New Music Unlisted - 7 (Kitaptan Sonra)

Heroines of Sound Festival Artists 2025

Kariz

In The Corner Of Time

After the workshop in May 2013 in Frankfurt and several rehearsal sessions, 2 composers from IEMA (Brigitta Muntendorf, Dariusz Przybylski), together with 2 composers recommended by Royaumont (Adi Snir and Benjamin Scheuer) and 2 composers recommended by Gaudeamus (Andys Skordis and Alexander Khubeev) have presented their works, performed by the IEMA Musicians.

More information about this ULYSSES project : project.ulysses-network.eu/event/iema-…-premieres/

IEMA Composition workshop - Brigitta Muntendorf - Missing T

The piece was commissioned by the Jerusalem Symphony Orchestra and the Adele and John Gray Endowment Fund. Composed in 2022. Conductor - Yishai Steckler, Sopran - Tali Ketzef. Premired at the Henry Crown Symphony Hall, Jerusalem Theater, December 5, 2022. Recorded by Avi Elbaz
Dedicated to Peter Pohly

Riddle for the Symphony Orchestra, big choir and sopran

The new piece was written for two incredible musicians - Yael Barolsky and Oded Gezhals,recording - Ronald Boersen.
The premiere was on 1.05.14 

Repercussion for violin and percussion by Hana Ajiashvili

The piece was commissioned by the Meitar Ensemble and with the support the Ernst von Siemens Music Foundation. The premiere was at the CEME festival on December 23. 2023.
 Conductor - Yuval Zorn, Meitar Ensemble, Studio Anette, Tel Aviv, 2023

Impossible sketches for ensemble and electronics

"The enigmatic and expressive Chikiss breaks a three-year silence with Between Time and Laziness, a brand-new LP of dramatic and dreamlike synthpop perfectly suited to Hamburg’s unfaltering Bureau B. Written in St. Petersburg, Berlin, and Athens, and co-produced by Finnish multi-instrumentalist Jaakko Eino Kalevi, the album renders the existential, psychological, and philosophical in song form. Exploring motivation and self-doubt, the long shadow of the Soviet Union, and collective empathy with a cinematic flair, Chikiss weighs darkness and light, landing on the side of hope in her most considered and polished vocal album to date."

— Patrick Ryder

Music, vocals - Galina Ozeran
Mixing - Robin Hunt
Co-production - Jaakko Eino Kalevi
Guitar in "Nevesta" - Obi Blanche
Voice in "Intro" - Sergey Danilov
Mastering - Detlef Funder
Artwork - The Great Fruit

Recorded at different times in the former bridal gown salon in St.Petersburg, Atlas studio in Berlin and Mutual Sound studio in Athens.

released December 6, 2024 via Bureau B
https://orcd.co/chikiss

Train Schedule

Tslalei Or was written especially for two great musicians Yoni Gotlibovich and Yuval Zorn, the Premiere was on June 20, 2016 at Jerusalem Center for the Performing Arts

Tslalei Or (2016)

Saru are very pleased to announce that Trichromatic Moiré, a new double CD featuring realisations of a graphic composition by Thomas Martin Nutt, is now available. 

Martin’s work with the physicality of interference takes place within the beating patterns of a multi-sensory field, a Moiré, and to celebrate his wonderful compositions, SARU invited a number of artists from around the world to realise his work.

The release features interpretations by Tetuzi Akiyama, Harriet Butler, Sarah Hennies, Ryu Hankil, Ko Ishikawa, David Lacey, Sally Ann McIntyre, Will Montgomery, Joseph Clayton Mills, Shirley Pegna, Rie Nakajima & Marie Roux, Samuel Rodgers, Lo Wie, and Keiko Yamamoto.

www.sonicartresearch.co.uk

Sarah Hennies

The piece was written especially for trio Catch - clarinet, cello, piano, for the festival Tslil Meudcan - Tel Aviv, 2018

Blue by self titled painting by Kandinsky

Schattenfragmente for solo Accordion (2011) 
* Live recording of the Denmark premiere, on 03. November. 2019 at Utzon Center, Aalborg, Denmark 
Accordionist: Adam Ørvad
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some words about the piece: 
Schattenfragmente (shadow fragments) is a piece for solo Accordion.  The piece is the result of one year exploration and close collaboration with the accordionist Bernd Kohlhofer. 
what interests me the most , was the Instrument itself. Accordion is like a whole orchestra or also like an organ. Almost anything could be possible.  At the same time, it breathes and is alive (due to the bellows)
I found it also fascinating to build a kind of stereo effect, conversation/dialogue between right hand and left hand, in which the border of the sound is not clear. The listener feels that , he/she is in a cloud or shadows of sounds, which are moving all the time and surrounding the listener.  The whole piece is built on the first material. The rest is just other aspects of this particular „sound“ . This element will develop and transform into different kinds of shapes and filters. 
As if you look at a leaf of a tree with your eyes or you look at it with different kinds of lenses…