for 2 trombonists, accessory instruments and electronics.

Written for and premiered by @rage-thormbones:
@wolencki - trombone and accessory instruments (expression pedal+transistors, bowed plastic and snare drum), 
@mattbarbier-1 - trombone and accessory instruments (1/4-inch jack+guitar pedals, prepared vinyl tubing, brushes and snare drum),
Electronics (Max/MSP patch) performed by the composer. 

Recorded by Andrew Harlan (with additional support from Hallie Smith, Jon Yu and Curtis Rumrill) at the Center for New Music and Audio Technologies (CNMAT), UC Berkeley, California/USA, April 2022.

*good quality headphones or loudspeakers are recommended*

surrogate heart [2022]

Audio by Pascal Lopinat (Album Version)
Artwork by Ines Emertasol

Didactics of the Prepared and Amplified Drumset

KSTCH PT MST RST LST RC DC BH DH BA GA CSH CSC

Bandcamp

KSTCH BK FK PK DK LST RC DC BH BA GA CSH CSC

T PT RST LST RC GA CSC GDCH

outpouring beneath my skin [2024] for mixed quartet, prepared snare drum, accessory instruments, and playback.

• Written for and premiered by @lvmsc-lovemusic (collective lovemusic):

- Niamh Dell, oboe and accessory instruments/objects
- Adam Starkie, prepared contrabass clarinet and accessory instruments/objects
- Emily Yabe, prepared violin and prepared snare drum
- Léa Legros Pontal, prepared viola and prepared snare drum

Electronics performed by the composer.

• Recording of the premiere @ Haute école des arts du Rhin (HEAR), 24 May 2024, Strasbourg, France.

Special thanks to Iván Solano, Tom Mays, Guilherme Ribeiro, Fernando Strasnoy, and Lorenzo Paniconi. 

*good quality headphones or loudspeakers are recommended*

• Program Notes:

"There are moments when the body is as numinous
as words, days that are the good flesh continuing"
(Robert Hass, Meditation at Lagunitas)

Here, the essence of an unbridled force, a torrential overflow, finds itself cradled within the fragility of the ephemeral. The boundaries between the tangible and the transcendent, as the intricate network of pulses within. Or the interwoven tapestry of existence, where strength and vulnerability coalesce. Each sound, stretched string, broken voice, boundless burst of air. 
These other veins coursing with the lifeblood of the ensemble. Instruments become vessels (of exploration), conduits of the unexpected. Within their resonant chambers lie worlds concealed (and waiting).

"Implied inner palpability as transpersonal dictation
all works composed as a musical ark
as if rowing in an isthmus of lightning"
(Will Alexander, Inner Palpability)

outpouring beneath my skin [2024]


Disappeared Quipu[s] was commissioned by Music Biennale Zagreb 2025 for Vertixe Sonora, Hong Kong New Music Ensemble and Vid Veljak.

Disappeared Quipu[s] was premiered in Zagreb, Croatia, on April 12th at Tvornica Kulture
& on April 15th at Museo do Mar, Vigo, Spain.

Vertixe Sonora
Pablo Coello, saxophones
Nuno Marques, e. guitar
David Duran, piano
Roberto Alonso, violin

Hong Kong New Music Ensemble
Linus Fung, clarinet
William Lane, viola
Karen Yu, percussion
Chiu Tan-ching, guzheng

Vid Veljak, cello

Angus Lee, conductor

Recorded by Sebastian Yepes at Museo do Mar, Vigo, Spain 
Mixed by Luca Gardani


Disappeared Quipu[s]: Broken & Forgotten

On alene et, Michaela Turcerová, a Copenhagen-based, Slovakia born musician, takes minutiae — the tiniest scrapes and breathiest hums — and distorts them into sprawling, collaged webs that barely resemble the instrument in its natural state. Each shard, when pieced together, makes a rhythmic, undulating sound born from the subtlest motions.

Alene et marks Turcerová’s debut as a soloist, putting a spotlight on the exploratory approach she has developed on her own and across a variety of collaborations. She has long studied the quiet excavation of her instrument, pulling it apart to find a new vocabulary. To develop this language, she unearths shards of sound from the instrument, muting it or bringing out its scratchiness and grittiness. Primarily working with open-ended scores and improvisation, she is inspired by various percussive music, looking to deep sonic awareness to guide her. As a soloist, her music harkens to the abstracted electronics present across the Editions Mego catalog or the distorted ruminations of Nyege Nyege tapes. And no matter where she goes, she is constantly in the pursuit of the unknown — the hidden elements of music that come to life through experimentation and listening.

