perf. by the National Estonian Symphony orchestra, cond. Olari Elts
concert recording / 10.9.2021

Commissioned by Musica femina München and composed for the Münchener Kammerochester, cond. Clemens Schuldt

"Hier ist alles Abstand, und dort wars Atem". R.M.Rilke. Die achte Elegie

Following the series of my aquatic pieces, “Apnea” (in latin “absence of breathing”) for string orchestra, written during the pandemic winter, reflects the importance of breathing whilst exploring the physical and emotional transformation during the immersion under the water. The macro form of the composition reminds of a very long breath-in and a gradual breath-out stretching the time in between while continuing to delay the climax and increase the tension until the limits. The orchestra is playing without any pause taking both the players and listeners through the existential odyssey.

"Apnea" for strings (2021)

Sacral - Sound Healing

Dymmelonsdag is by all right the official day of the low pass gate. Deerhorn is muffled by the Shallow Water.

Dymmelonsdag

ORAGE - TAON VII

live improvisation on the buchla music easel at Steinhalle Emmendingen, Freiburg October 5, 2024, ZeM, Freiburg.

live recording, steinhalle: Theo Bloderer
artwork: Thomas Breuer

feedback improvisations

steinhalle

co-commissioned by the SWR Symphonieorchester and the ELISION Ensemble 
dedicated to Robin Kirkham

premiered by the SWR Symphonieorchester and the ELISION Ensemble at the ECLAT Festival, February 2, 2024

conducted by Brad Lubman

For Seed I:
Peter Veale, baroque oboe
Carl Rosman, 3-key baroque clarinet in D and basson de chalumeau
James Aylward, baroque bassoon 
Alex Waite, harpsichord

For Seed II:
Christoph Grund, piano
Ursula Eisert, harp
SWR Symphonieorchester

Not intended as a concerto, Das Phonem zwischen zwei Wörtern (b) is composed in two different tunings for two interdependent pieces, which can be performed together or as two stand-alone works. Written for baroque ensemble and large orchestra, this work is the second part of a three-part cycle, which engages with a multidimensional study on timbral and harmonic spaces, intended to offer an approach for re-thinking how discrete mappings of a given tuning can be re-imagined simultaneously within continuous terms.

In this work, the piece engaging with the large orchestra was written in 443Hz and composed in relation to a 3D acoustic model that I designed based on architectural structures that are no longer standing — namely the 6th-century Basilica of St. John in Ephesus and the Church of the Holy Apostles in Constantinople. Rather than for simulation or a fixed point of observation, this approach to 3D modeling was activated to develop sonic-temporal architecture emerging from two spaces, as a way to visualize and re-imagine what lies in-between, through which embodied spaces of the pasts that have been erased become visible through corporeal reach and sound.

This cycle brings together collaborative research initiated in parallel with the study informed by the 3D modeling. Initiated in 2022, this research is based on numerous sessions conducted with Peter Veale on performing baroque oboe and modern oboe; Carl Rosman on performing 3-key baroque clarinet in D, modern clarinet in Bb as well as basson du chalumeau and modern bass clarinet; James Aylward on performing baroque bassoon and modern bassoon; and Alex Waite on performing harpsichord and piano.

Written in 415Hz, the piece composed for the “baroque ensemble” is informed by this research, and correspondingly engages with instrument design and its relation to body and space, not as means to arrange a fixed past with a fixed present, but rather to trace how coeval pasts inform contemporary performance praxes, while also unpacking the conditions surrounding how instrument design relates to embodiment and space.

Activating interrelationships of sound, space, and corporeality as a mode of unlearning, Das Phonem zwischen zwei Wörtern (b) in its simultaneity is therefore an effort to take account for what may be not rendered visible, but is nevertheless present in space, and to address traces of multiple pasts not just in relation to the conditions of what remains, but also to the conditions of erasure.

