Podcasts about karlheinz essl

Im Gespräch mit der trans-Art Künstlerin Astrid Rieder spricht Karlheinz Essl über die Zeit, „Zufall und Notwendigkeit“ (Jacques Monod), über die Dialektik von Gemütlichkeit und Unbequemlichkeit in der kollektiven Performance und die Improvisation als Rettung. Nach langjähriger Erfahrung mit digitalen Werkzeugen experimentiert Karlheinz Essl seit einiger Zeit mit einem hochempfindlichen analogen modularen Synthesizer namens 0-COAST, den er in Interaktion mit der Zeichnerin und trans-Art Performerin Astrid Rieder allein aus den Schwingungen des Geräts zum Klingen bringt. Hier die Transkription dieses Interviews: https://essl.at/bibliogr/essl-rieder_3.html

First encounter between the organist Jeremy Joseph and the composer Karlheinz Essl on his 0-COAST modular synth on 2 December 2024. We met in St. Ursula, a beautiful baroque church in Vienna which houses three fine organs, one of which - a sublime 7-rank Italian instrument from the 18th century - is used on this track. There were no preconceived musical ideas or any kind of preparatory sketches for the improvisation. It is simply an atmospheric late-night ‘jam session' recorded in the darkness of the sanctuary. It captures us getting to know each other, finding one another and it illustrates the process of musical consolidation through improvisation. https://essl.at/div/becoming-one.html

V.A.N.N. (Viewing A Nasty Neigbourhood) - BINAURAL by Karlheinz Essl

In dieser Folge des Podcasts "Warum Klassik?" porträtiert Leonard Eröd den Composer/Performer Karlheinz Essl, der nicht nur die Grenzen zwischen den Kunstdisziplinen, sondern auch die Grenze zwischen Komponist und Interpret aufhebt. Veröffentlicht am 23.10.2024. Der vollständige Beitrag kann hier abgerufen werden: https://sound.orf.at/podcast/oe1/warum-klassik/punk-und-sprayer Webfassung: https://essl.at/bibliogr/essl_warum-klassik.html

Binaural rendering of a 6-channel version from 2017 with REAPER and dearVR (Studio kHz, 18 Oct 2024). Generative sound environment for an art installation by Beat Zoder, written in MaxMSP. In 2006, Swiss artist Beat Zoderer and Austrian composer Karlheinz Essl were commissioned to create a collaborative work for the music festival Stanser Musiktage. In an abandoned repository situated in the heart of the Swiss alps, both artists were setting up a room installation made of sewer pipes. Those plastic parts of different lengths were equipped with funnel speakers driven by a customized computer program written in MaxMSP by Karlheinz Essl. Utilizing realtime composition algorithms which the composers develops since 1985, his software created an ever-changing sonic environment which never repeated itself. Seen from outside, the structure resembled a giant jackstraw heap which invited the public to explore the space. Sounds that were projected from the loudspeakers through the pipes commuted through the air, creating a mysterious atmosphere as if some hidden creatures were talking to each other in an incomprehensible, yet compelling language. Info: https://essl.at/works/hirsch-roehren.html

Binaural production - listen with headphones! Generative soundscape based on a two-dimensional random walk between four binaural soundscapes recorded in Gars/Kamp between July 5th and 6th, 2024: 1) the audience at the opening of the "Temple of Sound" in Gars, the first museum for electroacoustic music 2) Karlheinz Essl's "Gesualdo-Fragmente", performed there 3) forest next to a country road 4) the river Kamp flowing through the city of Gars Released: July 7th, 2024 Info: https://essl.at/works/HEAD.html

Generative sound environment based on the paradigm of biorhythm: three independent temporal processes in the ratio of 23 : 28 : 33 change the level of three sound files with a recording of the famous Christmas carol "Silent Night" (Stille Nacht), which are time-stretched according to the same proportions. https://essl.at/works/nachtstille.html Written in Max with Karlheinz Essl's "Realtime Composition Library".

