"scattered ways" (2015) EXCERPT
for orchestra 
(3.2.3.2/4.2.2.1/harp/2 perc/toypiano+synth/strings min. 6.6.6.4.3)

Radio-Symphonieorchester Wien (RSO Vienna)
Johannes Kalitzke (conductor)

*
picture: excerpt of a drawing by Elisabeth Naomi Reuter (from the 1970ies)

scattered ways (2015) RSO Vienna - EXCERPT

how moths survive at higher elevations (2020)
for ensemble 
premiered by S201

How Moths Survive At Higher Elevations (2020) [fl, ob, cl, acc, pn, vlc, e/bass]

Rein Ins Vergnügen! (2021) UA – Klangwerkstatt Berlin 2021
for flute, alto saxophone, trumpet in C, accordion, piano, violin, violoncello and percussion

Klangwerkstatt Berlin – Festival für Neue Musik 2021
Konzert „Fremde Musik – Vertraute Musik“ | 14.11.2021, 15.00 Uhr | Kunstquartier Bethanien, Studio 1

Performed by georg katzer ensemble Berlin
Malin Sieberns – Flöte | Sebastian Lange – Saxophon, Klarinette | Katarina Vowinkel – Trompete | Anastasia Tsvetkova – Violine | Felix Eugen Thiemann – Violoncello | Zhifeng Hu – Klavier | Raphael Kopp – Akkordeon | Christoph Lindner – Percussion
Leitung: Gerhard Scherer

Rein ins Vergnügen!(2021)für 8 Instrumente

Pictorial Fields: Traces in 1A was premiered by the [Switch~ Ensemble] during the 2016 VIPA (Valencia International Performance Academy) Festival that took place in Valencia, Spain in July 2016.

Madison Greenstone, bass clarinet
Lauren Cauley, violin
T. J. Borden, cello

Score is published and available by Babel Scores:
https://www.babelscores.com/catalogs/instrument-electronics/3911-pictorial-fields-traces-in-1a 

Program Notes:
The piece has no score. The three parts were written independently with each part moving through its own temporal stream. The three parts, sharing duration and sonic identity by being consistent on a dominant textural hue, were written to co-exist by beginning and finishing together, with the instrumentalists playing using click-tracks and without being aware of each other during the performance.

Solely for educational purposes, a video has been made after the completion of the composition and its premiere to provide a rudimentary score follower of the work, aligning in parallel the playbacks of the individual scores of the parts, willing, firstly, to present a notational sense of the momentary vertical relationships throughout the musical activity and, secondly, to visualize the global progression of the layer of the composition’s dramaturgy.

The score follower video may be found here: 
https://drive.google.com/open?id=1JPSC8iRXlNQw-Tl3g_tQjlD-d9bLUI8i

The electronics were made based on an Max/MSP patch built by Nicolas Tzortzis.

Pictorial Fields: Traces in 1A (2016) - for bass clarinet, violin, cello, and live electronics

This is my new single "Movie" taken from my debut album "Geography" will be released on April 6th 2018! 

Love to my sister Polly for the vocals at the start of the song and to my mum Carol for the artwork! 

Pre order "Geography" now for first access to my EU and North American tour dates. 

"Movie" also now up on all platforms! - Go to www.tommisch.com for all the info!

Buy / Stream

Movie

My debut album "Geography"  is out now!

Listen here: https://tommisch.lnk.to/geography

Isn't She Lovely

Commissioned by ilSUONO Contemporary Music Week for ensemble Il Suono Giallo. 

Performed by Ensemble Suono Giallo, Italy:  Andrea Biagini, flute; Michele Bianchini, saxophone; Laura Mancini, percussion; Simone Nocchi, piano

Program Notes

“…risuona piu lontano che mai” is a work shaped and, at the same time, fractured by the brevity of its mnemonic fragments, which reappear in manifold and often distressing reocurrences and insistent retrospections through a series of regenerations and rearrangements of the material. Echoing the strangeness of an indescribable sound, these mnemonic fragments are advancing and regressing non-linearly, in stumbles and stutters, uncertainties and hesitations. They are treated as, what Deleuze (and Guattari would call, blocks of becomings in contemplative and non-hierarchical dialogues with one another. As something happening in the process,  in intimate intimacy.

"A becoming is always in the middle; one can only get it by the middle. A becoming is neither one, or two, nor the relation of the two; it is the in-between, the borderline or line of flight… If becoming is a block (a line-block), it is because it constitutes a zone of proximity and indiscernability, a no-man’s land, a non-localizable relation sweeping up the two distant or contiguous points, carrying one into the proximity of the other - and the border-proximity is indifferent to both contiguity and to distance." Gilles Deleuze and Félix Guattari, A Thousand Plateaus. Capitalism and Schizophrenia, trans. Brian Massumi (Continuum, London and New York, 2003), p. 293.

“…risuona piu lontano che mai” (2018) for flue/bass flute, soprano saxophone,  percussion, and piano

You can get the score at http://www.babelscores.com/en/catalog/instrumental-music/chamber-ensemble-5-9-instruments/in-pulses-in-strokes

In pulses, in strokes

‘’ 아, 새로운 세상이 눈앞에 펼쳐지는구나. 힘으로 억누르는 시대가 가고, 도의가 이루어지는 시대가 오는구나. 지난 수천 년 갈고 닦으며 길러온 인도적 정신이 이제 새로운 문명의 밝아오는 빛을 인류 역사에 비추기 시작하는구나. 새봄이 온 세상에 다가와 모든 생명을 다시 살려내는구나. 꽁꽁 언 얼음과 차디찬 눈보라에 숨막혔던 한 시대가 가고, 부드러운 바람과 따뜻한 볕에 기운이 돋는 새 시대가 오는구나. ,,

139191 for Modum-buk & Live-Electronics

Stuttgart, Festival Eclat, 6-2-2021
See also:
https://www.youtube.com/watch?v=nlc5zTwf5PE&list=RDnlc5zTwf5PE&start_radio=1

Rein ins Vergnügen!(2021)für 8 Instrumente

Eunhye Joo

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