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)

Jean-Philippe Rameau (2012)

pop song for piano & electronics performed by conrad tao at new music on the point 2022

audio engineering: brian riordan
https://soundcloud.com/conradtao

pop song

Satie: Gnossienne No. 1 (in just intonation)

Rubber Wing

Rosebud

One Thousand Sirens

the being/the world (2024)
for Juliet Fraser and Ensemble Musikfabrik

extract recording: scene 5: duo (love)

Juliet Fraser, voice
Sara Cubarsi, viola d'amore
Benjamin Kobler, synth organ
+ MusikFabrik

premiere recording extract from WDR, Köln on 3 March 2024

total piece duration: 1 hour

in loving memory of Amelia Cuni

commissioned by Ensemble Musikfabrik and Kunststiftung NRW
photograph: Janet Sinica

the being/the world (2024) scene 5 (extract)

Dorian Minus (excerpt)

Abyssus Ascendens ad Aeternum Splendorem for piano, orchestra, electronics.
(the Ascending Abyss to the Eternal Brightness) 

In accordance with certain Hebrew mysticism, the Heaven is divided in seven kingdoms, each one ruled by one Angel. 
The Seventh Heaven, ruled by the Angel Cassiel, is the most sacred of these places. This the kingdom where God inhabits. 
Underneath of the Throne of Glory is the Chamber of Guf (Hebrew word for "body"). This chamber is the house of all the souls of human beings not yet  born. 
In the New Testament, Jesus Christ mentions the place of comfort and happiness after death, Abraham’s Bosom, also known as the Limb of the Fathers. And, according to some Hebrew-Christian traditions, this is the place where the just human soul goes after death, while it waits the Final Judgment. 
Faith is the power that takes the soul in its journey from the descending of the Guf, through the earthly existence, and finally into the Limb of the Fathers. 
Faith is also described by Simone Weil, as being an Ascending Abyss. It is abysmal because it pushes the human being into a state of higher perfection. It is ascending and its vortex culminates in a higher sphere, the Eternal Brightness. 
The form of the piece was suggested by a visit to the Convent of the Capuchos, in Sintra, Portugal. The paths inside of this convent takes us through the sad and dark altars of the low area, till we reach an ascending path where we find multiple references to the symbolism of the Cross. Finally the path ends in the higher altar of the Convent, almost at the top of the mountain. There, the shady environment of the “earthly” sections of the convent is replaced by brightness and light. 
This is what inspired this piece.

Interpreters:
Orquestra Filarmonia das Beiras
António Lourenço - Conductor
Ana Telles - Piano
João Pedro Oliveira - Electronics

Abyssus Ascendens ad Aeternum Splendorem

performance at Hospital Kirche, Stuttgart, March 10th, 2017

Catherine Lamb, composition, viola/voice
Bryan Eubanks, electronics (Secondary Rainbow synthesizer)

from a series of pieces named "Prisma Interius" in development(2017)

Prisma Interius III (2017)

Colored Shadows [Hyperresonance IV] (2012) for viola and electroacoustics.  John Graham, viola.
For more information, visit:
http://mikelkuehn.com/index.php/works/83-work-sample/142-colored-shadows

Colored Shadows [Hyperresonance IV] (2012, viola and electroacoustics)

Composer, film composer, pianist, just intonation enthusiast.

Satie: Gnossienne No. 1 (in just intonation)

Johnny MacMillan

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