Difference and repetition have taken the place of the identical and the negative, of identity and contradiction. For difference implies the negative, and allows itself to lead to contradiction… All identities are only simulated, produced as an optical «effect» by the more profound game of difference and repetition. 

Gilles Deleuze: Difference and Repetition, 1968.

Love and hate. Apparently two opposing poles, two conflicting emotions. Or perhaps more likely a binary construction, a simplification of real feelings? The performance «I love you/I hate you» starts from this duality in order to understand it, question it and blur it. Based on Gilles Deleuze's concepts of difference and repetition and Judith Butler's theory of performativity - a priori contradictory - the Duet 2.26 performance goes from love, which cannot be understood without difference, to hate, which cannot be understood without repetition. This show is conceived in the form of a double spiral of repetitions in which the loops of each spiral are increasingly closer together; in which it is clear from the very first moment that exact repetition - or, to put it more precisely, replication - is not possible no matter how much effort is put into it. Similarly to the borders between love and hate, the borders between original and copy are blurred at the moment of performance. Beyond understanding repetition as a replica of a pre-existing and immovable original, it has to be understood as a motor of creation through difference, however small it may be. The performance has an interdisciplinary approach, combining music, theatre, lighting and video, and allows the concepts of repetition and difference to be explored from different perspectives, thus representing a complex and fragmentary reality. The fragments, which can be understood as altered repetitions that form a mosaic, are connected to each other through video projections that refer to the concepts of repetition and difference.


Yan Maresz (*1966)

Circumambulation (1993)

6 Minutes

for solo flute (version for two flutes)

Philippe Hurel (*1955)

Loops III (2003)

11 minutes

for two flutes

François Sarhan (*1972)

Situation 7: Imagination (2012)

2 minutes 30 seconds

for two performers

Yoshihisa Taïra (1937-2005)

Synchronie (1986)

14 minutes

for two flutes

Goerges Aperghis (*1945)

Retrouvailles (2013)

12 minutes

for two percussionists

Philippe Racine (*1958)

Cœur à Corps (2014)

6 minutes

for two flutes

Vinko Globokar (*1934)

Dos à dos (1988)

5 minutes

for two instruments and spot lights

If repetition exists, it expresses at once a singularity opposed to the general, a universality opposed to the particular, a distinctive opposed to the ordinary, an instantaneity opposed to variation and an eternity opposed to permanence. In every respect, repetition is a transgression. It puts law into question, it denounces its nominal or general character in favour of a more profound and more artistic reality. 

Gilles Deleuze: Difference and Repetition, 1968.

If difference is inalienable to repetition, love understood as an absolute concordance of emotions and thoughts is an ideal; an ideal that is truncated in the first work of the concert, in which the two flute players play exactly the same melody: Circumambulation by Yan Maresz, originally for solo flute. This work, which is based on the duality between rhythm and melody and its polyphonic integration in a single instrument, is adapted for two flutes in a counter-intuitive way: this duality is not devided between the two performers, but is practised simultaneously by both in an exercise of double integration. Nevertheless, despite the pretentious unicity of the two interpreters through the most exact repetition possible, the difference, although almost imperceptible, is always present.

If repetition is bound to persist as the mechanism of the cultural reproduction of identities, then the crucial question emerges: What kind of subversive repetition might call into question the regulatory practice of identity itself?

Judith Butler: Gender Trouble: Feminism and the Subversion of Identity, 1990.

The repetition's own alliteration and the obsession it entails is the main theme of the following work, Loops III by Philippe Hurel: "In fact, each transformation of the small 'motifs' that are exhibited inevitably leads to a loop that has already been heard, and the listener is gradually absorbed in a kind of teranyne from which he tries to escape with difficulty.... Although music seems to be in constant evolution, the stages through which it passes are always the same, and this is the fundamental paradox on which the piece is based". In this case, the motto "difference and repetition" is treated from two different perspectives: from the loops that always return to the same place and serve as "the basis of all transformation in time" and from the instrumentation, which is intended "to make two identical instruments sound like a single one". The moments when the two flutes are separated can be understood as erroneous repetitions in a Butlerian sense as a sign of individuality and a motor of subversion of a norm constructed through the stylised repetition of acts, although they always end up returning to a common point.

