Sequitur is a series of 14 compositions for various solo instruments and live-electronics written for outstanding soloists. Somehow it can be seen as a reference to Luciano Berio's famous Sequenze cycle of solo pieces which focus on specific playing techniques of the respective instrument including orchestral instrument. Essl's Sequitur cycle includes pieces for orchestral instruments like flute and violin, but also for voice, electric guitar, toy piano or kalimba.

All Sequitur composition use a software written in MaxMSP which creates an electronic accompaniment from the instrument’s live input; the player is confronted with his own playing, and this creates a situation like moving in a house of mirrors where the identities becomes blurred.

The Sequitur software generates a complex canon on the fly, the temporal structure and density of which being controlled by random operations. This yields different results every time the piece is performed. Although following a precisely notated score, there is always a good portion of surprise for the musician which emphasizes his awareness and attentiveness.

Info

Sequitur

New Music (Listed) 1.2

version electronica de mi pieza para soprano y ensamble.
Es la version del CEPROMUSIC y la solista, la soprano Irasema terrazas

When Most I Wink Electro

EL procedimiento fue tomar la pieza de flauta y electrónica, recortar en pedacitos muy pequeños, para luego transformar cada uno de ellos y acomodarlos en el tiempo.

TONADA DE LA LUNA LLENA ELECTRO

INTERPRETA  PLURAL ENSAMBLE, MARINERO SOY DE AMOR II
para flauta, clarinete, piano, violín, viola,violonccelo
Dirige Fabián Panisello


Marinero soy de amor II

This Burning Mass - A Feast of Colours (2022) 
for Ensemble 

Commissioned for Riot Ensemble
by Britten Pears Arts for the 73rd Aldeburgh Festival 2022 
Premiere: 19th June 2022
Riot Ensemble, Aaron Holloway-Nahum
Britten Studio, Snape Maltings, Suffolk

This Burning Mass - A Feast Of Colours

Esaias Järnegard: Pharos for violin and ensemble. Karin Hellqvist, violin with Ensemble Gageegoo! Live in Stockholm 2015. 

Esaias Järnegard: Pharos for violin and ensemble

Recorded by Anton Lukoszevieze (cello) and Karlheinz Essl (live-electronics) at the University of East Anglia (Norwich, UK)on 18 Sep 2008.

The Sequitur cycle consists of 14 different compositions for various solo instruments and live-electronics. It can be seen as a reference to Berio’s famous “Sequenze” cycle of solo pieces which focus on specific playing techniques of the respective instrument.

All Sequitur composition use a software written in MaxMSP which creates an electronic accompaniment from the instrument’s live input; the player is confronted with his own playing, and this creates a situation like moving in a house of mirrors where the identities becomes blurred.

The software generates a complex canon on the fly, the temporal structure and density of which being controlled by random operations. This yields different results every time the piece is performed. Although following a precisely notated score, there is always a good portion of surprise for the musician which emphasizes his awareness and attentiveness.

Info: http://www.essl.at/works/sequitur/sequitur-4.html

Sequitur IV (2008) - for cello and live-electronics

Recorded live with Barbara Lüneburg (electric violon and live-electronics) on 30 Oct 2010 in Vienna.

Sequitur is a series of 14 compositions for various solo instruments and live-electronics written for outstanding soloists. Somehow it can be seen as a reference to Luciano Berio's famous Sequenze cycle of solo pieces which focus on specific playing techniques of the respective instrument. Essl's Sequitur cycle includes pieces for orchestral instruments like flute and violin, but also for voice, electric guitar, toy piano or kalimba.

All Sequitur composition use a software written in MaxMSP which creates an electronic accompaniment from the instrument’s live input; the player is confronted with his own playing, and this creates a situation like moving in a house of mirrors where the identities becomes blurred.

Info: http://www.essl.at/works/sequitur/sequitur-3.html

Sequitur III (2008) - for electric violin and live-electronics

Recorded live on 23 Apr 2008 at the Essl Museum, Klosterneuburg with Georg Riedl (clarinet) and Karlheinz Essl (live-electronics).

