains, “the piano part constitutes a temporal and spectral scan of the respective voice”, a kind of coarse-grained snapshot of spoken language. The piano does not therefore accompany the voice, but observes and compares it, establishing a relationship between reality and perception, between what is said and the way we hear it. Performed by Ana Ostojić, the works in the cycle thus turn speech into musical material, bringing the very act of listening to the fore. Completing the section devoted to Ablinger, Weiss / Weisslich 31e explores the limits of audibility through the sound of water, performed by Sylvain Lemêtre.
The second part of the concert celebrates Cantica Symphonia’s thirtieth anniversary with a programme devoted to Guillaume Dufay, a central figure in the ensemble’s history. Since 1998, the group has devoted six recordings to his music, several of which have received major international awards, including the Diapason d’or de l’année. The choice also carries a particular significance for Pinerolo: according to documentary tradition, Dufay is believed to have stayed there in 1438 as part of the retinue of the House of Savoy.
In his motets, Dufay’s writing reflects the complexity of a period of transition between the tradition of the Ars nova and the emerging Renaissance language. Alongside monumental celebratory motets, associated with important political and ecclesiastical occasions, are more intimate and devotional works, in which the rigour of contrapuntal structures gives way to a more fluid, song-like style. The variety of these forms reveals the richness of a body of work that combines compositional rigour, melodic clarity, and a new attentiveness to the expressive possibilities of the voice.
In the Piano and Voices cycle, Ablinger places the piano in dialogue with recordings of speech, interviews, and readings. The voices are not sung but spoken, while the piano analyses and translates their sonic characteristics. As the composer himself explains, “the piano part constitutes a temporal and spectral scan of the respective voice”, a kind of coarse-grained snapshot of spoken language. The piano does not therefore accompany the voice, but observes and compares it, establishing a relationship between reality and perception, between what is said and the way we hear it. Performed by Ana Ostojić, the works in the cycle thus turn speech into musical material, bringing the very act of listening to the fore. Completing the section devoted to Ablinger, Weiss / Weisslich 31e explores the limits of audibility through the sound of water, performed by Sylvain Lemêtre.
The second part of the concert celebrates Cantica Symphonia’s thirtieth anniversary with a programme devoted to Guillaume Dufay, a central figure in the ensemble’s history. Since 1998, the group has devoted six recordings to his music, several of which have received major international awards, including the Diapason d’or de l’année. The choice also carries a particular significance for Pinerolo: according to documentary tradition, Dufay is believed to have stayed there in 1438 as part of the retinue of the House of Savoy.
In his motets, Dufay’s writing reflects the complexity of a period of transition between the tradition of the Ars nova and the emerging Renaissance language. Alongside monumental celebratory motets, associated with important political and ecclesiastical occasions, are more intimate and devotional works, in which the rigour of contrapuntal structures gives way to a more fluid, song-like style. The variety of these forms reveals the richness of a body of work that combines compositional rigour, melodic clarity, and a new attentiveness to the expressive possibilities of the voice.
2026 Edition — Peter Ablinger and Thirty Years of Cantica Symphonia
Ana Ostojić
Ana Ostojić (1996) is a Serbian pianist based in Austria whose work spans the classical repertoire, contemporary music, performance, experimental music, and free improvisation. She performs as a soloist and with chamber and ensemble formations across Europe and Asia, appearing at international festivals and venues including Wiener Konzerthaus, Suntory Summer Hall Festival in Tokyo, Tongyeong Festival in South Korea, Steirischer Herbst, Impuls, Days of New Piano Music, Elevate Festival and Graz Improv Fest in Austria, Milano Musica, Reate Festival in Rome and Reggio Parma Festival in Italy, and the Festival for New Music in Cyprus, among others.
She is a member of Zeitfluss Ensemble and the Styrian Improvisers Orchestra, co-founder of Coincidence Ensemble, and a regular collaborator with Klangforum Wien and Schallfeld Ensemble. Together with soprano Laure-Catherine Beyers, she forms Duo Ardea, with whom she won First Prize at the IVC Theatre in Song 2025 in the Netherlands and at the Luigi Nono Competition 2026 in Turin, as well as Third Prize at the Schubert and Modern Music Competition in Graz. She has worked closely with composers including Helmut Lachenmann, Beat Furrer, Peter Ablinger, Carola Bauckholt, and Matthew Shlomowitz, and has recorded for GOD Records and Graz-based Murmurs Label.
2026 Edition — Peter Ablinger and Thirty Years of Cantica Symphonia
Ana Ostojić
Ana Ostojić (1996) is a Serbian pianist based in Austria whose work spans the classical repertoire, contemporary music, performance, experimental music, and free improvisation. She performs as a soloist and with chamber and ensemble formations across Europe and Asia, appearing at international festivals and venues including Wiener Konzerthaus, Suntory Summer Hall Festival in Tokyo, Tongyeong Festival in South Korea, Steirischer Herbst, Impuls, Days of New Piano Music, Elevate Festival and Graz Improv Fest in Austria, Milano Musica, Reate Festival in Rome and Reggio Parma Festival in Italy, and the Festival for New Music in Cyprus, among others.
She is a member of Zeitfluss Ensemble and the Styrian Improvisers Orchestra, co-founder of Coincidence Ensemble, and a regular collaborator with Klangforum Wien and Schallfeld Ensemble. Together with soprano Laure-Catherine Beyers, she forms Duo Ardea, with whom she won First Prize at the IVC Theatre in Song 2025 in the Netherlands and at the Luigi Nono Competition 2026 in Turin, as well as Third Prize at the Schubert and Modern Music Competition in Graz. She has worked closely with composers including Helmut Lachenmann, Beat Furrer, Peter Ablinger, Carola Bauckholt, and Matthew Shlomowitz, and has recorded for GOD Records and Graz-based Murmurs Label.
2026 Edition — Peter Ablinger and Thirty Years of Cantica Symphonia
Ana Ostojić
Ana Ostojić (1996) is a Serbian pianist based in Austria whose work spans the classical repertoire, contemporary music, performance, experimental music, and free improvisation. She performs as a soloist and with chamber and ensemble formations across Europe and Asia, appearing at international festivals and venues including Wiener Konzerthaus, Suntory Summer Hall Festival in Tokyo, Tongyeong Festival in South Korea, Steirischer Herbst, Impuls, Days of New Piano Music, Elevate Festival and Graz Improv Fest in Austria, Milano Musica, Reate Festival in Rome and Reggio Parma Festival in Italy, and the Festival for New Music in Cyprus, among others.
She is a member of Zeitfluss Ensemble and the Styrian Improvisers Orchestra, co-founder of Coincidence Ensemble, and a regular collaborator with Klangforum Wien and Schallfeld Ensemble. Together with soprano Laure-Catherine Beyers, she forms Duo Ardea, with whom she won First Prize at the IVC Theatre in Song 2025 in the Netherlands and at the Luigi Nono Competition 2026 in Turin, as well as Third Prize at the Schubert and Modern Music Competition in Graz. She has worked closely with composers including Helmut Lachenmann, Beat Furrer, Peter Ablinger, Carola Bauckholt, and Matthew Shlomowitz, and has recorded for GOD Records and Graz-based Murmurs Label.
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