Podcasts about live electronics

Episode 176 Chapter 35, Live Electronic Music— Historical Practices. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 35, Live Electronic Music— Historical Practices from my book Electronic and Experimental music.   Playlist: LIVE ELECTRONIC MUSIC—HISTORICAL PRACTICES   Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1.     Karlheinz Stockhausen, “Mikrophonie I” (1964) from Mikrophonie I · Mikrophonie II.   Mikrophonist 1, Johannes Fritsch; Mikrophonist 2, Harald Bojé; Electronic Filters and Potentiometers 1, Karlheinz Stockhausen; Electronic Filters and Potentiometers 2, Hugh Davies, Jaap Spek; Tam-tam, Aloys Kontarsky; Tam-tam, Fred Alings.  Brüsseler Version 1965 recorded at WDR, Cologne. 07:24 01:42 2.     AMM, “In The Realm Of Nothing Whatever” (1966) from AMMMusic 1966. Cello, Accordion, Clarinet, Transistor Radio, Lawrence Sheaff; Electric Guitar, Transistor Radio, Keith Rowe; Music by, Cardew, Prévost, Rowe, Sheaff, Gare; Percussion, Eddie Prévost; Piano, Cello, Transistor Radio, Cornelius Cardew; Tenor Saxophone, Violin, Lou Gare. Recorded on the 8th and 27th June 1966 at Sound Techniques. 13:22 09:06 3.     Musica Elettronica Viva (MEV), “SpaceCraft” (1967) from MEV 40. Mbira Thumb Piano Mounted On A Ten-litre Agip Motor Oil Can, Contact Microphones, Amplified Trumpet, Voice, Alvin Curran; Amplified Glass Plate With Attached Springs, Contact Microphones, Frederic Rzewski; Homemade Synthesizer from Electronic Organ Parts, Allan Bryant; Moog Modular Synthesizer, Contact Microphones, Voice, Richard Teitelbaum; Tenor Saxophone, Ivan Vandor; Voice, Carol Plantamura. 30:45 22:26 4.     David Tudor, “Rainforest Version One” (1968) from Rainforest. Live electronics, David Tudor, Takehisa Kosugi. Used transducers to amplify objects. Recorded by Rob Miller. 21:50 53:10 5.     Karlheinz Stockhausen, “Kurzwellen” (1968), excerpt from Festival of Hits. Composed By, Mixed By, Electronics, Filters, Potentiometers, Karlheinz Stockhausen; Electronium, Harald Bojé; Tamtam, Alfred Alings, Rolf Gehlhaar; Piano, Aloys Kontarsky; Electric Viola, Johannes G. Fritsch. This is the opening of this long work, excerpted for this strange collection of greatest “hits” by Stockhausen (you had to be in 1970 to understand this). Kurzwellen is a piece where the musicians need to improvise and react to signals they receive on randomly tuned shortwave radios. This is from the Cologne recording made in the Rhenus studio in Godorf for the Cologne Radio (WDR, Westdeutscher Rundfunk Köln) on the 8th and 9th of April 1969 (53'30), which was record 2 of the original 2-record set. By the way, this ensemble also featured the Electronium Pi, made by Hohner beginning in 1952. It was a monophonic, electronic keyboard instrument and was an add-on instrument for the piano mounted under the keyboard, which is the model used by Stockhausen. His keyboardist, while Harald Bojé used the accordion-like model. 06:19 01:14:56 6.     The Music Improvisation Company, “Tuck” (1970) from The Music Improvisation Company. Electric Guitar, Derek Bailey; Live Electronics, Hugh Davies; Percussion, Jamie Muir; Soprano Saxophone, Evan Parker. 03:00 01:21:14 7.     David Tudor, “Rainforest IV” (1973) from Rainforest IV.  Composed in 1973 by David Tudor; performed by Composers Inside Electronics (David Tudor, Martin Kalve, Philip Edelstein, Ralph Jones, Bill Viola, John Driscoll). Recorded at the exhibition "Für Augen und Ohren - Von der Spieluhr zum akustischen (Environment (For eyes and ears - from the mechanical clock to the acoustic environment)" at the Akademie der Künste, Berlin, January 1980. 25:12 01:24:24 8.     Maryanne Amacher, “"Head Rhythm 1" And "Plaything 2" (1999) from Sound Characters (Making The Third Ear). Electroacoustic composer of sound installations, best known for her incorporation of otoacoustic emissions -- sounds that seem to be emanating from inside one's own head. This track plays with that concept and sets your brain up to experience itself, so to speak. 10:04 01:49:36 9.     Caroline Park, “Grain 5” (2011) from Grain. This is a cassette release by Park, often known her for generative composition work and electronic improvisations based on parameters that she defines. Recorded, performed by Caroline Park. 09:05 01:59:32 10.   Caterina Barbieri. “This Causes Consciousness To Fracture” (2017) from Patterns Of Consciousness.  Italian composer and musician from Bologna. This album was created using analog synthesis. Barbieri has said, “In Patterns of Consciousness I was interested in exploring the power of sound on our consciousness. I wanted to explore how a pattern creates a certain state of consciousness and how the gradual transformation of that pattern can affect that state of consciousness. I believe that sound is a tool for the exploration, reconfiguration and expansion of human perceptions.” I find this to be in a similar psychological vein as the Amacher work also heard in this episode. 22:44 02:08:36 11.   Sarah Davachi, “First Cadence” (2021) from Antiphonals. Composed, recorded, performed, Mellotron (bass flute, recorder, oboe), Tape Echo, Sarah Davachi. 05:48 02:31:20 12.   Asha Tamirisa, “Live Performance,”(2023) at the Waterworks 2023: Festival of Experimental Sound. Laptop synthesis, snare drums, Asha Tamirisa. Soundtrack for a video recorded by Wenhua Shi & Nick Stevens, video editing by Nick Stevens, and audio recording and mixing, Matthew Azevedo. 25:10 02:37:02   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

durée : 01:00:07 - Concert : Live Electronics 2025 - par : François Bonnet - Retransmission du concert Live Electronics du 10 Janvier 2025 avec Will Guthrie, Youmna Saba, Céleste Gatier & Leandro Barzabal, et Laetitia Sonami - réalisé par : Alexandre Bazin

Junto a Pauline Oliveros y Ramón Sender funda en 1961el San Francisco Tape Music Center, primer estudio de la Costa Oeste dedicado a la música experimental. Cinco años más tarde, crea el primer disco electrónico jamás grabado, “Silver Apples of the Moon”._____Has escuchadoThe Other Piano. Lullaby: For Piano & Live Electronics (2007). Soojin Anjou, piano; Morton Subotnick, electrónica. Mode (2019)Silver Apples of the Moon. Part A (1967). WERGO (1994)The Wild Beasts. After the Butterfly (1978). Conjunto instrumental dirigido por Subotnick. WERGO (2015)_____Selección bibliográficaBERNSTEIN, David, The San Francisco Tape Music Center: 1960s Counterculture and the Avant-garde. University of California Press, 2008CLEMAN, Tom y Morton Subotnick, “Parallel Lines for Solo Piccolo with "Ghost Electronics" and Nine Players”. Notes, n.º 40 (1983), p. 404DAVISON, Stephen, “All My Hummingbirds Have Alibis, Multimedia CD-ROM for Macintosh by Morton Subotnick” [Reseña]. Notes, n.º 53 (1996), p. 530-533*GLUCK, Robert, “Electric Circus, Electric Ear and the Intermedia Center in Late-1960s New York”. Leonardo Music Journal, vol. 45, n.º 1 (2012), pp. 51-56*—, “Nurturing Young Composers: Morton Subotnick's Late-1960s Studio in New York City”. Computer Music Journal, vol. 36, n.º 1 (2012), pp. 65-80*HANSON, Jeffrey, Morton Subotnick's Ghost Scores: Interaction and Performance with Music Technology.  TFM, San Jose State University, 2010MACHOVER, Tod, “Interview with Morton Subotnick”. Contemporary Music Review, vol. 13, n.º 2 (1996), pp. 3-11*ROADS, Curtis, “Interview with Morton Subotnick”. Computer Music Journal, vol. 12, n.º 1 (1988), pp. 9-18*ROADS, Curtis y Morton Subotnick, “A Sky of Cloudless Sulfur/After the Butterfly”. Computer Music Journal, n.º 5 (1981), p. 81SUBOTNICK, Morton, “Extending the Stuff Music is Made of”. Music Educators Journal, n.º 55 (1968), pp. 109-110—, “The Use of the Buchla Synthesizer in Musical Composition”. Journal of The Audio Engineering Society (1970), s/n—, “The use of computer technology in an interactive or “Real time” performance environment”. Contemporary Music Review, n.º 18 (1999), pp. 113-117WHIPPLE, Harold W., “Beasts and Butterflies: Morton Subotnick's Ghost Scores”. The Musical Quarterly, vol. 69, n.º 3 (1983), pp. 425-441*YELTON, Geary, “A Conversation with Morton Subotnick: Celebrating the 50th Anniversary of Silver Apples of the Moon”. Electronic Musician, vol. 33, n.º 11 (2017), pp. 26-30 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

