Aleksandra Słyż (* 1995, Poland)

Composer, sound artist and sound engineer, member of We are Europe and SHAPE+. Currently living between Poznań, Poland and Stockholm, Sweden. Throughout her recent live performances, Słyż has been exploring connections between acoustic instruments and modular synthesizers, creating rich and diverse drone structures which highlight the power of microtonality’s resonances and tensions.

SOFTNESS, FLASHES, FLOATING RAGE (2022, stereo, 26 min)
from the album A VIBRANT TOUCH

Recorded between January 2020 and October 2021 in Poznań and Stockholm.
Marcus Warnheim: alto saxophone | Kosma Műller: violin | Kamil Babka: viola | Anna Szmatoła: cello | Aleksandra Słyż: modular synthesizers

source: private material from the composer

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.

ECHOS + (1978, stereo, 21 min)
1. Echos, 2. L’autre … Ou Le Chant Des Marecages

Can the dead speak?
Ferreyra composed Echos entirely with magnetic tape, working with recordings of her niece Mercedes Cornu singing four Latin American folk songs. Little trace of the original material is left; Ferreyra has cut and sliced the recordings to ribbons, doubling and interweaving Cornu’s trembling voice to create a soft, ambient bed of sound, and tracing her lovely, expressive tone into a series of weary, wordless curlicues. Halfway through, the piece breaks down into a silent expanse pockmarked by breaths and coughs; when Cornu’s singing returns, it has been looped and layered into ghostly murmurs and coos, like a flock of enchanted birds coming home to roost. At the very end, Cornu breaks off in mid-song, and it is unclear whether she is laughing or sobbing.
Knowing that Cornu perished in a car crash only makes Echos that much more moving. Her voice seems to carry from a great distance – not just across years, but dimensions.

source: bandcamp

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.

LA CRÉATION DU MONDE (1982–84, 4-channel, 97 min)
The Creation
The process mapped out here is not the one described in the Book of Genesis. Scientific and parascientific works suggested the main stages to me. The word that describe the phenomena of astrophysics are sufficiently suggestive to stir the musical imagination and to sustain a cosmogonic reverie like this.

1. Black Light – The dreamer of the world plunges down unendingly into his own depths as he strives toward the point from which he originated.
2. Metamorphosis of the Void – Something changes into form, heat, light, movement, anarchic corpusular vibrations.
3. Sign of Life – A planet, our planet, emerges and a ‘life logic’ organizes itself around.

The original 4-channel version we can listen to in its full lengths here has been rediscovered recently and carefully restored.

source: private material
special thanks to MAISON ONA, Paris

Caroline Profanter (* 1985, Bozen)

She is part of the team of Q-O2 workspace for experimental music and sound art in Brussels since 2017. Profanter works in the fields of electroacoustic and acousmatic music as a composer and performer. She creates imaginary soundscapes and sonic narratives on the perceptional threshold of familiarity; using recorded sounds and noises taken from the context of the everyday, interweaved with electronically generated sound material often including feedback-systems and amplified objects, as well as multichannel speaker configurations. She collaborates frequently with other musicians and artists, and creates sound design for film and radio.

MAGNETISMEN (2017, stereo, 7 min)
Magnetisms – Electromagnetic waves surround us. They are omni-present, but we don’t hear them, usually. For this work I recorded those crackling, noisy, but also melodic sounds with the help of special microphones, and created a noisy little symphony out of it.

NE-ON (2018, stereo, 8 min)
The behaviour of a neon tube, the fast flickering, the sizzling noise: power, electricity, light: on/off. The tension comes from the interplay between the different elements: instrumental sounds, field recordings, and the omnipresent frequencies of the electricity, which interact energetically and cross the space.

source: private material from the composer

Caroline Profanter (* 1985, Bozen)

She is part of the team of Q-O2 workspace for experimental music and sound art in Brussels since 2017. Profanter works in the fields of electroacoustic and acousmatic music as a composer and performer. She creates imaginary soundscapes and sonic narratives on the perceptional threshold of familiarity; using recorded sounds and noises taken from the context of the everyday, interweaved with electronically generated sound material often including feedback-systems and amplified objects, as well as multichannel speaker configurations. She collaborates frequently with other musicians and artists, and creates sound design for film and radio.

MAGNETISMEN (2017, stereo, 7 min)
Magnetisms – electromagnetic waves surround us. They are omni-present, but we don’t hear them, usually. For this work I recorded those crackling, noisy, but also melodic sounds with the help of special microphones, and created a noisy little symphony out of it.