With alene et, Turcerová presents her singular language on the saxophone to the fullest. To make this music, she placed many microphones close to her instrument, zeroing in to each sound and examining it from multiple different angles. She emphasizes the percussive possibilities of her instrument, puzzle-piecing each note into pulsating webs. Each track highlights a different side of the saxophone — the bristling distortion and amplification of a column of air as it blows through her saxophone’s body, the trickling tapping of the keys as she places her fingers onto them.

At its core, alene et presents Turcerová’s curiosity. The saxophone lives many different lives within her hands, shapeshifting through the uncovering of its possibilities. She shows us how the instrument is an ever-changing entity, a distorted and blown out drone with a thousand shards poking out from inside of it. But more than just a showcase of an individual instrument, alene et feels like a statement of the act of exploration. Turcerová is an excavator, always looking for new worlds hidden within her saxophone, and leaving room for more to come alive with each listen. 

Michaela Turcerová: modified alto saxophone, found objects & toys
michaelaturcerova.com

Recorded by Simon Wetterstrøm Mariegaard

Mixed and Mastered by Adam Badí Donoval
abdonoval.com

Artwork by Alena Koleso
www.instagram.com/alenakoleso/
Design by Antonín Blüml
www.instagram.com/ferarri_red/

Words by Vanessa Ague
www.vanessakayague.com
Photography by Zoltán Czakó

Released by mappa as MAP051 in 2024


Supported using public funding by Slovak Arts Council

in flux ė

degrowth (closer)

Preamble to '10 Stations' post 1: Distributing The Y And The G (During Migration From 4993)

Leading up to the release of the next irr. app. (ext.) album '10 Stations' I'll be posting a series of tracks related to the construction of the album. Some posts will be actual excerpts, but most will be alternates & variations made during the development stage, or a combination of different elements used (and sometimes ultimately not used) to work out arrangements & ideas.

This first track is a montage of various extended textural elements, some of which have been given a more subtle application on the forthcoming album, and many of which did not end up on the album at all. This track is not particularly representative of most of the final '10 Stations' tracks: it's more of an exercise in textural clustering. Some of you might find it useful if you are looking for a way to break the ice with any bats or dolphins in your neighbourhood, or if you need a soundtrack to keep you awake during your nightly searches for gravitational waves.

Distributing The Y And The G (During Migration From 4993)

Selva petrosa is a collection of 8 pieces for cello, prepared piano, two electromechanical zithers and an automatized bottle percussion. Premiered by mdi ensemble (Giorgio Casati, vc, Christian Schmitz, pno), 29/09/2019, at Milano Contemporary Music Hub. Rec by Paolo Brandi, mix by Andrea Valle

Selva Petrosa - 01.Rimu Nabo

Camilo Mendez is a composer of acoustic concert music. He conceives his works as compositional cycles; series of pieces orbiting around the same musical ideas but written for different instrumental combinations. He completed a Doctorate and a Master’s in advanced composition at the Royal College of Music in London. He has also studied with Rebecca Saunders and Pierluigi Billone. In 2017, Mendez was appointed as the Rieman and Baketel Fellow for Music at the Radcliffe Institute for Advanced Study at Harvard University. He is currently Associate Professor of the Academy of Music at HKBU.

His music has been performed by ensembles and soloists who specialize in contemporary concert music and has been featured in such international festivals as Festival Internacional Cervantino, the International Summer Course for New Music Darmstadt, June in Buffalo, Klasik Keyifler, the Mallorca Saxophone Festival, Next Generation Donaueschingen, and Music Biennale Zagreb.

Mendez has been awarded the Colombian National Prize in Composition, Colombia’s highest honor for music composition on two occasions, in 2023 and 2009. In 2021, his work Disappeared Quipu[s] received the first prize in the UiTM String Quartet International Composition Competition. 

He has held residencies and fellowships at the Banff Centre for Arts and Creativity, Willapa Bay AiR, the Bogliasco Foundation, Ensemble Recherche and the Goethe-Institut, the Virginia Centre for the Creative Arts, MacDowell Foundation, and Cite Internationale des Arts Paris.

Composer, improviser, researcher.