Radiofeature von Jörg Duit über das Improvisationsduo OUT OF THE BLUE mit Agnes Heginger (Stimme) und Karlheinz Essl (Live-Elektronik). Erstsendung am 20.3.2018 im Zeit-Ton auf Ö1. https://www.essl.at/bibliogr/duit-sommerwellen.html Die charismatische Sängerin Agnes Heginger und der kongeniale Komponist und Elektroniker Karlheinz Essl nehmen Gedichte als Ausgangspunkt für ihre Performances, die von beiden aus dem Moment heraus vertont werden. Das Offene und Unerwartete steht im Zentrum dieses Prozesses. Dabei reagieren sie auf den entstehenden Raum/Klang, die Zuhörerschaft, die gesprochenen und gesungenen Worte, die Soundscapes und Geräusche, die hörbaren oder nur gedachten Gedanken. Hinter diesem sich fortwährend transformierenden Gespinnst wird etwas Neues sichtbar. Erleben Sie ein fesselndes Experiment, in dem liebevoll ausgewählte Text- und Klangfragmente zu Spielbällen werden, mit denen Agnes Heginger und Karlheinz Essl virtuos jonglieren.

On September 15, 1945, Anton Webern was shot by an American occupation soldier in alleged self-defense in Mittersill, where he had taken refuge from the approaching Red Army. Thus ended the life of one of the most influential composers of the modern era in an inconceivable and tragic way. 60 years later - on September 15, 2005 - two commemorative events for Anton Webern will take place within the framework of the 10th Composers' Forum Mittersill: for an event in public space, Karlheinz Essl has created the algorithmic sound installation WebernUhrWerk for computer-controlled Carillon. For the subsequent commemorative concert in St. Anna's Church, he wrote WebernSpielWerk for Toy Piano, which is a kind of projection of the Carillon music onto a toy piano. The pervasive character of the carillon, which filled the whole place in the afternoon, is reduced to the "poor" sound world of a toy piano, whose sound produced by struck metal rods resembles that of a bell - but is much more restrained and intimate. This composition was written in the last days of August 2005 and is dedicated to Isabel Ettenauer, who premiered this work on September 15, 2005. It consists of four movements: I. espressivo – mit einem gewissen sprechenden Ausdruck II. molto rubato III. Gemessenen Schritts (wie Totenglocken) IV. sehr frei – molto intenso https://www.essl.at/works/webernspielwerk.html

Free improvisation on a Make Noise 0-coast analog synth patched as a generative non-linear system. No edits, no overdubs, no MIDI, no sequencer, no arpeggiator - just manual control in real time! A suite in three parts, performed live by Karlheinz Essl on July 29, 2023 at Studio kHz. Video: https://youtu.be/W0gAae4PuxI Info: https://www.essl.at/works/coastlines.html

Sounds flood through the room, drip from the ceiling and evaporate in an eternal cycle. On May 13, 2000, the Minoritenkirche in Krems was transformed into an acoustic water reservoir by a generative sound installation by Karlheinz Essl. The occasion was the last part of the project series "fLOW". Once again Karlheinz Essl invited top-class international instrumentalists, composers and sound artists from a wide variety of musical contexts (ranging from jazz to new music to free improvisation) to be part of a musical work process in continuous flux. Featuring: Anne LaBerge: flute and electronics, Arne Deforce: cello and electronics, Martin Siewert: electric guitar, lapsteel, devices, Elisabeth Flunger: percussion, Didi Bruckmayer: voice and Karlheinz Essl: computer, soundscape, live electronics, concept

Sounds flood through the room, drip from the ceiling and evaporate in an eternal cycle. On May 13, 2000, the Minoritenkirche in Krems was transformed into an acoustic water reservoir by a generative sound installation by Karlheinz Essl. The occasion was the last part of the project series "fLOW". Once again Karlheinz Essl invited top-class international instrumentalists, composers and sound artists from a wide variety of musical contexts (ranging from jazz to new music to free improvisation) to be part of a musical work process in continuous flux. Featuring: Anne LaBerge: flute and electronics, Arne Deforce: cello and electronics, Martin Siewert: electric guitar, lapsteel, devices, Elisabeth Flunger: percussion, Didi Bruckmayer: voice and Karlheinz Essl: computer, soundscape, live electronics, concept