Sequitur is a series of 14 compositions for various solo instruments and live-electronics written for outstanding soloists. Somehow it can be seen as a reference to Luciano Berio's famous Sequenze cycle of solo pieces which focus on specific playing techniques of the respective instrument. Essl's Sequitur cycle includes pieces for orchestral instruments like flute and violin, but also for voice, electric guitar, toy piano or kalimba.

All Sequitur composition use a software written in MaxMSP which creates an electronic accompaniment from the instrument&rsquo;s live input; the player is confronted with his own playing, and this creates a situation like moving in a house of mirrors where the identities becomes blurred.

The Sequitur software generates a complex canon on the fly, the temporal structure and density of which being controlled by random operations. This yields different results every time the piece is performed. Although following a precisely notated score, there is always a good portion of surprise for the musician which emphasizes his awareness and attentiveness.

Info: http://www.essl.at/works/sequitur/sequitur-2.html

Sequitur II (2008) - for clarinet and live-electronics

Performed by Goska Isphording (harpsichord) and Karlheinz Essl (live-electronics) at NatLab Eindhoven (NL) on 10 Sep 2010.

In this composition, the harpsichord is played in a highly unconventional manner. Except for the end of the piece, no keys are touched. Instead, the sound board and the lowest string of the instrument are excited in different manners. A contact microphone mounted on the sound board acts like an acoustic lense that amplifies sounds that are normally inaudible. The interaction between the harpsichordist and the live-electronics creates a kind of meta-instrument. Its novel sounds and expressions purposely avoid the typical percussive sound of the harpsichord, which is only heard at the end of the piece as a quotation.

By preparing the instrument with a thin nylon thread, sustained "drone" sounds can be produced as an antitheses to the needle-sharp and rapidly decaying harpsichord attacks.

Info: http://www.essl.at/works/sequitur/sequitur-12.html

Sequitur XII (2009) - for harpsichord and live-electronics

First reading of Karlheinz Essl's Sequitur I piece with Karlheinz on electronics.

Sequitur-I by Karlheinz Essl

Recorded live at INTONAZIONE festival on 20 Sep 2019 at Eremo Santa Caterina in Rio nell'Elba, performed by Rafał Zalech (viola & live-electronics)during a dance performance of Andrea Nagl. Mixed and produced by Karlheinz Essl.

Sequitur is a series of compositions for various solo instruments and live-electronics which I started in 2008. Somehow it can be seen as a reference to Berio’s famous “Sequenze” cycle of solo pieces which focus on specific playing techniques of the respective instrument.

All Sequitur compositions use a software written in MaxMSP which creates an electronic accompaniment from the instrument’s live input; the player is confronted with his own playing, and this creates a situation like moving in a house of mirrors where the identities become blurred. Each piece can be performed by the player alone who just has to press a key on the computer keyboard whenever this is indicated in the score. The software generates a complex canon on the fly, the temporal structure and density of which being controlled by random operations. This yields different results every time the piece is performed. Although following a precisely notated score, there is always a good portion of surprise for the musician which emphasizes his awareness and attentiveness.

More information: http://www.essl.at/works/sequitur.html

Sequitur IIIb

Sequitur IIIb (2008/2018)for viola and live-electronics

Born 1960 in Vienna. Austrian composer, improviser and performer. He studied composition with Friedrich Cerha and musicology in Vienna. Besides writing experimental instrumental music, he performs on his own electronic instrument m@ze°2, develops software environments for computer-aided composition and creates generative sound and video environments. Since 2007 professor of composition for electro-acoustic and experimental music at the University of Music in Vienna.

Karlheinz Essl performs on a laptop computer that he has transformed into a live electronic musical instrument. The result is exciting and musical. You just won't hear these sounds anywhere else. He performs solo and in duets and trios, responding with sensitivity to fellow musicians, producing fascinating sound transformations, creating spontaneous surprises, and moving quickly from loops to cacophony to tiny clips of vocal sounds to all kinds of textures and ideas. He does all this with his m@ze°2(Modular Algorithmic Zound Environment) performance software. (Joel Chadabe, CDeMusic, Januar 2002)