Originally an electric bass player, he has studied composition with Azio Corghi while attending masterclasses by Trevor Wishart and Marco Stroppa. His work as a composer is mainly focused on algorithmic methodologies, indifferently in the electro-acoustic and in the instrumental domain, with a particular interest in compositional methodologies for automatic notation generation. His works include multimedia installations, film music, and recently theater music. He collaborates with Marcel·lí Antúnez Roca  (Cotrone, 2010, now published as Arsenale delle Apparizioni by Nephogram; Pseudo, 2012; Ultraorbism, 2015). He is a member of IVVN, a collective devoted to free improvisation, and he appears -performing the “rumentarium“, his own-built computer-controlled mechanical ensemble- on Hopeful Monster (Die Schachtel, 2010).  Together with Mauro Lanza, he is working on compositions for electromechanical setups and acoustic instruments (Regnum animale; Regnum vegetabile).


liquid cartography
sonic wanderings

mappa.editions@gmail.com

𝟚𝟘𝟚𝟝
MAP059 Lénok - Langue of Tongue
MAP062 Kult Masek & Petr Vrba - Fumarola
MAP060 Yoichi Kamimura & Olli Aarni - Kōri no ryokō / Jäämatkailu
MAP061 Richard Hronský - Pohreb
MAP064 Areliz Ramos - B side
MAP063 Plume Gril - Unnameable Glory
MAP057 claire rousay & Gretchen Korsmo - quilted lament
MAP058 Adam Badí Donoval - a mirror where the image and the mirror wholly coincided
MAP056 fraufraulein - greater honeyguide
MAP055 - Julek ploski - Give Up Channel

𝟚𝟘𝟚𝟜
MAP053 Michaela Antalová & Adrian Myhr - Sing Nightingale
MAP051 michaela turcerová - alene et
MAP052 E/I - explicit isolation
MAP054 Lamina - Sueños acuáticos
MAP049 - Päfgens - Aspect of What
MAP050 - Henrique Vaz - De Silenti Natura
MAP048 Alley Catss - m Helux
MAP047 adaa - …img…
MAP041 Pentu - And I Saw My Devil And I Saw My Deep Blue Sea

𝟚𝟘𝟚𝟛
MAP041 Slowfoam - Worlding With Earth
MAP045 VA - Synthetic Bird Music
MAP044 Line Gate - Trap
SKUMAP002 Action Pyramid & Jack Greenhalgh - Mardle: Daily Rhythms of a Pond
046 Adela Mede - Ne L​é​pj a Vir​á​gra
043 Plume Girl - In the End We Begin
039 Forces - Chim​æ​ras
040 Rob Winstone - sifting through heaven
SKUMAP001 Lucie Vítková - Cave Acoustics
030 Symposium Musicum - Symposium Musicum

𝟚𝟘𝟚𝟚
038 Nighte - Pin down the dust
036 Kensho Nakamura - Electric Rust
037 Andrew Oda - Back To The Body
031 Baldruin - Kleine Freuden
035 CC Sorensen - Phantom Rooms
034 Alexandra Spence - a veil, the sea
033 Manja Ristić - Him, fast sleeping, soon he found In labyrinth of many a round, self​-​rolled
Grykë Pyje - The Fantastic World of Grykë Pyje
032 Atte Elias Kantonen - POP 6 SUSURRUS

𝟚𝟘𝟚𝟙
029 Grykë Pyje - Squirlich Stroll
028 Cucina Povera - Dalmarnock tapes
027 Nick Storring - Newfoundout
025 Lucia Nimcová & Sholto Dobie - DILO
026 Cheryl E. Leonard - Schism
024 Tastin Menu - Stand closer when you have something to say
023 Infant - face first in the entangled

𝟚𝟘𝟚𝟘
022 Line Gate - Apex
021 Andrew Oda - SOTTO
020 Cristián Alvear & d'incise - Bow down thine ear, I bring you glad tidings
019 Vlad Dobrovolski - Natursymphony No​.​1 — Spring Music
018 Felicity Mangan - Creepy Crawly
017 Roman Radkovič Collective - Televize
016 Olli Aarni - Mustikoita ja kissankelloja
015 Sarah Hughes - I love this city and its outlying lands
014 Sébastien Branche - Lignes de Fuite

𝟚𝟘𝟙𝟡
013 Grykë Pyje - Collision And Coalescence
VA: UŠAMI / Sound mapping camp - Gemer Gothic Route
012 IQ+1 - Conversaphone Plus

