other

hyperorgan

Markus Hinz, Orgel
Live-Mitschnitt Ruhe.punkt 13. Oktober 2021
St. Antonius, Düsseldorf-Oberkassel
Christoph Hilser, Ton

rhythm machine

Chronoclasm - in science fiction is one of the possible consequences of travels in time. As a result of meeting people from different eras, ideas and information are transferred from the future to the past. This causes some events and actions in the past, but all their consequences are already reflected in the future. Thus, the reality does not change, all the rings of chronoclasms ever created are already included in the course of history. On the contrary, the abolition of one of the chronoclasms will lead to a change in the future.
In this piece the idea of “broken time” is reflected in “broken” musical continuum and “broken sound”, since some of musical instruments are detuned.
The piece “Chronoclasm II” was written especially for the ensemble “C Barre” and was premiered at the festival on May 31, 2021.

Natalia Prokopenko - Chronoclasm II    for ensemble (2021)

Generative Music from the Untitled Microtonal Gardening Game.

37 EDO 16 DEG 0 3 4 11 12 15 16 18 19 22 23 30 31 34 35 36

19 EDO 3233323 secundal pentads

Performed by Jacob Lekkerkerker in Orgelpark, Amsterdam

cumulative air for hyperorgan (2022)

JACK Quartet

Bludenzer Tage zeitgemäßer Musik
Remise Bludenz

recorded by Chris Swithinbank
October 6, 2022

Moveable Feast

"Arborescence" explores how separate musical roots grow into a whole, and how they disperse uniformly. This piece utilises the special HyperOrgan mechanism at Orgelpark, Amsterdam.

Performed November 9, 2019 by Jacob Lekkerkerker, Orgelpark, Amsterdam.

Arborescence (for HyperOrgan Solo)

Wer nur den lieben Gott läßt walten - Chorale Suite for Organ and Live Looping, Mvt. 3: 'der rechte Wundermann'. Composed and performed by Pam Hulme in concert at Zionskirche, Berlin, 25th August, 2019. 
This suite in three movements takes as its starting point the eponymous chorale described by its composer as a Trostlied; a song of consolation. Wer nur den lieben Gott läßt walten is well-known in the German Lutheran Church and has been reworked in compositions by Bach, Brahms, and Schumann, amongst others. My interpretation was part of a collaborative project initiated by Pf. Dr. Volker Jastrzembski in Berlin, reinterpreting four hymns from the 16th and 17th centuries for a contemporary context.
Emerging out of the shifting musical consciousness of movement 2, this third movement, 'der rechte Wundermann', begins tentatively, but builds layers to a jubilant, triple-time exclamation of what a Wundermann (a miracle worker) could be, both then and now; upending unfairness.

Manipulating Musical Surface - MA in Research - 2020

Wer nur den lieben Gott läßt walten 3: 'der rechte Wundermann' (organ & live looping)

Written for the 'Hyperorgan' at Orgelpark, Amsterdam. Performed by Ere Lievonen (15.02.20)

The Path Contorts as the Traces Fade

zoom live recording at Arboretum Festival, August 19th 2017

arranged for 11 strings
Forest Strings Ensemble

Carissa Klopoushak
Marc Djokic
Andrea Armijo Fortin
Heather Schnarr
Hilda Cowie
Marjolaine Lambert
Marlena Pellegrino
Thaddeus Morden
Raphael Weinroth-Browne
Sonya Probst
Paul Casey

ERE [ 11 string arrangement ] (2017)

Composer, performer & occasional multimedia artist. Formerly Newcastle, Gothenburg, Birmingham & Hague.

Selection of works available here, full portfolio available on my website below.

The Path Contorts as the Traces Fade

Hugo Bell