Nocturno For Elec. Guitar

* Roland MC-707
* Sampler Roland SP 404a
* Soma RoAT
* Soma Lira-8
* Korg NTS-1

Mastered by Oleksii Mikriukov AKA King Imagine

Green Shadows Of Concrete

Summer

@markusreineke graciously performs my long, quiet work Three Voices on his Paetzold recorder and contrabass recorder - thank you, Markus! 

The clock in the background was accidently left in the recording room for the first recording, but he decided to keep it in the finished product. He and I loved it after the first listen, and think it adds so much to the piece.

Thanks again, Markus!

Three Voices - Recorders and Clock

Duo Reineke/Zoepf from 20.06.2024
 Bass recorder and soprano saxophone

Forest Dieback

D'autres timbres et sonorités

'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' → deutsch weiter unten ← 
>> yollar - diller <<
radiophonic composition
composition, text, speaker & realisation: harald muenz
duration: 52'13‘’
author's production for hr2-kultur, curator: stefan fricke
broadcast premiere: 7 december 2024, hr2-kultur, ‘the artist's corner’
made possible by the artist residency 'atelier galata istanbul' of the arts foundation of northrhine-westphalia

during my 3-month residency in istanbul, i was able to collect many gigabytes of original sounds, including complete audio recordings of all the city's metro lines.
in 'yollar - diller', i condense the unusual perspective of my objets trouvés into abstract urban-geographical audio spaces.
the public transport network is traversed in a transcontinental reflection using compositional means like an o-/aural sagittal section.
as the title suggests, 'ways - languages' invites you on a 50-minute acoustic journey through contrasting soundscapes, from the hectic atmosphere of urban centres to the idyllic sounds of remote terminal stations.
my multilingual sound-text landscapes of original sounds, music & 'polyphonetic poetexts' reflect in an idiosyncratic way the diversity & contradictions of the metropolis on the bosporus. (hm 2024)

''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
>> yollar - diller <<
radiophone komposition
komposition, text, sprecher & realisation: harald muenz
dauer: 52'13''
autorenproduktion für hr2-kultur, redaktion: stefan fricke
ursendung: 7. dezember 2024, hr2-kultur, "the artist's corner"
ermöglicht durch die künstler:innenresidenz atelier galata istanbul der kunststiftung nordrhein-westfalen

während meiner künstlerresidenz in istanbul konnte ich diverse gigabytes an o-tönen sammeln, darunter komplette audioaufnahmen aller bahnlinien der stadt.
in yollar - diller verdichte ich die ungewöhnliche perspektive meiner fundstücke zu abstrakten stadtgeografischen hörräumen.
das öffentliche verkehrsnetz wird in einer transkontinentalen reflexion mit kompositorischen mitteln wie einem o-/auralen sagittalschnitt durchquert.
wie der titel andeutet, lädt „wege - sprachen“ zu einer 50-minütigen akustischen reise durch kontrastreiche klanglandschaften ein, von der hektischen atmosphäre urbaner zentren bis zu den idyllischen klängen abgelegener endstationen.
meine mehrsprachigen klang-text-landschaften aus originaltönen, musik und „polyphonetischen poetexten“ spiegeln auf eigenwillige weise die vielfalt und widersprüchlichkeit der metropole am bosporus wider. (hm 2024)

yollar - diller

yollar - diller (2023-24)

Awaken

I was barely out of my teens when I met Tom Johnson in NYC and we started exchanging ideas about music and mathematics.  We continued doing that for more than four decades.  He left us on the last day of 2024 and I miss him greatly.  

One of his enthusiasms was "logical music."   Now this might seem a category error - after all, shouldn't it be be arguments and proofs, and not works of art, that are logical or not?  

Actually it turns out that formal logics in themselves just don't care about truth and correctness. Rather they're just oblivious rule-based systems that produce new thing from old things.  Well, sometimes they always produce new true statements from old true statements, and then that's very useful. So those kind of  logics are what people think of when they hear the word. but really the realm of logic is actually much larger.

So I understand Tom's program thusly: instead of having rules bound and bind our art, and also instead of attempting to reject rules altogether (if that's even possible), how about making works of art that, by design, faithfully project faithfully their own sui generis and hopefully intrinsically interesting rules?  With music, that means that both the sounds and the rules, so the logic, become potential objects of contemplation.  

