Beatriz Ferreyra (*1937, Argentina)

studied piano in Buenos Aires. After a stay in the USA, she studied composition in Paris, where she also got to know electroacoustic music in the GRM environment.
In 1975 she became a member of the Groupe de Musique Experimental in Bourges. She has composed electronic and film music and is also active in music therapy.

L’AUTRE RIVE (2012, stereo, 18min)

source: CD

Bernard Parmegiani (1927–2013, Paris)

is one of the most important representatives of French electro-acoustic music alongside Francois Bayle and Pierre Henry.
He worked as a television technician, as a sound engineer and created signations, such as the theme song for the announcements at Paris-Charles-de-Gaulle airport.
A true example of his works is De Natura Sonorum, in which he combines and fuses instrumental sounds with electronic sounds.

DE NATURA SONORUM (1975, stereo, 53min)

source: CD INA/GRM INA C3001

Christian Tschinkel (*1973, Leoben)

A consistent artist who, even after studying psychology and musicology (at the University of Graz) and frequenting seminars in audio engineering, music therapy and sound direction, has no fear of contact with pop music. By dealing with “popacusmatics” (both theoretical and practical), he came to “acousmonautics”, in which he places the music from loudspeakers in a larger context (such as in The Kuiper Belt Project, 2006). He repeatedly reflects on his work in theoretical writings and has been teaching theory and repertoire of electroacoustic music at the University of Music and Performing Arts Vienna since 2021.
Along with Gilbert Handler and the United Loudspeaker Orchestra L.O.V.E.-Machine, he designs the acoustic staging of Herrman Nitsch’s musical works in the Nitsch-Museum, Mistelbach.

THE KUIPER BELT PROJECT (2006, stereo, 73 min)
An imaginary continuation of Gustav Holst’s famous orchestral suite The Planets, which sets some trans-Neptunian objects in the so-called Kuiper Belt at the edge of our solar system to music. In contrast to the general interpretation of astrology, astrological aspects are omitted here, however, certain mythological ritual components flow into these sound files. After all, their program is also derived from the designations of those stars that are usually named after mythological deities of the most diverse earthly cultures, such as Varuna, Ixion, Sedna and others.

source: private material by the composer

Christine Groult (*1950, Caen, France)

Already as a child she made field recordings with a portable tape recorder. She began her education at the GRM Paris and was studying musicology at the Sorbonne. She later ran a studio in Chalon-sur Chaon and is exclusively active in electro-acoustic music and sound installation.

L’HEURE ALLORS S’INCLINE (1991, stereo, 19 minutes)
“The hour draws ever closer”
Hommage à Luigi Nono
commisiion by DRAC Bourgogne

source: mini CD

Christoph Herndler (1964, Gaspoltshofen, Upper Austria)

studied organ, composition and electroacoustics at the University of Music and Performing Arts Vienna, he also went on study visits to Stanford and Los Angeles.
His work focuses on graphic and intermedial scores, which can also be realized in non-musical forms of representation. He creates notation objects, music installations and video works as well as art in public.

MY INSECT FUNERAL (1992, stereo, 10min)
“From a purely technical point of view, a composition in silence audible only at the stimulus points.”

source: CD Am Limes

Daniel Lercher (*1983, Judenburg, Styria)

The musician/composer Daniel Lercher is one of the busiest live electronic musicians on the international improvisation scene. His concerts and tours have taken him to Scandinavia, Iceland, South America, India and Australia.
He likes to work in small formations with other musicians (Henrik Nørstebø, Agnes Hvizdalek, Katharina Klement, Peter Kutin, etc.), occasionally with dance (Tara Silverthorn, Asher O’Gorman, etc.)
In his electro-acoustic compositions, which have been released on several vinyl records and CDs, he often uses field recordings or material that is used specifically for sound and analysis.

DHALANG I, II (2018/19, stereo, 14min)
THis composition consists of recordings and structures of an Indonesian gamelan orchestra.

TH_X (2020, stereo, 36min)
a contemplative improvisation by Henrik Nørstebø trombone and Daniel Lercher´s live electronics.

COMMUNIDAD MITU OROPENDULA (2017, stereo, 19min)
a fieldrecording of crested oropendola birds (Psarocolius decumanus) in the Colombian rainforest.

EUPHONIA (2017, 4-channel, 18min)
a composition with fieldrecordings from different countries like czech republic, new sealand, australia,
slowakia and slowenia. commissioned composition for the festival ‘the ecology of place’ in melbourne, australia.

PARS STRIDENS (2016, 4-channel, 8min)
a composition with untreated fieldrecordings of crickets and cicadas in new zealand, india & australia.
in the middle section of the piece high frequency resonators get excited with partial-frequencies from the stridulation.

source: private material by the composer

Daniel Lercher (*1981, Judenburg, Styria)

The musician/composer Daniel Lercher is one of the busiest live electronic musicians on the international improvisation scene. His concerts and tours have taken him to Scandinavia, Iceland, South America, India and Australia.
He likes to work in small formations with other musicians (Henrik Nørstebø, Agnes Hvizdalek, Katharina Klement, Peter Kutin, etc.), occasionally with dance (Tara Silverthorn, Asher O’Gorman, etc.)
In his electro-acoustic compositions, which have been released on several vinyl records and CDs, he often uses field recordings or material that is used specifically for sound and analysis.

DHALANG I, II (2018/19, stereo, 14min)
THis composition consists of recordings and structures of an Indonesian gamelan orchestra.

TH_X (2020, stereo, 36min)
a contemplative improvisation by Henrik Nørstebø trombone and Daniel Lercher´s live electronics.

source: private material by the composer

Daniel Lercher (*1983, Judenburg, Steiermark)

The musician/composer Daniel Lercher is one of the busiest live electronic musicians on the international improvisation scene. His concerts and tours have taken him to Scandinavia, Iceland, South America, India and Australia.
He likes to work in small formations with other musicians (Henrik Nørstebø, Agnes Hvizdalek, Katharina Klement, Peter Kutin, etc.), occasionally with dance (Tara Silverthorn, Asher O’Gorman, etc.)
In his electro-acoustic compositions, which have been released on several vinyl records and CDs, he often uses field recordings or material that is used specifically for sound and analysis.

