for prepared piano and bass clarinet (2021)

United Instruments of Lucilin
Pascal Meyer piano
Max Mausen bass clarinet

a_priori [2013] for flute and cello

this piece is an absolutely spontaneous improvisation
before I started playing I didn't know that I would play, everything was born on the go
music was born under the influence of paintings by Claude Monet

Ostrovskyi Stanislav - Piano Improvisation #2 "Seven Paintings By Claude Monet"

Vesuvius by Jacob Fanto

improv with Stephen Douglas Designs Leona-vo2 overdrive pedal.

pedal is ON, throughout; i'm using fingers, the guitar's volume- and tone-controls, and Leona's Gain control for timbral & dynamic changes in real-time.

ronin mirari guitar
Leona-v02
fryette d120 (almost clean), into fryette power station, into open-backed 2x12 cab w/old celestion blues
DigiTech Obscura delay & Neunaber Slate reverb
Blue Mouse mic, Sebatron Axis200VU mic-pre
Lynx converter
recorded & mixed in LogicPro

if the light gets in

The rich overtone harmonies produced from subtly interlocked multiphonics dominate the trio klangNarbe (‘sound-scar’) for baritone saxophone, percussion and prepared piano (2014-15), a jagged soundscape whose topography is subject to constant erosion. The metallic timbres and noise spectra of a multi-coloured percussion section (frequently played with bows) are combined with multiphonics from the saxophone and the sounds of a prepared piano, which sometimes pro- duces 17-tone multiphonic clusters. The pianist also plays inside the instrument, producing sharp accents or glissandos with a hard plectrum or generating mi- crotonal cluster-surfaces with a double-bass bow. Here the tension between con- tinuum and event – between stationary surface and sharply etched crosshatching within multi-dimensional overlaps of sonic foregrounds and backgrounds – is typical of Khorkova’s music and assumes especially trenchant forms. The contrasts in the piece are its programme: ‘klangNarbe plays with the contradiction between contrasting compositional materials that are considered irreconcilable and yet are combined in the manner of a mosaic. I create bridges across the lines of frac- ture in this material, bridges visible as scars. The term sound-scars also applies to the work’s genesis, which extended over a very long period of time and was fraught with upheavals.’
The block-like events, separated by distinct gaps, give rise to violent outbursts and accentuations: harsh cluster hammerblows, drinking glasses scraped on thun- der-sheets, roaring glissandi as the saxophonist yells into the instrument. No scar without a previous wound...
Dirk Wieschollek

klangNarbe [2014-2015] for baritone saxophone, percussion and prepared piano

For Flute, Oboe, Clarinet in A, Crotales and Piano 
Recording performed by Ensemble Musikfabrik. 
Commissioned by Musikfabrik and first performed at hcmf// on 17 November 2007.

Ostrovskyi Stanislav - Piano Improvisation #2 "Seven Paintings By Claude Monet"

Ostrovskyi_Stanislav

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