Consider the duality of mind and brain, two distinct things with nevertheless thoroughly entangled existences.  So likewise the sound and structure of music.  By itself that's not new of course, music has had structure for millennia.  But treating musical structure as a first-class aesthetic object for contemplation by the thinking/listening subject, that was new.   Now structure could be more than a mere package or organization for the sonic experience, more than the mere bottle for the wine.  

My Elegy here is based on the fact that (11/8)^37 = 2^17 very nearly (the discrepancy is about .07%).  Both the rhythm and the harmony of this piece project this coincidence.  All the details emerge logically from the effort to project this little arithmetic coincidence.  

While the generating interval 11/8 is approximately 5.5 half-steps (actually more like 5.513), so roughly midway between a perfect 4th and a tritone (11/8 is the freshman sum of 4/3 and 7/5), if you pay close attention you will hear that the *logic* of this piece is actually not the logic of quarter-tone music, even though moment-to-moment it might have a sonic quality similar to quarter-tone music.  The faint, high-pitched wood-block type sound keeps track of this.  As Tom would say, "Just count the notes!"

Cover art from Tom's great book, Imaginary Music: 
https://www.editions75.com/pdf/books/Tom_Johnson_-_Imaginary_Music.pdf

Elegy for Tom Johnson (in 37TET)

Excerpt of Bandcamp album release

https://markusreineke.bandcamp.com/album/00-02-ab-wpt-e

. From the liner notes:

„00:02 ab Wpt.-E.“ is a piece for fixed media, contrabass recorder and live-electronics.

The fixed media is a collage (or a sonic landscape) comprised of mostly electronic sound sources (meta-stable states of a Peterlin, NIFX (no-input effects unit), a live-patched modular system, prepared table-top guitar, a field recorder left in the forest, and processed voice reciting time tables). The recorder part is improvised to a graphic score of collaged time tables. It is processed through live electronics emulating half-speed tape loop effects.


00:02 ab Wpt.-E. [Excerpt]

"Einspeisungen" was performed live July 17th 2025 at Café Krem Aschaffenburg. Thomas Burkhardt was playing the modular system while also resampling and re-arranging sounds made by Jürgen Hafner in real time. Jürgen was playing guitar, self-made instruments and objects and also used his voice.
Many thanks to all supporters, especially Bernhard Hench (Café Krem) and Isabella Burkhardt for taking pictures (Instagram: ib_photographie_de)

Einspeisungen live (LIN/LOG x Jürgen Hafner)

Improvisations for recorders and electronics
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.
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Releases:

Markus Reineke: "Was soll schon passieren" (pan y rosas discos)
http://www.panyrosasdiscos.net/pyr271-markus-reineke-was-soll-schon-passieren/

Ashwood/Bourne/Holtz/Hoogeboom/Reineke: "We Trust You"
https://martinhoogeboom.bandcamp.com/album/we-trust-you

Reineke / Wilke: "Sun Chief Moccas" (Muteant Sounds)
https://muteantsoundsnetlabel.bandcamp.com/album/sun-chief-moccas

Reineke / Wilke: "Born in Nature (Graftings)" (arborescence records)
https://arborescencerecords.bandcamp.com/album/born-in-nature-graftings

Reineke & Matthies: "waves on shore" (darkpebble-bluewave)
https://darkpebble-bluewave.bandcamp.com/

Hoogeboom/Reineke/Sanna: "Okapi"
https://martinhoogeboom.bandcamp.com/album/okapi

Markus Reineke & Paulo Chagas: "Machado Sketches" (Zpoluras)
https://zpoluras.bandcamp.com/album/machado-sketches

Reineke / Wilke: "KURGES" (Petroglyph)
https://archive.org/details/petroglyph381Reineke_Wilke-KURGES

Markus Reineke, Frank Wilke: "Dream Incorporation" (Haze)
https://hazenetlabel.bandcamp.com/album/markus-reineke-frank-wilke-dream-incorporation

00:02 ab Wpt.-E. [Excerpt]

Markus Reineke

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