Heroines of Sound Festival: Day 3
Marie Delprat / ensemble mosaik / Anna Clementi / Irene Kurka / Leah Muir
Concert Installation Performance Panel Workshop
Iris ter Schiphorst © Astrid Karger
Ticket Prices
Day Ticket
22 Euro reduced 16 Euro
2-day Ticket
38 Euro reduced 28 Euro
3-day Ticket / Festival Pass
54 Euro reduced 40 Euro
Workshop
10 Euro with festival pass 5 Euro
Admission to the exhibitions, panel discussions and the sound and film bar is free.
On the third day of the festival, electronic sounds merge with intense physical and vocal presence. In a live performance for synthesiser and voice, Marie Delprat transforms intimate emotions into powerful moments of resistance, inspired by stylistic elements from Barock music.
Following this, Heroines of Sound honours the innovative work of Berlin composer Iris ter Schiphorst with full-length portrait concert. ensemble mosaik and vocal performer Anna Clementi interpret a variety of her works, dedicated to various socio-political topics. A feminist programme consistently unfolds, in which…
On the third day of the festival, electronic sounds merge with intense physical and vocal presence. In a live performance for synthesiser and voice, Marie Delprat transforms intimate emotions into powerful moments of resistance, inspired by stylistic elements from Barock music.
Following this, Heroines of Sound honours the innovative work of Berlin composer Iris ter Schiphorst with full-length portrait concert. ensemble mosaik and vocal performer Anna Clementi interpret a variety of her works, dedicated to various socio-political topics. A feminist programme consistently unfolds, in which various temporal and media layers intertwine.
The day closes with a new multimedia film opera “Em-Body-Ment” by composer Leah Muir. Emerging from years of collaboration with soprano Irene Kurka, the musical drama illuminates tenderness and bodily transcendence, weaving traces of past and present cultures into an extraordinary total experience.
Airchoir – A Space of Listening Bodies
Workshop with Anouk Kellner
In this hands-on workshop, we create a performative listening situation in which sound is not understood as representation or mere production, but as a field of presence – an event in which listening and sounding emerge in real time, continuously shaping one another. Together, we explore how perception, attention and relation take form in shared space, and how architecture and environment actively co-compose sonic experience rather than simply frame it. Our playground is “Airchoir”, a specially developed system of ventilation and electronics that sets 26 metal and wooden organ pipes into vibration, while inflatable elements expand and contract like breathing bodies. Through pulses of air, resonance and iterative experimentation, we enter shifting modes of listening. A sonic body forms through air, resonance and subtle interference, where individual voices merge, drift apart and continuously reconfigure across space. Sound is approached not as fixed composition, but as vibration, breath and relational presence – a shifting field shaped through movement, proximity and listening. Participants are invited to bring an instrument, sounding objects, their voice – or nothing at all.
Programme
14 h Workshop
Anouk Kellner: “Airchoir – A Space of Listening Bodies“
18 – 24 h Sound and Film Bar
Heroines of Sound Selection 2026
18 h Panel
From 18 h Sound Art
Anouk Kellner: “Airchoir No. 2: Dirges for (26) Coded Organ Voices“ (2025)
20 h Concert
Marie Delprat: “What Remains After Desire“ (2026, UA)
für Stimme und Elektronik
21 h Concert
ensemble mosaik
Iris ter Schiphorst: “Sometimes II“ (2016/2017)
for amplified ensemble, sampler, 2–4 thunder sheets with transducers and live electronics
Iris ter Schiphorst: “Changeant“ (2004)
for voice and tape ad libitum; text: Karin Spielhofer
Iris ter Schiphorst: “Transformationen III“ (2022/2026, Neufassung)
loosely based on the poem “Diepe tijd” (Deep Time) by Dominique de Groen
Iris ter Schiphorst: “Anna’s Song“ (1993/2026)
from the opera ‘Anna’s Wake’ (1992) Arrangement for two female voices, violin, viola and cello; text: Christine Daum
Iris ter Schiphorst: “meine-keine lieder/die aufgabe von musik“ (2014)
for amplified female voice/performance, bass clarinet and piano/sample keyboard (1 performer)
Iris ter Schiphorst: “Breaking“ (2012)
for amplified ensemble, sampler and live electronics
22.30 h Concert
Leah Muir: “Em-Body-Ment. A Multimedia Drama” (2025, DE)
Cast
With
Marie Delprat
ensemble mosaik
Catherine Larsen-Maguire
Anna Clementi
Irene Kurka
Leah Muir
Cast
With
Marie Delprat
ensemble mosaik
Catherine Larsen-Maguire
Anna Clementi
Irene Kurka
Leah Muir
Biographies
Heroines of Sound wurde aus der Berliner Szene mit einer feministischen Agenda von Bettina Wackernagel und einer Gruppe von Künstler*innen initiiert. Zur Aufführung gelangen herausragende frühe Werke sowie zukunftsweisende Positionen von jüngeren Künstler*innen. Die Idee ist, die Verbindungslinien unterschiedlicher Genres erfahrbar zu machen und die Präsenz von FLINTA-Künstler*innen im Kunst- und Musikbetrieb kontinuierlich zu stärken.
