Imagine György Ligeti would have had no physical boundaries for the composition of Lux Aeterna...

Lux Aeterna Unlimited is an interpretation of the first 13 bars of György Ligetis Lux Aeterna. A composition for 11 purely synthetic voices.

Lux Aeterna Unlimited

This piece is composed for 24 loudspeakers. In this binaural version the piece is rendered with the impulse responses of the cube at IEM, Graz. In the beginning only a few loudspeakers in the front are active. While the piece is evolving, more and more loudspeakers are used, activated from the beats of the rhythm. The whole piece consists only of filtered white noise and changing speakers.

Rising Amen

UA 14.06.2018 - Junge Signale, Graz, Mumuth

Fragile Idylle

UA: "Sonnenblumen aus dem IEM", 5.4.22, CUBE
Wiederaufführung: "KUG4Peace", 25.4.22, MUMUTH

Binaurale Version, Raumimpulsantworten des CUBE

Mit herzlichem Dank an Alisa Kobzar, Constanze Wimmer, Sepehr Karbassian, Artem Sivashenko, Peter Venus und alle Mitwirkenden

Morphomie Nr. 1

Only synthetic sounds generated by analysis - resynthesis algorithm. The piece won the third price at student 3D audio production competition and was performed at Musikprotokoll, Elevate and Sonic Matter.

Dies Irae

The utilization of fixed-media combined with a real instrument enables a number of advantages. I can use computational expensive algorithms.  And the live instrumentalist evokes attention without distracting from the music. The piece is one of the best 10 pieces at ISAC and was performed in Pesaro.

Das Dach mit seinem Schatten

Texts from Hamlet. Translated by Werner Strenger. Spoken by Chen Emilie Yan. Written for a performance in which the text was first played by Chen Emilie Yan and then musically processed.

Im innersten Gemüt

Documentation of an installation. For copyright reasons, the original text cannot be played here. First part: Original audio and the speaking piano. This was used for the speech in the end of the evening. Second part: Hotellobby music played by automatic piano. Program text: 
"In der dystopischen Zukunft von Stanislaw Lem ist der Ausstellungsort gleichzeitig Hotellobby des “Futurologischen Kongresses” und Kartenverkauf für die Schauspiel-Aufführung. Mit umgehängtem Kongress-Ausweis spazieren die Besucher am Piano vorbei, das nicht von einem Menschen, sondern einer Maschine gespielt wird. So beginnt die sinnliche Reise durch Utopie und Dystopie bereits bei der Beschreitung des Gebäudes. In Kooperation mit Winfried Ritsch wurde die Vorrichtung seines sprechenden Klaviers erst zum utopisch-automatischen Hotellobby-Pianisten und dann zum dystopisch-mechanischen Klangobjekt-Orakel. Was vor Beginn von Lems Geschichte noch Traum ist, verwandelt sich in Alptraum und so ist beim Verlassen des Gebäudes nun ein sprechendes Klavier zu hören, das die erschreckende Wahrheit einer betäubten Gesellschaft preisgibt."

Hotellobby der Zukunft

How can we destroy reality? By resynthesising it in detail, partial by partial, to perfection. And then we tear it apart. By placing the partials in different places, moving them, morphing them. Does reality still sound natural when we have recognised its parts? (There are recordings of reality at two points in time.)

Reality Study

Morphomie Nr. 2 (for Viola and Electronics)

still (10’), for 8 female voices, percussion, harmonium, cello & electronics. 2024
Commissioned by the Lithuanian Composer’s Union and co-financed as part of the Austrian State Composition Scholarship.
First performance: Vilnius, December’24 by Melos New Vocal Music Collective (LT) and Apartment House ensemble (UK); in collaboration with Anna Maly (electronics).
Composition based on formant analysis of the Melos singers and excerpts from poems by Sylvia Plath.

Anna Maly

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