Negativ for violoncello solo was written by Marius Bajog in October 2021.

It was performed by Elio Herrera Sanchez from a graphical as well as auditive score, and recorded by Levin Eric Zimmermann at the Institute for Computers and Electronic Media in Essen in December 2021.

It is a „twin“ of the piece Positiv for violoncello and electronics.
The two pieces can be combined, creating a third piece, named Zwei.

Audio produced by © Marius Bajog 2022.

These pieces were written for Elio Herrera Sanchez and his „contemporary music for cello solo“ project,
alongside Solus à cuatro ante una hoguera donde by Arlet Miguélez Álvarez
and ohne Titel (4) by Levin Eric Zimmermann.
The project was part of Elio's #MusikerZukunft scholarship by the Deutsche Orchesterstiftung.

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Zwei-Playlist:
https://www.youtube.com/watch?v=q5Q9f9Jt9dQ&list=PLu3yEk8rnCcyLGotpc8lfd838vnU16yOH

Elio’s channel:
https://www.youtube.com/channel/UCZl3EkCPgrAXzvOB9xawFQQ

ohne Titel (4) by Levin Eric Zimmermann:
https://soundcloud.com/levinericzimmermann/ohne-titel-4

Negativ (Zwei)

Negativ

Positiv for violoncello and electronics was written and programmed by Marius Bajog in October 2021 and recorded in the same month.

It was performed by Elio Herrera Sanchez.

It is a „twin“ of the piece Negativ for violoncello solo.
The two pieces can be combined, creating a third piece, named Zwei.

Audio produced by © Marius Bajog 2022.

These pieces were written for Elio Herrera Sanchez and his „contemporary music for cello solo“ project,
alongside Solus à cuatro ante una hoguera donde by Arlet Miguélez Álvarez
and ohne Titel (4) by Levin Eric Zimmermann.
The project was part of Elio's #MusikerZukunft scholarship by the Deutsche Orchesterstiftung.

▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬

Zwei-Playlist:
https://www.youtube.com/watch?v=q5Q9f9Jt9dQ&list=PLu3yEk8rnCcyLGotpc8lfd838vnU16yOH

Elio’s channel:
https://www.youtube.com/channel/UCZl3EkCPgrAXzvOB9xawFQQ

ohne Titel (4) by Levin Eric Zimmermann:
https://soundcloud.com/levinericzimmermann/ohne-titel-4

Positiv (Zwei)

Positiv

Please note that you are listening to a stereo downmix of an ambisonic tape that was originally premiered as a 36-channel version.

The German word „Federlesen“ is a metaphor for picking up the pieces with much care, but is commonly used in the contrary sense of doing something without too much hesitation or consideration (in German „ohne langes Federlesen“). A literal translation, however, could be either „collecting the feathers“ or „reading the feathers“.

The piece shows the realization of line drawings as filtered noise. The drawings were improvised according to a set of simple rules (e.g. number of strokes, stroke widths, strokes with ruler or freehand, and stroke crossings). Noise with different timbres was generated via subtractive and additive synthesis, to represent different stroke widths. The progression of the drawings from left to right was translated as temporal progression, and the height as the core frequency of the filtering.

Federlesen was first shown in concert on June 24th 2022 at zkm Karlsruhe, as part of the next generation 9.0 festival.

It was written and produced by © Marius Bajog in September 2021, based on sketches by
0:06 5.5 [饗庭 光春 Mitsuharu Aiba]
1:18 2.2 [Claudia Ebing-Bajog]
2:05 2.1 [Marius Bajog]
3:08 4.5 [Claudia Ebing-Bajog]
4:14 5.4 [Christof Schmidt]
5:18 1.2 [Hanna Fink]
6:15 1.4 [Claudia Ebing-Bajog]
7:10 4.4 [Johanna Bajog]

"outside ears" : Michael Edwards and Lukas Tobiassen
special thanks to Claudia Ebing-Bajog and Moeko Aiba

Federlesen

Lean back in your swivel chair and enjoy these twisted tunes. Hope you won’t get dizzy!


