GOD 18

Peter Ablinger - Regenstücke Vol. 2

www.godrec.com

www.ablinger.mur.at 

GOD 18 - Peter Ablinger - Regenstücke Vol. 2, excerpts

Consolidated

Instrumente und ElektroAkustisch Ortsbezogene Verdichtung 
("LÄUTERUNG DES EISENS") 
Saxophon, Klavier, Schlagzeug (1995), 32' 
Peter Ablinger
Trio standardmodell

Paris, June 26, 2015

Peter Ablinger, Läuterung des Eisens / standardmodell

Peter Ablinger, ANFANGEN (:AUFHÖREN) 1.Satz

From the composer's desk.

Some basic material for an accordion-piano duo with speaking parts called 'self-aware' (2011). The piece was premiered 4 October 2011 in Riga, Latvia by Duo Oneplusone. This is basically just the analysis of the text I wrote and spoke for the piece ("to speak"). In the actual piece, the passage uttering the text is heavily streched, fragmented, timbrally extended, and juxtaposed between the players. It is also transposed in the female performer's part to better fit feminine speaking range. Yet the text is kept comprehensible. Mixture of music and speech. Speaking piece. A composition becoming self-aware. 2011. I'll post the whole piece later.

Remember, this is just a sketch. Or not even a sketch, just basic material to be worked on.

(the piece speaks) - material for "self-aware" (2011)

Check also the video of the performance here: https://www.youtube.com/watch?v=G2nBbaLSZ0w
Piano, audio & video: Sandra Lanuza Bardají

"Voices and Piano, written for Nicolas Hodges, is an extensive cycle of pieces, each for a single recorded voice, mostly of a well-known celebrity, and piano.

I like to think about Voices and Piano as my song-cycle, though nobody is singing in it: the voices are all spoken statements from speeches, interviews or readings. And the piano is not really accompanying the voices: the relation of the two is more a competition or comparison. Speech and music is compared. We can also say: reality and perception. Reality/speech is continuous, perception/music is a grid which tries to approach the first. Actually the piano part is the temporal and spectral scan of the respective voice, something like a coarse gridded photograph. Actually the piano part is the analysis of the voice. 

Music analyses reality. "

(Peter Ablinger, edited by Ruth Duckworth)

Miro Marcus, Voices and piano - Ablinger (piano and live electronics)

...soon out...

GOD 08

Peter Ablinger - Regenstücke Vol. 1

www.godrec.com

www.ablinger.mur.at


GOD 08 - Peter Ablinger - Regenstücke Vol. 1, excerpts

"Rehearsal" is my first attempt at working specifically on the actions of the ensemble conductor in order to extend its possibilities within a piece of music. 

Based on Beethoven´s 5th symphony´s first G major chord, the piece explores the relationship between language and music through a text by Hoffmann about Beethoven´s Fifth. 

Premiere by Ensamble A Tempo, conducted by Enrique Eskeda, on 4 november 2018 @ Plaza De Gallos, León, Guanajuato, México

Rehearsal

Rehearsal (omaggio a Peter Ablinger)

Music for the 100th Anniversary of Kasimir Malevich's Black Square (1913).

Black Square

GOD 61
Peter Ablinger
Orchesterstücke, 
excerpts
www.godrec.com

GOD 61 - Peter Ablinger - Orchesterstücke, excerpts

Joshua Hyde, saxophone
Antoine Alerini, piano
Noam Bierstone, percussion

Spanish pianist and sound artist studying Sonology at Koninklijk Conservatorium in the Hague, Netherlands.

God Records is the Austria-based label for avant-garde and experimental music, owned by composer Slobodan Kajkut.
The label is mostly oriented on different forms of experimental and contemporary music and focuses on releasing the music exclusively on vinyl.


www.jarkkohartikainen.net
sheet music: core.musicfinland.fi/composers/jarkko-hartikainen

Jarkko Hartikainen is a composer striving to create works that explore what music is and could still be, researching the possibilities in sound through rigorous performer-collaboration as well as studying findings in a plethora of disciplines. Stimulating acoustic phenomena, exciting sonorities and concrete, bodily impulses through rhythm, resonance and empathy fuel his often extremely instrument-specific, concentrated writing. Currently Hartikainen is working as a commission-based freelance composer, as well as pursuing his D.Mus degree at the Sibelius Academy of the University of the Arts Helsinki. Eriikka Maalismaa, defunensemble, Tapiola Sinfonietta, Ensemble Adapter and other such distinguished performers have recently promoted his work.

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