Trabant 2018/19 followed in its outer, organizational form the pattern of the 2016 modified, second Satellite edition, as it had proven itself in every respect. In addition to the 8 candidates, this time we awarded a “wild card” to the (very) young and talented composer Joey Tan, who had come to our attention during our trip to Singapore last fall. Joey participated as a full member of the group, but externally funded and thus not a burden on the adjacent budget.

In an initial module in November 2018, there was room for instrument-specific issues ranging from small instrumentation to balance issues in full instrumentation. Our core members involved were able to pass on their experience and know-how and information about relevant literature directly to the composers present together as a “class”, which fell on very fertile ground.

In a second module – scheduled for January 2019 – the composers arrived partly with sketches, partly with fully developed compositions in their luggage, which were tried out and tested by larger registers and subsequently by the full ensemble. Feedback from Detlev Müller-Siemens, who was present from this point on, from Jürg Henneberger and from members of the ensemble led to a deeper, more intensive examination of the compositional sketches. Erik Oña had to withdraw completely from the project due to his serious illness, and we were able to replace him with Detlev Müller-Siemens, with whom we had already successfully collaborated in the same capacity in the 2016/17 edition.

For the third module (June 2019), all composers provided a finished piece in score and part material (digital and on paper), which 8 of the 9 composers also complied with (Korean’s Ji Hyon Yoon stayed away from the last module for family reasons). In an almost too dense rehearsal phase, the full ensemble rehearsed the eight partly extensive compositions, again with the constant presence of all composers and Detlev Müller-Siemens. On Saturday, June 8, 2019, all compositions were premiered in a deliberately internal concert and recorded simultaneously.

From the candidates, two will be selected as prize-winners for the concert planned for January 2020 in connection with Witlod Lutosławski’s “Chain I”.


In 2020/21, the EPhB conducted its three-part Satellite Workshop for the fourth time, which was successfully held for the first time in 2014/15.

In an international call for compositions, 8 young composers were sought. The collaboration was divided into three modules with workshop character. For a fourth module, two of the participants were selected, who received a regular commission from Ensemble Phoenix Basel within the following season for a work that refers to or comments on a programmed central work of a “modern classic”. In 2021, the work in question is Gérard Grisey’s “Vortex Temporum”.



Concert with works by students of the composition classes of the Music Academy Basel. In this edition from the classes of Erik Oña, Caspar Johannes Walter and Michel Roth.

Concert with works by students of the composition classes of the Music Academy Basel from the class of Caspar Johannes Walter and the class for music theory of Gerhard Luchterhandt and Michel Roth (Amador Buda Fuentes Manzor).