inter-be-ing | Improvisation with Babett Niclas, Qazal Tabandeh, Christopher Kunz and participants from the audience on September 14th, 2024, Leipzig
Sound : Thomas Hannig
Mix/Master: Jakob Bethmann
Photo: Felix Pacholleck
©inter-be-ing 2024

Jaan | Qazal Tabandeh, Babett Niclas, Christopher Kunz | Improvisation

The Little Sad Fairy | Qazal Tabandeh, Babett Niclas, Christopher Kunz | Improvisation

Without | Qazal Tabandeh, Babett Niclas, Christopher Kunz | Improvisation

Wild Wind | Qazal Tabandeh, Babett Niclas, Christopher Kunz | Improvisation

Ta Kay? | Qazal Tabandeh, Babett Niclas, Christopher Kunz | Improvisation

Commande des Cris de Paris | Geoffroy Jourdain avec le soutien de la Fondation Bettencourt Schueller 

Création par le chœur du CREA, la Maîtrise Populaire de l’Opéra-Comique et Les Cris de Paris, le 29 juin 2024 à la Fondation Fiminco.

Une pièce qui propose de placer le public au cœur du son, à proximité des voix, pour une expérience d'immersion dans le son et dans la polyphonie...
Une pièce où chant, geste et mise en espace se rejoignent dans la construction d'une dramaturgie musicale plus actuelle que jamais...
Une aventure chorale, qui voit dans le chant collectif un outil d'union, de partage, d'enchantement...

En 5 tableaux :

•	I. Tecendo a manhã 
•	II. Paysage
•	III. Comment dire ?
•	IV. Chants Libres
•	V. Lettre au Futur


Tecendo a manhã

Chants Libres

CONTAINMENT CORNICLES by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

CONTAINMENT CORNICLES

VISPROINTIAMO No. 6 for piano, composed and performed by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

VISPROINTIAMO No. 6 for piano

BIRTHDAY PARADE No. 2 by Gary Lloyd Noland (June 27th, 2025)

BIRTHDAY PARADE NO. 2

INSOMNOLESCENT APPARATCHIKI by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

INSOMNOLESCENT APPARATCHIKI

Final version. Now on all good streaming platforms plus Spotify.

cover image based on a photo by Dr Sebastian Felix Voltmer

The End of Matter

My friend left his double bass at my studio so of course I had to try it. I played the bass for a while then dubbed drums and finally added piano. This kind of music would be fun to work on. Hope you enjoy!

Orson Facies Floris Trio

Henrique Cantalogo est un compositeur, improvisateur et pianiste brésilien. Formé au PSPBB, au CNSMDP et à l’UNICAMP, il collabore avec des ensembles et musiciens d’horizons variés. Son travail explore les frontières entre écriture et improvisation, avec un intérêt particulier pour la création d’œuvres ouvertes et la recherche de situations musicales collectives et non hiérarchisées. Inspiré par les musiques traditionnelles brésiliennes, il développe une œuvre sensible aux enjeux contemporains et nourrie par les liens entre musique et d’autres formes artistiques, notamment le théâtre.



Henrique Cantalogo é compositor, improvisador e pianista brasileiro. Formado pelo PSPBB, CNSMDP e UNICAMP, colabora com diversos ensembles e músicos de diferentes origens. Seu trabalho explora as fronteiras entre composição e improvisação, com um interesse particular na criação de obras abertas e na busca por situações musicais coletivas e não hierarquizadas. Inspirado pelas músicas tradicionais brasileiras, desenvolve uma obra sensível às questões contemporâneas, enriquecida pelos vínculos entre música e outras formas artísticas, em especial o teatro.

rare eye contact | bare improvisation
inter-be-ing is a performance exploring the interconnectedness of human identities. It examines the complex non-verbal exchanges in human relationships and provides room for a deeper mutual connection.
To allow the audience to take part in the composition, the musicians and the participants confront each other, sitting face to face. After holding eye contact for a while, the music emerges from the interpersonal exchange. All improvised!

Can we define new communication gateways that transcend language and analytical thinking? Can we process the personal, intellectual, emotional and even intimate information that we exchange during our interactions, through a medium that moves beyond our social conditioning? Can we finally learn to recognize the subtle connectedness of our human experiences and eventually come closer to each other?

These are the questions we are asking ourselves during the performance project “inter-be-ing”, trying to explore the boundaries of our individual identity in relation to that of others.

