Computerstück IX (Karlheinz Stockhausen)

Digital Recreation Of Olivier Messiaen's Subtilité Des Corps Glorieux. 

Body | Soul (Olivier Messiaen)

Musical Labyrinth (Pierre Boulez)

Sechs Kleine Computerstücke VI (Arnold Schoenberg)

Sechs Kleine Computerstücke V (Arnold Schoenberg)

Sechs Kleine Computerstücke IV (Arnold Schoenberg)

Sechs Kleine Computerstücke III (Arnold Schoenberg)

Sechs Kleine Computerstücke II (Arnold Schoenberg)

Sechs Kleine Computerstücke I (Arnold Schoenberg)

Mists is a masterpiece in composition by Xenakis. Similar to previous digital recreations, this work is originally composed for the piano. While Mists uses "Arborescence" that enables demonstration of using graphic images and their transformations in Xenakis' compositional process, it also  showcases some of his most important concepts  such as stochastic approach, his general theory of musical time and  sieve theory. The digital recreated version is focused solely on pitch and texture, therefore using only pure sine waves for interpreting  the musical materials used in the composition of Mists was the only solution. This recording is happened to celebrate Iannis Xenakis' 93rd birthday. 

Mists In Pure Tone (Iannis Xenakis)

Einstein On The Beach (Philip Glass) [Re-Modeled]

"ALMOST PERFECT PALINDROME" ON ANALOG SYNTHESIZERS

The piece is written in three parts. In the first part, the modes alternate between A-flat mixolydian and G-sharp aeolian, which sounds almost like the major and minor versions of the same key. The third part alternates between F lydian and F locrian. The second part alternates more rapidly between all four modes. Adams has described the structure of the work as an "almost perfect palindrome".

China Gates (John Adams)

No. 14: Coloana infinită (Infinite Column) is named for Constantin Brâncuși's sculpture of the same name, a repetitive series of expanding and contracting pyramidal shapes, and features loud, ascending chord-sequences that overlap giving the impression of constant upward motion. 

No. 14 - Coloana Infinită (György Ligeti)

No. 3: Touches bloquées. Vivacissimo, sempre molto ritmico – Feroce, impetuoso, molto meno vivace – Feroce, estrepitoso – Tempo I: Two different rhythmic patterns interlock. One hand plays rapid, even successions of notes while the other hand 'blocks' some of the keys by holding them pressed down. This is the last étude Ligeti dedicated to Boulez.

No. 3 - Touches Bloquées (György Ligeti)

Regarding this composition, Michael Blostein writes: "The rhythmic intricacies of the work are intense, to say the least--a clear example of this can be seen in the opening of the work. All twelve chromatic notes are played in dyads, each struck twice. The resulting twelve attacks are performed at different time points, each in six different meters. Realizing perhaps the difficulty of hearing this effect, Babbitt helps the listener by enhancing the effect with his use of dynamic accents), producing a complex rhythmic layering effect which results in extreme virtuosic demands on the performer. The dynamic contrast is maintained through the work to aid in determining the different metric values throughout. The 4/4 time signature does little other than perhaps aid the performer - it is not meant to imply further accents."


Post - Partitions (Milton Babbitt)

Just as a grandiose orgelwerk starts with the sound of the air passing through the pipes, this recording starts with the amplified noise of analog circuits.  

Gene Tyranny of Allmusic's description about Morton Felman's Variations: "The "Variations" for piano solo was composed on March 24, 1951 to accompany dancer Merce Cunningham's choreography entitled "Variation" (sans the "s"), premiered at a guest appearance of Cunningham and composer John Cage at the University of Washington in Seattle. The work is dedicated to both of them. The dance itself was created by a chance procedure - "There were classic ballet steps, arranged in a chance order, and it was impossible, I couldn't do it. You're supposed to [dance], without preparations, four pirouettes, suddenly ... There was one day when I was working in the studio when I found a way to do it, but I could never do it again, I just couldn't hold it" (Cunningham). The score was left unpublished and unplayed for almost another 50 years until it was recorded. The music begins with an arpeggio and then various aggregates played quietly and mostly isolated with short durations. There are some quick arpeggios and fast grace note gestures. The pauses are generally long between events. The events are re-combined in varied sequences, and this shifting and mobile-like re-combining takes the place of traditional (European) development, or, in this case, theme and variations form. About 3 minutes into the piece, small rhythmic loops are set up with repeated events: an event is repeated twice, then another repeated three times with the third event broken up, then one played six times and gradually spaced in longer time intervals, then a middle note is repeated 7 times as part of an exchange with a bass tone. After material from the beginning is recapitulated, and the piano body is knocked with the knuckles of the hand 6 times in units of two. And the piece concludes in still and silent mystery."

Variations (Morton Feldman)

sin(thesis) 

sin(thesis) is a MP|vH+ project which came to life with the passion of technical and detailed deconstruction of highly formalized music. 

Computers are the integral part of sin(thesis) music, and with this project we try to understand and explore the possibility of having a solid repertoire for computer as a musical instrument.

sin(thesis)

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