Sounds flood through the room, drip from the ceiling and evaporate in an eternal cycle. On May 13, 2000, the Minoritenkirche in Krems was transformed into an acoustic water reservoir by a generative sound installation by Karlheinz Essl. The occasion was the last part of the project series "fLOW". Once again Karlheinz Essl invited top-class international instrumentalists, composers and sound artists from a wide variety of musical contexts (ranging from jazz to new music to free improvisation) to be part of a musical work process in continuous flux. Featuring: Anne LaBerge: flute and electronics, Arne Deforce: cello and electronics, Martin Siewert: electric guitar, lapsteel, devices, Elisabeth Flunger: percussion, Didi Bruckmayer: voice and Karlheinz Essl: computer, soundscape, live electronics, concept

Sounds flood through the room, drip from the ceiling and evaporate in an eternal cycle. On May 13, 2000, the Minoritenkirche in Krems was transformed into an acoustic water reservoir by a generative sound installation by Karlheinz Essl. The occasion was the last part of the project series "fLOW". Once again Karlheinz Essl invited top-class international instrumentalists, composers and sound artists from a wide variety of musical contexts (ranging from jazz to new music to free improvisation) to be part of a musical work process in continuous flux. Featuring: Anne LaBerge: flute and electronics, Arne Deforce: cello and electronics, Martin Siewert: electric guitar, lapsteel, devices, Elisabeth Flunger: percussion, Didi Bruckmayer: voice and Karlheinz Essl: computer, soundscape, live electronics, concept

Sounds flood through the room, drip from the ceiling and evaporate in an eternal cycle. On May 13, 2000, the Minoritenkirche in Krems was transformed into an acoustic water reservoir by a generative sound installation by Karlheinz Essl. The occasion was the last part of the project series "fLOW". Once again Karlheinz Essl invited top-class international instrumentalists, composers and sound artists from a wide variety of musical contexts (ranging from jazz to new music to free improvisation) to be part of a musical work process in continuous flux. Featuring: Anne LaBerge: flute and electronics, Arne Deforce: cello and electronics, Martin Siewert: electric guitar, lapsteel, devices, Elisabeth Flunger: percussion, Didi Bruckmayer: voice and Karlheinz Essl: computer, soundscape, live electronics, concept

Free improvisation on a Make Noise 0-coast analog synth and a small Behringer mixer, patched as a generative non-linear system with internal audio feedback. No edits, no overdubs, no MIDI, no sequencer, no arpeggiator - only manual control in real time! Performed live on Jan 12th, 2023 at Studio kHz by Karlheinz Essl. Info: https://www.essl.at/works/coastlines.html

Free improvisation on a Make Noise 0-coast analog synth and a small Behringer mixer, patched as a generative non-linear system with internal audio feedback. No edits, no overdubs, no MIDI, no sequencer, no arpeggiator - only manual control in real time! Performed live on Jan 12th, 2023 at Studio kHz by Karlheinz Essl. Info: https://www.essl.at/works/coastlines.html

Free improvisation on a Make Noise 0-coast analog synth and a small Behringer mixer, patched as a generative non-linear system with internal audio feedback. No edits, no overdubs, no MIDI, no sequencer, no arpeggiator - only manual control in real time! Performed live on Dec 6th, 2022 at Studio kHz by Karlheinz Essl. Info: https://www.essl.at/works/coastlines.html

Three part improvisations on a Make Noise 0-coast analog synth and a small Behringer mixer, patched as a generative non-linear system with internal audio feedback. No edits, no overdubs, no MIDI, no sequencer, no arpeggiator - only manual control in real time! Performed live on Dec 15th, 2022 at Studio kHz by Karlheinz Essl. Info: https://www.essl.at/works/coastlines.html