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Drehwurm
for wind quintet and humming tops
written by Marius Bajog 2021/02

played by

王泊宁 Boning Wang, flute
東 莉沙 Risa Higashi, oboe
Roberto Beseler Maxwell, clarinet
강민정 Minjeong Kang, french horn
Georgie Powell, bassoon

conducted by the composer

premiere recording: august 2021 @ icem
audio engineers: Lukas Tobiassen, Marius Bajog

special thanks to 王芃惠 Peng-Hui Wang and Rodrigo Ortiz Serrano


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All notes in this music are bits and snippets taken from iconic classical pieces, played "wrong". These pieces have been played around the world over and over again, while volumes of music, equal in quality, remain widely unknown. Almost everyone has heard these works at some point, even though their origin and purpose seem to have become less important. The idea of this piece is to identify these wrongly played bits and snipptes with the spinning of the humming tops. These mere toys have no purpose or progression in what they do, yet it appears tempting to let them spin again and again.

Drehwurm

A tiny scetch on the baroque Folia-theme, which has been adepted so many times.


composed in 2015 by Marius Bajog (*1993)


https://en.wikipedia.org/wiki/Folia
https://en.wikipedia.org/wiki/Clipping_(signal_processing)
https://en.wiktionary.org/wiki/hackneyed

Theme And Variations On The Famous 'la Folia'

"Valentina auf den Teufel gekommen"

was premiered by

Juan-Jesus Arrufat Zafra, guitar.

Recorded in 2019 in Essen, Germany. 

Toningenieur: Georg Niehusmann


It is the 1st movements of the cycle "Piecen Viere" which was written by Marius Bajog in 2013/14.


The Piecen Viere cycle is meant to bring together four contrasting musical styles, 
representing four different programmatic stories. 
They are though connected through reappearing thematic material
and the comprehensive idea of a one fictional character as the persona of each movement.

The first movement refers to a scene from Terry Gilliam's "The Imaginarium of Doctor Parnassus", a movie with many different references itself.
In this particular scene our main figure Valentina has a dance with the devil, who just like her turns out to be quite an ambivalent character.
Because the movie is also partly a love story, there are small motives from Messiaens Turangalîla-Symphony with its "Chants d'Amour" woven into the music, 
as well as a rhythmic citation from the song "God's Away on Business" by Tom Waits - who happens to play the devil.

Valentina auf den Teufel gekommen

an imaginary soundscape



composed by Marius Bajog in 2018

the human has been neutralized.

"Am Strom" is a poem by the German writer Joseph von Eichendorff (1788 – 1857).
This piece for mixed choir was written by Marius Bajog in 2014 based on the lyrics of the poem from 1837. It was recorded in 2018.

Elisa Birkenheier, soprano
Eva Horn, soprano
Johanna Killewald, soprano
Antonia Busse, alto
Vera Fiselier, alto
Julia Schlegel, alto
Stefan Oberle, tenor
Marius Bajog, tenor
Ferdinand Junghänel, tenor
Nikos Striezel, bass
Thomas Huy, bass
Nayeb Behbahani, bass

Saskia Worf, flute
Andreas Hermanski, clarinet
Andreas Tetkov, trombone
Johannes Stelter, bassoon

composer: Marius Bajog (*1993)

---

Am Strom

Der Fluß glitt einsam hin und rauschte,
Wie sonst, noch immer, immerfort,
Ich stand am Strand gelehnt und lauschte,
Ach, was ich liebt, war lange fort!
Kein Laut, kein Windeshauch, kein Singen
Ging durch den weiten Mittag schwül,
Verträumt die stillen Weiden hingen
Hinab bis in die Wellen kühl.

Die waren alle wie Sirenen
Mit feuchtem, langem, grünem Haar,
Und von der alten Zeit voll Sehnen
Sie sangen leis und wunderbar.
Sing Weide, singe, grüne Weide!
Wie Stimmen aus der Liebsten Grab
Zieht mich dein heimlich Lied voll Leide
Zum Strom von Wehmut mit hinab.

Am Strom

Marius Bajog is a German composer, musician and lyricist.

Marius Bajog

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