Date:
Time:
7.30pm
Sparkling moments that go beyond sound, text, and transformation: Composer, musician and performer Stepha Schweiger invites audiences to a dazzling concert between song and soundscape. Known for her experimental sonic worlds and for merging language with music, she draws inspiration from British and New Zealand literature, translating exceptional texts into new musical dimensions through bold releases.
For the Echoes of Katherine Mansfield tour 2025, Schweiger brings her songs to the stage with voice, keyboard and electronic playbacks – direct, multi-layered, and transporting the audience into otherworldly landscapes.
Following her lecture at the Katherine Mansfield Congress / University of Birmingham on 2 July, Stepha Schweiger will give a single concert in the UK at the Old Hairdresser’s Glasgow. In September she will perform the programme with a small band at Cafe Wolf Graz (Austria) and at the Inn-Stadt-Festival Passau (Germany)
Her works were performed at major international venues and festivals such as Heroines of Sound / Radialsystem Berlin, musikprotokoll / Steirischer Herbst Graz, Staatsoper Berlin / Atonale, Tête à Tête: The Opera Festival London, Agora Festival / IRCAM Paris, Composer’s Symposium / University of New Mexico USA, and Suoni del Corpo Festival Rome.
Her new interdisciplinary music theatre THE WATS will premiere at Ballhaus Ost Berlin on 2 October 2025 and will be performed at the SONIC VISIONS Festival Reutlingen on 14 November 2025.
Working across experimental music, avant-garde, free jazz, song, indie pop, krautrock and spectral music, Schweiger creates immersive experiences. Through reduction, noise, and interaction with the audience, she transforms performances into spaces of reflection and participation.
Website: https://www.stepha-schweiger.
Music & videos (selection):
Stepha Schweiger ‘When I Was a Bird’; Text: Katherine Mansfield, produziert von Pyrolator: https://open.spotify.com/intl-
Sea Crazy Song, 2020, Text: Katherine Mansfield, produziert von Pyrolator:
Stepha Schweiger ‘Now I’m a Plant’; Text: Katherine Mansfield, produziert von Hanno Leichtmann:
Floryan nachdenklich (Jlin Remix), 2021, Text: Katherine Mansfield, Video: PFA Studios
The Moon Is No Door ‘Tiny Moment’, 2022: https://open.spotify.com/intl-
Press clippings (selection)
“Stepha Schweiger has composed a relatively minimalist soundscape, iridescent and with subtle tensions emerging from the specific transformation of the Woolf-like textual flow.”
nmz – neue musikzeitung, 2017
“However, it was the composition that provided the elementary material for this stream of thought, which leads through primordial depths and naturalisms along the brims of a society in a state of flux.
Stepha Schweiger allowed the ensemble to breathe, feel, float and act in space under the direction of Chatschatur Kanajan.”
Süd-West-Presse, 2018
“Music between new beginnings and retro effect, between the radiant joy of experimentation and a classical cut. … Schweiger raises the tension from sensual, delicate sound clusters to a melodic quality that is almost reminiscent of the free jazz experiments of the 70s, while enticing with an irresistible groove.”
Augsburger Allgemeine, 2018
“… the Berliner with her distinctive voice traverses dark, untrodden paths between chamber pop, electronic noise, jazz and art music. Her new album is a bow to Katherine Mansfield, … A profound, dramatic and enriching ‘piece of art’…”
Flight13, 2019
Flight13, 2019
Deutschlandfunk Kultur 2021: 12-minute feature from minute 28:45
Stepha Schweiger participates in an extraordinary programme about Anna Clementi, with an interview and live excerpts from “The Mark on the Wall”, the music theatre staged at the Tête à Tête Festival in London, the Theater im Delphi in Berlin, the AckerStadtPalast in Berlin and the KlangHaus Festival in Ulm from 2017-2019.
“New Music from Berlin, Mansfield, urgent – Through the art-pop of her new project, she merges her penchant for indie-pop with an openness for improvisational experiments: songs that are well-rounded, often almost haunting, replete with many barbs.
Just as ethereal as they are urgent – opening up a myriad of ways of tuning in.”
(taz, 2022)
(taz, 2022)
“Wild and darkly rampant Krautjazz songs”
(Rolling Stone, 2022)
(Rolling Stone, 2022)
“The result [is] magnificent. Whether as a tender pop song like the title track, or delicate, gripping indie rock like “Gray’s Inn Road” or sometimes as a SiSo-style, withdrawn, but always enormously powerful ArtPop with a jazz feeling like in “Pitiful God” – even a few free jazz sax snippets casually interspersed in a KrautPostPsychAvantPop amalgam work a treat (“Revelation”).
And Schweiger’s versatile voice towers above it all.”
(5 out of 5 points, Westzeit, 2022)