Free improvisation on a Make Noise 0-coast analog synth and a small Behringer mixer, patched as a generative non-linear system with internal audio feedback. No edits, no overdubs, no MIDI, no sequencer, no arpeggiator - only manual control in real time! Performed live on Dec 6th, 2022 at Studio kHz by Karlheinz Essl. Info: https://www.essl.at/works/coastlines.html

Free improvisation on a Make Noise 0-coast analog synth and a small Behringer mixer, patched as a generative non-linear system with internal audio feedback. No edits, no overdubs, no MIDI, no sequencer, no arpeggiator - only manual control in real time! Performed live on Nov 10th, 2022 at Studio kHz by Karlheinz Essl. Info: https://www.essl.at/works/coastlines.html YouTube: https://www.youtube.com/watch?v=iIRUF0-OQmE

Free improvisation on a Make Noise 0-coast analog synth and a small Behringer mixer, patched as a generative non-linear system with internal audio feedback. No edits, no overdubs, no MIDI, no sequencer, no arpeggiator - only manual control in real time! Performed live on Sep 28th, 2022 at Studio kHz by Karlheinz Essl. Video: https://youtu.be/oejmpHsD0bE Info: https://www.essl.at/works/coastlines.html

Free improvisation on a Make Noise 0-coast analog synth and a small Behringer mixer, patched as a generative non-linear system with internal audio feedback. No edits, no overdubs, no MIDI, no sequencer, no arpeggiator - only manual control in real time! Performed live on Sep 28th, 2022 at Studio kHz by Karlheinz Essl. Video: https://youtu.be/yXZsnIrMy7o Info: https://www.essl.at/works/coastlines.html

Performed live on Aug 31th, 2022 at Studio kHz by Karlheinz Essl, using a self-patched Make Noise 0-coast analog synth and a small Behringer analog mixer with internal feedback. No edits, no overdubs, no MIDI, no sequencer, no arpeggiator - only manual control in real time! Watch the video on YouTube: https://youtu.be/LPCQpTnTsec More information here: https://www.essl.at/works/coastlines.html

Performed live on Aug 29th, 2022 at Studio kHz by Karlheinz Essl, using a self-patched Make Noise 0-coast analog synth and a small Behringer analog mixer with internal feedback. No edits, no overdubs, no MIDI, no sequencer, no arpeggiator - only manual control in real time! Watch the video on YouTube: https://youtu.be/YrgO0YDh1do More information here: https://www.essl.at/works/coastlines.html

Binaural production - listen with headphones! Based on a joint performance by Jack Hauser and Karlheinz Essl in the room installation "Wohnung Miryam van Doren" in Horn (Austria) on April 13th, 2022. Generative soundscape based on a two-dimensional random walk between four binaural soundscapes, recorded on April 13th, 2022 in Horn (Austria). Released: 14 Apr 2022 1) exploration #1 of Wohnung Miryam van Doren with Jack Hauser 2) exploration #2 of Wohnung Miryam van Doren with Jack Hauser 3) the church square in Horn 4) nature with birds at the river Kamp Part of the work-in-progress H.E.A.D. https://essl.at/works/HEAD.html

Karlheinz Essl erzählt wie er zur Neuen Musik und Elektronik gekommen ist und was ihn geprägt hat. Er spricht über die menschliche Stimme, gemeinsames Komponieren, das Fokussieren auf's Wesentliche und wie er seine Aufgabe als Kompositionsprofessor wahrnimmt. Erfahre auch, was Kochen mit Komponieren und Kunst zu tun hat.