DHALANG I, II (2018/19, stereo, 14min)
THis composition consists of recordings and structures of an Indonesian gamelan orchestra.

TH_X (2020, stereo, 36min)
a contemplative improvisation by Henrik Nørstebø trombone and Daniel Lercher´s live electronics.

COMMUNIDAD MITU OROPENDULA (2017, stereo, 19min)
a fieldrecording of crested oropendola birds in the Colombian rainforest.

EUPHONIA (2017, 4-channel, 18min)
a composition with fieldrecordings from different countries like Czech Republic, New Zealand, Australia, Slowakia and Slowenia. Commissioned composition for the festival ‘the ecology of place’ in Melbourne, Australia.

PARS STRIDENS (2016, 4-channel, 8min)
a composition with untreated fieldrecordings of crickets and cicadas in New Zealand, India & Australia.
In the middle section of the piece high frequency resonators get excited with partial-frequencies from the sound.

source: private material by the composer

Dieter Feichtner (1943, Innsbruck – 1999, Salzburg)

He learned to play piano, double bass and drums at the Salzburg Mozarteum. His real instrument however was the synthesizer, on which he developed great technical virtuosity and was ranked among the international greats on this instrument in the “Melody Maker”.
He is probably known to jazz lovers for his association with the John Surman Trio, which took him to concerts across Europe in the 1980s.
In the early 1980s he began a long-term project, “direct recordings”, in which he brought spontaneous, intuitively played music into a solid, repeatable form.

MÜ DER WANDERER (1983, stereo, 4min)
“Mu the tired wanderer”
from the album Anthology vol. 1

Dieter Kaufmann (*1941, Vienna)

studied composition in Vienna and electroacoustic music in Paris. From 1970 he taught at the University of Music in Vienna. From 1990 he also had his own composition class.
In 1975 he founded the K&K experimental studio with his wife, the actress Gunda König, and toured internationally with concerts, music theater productions and multimedia performances.
Kaufmann wrote numerous vocal, instrumental, orchestral works and operas, often with live electronics, but also purely electro-acoustic compositions.

LE VOYAGE AU PARADIS (1987, stereo, 18min)
The journey to paradise
Five images based on fragments by Robert Musil, speaker: Gunda König. composition commissioned by GRM Paris.
Language elements of the text are systematically transformed into musical elements by means of resonance.

source: original material by the composer

François Bayle (*1932, Madagascar)

lives in Paris and is one of the most important exponents of French electroacoustic “acousmatic” music, both as a composer and as a theorist.
From 1966 to 1997 he headed the Groupe de Recherches Musicales, a department of French radio that operated an experimental studio, developed software and organized concerts. In 1974 he founded his own loudspeaker orchestra for this purpose, the “Acousmonium”, with which countless electronic works are performed to this day.

JEITA (1969, stereo, 40min)
Composition commission for a sound installation in the famous grotto of the same name, a stalactite cave in Lebanon.

TROIS REVES D’OISEAUX (1969/71, stereo, 12 min)
“Three Bird Dreams”
A work in three parts (mocking / sad / zen) culminating in a kind of solo for a Brazilian uirapuru.

TOUPIE DANS LE CIEL (1971, stereo, 23 min)
Developed from the sound of a spinning top this piece is an obvious paraphrase of the famous Beatles song Lucy in the Sky.

source: private material by the composer
special thanks to François Bayle

François Bayle (*1932, Madagascar)

lives in Paris and is one of the most important exponents of French electroacoustic “acousmatic” music, both as a composer and as a theorist.
From 1966 to 1997 he headed the Groupe de Recherches Musicales, a department of French radio that operated an experimental studio, developed software and organized concerts. In 1974 he founded his own loudspeaker orchestra for this purpose, the “Acousmonium”, with which countless electronic works are performed to this day.

JEITA (1969, stereo, 40min)
Composition commission for a sound installation in the famous grotto of the same name, a stalactite cave in Lebanon.

TROIS REVES D’OISEAUX (1969/71, stereo, 12 min)
“Three Bird Dreams”
A work in three parts (mocking / sad / zen) culminating in a kind of solo for a Brazilian uirapuru.

TOUPIE DANS LE CIEL (1971, stereo, 23 min)
Developed from the sound of a spinning top this piece is an obvious paraphrase of the famous Beatles song Lucy in the Sky.

source: private material by the composer
special thanks to François Bayle

François Bayle (*1932, Madagascar)

lives in Paris and is one of the most important exponents of French electroacoustic “acousmatic” music, both as a composer and as a theorist.
From 1966 to 1997 he headed the Groupe de Recherches Musicales, a department of French radio that operated an experimental studio, developed software and organized concerts. In 1974 he founded his own loudspeaker orchestra for this purpose, the “Acousmonium”, with which countless electronic works are performed to this day.

JEITA (1969, stereo, 40min)
Composition commission for a sound installation in the famous grotto of the same name, a stalactite cave in Lebanon.

TROIS REVES D’OISEAUX (1969/71, stereo, 12 min)
“Three Bird Dreams”
A work in three parts (mocking / sad / zen) culminating in a kind of solo for a Brazilian uirapuru.

TOUPIE DANS LE CIEL (1971, stereo, 23 min)
Developed from the sound of a spinning top this piece is an obvious paraphrase of the famous Beatles song Lucy in the Sky.

source: private material by the composer
special thanks to François Bayle

Gerhard Laber (*1946, Salzburg)

Coming from the jazz scene as a percussionist and drummer, his musical path increasingly developed in the direction of experimental and concept-related improvisational music. Today the focus of his work is in the field of sound and noise art. The unconventional handling of his instruments and sound bodies expand traditional sound ideas and thus create new musical listening experiences.
1979–2007 he was a teacher for percussive instrumentation at the Upper Austrian State Music School, 2007–2012 lecturer for rhythm for classical musicians in Mühldorf am Inn.