For the Record is a conversation series where we speak with all manner of music heads — DJs, music journos, indie label captains, record shop owners, listening bar kingpins, et al — about their stories + the music that makes them. Join the Crate Coalition: https://discord.gg/sAaG6a7bv4 Suzan Peeters (°1999) is a Belgian accordionist, composer, and experimentalist. She is constantly looking for new timbres and sound textures within the accordion, pushing its acoustic spectrum to its limits by manipulating the interplay between her body and the body of her instrument. Suzan studied classical accordion at KASK & Conservatorium in Ghent and at the Royal Danish Academy of Music in Copenhagen. She is currently studying Live Electronics at the Royal Conservatory of Brussels. MUSIC MENTIONS Eurovision Maria Kalaniemi Sara Salvérius Lausanne Underground Film & Music Festival (LUFF) Sonda Festival Q&A TLF Trio CTM “Wind” album by “CTM” Discovering music today (26:00): Concerts, friends Spotify Artists discovered in the past year (28:55): Able Noise BEX Astrid Sonne Lucy Walton First album ever purchased (33:35): “STUFF.” by Stuff. Most recent album purchased (00): “Bitterzoet” by Eefje de Visser Desert island discs (37:01): “Het Will” by Hendrik Lasure “Sweet Harmony” by TLF Trio “Grapes from the Estate” by Oren Ambarchi

La música de esta compositora nacida en Bilbao en 1984 tiende puentes entre resonancia acústica y electrónica, explora las variaciones microscópicas de los fenómenos sonoros e incorpora sutiles aspectos teatrales e interacciones colaborativas. Vive y enseña en Suiza._____Has escuchadoAnima Mundi: For Two Percussionists and Live Electronics (2016). Neopercusión. Grabación sonora realizada en directo en el Festival Etopia (Zaragoza)I See You: For Amplified String Quartet and Live Video (2021). International Contemporary Ensemble. Grabación sonora realizada en directo en el Sonic Matter Festival (Zúrich), el 2 de diciembre de 2021Milk Spilt on a Stone: para cuarteto de saxofones (2017). Sigma Project. Grabación sonora realizada en directo en la sala de conciertos de la Fundación Juan March, el 10 de febrero de 2023_____Selección bibliográficaFUNDACIÓN JUAN MARCH, Sinergias: arte visual y arte sonoro. [Programa de conciertos]. Celebrado el 10 y 11 de febrero de 2023: [PDF]MAILLIER, Corentin, “Helga Arias: ‘Be Sensitive to Its Environment Involves Going Beyond Sound'”, consultada el 2 de abril de 2022: [Web]Página oficial de la compositora, consultada el 20 de junio de 2023: [Web]RAYBOULD, Natalie, “NON-PIANO, IKLECTIK Arts Lab, London”. Tempo, vol. 71, n.º 282 (2017), pp. 89-90* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Concert version of Pandora's Secret, a sound performance that Karlheinz wrote for Isabel Ettenauer's "Circus Lebasi", a music circus for the festival Linz09, when Linz was the European capital of culture. Scored for punch-tape-controlled music box and live electronics. https://www.essl.at/works/pandoras-secret.html

In this piece, Essl uses the inside of the toy piano for the first time. A contact microphone is attached to the instrument and connected to a custom-made computer program which acts as a kind of sonic ‘particle accelerator'. During their voyage through the piece, the performer not only scratches and knocks on the sound board, but also has to stamp their feet (the source of the rhythm is later revealed) and make use of some special gadgets. A spinning top is played on the soundboard, and a thimble produces beautiful glissandos on the metal rods of the toy piano. At certain moments notes are also played on the keys in a conventional manner, but even these sounds burst into explosive glissandos. At the very end, a small music box enters the scene. Mounted on the soundboard, this little instrument plays the melody of the well known song, ‘Que Sera, Sera (Whatever Will be, Will be)', from the Hitchcock movie "The Man Who Knew Too Much". The magic of this piece probably also has to do with the fact that everything that is heard before the entry of this beautiful melody – all rhythmic cells, melodic motives, even the harmonic structures – are in fact derived from this very melody. https://essl.at/works/whatever.html

This composition is a transformation of the original piano piece "Trois Cent Notes", in which the resonances of the sympathetic strings of the grand piano are simulated by electronic means. The toy piano becomes a new instrument with an artificial sustain pedal. https://www.essl.at/works/TCD.html

Sequitur XIV was written for the Hamburg-based pianist and performer Jennifer Hymer and sets the thumb piano in focus. This instrument, named ‘Mbira' in Africa, was discovered in the middle of the 20th Century from the British ethnomusicologist Hugh Tracey, who developed out of it a standardized western instrument named ‘kalimba', and let it be produced industrially. In contrast to the African original, this western new construction is tuned diatonically. First I tried to approach the instrument like a child in that I pushed away all knowledge about the high art of Mbira-practice to the side. What did I see before me? A trapezoidal shaped wooden box with metal blades of differing lengths that were fastened over a sound hole in the middle. After I examined the sound possibilities of the kalimba's body through rubbing, scratching and knocking, I attached a contact microphone to its surface and sent the sounds through the same computer program that I had developed for the other “Sequitur” compositions. Suddenly everything became enchanted: the canonic layering of my knocking and scraping noises compressed themselves into a polyrhythmic layering and I felt myself being transported to the south of Africa where the African musicians play this instrument in ensemble and thereby produce a highly complex polyphony which the Viennese musicologist Gerhard Kubik described as “inherent patterns.” Only later I dedicated myself to the metal tines and through the help of live electronic manipulation found means and ways to dig out an ongoing diatonic. After many months of free experimenting, I was finally able to write a concisely written score for Jennifer Hymer, which turned my summing-ups of this instrument into a sound journey. https://www.essl.at/works/sequitur/sequitur-14.html

Simon the Magpie, Analog Weapon, and Captain Credible talk with Koka Nikoladze about his creations, teaching Live Electronics at the Norwegian Academy of Music, creativity as a shelter, challenges of performing with electronics, use of computers in live music, expressing appreciation for others' work, AI in art, the challenges of creating electronic things, and a bunch more! https://www.koka.one https://www.instagram.com/kokanikoladze/ https://www.youtube.com/@nikoladze https://nmh.no/en/studies/continuing-studies/live-electronics

Episode 64 Playlist Hugh Davies, “Shozyg I” from the National Sound Archive of The British Library. The file was produced in Davies' home studio and dates from 1968. 8:16 The Music Improvisation Company, “Tuck” from The Music Improvisation Company (1970 ECM). Electric Guitar, Derek Bailey; Live Electronics, Hugh Davies; Percussion, Jamie Muir; Soprano Saxophone, Evan Parker. Recorded on August 25th, 26th, 27th, 1970 at the Merstham Studios, London. 3:14 Gentle Fire, “Group Composition IV” (excerpt) from Explorations (1970 - 1973) (2020 Paradigm Discs). Recorded live At ICES 72 (The Roundhouse, London, 14th August 1972). Cello, Michael Robinson; Springboard, Hugh Davies; Performer, Gentle Fire; Recorder, EMS VCS3, Graham Hearn; Tabla, Richard Bernas; Trumpet, Cello, Stuart Jones. 4:33 Gentle Fire, “Edges” from Earle Brown, John Cage, Christian Wolff – 4 Systems, Music For Amplified Toy Pianos, Music For Carillon, Edges (1974 EMI Electrola). German recording of the Christian Wolff piece “Edges,” performed by Gentle Fire. Graham Hearn, Hugh Davies, Michael Robinson, Richard Bernas, Stuart Jones. 10:17 Hugh Davies, “Music for Bowed Diaphragms” from the National Sound Archive of The British Library. The file was produced in Davies' home studio and dates from October 7, 1977. 10:08 Hugh Davies, “Salad” from the National Sound Archive of The British Library. The file was produced in Davies' home studio and dates from February 19, 1977. Davies performs on four different egg slicers, two tomato slicers and one cheese slicer. 13:55 Hugh Davies, “Toads” from the National Sound Archive of The British Library. The recording dates from 1980. 5:50 Hugh Davies, “Spring Song” from the National Sound Archive of The British Library. The recording dates from 1980. 4:56 Borbetomagus, “Concordat 7” from Work On What Has Been Spoiled (1981 Agaric). Live Electronics, Hugh Davies; Guitar, Donald Miller; Saxophone, Don Dietrich, Jim Sauter. 4:57 Hugh Davies, “Porcupine” from Warming up with the Iceman (2001 GROB). Solo work from 2000. 5:08. Porcupine was a more recent instrument invented by Davies in 2000. It comprised a disc shaped contact microphone and some wires that create a glissandi when touched with a finger. 5:08 Hugh Davies, “From Trees and Rocks” from Tapestries: Five Electronic Pieces (2005 Ants). Music for an installation at the Diozesanmuseum in Cologne called Walkmen that ran from April to September of 2000. A work in which “all the sounds were related to the processes that would have been undergone in order to transforms trees and rocks into works of art, especially sawing and chiselling; to these sounds I added others which were produced by treating the tools themselves as if they were simple musical instruments” (Davies). This CD is noted for the generous and informative biographical notes by David Toop, a friend and sometimes collaborator of Davies. 9:49 Background music: Karlheinz Stockhausen, Mikrophonie I (excerpt) (1967 Columbia). A key work for which Davies contributed while he was working as an assistant to Stockhausen. Filters, Potentiometers, Hugh Davies, Jaap Spek, Karlheinz Stockhausen; Microphones, Harald Bojé, Johannes Fritsch; Tamtam, Fred Alings, Aloys Kontarsky. 13:02 Notes: Many of the works attributed to the National Sound Archive of The British Library are also available on the following commercial recording: Hugh Davies, Performances 1969 – 1977 (2008 Another Timbre), a UK CD The Hugh Davies Collection: live electronic music and self-built electro-acoustic musical instruments, 1967–1975. Researcher/scholar James Mooney, of the University of Leeds, UK, keeps the Davies flame alive with his contributions around Davies handmade instruments and music. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.  

