Name: Beim Wenden Der Zeit by catmusic39
Duration: 2 min 12 s
Description: Ein Stück aus der CD "Beim Wenden der Zeit" vertonte Gedichte von Wolfgang Strauch, gelesen von Johann Wild 2014

Die Komposition steckt voller Referenzen an Kompositionen des 20. Jahrhunderts: An Karlheinz Stockhausens „Gesang der Jünglinge im Feuerofen“, György Ligetis „Atmosphères“ und Charles Ives „The Unanswered Question“. Außerdem an die LP „The Dark Side Of The Moon“ der Band Pink Floyd. Der Arbeitstitel „The Pitch Question“ deutet an, dass es um die Frage geht, welche Tonhöhen eigentlich wichtig sind oder ob sie überhaupt wichtig sind. Lange Passagen arbeiten mit gegenläufigen Glissandi. Durch die Klangwolke wird der einzelne Ton unwichtig, er wird verwischt und verschwindet. An vier Punkten innerhalb des Stückes treffen die Glissandi "Zielakkorde". Dort gibt es dann kurze, prägnante Melodielinien. Erst vom Saxophon (Andreas Steffens) gespielt, dann von der E-Gitarre, zuletzt von beiden unisono. Diese Stellen nenne ich "The Prophet speaks". Das Stück, das mit elektronischer, komponierter Musik beginnt, endet mit der Duo-Improvisation auf akustischen Instrumenten über die „Zielakkorde“: Saxophon und Klavier.

The Pitch Question

In diesem Stück kommt meine Bewunderung für die Musik von Morton Feldmann zum Ausdruck. Es geht um musikalische Muster - kurze, eindringliche Patterns, die sich wiederholen, sich dabei aber immer auch in einzelnen Details verändern. Aus einem „zufällig“ auf meinem modularen Synthesizer entstanden rhythmischen Pattern entwickelt sich eine Art Groove. Das Saxophon steigt ein, improvisiert damit und dazu, dann übernimmt das „präparierte“ Klavier. Auch das rhythmische Pattern entwickelt sich weiter, spiegelt sich in sich und bleibt doch erkennbar. Am Ende kommen alle wieder zusammen und zurück zum ursprünglichen Groove.

2022 Veröffentlicht auf der Schallplatte "Contakte#21" unter dem Titel "Im Kern", Klavier: Daniel M. Ziegler

TheMirrorMouse

Game de Timbre

The composition is a game with timbres. György Ligeti's composition “Atmosphères” is a great inspiration for me. Game de Timbre dispenses with traditional elements of music such as melody, rhythm and (depending on the definition) harmony. Instead, the focus is on the timbres of various acoustic and electronic instruments. In order to also blur the concentration on individual tones, clusters are mostly used and the attack moments of the tones are made inaudible by means of fades in or out.
Game de Timbre contains concrete noises in the sense of “musique concrète”, like grains of rice falling into a metal bowl and a wine glass being struck. Filters and effects are used to alienate the sound, to accelerate it, to change the pitch and to let the sound run backwards. Many sounds come from acoustic instruments such as the flute, violin, melodica, glockenspiel and the human voice. The latter has a wide range of timbres anyway. The sung vowels and umlauts (german vowel mutations) offer different possibilities that are used in Game de Timbre.
However, a timbre is seldom presented individually. Clusters superimpose one another, slowly come to the foreground and then disappear again. Acoustically generated sounds are accompanied by electronic signals from the tone generator (sine, sawtooth, triangle / digital synthesis). Bridges are built by theremin and electric guitar. The theremin is one of the oldest electronic musical instruments and the electric guitar is an "electrified" instrument - originally acoustic, but equipped with a variety of additional sound options by means of pickups and amplifiers. The cluster recorded here uses a variety of the well-known guitar effects: Flanger, WahWah, Distortion, Ringmodulator and others.
The composition of electronic music is a lot of studio work and so I recorded a huge number of individual events, edited them and put them together in groups, with which I continued to mix in the next step - similar to experimenting with ingredients when inventing a new cooking recipe.
Game de Timbre is on the one hand a game with sound colours, but as a result it is also a sound carpet. It is my intention that the origin of individual sound events can no longer be identified, but that a new, composed soundscape is created.
My original intention was to forego dynamics and form (dramaturgy) and to rely exclusively on the changing sound surfaces. But my will to create got the upper hand. As with the arrangement for a medium-sized ensemble, I created a storyline and varied the density and volume of the sound surfaces. Everything starts with a sine tone (440 Hz) and ends with a triangular wave, again at 440 Hz, after all the other tones of the cluster have gradually crept out. The game could have gone on indefinitely and many versions of the composition would have been possible. But it is important to recognize when “the picture is finished”, and as it stands, Game de Timbre satisfies my hearing and I find it exciting every time I listen to it.

The composition became possible as part of my self-study of electronic music composition, supported by the GEMA scholarship for music authors.
GEMA's 2021 scholarship program is part of the NEUSTART KULTUR rescue- and future program of the Federal Government Commissioner for Culture and the Media.

Game De Timbre

A Piece inspired by the music of Olivier Messiaen, written in the 4th mode of his "Modes of limited transposition" played with my saxophone +  modular synth...enjoy ;-)

MoDeConstruction

ꋪꍟꉣꍟ꒒꒒ꀤꈤꁅ ꍏ꓄꓄ꋪꍏꉓ꓄ꂦꋪꌗ
Electronic piece for stereo audio support

Year — 2024
Duration — 10'38''
Première — 02 Juni 2024 | Herz Jesu - Frankfurt (DE)
Informations — Based on chaotic models, ꋪꍟꉣꍟ꒒꒒ꀤꈤꁅ ꍏ꓄꓄ꋪꍏꉓ꓄ꂦꋪꌗ oscillates between states of equilibrium and non-periodic phases, repetitions and sudden bifurcations. The result is a very organic and fluid composition — a dystopian soundscape with maximalist textures fighting against each other, staggering from explosive bursts of percussive impacts to static but recurrent drones. The whole system - shaped by the hand of the performer - generates continuously new and unexpected gestures like a non-linear, yet adaptive and self-sustaining ecosystem.

ꋪꍟꉣꍟ꒒꒒ꀤꈤꁅ ꍏ꓄꓄ꋪꍏꉓ꓄ꂦꋪꌗ

Trumpet player Steve Chadwick and me were improvising over an ethiopian scale. Him using a lot of pedals, effects and loops with his trumpet and me playing Rhodes Electric Piano. We both liked the result and later I remixed the recording. I added drumsamples, additional bass and analog synthesizer. I hope you will as well enjoy our mix of drum&bass, dub, triphop and worldmusic improvisation.

Ethiopian Friday Remix

Overdubbed track (2 layers of saxophone, 1 layer of a analog synth patch with random sounds), inspired by my tinnitus.
From Driff Records 1503: Jorrit Dijkstra: Never Odd Or Even
www.driffrecords.com

1 Ear Piercing

Ein Stück aus der CD "Beim Wenden der Zeit" vertonte Gedichte von Wolfgang Strauch, gelesen von Johann Wild 2014

Beim Wenden Der Zeit

catmusic39

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