I think the piece works! You raise interesting questions about resonance/dissonance! For me this never has the soundworld of a 'serial' piece - so what is it? I think Stock. would be pleased with this tribute.

BTW, mir geht die Beschreibung der Konstruktion die ganze Zeit durch den Kopf, eine gute Anregung! (Da steckt ja genug drin um etwas von zu lernen ohne sich unrechtmäßig zu bedienen…) Danke.

Thoroughly enjoyed a sense of tripping over the cracks in the sidewalk. A very fine piece, and thank you for posting the score (for this and others!).

Ganz wunderbar! Und auch von mir herzlichen Dank für die Partitur! 

Your tracks are very interesting...I'll take some time to listen carefully to them...I had done a similar piece improvising a trio (Vibraphone, accordion and bassoon) over a Rune Martinsen ambient track...come and listen to it and tell me your impressions...the title is "Extemporaneus Concerto for Trio and Orchestra, opt(l)s(e) 1960"

VERY cool texture Harald, this opening I really like.

I may want to use some of this for a video of mine.  What kind of licensing is there?

For three male voices, performed by Neue Vocalsolisten Stuttgart

Cuál es su Ardor [2018], for Neue Vocalsolisten Stuttgart

Wild Ones

ON|RUST as it appears here on soundcloud is the first stage of a small project that is actually called O|N|RUST consists of this track, plus a Bandcamp version (January 2024 - supplemented with two short pieces for percussion and electronics) and a 2024 small scale vinyl release. I've built a number of rhythmic sound machines especially for this piece which mainly consists of the hum and interference of electrical equipment supplemented with an electric guitar drone. Mastered by Rupert Clervaux.

ON|RUST

LAMENTATION  2024

Harald Muenz
nearly – fast (2008) 
For clarinet/bass clarinet, marimba and piano In memoriam Karlheinz Stockhausen 

Commissioned by Cologne Society for Contemporary Music
Ensemble Mosaik: Christian Vogel - cl/bcl, Roland Neffe - mar, Ernst Surberg - pi

Score link: http://bit.ly/LQJy0M

Here, as in many of my pieces, I constructed at an early compositional stage a sort of scaffolding of numbers, which I then responded to compositionally in varying degrees. It is no coincidence that this strict principle in nearly - fast is particularly evident even on a surface level: the piece was a commission for a Stockhausen Memorial Concert in 2008, thus taking its inspiration from his Kreuzspiel; even the instrumental line-up is partly similar. The piece is a kind of utopia, three individuals doing something similar in parallel at different speeds. These speed rates often change between the instruments, and the way these three are overlaid suggests they are sometimes bringing common objects into focus. A grid of pulses is laid down that subdivides the quavers of a continuous ¾ in 4, 5 or 6 equal parts resulting in up to three different pulsations (that is 12, 15 or 18 beats per bar). Until the middle of the piece one after the other of the attacks is omitted; after this the bars are gradually replenished with pulses, so that the overall form results in a thinning and subsequent re-densification process. In the spirit of Stockhausen, pitches and intervals are developed from permuted arrangements of 4:5:6. However, permutations of numbers are substituted for the principle of a rhythmic row, and my harmonic base in nearly - fast is never a 12-tone series, but bizarre chords built from 4, 5 or 6 semitone-steps, which produce deliberate doubled notes and octaves from the outset. In strict serialism, these intervals would have been frowned upon as "wrong", whereas I welcome them as "bright spots" that I allow subsequently to grow rampant into fields of resonances and overtones. (Harald Muenz / Bob Gilmore)

nearly - fast

nearly - fast für Klarinette, Marimba und Klavier (2008; ensemble mosaik; live recording)

From the Bandcamp EP/8”vinyl single “FEARLESS”
Bandcamp: https://martinhoogeboom.bandcamp.com/album/fearless
With:
Jukka-Pekka Kervinen: electronics/trumpet
Martin Hoogeboom: objects/electronics/artwork
Senglar: sonic structures
Mastered by Rupert Clervaux
A Martin Hoogeboom Project (DS1414/2024)

FEARLESS

enter the ghost - exit the ghost - reenter the ghost

(w. shakespeare, hamlet)

Schatten=bibliothek

Sappho

Stephen sings Josquin!

Orlando's Dream Of Planuba (electronic music)

darkvoice is an album and a set of videos reflecting on the role of spoken language in the age of pervasive and permanent electronic surveillance. it is exclusively made from manipulated voice, sinister typography and digital technology. 

for the full release go here:
http://joerg.piringer.net/darkvoice/

el sys

harald muenz (he/him)
is a german-italian transdisciplinary artist realising instrumental & vocal, peformative and radiophonic works with an artistic focus on phonetic composition & ars acustica.
harald's compositions have been commissioned by ensembles mosaik, auditivvokal, hand werk, apartment house, modern, musikfabrik; by radio stations such as hessischer rundfunk (hr2-kultur), westdeutscher rundfunk (wdr3), bbc, deutschlandfunk, dlf Kultur, among others.
harald's works have been performed and broadcast internationally and have been documented on several cds (portrait cd nearly-fast with ensemble mosaik at coviello contemporary).
frequent collaborations with experimental poets (florian neuner, mathias traxler, cristian forte, christian filips, roža domašcyna, among others)
on the vr platform 'second life', harald (aka cuirec d’erc) has realised several interactive sound installations and has been a member of the avatar orchestra metaverse (aom) since 2017.
harald is also active as a multilingual speech performer (trio sprechbohrer), author and lecturer.
harald's music has been occasionally described by others as ‘worldly,’ ‘non-conformist,’ or ‘provocative.’

https://haraldmuenz.carrd.co/
Work list on http://composers21.com/compdocs/muenzh.htm

Artist residencies
1996 Künstlerhaus Schloß Wiepersdorf (Brandenburg/Germany)
2000 Villa Aurora (Los Angeles/USA)
2021 Künstlerhof Schreyahn (Niedersachsen/Germany)
2023 Atelier Galata (Istanbul/Turkey)

Studies
Composition at Music Universities in Cologne (J. Fritsch, K. Meyer, C. Barlow) and Stuttgart  (H. Lachenmann)
PhD in Composition from Brunel University London (J. Croft)
Phonetics at Cologne University’s Institute for Linguistics (G. Heike, G. Sachse)
„Cleaning the House“ Workshop by the Marina Abramović Institute

Teaching
2001-2005 Lecturer for Aesthetic Phonetics, Institute for Linguistics, University of Cologne (part-time)
2006-11 Artistic Director of Musikhochschule Lübeck's Studio for Electronic Music (part-time)
2005-16 Lecturer in Composition Brunel University London (full-time permanent)
2016 Decision to work as a full-time freelance composer again
2017-22 current Lecturer at International Ensemble Modern Academy Frankfurt/M. (IEMA; part-time)

Legal Disclaimer: „Es gelten die Vorschriften des deutschen Urheberrechts in seiner jeweiligen Fassung. Alle Rechte der Urheber an den geschützten Werken, die auf der Website enthalten sind, bleiben vorbehalten. Ohne ausdrückliche Genehmigung durch die GEMA darf eine weitergehende Nutzung der Werke, über das Anhören der eingestellten Musikwerke hinaus, nicht erfolgen.“

nearly - fast für Klarinette, Marimba und Klavier (2008; ensemble mosaik; live recording)

harald muenz

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