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

SATOR is an interactive live-electronic extension of my organ piece "tenet opera rotas", based on a computer program written in MaxMSP. It was composed right after the studio recording of the former piece at the request of Pier Damiano Peretti. By using real-time sound processing on the spectral domain, the acoustic organ is transformed into an electroacoustic hyper-instrument which expands itself, opening virtual spaces into the unknown. Info: https://www.essl.at/works/sator.html

Do you ever look at other musicians who seem to know exactly what they're doing with music tech and think “I wish I knew what I was doing like THEY do”? To look at the amazingly talented electronic musician, Una Monaghan, you might think exactly that. But inside this incredibly honest conversation, we learn that even someone at the top of their game like Una, has these niggling, and universally human, inner thoughts.EPISODE HIGHLIGHTS{0:00} Intro{04:20} How Una got started in music technology{13:31} Una's first experience of the studio{20:18} Pros, cons and tips for working in the studio{25:40} Letting go of perfection{34:08} Building confidence, overcoming doubt and allowing yourself to be vulnerable{50:58} Balancing PHD studies, creating music and being a freelance engineer{53:57} Using electronics in live Irish traditional music and setting up Fair Plé{59:35} Una's top tips for getting startedTake my quick and easy quiz, Discover Your Female Producer Spirit Guide >>Get in touch with Una MonaghanWebsite: www.unamonaghan.comInstagram: www.instagram.com/una_pixTwitter: www.twitter.com/una_music Listen to her album ‘For' here >>Listen to the episode hereListen on SpotifyJoin the Female DIY Musician Tribe Community on FacebookDon't be shy - spread the Girls Twiddling Knobs Love

IHR! macht Text- und Klangperformances. IHR! möchte erzählen und zum Zuhören anstiften. IHR! verbindet zeitgenössische Textarbeit mit Klanginstallation. Die Autorinnen Nora Zapf und Theresa Seraphin und die Musikerin Marie-Kristin Burger experimentieren an den Schnittstellen von Lyrik und Performance, Musik und Noise. Marie-Kristin Burger ist Musikerin und Musik- und Tanzpädagogin aus Salzburg. Als Flötistin ihrer Band AREIA setzt sie sich mit Jazz und Improvisations-Konzepten auseinander. Aber auch Elemente der Weltmusik, ein vielfältiges Schlagwerk-Instrumentarium, Live Electronics und Sound Studies inspirieren ihre Improvisationen, Kompositionen und pädagogischen Tätigkeiten. Sie arbeitet in Kooperation mit musikalischen Ensembles, Tänzer*innen sowie Theaterproduktionen und vielem mehr. Theresa Seraphin studierte Dramaturgie, Kunstgeschichte und Komparatistik in München und Seoul. Sie ist Mitbegründerin des Netzwerks Münchner Theatertexter*innen. Ihre Theatertexte (z.B. die Lecture-Performance Münchner Zelle für europäische Utopie) entstehen v.a. im Rahmen von freien Theaterproduktionen. Sie ist Studentin des Studiengangs “Kuratieren in den Szenischen Künsten” und arbeitet seit 2018 als Dramaturgin und Assistentin der künstlerischen Leitung an der ARGEkultur in Salzburg. Sie lebt in München und Salzburg. Nora Zapf ist Lyrikerin und Übersetzerin aus dem Spanischen und Portugiesischen und ist wissenschaftliche Mitarbeiterin an der Universität Innsbruck. Zusammen mit Katrin Lange Herausgeberin des Bandes Screenshots. Literatur im Netz bei text + kritik 2020. Sie ist Organisatorin der Reihe “meine drei lyrischen ichs”, der Biennale “Großer Tag der Jungen Münchner Literatur” sowie Mitorganisatorin in der Reihe “Wir machen das”, die geflüchteten Künstler*innen eine Bühne gibt. Lyrikbände: rost und kaffeesatz, 2018, homogloben, 2018.

next_generation 8.0 LIVE-CODING | Lecture [06.06.2019 - 09.06.2019] Als größtes biennales Treffen der Hochschulstudios für elektronische Musik bietet next_generation NachwuchskomponistInnen eine Plattform, ihre kompositorischen Neuentwicklungen zu präsentieren. Von Mittwoch, 5. Juni bis Sonntag, 9. Juni 2019 fand am ZKM die achte Ausgabe des biennalen Festivals next_generation statt. An fünf Tagen wurde ein spannendes und dichtes Programm über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik« geboten. 2019 stand das Festival unter dem Schwerpunkt »Live-Coding«. Damit garantiert next_generation 8.0 eine repräsentative Übersicht über das aktuelle kreative Schaffen der kommenden Komponierendengeneration im Kontext von Technologie und Kunst. /// As the largest biennial gathering of university studios for electronic music, next_generation 8.0 offers young composers a platform to present their new compositional developments. The eighth edition of the next_generation biennial festival took place at ZKM from Wednesday, June 5 to Sunday, June 9, 2019. Over five days, an exciting and dense program was offered on the latest positions of the themes »fixed media«, »spatial music« and »live electronics«. 2019, the festival focus was on »live coding«. Thus, next_generation 8.0 guarantees a representative overview of the current creative work of the next generation of composers in the context of technology and art.

Vandaag is mijn gast pianist en componist Xavier Boot. Hij studeerde af in klassiek piano aan het Haagse conservatorium en haalde zijn master Live Electronics aan het Conservatorium van Amsterdam. Hij volgde masterclases bij grootheden als Charles Rosen, en Maria João Pires, speelde in het Concertgebouw, maar wilde niet langer mee in de ratrace van concoursen en rescensenten. Hij combineert nu klassieke concerten met zijn eigen muziekprojecten en hij doet aan zen. Zo mediteert hij altijd met zijn pianostudenten. De muziek van Xavier vind je op zijn website en op Spotify onder XA4. En hier de link van Stichting Filomela. Suggesties kun je mailen naar info@marlouslazal.nl. Hoewel Zen& Zo een liefdewerkje is, moet ik wel kosten maken. Het is fijn als jullie Zen&Zo willen ondersteunen. Hier vind je de doneerknop van Petje Af En mocht dat niet werken dan kun je iets overmaken op Stichting La Boca t.b.v. Zen&Zo op nr NL16 SNSB0772 7689 94. Dankjewel alvast.

Dans ce nouvel épisode "Alphabec" et par ce mot clef « contemporain », je vous invite à approcher d'un peu plus près ce répertoire si proche de nous dans le temps, mais qui nous semble souvent bien plus lointain que la musique ancienne !  Et pour nous guider, j'ai eu une invitée de choix : Tomma Wessel, qui enseigne justement la musique contemporaine à la flûte à bec au Conservatoire Royal de Bruxelles, en plus de mener une belle carrière d'interprète, en soliste et en ensemble. Répertoire, notation, instruments, concert, pédagogie, mais aussi techniques, technologies, travail avec les compositeurs... tout y passe, et elle nous fait découvrir cet univers qui la passionne. Que vous soyez néophyte ou averti à ce sujet, vous êtes sans aucun doute au bon endroit ! Vous nous suivez ?

