Flashforward III
For ensemble and electronics
Ensemble Phace
Direction Nacho de Paz

Flashforward 3 (first version)

Electro-acoustic improvisation. composed and performed by Sivan Cohen Elias with piccolo flute, voice, and MaxMSP.

Electronic Miniature - FOUR / Sivan C Elias

Ser unimos tienen voz (2017), para violinista solo.
Festival Aires 2019
Abraham Meza Salgado - Violinista.

Ser unimos tienen voz (2017) - para violinista solo

Tenor Saxophpne- Mario Ciaccio/ Marimba- Javier Nandayapa/ RICE CHORALE Music Director-Tom Jaber. Stude Concert Hall, RICE University.
The ziggurat served as a holy temple dedicated to the city patron god or deity, typical of major cities in ancient Mesopotamia—present-day Iraq, Iran, Kuwait, and Syria. Seen as points of connection between heaven and earth, these structures often hosted the city deity in the shrine at the top. Each city honored a chosen god unique to its civilization.

The first ziggurats predate the Egyptian pyramids, with few ruins still visible today. Constructed from 4200 to 2500 years ago, these edifices featured prominent stairways and platforms, where daily religious rites took place at the highest point. The most famous ziggurat, the biblical "Tower of Babel," is described in the Book of Genesis, chapter eleven, verses 1-9, narrating how post-flood generations united under one language, migrated to Shinar (Sumer in Iraq), and aimed to build a great city with a tower.

From the sands of Mesopotamia to the volcanic Valley of Mexico, similar pyramids and myths have transcended cultures and time. Distinct cultures developed analogous stories and structures, such as the Tower of Babel and the Pyramid of Cholula in Mexico, despite their geographical separation.

"Ziggurat for Tenor Saxophone, Marimba, Choir & Electronics" captures the mysticism and spirituality of ziggurats. Utilizing spatial and non-metrical notation, the piece achieves a suspended and ethereal mood, while the second movement's strict metrical notation with irregular meter introduces a dynamic and grounded rhythm. The sound world revolves around the rotation by fifths, using a synthetic scale with two augmented seconds, creating a distinct atmosphere. The main saxophone melody employs quarter tones, adding a subtle Middle Eastern character. These contrasting sound worlds complement each other, generating a mystical and deifying nature. Detailed articulations enhance the expressiveness of the rhythmic and melodic lines, contributing to the piece's overall spirituality and narrative.

ZIGGURAT for Tenor Sax, Marimba, Choir & Fixed Media

Performed by Alarm Will Sound. Conducted by: Alan Pierson

The expression "Spiraling Down the Rabbit Hole" originates from Lewis Carroll's 1865 classic "Alice’s Adventures in Wonderland." In the opening chapter, Alice chases the White Rabbit into his hideaway, transporting her into the bizarre and ludicrous world of Wonderland. Over time, Carroll's rabbit hole has become a popular metaphor for labeling bizarre and irrational experiences, describing journeys into amazingly or disturbingly surreal conditions. On the internet, it refers to engaging in a captivating and time-consuming topic search, where one can spend hours delving into countless related subjects.

"Spiraling Down the Rabbit Hole," for 16 instruments and electronics, forms the second piece in a series of works inspired by characters from Carroll’s "Alice’s Adventures in Wonderland." This composition musically depicts the journey into bizarre and irrational states through a spiraling descent into an abyss. It connects to the first piece of the series, "Chronic of Mad Hatter for Pierrot Ensemble," by repeatedly using a small six-note motif from the 1951 film "Alice in Wonderland." The sound world consists of a 10-pitch source scale that transforms in each section through a rotational array, occasionally colored by quarter tones to represent surreal states.

To convey the metaphor of a recurring abyss, the piece employs recursion techniques similar to the Droste effect in art, where an image recursively appears within itself. This is achieved through electronic media, with previous sections recorded and synthesized for strategic use throughout the composition. The harmonic structure comprises six main sections, each centered around a note from the small six-note motif. The Fibonacci series influences rhythmic and intervallic parameters in certain parts, adding complexity to the piece.

Each section of the piece uses two or three Temporal Semiotic Units or Time Icons, defined as “sound forms that carry meaning through their dynamic pattern over time.” There are 19 classified Time Icons, categorized as delimited or non-delimited segments of sound according to their morphological and semiotic types. The piece utilizes the Time Icon "Rotation" and the six-note motif throughout to symbolize the abyss and connect all sections, ensuring unity. The listener ultimately decides the dichotomy between the real world and Wonderland, guided by their focus.

Spiraling Down the Rabbit Hole for 16 Instruments & Fixed Media

all you can hEar
Marlies Debacker - grand piano
Gunda Gottschalk - viola
Joachim Zoepf - bass clarinet
Founded at the beginning of 2023, this trio plays chamber improvised music that is aesthetically oriented towards Franco Evangelisti's ‘Gruppo di Improvvisazione Nuova Consonanza’. 
Regular rehearsals and analyses of what they play enable the three musicians to immerse themselves more deeply in the musical process, avoiding clichés.  They improvise without guidelines in order to cover the spectrum of tone, sound and noise in real time through constant evaluation. Unlike in notated art music, form-related decisions are made through interaction from the playing process - not only within the performers, but also with the audience.
In her essay ‘Into the Open’, poetry and vocal artist Elke Schipper aptly described the characteristics of this music.
"Free improvised music does not proceed monocausally, linearly, as one from the other; it runs in a tension of polyvalent, multi-intentional and multifunctional processes. In this music, the removal of boundaries towards something new without self-dissolution lies in a kind of inherent principle of the provocation of borderline incidents, instigated to gain new ground. The central characteristic of the musical success of free improvisation lies in musical disruption. In the disruption of a pleasing functioning (...) Free improvisation is not an experiment, but in this instance of disruption lies its experimental trait, with which it repeatedly tests its working method for its innovative potential."