Binaural production - listen with headphones! Random walk through the electronic interludes of Gold.Berg.Werk (a radical re-interpretation of JS Bach's Goldberg Variations) from the CD recording of this piece (Dublin 2020). Binaural rendering by Karlheinz Essl. Released: 8 Jan 2022

Spatial audio - listen with headphones! Random walk through the dance/sound/performance "Forms of Life", shown on Dec 18th, 2021 at OFF-Theater Vienna, feat. Andrea Nagl (choreography, dance, instruments)and Karlheinz Essl (composition, live-electronics). https://www.essl.at/works/HEAD.html https://www.essl.at/works/forms-of-life.html

Binaural production - listen with headphones to enjoy the 3D sound! Soundscape by Karlheinz Essl, poem by Erwin Uhrmann. A track from the audio book K.O.P.F. (Limbus 2021). https://essl.at/kopf/ Portrait des Gasthauses "Alte Schule" in Riedenthal, wo Manfred Buchinger gemeinsam mit der Schriftstellerin Eva Rossmann hervorragend kocht. Mittels Kunstkopf-Stereophonie hat der Komponist Karlheinz Essl Soundscapes aufgenommen, die sich auf einen konkreten Ort oder eine besondere Situation beziehen. Erwin Uhrmann hat zu diesen Klangstücken lyrische Texte verfasst und selbst eingesprochen. Die Titel bezeichnen den Ort und sind gleichzeitig Akronyme, die die Fantasie des Zuhörers herausfordern. Durch den 3D-Sound werden sie unmittelbar erfahrbar.

Xenia Pestova Bennet takes on composer, Karlheinz Essl's Gold.Berg.Werk, which blends a Bach landmark with contemporary electronics and specialised audio

Binaural production - listen with headphones to enjoy the 3D sound! Soundscape by Karlheinz Essl, poem by Erwin Uhrmann. A track from the audio book K.O.P.F. (Limbus 2021). https://essl.at/kopf/ Ein Portrait der Stadt Graz mit dem Jakominiplatz, dem Stadtpark, einem Bauernmarkt und der Kunstuniversität. Mittels Kunstkopf-Stereophonie hat der Komponist Karlheinz Essl Soundscapes aufgenommen, die sich auf einen konkreten Ort oder eine besondere Situation beziehen. Erwin Uhrmann hat zu diesen Klangstücken lyrische Texte verfasst und selbst eingesprochen. Die Titel bezeichnen den Ort und sind gleichzeitig Akronyme, die die Fantasie des Zuhörers herausfordern. Durch den 3D-Sound werden sie unmittelbar erfahrbar.

Binaural production - listen with headphones to enjoy the 3D sound! Soundscape by Karlheinz Essl, poem by Erwin Uhrmann. A track from the audio book K.O.P.F. (Limbus 2021). https://essl.at/kopf/ Ein Portrait der Landschaft am ehem. Eisernen Vorhang in der Gegend von Retz, einem hübschen Städtchen im Weinviertel. Mittels Kunstkopf-Stereophonie hat der Komponist Karlheinz Essl Soundscapes aufgenommen, die sich auf einen konkreten Ort oder eine besondere Situation beziehen. Erwin Uhrmann hat zu diesen Klangstücken lyrische Texte verfasst und selbst eingesprochen. Die Titel bezeichnen den Ort und sind gleichzeitig Akronyme, die die Fantasie des Zuhörers herausfordern. Durch den 3D-Sound werden sie unmittelbar erfahrbar.

Binaural production - listen with headphones to enjoy the 3D sound! Soundscape by Karlheinz Essl, poem by Erwin Uhrmann. A track from the audio book K.O.P.F. (Limbus 2021). https://essl.at/kopf/ Ein Portrait der Donau an ihrer Mündung, dem fantastischen Donaudelta in Rumänien. Mittels Kunstkopf-Stereophonie hat der Komponist Karlheinz Essl Soundscapes aufgenommen, die sich auf einen konkreten Ort oder eine besondere Situation beziehen. Erwin Uhrmann hat zu diesen Klangstücken lyrische Texte verfasst und selbst eingesprochen. Die Titel bezeichnen den Ort und sind gleichzeitig Akronyme, die die Fantasie des Zuhörers herausfordern. Durch den 3D-Sound werden sie unmittelbar erfahrbar.