NE-ON (2018, stereo, 8 min)
The behaviour of a neon tube, the fast flickering, the sizzling noise: power, electricity, light: on/off. The tension comes from the interplay between the different elements: instrumental sounds, field recordings, and the omnipresent frequencies of the electricity, which interact energetically and cross the space.

source: private material from the composer

Christian Calon (* 1950, Marseille)

lives in Montréal, founding member of the Canadian Electroacoustic Community (CEC)
“I came to composition by the simplest path: through listening to outer and inner natural phenomenons, and beeing surrounded by ideas and works. My interest in the multiple forms of artistic creation has led to diverse collaborations (visual arts, dance, mixed-instrumental music). However I have a predeiection for the acousmatic medium. Expressionist and narrative, my work was up to now oriented toward the production of individual and self-contained pieces.”

PORTRAIT D’UN VISITEUR (1988, stereo, 17 min)
portrait of a visitor

source: CD
drawing based on a foto by Renate Porstendorfer

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 Hermann Nitsch’s musical works in the Nitsch-Museum, Mistelbach.

SOMNIFICATIONS (2022, stereo, 56 min)
Somnifications addresses the fictitious audibility of the state of sleep. The conceptual structure is based on scientific findings about its stages. The sensual-poetic aspect aims at diving into dream realities in order to bring them into consciousness and to amplify them. Amplification is gaining the signals and the heightening of dream content through symbolic worlds and mythologies. Somnifications is the interplay of both readings on an auditory level – a play with the “concreteabstract”.

source: private material from 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.

EAUX MÊLÉES (2021, stereo, 30 min)
Various Waters

Commissioned by Logelloù, a centre for exploration and creation in Penvénan in the Côtes-d’Armor. Creation in September 2021 on the remarkable site of Yaudet on the edge of the Léguer estuary.

An acousmatic journey impregnated with the smell of the estuary and its mixed waters, that of the mud, the primordial matter. The intimate union of land and sea characterises the atmosphere of the Armor coast. It is impossible to distinguish clearly the limit between land and sea, between solid and fluid elements. The rocks, the sea, the river, the foreshore, the grasslands are all connected. The sea enters the land through the estuaries.
With sounds by Noëlle Deffontaines, Benjamin Dousteyssier (saxophone), Christine Groult, Marc Namblard, Lê Quan Ninh (bass drum), Ana Speyart (sludge).

source: private material by the composer

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.

LUCA (2018, 5-channel, 8 min)
In my composition Luca (2018, 5-channel) I use recordings of a cello and my bass clarinet as sound material. I created different transformations of it with the programs Vasp and Amp by Günther Rabl. The first part of the piece is rather rhythmic and contains granular processes, the second part is flat with microtonal layers and in the third part the so called wavelet transformation is used.

source: private material from the composer

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.

Agnes Hvizdalek (* 1987, Vienna)

is a singer with roots in the experimental music scene of Vienna. Since 2008 she has her center of life in Oslo. With a penchant for free improvisation, she is active in many different genres and regularly collaborates with other art forms. With her special approach to the voice as an instrument, she has made a name for herself internationally.

BORE (2022, stereo, 41 min)
Agnes Hvizdalek: voice | Daniel Lercher: live electronics
In their duo, founded in 2009, Daniel Lercher (electronics) and Agnes Hvizdalek (voice) combine abstract vocal music and electroacoustic music. The two are united by a musical vision where everything is possible and allowed, but nothing has to be. The sound worlds that meet here in free improvisation could hardly be more different in their genesis. Unprocessed vocal sounds sound alienated, but are exclusively amplified. In the electronic sounds, voices become audible that are not voices at all.

source: private material from the composers
drawing of Agnes Hvizdalek based on a foto by Lisi Charwat

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.

Henrik Munkeby Nørstebø (* 1986, Trondheim, Norway)

Musician and sound artist based in Berlin and Trondheim, focusing on trombone performance and a wide range of compositional and cross disciplinary projects. He chose the brass tubes already at the age of eight, and has done extensive research into both the boisterous and brassy side of the instrument, as well as its counterpoint in microscopic sound possibilities, utilizing de-selection as a central process.

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

source: private material from the composers

Denis Smalley (* 1946, New Zealand)

He studied music at the University of Canterbury and the Victoria University of Wellington. He moved to England, completing a doctorate in composition at the University of York. Until 1994 he was Senior Lecturer in Music and Director of the Electroacoustic Music Studio at the University of East Anglia, Norwich. He then moved to City, University of London, as Professor and Head of the Department of Music. Denis Smalley’s works have been widely acclaimed, winning a number of international awards including the Prix Ars Electronica in 1988. In 2008 he was awarded an honorary Doctor of Letters by the University of Huddersfield for his achievements in electroacoustic music.