Studio recording of a dance performance with live-electronics, performed by Andrea Nagl (ocean drum, shrutibox, Klangfeile, voice, bells & dance)and Karlheinz Essl (live-electronics, composition). More info: http://www.essl.at/works/forms-of-life.html

©2008 by Peter Swinnen This piece, commissioned by the Spectra Ensemble for their participation in the Gouden Vleugels Contest 2008 in tandem with the Fenix String Quartet, is a tribute to Ludwig van Beethoven and Luciano Berio. It takes the fifth movement of Beethoven’s string quartet nº 15 op. 132 and treats it as in Luciano Berio’s Sinfonia. In other words: Beethoven (the past) tries to ‘break through’ Berio (the present). It is as if you ‘remember’ something without knowing precisely what it is: “Erinnerung”. At the same time throughout the piece this idea of the past transforms itself up to the point that it can be integrated into the present: “Er-Inner-Ung”. Very much the same way as the combination of a string quartet and ensemble reminds the idea of an 18th century Sinfonia Concertante (past), which the use of electronic transformations re-actualizes into the present. Happy Listening! Peter Swinnen

Recorded live at INTONAZIONE festival on 20 Sep 2019 at Eremo Santa Caterina in Rio nell'Elba, performed by Rafał Zalech (viola & live-electronics)during a dance performance of Andrea Nagl. Mixed and produced by Karlheinz Essl. "Sequitur" is a series of compositions for various solo instruments and live-electronics which was started in 2008. Somehow it can be seen as a reference to Berio’s famous “Sequenze” cycle of solo pieces which focus on specific playing techniques of the respective instrument. All Sequitur compositions use a software written in MaxMSP which creates an electronic accompaniment from the instrument’s live input; the player is confronted with his own playing, and this creates a situation like moving in a house of mirrors where the identities become blurred. Each piece can be performed by the player alone who just has to press a key on the computer keyboard whenever this is indicated in the score. The software generates a complex canon on the fly, the temporal structure and density of which being controlled by random operations. This yields different results every time the piece is performed. Although following a precisely notated score, there is always a good portion of surprise for the musician which emphasizes his awareness and attentiveness. More information: http://www.essl.at/works/sequitur.html

Recorded live at INTONAZIONE festival on 20 Sep 2019 at Eremo Santa Caterina in Rio nell'Elba, performed by Rafał Zalech (viola & live-electronics)during a dance performance of Andrea Nagl. Mixed and produced by Karlheinz Essl. Sequitur is a series of compositions for various solo instruments and live-electronics which I started in 2008. Somehow it can be seen as a reference to Berio’s famous “Sequenze” cycle of solo pieces which focus on specific playing techniques of the respective instrument. All Sequitur compositions use a software written in MaxMSP which creates an electronic accompaniment from the instrument’s live input; the player is confronted with his own playing, and this creates a situation like moving in a house of mirrors where the identities become blurred. Each piece can be performed by the player alone who just has to press a key on the computer keyboard whenever this is indicated in the score. The software generates a complex canon on the fly, the temporal structure and density of which being controlled by random operations. This yields different results every time the piece is performed. Although following a precisely notated score, there is always a good portion of surprise for the musician which emphasizes his awareness and attentiveness. More information: http://www.essl.at/works/sequitur.html

Binaural recording - listen with headphones! Live performance by Karlheinz Essl (kalimba, live-electronics) at Norges Musikkhøgskole (Oslo, Norway) on 26 Oct 2018 at the final concert of his masterclass on realtime composition. Ambisonic recording with a SPS-200 microphone rendered to binaural stereo.

Future Sounds from Korea 12 + live electronics & improvised music from Dey Kim 한국 독립 전자음악 라디오 12번 - Electronic/Experimental Music Podcast 
 이 팟캐스트는 한국의 전자/실험적인 음악을 당신에게 소개합니다 
⬇ Click for Track List below ⬇ The first 40 minutes of this episode features guest music from Dey Kim. Dey Kim is a composer, improviser and transdisciplinary artscientist currently based in Jeju, South Korea. https://deykim.net Submit tracks /// 당신의 음악을 보내주세요 
Email: futuresoundskorea@gmail.com FSFK 12 Track list: [00:03] Dey Kim - Improvisation with IH [10:24] Dey Kim - Improvisation with Rozi [25:18] Dey Kim - Flying Insects [29:50] Dey Kim - HowMyThesisSoundsLike [34:55] Dey Kim - Shephard tone-ish [40:41] Roomp - DAZE [44:39] SBT - Seoul Noir [52:36] Weissen - Distinct [54:47] BLU - Blue [58:52] KEDA - La Lune de Corée [65:09] one day one coke & Unholy - Davis Tiers [69:26] Tengger - Spiritual (mcthfg Floating Alone in the World Dub) [77:29] Kim Gangmin & Jin Sungeun - Illumination of the East [83:33] Bluescript - Metamorphosis [89:09] Eyvind Blix - Hemlängtan (Unjin Remix) [96:57] one day one coke - Two Deep [101:18] H N D - When the Blossom Falls [103:20] H N D - Mood Gallery Sketch [106:12] Mist - Still Stay [107:57] Keiiti Aki - Fun Fact [111:30] FILKCUF - 향수 [114:02] WAVE AREA - Oring 51 [118:27] WAVE AREA - Scizho 68 [121:17] Akdangwang - X9 [123:07] AEGYOKILLER - Let Me In [126:56] DJ 소맥 - 경기도 Gyeonggi-do [129:14] Jae Young - Dica (Hazed & Confucius) [135:29] Weissen - Bloom [138:08] Sylarbomb - BYOP (LEEVISA remix) [142:47] ᛋᛋeⒶn(a.k.a.444) - Untitled --- Support your local scene ~^^

next_generation 7.0: SENSORIK | Symposium 14.06.2017 to 18.06.2017 With an exciting lecture program enriched the festival »next_generation 7.0 SENSORIK« Over five days and five nights, next_generation 7.0 offered an exciting and packed program on the latest positions on topics such as »Fixed Media«, »Spatial Music« and »Live-Electronics«, showing off the current creativity of the younger generation of producers in the context of technology and art. /// 14.06.2017 bis 18.06.2017 Mit einem spannenden Vortragsprogramm bereicherte das Festival »next_generation 7.0 SENSORIK« An fünf Tagen und fünf Nächten bot next_generation 7.0 ein spannendes und dichtes Programm über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik«. Damit garantierte next_generation 7.0 eine repräsentative Übersicht über das aktuelle kreative Schaffen der kommenden Komponierendengeneration im Kontext von Technologie und Kunst.

next_generation 7.0: SENSORIK | Symposium 14.06.2017 to 18.06.2017 With an exciting lecture program enriched the festival »next_generation 7.0 SENSORIK« Over five days and five nights, next_generation 7.0 offered an exciting and packed program on the latest positions on topics such as »Fixed Media«, »Spatial Music« and »Live-Electronics«, showing off the current creativity of the younger generation of producers in the context of technology and art. /// 14.06.2017 bis 18.06.2017 Mit einem spannenden Vortragsprogramm bereicherte das Festival »next_generation 7.0 SENSORIK« An fünf Tagen und fünf Nächten bot next_generation 7.0 ein spannendes und dichtes Programm über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik«. Damit garantierte next_generation 7.0 eine repräsentative Übersicht über das aktuelle kreative Schaffen der kommenden Komponierendengeneration im Kontext von Technologie und Kunst.

next_generation 7.0: SENSORIK | Symposium 14.06.2017 to 18.06.2017 With an exciting lecture program enriched the festival »next_generation 7.0 SENSORIK« Over five days and five nights, next_generation 7.0 offered an exciting and packed program on the latest positions on topics such as »Fixed Media«, »Spatial Music« and »Live-Electronics«, showing off the current creativity of the younger generation of producers in the context of technology and art. /// 14.06.2017 bis 18.06.2017 Mit einem spannenden Vortragsprogramm bereicherte das Festival »next_generation 7.0 SENSORIK« An fünf Tagen und fünf Nächten bot next_generation 7.0 ein spannendes und dichtes Programm über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik«. Damit garantierte next_generation 7.0 eine repräsentative Übersicht über das aktuelle kreative Schaffen der kommenden Komponierendengeneration im Kontext von Technologie und Kunst.

next_generation 7.0: SENSORIK | Symposium 14.06.2017 to 18.06.2017 With an exciting lecture program enriched the festival »next_generation 7.0 SENSORIK« Over five days and five nights, next_generation 7.0 offered an exciting and packed program on the latest positions on topics such as »Fixed Media«, »Spatial Music« and »Live-Electronics«, showing off the current creativity of the younger generation of producers in the context of technology and art. /// 14.06.2017 bis 18.06.2017 Mit einem spannenden Vortragsprogramm bereicherte das Festival »next_generation 7.0 SENSORIK« An fünf Tagen und fünf Nächten bot next_generation 7.0 ein spannendes und dichtes Programm über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik«. Damit garantierte next_generation 7.0 eine repräsentative Übersicht über das aktuelle kreative Schaffen der kommenden Komponierendengeneration im Kontext von Technologie und Kunst.

next_generation 7.0: SENSORIK | Symposium 14.06.2017 to 18.06.2017 With an exciting lecture program enriched the festival »next_generation 7.0 SENSORIK« Over five days and five nights, next_generation 7.0 offered an exciting and packed program on the latest positions on topics such as »Fixed Media«, »Spatial Music« and »Live-Electronics«, showing off the current creativity of the younger generation of producers in the context of technology and art. /// 14.06.2017 bis 18.06.2017 Mit einem spannenden Vortragsprogramm bereicherte das Festival »next_generation 7.0 SENSORIK« An fünf Tagen und fünf Nächten bot next_generation 7.0 ein spannendes und dichtes Programm über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik«. Damit garantierte next_generation 7.0 eine repräsentative Übersicht über das aktuelle kreative Schaffen der kommenden Komponierendengeneration im Kontext von Technologie und Kunst.