HÖRBILDER (2020, stereo, 21min)
audio pictures
Audio picture #1 – Cosmos Rot – Towards the end almost nothing

source: original material by the composer

Gottfried Martin (1944–2011, Vienna)

a violist, visual artist and composer. Martin first studied violin and viola at the Vienna Music Academy and completed private studies in painting, graphics and sculpture. As a violist he worked in the orchestras of the Volks- und Staatsoper and became a member of the Vienna Philharmonic in 1974, later becoming chairman of the works council.
In addition, his passion was computer music. In Vienna he founded the Society for Electronic Music (GEM) and initiated the festival Acustica.
In 1991/92 he directed the project Austrian Soundscape, a sound installation in the Austrian pavilion at the EXPO 1992 in Seville, in which works by himself, Dieter Kaufmann and Günther Rabl were played for six months.

AUSTRIAN LANDSCAPE (1991/92, stereo, 62 min)
Composition commissioned by EXPO ’92 Seville

source: CD amadeo

Günther Rabl (*1953, Linz)

Composer and software developer, self-taught on the double bass, participation in improvisation and jazz ensembles (among others with Friedrich Gulda and Ursula Anders).
Since 1980 he has turned to tape composition and computer music, numerous works that have been performed at international concerts and festivals.
Since 1983 he has been developing software for sound processing and composition.
1990–2007 Lecture “Theory of Electroacoustics” at the University of Music in Vienna.
Since 1992 he has been building up his own loudspeaker orchestra for performances and installations.
2000 Founding of his own label canto crudo, publication of his own works as well as archive stocks (Dieter Feichtner, Friedrich Gulda) and rarities on CD.
2010 Foundation of the Electric Orpheus Academy.

IDYLLE (1991, stereo, 6min)
idyll
from the album Odyssee, commission for the EXPO ’92 in Sevilla

FUNKENFLUG (1993, 8-channel, 19min)
flying sparks
Second part of Katharsis, from the sound of a waterfall.
The rushing water has dissolved into a crackling sound that occasionally encounters some imaginary sound objects.

WIND INTERMEZZO (1993, 8-channel, 6min)
Third part of Katharsis, from the sound of a waterfall.
The rushing water is condensed into a wind-like sound. Some elastic objects howl with the wind.

THRENODY FOR NO PARTICULAR REASON (2011/12, 4-channel, 49min)
Two nested cycles with the sounds of a multidimensional tone generator. One organ-like, the other with the characteristic style of singing bowls.

ETUDE IN GRAU (1980/2003, 10-channel, 30min)
etude in gray
A study with filtered noise in 250 subjects based on pairs of opposites fast/slow, calm/restless, even/uneven.

FLYING FORKS (1989, mono, 3min)
A brief study of the sound of a tuning fork fastened between strings.

source: private material by the composer

Günther Rabl (*1953, Linz)

Composer and software developer, self-taught on the double bass, participation in improvisation and jazz ensembles (among others with Friedrich Gulda and Ursula Anders).
Since 1980 he has turned to tape composition and computer music, numerous works that have been performed at international concerts and festivals.
Since 1983 he has been developing software for sound processing and composition.
1990–2007 Lecture “Theory of Electroacoustics” at the University of Music in Vienna.
Since 1992 he has been building up his own loudspeaker orchestra for performances and installations.
2000 Founding of his own label canto crudo, publication of his own works as well as archive stocks (Dieter Feichtner, Friedrich Gulda) and rarities on CD.
2010 Foundation of the Electric Orpheus Academy.

IDYLLE (1991, stereo, 6min)
idyll
from the album Odyssee, commission for the EXPO ’92 in Sevilla

FUNKENFLUG (1993, 8-channel, 19min)
flying sparks
Second part of Katharsis, from the sound of a waterfall.
The rushing water has dissolved into a crackling sound that occasionally encounters some imaginary sound objects.

WIND INTERMEZZO (1993, 8-channel, 6min)
Third part of Katharsis, from the sound of a waterfall.
The rushing water is condensed into a wind-like sound. Some elastic objects howl with the wind.

THRENODY FOR NO PARTICULAR REASON (2011/12, 4-channel, 49min)
Two nested cycles with the sounds of a multidimensional tone generator. One organ-like, the other with the characteristic style of singing bowls.

ETUDE IN GRAU (1980/2003, 10-channel, 30min)
etude in gray
A study with filtered noise in 250 subjects based on pairs of opposites fast/slow, calm/restless, even/uneven.

FLYING FORKS (1989, mono, 3min)
A brief study of the sound of a tuning fork fastened between strings.

source: private material by the composer

Günther Rabl (*1953, Linz)

Composer and software developer, self-taught on the double bass, participation in improvisation and jazz ensembles (among others with Friedrich Gulda and Ursula Anders).
Since 1980 he has turned to tape composition and computer music, numerous works that have been performed at international concerts and festivals.
Since 1983 he has been developing software for sound processing and composition.
1990–2007 Lecture “Theory of Electroacoustics” at the University of Music in Vienna.
Since 1992 he has been building up his own loudspeaker orchestra for performances and installations.
2000 Founding of his own label canto crudo, publication of his own works as well as archive stocks (Dieter Feichtner, Friedrich Gulda) and rarities on CD.
2010 Foundation of the Electric Orpheus Academy.

IDYLLE (1991, stereo, 6min)
idyll
from the album Odyssee, commission for the EXPO ’92 in Sevilla

FUNKENFLUG (1993, 8-channel, 19min)
flying sparks
Second part of Katharsis, from the sound of a waterfall.
The rushing water has dissolved into a crackling sound that occasionally encounters some imaginary sound objects.

WIND INTERMEZZO (1993, 8-channel, 6min)
Third part of Katharsis, from the sound of a waterfall.
The rushing water is condensed into a wind-like sound. Some elastic objects howl with the wind.

THRENODY FOR NO PARTICULAR REASON (2011/12, 4-channel, 49min)
Two nested cycles with the sounds of a multidimensional tone generator. One organ-like, the other with the characteristic style of singing bowls.

ETUDE IN GRAU (1980/2003, 10-channel, 30min)
etude in gray
A study with filtered noise in 250 subjects based on pairs of opposites fast/slow, calm/restless, even/uneven.

