Processed improvisation using the Kokeka and Logic Pro 9.

Crumbling Walls; Inch by Inch, Row by Row

Kokeka bowed with a violin, time stretched in three tracks.

Kokeka (2-4-11) Time Stretched Violin Bowing

Impromptu (2005) 
Dur. 3:30 Solo piano
Premiere : Michael Wendeberg, piano. 26.11.2005, Philharmonie Luxembourg, Salle de Musique de Chambre, festival Rainy Days 2005.
Editorial Tritó (Barcelona)


Impromptu. Hèctor Parra, piano. CD Ars Harmonica (2006).

Festival Ensemble(s) 2021
2e2m, Court-Circuit, Cairn, Multilatérale, Sillages
Direction Jean Deroyer
Version pour 8 musiciens - Commande du festival Ensemble(s)
À Vuk

La composition de cette pièce repose sur l’analyse d’enregistrements de terrains réalisés en Normandie et en Val de Loire, dans lesquels j’ai pu isoler diverses manifestations de faune pour m’intéresser uniquement à leur aspect temporel.

Les phénomènes de réitérations, de micro-variations et d'isochronies constituaient des formes d’invariants entre diverses espèces, sur divers territoires et en divers moments de la journée ou de l'année.

Refusant l'imitation, et retenant exclusivement les caractéristiques temporelles des espèces enregistrées, j’ai cherché à juxtaposer des matériaux comme des espèces imaginaires, jusqu’à parvenir à des états d’ambiguïté avec d’autres références que sont la synthèse granulaire ou la musique électronique progressive.

La lente évolution des paysages m’a conduit vers une conception plus minimale du développement et du continuum, et l'idée de déambulation a orienté la pièce vers de lentes émergences et bascules entre les plans sonores, certains matériaux lointains se rapprochant peu à peu pour s'éloigner tout aussi lentement.
Un autre parcours réside dans le geste même de l’écriture, qui cherche à rassembler, à synchroniser ces autonomies dans les relations instrumentales pour constituer une proposition structurelle.

Territoires - for 8 musicians (2021)

" Incanto XVI, dopo Irrlicht di F. Schubert "
for piano trio

recorded the 09-09-2017, Dampfzentrale Bern - Kesselhaus A

Written for:
Musikfestival Bern, Ensemble Nuance

Dedicated to:
Malwina Sosnovsky, Karolina Öhman, Kirill Zwegintsow

Ein Kompositionsauftrag des Musikfestival Bern


The enchantment’s dimension is the path of contemplation which allows to dress the imago, weaving its resonant tunic.
The piece addresses human vocality as the highest possibility of existence of a sound that contemplates an inner world, a sound charged by vital energy, a human effort of becoming a vehicle: the essential is not the words’ meaning, but the mysterious, arcane and poetic power of their resonance.
“Incanto XVI” uses melodic/harmonic sequences and procedures of Franz Schubert's “Irrlicht” from the “Winterreise” and makes an imaginary transition between Arnold Schoenberg's “Madonna” and “Der kranke Mond” from Pierrot Lunaire.


" Vedendo sulla terra l'ombra delle cose
  illuminate dal sole, l'ombra della luna e 
  in talune limpide notti l'ombra lieve delle stelle, 
  egli può presentire il coro terrestre 
  delle entità cosmiche della luce. "

Massimo Scaligero, LA LUCE 


https://www.musikfestivalbern.ch/
http://www.ensemblenuance.com/

Simone Movio, " Incanto XVI " (2016-2017)

Recorded live at the CUNY Graduate Center

the robot in red by Klaus Lang (Live at CUNY Graduate Center)

Reflection (For Two Pianos) 2018

"In this piece, I aimed to create a continuous stream of different thoughts and emotions. It is not only that the consecutive sections significantly differ from each other, but also a number of contrasting layers are often superimposed, i.e. presented simultaneously. The music is dynamic with often and abrupt changes and goes to unexpected directions. The piece is inspired by the fictions of the Argentine writer Jorge Luis Borges. In this piece, I aimed to create a continuous stream of different thoughts and emotions. It is not only that the consecutive sections significantly differ from each other, but also a number of contrasting layers are often superimposed, i.e. presented simultaneously. The music is dynamic with often and abrupt changes and goes to unexpected directions. The piece is inspired by the fictions of the Argentine writer Jorge Luis Borges."

Adjacent rooms, for Borges
performed by Ensemble Reconsil Vienna

Antanina Kalechyts, conductor

Eric Lamb, flute
Helene Kenyeri, oboe/English horn
Mirjam Ilsebill Schiestl, clarinet
Kaori Nishii, piano
Bojidara Kouzmanova–Vladar, violin
Daniel Moser, viola
Maria Frodl, violoncello

Live recording on 10.10.2018 at Reaktor, Vienna
Special thanks to Mehmet Ali Uzunselvi for the mastering of the recording

Adjacent rooms, for Borges (2018) | Kalechyts & Ensemble Reconsil

El Puerperio (for piano or two pianos. Four or eight hands)

UA (premiere) : Wittener Musiktage 2001 
Auftragswerk von WDR

Darmstadt 2006 

Ensemble Modern :
Basskl. : Wolfgang Struy
Cello : Michael Kasper
Klavier : Uli Wieget

Edition Peters Frankfurt/M.
www.edition-peters.de/cms/deutsch/general/komponist.html?composer_id=3425

Reflection (For Two Pianos) 2018

Mitsuyoshi Sasada