Name: Malik-The Sound of Light, op. 147 / 2009 by wittwulf
Duration: 7 min

Wittwulf Y Malik
„The sound of Light - 7 meditations", op. 147 / 2009“
experimental music
duration: 7 minutes
The music: It consists of three sections of electronical music produced on the computer, four sound installations played on a 2m large wire string and interupted by actually recorded rolling thunder.
Die Musik in den Sequenzen 1 + 4 + 7 besteht aus elektronischer Musik, die Klangprozesse in den Abschnitten dazwischen wurden auf einer ca. 2 Meter langen Drahtsaite gespielt, und außerdem erscheinen 2 konkret aufgenommene Klänge von Donner.
website: <a href="http://www.wittwulf-y-malik.com">www.wittwulf-y-malik.com</a>


Malik-The Sound of Light, op. 147 / 2009

Piano trio (violin, cello, piano)
Performed by the Chamber Musicians of Kamloops (http://www.chambermusiciansofkamloops.org/)
Annette Dominik (violin), Martin Kratky (cello) and Naomi Cloutier (piano)

Toss a flower on the water

Hidden Hands

Thomas Christen - berimbao
Wittwulf Y Malik - violoncello 

recorded 14th April 1992
Borchel nr. Rotenburg/Wuemme
Germany

'BALLAD OF THE NIGHT' Malik/Christen

This is a character study of a budgie I had I few years ago.&nbsp;

A Character Sketch on Kira

Water Drum

Kamele'ngoni Impromptu  #1

Ecstatic Republic of Conga
Vincent Salzfaas - conga, percussion
Julian Humphries - surdo, conga percussion
Thomas Christen - saxophones, kamele'ngoni, percussion

Ripe Mango Rhumba

http://www.johneckhardt.de/solo

excerpts from john eckhardt's PSI records album.

XYLOBIONT - ear to the wood

Among biologists, the term “Xylobiont” means “living with / by / through wood” and hints at the organic qualities of this music, which is neither strict composition nor free improvisation. In part, it builds upon Eckhardt’s personal instrumental technique, which is informed by his frequent encounters with the music of composers such as Feldman, Ligeti or Xenakis, as well as by his long lasting practice of improvisation. His approach is however not an end in itself: he developed organic systems, whose focused observation, careful influencing and sensuous development form the substance of his contemplative music - an expedition into sounding forests and woodlands unknown.

Matthew Wuethrich, Dusted Magazine:
"John Eckhardt mobilizes technique along with imagination to create pieces that are neither compositions nor improvisations; they are organic systems capable of taking on a mind of their own. (…) He explores that space where sound and its organization show themselves to be a natural phenomenon, and taps into a whole world of moods beyond the one of human emotion."

This music was first released in 2008 as CD on Evan Parker’s imprint PSI records - as recorded, with no edits, electronics, preparations or further processing.

It has since grown into one of John Eckhardt’s most prominent and widely performed recital programs (with over 20 performances e.g. in Prague, Zürich, Helsinki, Berlin, Edinburgh, New York City). Faithful to the nature of this approach, it is under constant development.

http://www.johneckhardt.de/solo

xylobiont: bäck (PSI rec.)

This piece was inspired by a play of light on a wall that I once observed during a rather boring lecture in university. The light was coming through cracks and holes on top of a heavy curtain, which was swaying slightly in the wind. The motion of the curtain produced mesmerizing light patterns on the wall behind the lecturer. This work was written for and premiered by the German accordionist Olivia Steimel. 

Instrumentation: solo free-bass accordion

This piece represented Canad at the ISCM World New Music Days 2013.

Image taken from: http://www.alansmithgraphicdesigner.com/office_art_designs/Light_Play.html

Light-play through curtain holes

When I worked as Director of Music Development at the Pavarotti Music Centre in war torn Mostar, Bosnia, I would often meditate while doing yoga or playing music in the beautiful courtyard open to the sky. On this morning I played a Ghanaian marimba I had donated to the Centre for my music workshops with traumatised children and adults. The voice you hear in response to my playing is that of Oha Maslo, my main apprentice during my two years there. Music lifted our spirits together, so there was mostly no teacher or student - just beautiful people with shared dreams of love, peace and unity...

Malik-The Sound of Light, op. 147 / 2009

wittwulf

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