Das Phonem zwischen zwei Wörtern (b), for baroque ensemble and large orchestra

Inspired by Naviar Haiku 566:
https://www.naviarrecords.com/naviarhaiku566-telegraph-pole/
Thanks to Marco Alessi from Naviar Records for the weekly challenge!

fallen telegraph pole - Naviarhaiku566

“When one with honeyed words but evil mind
Persuades the mob, great woes befall the state.” ― Euripides

----- Special thanks to Loo(p)cy https://soundcloud.com/lucia-caiazza-235178811 for her contributions!

Track list and start times:
00:00  Paul Cohen – The Incredible Machine (Intro) T-Mix
02:14  Loo(p)cy – Ocean Cry
05:28  Capricorni Pneumatici – Besz
12:49  Jimmy Lem – Suspensory Muscle Of (disquiet0666)
15:54  Unknown_trash_can – A song in my head, that struggles to exist
20:06  Thisquietarmy – Funiculaire
28:17  Stefan Goldmann – Lorino
34:36  chao kana – i'll believe you...
46:58  Gamardah Fungus – Sirius
54:53  hhumanoid – Glyph [Minecraft Detour Mod OST]
57:27  Loo(p)cy – The Secret Cave
1:01:30  Martina Bertoni – Music For Empty Flats
1:06:58  No Mates Ensemble - Conversazioni Difficili con il Mare (excerpt)
1:16:56  Chris Campbell – Zuma Rip
1:20:04  Martina Bertoni – Closer (Portal)
1:25:03  Rafa Ramos Sania & Edu Comelles – Heura
1:32:27  Martin Stig Andersen – Sleepdriver
1:40:07  Steve Brenner & Peter Gulch – Stellar Crossfire
1:50:40  Alan Lamb – Night Passage (excerpt)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Image quote ― Neil Postman

"What Orwell feared were those who would ban books. What Huxley feared was that there would be no reason to ban a book, for there would be no one who wanted to read one. Orwell feared those who would deprive us of information. Huxley feared those who would give us so much that we would be reduced to passivity and egoism. Orwell feared that the truth would be concealed from us. Huxley feared the truth would be drowned in a sea of irrelevance. Orwell feared we would become a captive culture. Huxley feared we would become a trivial culture, preoccupied with some equivalent of the feelies, the orgy porgy, and the centrifugal bumblepuppy. As Huxley remarked in Brave New World Revisited, the civil libertarians and rationalists who are ever on the alert to oppose tyranny "failed to take into account man's almost infinite appetite for distractions." In 1984, Orwell added, people are controlled by inflicting pain. In Brave New World, they are controlled by inflicting pleasure. In short, Orwell feared that what we fear will ruin us. Huxley feared that what we desire will ruin us."

Eclectic current – Sic semper tyrannis

This is the newest track I've made, It took far longer than I thought it would but I think it turned out good. Hope you guys enjoy it :)

A Sure Sense of Confusion

Sabiduria Ancestral

nothing like that | untitled project 001 sessions | ambient atmospheric psyche drone horror WIP | shifty 4.1 rl 40 bpm take 1 81425

ORAGE [gen~] is a new project managed by Arçon de Nièze, focused on electronic generative music. 
Located between the blank sound source and the bursting of electronic generators, dance and harmonic correlations. 
_________________________________ 
Arçon de Nièze's :

* 𝐓𝐞𝐫𝐫𝐚𝐬𝐬𝐞𝐦𝐞𝐧𝐭 𝐞𝐧 𝐀𝐧𝐝𝐨𝐲𝐫𝐢𝐞𝐬 (Full Virelais album)--> soundcloud.com/arcondenieze/sets/terrassement-en-andoyries-1
Unforgotten ghosts, haunted nostalghia

* 𝐂𝐨𝐫𝐩𝐮𝐬𝐜𝐮𝐥𝐥𝐢𝐬 (Full excerpts Corpuscullis album) --> soundcloud.com/user-678992529/sets/canzoninne-corpuscullis
(with Julien Boutonnier poetry)

ORAGE - TAON VII

ORAGE [gen~]

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Martin Hoogeboom

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