Biographies
Heroines of Sound wurde aus der Berliner Szene mit einer feministischen Agenda von Bettina Wackernagel und einer Gruppe von Künstler*innen initiiert. Zur Aufführung gelangen herausragende frühe Werke sowie zukunftsweisende Positionen von jüngeren Künstler*innen. Die Idee ist, die Verbindungslinien unterschiedlicher Genres erfahrbar zu machen und die Präsenz von FLINTA-Künstler*innen im Kunst- und Musikbetrieb kontinuierlich zu stärken.
Programme
14 h Workshop
Anouk Kellner: “Airchoir – A Space of Listening Bodies“
18 – 24 h Sound and Film Bar
Heroines of Sound Selection 2026
18 h Panel
From 18 h Sound Art
Anouk Kellner: “Airchoir No. 2: Dirges for (26) Coded Organ Voices“ (2025)
20 h Concert
Marie Delprat: “What Remains After Desire“ (2026, UA)
für Stimme und Elektronik
21 h Concert
ensemble mosaik
Iris ter Schiphorst: “Sometimes II“ (2016/2017)
for amplified ensemble, sampler, 2–4 thunder sheets with transducers and live electronics
Iris ter Schiphorst: “Changeant“ (2004)
for voice and tape ad libitum; text: Karin Spielhofer
Iris ter Schiphorst: “Transformationen III“ (2022/2026, Neufassung)
loosely based on the poem “Diepe tijd” (Deep Time) by Dominique de Groen
Iris ter Schiphorst: “Anna’s Song“ (1993/2026)
from the opera ‘Anna’s Wake’ (1992) Arrangement for two female voices, violin, viola and cello; text: Christine Daum
Iris ter Schiphorst: “meine-keine lieder/die aufgabe von musik“ (2014)
for amplified female voice/performance, bass clarinet and piano/sample keyboard (1 performer)
Iris ter Schiphorst: “Breaking“ (2012)
for amplified ensemble, sampler and live electronics
22.30 h Concert
Leah Muir: “Em-Body-Ment. A Multimedia Drama” (2025, DE)
Credits
The Heroines of Sound Festival 2026 is funded by the Capital Cultural Fund, with the kind support of the Ernst von Siemens Music Foundation and the Adam Mickiewicz Institute. In cooperation with Radialsystem and the Frequenz Festival Kiel.
Media partners: Digital in Berlin, Glissando, GROOVE, Neue Zeitschrift für Musik, Kaput - Magazin für Insolvenz & Pop, MusikTexteOnline, The Wire, The Quietus, L.MAG, taz. die tageszeitung.
Media partners Radialsystem: The Berliner, tip Berlin, taz – die tageszeitung.
Credits
The Heroines of Sound Festival 2026 is funded by the Capital Cultural Fund, with the kind support of the Ernst von Siemens Music Foundation and the Adam Mickiewicz Institute. In cooperation with Radialsystem and the Frequenz Festival Kiel.
Media partners: Digital in Berlin, Glissando, GROOVE, Neue Zeitschrift für Musik, Kaput - Magazin für Insolvenz & Pop, MusikTexteOnline, The Wire, The Quietus, L.MAG, taz. die tageszeitung.
Media partners Radialsystem: The Berliner, tip Berlin, taz – die tageszeitung.
On the third day of the festival, electronic sounds merge with intense physical and vocal presence. In a live performance for synthesiser and voice, Marie Delprat transforms intimate emotions into powerful moments of resistance, inspired by stylistic elements from Barock music.
Following this, Heroines of Sound honours the innovative work of Berlin composer Iris ter Schiphorst with full-length portrait concert. ensemble mosaik and vocal performer Anna Clementi interpret a variety of her works, dedicated to various socio-political topics. A feminist programme consistently unfolds, in which various temporal and media layers intertwine.
The day closes with a new multimedia film opera “Em-Body-Ment” by composer Leah Muir. Emerging from years of collaboration with soprano Irene Kurka, the musical drama illuminates tenderness and bodily transcendence, weaving traces of past and present cultures into an extraordinary total experience.
Airchoir – A Space of Listening Bodies
Workshop with Anouk Kellner
In this hands-on workshop, we create a performative listening situation in which sound is not understood as representation or mere production, but as a field of presence – an event in which listening and sounding emerge in real time, continuously shaping one another. Together, we explore how perception, attention and relation take form in shared space, and how architecture and environment actively co-compose sonic experience rather than simply frame it. Our playground is “Airchoir”, a specially developed system of ventilation and electronics that sets 26 metal and wooden organ pipes into vibration, while inflatable elements expand and contract like breathing bodies. Through pulses of air, resonance and iterative experimentation, we enter shifting modes of listening. A sonic body forms through air, resonance and subtle interference, where individual voices merge, drift apart and continuously reconfigure across space. Sound is approached not as fixed composition, but as vibration, breath and relational presence – a shifting field shaped through movement, proximity and listening. Participants are invited to bring an instrument, sounding objects, their voice – or nothing at all.
Cast
With
Marie Delprat
ensemble mosaik
Catherine Larsen-Maguire
Anna Clementi
Irene Kurka
Leah Muir
Biographies
Heroines of Sound wurde aus der Berliner Szene mit einer feministischen Agenda von Bettina Wackernagel und einer Gruppe von Künstler*innen initiiert. Zur Aufführung gelangen herausragende frühe Werke sowie zukunftsweisende Positionen von jüngeren Künstler*innen. Die Idee ist, die Verbindungslinien unterschiedlicher Genres erfahrbar zu machen und die Präsenz von FLINTA-Künstler*innen im Kunst- und Musikbetrieb kontinuierlich zu stärken.
