The first piece I've written since March 2020. Difficult times.

Über den Berg

Über den Berg - Piano Day 2021

The Locomoto Ride

C.P.E. Bach - Sonate g-Moll

Just a silly old ditty from the days when Raider changed its name to Twix in Germany. It is sung by an impersonation of a Russian psychologist named Irina Stoilerova.

Leningrad

Ferneyhough 2nd string quartet rendered with Band-in-a-Box.

Die Darmstadt-2010-Hymne

I Speak Because I Can (Laura Marling Cover)

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@circlesandstones release their debut EP „Various GemsI“ with four various artists who, at first glance, hail from varying corners of the music spectrum.(...) „Kabale & Liebe“, in which @oh_why interprets @robosonic’s original version with his own recipe for organic grunginess, combines euphoric synth lines with organic percussions and haunting vocals, finally releasing the tension that builds gradually within the track’s own story. (...)

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Robosonic - Kabale & Liebe (O/Y Revision) [Circles & Stones]

Augmented Piano Quintet, K. Bulak, Op. 11 (2018)
1. Adagio
2. Sonore
3. Andante

Kaan Bulak & Ensemble

Violin: Moritz Ter-Nedden
Viola: Friedemann Slenczka
Cello: Simone Drescher
Doublebass: Kristina Edin
Augmented Piano: Kaan Bulak

Recorded at ZKM_Kubus by Sebastian Schottke
Mixing & Mastering at Feral Note Salon by Kaan Bulak

Augmented Piano Quintet

While we cannot see small nanoscopic objects like proteins or other molecules that make up virtually all living matter including our cells, tissues, as well as pathogens such as viruses, our computational algorithm allows us to make its material manifestation audible.  This piece is a musical representation of the amino acid sequence and structure of the spike protein of the pathogen of COVID-19, 2019-nCoV (protein data bank identifier 6VSB [1]). 

MUSICAL DECEIT

A virus’ genome hijacks the host cell’s protein manufacturing machinery, and forces it to replicate the viral genome and produce viral proteins to make new viruses from it.  This musical art teaches us something about the fine line between beauty of life and death as an opposite pole.  As you listen to the protein you will find that the intricate design results in incredibly interesting and actually pleasing, relaxing sounds. This doesn’t really convey the deadly impacts this particularly protein is having on the world. This aspect of the music shows the deceiving nature of the virus, how it hijacks our body to replicate, and hurt us along the way. So, the music is a metaphor for this nature of the virus to deceive the host and exploit it for its own multiplication. 

HOW IT IS DONE: 

What you hear is a multi-layered algorithmic composition featuring both the vibrational spectrum of the entire protein (expressed in sound and rhythmic elements), the sequence and folding of amino acids that compose the virus spike structure, as well as interwoven melodies - forming counterpoint music - reflecting the complex hierarchical intersecting geometry of the protein [2].

Scientific references:

[1] Wrapp et al., "Cryo-EM structure of the 2019-nCoV spike in the prefusion conformation," Science, 2020, DOI: 10.1126/science.abb2507

[2] Buehler et al., "A Self-Consistent Sonification Method to Translate Amino Acid Sequences into Musical Compositions and Application in Protein Design Using Artificial Intelligence," ACS Nano, 2019, DOI: pubs.acs.org/doi/10.1021/acsnano.9b02180

Viral counterpoint of the coronavirus spike protein (2019-nCoV)

Viral Counterpoint of the Coronavirus Spike Protein (2019-nCoV)

Performed by Xenon-Saxophonquartett (http://www.xenonsaxophonquartett.de/) 

Hayrapet Arakelyan - Soprano
Moritz Groß - Alto
Adrian Durm - Tenor
Benjamin Reichel - Baritone



Drei Sätze für Saxophonquartett - I. Prélude

Izidor Erazem Grafenauer, guitar
Petra Vidmar, marimbaphone

Written in November 2016 — EV 63 No. 2
Recorded in Ljubljana, October 2019 by Erazem Grafenauer
Free sheet music @ multipass.wendelinbitzan.de/download/bitzan_baumblaetter.pdf

At the Forest Verge for guitar and marimba — No. 2: White Poplar (2016)

Musician, researcher in music, and digital content creator. Teaches music theory at universities, occasionally performs in public as a pianist, passionately talks and writes about music, and advocates for the interests of freelance musicians.

At the Forest Verge for guitar and marimba — No. 2: White Poplar (2016)

Wendelin Bitzan | Composer

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