FLYING FORKS (1989, mono, 3min)
A brief study of the sound of a tuning fork fastened between strings.

source: private material by the composer

Günther Rabl (*1953, Linz)

Composer and software developer, self-taught on the double bass, participation in improvisation and jazz ensembles (among others with Friedrich Gulda and Ursula Anders).
Since 1980 he has turned to tape composition and computer music, numerous works that have been performed at international concerts and festivals.
Since 1983 he has been developing software for sound processing and composition.
1990–2007 Lecture “Theory of Electroacoustics” at the University of Music in Vienna.
Since 1992 he has been building up his own loudspeaker orchestra for performances and installations.
2000 Founding of his own label canto crudo, publication of his own works as well as archive stocks (Dieter Feichtner, Friedrich Gulda) and rarities on CD.
2010 Foundation of the Electric Orpheus Academy.

IDYLLE (1991, stereo, 6min)
idyll
from the album Odyssee, commission for the EXPO ’92 in Sevilla

FUNKENFLUG (1993, 8-channel, 19min)
flying sparks
Second part of Katharsis, from the sound of a waterfall.
The rushing water has dissolved into a crackling sound that occasionally encounters some imaginary sound objects.

WIND INTERMEZZO (1993, 8-channel, 6min)
Third part of Katharsis, from the sound of a waterfall.
The rushing water is condensed into a wind-like sound. Some elastic objects howl with the wind.

THRENODY FOR NO PARTICULAR REASON (2011/12, 4-channel, 49min)
Two nested cycles with the sounds of a multidimensional tone generator. One organ-like, the other with the characteristic style of singing bowls.

ETUDE IN GRAU (1980/2003, 10-channel, 30min)
etude in gray
A study with filtered noise in 250 subjects based on pairs of opposites fast/slow, calm/restless, even/uneven.

FLYING FORKS (1989, mono, 3min)
A brief study of the sound of a tuning fork fastened between strings.

source: private material by the composer

Günther Rabl (*1953, Linz)

Komponist und Softwareentwickler, Autodidakt am Kontrabass, Mitwirkung in Improvisations- und Jazzensembles (u.a. mit Friedrich Gulda und Ursula Anders).
Seit 1980 Hinwendung zu Tonbandkomposition und Computermusik, zahlreiche Werke, die bei internationalen Konzerten und Festivals aufgeführt wurden.
Seit 1983 Entwicklung von Software für Klangverarbeitung und Komposition
1990–2007 Vorlesung ‘Theorie der Elektroakustik’ an der Musikuni Wien
Seit 1992 Aufbau eines eigenen Lautsprecherorchesters für Aufführungen und Installationen.
2000 Gründung des eigenen Labels canto crudo, Veröffentlichung eigener Werke sowie Archivbestände (Dieter Feichtner, Friedrich Gulda) und Raritäten auf CD.
2010 Gründung der Electric Orpheus Academy.

IDYLLE (1991, stereo, 6min)
aus dem Album Odyssee, Kompositionsauftrag für die EXPO ’92 in Sevilla

FUNKENFLUG (1993, 8-kanal, 19min)
Zweiter Teil von ‘Katharsis’, aus dem Rauschen eines Wasserfalles.
Das Wasserrauschen ist in ein Knistern aufgelöst, das hinundwieder auf einige imaginäre Klangobjekte trifft.

WIND-INTERMEZZO (1993, 8-kanal, 6min)
Dritter Teil von Katharsis, aus dem Rauschen eines Wasserfalles.
Das Wasserrauschen ist zu einem windartigen Klang verdichtet. Einige elastische Objekte heulen mit dem Wind.

THRENODY FOR NO PARTICULAR REASON (2011/12, 4-kanal, 49min)
„Klagelied ohne besonderen Anlass“
Zwei verschachtelte Zyklen mit den Klängen eines multidimensionalen Tongenerators. Einer orgelartig, der andere mit dem Duktus von Klangschalen.

ETUDE IN GRAU (1980/2003, 10-kanal, 30min)
Eine Studie mit gefilterten Rauschen in 250 Motiven auf der Basis der Gegensatzpaare schnell/langsam, ruhig/unruhig, gleichmäßig/ungleichmäßig.

FLYING FORKS (1989, mono, 3min)
„Fliegende Gabeln“
Eine kurze Studie mit den Klang einer zwischen Saiten befestigter Stimmgabel.

source: private material by the composer

Günther Rabl (*1953, Linz)

Composer and software developer, self-taught on the double bass, participation in improvisation and jazz ensembles (among others with Friedrich Gulda and Ursula Anders).
Since 1980 he has turned to tape composition and computer music, numerous works that have been performed at international concerts and festivals.
Since 1983 he has been developing software for sound processing and composition.
1990–2007 Lecture “Theory of Electroacoustics” at the University of Music in Vienna.
Since 1992 he has been building up his own loudspeaker orchestra for performances and installations.
2000 Founding of his own label canto crudo, publication of his own works as well as archive stocks (Dieter Feichtner, Friedrich Gulda) and rarities on CD.
2010 Foundation of the Electric Orpheus Academy.

IDYLLE (1991, stereo, 6min)
idyll
from the album Odyssee, commission for the EXPO ’92 in Sevilla

FUNKENFLUG (1993, 8-channel, 19min)
flying sparks
Second part of Katharsis, from the sound of a waterfall.
The rushing water has dissolved into a crackling sound that occasionally encounters some imaginary sound objects.

WIND INTERMEZZO (1993, 8-channel, 6min)
Third part of Katharsis, from the sound of a waterfall.
The rushing water is condensed into a wind-like sound. Some elastic objects howl with the wind.

THRENODY FOR NO PARTICULAR REASON (2011/12, 4-channel, 49min)
Two nested cycles with the sounds of a multidimensional tone generator. One organ-like, the other with the characteristic style of singing bowls.

ETUDE IN GRAU (1980/2003, 10-channel, 30min)
etude in gray
A study with filtered noise in 250 subjects based on pairs of opposites fast/slow, calm/restless, even/uneven.

FLYING FORKS (1989, mono, 3min)
A brief study of the sound of a tuning fork fastened between strings.

source: private material by the composer

Guy Fleming (born in Newcastle, Australia)

is a trained geologist, astronomer, organist and last but not least a photographer. In his home country he is known as a photographer – above all for his work on the decay of a disused waste incineration plant A Study in Decay. In addition, he also dealt with the diverse acoustics of the ruins and created a highly acclaimed piece Confined Entropy from sound recordings.