No IV live in Kassel 121222024

No. I  live in Kassel 12122024

a trumpet sound around the world in 40 minutes


Global Breath, World of Trumpet Sounds, composition for radio by Marco Blaauw

NAMAH - organ variations 
Composed by Peter Machajdík
www.machajdik.com
​
SHEET MUSIC https://www.machajdik.com/NAMAHORGAN.html

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Born 1961 in former Czechoslovakia, Peter Machajdík is a composer of a wide range of chamber, orchestral and electronic music. He often takes simple materials and a simple mode of expression, and creates a vibrant and challenging sonic palette. His music, commonly characterised as emotive, hypnotic, imaginary and cinematic, has been performed to international audiences on five continents for over thirty years.

All music is copyright by Peter Machajdík and may not be used for commercial purposes without author's consent.

Unauthorised copying, public performance, broadcasting, hiring or rental of this recording prohibited.

Machajdik NAMAH - organ variations  [2000, rev. 2024]

Enjoy my interpretation of this great - and pretty difficult - "Organ Polyptych" by Olivier Messiaen, composed in 1932-33! ❤️🎵

For donations: www.paypal.com/paypalme/carlocozzula

Messiaen O. - L'Ascension-Quatre Méditations Symphoniques pour Orgue [1932-33] (organ)

musician, improviser, composer, soundartist, sound technician, performer (*1955, Düsseldorf) - soprano. alto, tenor, baritone saxophone, bassclarinet, piano, live electronics, computermusic  (Maxmsp and Rtcmix )

-> studied music in Vienna and Cologne<-
-> working as a freelancer (musicteacher, artist) scince 1976 <-
-> startet as a jazzplayer (e. g. "Kölner Saxophon Mafia")<-
-> played also new music theatre, new music, rock music <-
->colaborates with actors, performers, dancers, visual artists <-
-> developed his own style and art of playing away from jazz! <-


- - - - ->  No easy listening stuff, nothing to relax, but interesting for open minded people ! <- - - - -

Compositor, improvisador y artista interdisciplinario proveniente de Yucatán. Me encantan los sonidos las imágenes y las palabras, así que me dedico a (intentar) regalarles mi vida.

Carlo Cozzula was born  in Sassari in 1971.
In 1994 he obtained the Experimental Magistral Diploma with the highest grade; in 1996 - under the leading of Hedda Vignanelli Illy – he graduated, with the highest marks, in Organ at the Conservatory of his city and next year, he graduated in Harpsichord at the Conservatory "B. Marcello" of Venice. 
He has studied Choral Music and Choir Conducting and also studied piano at the concert levels since 1985.
He performed on all the instruments as a soloist in chamber ensemble also with vocal soloists, accompanying several polyphonic complexes, among which the "Cantori della Resurrezione" by A. Sanna, with whom, in 2000, he collaborated for a recording of music by G. B. Platti (Bongiovanni Records), and with whom he performed in a concert in July 2003 in the Basilica of the SS. Rosary of Lourdes (France).
He was the main organist at the Monumental Church of S. Maria di Betlem (Sassari) and at the Basilica of S. Gavino (Porto Torres). 
As an organist, in October 1997 he was invited for a tournée in Germany, performing in prestigious places, including Limburg, Wiesbaden, Lorch, Frankfurt, as soloist and chamber musician, in concert seasons including well-known soloists such as W. Stockmeier, R. Haas, M. Pirenne, U. Krupp, W. Rockel, J. Von Erdmann.
He was invited again for the October of 2003 to give a concert at the “Orgelsommer 2003” in St. Josef Church (Frankfurt), achieving great success, playing in a schedule with some of the most famous and acclaimed organists on the world scene, such as J. Parker-Smith, Th. Trotter, H. Vogel, P. Pincemaille, D. Zaretsky, P. Pietiläinen.
In 2007 he was called a part of the Jury of the 1st Art Competition "Il Filo di Arianna", at the Baja Hotel in Cannigione (Sardinia). 
He taught Music Theory and has been pianist accompanist of lyric singing classes at the Civic School of Nuoro, taught in State Schools.
Recently he has edited the Italian translation - in World Premiere - of the essay of 1846 written by the French F. Levacher D'Urclé: "Manual didactic problems in relation to the study of the anatomy of the hand" and also the thesis by M. Punt "The Straube Code-Deciphering the metronome marks in Max Reger's Organ Works".
As a composer, he is the author of music - original and not - dedicates to the international singer Teresa Salgueiro. He is also the author of a series of Concert Transcriptions for organ - even in World Premiere - from the piano and symphonic repertoire, and for pf. from the original organ repertoire, but also from accurate choices concerning the world of jazz, fusion, Brazilian music, French chansons and Soundtracks.
One of the piano transcriptions has already been recently included in a piano recital. These compositions are already available to the international artists such as: Philippe Raskin, Mariangela Vacatello, Irene Veneziano, Simone Pedroni, Igor Roma, Gloria Campaner, Antonio Pompa-Baldi, Alexei Volodin, Roberto Plano, Maurizio Baglini, Andrew Litton, Sandro Russo, Nicholas McCarthy, Ramin Bahrami, Thomas Ospital, Stephen Tharp, Thierry Mechler, Joseph Nolan, Danilo Rea, Enrico Pieranunzi, Carisa Marcelino and Clare Hammond.

New tracks tagged #contemporary music