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 The score was left unpublished and unplayed for almost another 50 years until it was recorded.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.