Live performance of Steve Reichs piece "Electric Guitar Phase" for 4 electric guitars. 14.3.2026, Neubad, Lucerne. arrangement of Violin Phase (1967) by Dominic Frasca for four electric guitars, or one guitar and tape. A single melodic pattern is played by all four parts at once. One guitar gradually accelerates until it sits one note ahead of the others, then locks back into place. Reich repeats the process, shifting the alignment step by step. As the parts move in and out of phase, resulting patterns emerge that no player is deliberately producing: melodies that are heard rather than performed. Transferred from the 1967 original for violins, the sustained, amplified timbre thickens the interlocking lines and brings these psychoacoustic patterns into sharper relief. HOAX Quartet: Agustín Nazzetta Damiano Pisanello Jinhee Kim Tobias Krebs Video and audio by Nenad Leonart (Leonart Music Video) With financial support by: Burgergemeinde Bern Ernst von Siemens Musikstiftung Fachausschuss Musik BS/BL Fondaton Nica-de Luze GVB Stiftung Kultur Stadt Bern Kulturförderung Kanton Bern LuzernPlus SCHERZO-COMODO-Stiftung Schweizerische Interpretenstiftung Stadt Biel Stadt Luzern FUKA-Fonds Stadt Zürich Kultur Stiftung Wolf Willy A. und Hedwig Bachofen-Henn-Stiftung

Live performance of Jannik Gigers piece "TAR" for 4 electric guitars and tape. 14.3.2026, Neubad, Lucerne. TAR builds an intermedial sound collage from found samples: fragments of guitar sounds drawn from existing recordings. These are routed through the same four amplifiers as the four live guitars, so that authorships and sonic identities, live and tape, merge into one another. Improvisatory elements let the performers react to the incoming tracks. The piece is refracted through the history of electric guitar music in rock, pop and jazz, while subjecting it to deconstruction and recomposition. HOAX Quartet: Agustín Nazzetta Damiano Pisanello Jinhee Kim Tobias Krebs Video and audio by Nenad Leonart (Leonart Music Video) With financial support by: Burgergemeinde Bern Ernst von Siemens Musikstiftung Fachausschuss Musik BS/BL Fondaton Nica-de Luze GVB Stiftung Kultur Stadt Bern Kulturförderung Kanton Bern LuzernPlus SCHERZO-COMODO-Stiftung Schweizerische Interpretenstiftung Stadt Biel Stadt Luzern FUKA-Fonds Stadt Zürich Kultur Stiftung Wolf Willy A. und Hedwig Bachofen-Henn-Stiftung

Live performance of Jana De Troyers piece "Fashionista’s" for 4 prepared electric guitars. 14.3.2026, Neubad, Lucerne. HOAX Quartet: Agustín Nazzetta Damiano Pisanello Jinhee Kim Tobias Krebs Video and audio by Nenad Leonart (Leonart Music Video) With financial support by: Burgergemeinde Bern Ernst von Siemens Musikstiftung Fachausschuss Musik BS/BL Fondaton Nica-de Luze GVB Stiftung Kultur Stadt Bern Kulturförderung Kanton Bern LuzernPlus SCHERZO-COMODO-Stiftung Schweizerische Interpretenstiftung Stadt Biel Stadt Luzern FUKA-Fonds Stadt Zürich Kultur Stiftung Wolf Willy A. und Hedwig Bachofen-Henn-Stiftung

Live performance of Elena Rykovas piece "The Sounds We Cannot Keep" for 4 electric guitars. 14.3.2026, Neubad, Lucerne. The sounds we cannot keep emerges from a personal and historical tension around belonging, memory, and distance. The balalaika appears in this piece not only as a sound reference, but as a symbol charged with multiple and often contradictory meanings. In Russian culture, the balalaika is associated with folk traditions and everyday music-making (“a village instrument”), with voices outside of official power and institutional authority. At the same time, the word itself can also carry connotations of marginality or being cast aside. It is an instrument that belongs to people rather than to force, to sound rather than to violence. In the wake of the Russian invasion of Ukraine in 2022, openly engaging with Russian cultural symbols has become deeply complicated. For many Russians who oppose the war, including myself, this period has been marked by a painful form of self-censorship and distancing. Not as an imposed prohibition, but as an internal response to the devastation, shame, and moral clarity brought by the events. This has also meant an ongoing impossibility of returning home, of seeing family and loved ones, and of relating to one’s own cultural heritage without fracture. This piece does not attempt to reclaim or defend a national identity. Instead, it is a quiet effort to acknowledge the difficulty of holding love, grief, memory, and distance at the same time. The balalaika is present here as a nonviolent object, as an acoustic trace, and as a reminder that culture is made of people, places, gestures, and shared sounds that cannot simply be erased without loss. the sounds we cannot keep is written in the hope that listening, care, and attention can remain possible even when direct access, proximity, and return are not. Elena Rykova, January 2026 HOAX Quartet: Agustín Nazzetta Damiano Pisanello Jinhee Kim Tobias Krebs Video and audio by Nenad Leonart (Leonart Music Video) With financial support by: Burgergemeinde Bern Ernst von Siemens Musikstiftung Fachausschuss Musik BS/BL Fondaton Nica-de Luze GVB Stiftung Kultur Stadt Bern Kulturförderung Kanton Bern LuzernPlus SCHERZO-COMODO-Stiftung Schweizerische Interpretenstiftung Stadt Biel Stadt Luzern FUKA-Fonds Stadt Zürich Kultur Stiftung Wolf Willy A. und Hedwig Bachofen-Henn-Stiftung