Are there forms of repetition that do not constitute a simple imitation, reproduction, and, hence, consolidation of the law? ... The parodic repetition of “the original” reveals the original to be nothing other than a parody of the idea of the natural and the original.

Judith Butler: Gender Trouble: Feminism and the Subversion of Identity, 1990.

The repetition of the quote from Jan Švankmajer's surrealist decalogue is played out ironically in Situation 7: Imagination by François Sarhan. The musical micro-theatre piece does not so much address the meaning of the quotation as the absurd repetition of it and the demonstration of cultural capital devoid of meaning. Nevertheless, the reference to imagination in a context of repetition is interesting insofar as imagination and repetition are linked: it is through imagination that the difference of repetition can be sustained. In this sense, Sarhan's work, which quotes the phrase "Imagination is subversive because it proclaims the possible against reality", beyond criticism, is an invitation to reflect on the role of repetition in this imagination, as well as a manifestation in favour of imagination as a subversive weapon and as an engine of change.

The role of the imagination is to draw something new from repetition, to draw difference from it… Imaginary repetition is not a false repetition which stands in for the absent true repetition: true repetition takes place in imagination… Difference inhabits repetition.

Gilles Deleuze: Difference and Repetition, 1968.

The game of contraries is a constant in the history of music. The techniques of contemporary music make it possible to take this game to the extreme, in which opposites are ever more closely linked. The oppositions from which Yoshihisa Taïra's Synchronie is constructed (staccato/legato, tension/distension, synchronism/non-synchronism), however, far from being natural and ontological, are constructions that arise from the effect of repetition, from a primordial difference caused by repetition. It is, in fact, in repetition that the differences become perceptible. The synchrony of the two flutists, conceived as repetition, serves as a counterpoint but also as a basis for the binary oppositions; a blank filling that highlights the coloured traces of the difference.

Only differences are alike… resemblance, identity, analogy and opposition can no longer be considered anything but effects, the products of a primary difference or a primary system of differences. According to this formula, difference must immediately relate the differing terms to one another.

Gilles Deleuze: Difference and Repetition, 1968.

After Taïra's effort to thematise the opposites, even though their character is constructed through repetition, the opposites go back to Georges Aperghis' Retrouvailles like two friends who know each other, recognise each other and repeat themselves. They communicate through "syllables and phonemes that are completely intelligible to them but not to the public". The differences, although they are different, are identified through memory and imagination in a common origin, in a primordial repetition that, being repetition, is different. "This short performance is a construction of situations that seem real but that lose their reality through the treatment of sight and gestures". It is also a song to friendship, to the similarities that are inherent to difference, to love.

On the basis of the qualitative impression in the imagination, memory reconstitutes the particular cases as distinct, conserving them in its own 'temporal space'. “The past is then no longer the immediate past of retention but the reflexive past of representation, of reflected and reproduced particularity.

Gilles Deleuze: Difference and Repetition, 1968.

Coeur à coeur. Corps à corps. These two expressions in French refer to love and struggle respectively; two apparently opposing concepts that are alternately combined and mixed in Philippe Racine's work Coeur à Corps. This work reminds us that in every love there is a struggle and in every struggle there is love, in the same way that in every repetition there is a difference and every difference arises from repetition. The opposites are not only presented separately in this work, but there is a fluctuation between them and they complement each other in such a way that we realise that they do not exist, that they are a construction, a dream of the imagination and the memory. Opposites are not a negation of each other, but are constructed through repetition, already different in their origin.

There must be a differenciation of difference by virtue of which the different is gathered all at once rather than represented on condition of a prior resemblance, identity, analogy or opposition.

Gilles Deleuze: Difference and Repetition, 1968.

