For Nikolaus Gerszewski


Nényei Zsigmond

Inna Is Hot De Bartók Hotabb

Gerald Barry - String Quartet No. 2 1998 extrait
Quatuor Bozzini (Clemens Merkel, Alissa Cheung, violons; Stéphanie Bozzini, alto; Isabelle Bozzini, violoncelle)

enregistré en concert le 19 novembre, 2022 à Théatre La Chapelle, Montréal, QC
John Klepko, ingénieur de son

Gerald Barry - String Quartet No. 2 1998 Excerpt

Alan Wass And The Tourniquet - 07. Hired Gun (Lefthand)

Johanna Vargas, soprano
Ensemble Linea
Carolina Santiago Martinez, piano
Keiko Murakami, flute contrebasse
Louis Siracusa, double bass
Jean-Philippe Würtz, conductor

IV. Gradual Abruptness
ooo –– ooo –– oo –– o 
gradual abruptness 
french 		(mr., rhythm acuto intros.) 
ital 		(riposante musica, ritmo meno acuto, adattabile)   
                 o                   –– 
non avete da mostrarmi un’altra macchina? (repeat rhythm) 

[…]

(– oooooooo – )

[…]

tu pensi:   
 –  o o  –  o o o  – o o o  –  o 
ha una macchina ancora da mostrarmi? 

Un poco di buon ordine feroce
Aspettare in tempo

	Évidemment

		si tu ne peux
Poétiser
	il te faudra
Cohabiter
Rime e accenti allineati
Évidemment 
Si tu ne peux
		analyser
Il te faudra
		coaliser
Io vado di solito a letto alle undici
o – o o – o o – oo – oo
La poésie du succès 
Le succès du sexu

Bisogna sfruttare i buoni momenti
o – oo – oo – oo – o
– o oo – o ooooo –

Autumn is a season of which I am very fond [about]

Regarde
Au moins
Ce qui est
Écrit
Sur le bout
De ta langue chérie
In nous faudra
Que tu y vas
(synthèse-douleur)
tu parles en prose  

V. Allons, plongeons
Allons, plongeons dans le réel (il le faut)
l’Esthétique Jaune dans son lit de Mort 
l’Esthétique Jeune dans son Lit Subtil
ou bien  
Nous sommes 
[dans son lit de la mort subtile
dans le lit de son jeune mort
dans la mort du lit du son
dans le son subtil de la jeune mort] 
 
(dans la gaze de la réalité). 
Nous passons dans la gaze du réel. 
Arrive l’enfer. L’impératif 
de la[…]
[…]réalité
(nous sommes en communication).

4. Gradual Abruptness 5. Allons, plongeon

Jack Callahan & Jeff Witscher -  Hate the Player (feat. Ana Roxanne)

From a forthcoming LP...

Directed by Callahan & Witscher

Filmed by Daniel Hewson with additional footage by Jonas Asher

Post Present Medium, 2023

Hate the Player (feat. Ana Roxanne)

Performed by Quatuor Bozzini (Clemens Merkel, violin 1; Alissa Cheung, violin 2; Stéphanie Bozzini, viola; Isabelle Bozzini, cello)

Sept 22, 2023, Montréal, CA @ Salle Bleue

Recording engineer: John Klepko

String Quartet No. 2 “Three Busy Monsters” (2023)

"Stitched" for Violin · 
 Johnny Gandelsman

This Is America: An Anthology 2020-2021


note: there is a moving image component to this score that the musicians are also reacting to in real time

'Stitched' For Violin by Matana Roberts

■ FOLLOW ON SPOTIFY: https://open.spotify.com/intl-de/artist/1CyDJVH3SamL5Z7n6IdAOb
■ BANDCAMP: https://ghostfloppy.bandcamp.com/
■ FORMAT: 24 kbps, mp3 on 1.44MB Floppy Disk -> Limited 50 Copys

Stanley Hottek releases a new track on one of Sascha Müller's labels - this time on a 1.44 megabyte floppy disk! An original decision that deserves respect and makes us smile. If you want to experience the tracks, you can get a special floppy drive to enjoy them on GhostFloppy Recordings. The track is available for €2.50 on Sascha's label Ghostfloppy Recordings or for a donation on Stanley's Bandcamp page.

[GFR017] Stanley Hottek - SixFeedOver

Lope, for violin solo (2024) performed by Erika Litván
The essence of the instrumental solo is to explore the limits of what is playable. The performer is faced with a technical challenge that can only be mastered through excessive practice. It is not so much a question of reproducing the musical text flawlessly - if that were the case, the notes could also be divided between several instrumentalists to make the task easier - but rather of making the challenge plastically tangible. The performer is deliberately overstrained in order to be observed in failing the challenge; because failure is the essence of art. Only the failed work of art points beyond itself, beyond its thingness. On the horizon of failure, the idea of perfection shimmers through as an aspiration.   
That which can succeed is not worth the effort. That's what machines are there for. The human factor reveals itself in tangible effort. Failing means to give one's utmost. Those who do not exhaust themselves do not know what failure means. Those who never fail do not know their limits, and those who do not know them cannot exceed them. Exceeding one's limits means "failing better".
One can only fail at what is technically feasible. Where there is no prospect of success, there is no chance of failure either. Every single note in this piece, every interval, every sequence is playable in and of itself, but every single one of the 420 bars represents a hurdle that must be taken with momentum and carries the danger of stumbling. The mechanism is obvious, so that the listener immediately registers the slightest impurity. Tension arises from the comparison of the tone to be expected with the one that actually sounds. The listener follows the hurdles with a held breath. Every wrong note is balanced in the mind, every note hit provides relief.

lope

Chuck Person - Eccojams Vol. 1 *FULL ALBUM*

You can learn to play this piece. FREE scores and parts, among other materials, are available online: kronosquartet.org/fifty-for-the-future

Composed by Henry Threadgill
© 2018 Kronos Arts Publishing
℗ 2019 Kronos Performing Arts Association
Commissioned for Fifty for the Future: The Kronos Learning Repertoire

Produced by Kronos Quartet and Reshena Liao
Recorded August 2019 at 25th Street Recording, Oakland, CA
Engineered by Zach Miley
Assistant engineer: Gabriel Shepard
Mixed by Zach Miley and David Harrington at Decibelle Recording, San Francisco, CA

Henry Threadgill - Sixfivetwo

Nikolaus Gerszewski is a trained visual artist and self-trained composer of experimental music, born 1964 in Hamburg, currently living in Budapest, Hungary, where he has been teaching experimental soundproduction at the university of fine arts, since 2014. 

"The term ‘experimental music‘ means to my understanding, music that results from an experimental arrangement. The notation follows a procedure model, which substitutes the compositional decision making process. Depending on the listener’s mindset the sounding result may be found intersting or boring, beautiful or annoying. I have never been very much interested in sound as such, or even beauty as such, whatever that means. The sound of music is the trace of a thought process, and all that matters, is that the idea takes shape as clearly as possible." Since 2021 Nikolaus is a member of the composer's collective Frog Peak Music

lope

Nikolaus Gerszewski

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