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Helios - Come With Nothings

For Magister Zacharias (1997)
for (amplified) Steinway piano mechanism
This piece is to be played by depressing the keys only partway,
so that the dampers lift but the hammers do not hit the strings.
On certain pianos (Steinway, Boston), the action of lifting dampers
produces a small plucking sound in the middle register of the piano.
In an intimate concert setting, the performance may be unamplified
and at the border of inaudibility. Alternately, the sound may be
highly amplified (on the border of feedback) so as to be audible as
melody. Additional sounds from the mechanism itself, and ambient
sounds reflected by the piano soundboard, will also be amplified.
The pitches are notated more or less equidistantly, to allow the
performer to choose the timing of the notes freely. The playing
should be quite legato throughout, with lifts at the indicated
commas.
The melodic material is a cyclic elaboration of a tune from
Magister Zacharias, a composer associated with the highly complex
contrapuntal Ars Subtilior music of the late 14th and early 15th
centuries.

For Magister Zacharias (1997)

Ice Storm — Andy Blaney

[Piano / Dramatic / Thoughtful] - "Lifeline"

Spanish guitar with gypsy violin, Latin percussion, grooving bass, and soulful accordion.

La Lunada

Winter

Klavierraum, Spater

Henning Schmiedt - du und ich (Mono Fontana Reinterpretation)

Homecoming

A propos des émotions qui nous submergent.

Lyrics

Laisse, attend de voir
Souffle ce qui tremble
Et garde ton pouvoir
Pour ceux qui le méritent vraiment

Reste au pied du lit
Souffle ce qui tremble
Et cherche dans le noir
Les traces de tout mouvement

Il est bientôt l'heure
Souffle ce qui tremble
Les choses que tu caches
Connaîtront le goût du vent

Oh j'ai gardé 
Tes phrases et tes couplets
Ils dorment dans ma tête

En temps voulu 
Tu entendras venir
La tempête

Credits
Nolika : Songwriting, Recording, All Intruments, Production, Mix
Studio Altho : Mastering

Ce Qui Tremble

Little Kid

Canadian composer Marc Sabat (*1965) is based in Berlin since 1999. He has made pieces for concert and installation settings, drawing inspiration from investigations of the sounding and perception of Just Intonation and of various music traditions — folk, experimental and classical. His pieces are presented and broadcast internationally at festivals of new music including the Donaueschinger Musiktage, Klangspuren Schwaz, MaerzMusik, Huddersfield, Darmstadt, Musica Viva and Carnegie Hall. Scores and artist editions are available from Plainsound Music Edition. Recent recordings include the LP “Les Duresses”, released by care of editions (Berlin) as well as discs on the labels Populist Records (Los Angeles) and World Edition (Köln).

Sabat studied composition, violin and mathematics at the University of Toronto, at the Juilliard School in New York, and at McGill University, as well as working privately with Malcolm Goldstein, James Tenney and Walter Zimmermann. Together with Wolfgang von Schweinitz he has developed the Extended Helmholtz-Ellis JI Pitch Notation and is a pioneer of music written and performed in extended Just Intonation. He teaches at the Universität der Künste Berlin, and as a guest at the California Institute of the Arts, the Escola Superior in Barcelona, the Janacek Academy in Brno and the Paris Conservatoire. In 2010, he was an artist-in-residence of the Villa Aurora in Los Angeles, followed in 2011 by a one year residency at the German Academy in Rome, Villa Massimo.

For Magister Zacharias (1997)

Marc Sabat

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