CONFINED ENTROPY (1989, stereo, 65 minutes)

GEIGER BEATS (2016/20, stereo, 22min)
The piece deals with the rhythms produced by a Geiger counter when measuring radioactive material.

source: private material by the composer

Guy Fleming (*1964, Sydney)

is a trained geologist, astronomer, organist and last but not least a photographer. In his home country he is known as a photographer – above all for his work on the decay of a disused waste incineration plant A Study in Decay. In addition, he also dealt with the diverse acoustics of the ruins and created a highly acclaimed piece Confined Entropy from sound recordings.

CONFINED ENTROPY (1989, stereo, 65 minutes)

GEIGER BEATS (2016/20, stereo, 22min)
The piece deals with the rhythms produced by a Geiger counter when measuring radioactive material.

source: private material by the composer

Iannis Xenakis (1922, Brăila, Romania – 2001, Paris)

is an architect and composer.
Xenaki’s music is strongly influenced by his interest in mathematical and acoustic principles. Starting in 1954, he developed his own musical style from random phenomena such as rain, a crowd or a swarm of bees: stochastic music. In addition, he tried to implement methods and knowledge of game theory, set theory and number theory in his compositions.

CONCRETE PH (1958, 4-channel, 3min)
a tape composition for the Philips Pavilion at the 1958 World Exhibition in Brussels, as part of a total work of art made up of architecture, light, film and music by the architect Le Corbusier and the composer Edgar Varèse.
The sound material for this consists exclusively of the crackling of glowing charcoal.

source: copy from GRM

Ilhan Mimaroglu (1926, Istanbul – 2012, NewYork)

worked as a producer for Atlantic Records, in particular for Charles Mingus and Freddie Hubbard.
He also released an anti-war album for trumpet, jazz band, string quartet and electronic sounds Sing Me a Song of Songmy with Freddie Hubbard. He also composed music for Federico Fellini’s film Satyricon.
In addition to instrumental music, his work mainly includes compositions on tape and electronic music.
Among them is a work for Jean Dubuffets show Coucou Bazar, held in 1973 at the Guggenheim Museum in New York, then in Paris and Turin.

COUCOU BAZAR (1973, stereo, 44min)

source: copies from vinyl
special thanks to: Istanbul University State Conservatory

Karlheinz Stockhausen (1928–2007, Kürten, Germany)

Was already considered one of the most important composers of the 20th century during his lifetime. He was a role model for generations of younger composers.
In the beginning he dealt intensively with electronic sound generation and tape composition. In contrast to many other composers of his time, for whom it was only an intermediate point of passage, he stayed with it for a long time and worked in the studios himself. The resulting works are among the most important of the international repertoire.

TELEMUSIK (1966, 5-channel, stereo mix, 18min)
Stockhausen composed this exemplary piece at the invitation of the Japanese broadcaster NHK. He uses recordings of traditional folk music from all over the world together with electronic sounds that are intermodulated in many layers.
The piece was originally conceptualized for 5 audio tracks, but today only this stereo version exists.

source: CD
special thanks to Stockhausen Verlag

Katharina Klement (*1963, Graz)

The composer works as a “composer-performer” in the field of composed and improvised, electronic and instrumental music. Her activities also include numerous cross-linking projects within the areas of music, text and video. She has always been particularly interested in the piano, especially the extended playing techniques. International collaboration with various ensembles and artists.
Since 2006 she has been a lecturer in the course for computer music and electronic media at the University of Music and Performing Arts. Art Vienna.

UND ALLES LICHT IN DIESEM TON (2017, 4-channel, 20min)
and all light in this sound
Over the course of the piece, textures are created from predominantly low-frequency and flat sound material that are constantly located between sound and noise – as if a beam of light were illuminating a sonic-sculptural mass. The title is taken from a text by Marlene Streeruwitz.

PERIPHERIES 2, 3, 5 (2017, 8-channel, 14min)
Excerpts from a sound portrait of the city of Belgrade
2 induction
3 njemo colo (mute dance)
5 escalator

TRAUM (1991, stereo, 3min)
dream
a short sketch with prepared piano

Katharina Klement (*1963, Graz)

The composer works as a “composer-performer” in the field of composed and improvised, electronic and instrumental music. Her activities also include numerous cross-linking projects within the areas of music, text and video. She has always been particularly interested in the piano, especially the extended playing techniques. International collaboration with various ensembles and artists.
Since 2006 she has been a lecturer in the course for computer music and electronic media at the University of Music and Performing Arts. Art Vienna.

UND ALLES LICHT IN DIESEM TON (2017, 4-channel, 20min)
and all light in this sound
Over the course of the piece, textures are created from predominantly low-frequency and flat sound material that are constantly located between sound and noise – as if a beam of light were illuminating a sonic-sculptural mass. The title is taken from a text by Marlene Streeruwitz.

PERIPHERIES 2,3,5 (2017, 8-channel, 14min)
Excerpts from a sound portrait of the city of Belgrade
2 induction
3 njemo colo (mute dance)
5 escalator

TRAUM (1991, stereo, 3min)
dream
a short sketch with prepared piano

Katharina Klement (*1963, Graz)

The composer works as a “composer-performer” in the field of composed and improvised, electronic and instrumental music. Her activities also include numerous cross-linking projects within the areas of music, text and video. She has always been particularly interested in the piano, especially the extended playing techniques. International collaboration with various ensembles and artists.
Since 2006 she has been a lecturer in the course for computer music and electronic media at the University of Music and Performing Arts. Art Vienna.

UND ALLES LICHT IN DIESEM TON (2017, 4-channel, 20min)
and all light in this sound
Over the course of the piece, textures are created from predominantly low-frequency and flat sound material that are constantly located between sound and noise – as if a beam of light were illuminating a sonic-sculptural mass. The title is taken from a text by Marlene Streeruwitz.

PERIPHERIES 2, 3, 5 (2017, 8-channel, 14min)
Excerpts from a sound portrait of the city of Belgrade
2 induction
3 njemo colo (mute dance)
5 escalator

TRAUM (1991, stereo, 3min)
dream
a short sketch with prepared piano

Klaus Gstettner (*1969, Tyrol)

During his 15-year life in Hamburg as a live technician for the NDR, the Schleswig Holstein Music Festival and internationally touring artists, the studio work came more and more to the fore. He has been living in Austria again since 2011 and is now setting up the “Greenroom” as a mixing and mastering studio.

