The concert opens with the intimate sound‑world of Helene Glüxam, who intertwines the deep, resonant tones of the double bass with a soft, at times barely whispered voice. The Austrian musician shapes a rarefied texture in which the singing seems to arise directly from the body of the instrument, extending its vibrations in an essential, concentrated flow. Her writing, spare and rigorous, explores the innermost resonances of the double bass, transforming them into vocal material: a fragile yet intense dialogue where every sonic gesture expands into space and invites a close, almost meditative listening. What emerges is a contained sonic landscape that foregrounds timbral nuance and the physical relationship between voice and instrument.

In the second part, the stage opens to a collective dimension with Christian Fennesz, Jim O’Rourke & Eiko Ishibashi: an electroacoustic music in which improvisation, digital manipulation, and acoustic instruments merge into a continuous flow. The electronic fabric interacts with minimal gestures and processed sounds, generating shifting landscapes. Their work unfolds through superimpositions, micro‑variations, and resonances, building open forms that slowly emerge from the interplay of timbres, noise, and almost narrative details. The result is a mutable tapestry capable of expanding perceptual space and guiding the audience into an acoustic environment where listening becomes an immersive experience.