next_generation 7.0: SENSORIK | Symposium 14.06.2017 to 18.06.2017 Michael Beil, Sabine Breitsameter, Marko Ciciliani, Thomas Neuhaus, Germán Toro Pérez, Kilian Schwoon and Ludger Brümmer With an exciting lecture program enriched the festival »next_generation 7.0 SENSORIK« Over five days and five nights, next_generation 7.0 offered an exciting and packed program on the latest positions on topics such as »Fixed Media«, »Spatial Music« and »Live-Electronics«, showing off the current creativity of the younger generation of producers in the context of technology and art. /// 14.06.2017 bis 18.06.2017 Michael Beil, Sabine Breitsameter, Marko Ciciliani, Thomas Neuhaus, Germán Toro Pérez, Kilian Schwoon and Ludger Brümmer Mit einem spannenden Vortragsprogramm bereicherte das Festival »next_generation 7.0 SENSORIK« An fünf Tagen und fünf Nächten bot next_generation 7.0 ein spannendes und dichtes Programm über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik«. Damit garantierte next_generation 7.0 eine repräsentative Übersicht über das aktuelle kreative Schaffen der kommenden Komponierendengeneration im Kontext von Technologie und Kunst.

next_generation 7.0: SENSORIK | Symposium 14.06.2017 bis 18.06.2017 Mit einem spannenden Vortragsprogramm bereicherte das Festival »next_generation 7.0 SENSORIK« An fünf Tagen und fünf Nächten bot next_generation 7.0 ein spannendes und dichtes Programm über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik«. Damit garantierte next_generation 7.0 eine repräsentative Übersicht über das aktuelle kreative Schaffen der kommenden Komponierendengeneration im Kontext von Technologie und Kunst. /// 14.06.2017 to 18.06.2017 With an exciting lecture program enriched the festival »next_generation 7.0 SENSORIK« Over five days and five nights, next_generation 7.0 offered an exciting and packed program on the latest positions on topics such as »Fixed Media«, »Spatial Music« and »Live-Electronics«, showing off the current creativity of the younger generation of producers in the context of technology and art.

next_generation 7.0: SENSORIK | Symposium 14.06.2017 to 18.06.2017 With an exciting lecture program enriched the festival »next_generation 7.0 SENSORIK« Over five days and five nights, next_generation 7.0 offered an exciting and packed program on the latest positions on topics such as »Fixed Media«, »Spatial Music« and »Live-Electronics«, showing off the current creativity of the younger generation of producers in the context of technology and art. /// 14.06.2017 bis 18.06.2017 Mit einem spannenden Vortragsprogramm bereicherte das Festival »next_generation 7.0 SENSORIK« An fünf Tagen und fünf Nächten bot next_generation 7.0 ein spannendes und dichtes Programm über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik«. Damit garantierte next_generation 7.0 eine repräsentative Übersicht über das aktuelle kreative Schaffen der kommenden Komponierendengeneration im Kontext von Technologie und Kunst.

next_generation 7.0: SENSORIK | Symposium 14.06.2017 to 18.06.2017 With an exciting lecture program enriched the festival »next_generation 7.0 SENSORIK« Over five days and five nights, next_generation 7.0 offered an exciting and packed program on the latest positions on topics such as »Fixed Media«, »Spatial Music« and »Live-Electronics«, showing off the current creativity of the younger generation of producers in the context of technology and art. /// 14.06.2017 bis 18.06.2017 Mit einem spannenden Vortragsprogramm bereicherte das Festival »next_generation 7.0 SENSORIK« An fünf Tagen und fünf Nächten bot next_generation 7.0 ein spannendes und dichtes Programm über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik«. Damit garantierte next_generation 7.0 eine repräsentative Übersicht über das aktuelle kreative Schaffen der kommenden Komponierendengeneration im Kontext von Technologie und Kunst.

next_generation 7.0: SENSORIK | Symposium 14.06.2017 to 18.06.2017 With an exciting lecture program enriched the festival »next_generation 7.0 SENSORIK« Over five days and five nights, next_generation 7.0 offered an exciting and packed program on the latest positions on topics such as »Fixed Media«, »Spatial Music« and »Live-Electronics«, showing off the current creativity of the younger generation of producers in the context of technology and art. /// 14.06.2017 bis 18.06.2017 Mit einem spannenden Vortragsprogramm bereicherte das Festival »next_generation 7.0 SENSORIK« An fünf Tagen und fünf Nächten bot next_generation 7.0 ein spannendes und dichtes Programm über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik«. Damit garantierte next_generation 7.0 eine repräsentative Übersicht über das aktuelle kreative Schaffen der kommenden Komponierendengeneration im Kontext von Technologie und Kunst.

next_generation 7.0: SENSORIK | Symposium 14.06.2017 to 18.06.2017 With an exciting lecture program enriched the festival »next_generation 7.0 SENSORIK« Over five days and five nights, next_generation 7.0 offered an exciting and packed program on the latest positions on topics such as »Fixed Media«, »Spatial Music« and »Live-Electronics«, showing off the current creativity of the younger generation of producers in the context of technology and art. /// 14.06.2017 bis 18.06.2017 Mit einem spannenden Vortragsprogramm bereicherte das Festival »next_generation 7.0 SENSORIK« An fünf Tagen und fünf Nächten bot next_generation 7.0 ein spannendes und dichtes Programm über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik«. Damit garantierte next_generation 7.0 eine repräsentative Übersicht über das aktuelle kreative Schaffen der kommenden Komponierendengeneration im Kontext von Technologie und Kunst.

next_generation 7.0: SENSORIK | Symposium 14.06.2017 to 18.06.2017 With an exciting lecture program enriched the festival »next_generation 7.0 SENSORIK« Over five days and five nights, next_generation 7.0 offered an exciting and packed program on the latest positions on topics such as »Fixed Media«, »Spatial Music« and »Live-Electronics«, showing off the current creativity of the younger generation of producers in the context of technology and art. /// 14.06.2017 bis 18.06.2017 Mit einem spannenden Vortragsprogramm bereicherte das Festival »next_generation 7.0 SENSORIK« An fünf Tagen und fünf Nächten bot next_generation 7.0 ein spannendes und dichtes Programm über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik«. Damit garantierte next_generation 7.0 eine repräsentative Übersicht über das aktuelle kreative Schaffen der kommenden Komponierendengeneration im Kontext von Technologie und Kunst.

next_generation 7.0: SENSORIK | Symposium 14.06.2017 to 18.06.2017 With an exciting lecture program enriched the festival »next_generation 7.0 SENSORIK« Over five days and five nights, next_generation 7.0 offered an exciting and packed program on the latest positions on topics such as »Fixed Media«, »Spatial Music« and »Live-Electronics«, showing off the current creativity of the younger generation of producers in the context of technology and art. /// 14.06.2017 bis 18.06.2017 Mit einem spannenden Vortragsprogramm bereicherte das Festival »next_generation 7.0 SENSORIK« An fünf Tagen und fünf Nächten bot next_generation 7.0 ein spannendes und dichtes Programm über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik«. Damit garantierte next_generation 7.0 eine repräsentative Übersicht über das aktuelle kreative Schaffen der kommenden Komponierendengeneration im Kontext von Technologie und Kunst.

next_generation 7.0: SENSORIK | Symposium 14.06.2017 to 18.06.2017 With an exciting lecture program enriched the festival »next_generation 7.0 SENSORIK« Over five days and five nights, next_generation 7.0 offered an exciting and packed program on the latest positions on topics such as »Fixed Media«, »Spatial Music« and »Live-Electronics«, showing off the current creativity of the younger generation of producers in the context of technology and art. /// 14.06.2017 bis 18.06.2017 Mit einem spannenden Vortragsprogramm bereicherte das Festival »next_generation 7.0 SENSORIK« An fünf Tagen und fünf Nächten bot next_generation 7.0 ein spannendes und dichtes Programm über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik«. Damit garantierte next_generation 7.0 eine repräsentative Übersicht über das aktuelle kreative Schaffen der kommenden Komponierendengeneration im Kontext von Technologie und Kunst.

next_generation 7.0: SENSORIK | Symposium 14.06.2017 to 18.06.2017 With an exciting lecture program enriched the festival »next_generation 7.0 SENSORIK« Over five days and five nights, next_generation 7.0 offered an exciting and packed program on the latest positions on topics such as »Fixed Media«, »Spatial Music« and »Live-Electronics«, showing off the current creativity of the younger generation of producers in the context of technology and art. /// 14.06.2017 bis 18.06.2017 Mit einem spannenden Vortragsprogramm bereicherte das Festival »next_generation 7.0 SENSORIK« An fünf Tagen und fünf Nächten bot next_generation 7.0 ein spannendes und dichtes Programm über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik«. Damit garantierte next_generation 7.0 eine repräsentative Übersicht über das aktuelle kreative Schaffen der kommenden Komponierendengeneration im Kontext von Technologie und Kunst.

next_generation 7.0: SENSORIK | Symposium 14.06.2017 bis 18.06.2017 Mit einem spannenden Vortragsprogramm bereicherte das Festival »next_generation 7.0 SENSORIK« An fünf Tagen und fünf Nächten bot next_generation 7.0 ein spannendes und dichtes Programm über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik«. Damit garantierte next_generation 7.0 eine repräsentative Übersicht über das aktuelle kreative Schaffen der kommenden Komponierendengeneration im Kontext von Technologie und Kunst. /// 14.06.2017 to 18.06.2017 With an exciting lecture program enriched the festival »next_generation 7.0 SENSORIK« Over five days and five nights, next_generation 7.0 offered an exciting and packed program on the latest positions on topics such as »Fixed Media«, »Spatial Music« and »Live-Electronics«, showing off the current creativity of the younger generation of producers in the context of technology and art.

