In "Somehow We Can", Solistenensemble Kaleidoskop explores the many faces of the string quartet. Curated by Ethan Braun, composer and long-standing artistic partner of the ensemble, the project brings together twelve composers and just as many interpreters who demonstrate the versatility and relevance of this genre together. They let us experience the string quartet as a dynamic and complex web of relationships, as a collective expression of art and society.

Compiled with a keen sense of tonal diversity, cultural contexts and musical idiosyncrasies, these twelve pieces expand the possibilities of the string quartet not only in terms of content but also in form. The compositions range from deconstruction and improvisation to in-depth sonic exploration and poetic intimacy. Some of these works will be performed in Europe for the first time. The programme also allows voices to be heard that often remain marginalised in the canon of New Music, such as those of BiPoC and LGBTQ+ composers. These artists create a musical texture that does not flatten differences, but makes them audible in productive ways, inviting the audience to a polyphonic, shared experience.

Alvin Singleton's “Somehow We Can”, which gives the programme its title, Yuri Umemoto's “Fluffy Pink!” and Sarah Davachi's “Icon Studies II” perfectly exemplify this evening of quartets: Singleton is one of the most distinguished African-American composers but thus far, his work has rarely been performed in Europe. His quartet focuses on the simultaneity and co-existence of various themes without forcing them into a linear progression – a call for letting differences co-exist. With "Fluffy Pink!", Yuri Umemoto, a young composer from Japan, brings a radically different perspective to the programme: playful, exaggerated, and inspired by the aesthetic of anime and otaku culture. Umemoto transforms the string quartet into a many-armed, octopus-like figure that oscillates between virtuoso technique and pop-cultural reference – a fascinating break with classical listening habits. Meanwhile, Sarah Davachis' "Icon Studies II" turns microtonal nuances into monumental sound structures, challenging the perception of time and space and creating a uniquely dense sonic landscape.