Binaural production - listen with headphones to enjoy the 3D sound! Soundscape by Karlheinz Essl, poem by Erwin Uhrmann. A track from the audio book K.O.P.F. (Limbus 2021). https://essl.at/kopf/ Hommage à Anton Webern, aufgenommen in Mittersill, wo der Komponist 1945 von einem amerikanischen GI in vermeintlicher Notwehr erschossen wurde. Mittels Kunstkopf-Stereophonie hat der Komponist Karlheinz Essl Soundscapes aufgenommen, die sich auf einen konkreten Ort oder eine besondere Situation beziehen. Erwin Uhrmann hat zu diesen Klangstücken lyrische Texte verfasst und selbst eingesprochen. Die Titel bezeichnen den Ort und sind gleichzeitig Akronyme, die die Fantasie des Zuhörers herausfordern. Durch den 3D-Sound werden sie unmittelbar erfahrbar.

Binaural production - listen with headphones to enjoy the 3D sound! Soundscape by Karlheinz Essl, poem by Erwin Uhrmann. A track from the audio book K.O.P.F. (Limbus 2021). https://essl.at/kopf/ Ein Portrait des Flusses Thaya (tschechisch: Dyje), der die Grenze zwischen dem Waldviertel und Südmähren bildet. Mittels Kunstkopf-Stereophonie hat der Komponist Karlheinz Essl Soundscapes aufgenommen, die sich auf einen konkreten Ort oder eine besondere Situation beziehen. Erwin Uhrmann hat zu diesen Klangstücken lyrische Texte verfasst und selbst eingesprochen. Die Titel bezeichnen den Ort und sind gleichzeitig Akronyme, die die Fantasie des Zuhörers herausfordern. Durch den 3D-Sound werden sie unmittelbar erfahrbar.

Binaural production - listen with headphones to enjoy the 3D sound! Soundscape by Karlheinz Essl, poem by Erwin Uhrmann. A track from the audio book K.O.P.F. (Limbus 2021). https://essl.at/kopf/ Ein Portrait des Wiener Praters mit seinen Attraktionen wie der Hochschaubahn, der Geisterbahn, der Lilliputbahn und der Achterbahn. Mittels Kunstkopf-Stereophonie hat der Komponist Karlheinz Essl Soundscapes aufgenommen, die sich auf einen konkreten Ort oder eine besondere Situation beziehen. Erwin Uhrmann hat zu diesen Klangstücken lyrische Texte verfasst und selbst eingesprochen. Die Titel bezeichnen den Ort und sind gleichzeitig Akronyme, die die Fantasie des Zuhörers herausfordern. Durch den 3D-Sound werden sie unmittelbar erfahrbar.

Binaural production - listen with headphones to enjoy the 3D sound! Soundscape by Karlheinz Essl, poem by Erwin Uhrmann. A track from the audio book K.O.P.F. (Limbus 2021). https://essl.at/kopf/ Ein Portrait von Lunz und dem gleichnamigen See bei Gewitter. Mittels Kunstkopf-Stereophonie hat der Komponist Karlheinz Essl Soundscapes aufgenommen, die sich auf einen konkreten Ort oder eine besondere Situation beziehen. Erwin Uhrmann hat zu diesen Klangstücken lyrische Texte verfasst und selbst eingesprochen. Die Titel bezeichnen den Ort und sind gleichzeitig Akronyme, die die Fantasie des Zuhörers herausfordern. Durch den 3D-Sound werden sie unmittelbar erfahrbar.