SPHERES (2014, stereo, 8min)

Sonata for 50 steel pearls and a frame drum, in the original 63 channel.
The sound of 50 steel pearls in a traditional frame drum is the raw material for this piece. Already spatially recorded with 5 microphones, the sounds were then digitally transformed.

source: private material by the composer

Klaus Hollinetz (*1959, Linz)

is a writer, composer and sound artist.
He studied electroacoustics and experimental music at the University of Music and Performing Arts Vienna and has since created numerous electroacoustic compositions and other works. At the same time his literary activities began with publications in Austria, Mexico and the Czech Republic.
In 1992 and 1996 he acted as co-director of the Absolute Music Festival. From 1992 to 1994 he was in charge of the experimental music studio in the Offenes Kulturhaus (open house of culture) in Linz.
Since 2000 he has been a lecturer in aesthetics of electronic music and sound design at the Institute for Electronic Music at the University of Music and Performing Arts Graz.

DIFFRACTION (1991, stereo, 10min)
composition for feedback sounds

source: CD Am Limes

Daniel Lercher (*1983, Judenburg, Styria)

The musician/composer Daniel Lercher is one of the busiest live electronic musicians on the international improvisation scene. His concerts and tours have taken him to Scandinavia, Iceland, South America, India and Australia.
He likes to work in small formations with other musicians (Henrik Nørstebø, Agnes Hvizdalek, Katharina Klement, Peter Kutin, etc.), occasionally with dance (Tara Silverthorn, Asher O’Gorman, etc.)
In his electro-acoustic compositions, which have been released on several vinyl records and CDs, he often uses field recordings or material that is used specifically for sound and analysis.

DHALANG I, II (2018/19, stereo, 14min)
THis composition consists of recordings and structures of an Indonesian gamelan orchestra.

TH_X (2020, stereo, 36min)
a contemplative improvisation by Henrik Nørstebø trombone and Daniel Lercher´s live electronics.

COMMUNIDAD MITU OROPENDULA (2017, stereo, 19min)
a fieldrecording of crested oropendola birds in the Colombian rainforest.

EUPHONIA (2017, 4-channel, 18min)
a composition with fieldrecordings from different countries like Czech Republic, New Zealand, Australia, Slowakia and Slowenia. Commissioned composition for the festival ‘the ecology of place’ in Melbourne, Australia.

PARS STRIDENS (2016, 4-channel, 8min)
a composition with untreated fieldrecordings of crickets and cicadas in New Zealand, India & Australia.
In the middle section of the piece high frequency resonators get excited with partial-frequencies from the sound.

source: private material by the composer

Louis & Bebe Barron

Bebe Barron (1925–2008) and Louis Barron (1920–1989)
are pioneers of American electronic music. In New York they had one of the first tape recorders and collaborated with artists from the American avant-garde (Henry Miller, Anaïs Nin, John Cage) in the 1940s and 50s.
Louis Barron developed electronic devices and machines for generating sound, while Bebe Barron composed and mounted the results on tape. Their music for the SciFi film ‘Forbidden Planet’, which is considered the first electronic soundtrack in film history (1956), is famous worldwide. It was even proposed for an Oscar, but the musicians’ union insisted at the time that it couldn’t be called music. Hence it was called “electronic tonalities”…

FORBIDDEN PLANET (1956, stereo, 39min)

source: CD
special thanks to: Adam Barron

Luc Ferrari (1929, Paris – 2005, Arezzo)

Composer, sound artist and radio play producer. He is regarded as a representative of musique concrète and is best known for his experiments with tape music.
In 1958 he founded the “Groupe de Recherches Musicales” (GRM) in Paris with Pierre Schaeffer and François-Bernard Mâche. However, diverging artistic views led to their separation in 1966. While Schaeffer demanded an abstract and typical sound work, Ferrari incorporated recognizable environmental noises into his music (musique anecdotique).

PRESQUE RIEN No. 1 (1967–70, stereo, 21min)
“Almost nothing”
The morning in a Dalmatian fishing village

Martin Gut (*1976, Hohenems, Vorarlberg)

lives in Krems/Donau, he is a composer and guitarist. His main instrument, however, is the scheitholt – an electrically amplified monochord that allows him to play with higher overtone structures. In his compositions he combines traditional approaches with microtonal explorations.

KNOT (2021, stereo, 12min)
“My soul is released from the home”
A minimalist juxtaposition of a tone on the instrument with a tone generated on a physical model with minimal spectral deviations.

source: private material by the composer

Martina Cizek (1959–2019, Vienna)

She is not only a composer and musician in numerous ensembles of improvised and contemporary music, but is also active in the field of musical music with ethnic roots up to new folk music.
Additionally she also creates electroacoustic works and multimedia.

KNARZ (2006–09, stereo, 22min)
or 22 “miniature doors”
This composition consists of the creaking of doors in a building over 300 years old.
When Martina Cizek picks up this type of sound, she approaches it with the ear and sense of form of a saxophonist – as a musician of an instrument that works just as well in the border area. Her 22 “miniatures” are, so to speak, a transformation of the basically dry sound type into the opulently musical.

source: private material
special thanks to Moritz Cizek

Matthias Makowsky (*1978, Vienna)

is a freelance artist, musician, composer, organizer and curator. His projects range from fields of visual to arts, concerts, performance, multimedia and installations. He studied computer music and electronic media at the MDW, Design, Architecture and Environment at the University of Applied Arts, Vienna.
Cooperation with artists and ensembles, and assistance in sound and light direction for theater events.

ASPACEO (2022, stereo, 8min)

source: private material by the composer

Michael Moser (*1959, Vienna)

Studied architecture and cello in Vienna and Graz.
Specializing in contemporary music and improvisation, he plays in various ensembles as a cellist. He received composition commissions for cello and live electronics.
In 2016 he created an elaborate sound installation, Antiphon, in the church Minoritenkirche Krems-Stein, in which glass plates are made to vibrate via electrical transducers. A recording of this is also available for speaker installations.

