Farpoint For Four hands - Alexandros Sergios Mouzouri

Tarnby (2013)
by Dmitry Timofeev

computer graphic Daria Steplevich

performed by eNsemble of PRO ARTE FOUNDATION:
 
violin I Yuri Ushchapovsky 
violin II Argine Stepanian
viola Aleksey Bogorad
cello Taras Trepel
contrabass Aleksey Ivanov

Fedor Lednev, conductor 

St. Petersburg, 2013

Special thank to Charles Antoine Frechette 
https://soundcloud.com/charles-antoine-fr-chette
  

Dmitry Timofeev Tarnby For A String Quintet (2013)

Quartetto Maurice- 17.08.2022, Kursaal Audutorium, San Sebastian, Spain

Mix-Mastering: Mehmet Ali Uzunselvi
Dedicated to Ada Dinçer

Loquela Codex

studies for imaginary portraits – live recording 2019  – Verion 2019 (new version 2020/21 available)

the solo accordion-piece played by and dedicated to Teodoro Anzelotti searches once more for the limits of our pre-sets in the perception and conceptionalizing the wolrd – and tries to step over theser boubndaries by building new relations between the very well-known sounds.

studies for imaginary portraits (version 1 – 2018/19) for accordion solo

Blues Nr. 5

Blues Nr. 5 (feat. High Touring)

Strintrio II – friction 
for sringtrio 1995 – 97

The starting-point for friction was an observation of the conditions under which tones are produced on string instruments, which yielded material illuminating these conditions.  Stroke speed, pressure (i.e. the physical conditions) and also the material properties were brought into a relationship with one another, which on the one hand takes on the form of a concise sound progression and on the other hand reflects the fundamental conditions governing this set of instruments.  In the course of the piece this material framework is stressed in both directions: the progression of sounds and the events that constitute it are analysed by means of isolation and maximisation processes through which they undergo qualitative changes.  The analysis is conducted from the point of view of the frictional conditions, and this viewpoint becomes itself the object of compositional analysis by way of the elements that represent it. 
 
Analysing all the material and formal qualities relevant for perception (from the point of view of the frictional conditions) constitutes the attempt to draw upon fundamental conditions for the conception of music.  The goal is to grasp also the conditions of perception- of listening.  It is the attempt to make listening directly thematic: listening as an absolute event, listening as a socially conditioned event and listening as a creative act on the part of the listener.  It seems to me that the direct questioning of these phenomena through the tonal reality of music is the only way to work on renewing the act of listening.

Chambermusic I

Streichtrio II (Friktion) 1995/97 [22:15]

Codex de Monsieur Günter Brus 
for vocal quartet (2024)

performed by Cantando Admont 
Cordula Bürgi, Conductor
April 30, 2024, Wiener Hofburgkapelle, Vienna

Elina Viluma-Helling - Soprano
Aleksander Rewinski - Tenor
Benjamin Harasko - Baritone
Ulfried Staber - Bass

Audio by Mehmet Ali Uzunselvi

Codex de Monsieur Günter Brus

For string trio and motorized violin
JACK & Levy Lorenzo

José del Avellanal Carreño (1998 — Switzerland & Spain): Alpenstrasse (Quartet Sketches)

The writings of Egyptian-Jewish poet, Edmon Jabès, are consistently and intensely
interrogative. The stream of questioning in the dialogues he constructs between rabbinical, fictional, and biblical characters throughout his many books maintain between them a
fixation on notions of origin, hospitality, language, and on writing itself that captured the
attention and thought of poststructuralist writers, namely Jacques Derrida. These spiritual
investigations formulate recursive and, at times, interchangeable concepts to describe the
sites of these fixations and discourses, namely, 'The Book' and 'The Desert'. In his Book ofQuestions, Jabès dedicates a single poem with the title: The Desert. The rather
short poem is no less rich and intense in its language and thought, beginning with an
exclamation: "O word of our origin, Desert of our words!" In this first musical investigation
of the text, Desert 1, I have decided to fixate on these first words for its musical
considerations and philosophical ramifications. I attempt to represent this 'opening' into
language through these primordial whispers and murmurings of the Desert (of God?) that
fill the pages of his Jabès' writings. The motion of this opening, however, like the wandering
Jew or the Desert itself, is nondirectional and nonlinear: in the sand, there appear to be
steps retraced, steps not taken, steps beyond other steps. Through questioning, desperate, playful, and at times asphyxiated moans and motions, Desert 1 seeks to find its footing in
the crying sands of Jabès' 'Desert'.

Desert 1

Performed by members of Ensemble Intercontemporain
Odile Auboin, viola
Emmanuelle Ophèle, bass flute
Eric-Maria Couturier, cello
Alain Billard, contrabass clarinet
Recorded live at Philharmonie Essen on October 25th, 2015

----

We met as Sparks — Diverging Flints
Sent various — scattered ways —
We parted as the Central Flint
Were cloven with an Adze —
Subsisting on the Light We bore
Before We felt the Dark —
A Flint unto this Day — perhaps —
But for that single Spark.

Emily Dickinson

We Met As Sparks (2015) for bass flute, contrabass clarinet, viola and cello

KYKLOS für Orchester (2011); Thessaloniki State Symphony Orchestra, Ltg.: Miltos Logiadis; Thessaloniki Concert Hall, 27.05.2011

Farpoint For Four hands - Alexandros Sergios Mouzouri

Alexander Mouzouri

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