www.marcusloeber.com
EMOTION & MELODIC DRIVEN MUSIC FOR MEDIA WITH A TWIST.
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All rights reserved Marcus Loeber & billibaberecords (c) (p) 2025
Photography by TOM FECHT (used with permission)

CAT Loeb CLASSICAL  AlleyFelted

Hesiod derives Aphrodite from the ancient Greek word aphrós, signifying the sea foam from which the goddess of beauty emerged into life. My music explores the alluring dichotomy of this bubbling froth, for its effervescence belies the furtive terrors from the abyss: bubbles engender the shimmering charm on the surface, yet also serve as a gurgling harbinger of what lurks beneath it.

This gamut collage of sonic mimesis for prepared piano and electric guitar is a direct result of my rigorous process of experimentation, recording, and cataloging of interesting timbres. Aleatoric vignettes from Emerging Aphrodite foreground the ebb and flow of sound, whose image is subsequently altered through ping–pong balls, vibrating devices, textiles, player actions, and live electronics. The three players explore their instruments just like sailors traversed the seas on their ships, cradled by the beguiling vastness of the foaming waves, blithely unaware of what prowls within the depths...

Emerging Aphrodite [2023]

The empty grave_Mboro

“Stephen closed his eyes to hear his boots crush crackling wrack and shells. You are walking through it howsomever. I am, a stride at a time. A very short space of time through very short times of space. Five, six: the Nacheinander. Exactly: and that is the ineluctable modality of the audible. Open your eyes. No. Jesus! If I fell over a cliff that beetles o’er her base, fell through the Nebeneinander ineluctably! I am getting on nicely in the dark.”
-- James Joyce, Ulysses ("Proteus")

Taking its starting place from that excerpt of Stephen Dedalus’ stream of consciousness, "A very short space of time through very short times of space" is concerned with the development and reflections of musical materials in different sonic spaces that accumulate, rupture, and otherwise transform. I am most interested in volatile and fragile materials that are thus seemingly contradictory. These materials may oppose each other (dense versus sparse, dark versus bright, short versus sustained, etc.) but do not categorically conflict. Instead of seeking resolution, they strive for alchemical transcendence.

James Joyce's poetic prose in Ulysses embraces the inherent volatility of life and moves rapidly from the interior to the exterior, from the sacred to the profane, and from the masculine to the feminine, catching glimpses of everything possible between these extremes. Materials in the piece are, like Stephen Dedalus’ thoughts, mutable and constantly decontextualized, fragmented, and recombined.

This piece was composed for Flannau Duo in early 2024 and came to life through collaborative exploration with Jonathan and Kyle at various stages. I hope performers and listeners each find something surprising in this space of time.

Flannau Duo
Jonathan Hannau, prepared piano
Kyle Flens, percussion
World Premiere, 9.6.2024
Constellation Chicago

A very short space of time through very short times of space (2024, world premiere)

STORMI - for prepared piano (2024)

Pianist - Alex Waite

STORMI

Variacie

Off-Key Groove

naviarhaiku579 – Mount Asama
The event Bosun refers to is the eruption of Mount Asama in 1783, which instantly killed over 1,000 people. The toxic ash traveled 100 miles to Edo, making farmland useless and causing many more people to starve.

Reaktor Kodiak sequencer by Matthias Schaffner
Loops, Drones. Riff in crescendo of pianos and double bass.

Loops on Ashes (naviarhaiku579)

Avant-Gardist: Tonally Prepared Cinematic Piano
for music composers and producers

https://pssst-instruments.com/avantgardist

Demo 3: Suspence & Horror

This is a composition made from improvisation on a gaffa-prepared piano. Here I use Brian Enos method of loops of different lengths, changing relations to each other, making an ever evolving  composition. 

Enkle toner

🎧Ear Candy, Served Fresh
This channel is all about bite-sized sonic inspiration. Think of it as an evolving audio library—short, genre-spanning snippets to spark ideas, and set the mood. 
Stay tuned & inspired. 🚀

Solo piano improvisation, music for media, sound finder, photographer, sounddesigner, father and family man
Traveling between classical and contemporary music, Jazz and filmscore. Loving electronic music, too. Real music has no boundaries. Please follow and feel free to comment.
Profile photo by (c) Anatol Kotte, 2024
Design by JDS  Joniel da Silva

Hannah A. Barnes (b. 1997) is a Montréal-based composer and conductor. Her work centres on crafting structured yet dynamic, multi-faceted musical worlds characterized by mercurial, off-kilter and seemingly incompatible materials. Her music seeks a high amount of tension and expression in both performers and listeners. Of central concern to her is (re)defining Modernism in the 21st century and exploring manifestations of complexity and polyphony.
Currently a DMus student at McGill University studying composition with Prof. Philippe Leroux, and conducting with Prof. Mélanie Léonard, Hannah completed degrees in composition (MMus w/Distinction ’21, BMus High Honours ’19) from DePaul University, with additional studies in conducting with Prof. Michael Lewanski. Collaboration is central to Hannah’s compositional practice. She has worked closely with soloists, including oboist Kyle Bruckmann, guitarist Jesse Langen, hornist Tarre Nelson, vocalist Joanna Mieleszko, percussionist Alexandre Garde, pianist Ian Pace, and duos Garden Unit and Flannau Duo to develop new works. Her work has been composed for and performed in programs including the DePaul and Dal Niente Summer Residence for New Music (2020), the Summer Institute for Contemporary Performance Practice (2021), the Yarn/Wire Summer Institute (2022), Omaha Under the Radar Festival (2022), the Darmstadt Summer Courses (2023), the Musikfabrik Virtual Brass Academy (2025), and Impuls Academy (2025), as well as various venues in Illinois, California, New York, Florida, Kansas, the United Kingdom, and Québec.
Hannah’s work for oboe and fixed media, “Dis/inte/gration” (2019, rev. 2020) was recorded by Kyle Bruckmann and included on his album of rivers, released March 2024. She released her debut portrait album, Negative Capability: Works by Hannah A. Barnes in December 2024, including performances by Ensemble Dal Niente, Kyle Flens, Jesse Langen, Garden Unit, and DePaul University’s Ensemble 20+. Her work has been acknowledged in the Chicago Reader and “Best of Bandcamp,” selected in calls for scores in the United States, Canada and Austria, played on impulsradio (Graz/Helsinki), and awarded an ASCAP Morton Gould Young Composer’s Awards honourable mention for her work “five images.”
Hannah founded the rhythm is image new music initiative after being struck by the inexplicable and insatiable desire to perform Stockhausen’s Mikrophonie I in 2019. She organizes, conducts, and performs in concerts, emphasizing experimental performance practice and advocating for “difficult” music. rhythm is image has performed in Chicago, Montréal, Omaha (Nebraska), and Fayetteville (Arkansas) as parts of concert series and festivals.
Teaching is also important to Hannah; she has taught theory and aural skills to grade and middle schoolers in the DePaul Community Music Division, high schoolers at the Chicago Music Academy, music majors at DePaul University, and various students at McGill University.
She lives in Montréal with her terrier Kaylee, and maintains a strong connection to her roots in Chicago. Her compositional practice is fuelled by strong coffee and postmodern literature.

His compositive research mainly ranges over chamber, acousmatic and live electronics works; he also reaches more liminal fields with audio installations, audiovisual compositions and multimedia performance comprehensive of dance and interactive projections.
He plays piano and electroacoustic setups focusing on free improvisation and his music is performed by renowned musical ensembles like Aleph Guitar Quartet and Ensemble Recherche

Composer and scholar of new acoustic and electronic music at the Yale School of Music

New tracks tagged #preparedpiano