Live performance of Andrés Nuño de Buens piece "Leve", 18.5.2024, Druckereihalle Ackermannshof HOAX Quartet: Agustín Nazzetta Damiano Pisanello Jinhee Kim Tobias Krebs Video and audio by Nenad Leonart (Leonart Music Video) With financial support by: Burgergemeinde Bern Ernst Göhner Stiftung Fachausschuss Musik BS/BL Fondation Nicati-de Luze FONDATION SUISA Kultur Stadt Bern Kulturförderung Kanton Bern Kulturprozent Migros Zürich LuzernPlus Parrotia-Stiftung Saly Frommer Foundation Schweizerische Interpretenstiftung Stadt Luzern FUKA-Fonds Stadt Zürich Kultur Stiftung Erna und Curt Burgauer Willy A. und Hedwig Bachofen-Henn- Stiftung

Live performance of Teresa Carrascos piece "Correspondencias", 18.5.2024, Druckereihalle Ackermannshof HOAX Quartet: Agustín Nazzetta Damiano Pisanello Jinhee Kim Tobias Krebs Video and audio by Nenad Leonart (Leonart Music Video) With financial support by: Burgergemeinde Bern Ernst Göhner Stiftung Fachausschuss Musik BS/BL Fondation Nicati-de Luze FONDATION SUISA Kultur Stadt Bern Kulturförderung Kanton Bern Kulturprozent Migros Zürich LuzernPlus Parrotia-Stiftung Saly Frommer Foundation Schweizerische Interpretenstiftung Stadt Luzern FUKA-Fonds Stadt Zürich Kultur Stiftung Erna und Curt Burgauer Willy A. und Hedwig Bachofen-Henn-Stiftung

Live performance of Lara Stanics piece "Circuits", 18.5.2024, Druckereihalle Ackermannshof HOAX Quartet: Agustín Nazzetta Damiano Pisanello Jinhee Kim Tobias Krebs Video and audio by Nenad Leonart (Leonart Music Video) With financial support by: Burgergemeinde Bern Ernst Göhner Stiftung Fachausschuss Musik BS/BL Fondation Nicati-de Luze FONDATION SUISA Kultur Stadt Bern Kulturförderung Kanton Bern Kulturprozent Migros Zürich LuzernPlus Parrotia-Stiftung Saly Frommer Foundation Schweizerische Interpretenstiftung Stadt Luzern FUKA-Fonds Stadt Zürich Kultur Stiftung Erna und Curt Burgauer Willy A. und Hedwig Bachofen-Henn-Stiftung

Live performance of G. F. Haas' "Quartet", 15.10.2022, Kunstraum Walcheturm Zürich HOAX Quartet: Agustín Nazzetta Damiano Pisanello Jinhee Kim Tobias Krebs

GREATER UNITY for 4 electric guitars and electronics composed by Demetre Gamsachurdia, performed by HOAX Quartet. Video recorded in Werkk Baden in November 2022 by Leonart Studio. HOAX Quartet: Agustín Nazzetta Damiano Pisanello Jinhee Kim Tobias Krebs GREATER UNITY: "Divide et impera" is a method known in information technology and is also called the "divide and conquer" method. Based on instinctive behavioural patterns, this concept has been used in a broad social environment since ancient times and is now a normal part of our everyday lives. GREATER UNITY is music that challenges this normality. But this music is not an expression of criticism and certainly not a political manifesto. Rather, it brings with it an experience of universal unification, a stream in which even opposites come together into one big whole. HOAX Quartet: www.hoaxquartet.com www.facebook.com/hoaxguitarquartet www.instagram.com/hoax_quartet Demetre Gamsachurdia: bgerosani.com www.instagram.com/bgerosani Nenad Leonart: leonart.org www.instagram.com/leonart.music.video

GRAT (2020) for 4 electric guitars by Swiss composer Tobias Krebs: www.tobiaskrebs.ch Performance, HOAX Quartet: facebook.com/hoaxguitarquartet From left to right: Damiano Pisanello, Jinhee Kim, Agustin Nazzetta and Tobias Krebs.