TIDES: POOLS AND CURRENTS (1984, stereo, 18 min)
The sonic images of Tides are based on analogies between water and sound – textures, images of turbulence, strength and tranquillity, the play of colours and light, and the intimacy and immensity of space. The first movement – Pools and Currents – is constructed around a series of interlocking ‘pools,’ each of which has a different character. The pool idea suggests textural play, while the idea of ‘currents’ stresses the more linear motion that propels the movement forward. Tides is the first of my works to use computer transformations of source material. The piece was commissioned by the Groupe de recherches musicales (Ina-GRM).

source: private material from the composer

Denis Smalley (* 1946, New Zealand)

Er studierte Musik an der University of Canterbury und an der Victoria University of Wellington. Er zog nach England und promovierte in Komposition an der University of York. Bis 1994 war er Senior Lecturer in Music und Leiter des Electroacoustic Music Studio an der University of East Anglia, Norwich. Danach wechselte er als Professor und Leiter des Fachbereichs Musik an die City University of London. Denis Smalleys Werke fanden breite Anerkennung und wurden mit einer Reihe von internationalen Preisen ausgezeichnet, darunter 1988 der Prix Ars Electronica. Im Jahr 2008 wurde ihm von der Universität Huddersfield für seine Leistungen im Bereich der elektroakustischen Musik die Ehrendoktorwürde verliehen.

TIDES: POOLS AND CURRENTS (1984, stereo, 18 min)
Die Klangbilder von Tides basieren auf Analogien zwischen Wasser und Klang – Texturen, Bilder von Turbulenzen, Kraft und Ruhe, das Spiel von Farben und Licht sowie die Intimität und Unermesslichkeit des Raums. Der erste Satz – Pools and Currents – ist um eine Reihe von ineinandergreifenden „Pools“ herum aufgebaut, von denen jeder einen anderen Charakter hat. Die Idee der Pools suggeriert ein strukturelles Spiel, während die Idee der „Ströme“ die eher lineare Bewegung betont, die die Bewegung vorantreibt. Tides ist das erste seiner Werke, bei dem er das Ausgangsmaterial am Computer umgestaltet hat.
Das Stück wurde von der Groupe de recherches musicales (Ina-GRM) in Auftrag gegeben.

source: private material from 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.

JENSEITS VON HOLLYWOOD (1988, stereo, 11 min)
Beyond Hollywood
During the recording sessions in the summer months between 1982 and 1996, there were moments when Dieter Feichtner consistently dispensed with common effects (keyword: synth kitsch) and immersed himself in completely different sound spheres. This piece captures one of those moments. Recorded live, it can be heard today just as it was played back then.

François Bayle (* 1932, Madagaskar)

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.

LA FIN DU BRUIT (1979, stereo, 16 min)
The end of noise – from the cycle EROSPHERE

This “end” from the piece’s title, is not only that of finitude and extinction (the collapse of the “sound-continent”), but the end of the goal, that which remains once sound has ceased ringing. “La Fin du bruit” aims for, beyond the categories of sound and noise, “general music”, which might be the “infinity of noise”. (It is indeed under the title Infini du bruit (the infinity of noise) that the piece would be revived by the composer in 1998, in a shorter version intended for CD.) The first part of the work combines crowd noises, traffic, crackling and cheering. The universe of human activity and dense sounds is unified and guided by a foreground of iterative and unrelenting sequences into a powerful flux which then emerges into sparsified and enlarged electric song. A deep long purring song, fringed with a high-pitched edge, slowly arises. An irresistible ascending gyration, pierced with magnetic outbursts, leads us to discern the calm rush of the noise towards its own evanescence, where we can no longer perceive the sound, and yet we can still hear its end.

source: private material from the composer

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/Inn.

