with MM on Electronics, Thilo Ruck & Timm Roller on Guitars, Florian Zwißler on Sound Projection

A C H K  EXCERPTS

Amproprification VI: MISSA PAPAE MARCELLI

5 II

4 III

4 II

3 IV

3 III

3 II

Canone Monodico a 5 (Knicks für E.P.)
Interlock 6
for digitally controlled sawtooth wave generator, five performers

Score and more info available at http://www.marcoll.de/archives/pieces/interlock6

Canone Monodico a 5 (Knicks für E.P.)

Performed Live by 
Ensemble Lemniscate & Collective Lovemusic
Daniel Moreira, cond.
Basel, Gare du Nord, April 13th 2022

BASELINE SHIFT [NUT | LAC 2]

Amproprification #6.2: Gloria, Missa Papae Marcelli, Giovanni Pierluigi da Palestrina (2016)

Amproprification #6.1: Kyrie, Missa Papae Marcelli, Giovanni Pierluigi da Palestrina (2016)

gravitational wave 5 (for malte giesen) (2016)

Amproprifications

Amproprification #1: Sequenza 9c, Luciano Berio(2016)

Compounds

Compound No.1a: CAR SEX VOICE HONKER (2008/09)

Version for Organ Carillon and electronics. 
(Live Recording)
performed by Thomas Noll and Maximilian Marcoll

Adhan (2015/2016)

Performed by Marie Schmit (Vc) & M. Marcoll (Pno.)

Amproprification #3: Après un rêve, Gabriel Fauré

Amproprification #8.1: Allegro con brio, Eroica, C. F. Ebers, L. v. Beethoven

Recording of the first performance
Konzerthaus Berlin, June 24th 2018
Ensemble United Berlin
Vladimir Jurowski, cond
M. Marcoll, sound projection

Amproprification #8.1: EROICA

Ensemble Mosaik, Enno Poppe
World Premiere, Berlin, May 23rd, 2019

Amproprification #9: Schrift/Bild/Schrift, Bernhard Lang

In the summer of 2014, I was commissioned to write a piece for the Carillon (bell tower) in the Tiergarten in Berlin. Two concerts had been planned for Pentecost Sunday and Monday of 2015, which were to feature not only the piece I had written, but also two older pieces by other composers.
Given the circumstances — namely the bell tower's symbolic association with the church — and the date (Pentecost), addressing the religious context of the event was unavoidable.
The question of openness in central European societies has become increasingly controversial in recent years, and it was against this backdrop that the commission took on even greater potential. The piece "Adhan" (Arabic for "call to prayer"), consists of an Islamic call to prayer doubled by the bells of the carillon, and a recording of an ancient Jewish wind instrument — the shofar.
The recording of the muezzin was transcribed and arranged for the carillon, the bells of which are synchronized to the vocals. The vocals and the shofar are played back from a loudspeaker positioned at the top of the bell tower. The world's three largest monotheistic religions woven into a single musical gesture: The call of the muezzin, doubled by a Christian bell tower, supported by the Jewish shofar, on a Judeo-Christian holiday.
However, out of fear of islamist-motivated attacks, the piece was removed from the program by the organizer. Public reactions to the removal resulted in the program temporarily returning to its original form before the concerts were finally canceled altogether. 

This is not a live performance but a studio simulation that was produced while writing the piece in the ICST studio in Zürich in 2015 – here in a slightly modified mix, done one year later in the studio of the Academy of Arts Berlin.
See adhan.eu for more information. 
The simulation uses a Sample-Library of the Carillon in Berlin Tiergarten, the instrument on which the piece should have been premiered. The recordings were generously made available by the studio for electroacoustic music of the TU-Berlin for the development of the piece.

Maximilian Marcoll

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