TAU is a 14-part ensemble piece for flute, clarinet, french horn, accordion, violoncello and voice. It was developed collaboratively by the composers Karlheinz Essl, Tanja Elisa Glinsner, Jakob Gruchmann-Bernau and Till Alexander Körber during the COVID pandemic 2020/2021. TAU XII was written by Karlheinz Essl and had its premier on Sep 18th, 2021 at the seminar church of Tanzenberg/Plešivec (Carinthia), performed by Tanja Elisa Glinsner: mezzo soprano, Elisabeth Möst: flute, Andreas Schablas: clarinets, Daniel Loipold: french horn, Eva Maria Mitter: accordion, Barbara Körber: cello and conducted by Jakob Gruchmann-Bernau. https://www.essl.at/works/TAU.html The central point of departure is the 14-part picture cycle The Blue TAU of Hope (The Piran Way of the Cross) by the Slovenian-Carinthian painter Valentin Oman, born in 1935, which is currently on display in the parish church of Tanzenberg/Plešivec. The form of the cycle is intended to trace the shape of a cross, which also determines the instrumentation of the individual stations. Each of the composers has individually composed three of these stations; the first and last were worked out together. By way, different individual styles come together, which, however, come to unity in the overall work. This finds its climax in two jointly composed movements where the divergent individual styles are fused together by a common harmonic conception. Thus, TAU can also be seen as a symbol of the integration of diversity and different identities.

Warren Buffet hat 2007 schon erkannt, dass der Eisenbahn die Zukunft gehört. Seine Beteiligungsholding Berkshire Heathaway hat erst Aktien. dann das gesamte Eisenbahnunternehmen Burlington Northern Santa Fe 2010 erworben. Wobei er damals natürlich weder von Greta Turnberg und der gesamten Klimaschutzbewegung wusste, noch, dass die Staaten von China, USA bis hin Europa das Füllhorn über die die Bahnininfrastruktur ausschütten würden. Hans Peter Haselsteiner ist zwar nicht Warren Buffet. Man kann dem Österreicher Bauunternehmen aber auch zugestehen, dass er ein Näschen für Geschäfte hat. Er ist Großaktionär der börsennotierten Strabag SE, Ex-Politiker, Kunstsammler, der die Kunstsammlung des in Schieflage geratenen Baumax-Gründer Karlheinz Essl aufkaufte, Skiliftbetreiber, Hotelier und eben Privatbahnbesitzer. Mit seiner Rail Holding, an der seine Stiftung zu 49,9 Prozent beteiligt ist, erobert er ab 12. Dezember auch Deutsches Terrain. Seine West-Bahn fährt dann durchgehend von Wien nach München statt nur bis Freilassing. Gute Reise, Herr Haselsteiner! Übrigens bin ich auch indirekt auf den Zug aufgesprungen, in dem ich mir Aktien von Knorr Bremse vor vier Monaten ins Portfolio gelegt habe und ich fahr seither gut damit. Meine Urgroßmutter hat schon auf die Schiene gesetzt ihr ganzes Geld in der Zwischenkriegszeit in russische Eisenbahnaktien investiert. Die Zukunft liegt in Russland, dachte sie. Sie dachte falsch. Viel Anlageerfolg mit diversifiziertem Kerninvestment wünscht Julia Kistner Für Verluste, die aufgrund von getroffenen Aussagen entstehen, übernimmt die Autorin, Julia Kistner keine Haftung. Musikrechte: https://mixkit.co/free-sound-effects (racing-countdown-timer, percussion-tick-tock-timer) #Haselsteiner #Westbahn #Strabag #WarrenBuffett #Eisenbahn #BerkshireHeathaway

Performed by Isabel Ettenauer on a Michelsonne toy piano on July 24th, 2021 at Kulturbrücke Fratres. Score and more: https://www.essl.at/works/webernspielwerk.html On September 15, 1945, Anton Webern was shot by an American occupation soldier in alleged self-defense in Mittersill, where he had taken refuge from the approaching Red Army. Thus ended the life of one of the most influential composers of the modern era in an inconceivable and tragic way. 60 years later - on September 15, 2005 - two commemorative events for Anton Webern will take place within the framework of the 10th Composers' Forum Mittersill: for an event in public space, Karlheinz Essl has created the algorithmic sound installation WebernUhrWerk for computer-controlled Carillon. For the subsequent commemorative concert in St. Anna's Church, he wrote WebernSpielWerk for Toy Piano, which is a kind of projection of the Carillon music onto a toy piano. The pervasive character of the carillon, which filled the whole place in the afternoon, is reduced to the "poor" sound world of a toy piano, whose sound produced by struck metal rods resembles that of a bell - but is much more restrained and intimate.

