Zoltan Almashi, violoncello, The Pops Symphony orchestra of Ukraine, conductor Mykola Lysenko

Concerto for Violoncello and Orchestra (2010)

Prostory Svitla  for symphony orchestra and electronic
dedicated to Józef Patkowski
Warsawa National Philharmonic Symphony Orchestra,  Vimbayi Kaziboni (conductor), Polish Radio broadcast recording 24.09,2022, 65 International festival Warszawska Jesien.

Prostory Svitla  for symphony orchestra and electronic
dedicated to Józef Patkowski
Warsaw Autumn and Adam Mickiewicz Institute commission

One of the books dedicated to the founder and long-time director of the Polish Radio Experimental Studio Józef Patkowski is entitled “Patkowski. Ambassador of music from Mars”.
As the author of the book Agnieszka Pindera explains, electronic music at the time of its appearance - was most often heard in documentaries on space.

In 2021 humanity can already hear the sounds of Mars, but it still needs - ambassadors of the future, visionaries, inventors of new thinking, discoverers of new ways of developing art and society.

The futuristic artists of the 1920s were the same ambassadors of the future in European culture. Those who laid the foundations of new musical thinking, including the esthetic foundations of electronic music, to the development of which Józef Patkowski dedicated his life.

The world discovered by Józef Patkowski, the world of electronic music, the real "universe of sound" was no less impressive than the "space of the starry sky", and its study in the mid-1950s was like the discovery of a new planet.

Józef Patkowski paid great attention to the involvement of scientific approaches in the development of artistic practice in the field of electroacoustic music, sound synthesis research and acoustic research methods in musicology.

The work “Prostory Svitla ” is an attempt to involve artistic futuristic practices and constructivist principles of the art of Ukrainian futurism

in the contemporary artistic context.

Among such concepts, the first is the idea of "constructive dynamism", described by Valerian Polishchuk in the magazine "Avant-garde" in 1929, where the author reflects on the problem of artistic perception the dynamic nature of reality.

Prostory Svitla  for symphony orchestra and electronic

Frantz Loriot - viola
Marina Tantanozi - flute, bass flute
Philipp Eden - prepared piano

Recorded by Jonas Häni on 15 December 2022 at Rote Fabrik, Zürich
Mixed by Philipp Eden

Eden/Loriot/Tantanozi live at STUENZI

Radio Quartet

Guerrier hasard et Variation 2023 (stereo reduction du 7.1 )

performance: Natalia Sikorska, harpsichord,
recording: Studio of Electroacoustic Music Association of Ukraine
sound engineer: Volodymyr Mynduk
Kyiv, 1.07.2023

Sonnet for harpsichord solo (2020)

Prix Art sonore

Antje Vowinckel
Opdoppling
41’20, autoproduction (Allemagne)

Rituel de recyclage musical en quatre parties 1. écoute/collecte 2. Hachage 3. Recyclage 4. Upgrade
La version de 15 minutes ici présentée contient des extraits des parties 1, 3 et 4 de la version originale.

Basses vrombissantes de la circulation, percussions sifflantes des boîtes Bluetooth et des haut-parleurs des téléphones portables - les ambitions mondiales des stars internationales se désintègrent sous nos oreilles en déchets sonores réduits à des fréquences hautes ou basses, écrasés et aplatis. Ces résidus volent autour de nos oreilles avec un effet Doppler. Colonisent l'espace public. Flottent en nous comme du plastique dans la mer. (Instruments dans les parties 1 et 3 et 4 : Antje Vowinckel, Percussions dans la partie 4 : Burkhard Beins, Emilio Gordoa, Antje Vowinckel, technician: Baptiste Moulin)

Compositrice et performeuse Antje Vowinckel vit à Berlin. Elle a étudié la littérature, la musique et la sociologie. Elle consacre son travail à une poésie du son enregistré et à la relation entre musique et parole, notamment dans sa méthode Automatic Speaking.

Antje Vowinckel _ Opdoppling

Marina Tantanozi - flute 
Anna Paolina Hasslacher - piano

Recording @ Elisabethenkirche Basel
November 2016

Crystals - Doina Rotaru

Schoenberg ensemble
Reinbert de Leeuw, conductor

FOUCAULT'S PENDULUM was written in 2004 on a commission from the Dutch Schoenberg Ensemble. Its world premiere of the composition took place the same year at the Concertgebouw under the direction of Reinbert de Leuw.

I tried to construct my piece on the basis of juxtaposition of two contrasting types of music: the music of breath and the music of mechanism, as well as, correspondingly, two types of time – the continuous and the mechanically discreet. It was especially intriguing for me to examine the processes of the emergence and formation of each type of music, and also to trace the stages of the transition of one into the other. I was also greatly interested in the idea of the gradual modulation of the timbral beats of sound into rhythmic structures, as well as the transformation of instrumental sound-color into rhythm.

The pendulum-like development of the musical material of the piece (involving repetitions with gradual changes of the "trajectory" of the movement), as well as a few other constructive principles of the composition brought to my mind the famous pendulum built by Jacques Foucault in 1851 for a visual demonstration of the fact of the Earth's rotation. The title of the work also contains the allusion to the famous mystification novel by Umberto Eco, "Foucault's Pendulum."

Foucault's Pendulum for large ensemble

Performed on 12.08.19 at Internationales Künstlerhaus Villa Concordia
Scordatura Cello - Corentin Chassard (Octandre Ensemble)

Bird learning to fly

For me breath is one of the most important primary images of music. Breath is the first sign of life as well as its final gesture.

In "The Breath of the Exhausted Time", relying on an endless wave-like rhythm of ascentions and declines, I tried to cross the boundary of the possibilities of a purely syntactical understanding of form and the idea of the breath became for me an alternative to Riemann's "tectonically-building" principles. At the basis of this composition lie not only structurally built musical material, but also the unceasingly forming sound matter itself. The appearance and evaporation of sounds, their merging into one another and condensation determine the flow of the form. In this piece I perceived musical time as "slow time". I perceived it to be a sounding metaphor of a gigantic Solaris (according to Stanislav Lemm and Andrei Tarkovsky).

Concerto for Violoncello and Orchestra (2010)

Olena Ilnytska