next_generation 7.0: SENSORIK | Symposium 14.06.2017 to 18.06.2017 With an exciting lecture program enriched the festival »next_generation 7.0 SENSORIK« Over five days and five nights, next_generation 7.0 offered an exciting and packed program on the latest positions on topics such as »Fixed Media«, »Spatial Music« and »Live-Electronics«, showing off the current creativity of the younger generation of producers in the context of technology and art. /// 14.06.2017 bis 18.06.2017 Mit einem spannenden Vortragsprogramm bereicherte das Festival »next_generation 7.0 SENSORIK« An fünf Tagen und fünf Nächten bot next_generation 7.0 ein spannendes und dichtes Programm über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik«. Damit garantierte next_generation 7.0 eine repräsentative Übersicht über das aktuelle kreative Schaffen der kommenden Komponierendengeneration im Kontext von Technologie und Kunst.

next_generation 7.0: SENSORIK | Symposium 14.06.2017 to 18.06.2017 With an exciting lecture program enriched the festival »next_generation 7.0 SENSORIK« Over five days and five nights, next_generation 7.0 offered an exciting and packed program on the latest positions on topics such as »Fixed Media«, »Spatial Music« and »Live-Electronics«, showing off the current creativity of the younger generation of producers in the context of technology and art. /// 14.06.2017 bis 18.06.2017 Mit einem spannenden Vortragsprogramm bereicherte das Festival »next_generation 7.0 SENSORIK« An fünf Tagen und fünf Nächten bot next_generation 7.0 ein spannendes und dichtes Programm über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik«. Damit garantierte next_generation 7.0 eine repräsentative Übersicht über das aktuelle kreative Schaffen der kommenden Komponierendengeneration im Kontext von Technologie und Kunst.

next_generation 7.0: SENSORIK | Symposium 14.06.2017 to 18.06.2017 With an exciting lecture program enriched the festival »next_generation 7.0 SENSORIK« Over five days and five nights, next_generation 7.0 offered an exciting and packed program on the latest positions on topics such as »Fixed Media«, »Spatial Music« and »Live-Electronics«, showing off the current creativity of the younger generation of producers in the context of technology and art. /// 14.06.2017 bis 18.06.2017 Mit einem spannenden Vortragsprogramm bereicherte das Festival »next_generation 7.0 SENSORIK« An fünf Tagen und fünf Nächten bot next_generation 7.0 ein spannendes und dichtes Programm über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik«. Damit garantierte next_generation 7.0 eine repräsentative Übersicht über das aktuelle kreative Schaffen der kommenden Komponierendengeneration im Kontext von Technologie und Kunst.

next_generation 7.0: SENSORIK | Symposium 14.06.2017 to 18.06.2017 With an exciting lecture program enriched the festival »next_generation 7.0 SENSORIK« Over five days and five nights, next_generation 7.0 offered an exciting and packed program on the latest positions on topics such as »Fixed Media«, »Spatial Music« and »Live-Electronics«, showing off the current creativity of the younger generation of producers in the context of technology and art. /// 14.06.2017 bis 18.06.2017 Mit einem spannenden Vortragsprogramm bereicherte das Festival »next_generation 7.0 SENSORIK« An fünf Tagen und fünf Nächten bot next_generation 7.0 ein spannendes und dichtes Programm über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik«. Damit garantierte next_generation 7.0 eine repräsentative Übersicht über das aktuelle kreative Schaffen der kommenden Komponierendengeneration im Kontext von Technologie und Kunst.

next_generation 7.0: SENSORIK | Symposium 14.06.2017 to 18.06.2017 With an exciting lecture program enriched the festival »next_generation 7.0 SENSORIK« Over five days and five nights, next_generation 7.0 offered an exciting and packed program on the latest positions on topics such as »Fixed Media«, »Spatial Music« and »Live-Electronics«, showing off the current creativity of the younger generation of producers in the context of technology and art. /// 14.06.2017 bis 18.06.2017 Mit einem spannenden Vortragsprogramm bereicherte das Festival »next_generation 7.0 SENSORIK« An fünf Tagen und fünf Nächten bot next_generation 7.0 ein spannendes und dichtes Programm über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik«. Damit garantierte next_generation 7.0 eine repräsentative Übersicht über das aktuelle kreative Schaffen der kommenden Komponierendengeneration im Kontext von Technologie und Kunst.

next_generation 7.0: SENSORIK | Symposium 14.06.2017 to 18.06.2017 With an exciting lecture program enriched the festival »next_generation 7.0 SENSORIK« Over five days and five nights, next_generation 7.0 offered an exciting and packed program on the latest positions on topics such as »Fixed Media«, »Spatial Music« and »Live-Electronics«, showing off the current creativity of the younger generation of producers in the context of technology and art. /// 14.06.2017 bis 18.06.2017 Mit einem spannenden Vortragsprogramm bereicherte das Festival »next_generation 7.0 SENSORIK« An fünf Tagen und fünf Nächten bot next_generation 7.0 ein spannendes und dichtes Programm über die neuesten Positionen zu den Themen »Fixed Media«, »Raummusik« und »Live-Elektronik«. Damit garantierte next_generation 7.0 eine repräsentative Übersicht über das aktuelle kreative Schaffen der kommenden Komponierendengeneration im Kontext von Technologie und Kunst.

Live Electronics. Improvisation.

Live Electronics. Improvisation.

Live Electronics. Improvisation.

Version for sound sculpture and live-electronics, performed by Karlheinz Essl. Recorded live at the Technical Museum Vienna, 3 Oct 2009 http://www.essl.at/works/non-sequitur.html „non Sequitur” is a series of pieces for various gadgets (like punch-tape controlled music boxes, kalimbas or sound sculptures) and live-electronics which are side products of Karlheinz Essl's Sequitur cycle. Although the non Sequitur pieces are using a similar software as the Sequitur compositions, they are mainly based on improvisation and can only be played by Karlheinz Essl himself.

Ein Club, Partyvolk, ein DJ, Live Electronics und vier Cellisten. Passt nicht zum Mozartfest? Passt doch. Der Cellist Maximilian Hornung hat sich in seiner Heimatstadt Augsburg ein "Festival im Festival" gesichert und brennt mit seinem "Freistil" jedes Jahr die Mozart-Hütte musikalisch nieder.

Performed by Andrii Pavlov (violin) and Karlheinz Essl (electronics). Recorded live at Plivka, Kiev on Nov 19th, 2016 during Karlheinz Essl’s portrait concert at the festival EM-VISIA. http://www.essl.at/concerts/2016.html#kiev

Recorded by Ming Wang (guzheng) and Karlheinz Essl (live-electronics) at Studio kHz on 29 Sep 2016.

Performed and recorded by Karlheinz Essl on 14 Jan 2009 at Studio kHz. Having played the electric guitar as a rock-obsessed teenager, I re-discovered it 25 years later. In the meantime, I have studied composition and musicology and became heavily involved with electronic and computer music. Working as a composer writing complex musical scores I felt more and more the desire to re-connect to those ecstatic times when I was performing on stage with my electric guitar. But first I developed my own idiosyncratic electronic instrument called m@ze°2 (1998 ff.) which I am still using for free improvisation and live performances. In 2007, I was ready for another change when the handling with MIDI controllers, graphic tablets, keyboards, computer mouses and pedals became more and more insufficient. I was seeking for an instantaneous, tactile input device to be included into my live-electronic setup. First I was thinking of a custom-made wooden resonance box equipped with strings, contact microphones and pickups that could be plucked, bowed, beaten and scratched. As such a device had to be constructed first (and I am not really good at tinkering) I suddenly realized that a common electric guitar already fulfilled most of my requirements. So I bought myself a Steinberger electric guitar — the most compressed instrument of its kind — and started to study the almost forgotten playing techniques again. Fortunately, as the body obviously has a strong memory, I got back very quickly to the status of playing that I had 25 years ago. However, meanwhile my musical mind has completely changed: Not being primarily interested in re-adapting those powerful rock clichés, I tried to develop a fresh view onto the electric guitar. First of all I decided not to use a plectrum at all and to develop a personal finger-picking technique which incorporates several elements that I used when playing the double bass. Then I discovered the possibilities of an E-Bow, which serves as a wonderful substitution for the standard bow. Later I became familiar with tapping technique and the use of a volume pedal in order to shape the envelope of the sound. With these achievements, I wrote a piece for electric guitar and live-electronics in the beginning 2008 as part of my Sequitur project. This cycle advertently relates to the famous "Sequenze" of Luciano Berio as an attempt to write a series of pieces which take advantage of the idiosyncratic instrumental possibilities - and confront them with a realtime sound processing environment that has its own secret life. Info: http://www.essl.at/works/sequitur/sequitur-8.html