Resides in Portland, Oregon. Grew up in Berkeley, CA. Born in Seattle.  PhD, Harvard. “Gary Noland is one of the great composers of the 21st century.”—JACK RUMMEL, KGNU 88.5 FM, Boulder CO, “...iconoclastic, stylistic potpourri standards of giddy humor, no holds barred soup to nuts and high spirits.”—ROBERT LEVIN, pianist, musicologist, composer, "...a fleet-fingered, ebullient performer ... bright, witty and engaging.”—CHRISTIAN CAREY, SPLENDID MAGAZINE, “...distinctive, inventive ... subversive ... You can hardly be indifferent to Noland’s music and so I would urge you to try it.” —ROGER BLACKBURN, MUSICWEB INTERNATIONAL, “...set in a dizzying harmonic language that loops uncontrollably through a wide-ranging gamut of possible and impossible tonalities ... The general effect is like watching wet paintings of 19th Century musical memorabilia drip into frazzled 21st Century oblivion...” —ALLEN GIMBEL, AMERICAN RECORD GUIDE, “Mr. Noland writes as a ‘time traveler’ in styles long abandoned by most composers as well as styles so new as to not have been imagined but by him. This he accomplishes naturally, convincingly, with originality and true passion. His command of all musical languages and his ability to traverse musical time is nothing less than remarkable. Listen!”—DONALD MARTINO, Pulitzer Prize winning composer, “...mind-bending spiraling of focus which is truly breathtaking ... spectacular...”—CHARLES AMIRKHANIAN, composer, sound poet & radio producer, “I'm amazed at your harmonic skill. Haven't seen or heard anything like it from any one else—except yours truly—certainly not from your generation. It falls somewhere between Strauss and Mahler. Especially like how you are able to slip in and out from the tonal to the atonal—or near atonal...”—GEORGE ROCHBERG, American composer, Pulitzer Prize finalist, “...court jester to the classical establishment...”—PAYTON MACDONALD, AMERICAN RECORD GUIDE, “...florid and juicy...” —RICHARD BUELL, THE BOSTON GLOBE, “...an incredible aural web ... a great ostinato of American kitsch. Sul pont never sounded so good.”—RUSSELL STEINBERG, composer, conductor of the LOS ANGELES YOUTH ORCHESTRA, “...I am bowled over by the expertise of your music: you use certain elements from the 19th century and from jazz, etc., and just at the moment when I am about to say, OK, what else is new?, you do a number of things, such as speeding up, becoming wildly dissonant, modulating to a distant continent, stopping completely and throwing some kind of total surprise ... you seem to know exactly when to do what and how much. I don’t know anybody else who can do it!” —ANDREW IMBRIE, American composer, Pulitzer Prize finalist, “... remarkable stuff...”
—MAX MORATH, American ragtime pianist, composer, actor & author, “...a loony composer from Oregon...” —MAX SHEA, WMUA 91.1FM, Amherst, MA, “Gary Noland is one of those 21st Century composers seeking to forge a new aesthetic based on older models that do not traffic in serialism or minimalism ... Zany waltzes, ragtime riffs, chorales, toccatas, and much else romp and tear through these depictions of superheroes and villains from his ‘chamber novels’; other pieces spoof serial music ... to grand operas ... and Jewish guilt.” —JACK SULLIVAN, AMERICAN RECORD GUIDE, “...Paranoid Ravel...”—ALEX DUNN, KZSU FM90.3, Stanford, CA, “...It’s a romantic romp, rhythmically robust yet melodically flirting with the nostalgia of cabaret, minus the sleazy diminution of spilled drinks and smelly ashtrays. Its elegance recalls Elgar, and the serious sides, a synthesis of those strange bedfellows Schubert and Ives. Composers hate it when their music reminds you of someone else’s, but writing within a tradition, Noland has incorporated divergent styles that, woven together, work. Cosmopolitan without snobbery, it’s intelligent, pleasurable and convincing.” —ROCKY LEPLIN, THE BERKELEY VOICE

Eclectic music from the English South coast.

Fourth album, Be More Human, out now on streaming services and bandcamp. https://tidal.com/browse/album/381008872?u

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hit music only experimental sums dos make sans

I'm open for collaborations, feel free to contact if you have something in mind.

New tracks tagged #comprovisation