𝟚𝟘𝟙𝟠
011 Sarah Hennies - Sisters by Lenka Novosedlíková
010 Simon Whetham - Open and Closed Circles
009 MP Hopkins - Aeroplanes & Puddles

𝟚𝟘𝟙𝟟
008 Bruno Duplant, Pedro Chambel - Autofictions
007 Catriel Nievas, Sergio Merce - Pampa
006 Diatribes - Sistere
005 Line Gate - Den

𝟚𝟘𝟙𝟞
004 Sarah Hennies: Orienting Response by Cristián Alvear
003 Daniel Lercher & Vinzenz Schwab - Decrecimiento Exponencial
002 Adam Asnan - Carriers, PA
001 Jeph Jerman - 34​°​111'3"N 111​°​95'4"W

Brazilian composer, performer, and researcher. 
PhD candidate - Department of Music/CNMAT, UC Berkeley (USA).

[profile photo by Gui Machala at Festival Plurisons 2024, Belo Horizonte/Brazil]

https://www.dannielribeiro.com/
https://cnmat.berkeley.edu/people/danniel-ribeiro

Contact: 
dannielribeiro@berkeley.edu
dannfribeiro@gmail.com
ig: 
www.instagram.com/danniel1ribeiro
YouTube:
https://www.youtube.com/@DannFRibeiro

Bio: 
Danniel RIBEIRO is a Brazilian composer from Bahia. His compositional practice is driven by research and creative exploration, focusing on exploratory instrumental writing and improvised performances supported by emerging technologies and informed by investigations into culture and identity. He examines musical gesture, instrumentality, and materiality to expand the expressive possibilities of complex timbral constructs and instrumental/sound phenomena in his compositions. His work integrates theoretical inquiry with practical experimentation, often involving the development of tailored instrumental preparations, modifications, notational systems, practical sculptural objects, amplification/transduced electronic apparatuses, and performance techniques. Danniel’s goal is to critically engage with social and cultural dimensions of contemporary concert music through research, analysis, performance, and creation, exploring the interplay between idiosyncratic artistic invention and broader cultural dynamics.

A four-time recipient of Brazil's National Composition Prize (FUNARTE), Danniel has participated in events and residencies, including Klangspuren Schwaz (Austria), the Banff Centre (Canada), Domaine Forget (Canada), Barcelona Modern (Spain), Darmstadt (GER), Festival Musica (France), New Music on the Point (USA), and ilSUONO (Italy). His works have been performed at notable venues and festivals such as Empreintes (France), Morelia (Mexico), and Sala São Paulo (Brazil).
​
Danniel has collaborated with leading international ensembles, including L’Instant Donné, Yarn/Wire, Schallfeld, JACK Quartet, Barcelona Modern, RAGE Thormbones, collective lovemusic, Dal Niente, Vertixe Sonora, and Suono Giallo. He has also benefited from advanced studies with Chaya Czernowin, Franck Bedrossian, Clara Iannotta, Philippe Hurel, Malin Bång, Toshio Hosokawa, Felipe Lara, Daniel D'Adamo, Januibe Tejera, Mark Andre, Brian Ferneyhough, and Du Yun.

Danniel earned his master’s degree in composition (M.Mus.) at the Schulich School of Music of McGill University (Canada) in 2018, studying under Philippe Leroux. As a laureate of the 2023/24 George Ladd Prix de Paris, he pursued independent studies in France and recently completed the postgraduate specialization in instrumental and mixed composition at the Conservatoire de Strasbourg (France). Currently, Danniel is a Ph.D. candidate in music composition at UC Berkeley (USA), studying with Edmund Campion, Ken Ueno, Myra Melford, and Carmine-Emanuele Cella.

Empty Space is an artistic platform based in Biel/Bienne, Switzerland. We explore the interactions of physical media, their characteristic formal languages, and their modes of functionality. To achieve this, we focus on projects that experiment with various art forms, aesthetics, and crafts. Our goal is to create works of art that challenge conventional modes of production and reception.

To bring each project to life, we collaborate with different artists, blending their distinctive approaches and methods into something new. Depending on the medium, many of our productions are conceived as one-of-a-kind pieces or one-time performances.

Empty Space operates as a non-profit association, with all revenue either supporting the artists or being reinvested in future projects.

Popular tracks tagged #prepared instruments