Recorded by Isabel Ettenauer for the CD "whatever shall be - music for toy instruments and electronics" (edition eirelav, 2013) Having written several pieces for the toy piano before, I dedicated Sequitur V to this interesting instrument which — in fact — has not much in common with the piano as we know it. Its sound resembles chimes or maybe parts of a gamelan orchestra and therefore is not connected to the great history of classical piano music from Bach to Stockhausen; a fact that makes this instrument more accessible for me. Although the toy piano is tiny in every respect, the sound that it produces in Sequitur V becomes incredibly rich thanks to amplification and realtime sound processing. Info: http://www.essl.at/works/sequitur/sequitur-5.html

Performed by students of Lars Mlekusch and Karlheinz Essl on March 9th, 2013 at the MUK Vienna. Auf einer USA-Reise im Jahr 2005 war der Colorado River für einige Tage unser Wegbegleiter. Sein unbeirrtes Weiterströmen, seine chamäleonartige Farbigkeit und sein ungeheure Kraft (von dem das Grand Canyon ein berührendes Zeugnis ablegt)erschienen mir als naturgewordene Metapher für eine Komposition, die zu jener Zeit in meinem Kopf herankeimte: ein Werk für Saxophonquartett und Live-Elektronik, dem ich den Namen "colorado" gab. Bei der Aufführung des Werkes sitzen die vier Musiker des Quartetts in der Mitte des Saales; vier Lautsprechern umgeben das Publikum. Die Instrumente (Sopran-, Alt-, Tenor- und Baritonsaxophon) werden von Mikrophonen abgenommen, in Echtzeit von einem interaktiv gesteuerten Computerprogramm verarbeitet und über die Lautsprecher ins Auditorium abgestrahlt, das wiederum als Resonanzkörper und Hallraum fungiert. Die Live-Elektronik basiert auf einer Art „Teilchenbeschleuniger“, der die live eingespielten Klangpartikel der Saxophonisten durch vielfältige Manipulationen im Zeit- und Spektralbereich komplex miteinander überlagert und über ein quadrophones Klangverteilungssystem im Raum verwirbelt. Die Parameter dieses „Teilchenbeschleunigers“ werden von einem fünften Musiker - im Idealfall dem Komponisten selbst - während der Aufführung kontrolliert. (Karlheinz Essl) Info: http://www.essl.at/works/colorado.html

Performed by Karlheinz Siessl (euphonium) and Karlheinz Essl (live-electronics) at festival Klangspuren (2012). Some years ago I received an e-mail by a tuba player named Karlheinz Siessl who found it funny that our names are so similar: they only differ in the syllable "si". He suggested a collaboration and asked me to write a piece for his instrument. Shortly thereafter I invited him into my studio where we improvised together in order to become acquainted with each other. The result was so enjoyable and promising that I agreed to compose a piece for him. Pondering over the piece, I suddenly found its title – Si! – which means "yes" in Italian and Spanish. By coincidence, this is also the solmization syllable for the note B, the fundamental tone of the tenor tuba I was using. Observing the syllable "si" from various perspectives I decided to emphasize the positive message of this word. A piece of literature came into my mind where the word "yes" is used in a highly musical way: the very end of James Joyce's novel Ulysses where Molly Bloom babbles her famous solíloquy in a daydream: and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes I asked a former student of mine to record these lines in Italian; they secretly serve as an underlying Ariadne's thread throughout the piece. By filtering the sound of the tuba with the spectrum of the female voice (employing a technique called convolution), this instrument is now able to speak in tongues. In order to obtain the desired results it was necessary to transform the sound of the bassy tuba into a range that has more common overtones with the voice. As it was nearly impossible to achieve this with normally blown tuba sounds, I had to invent new playing techniques. So I ended up „mis-using“ the tuba as an exceptional percussion instrument which is caressed and beaten. Furthermore, I also utilise it as a brass tube to breathe and whisper into it, taking advantage of its rich resonances. Info: http://www.essl.at/works/si.html

juncTions was inspired by the Toronto-based keyboard collective junctQín. In 2009, junctQín asked me to write a piece for three pianists performing on one piano. Their request triggered several interesting questions for me: What can be achieved on a piano if one person plays the instrument in a traditional way (pressing the keys and pedals) while a second one is playing the inside (with an e-bow and a tone bar, tools more commonly used by guitar players) and a third musician is operating a computer program that creates an immersive maelstrom of sounds by processing the sonorities of the two piano players? The inside and outside sound worlds of the piano confront and connect with each other. For example, connections are intentionally achieved when one player creates a glissando by sliding a piece of metal along the very strings which are excited, hit by the hammers the second player has activated. At first glance the score may look pretty sparse. However, those delicate sound processes that are created by the two players at the piano are fed into a computer program which densely superimposes them and projects them into the space. In this piece, the piano is used as a versatile sound device with a flexible resonator. All the harmonic relationships of the notes are based on four odd-numbered overtone series (starting with the low A key) which are collapsing into the middle B of the piano. This tone acts like a secret harmonic thread, often emphasized by an E-Bow which can infinitely sustain sound, contradicting the expected decay of a piano note. In juncTions, a type of hyper-instrument is created from a common piano, freed from its inherent historical connotations; no longer referencing the piano music between Mozart and Stockhausen ... The only thing that matters now is the expansion of its sound into the space. Info: http://www.essl.at/works/junctions.html

Karlheinz Essls „blurred“ ist eine sehr geschickt komponierte, zum Teil zart und zerbrechlich wirkende 15-minütige Komposition, die sicher zum Besten gehört, was ich an Musik aus dem 21. Jahrhundert bislang gehört habe. Es ist teilweise wahrhaft atemberaubend, wie der Komponist aus nur drei Instrumenten (Flöte, Vibraphon und Violoncello) sowie Live-Elektronik (die der Komponist bei der Aufnahme selbst bediente) ein vermeintlich „großes“ Ensemble erstehen lässt und wie sich daraus ein Gespinst aus Klängen formt. (Rainer Aschemaier, CD Review 2012) Live recording, performed by exxj (dir. Peter Burwik) and Karlheinz Essl, produced by Karlheinz Essl. Info: http://www.essl.at/works/blurred.html

Performed by Amy Horvey (trumpet) and Karlheinz Essl (live-electronics)at the Concordia University, Montreal on 23 Sep 2011. Sequitur is a series of 14 compositions for various solo instruments and live-electronics written for outstanding soloists. Somehow it can be seen as a reference to Luciano Berio's famous Sequenze cycle of solo pieces which focus on specific playing techniques of the respective instrument. Essl's Sequitur cycle includes pieces for orchestral instruments like flute and violin, but also for voice, electric guitar, toy piano or kalimba. All Sequitur composition use a software written in MaxMSP which creates an electronic accompaniment from the instrument’s live input; the player is confronted with his own playing, and this creates a situation like moving in a house of mirrors where the identities becomes blurred. The Sequitur software generates a complex canon on the fly, the temporal structure and density of which being controlled by random operations. This yields different results every time the piece is performed. Although following a precisely notated score, there is always a good portion of surprise for the musician which emphasizes his awareness and attentiveness. Info: http://www.essl.at/works/sequitur/sequitur-6.html

Three very different live shows with very different setups and approaches on one night at We Love Space. Opinions on creating and performing live electronic music with Octave One, Lindstrøm, Prins Thomas and Mat Playford. Featuring performances from all four artists. http://welove-music.com

Aufgenommen am 27. November 2010 im ZKM_Kubus in Karlsruhe (D) mit Mike Svoboda (Posaune) und Karlheinz Essl (Live-Elektronik). Seit 2008 arbeitet Karlheinz Essl an dem 14-teiligen Zyklus „Sequitur“ für unterschiedlichste Soloinstrumente und Live-Elektronik, der an die berühmten „Sequenze“ von Luciano Berio anknüpft. Hatte dieser einst prototypische Solostücke geschaffen, in denen die jeweiligen Instrumente mit all ihren klanglichen Finessen virtuos in Szene gesetzt werden, so geht es Essl um die Erweiterung dieses Ansatzes unter Einbeziehung der Live-Elektronik: Ein penibel auskomponierter und live gespielter Solopart wird via Mikrophon in ein eigens dafür geschaffenes Computerprogramm eingespeist, das daraus in Echtzeit einen elektronisches Klang-Environment generiert. Diese „Begleitung“ wird ausschließlich vom Input des Soloinstruments bestimmt, das mit sich selbst in vielfache Beziehung tritt. Wie in einem Spiegelkabinett lösen sich die ursprünglichen Identitäten auf und erzeugen ein komplexes Beziehungsgefüge, das einen tranceartigen Sog ausübt. Sequitur X wurde für den Posaunisten Mike Svoboda geschrieben und ist ihm gewidmet. Info: http://www.essl.at/works/sequitur/sequitur-10.html