I love you. I hate you. These two phrases are repeated in the discussion between the two performers of Vinko Globokar's play dos à dos. A heated musical discussion full of hatred, reinforced by the sudden movements and the lighting, but which, within the hatred, also includes love. A love that springs from hate or a hate that springs from love. Even at the moment when the two spirals that make up this concert are farther apart, the loops turn at the same frequency. If the first work of the performance represented the difference inherent in repetition - even if it is almost exact -, the difference in love, this work represents the repetitive origin of the difference - even if it is totally united -, the love in the difference.

Eros' force of repetition derives directly from a power of difference… Eros leads its life as a cycle, or as an element within a cycle, where the opposing element can only be Thanatos at the base of memory, the two combining like love and hate, construction and destruction, attraction and repulsion.

Gilles Deleuze: Difference and Repetition, 1968.


DUET 2.26

Duet 2.26 was born in 2016 from the friendship between Clara Giner Franco and Hèctor Rodríguez Palacios, who studied together at the Conservatori Municipal de Música de Barcelona and later began the bachelor's degree at the Conservatori Superior de Música del Liceu with Christian Farroni and Isabel Souto. Clara Giner first went to Karlsruhe (Germany) to finish her bachelor's degree with professors Renate Greiss-Armin, Pirmin Grehl and Matthias Allin at the Hochschule für Musik Karlsruhe. There she also completed the master's degree in music performance with honours, a qualification she also obtained in completing the master's degree in contemporary music at the Musik Akademie Basel. She is currently a member of the Arxis Ensemble (Spain). She has played at the Academy of the Lucerne Festival and has collaborated with the Ensemble Collegium Novum Zürich. Hèctor Rodríguez completed his bachelor's degree with Professor Stéphane Réty at the Hochschule für Musik "Carl Maria von Weber" in Dresden (Germany) and later completed his master's degree in Zürich with honours. He is currently studying for a master's degree in Music Education at the Zürcher Hochschule der Künste and a master's degree in Ancient Music at the Hochschule für Musik Trossingen.

Both have played in various youth orchestras in Spain and Germany, as well as in professional orchestras such as the OBC (Orquestra Simfònica de Barcelona i Nacional de Catalunya). In 2016 they won the 2nd prize as Duet 2.26 in the chamber music competition "Higini Anglès" and in 2023 they won the first prize in the ensemble category of the Nicati competition (Swiss contemporary music competition).

On an educational and social level, they have given concerts and workshops in schools, children's hospitals and social integration centres in Barcelona and at the ZHdK in Zürich.

In all the years that they have been a duet, they have always continued to work and look for new pieces and ideas. At the moment, they have the good fortune to live only an hour away from each other, which allows them to continue working on this project. Together they explore the repertoire of the 20th and 21st centuries, create new sounds and develop innovative concepts and interpretations that establish a personal and personal connection with the audience. Their interdisciplinary concerts are characterised by the constant dialogue between music and other artistic disciplines, by a wide range of sound possibilities and by the special connection between the two musicians, elements that connect the audience with them magnetically from beginning to end.

At the beginning of 2023 they have carried out their interdisciplinary project "I love you I hate you" (music, performance, video and literature) with a tour of four concerts in Switzerland and one in Barcelona.


Ruth Stofer studied a degree in Art and Media at the Zürcher Hochschule der Künste. In addition to her work in theatre, she has always pursued her own artistic work, often with her twin sister Rebecca. Together they have participated in numerous exhibitions in Switzerland and abroad and have received grants to study in Paris and Chicago. Since 2016, Ruth Stofer has developed numerous video designs for small and large stages.


Ferran Planas Pla studied saxophone at the Conservatori Superior de Música del Liceu with Albert Julià and musicology at the Escola Superior de Música de Catalunya. In 2022 he completed his master's degree in Musicology and Musical Education with the best qualifications at the Hochschule für Musik, Theater und Medien Hannover, specializing in historical musicology, music and gender and sociology of music. Thanks to his above-average qualifications, Ferran Planas has been awarded several grants, including the Segimon Serrallonga Scholarship and the Deutschlandstipendium from the German Federal Ministry of Education and Research.

In recent years he has published several articles in indexed journals in various European countries. His fields of study range from contemporary music and opera, through musical gender studies to the relationship between music and technology.