"Kyrie" for 3 voices and electronics. Performed by "Camerata Silesia Choir" - conduced by Anna Szostak at ISCM Wroclaw, October 8th, 2014.

Some reaction from press:
“her powerful Kyrie made me fight to maintain my composure. (…) I had never heard great new Polish music in Poland before, and I was deeply deeply moved by that experience. “
William Anderson

Kyrie-Opalescence

Jagat (2006) '30
For large ensemble and electronics.
2 fl/pic, Bb cla, bcla, hrn, trp, trb, prc, pno, 2 vln, vla, vlc.
Commissioned by Fonds voor de Scheppende Toonkunst.

Score:
http://philemonmukarno.musicaneo.com/sheetmusic/sm-165229_yagat.html

Yagat

Textes et écoutes avec exercices de compréhension écrite et orale
tirés du livre "SOS Passage au lycée – Deutsch"
de Marc Schneider
dans la collection "LE petit MARTIN"
paru aux Editions Saint-Paul.
http://www.editions.lu

SOS Passage au lycée – Deutsch

Der Fluch des Ötzi

This is an unedited, unprocessed live recording, direct to Zoom H4N off the mixer. From a performance at 119 Gallery (Lowell, MA), November 17, 2012.

I used a large (14") Tibetan bowl with two SM57 mics. The signal was processed by an effects chain consisting of (in order) Moogerfooger Ring Modulator, Moogerfooger Cluster Flux, Deluxe Memory Man and Ekdahl Moisturizer. I also used the ring modulator's carrier oscillator as a drone, through a 4ms/Repeater Noise Swash and a Moogerfooger Freq Box -- this was a separate signal, but it was also routed through the effects chain.

I struck the bowl with a typical felt-covered wooden beater and bowed it with a violin bow (these are the high-pitched notes heard periodically). In a couple of spots, I used an EBow resting directly on the exposed springs of the Moisturizer. Feedback was employed at several levels throughout.

Image: "Suspended from Afar, Mountainville, NY" by Grufnik (http://www.flickr.com/photos/grufnik/1411375138/). Licensed under Creative Commons Attribution-NonCommercial-NoDerivs 2.0 Generic (CC BY-NC-ND 2.0)

Suspended (at 119 Gallery, 2012-Nov-17)

I composed Tempziner Modulationen for a concert titled Carrillo versus Fokker, and indeed both the 31-tone Fokker organ and the 96-tone Carrillo piano are employed. The concert title sounds like a contest – Fokker clearly won in my piece :) I freely admit that I find the 31-tone equal temperament more attractive than 96-tone equal temperament (it convincingly approximates just intervals beyond 5-limit without introducing too many tones), and so the piano is only playing tones that approximate tones of the Fokker organ.

Concerning the title, I finalised the piece in a tiny village in Northern Germany called Tempzin. Each of the three movements somehow includes modulations in the sense that an underlying root (e.g., the root of an underlying scale) changes, but these changes are somewhat "smeared out". While the notion of modulation is of course highly conventional, none of the modulations in this piece are standard practice (e.g., I never use a diatonic scale).

Tempziner Modulationen (2011), Movement 1

Torsten Anders

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