F.R.E.I. (Freedom Requires Enormous Intellect) - BINAURAL by Karlheinz Essl

Performed and recorded on 10 Mar 2019 by Karlheinz Essl at Studio kHz using a virtual Steinway D grand piano and a Max patch.

Karlheinz Essl's latest composition for toy piano performed on a virtual Michelsonne instrument with live-electronics programmed in MaxMSP. This composition is an transformation of the original piano piece Trois cent notes where the resonances of the sympathetic strings of the grand piano are simulated by electronic means. By this, the toy piano becomes a new instrument with an artificial sustain pedal. More information and score download at: https://www.essl.at

A palindromic organ piece by Karlheinz Essl in memory of Anton Webern and the 75th anniversary of his tragic death on September 15th, 1945. Performed by Pier Damiano Peretti at the Heillersaal of the University of Music and Performing Arts in Vienna on 21 Jan 2021. https://www.essl.at/works/tenet-opera-rotas.html

300 notes in 4 minutes, the most recent toy piano composition by Karlheinz Essl. Score available for free: www.essl.at Although notated solely in quavers, the tempo encompasses a wide range from very slow to extremely fast. Starting with a speed of MM = 50, it gradually accelerates to MM = 400 which equals three “time octaves”, speaking with Karlheinz Stockhausen (cf. his famous article ...how time passes... from 1957). A similar transition also happens in the harmonic domain where the range of three octaves (from F to f”) finally collapses into a single pitch (f'): And also in the dynamics, a permanent process of crescendo and diminuendo takes place. Needless to mention, all these processes happen simultaneously at the same time. Despite its strict structure, the piece should be played in a fluent rubato attitude with lots of espressivo. Produced by Karlheinz Essl on April 12th, 2020 at Studio Ölberg.

Binaural recording: listen with headphones! Generative soundscape based on a two-dimensional random walk between four binaural soundscapes, recorded between 2019 and 2020 during rehearsals with Karlheinz Essl in Vienna, Austria: 1) dress rehearsal of the Arditti Quartet performing Essl's 3rd string quartet at the Mozartsaal of Konzerthaus Vienna 2) setting up the space for a concert of Essl's composition class with the Bösendorfer CEUS computer piano at the University of Music and Performing Art in Vienna 3) Ensemble Reconsil rehearsing Essl's toy piano concerto "under wood" at REAKTOR in Vienna 4) organ registration for Essl's piece "unbestimmt" at the St. Michael, Vienna for a concert of the festival WIEN MODERN http://www.essl.at/works/HEAD.html

Karlheinz Essl und Eva Linder über ihre Zusammenarbeit für das Hörstück ZUNGENREDEN, das 1990 für das ORF Kunstradio im Studio RP4 produziert wurde. Moderation und Gestaltung: Reinhard Handl Redaktion: Heidi Grundmann

"vingt secondes" is Karlheinz Essl's shortest composition. It lasts only 20 seconds - the guideline for washing one's hands during the COVID-19 pandemic. It was written during the lockdown in the Easter holidays of 2020. Originally written for melodica, this version was performed on the organ of the Hofburgkapelle Vienna by Wolfgang Kogert. Compositionally, the piece expresses a harmonic spread from a single note to three octaves at the end. More information and free score download: http://www.essl.at/works/vingt-secondes.html

"vingt secondes" is Karlheinz Essl's shortest composition. It lasts only 20 seconds - the guideline for washing one's hands during the COVID-19 pandemic. It was written during the lockdown in the Easter holidays of 2020. Originally written for melodica, this version was performed on an accordion by Dorrit Bauerecker who also made this recording. Compositionally, the piece expresses a harmonic spread from a single note to three octaves at the end. More information and free score download: http://www.essl.at/works/vingt-secondes.html