Name: Reality Study by Anna Maly
Duration: 3 min 46 s
Description: 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.)

逢魔時 / Ōmagatoki
"The time when chimimōryō, the spirits of the mountains and rivers, attempt to materialize in the world." 
- Toriyama Sekien

Instrument: Chromatic Dulcimer played with bow
Realtime processing: Supercollider
Performed by Benjamin Alan Kubaczek

Recorded Live 14.1.2022 in Graz, Austria

逢魔時 / Ōmagatoki (2022)

Dismantled

for saxophone, accordion, violin and cello

saxophones: Gerald Preinfalk
accordion: Krassimir Sterev
violin: Lea Moullet
cello: Leo Morello


The piece was composed during January and March 2021. It is inspired by the poem “The tree” (1955) written by the poet Zoe Karelli and the way the poet approaches the flux of time and the endless metamorphoses of nature. Dedicated to every end that turns to a new beginning.

Klangforum Wien and PPCM
Larissa, Greece 
Outhear New Music Week Festival 2022

photo: Mario Giacomelli

The Branches Bend, The Memories Collide for sax, acc, vln and vc

Concordances (2023) is a piece by Gerard Erruz for piano, percussion and electronics.

Piano: Maria Iaiza
Percussion: Reed Puleo
Electronics: Gerard Erruz

Performed on December 2023 in the concert "Ways of being moved" at the Universität für Musik und darstellende Kunst Graz (KUG).

Thanks for making it possible,
Bailong Dai
Siebe Thijs
Claudia Cañamero Ballestar
Çağdaş Onaran
Beatriz Herrera Corado

This work uses the sound "rain on pots.wav" by oloyolol -- https://freesound.org/s/350476/ -- License: Attribution 3.0

Concordances I [live] (2023) for piano, percussion and electronics

Commissioned by Ircam-Centre Pompidou and SWR for the 100 years anniversary of György Ligeti

1st performance: ManiFeste (Philharmonie de Paris), 19th June 2023, SWR Vokalensemble, cond. Yuval Weinberg, electronics IRCAM: Robin Meier

Duration: 16'

"then white light / no longer disguised as matter". Louise Glück, End of Summer

“Iridescence” for choir and electronics (2023) is a search for a musical metaphor of light - a radiating sound object, a choir emanating light, inspired by “Lux aeterna” by György Ligeti, one of my lighthouse composers. The title comes from the interviews with Ligeti who used this term to describe sound surfaces of changing colours in terms of harmony and timbre which appeared immediately as a perfect concept to my composition referring to the optic, light-based phenomenon of iridescence in nature.

The voices of the choir are constantly moving in a circle from the highest frequencies down to the lowest pitches and returning, gradually expanding the micro-polyphonic sphere, densifying, enriching, transforming it towards its utmost limits. The only form of sound in the piece is a pure wave, like a simple breath in and out which becomes slower and longer along the organic evolution of the entire sound body. The only text material used, pronounced without consonants and therefore accessible only for the singers, is a phrase from Richard Brautigan's poetry “Star Hole” (“I sit here on the end of a star”) which, like a mantra, is repeated infinite times adding a melancholic, nostalgic, lightly apocalyptic dimension to the lux aeterna theme:

I sit here
on the perfect end
of a star,
watching light
pour itself toward
me.

The light pours
itself through
a small hole
in the sky.

I'm not very happy,
but I can see
how things are
faraway.

Richard Brautigan

Justė Janulytė © Éditions Salabert/Universal Music Publishing Classical

"Iridescence" for choir and electronics (Ircam/Robin Meier, 2023)

Juste Janulyte, Unanime, long version for 8 trumpets
The Monochrome Project, live @ festival Romanische Sommer, Cologne 6th June 2021
Marco Blaauw, Christine Chapman, Mathilde Conley, Rike Huy, Bob Koertshuis, Nathan Plante, Markus Schwind, Laura Vukobratović

Juste Janulyte, Unanime, The Monochrome Project

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

Premiered by Quasar Saxophone Quartet on May 9th, 2024 in the MMR of CIRMMT. Montreal, Qc. Canada.

Ebb And Flow for Saxophone Quartet (2023-2024)

For Soprano and Ensemble
Recording performed by Juliet Fraser and Klangforum Wien, conducted by Bas Wiegers.
Commissioned by SWR, Huddersfield Contemporary Music Festival and Casa da Musica Porto. 
First performed by Juliet Fraser and Klangforum Wien, conducted by Titus Engel at Donaueschingen Musiktage, 14 October 2016.

View score - 
https://issuu.com/editionpeters/docs/ep14188_online

Skin (2015-16)

next performance: 06.03.20 @ Elevate Festival in Graz, Austria

https://elevate.at/en/arts/programme/e20acousmonium1/

Spin!

Performed and Recorded at the Conrad Prebys Music Hall in La Jolla in the context of Schallfeld Ensemble Residency at UCSD in February 2020

Bass Clarient: Chiara Percivati
Double Bass: Margarethe Maierhofer-LIscka
Piano: Patrik Skrilecz

Reality Study

Anna Maly

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