KONTUR – STRUKTUR – SYSTEM – ZERFALL (2021, stereo, 34 min)
contour – structure – system – decay
conceptual improvisations, percussive instruments, rotors, electronics.
“Experimenting and looking for interesting sounds, noises and forms of play are a focus of my musical work. Through the preparation of the instruments and the resulting way of playing, new, unusual sound spaces are possible.”

source: private material from the composer

Gilbert Handler (* 1972, Klosterneuburg, near Vienna)

The vocal wonder from the Vienna Woods. His voice ranges from shrill treble to rich baritone; his stylistic range from “Wienerlied” (traditional Viennese folksong) to Rock’n’Roll. In addition, he studied computer music as well as theatre studies and art history at the University of Vienna. Since 1999, he has composed and performed in dance and theatre productions, e. g. at the Volkstheater Vienna, Theater Phönix in Linz, Schauspielhaus Graz, Kampnagel Hamburg, Schaubühne Berlin, Schauspielhaus Dresden and for festivals in Zurich, Skopje, Cairo and Nairobi. Compositions for films (e. g. Day and Night by Sabine Derflinger) and radio plays (e. g. Käfergräber by Thomas Arzt / Andreas Jungwirth). Since 2002 close collaboration with Günther Rabl in the project Die Relativitätstherapie (“The Therapy of Relativity”).

MAMAS T’NAI (2016, stereo, 5 min)

A vocalise based on fancy words marking the dawn of day in the Temple.

source: private material from 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.

A CLASSIC AUSTRIAN SOUNDSCAPE (1992, stereo, 69 min)
specially composed for the sound-installation in the Austrian pavillon at the EXPO’92 Sevilla.
“In the acoustic images of this CD I tried to tell little stories, farytales, give riddles. The socalled ‘classical’ themes are only a hook to help our memory, a rainbow-bridge for our phantasy, maybe just a mask to view things of our day with yesterdays eyes; or maybe hear with yesterday ears todays sounds ?”

source: private material from 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.

FOURIER AUF DER REISE NACH PRAG (1996, stereo, 42 min)
Passersby | Roller | Fourier on his way to Prague
A commission by the wood carver Gerhard Maier for his exhibition of 1000 handmade wooden combs plus a heap of resulting shavings. Artificial reverb has been known and widely used in the studio technics for many years. I was never interested in it. I rather saw it as sort of audio-cosmetics than as a formal method. Not before the emerging of faster computers, another perspective on reverb became possible. What, if any sound may serve as reverbration? What happens, when reverbration can last for minutes or doesn’t end at all ? This pieces gives different answers to such questions. It begins with a parody on the morning-traffic on a cross-country road and ends up with the screaming of two million frequencies evoked by a few roaring glissandi.

FAREWELL TEMPERED PIANO (1992, stereo 42 min)
Computer Music, a commission for the Austrian Pavilion at the EXPO ’92 in Seville.
“This collection of short music pieces is dedicated to the real musicians all over the world. May it encourage them to reflect once more upon their own inner moods and rhythms – beyond a coarse Baroque pitch grid that dominates the entire occidental music world today because of a mindless comfort.”

GROSSE FUGE (1994, 8-channel, 40 min)
On a laminar sound generator (e.g., a metal plate, a gong or a tam-tam), a trained musician can create hundreds of different tones and sounds with a violin bow. The Great Fugue is based on such a model; the difference, however, is that a violin bow is not producing the sounds, but rather the rushing of the water again: glassy, metallic, breeze-like, the tones stratify on top of each other, partially floating freely, partially following the pulse of the rushing water. In large, multidimensional waves, increasingly denser layers (at times over 200 voices) are built up by and by, making the overall sound of the surface noticeable.

ETUDE IN GRAU (1979/2005, 10-channel, 30 min)
Etude in grey
A study with filtered noise in 250 subjects based on pairs of opposites like fast/slow, calm/restless, even/uneven.

source: private material from 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.

FOURIER AUF DER REISE NACH PRAG (1996, stereo, 42 min)
Passersby | Roller | Fourier on his way to Prague
A commission by the wood carver Gerhard Maier for his exhibition of 1000 handmade wooden combs plus a heap of resulting shavings. Artificial reverb has been known and widely used in the studio technics for many years. I was never interested in it. I rather saw it as sort of audio-cosmetics than as a formal method. Not before the emerging of faster computers, another perspective on reverb became possible. What, if any sound may serve as reverbration? What happens, when reverbration can last for minutes or doesn’t end at all? This pieces gives different answers to such questions. It begins with a parody on the morning-traffic on a cross-country road and ends up with the screaming of two million frequencies evoked by a few roaring glissandi.

FAREWELL TEMPERED PIANO (1992, stereo, 42 min)
Computer Music, a commission for the Austrian Pavilion at the EXPO ’92 in Seville.
“This collection of short music pieces is dedicated to the real musicians all over the world. May it encourage them to reflect once more upon their own inner moods and rhythms – beyond a coarse Baroque pitch grid that dominates the entire occidental music world today because of a mindless comfort.”