ANTIPHON (2016, stereo, 80min)

source: private material by the composer

Milan Adamčiak (1946, Ružomberok / SK – 2017, Banská Belá / SK)

As a student he focused on experimental poetry, happenings and the fluxus movement. At the Warsaw autumn festival he discovered modern music.
In 1969 he took part in the hunger strike for Jan Palach. Due to his political activities his name ceased to have much presence in galleries and concerts for an extended period of time.
Among his work are graphics – especially graphical scores, videos and electroacoustic music.
The piece presented here was published by the Slovak radio.

CAPPRICCIO (1983, stereo, 10min)

source: original soundfile from Radio Bratislava

Oliver Grimm (*1978, Klagenfurt)

lives in Tokyo, married to the Koto-virtuoso Chieko Mori.
He studied computer music at the university of Vienna and was a member of FABRICA (Benetton Art Research Center) in Treviso from 2002-03. From 2007-10 he taught computer music at the Tokyo University of the Arts.

SHIOSAI (2015, 4-channel, 10min)
“The Thunder of the Surge” is based on the novel of the same name by Mishima Yukio.
In it, Oliver Grimm uses spectral analyses of a koto solo by Chieko Mori and applies the resulting scales to synthetic material and water noise.

MUTSUMARU (2020/21, 3-channel, 20min)
The sounds of a city – the traffic, its people, the construction and destruction of buildings – is contrasted with the rhythm of breathing. The geometric characteristics of the sound material are translated and transposed into the spatial and time structure.

source: private material by the composer

Oliver Grimm (*1978, Klagenfurt)

lives in Tokyo, married to the Koto-virtuoso Chieko Mori.
He studied computer music at the university of Vienna and was a member of FABRICA (Benetton Art Research Center) in Treviso from 2002–03. From 2007–10 he taught computer music at the Tokyo University of the Arts.

SHIOSAI (2015, 4-channel, 10min)
“The Thunder of the Surge” is based on the novel of the same name by Mishima Yukio.
In it, Oliver Grimm uses spectral analyses of a koto solo by Chieko Mori and applies the resulting scales to synthetic material and water noise.

MUTSUMARU (2020/21, 3-channel, 20min)
The sounds of a city – the traffic, its people, the construction and destruction of buildings – is contrasted with the rhythm of breathing. The geometric characteristics of the sound material are translated and transposed into the spatial and time structure.

source: private material by the composer

Peter Ablinger (*1959, Schwanenstadt, Upper Austria)

studied piano at the conservatory of Graz and composition with Gösta Neuwirth and Roman Haubenstock-Ramati.
Since 1992 he has been a visiting scholar and lecturer at various universities and institutes.
In 2012 he became a member of the academy of arts in Berlin.
In addition to his compositional work he initiated and organized many festivals.
As a composer he focuses on the borderlines of music, often using subtle sounds and noises from all origins.

WEISS/WEISSLICH 18 (1996, stereo, 12min) for Robert Ranke-Graves

The piece consists of 18 short excerpts of the rustling of leaves from various trees and bushes:
Birch, rowan, ash, alder, willow, hawthorn, oak, holm oak, hazel, vine, ivy, sloe, elder, fir, broom, heather, aspen, yew.
with technical support from IEM Graz and Electronic Studio of the TU Berlin.

source: private material by the composer

Pierre Boeswillwald (*1934, Toulon)

is trained in electrical engineering, audio engineering and acting. In the 1950s he discovered electroacoustic music and worked in the research section of Radio France.
His compositions often have the character of radio plays or are specifically created for radio and theater, but always with an emphasis on electroacoustic music.

LE LIVRE DES MORTS ORDINAIRES (1987/91, stereo, 33 minutes)
The “book of ordinary deaths” is a modern equivalence with the fresco of the tombs of the ancient Pharaohs which show, beyond millenia, the actions of the most humble, of the most ordinary, living being of these times.

SUR LES CHEMINS DE VENISE (1983, stereo, 19min)
On the roads of Venice
Behind the beauty of the present cracked palaces, the shadow of the merchants awakens the bewildered clamour of the galleys, the babbling of the assemblies and the ostentation, still present, of carnivals of nostalgic, ridiculous, wicked aristocrats.

source: CD Chrysopée Électronique – Bourges

Pierre Boeswillwald (*1934, Toulon)

is trained in electrical engineering, audio engineering and acting. In the 1950s he discovered electroacoustic music and worked in the research section of Radio France.
His compositions often have the character of radio plays or are specifically created for radio and theater, but always with an emphasis on electroacoustic music.

LE LIVRE DES MORTS ORDINAIRES (1987/91, stereo, 33 minutes)
The “book of ordinary deaths” is a modern equivalence with the fresco of the tombs of the ancient Pharaohs which show, beyond millenia, the actions of the most humble, of the most ordinary, living being of these times.

SUR LES CHEMINS DE VENISE (1983, stereo, 19min)
On the roads of Venice
Behind the beauty of the present cracked palaces, the shadow of the merchants awakens the bewildered clamour of the galleys, the babbling of the assemblies and the ostentation, still present, of carnivals of nostalgic, ridiculous, wicked aristocrats.

source: CD Chrysopée Électronique – Bourges

DIE RELATIVITÄTSTHERAPIE
the relativity therapy

The composer Günther Rabl and the singer and ‘electronic musician’ Gilbert Handler have been running a long-term project for years, which they call ‘The Relativity Therapy’.
In it, musical areas and styles are confronted with each other that usually never meet.
Oriental music meets alpine folk music, Richard Wagner meets German hits, etc.
This results in bizarre cover versions, crossovers and bastards that are performed in rare concerts and radio shows.

UNTERM WATSCHENBAUM (2018, stereo, 6min)
under the clout tree
One of the rare purely instrumental numbers in which a background choir by Jimi Hendrix meets a harpsichord piece by Josef Matthias Hauer – connected by arrangements of a New Year’s Eve fireworks display.

source: private materiel by the composers

An all-round artist in the fields of music, light, video, sound engineering and stage construction.
Participating in numerous theater productions, films, concerts, performances and festivals in Vienna and Lower Austria, his approach to music is basically intuitive and improvisational, his pieces of music are mostly fleeting, a work in progress.
This is also the case with this piece created for the night program.

