# Goethe Institut: Hans Tutschku Portrait Concert ![Hans Tutschku](/sites/g/files/omnuum12086/files/styles/hwp_5_4__480x385/public/2025-10/Screenshot%202025-10-24%20at%2012.26.21%E2%80%AFPM.png?h=da309322&itok=ur0lbG2W) #### calendar\_today Date and Time **November 13, 2025** 07:30PM - 09:30PM EST #### pin\_drop Location **Goethe-Institut Boston** [170 Beacon Street Boston, MA 02116 United States ]() [ RSVP arrow\_circle\_right ](https://www.goethe.de/ins/us/en/ver.cfm?event_id=27103199) Join us for a special concert to celebrate German composer Hans Tutschku who is retiring from his position as Fanny P. Mason Professor of Music at Harvard University after 21 years. Hans has been an avid supporter of the Goethe-Institut’s mission to foster international cultural exchange and an important partner over the years. Our first collaboration took place in 2011 with Sound in Space, a festival and competition celebrating the art of Electroacoustic Music and its interpretation, which was geared towards composition students from across North America. Various symposia focused on ground-breaking debates within the German contemporary music scene followed in addition to multiple concerts at the institute. The Goethe-Institut Boston is pleased host this concert and wishes Hans all the best for life after Harvard. Free. RSVP is requested via the Goethe-Institut website. •••••••••••• **Einst mit dir** for soprano, clarinet, violin and live-electronics 2007, 13:00 min upon the poem "Fenster wo ich einst mit dir" by Stefan George "From the very beginning of my compositional work, poetry has been a vital source of inspiration. Over the years, I have created a wide range of pieces—from chamber opera to purely electroacoustic works—often shaped by the writings of Georg Trakl and Karl Lubomirski. Stefan George’s poem “Fenster wo ich einst mit dir” resonated deeply with me, prompting a musical exploration of the complex emotions that follow the loss of someone close. The piece traces a path from deception and anger, through phases of restlessness, and ultimately toward a state of accepting calm." Tony Arnold - soprano Amy Advocat - clarinet Ethan Chaves - violin •••••••••••• **sparks** for piano and 8-ch live-electronics 2021, 17:00 min Sparks represents the next step in my three decades of exploring the relationship between piano and live electronics, pushing toward an immersive experience at the edge of their possibilities. The score moves between precise instructions in traditional notation and moments of interpretative freedom. The electronics respond in real time to the pianist’s playing, generating textures and spatial layers without relying on pre-produced material. Sound and space are continuously shaped by the performer’s interpretation of the score, and in the more elastic passages the pianist makes decisions in direct response to the electronic transformations. The result is intended as a two-way interaction between piano and electronics. Jack Yarbrough - piano •••••••••••• **Still Air 3** for oboe, bass clarinet and electronics 2014, 11:30 min Still Air 3 belongs to a cycle for wind instruments and electronics that explores the fragile yet intricate sonorities of quiet sound. Each piece weaves live instrumental playing with pre-shaped electronic textures, creating a subtle and intimate interplay. Unlike many of my other works, which emphasize speed and density, this cycle searches for musical expression through restraint, minimal activity, and finely shaded nuance. Elizabeth England - oboe Amy Advocat - bass clarinet •••••••••••• **voice-unrooted** for soprano and electronics 2016, 18:00 min Dedicated to: Tony Arnold This solo work for soprano and electronics investigates the sonic qualities of different languages, engaging in a vivid dialogue with real-time sound transformations. Building on Entwurzelt (2012), a composition for six singers and electronics, it explores how expressive depth can emerge from an unfamiliar language. Musical shapes unfold as dramatic gestures—a recurring feature in much of my recent work. Syllables drawn from diverse sources are organized by their acoustic character rather than by meaning, allowing sound itself to take precedence over semantics. The close interplay between soprano and electronics invites listeners to project, interpret, and imagine layers of significance. Here, electronics act as an extension of the voice: amplifying expression, enriching harmonic fields, sculpting complex textures, and at times introducing the unexpected. Tony Arnold - soprano Share on:- [ Facebook ](#) - [ Twitter ](#) - [ Linkedin ](#) Save: [ Add to calendar calendar\_today ](https://music.fas.harvard.edu/node/1656/event-feed.ics) Copy link link