Recorded live with Barbara Lüneburg (electric violon and live-electronics) on 30 Oct 2010 in Vienna. Sequitur is a series of 14 compositions for various solo instruments and live-electronics written for outstanding soloists. Somehow it can be seen as a reference to Luciano Berio's famous Sequenze cycle of solo pieces which focus on specific playing techniques of the respective instrument. Essl's Sequitur cycle includes pieces for orchestral instruments like flute and violin, but also for voice, electric guitar, toy piano or kalimba. All Sequitur composition use a software written in MaxMSP which creates an electronic accompaniment from the instrument’s live input; the player is confronted with his own playing, and this creates a situation like moving in a house of mirrors where the identities becomes blurred. Info: http://www.essl.at/works/sequitur/sequitur-3.html

Performed by Goska Isphording (harpsichord) and Karlheinz Essl (live-electronics) at NatLab Eindhoven (NL) on 10 Sep 2010. In this composition, the harpsichord is played in a highly unconventional manner. Except for the end of the piece, no keys are touched. Instead, the sound board and the lowest string of the instrument are excited in different manners. A contact microphone mounted on the sound board acts like an acoustic lense that amplifies sounds that are normally inaudible. The interaction between the harpsichordist and the live-electronics creates a kind of meta-instrument. Its novel sounds and expressions purposely avoid the typical percussive sound of the harpsichord, which is only heard at the end of the piece as a quotation. By preparing the instrument with a thin nylon thread, sustained "drone" sounds can be produced as an antitheses to the needle-sharp and rapidly decaying harpsichord attacks. Info: http://www.essl.at/works/sequitur/sequitur-12.html

Recorded live on 9 June 2010 at the Essl Museum, Klosterneuburg by Tzenka Dianova (piano) and Karlheinz Essl (live-electronics). Karlheinz Essl's “Sequitur XIII” (2009/2013) for extended piano and live electronics is an innovative work in which the piano has been transformed into a super instrument thanks to a computer-based algorithmic system. Turning the relatively simple instrumental material into an orchestral entity through various real-time harmonic and spectral alterations, the piece multiplies the functions of the original instruments by recording the musicians' performance and playing it together with its modified version (Maria Kallionpää, 2014) Info: http://www.essl.at/works/sequitur/sequitur-13.html

Performed by Stephan Froleyks (percussion) and Karlheinz Essl (live-electronics) at Stadtheater Münster during the KlangZeit Festival. el-emen' für Solo-Schlagzeug und Live-Elektronik entstand in Zusammenarbeit mit dem Percussionisten Günter Meinhart. Vier unterschiedliche Familien von Schlaginstrumenten (Fell, Holz, Metall und Keramik), die den vier Elementen zugeordnet sind, werden über Mikrophone abgenommen und in ein eigens dafür entwickeltes Computerprogramm eingespeist, das die Klangpartikel wie ein akustischer Teilchenbeschleuniger im Raum verwirbelt. Der sich dabei aufbauende Klangstrudel wird zum Generator sich ständig verwandelnder Klanghybride – so, als würden chemische Elemente zu immer neuen Verbindungen verschmelzen. Damit erfüllt sich im Klanglichen der alte Traum von der Verwandlung der Elemente: die alchymische Hochzeit. Im kryptischen Werktitel findet sich der Hinweis auf jene elementaren Vorgänge; zugleich aber klingt darin auch die arabische Wortwurzel für Sicherheit, Ruhe, Frieden und Schutz an. Info: http://www.essl.at/works/el-emen.html

Sequitur XIV was written for the Hamburg-based pianist and performer Jennifer Hymer and sets the thumb piano in focus. This instrument, named ‘Mbira’ in Africa, was discovered in the middle of the 20th Century from the British ethnomusicologist Hugh Tracey, who developed out of it a standardized western instrument named ‘kalimba’, and let it be produced industrially. In contrast to the African original, this western new construction is tuned diatonically. First I tried to approach the instrument like a child in that I pushed away all knowledge about the high art of Mbira-practice to the side. What did I see before me? A trapezoidal shaped wooden box with metal blades of differing lengths that were fastened over a sound hole in the middle. After I examined the sound possibilities of the kalimba’s body through rubbing, scratching and knocking, I attached a contact microphone to its surface and sent the sounds through the same computer program that I had developed for the other “Sequitur” compositions. Suddenly everything became enchanted: the canonic layering of my knocking and scraping noises compressed themselves into a polyrhythmic layering and I felt myself being transported to the south of Africa where the African musicians play this instrument in ensemble and thereby produce a highly complex polyphony which the Viennese musicologist Gerhard Kubik described as “inherent patterns.” Only later I dedicated myself to the metal tines and through the help of live electronic manipulation found means and ways to dig out an ongoing diatonic. After many months of free experimenting, I was finally able to write a concisely written score for Jennifer Hymer, which turned my summing-ups of this instrument into a sound journey. Recorded at the premier at Klang!Container in Hamburg on Sep 13th, 2009 Info: http://www.essl.at/works/sequitur/sequitur-14.html

Recorded by Lars Mlekusch (alto sax) and Karlheinz Essl (live-electronics) at Studio kHz (18 Aug 2009). The Sequitur cycle consists of 14 different compositions for various solo instruments and live-electronics. It can be seen as a reference to Berio’s famous “Sequenze” cycle of solo pieces which focus on specific playing techniques of the respective instrument. All Sequitur composition use a software written in MaxMSP which creates an electronic accompaniment from the instrument’s live input; the player is confronted with his own playing, and this creates a situation like moving in a house of mirrors where the identities becomes blurred. The software generates a complex canon on the fly, the temporal structure and density of which being controlled by random operations. This yields different results every time the piece is performed. Although following a precisely notated score, there is always a good portion of surprise for the musician which emphasizes his awareness and attentiveness. Info: http://www.essl.at/works/sequitur/sequitur-7.html Info: http://www.essl.at/works/sequitur.html

Recorded by Anton Lukoszevieze (cello) and Karlheinz Essl (live-electronics) at the University of East Anglia (Norwich, UK)on 18 Sep 2008. The Sequitur cycle consists of 14 different compositions for various solo instruments and live-electronics. It can be seen as a reference to Berio’s famous “Sequenze” cycle of solo pieces which focus on specific playing techniques of the respective instrument. All Sequitur composition use a software written in MaxMSP which creates an electronic accompaniment from the instrument’s live input; the player is confronted with his own playing, and this creates a situation like moving in a house of mirrors where the identities becomes blurred. The software generates a complex canon on the fly, the temporal structure and density of which being controlled by random operations. This yields different results every time the piece is performed. Although following a precisely notated score, there is always a good portion of surprise for the musician which emphasizes his awareness and attentiveness. Info: http://www.essl.at/works/sequitur/sequitur-4.html

Unedited live recording withDomenico Sciajno [ita] - Live Video ProcessingJohn Brennan [can] - Live ElectronicsLive AV output recording @ ASK 191, Palermo, 31/5/2008

Recorded live on 23 Apr 2008 at the Essl Museum, Klosterneuburg with Georg Riedl (clarinet) and Karlheinz Essl (live-electronics). Sequitur is a series of 14 compositions for various solo instruments and live-electronics written for outstanding soloists. Somehow it can be seen as a reference to Luciano Berio's famous Sequenze cycle of solo pieces which focus on specific playing techniques of the respective instrument. Essl's Sequitur cycle includes pieces for orchestral instruments like flute and violin, but also for voice, electric guitar, toy piano or kalimba. All Sequitur composition use a software written in MaxMSP which creates an electronic accompaniment from the instrument’s live input; the player is confronted with his own playing, and this creates a situation like moving in a house of mirrors where the identities becomes blurred. The Sequitur software generates a complex canon on the fly, the temporal structure and density of which being controlled by random operations. This yields different results every time the piece is performed. Although following a precisely notated score, there is always a good portion of surprise for the musician which emphasizes his awareness and attentiveness. Info: http://www.essl.at/works/sequitur/sequitur-2.html

For inside flute, live-electronics and 4-channel sound projection. Recorded by Cordula Bösze (flute) and Karlheinz Essl (live-electronics) at Studio kHz. Info: http://www.essl.at/works/inside-out.html

Excerpt, performed by Ernst Kovacic (violin) and Karlheinz Essl (live-electronics) at Minoritenkirche Krems on 13 June 2003. "Segreto Spaziale" ist eine einstündige Klangreise als Spiegel des wechselhaften seelischen Prozesses, in dem der Mensch „zwischen Memento mori und Halleluja“ zu sich selbst findet. Karlheinz Essl hat diese Idee Ernst Kovacic’ in ein neunteiliges kompositorisches und dramaturgisches Konzept gegossen. Per Funk-Mikrophon mit dem Computer verbunden, von Lichtregie begleitet, durchwandert Kovacic Säulengänge, Seitenschiffe, Chor und Krypta der Minoritenkirche, hält auf der Violine Zwiesprache mit dem Raum und den von diesem zurück geworfenen Klängen - wie auch seinem von Essls Computer in Echtzeit prozessierten akustischen „Spiegelbild“ und rein elektronischen Sounds. Zwischen improvisierten und komponierten Strukturen wechselnd, entstehen kontrastreiche Klang-Texturen und -Skulpturen, von Individuum und architektonischem Resonanz-Körper gleichermaßen geprägt. (Andreas Felber) Info: http://www.essl.at/works/segreto-spaziale.html