PAN O RAMA (2021, stereo, 43min)

source: private material by the composer

Tim Blechmann (*1981, Bielefeld)

is a musician, programmer and lives in Kuala Lumpur.
He studied music informatics in Vienna and created several works, characterized by a large arc and many channels.
After hearing damage, he retired from making music and focused more on programming.
Today he works as a developer for several well-known software companies, such as Native Instruments or Cycling ’74.

SINE TEMPORE (2012, 10-channel, 30min)

source: original soundfiles from the composer

Tommy Zwedberg (1946–2021, Stockholm)

After a few years as a trumpeter, he studied music at the Royal College of Music in Stockholm, where he also worked at the newly founded EMS (Electronic Music Studio).
Later he had his own studio on a boat in the Baltic Sea.
In addition to instrumental compositions and works for ballet, he also created a whole series of electro-acoustic pieces that are characterized by wit and intensity.

HANGING (1979, stereo, 16min)
The piece uses a Swedish folk instrument, a type of lyre or zither, played with a fiddlestick.

AND IT KILLED HIM TWICE (1995, stereo, 10min)

BAVARDS (1986, stereo,10min)
“Bavarde is a work for laughter and the silence that follows laughter …. Bavarde is made of a concrete mass of sounds such as woodwinds, strings and the sound given off by a steel coil of a lamp. This material has then been processed and tossed out in ‘free fall – the catcher/listener decides how the landing will be …”

source: CD

Tommy Zwedberg (1946–2021, Stockholm)

After a few years as a trumpeter, he studied music at the Royal College of Music in Stockholm, where he also worked at the newly founded EMS (Electronic Music Studio).
Later he had his own studio on a boat in the Baltic Sea.
In addition to instrumental compositions and works for ballet, he also created a whole series of electro-acoustic pieces that are characterized by wit and intensity.

HANGING (1979, stereo, 16min)
The piece uses a Swedish folk instrument, a type of lyre or zither, played with a fiddlestick.

AND IT KILLED HIM TWICE (1995, stereo, 10min)

BAVARDS (1986, stereo,10min)
“Bavarde is a work for laughter and the silence that follows laughter …. Bavarde is made of a concrete mass of sounds such as woodwinds, strings and the sound given off by a steel coil of a lamp. This material has then been processed and tossed out in ‘free fall – the catcher/listener decides how the landing will be …”

source: CD

Tommy Zwedberg (1946–2021, Stockholm)

After a few years as a trumpeter, he studied music at the Royal College of Music in Stockholm, where he also worked at the newly founded EMS (Electronic Music Studio).
Later he had his own studio on a boat in the Baltic Sea.
In addition to instrumental compositions and works for ballet, he also created a whole series of electro-acoustic pieces that are characterized by wit and intensity.

HANGING (1979, stereo, 16min)
The piece uses a Swedish folk instrument, a type of lyre or zither, played with a fiddlestick.

AND IT KILLED HIM TWICE (1995, stereo, 10min)

BAVARDS (1986, stereo,10min)
“Bavarde is a work for laughter and the silence that follows laughter …. Bavarde is made of a concrete mass of sounds such as woodwinds, strings and the sound given off by a steel coil of a lamp. This material has then been processed and tossed out in ‘free fall – the catcher/listener decides how the landing will be …”

source: CD

Toshi Ichiyanagi (*1933, Kobe, Japan)

Studied music in Tokyo and New York, where he also lived from 1952 to 1961. During this time he was married to Yoko Ono. John Cage, with whom he occasionally worked, dedicated his Concept piece 0’00” to him and Yoko Ono.
He composed chamber music and music for orchestra, also incorporating traditional Japanese instruments.
In the 1980s he worked at the National Theater in Tokyo.
In the 1960s he was mainly concerned with electroacoustic music and tape compositions, whereby he also uses Japanese instruments as sound material used, as in Funakakushi or such extraordinary material as the sounds of the kinetic sculptures by Jean Tinguely, which Ichiyanagi met at an exhibition in Tokyo.

FUNAKAKUSHI (1963, 2-channel, 13min)

MUSIC FOR TINGUELY (1963, mono, 10min)

source: CD
special thanks to Toshi Ichiyanagi, Omega Point Tokyo

Toshi Ichiyanagi (*1933, Kobe, Japan)

Studied music in Tokyo and New York, where he also lived from 1952 to 1961. During this time he was married to Yoko Ono. John Cage, with whom he occasionally worked, dedicated his Concept piece 0’00” to him and Yoko Ono.
He composed chamber music and music for orchestra, also incorporating traditional Japanese instruments.
In the 1980s he worked at the National Theater in Tokyo.
In the 1960s he was mainly concerned with electroacoustic music and tape compositions, whereby he also uses Japanese instruments as sound material used, as in Funakakushi or such extraordinary material as the sounds of the kinetic sculptures by Jean Tinguely, which Ichiyanagi met at an exhibition in Tokyo.

FUNAKAKUSHI (1963, 2-channel, 13min)

MUSIC FOR TINGUELY (1963, mono, 10min)

source: CD
special thanks to Toshi Ichiyanagi, Omega Point Tokyo

Vinzenz Schwab (*1981, East Styria)

lives in Lower Austria. In his work, which revolves around the areas of electroacoustic composition, live electronics, film music and sound design, he deals with concrete sound material and explores its transformation possibilities.
He has already published two albums and several online releases with his works, in which he also deals with other sound systems – in particular the “Lucy Harrison scale”.
In 2021 he received the Diagonale Prize for Sound Design.

QUENDELZYKLUS (2020/22, 10-channel, 30min)
thyme cycle
Composition grant from the Ministry of Art.
“From 4 parts gape once-common sounds from their layered transformations. Physical laws seem to be changing slowly.”

source: private material by the composer

Volkmar Klien (*1971, Hollabrunn, Lower Austria)

His interest in the complex connections between the different modes of human perception and the roles they play in the collaborative creation of reality leads him into the most diverse realms of audible and inaudible art.
In numerous projects together with his brother, the choreographer Michael Klien, he explores connections between sound, body, movement, presence and human communication.
Since 2017 he has been Professor of Composition and Director of the Institute for Composition, Conducting and Computer Music at the Anton Bruckner Private University in Linz.

WAVES 1, 2 (2015, 8-channel, 11min)

source: original soundfiles by the composer