Recordings of some of my composed works are featured here. 

Works by Pia Palme

Sonja Leipold – playing on two harpsichords – and Pia Palme with electronics perform a new piece @UnsafeandSounds 2022, Zacherlfabrik Vienna, live recording. The piece is a composition by Pia Palme with improvised passages by Sonja Leipold. Leipold uses a set of analogue preparations. The harpsichords are amplified with microphones and contact microphones. The electronic tracks are generated with field-recordings from a Finnish forest at Saarinen. The recording further includes short passages of live harpsichord-processing.

Vanished Shorelines

Ana María Romano G. is a Colombian composer and interdisciplinary sound artist. Her creative interests center around acoustic and electroacoustic media and participation in interdisciplinary projects involving contemporary dance, video dance, performance and live arts. Her creative interests stem in the intersection of gender, sound and technology, listening, soundscape, noise, experimentation, improvisation, cyberspace, body and the political dimension of the creative. Her artistic works have been featured in festivals and published in physical support and by several netlabels in Latin America, Europe, North America, and Asia.
Currently, she teaches at Universidad El Bosque and Universidad de Antioquia. She is the coordinator of the Plataforma Feminista En Tiempo Real (Feminist Platform En Tiempo Real) dedicated to the encounter between sound and technology with focus on women and LBTQ+. She has been nominated to the CLASSICAL NEXT INNOVATION AWARD 2019 (Holland) for the work of making visible the work of women in the field of experimental sound creation with technologies through the Festival En Tiempo Real.
https://soundcloud.com/anamariaromano
https://www.instagram.com/ana_romano_g
https://twitter.com/anamariaromago
https://www.facebook.com/anamariaromanogomez

TRACKLIST:
1. Mabe Fratti + Vania Vargas (Guatemala) - Péndulo y Latido (2020)
2. *Claudia Robles (Germany/Colombia) - Wandering in Morelia (excerpt, 2019)
3. *Evelyn Frosini (Argentina) - Móviles (excerpt, 2019)
4. *Ana María Romano G. (Colombia) - rozar la nebulosa (de Manuelita, su propia libertadora, 2017)
5. *Mariana Carvalho + Katharina Klement (Brazil+Austria) - Performance at Q-02 (excerpt, 2019)
6. Guadalupe Perales + Ana Mora (Mexico) - 8M (excerpt, 2021)
7. Elektroperra (Colombia) - Popotá en llamas (excerpt, 2021)
8. *Anna Xambó (Spain/UK) - Kicks & Cuts (2019)
9. *cilantro (Angélica Castello* + Billy Roisz*, Mexico+Austria) – axiaco (2011)
10. *Isabel Nogueira / Bel_Medula (Brazil) - Eu Vou Contar (2020)
11. *death of codes (USA) - Look Up (2020)
12. Sexores (Ecuador) - Tropical Nest (2018)
13. Vermillion (Venezuela/Argentina) - 5ympathy4ffection (2020)
14. *Catenation (Sylvia Hinz + Jeanne Comateuse, Germany) – Resist (2021)
15. *Leena Lee + Vania Fortuna (Mexico) – Rapture (2022)
16. Ross (Colombia) - ch’ixi (excerpt, 2021)
17. *Meira Asher - still sleeping (2016)

f:p podcast episode 128_Ana Maria Romano G.

Garth Knox performing GIB SIE WIEDER HER a warning commentary on resonance I 
for viola d'amore, contrabass recorder & electronics. Resonant strings transduced into a wooden box on stage.

Sample from 2nd part, with written score and audio score. 
Live recorded at first performance, Huddersfield, St. Paul's Hall, 2014. 

GIB SIE WIEDER HER a warning / cut 1 (Pia Palme 2014)

This is the track transduced into the harp, from the piece GIB SIE WIEDER for harp and electronics composed by Pia Palme (2014). It contains vocals performed by Claudia Cervenka, and a harp score performed by Gabriela Mossyrsch, and feedback sounds & noises.

The piece centers around aspects of resonance.

There is a second score for the 'outside' harpist. The inside track is a piece in itself; transduced into the harp it will be 'equalized' by the resonance of the instrument. Text by Pia Palme.

Inside the harp / GIB SIE WIEDER (PP 2014)

Pastille sonore composée, interprétée et enregistrée par Sylvia Hinz suite à sa journée passée à La Maison Jaune, magasin de décoration, d'art de la table et parfumerie.

Pastille 25 : Casa Amarilla, de Sylvia Hinz > La Maison Jaune, magasin de décoration et parfumerie

Score for '​​To see the sun at midnight/ loving against time', a film by Arshad Hakim (2022)
______

This is the story of light, of its endless transformations and what they do. This is the story of an eclipse, or many eclipses – the change in/of light making us believe in the magnificent and the insignificant. 

Moving away from a heliocentric view of light, the film takes its cue from “The Stellar Rays of the Stars” by Al-Kindi and a re-reading of Iblis’s narrative by Husayn Ibn Mansur al-Hallaj— foregrounding the image and the phenomena of the eclipse. Framed within a dialogue, the film speculates the effects of light changing and marks them on the registers of the ethereal, the emotional and the theological. 

Film Conceptualised, edited and coloured by Arshad Hakim
Sound design and Composition by Suvani Suri

Audio Mix/ Master: Abhishek Mathur
Text Editor: Sarasija Subramanian
Acknowledgements: Rujuta Rao and Stuti Bhavsar

This film was made possible through the support of the Generator Cooperative Art Production Fund, 2021-22

The Stellar Rays of the Stars

Cate Hops is an anthropologist, radio host, DJ and live performer. Musically, she floats between subcultures and genres. Embedded as a DJ in the Berlin bass scene, Cate Hops fuses ambient, early roots reggae and futuristic sound patterns from all areas. While as a performer she has also been working on her own live noise improvisations, she mainly plays with her two partner projects KYOOT, a noise-hip hop duo and Ruido Polimnix, an experimental ambient collaboration. 
With the ongoing project "Sound System Culture: On the Radical Roots of Rave", she initiates events in which the audience is actively involved. In her radio show, she invites guests from her network to discuss with her and play their favourite tracks. As a researcher she lectures at different festivals, conferences and universities. 
https://soundcloud.com/cate_hops
https://soundcloud.com/kyootduo
https://ruidopolimnix.bandcamp.com/album/craving-dust
https://refugeworldwide.com/artists/sound-system-culture-on-the-radical-roots-of-rave

TRACKLIST:
Nina Pixel - Víly v Bošáckom poli
Ruido Polimnix - Live at Berlin Modular Society 19th Oct 2023
Phallucipher - Aranchnonym (extended version)
Mila Chiral - Myriads of Memories IV
mʊdʌki - King of Cups
Munsha & Cate Hops - Live at PAS 8th March 2023
KYOOT - Your Beauty Is Our Duty
Micromata – In A Place Called Hell
Cate Hops - Improvisation xiixii
Shannon Soundquist - Den Dank Im Raum Stehen Lassen

f:p podcast episode 150 _ Cate Hops

The work MORDACIOUS LIPS, TO DUST for four singers (soprano, countertenor, tenor, bass) was performed at the EXAUDI EXPOSURE2015 in London 2015 by the ensemble EXAUDI and James Weeks, direction. Music and text composed by Pia Palme 2014/2015 for the Sound and Music Portfolio opportunity. Live Recording, EXPOSURE2015, 17 October 2015, The Warehouse, London.

Further information under http://piapalme.at/works/mordacious-lips-to-dust/


MORDACIOUS LIPS, TO DUST

Composition for Oboe da Caccia solo, Pia Palme 2011. 
Performed by Molly Mc Dolan, recorded at Amann Studios, Vienna.

Composed for project FERNRAUM at festival e_may and Kunstradio Ö1. 
The piece was embedded in project FERNRAUM, a monumental framework of improvisations and radio-art by Pia Palme, Klaus Lang, Lale Rodgarkia-Dara and Thomas Wagensommerer.

The Oboe da Caccia ("Hunting Oboe") is a rare baroque instrument, e.g. used by Johann S. Bach: http://de.wikipedia.org/wiki/Oboe_da_caccia 

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Composed of the air quality data that is being captured live, the algorithmic 
composition generates a set of textures and tones, dynamically released in our midst. The sonified levels of ambient pollution are heard while slowly revealing the invisible constituents that have invaded the concoction being inhaled. Much like the ringing of alarm bells, the score ceaselessly plays on, every moment a constant reminder of the crisis we are in the midst of.

credits: @manav khadkiwala
https://soundcloud.com/manav-khadkiwala

Data Composition: Heair

Pia Palme 2009, text by Toshio Nakae. For strings, subbass-recorder, synthesizer, inside-piano, electronics. Voice: Yoshie Maruoka. Live performed at Wiener Konzerthaus by Alexander J. Eberhard, Bernhard Ziegler, Margarethe Deppe, Judith Unterpertinger, Electric Indigo, Pia Palme.

AX.WHO.

Brenda Gifford - Miriwa (Sky)

LIP OF THE REAL II (Palme 2013)

for for a flutist/soprano using a throat-microphone with PTT-button,
percussion and live-electronic surrounding (4 channels/6 speakers),
with texts by Anne Waldman, Pia Palme and Margret Kreidl (translated fragments)

Live recorded at performance on Feb. 14th 2013, St. Paul's Hall Huddersfield:
Alice Teyssier/flute & voice, Jonathan Hepfer/percussion,
Pia Palme/live -electronics.

More and a text about the piece at: www.piapalme.at

LIP OF THE REAL II

An archaic word, one that had its moment and is now long-forgotten, 'momently'  contains a layered and complex sense of time, in each of its three slightly different meanings-
1. from moment to moment; continually
2. at any moment
3. for a moment; briefly

Extracts from T.S Elliot's reading of his poem Burnt Norton have been woven into samples from The Books' Take Time along with recorded and found sounds from our always, already connected everyday. A meditation on time, of the stories and of one's own.

Momently

Syncopation

Pia Palme is a composer and performer of contemporary music, experimentalist, producer and researcher.

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