GROSSE FUGE (1994, 8-channel, 41 min)
On a laminar sound generator (e.g., a metal plate, a gong or a tam-tam), a trained musician can create hundreds of different tones and sounds with a violin bow. The Great Fugue is based on such a model; the difference, however, is that a violin bow is not producing the sounds, but rather the rushing of the water again: glassy, metallic, breeze-like, the tones stratify on top of each other, partially floating freely, partially following the pulse of the rushing water. In large, multidimensional waves, increasingly denser layers (at times over 200 voices) are built up by and by, making the overall sound of the surface noticeable.

ETUDE IN GRAU (1979/2005, 10-channel, 30 min)
Etude in grey
A study with filtered noise in 250 subjects based on pairs of opposites like fast/slow, calm/restless, even/uneven.

source: private material from 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.

FOURIER AUF DER REISE NACH PRAG (1996, stereo, 42 min)
Passersby | Roller | Fourier on his way to Prague
A commission by the wood carver Gerhard Maier for his exhibition of 1000 handmade wooden combs plus a heap of resulting shavings. Artificial reverb has been known and widely used in the studio technics for many years. I was never interested in it. I rather saw it as sort of audio-cosmetics than as a formal method. Not before the emerging of faster computers, another perspective on reverb became possible. What, if any sound may serve as reverbration? What happens, when reverbration can last for minutes or doesn’t end at all? This pieces gives different answers to such questions. It begins with a parody on the morning-traffic on a cross-country road and ends up with the screaming of two million frequencies evoked by a few roaring glissandi.

FAREWELL TEMPERED PIANO (1992, stereo, 42 min)
Computer Music, a commission for the Austrian Pavilion at the EXPO ’92 in Seville.
“This collection of short music pieces is dedicated to the real musicians all over the world. May it encourage them to reflect once more upon their own inner moods and rhythms – beyond a coarse Baroque pitch grid that dominates the entire occidental music world today because of a mindless comfort.”

GROSSE FUGE (1994, 8-channel, 41 min)
On a laminar sound generator (e.g., a metal plate, a gong or a tam-tam), a trained musician can create hundreds of different tones and sounds with a violin bow. The Great Fugue is based on such a model; the difference, however, is that a violin bow is not producing the sounds, but rather the rushing of the water again: glassy, metallic, breeze-like, the tones stratify on top of each other, partially floating freely, partially following the pulse of the rushing water. In large, multidimensional waves, increasingly denser layers (at times over 200 voices) are built up by and by, making the overall sound of the surface noticeable.

ETUDE IN GRAU (1979/2005, 10-channel, 30 min)
Etude in grey
A study with filtered noise in 250 subjects based on pairs of opposites like fast/slow, calm/restless, even/uneven.

source: private material from 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.

FOURIER AUF DER REISE NACH PRAG (1996, stereo, 42 min)
Passersby | Roller | Fourier on his way to Prague
A commission by the wood carver Gerhard Maier for his exhibition of 1000 handmade wooden combs plus a heap of resulting shavings. Artificial reverb has been known and widely used in the studio technics for many years. I was never interested in it. I rather saw it as sort of audio-cosmetics than as a formal method. Not before the emerging of faster computers, another perspective on reverb became possible. What, if any sound may serve as reverbration? What happens, when reverbration can last for minutes or doesn’t end at all? This pieces gives different answers to such questions. It begins with a parody on the morning-traffic on a cross-country road and ends up with the screaming of two million frequencies evoked by a few roaring glissandi.

FAREWELL TEMPERED PIANO (1992, stereo, 42 min)
Computer Music, a commission for the Austrian Pavilion at the EXPO ’92 in Seville.
“This collection of short music pieces is dedicated to the real musicians all over the world. May it encourage them to reflect once more upon their own inner moods and rhythms – beyond a coarse Baroque pitch grid that dominates the entire occidental music world today because of a mindless comfort.”

GROSSE FUGE (1994, 8-channel, 41 min)
On a laminar sound generator (e.g., a metal plate, a gong or a tam-tam), a trained musician can create hundreds of different tones and sounds with a violin bow. The Great Fugue is based on such a model; the difference, however, is that a violin bow is not producing the sounds, but rather the rushing of the water again: glassy, metallic, breeze-like, the tones stratify on top of each other, partially floating freely, partially following the pulse of the rushing water. In large, multidimensional waves, increasingly denser layers (at times over 200 voices) are built up by and by, making the overall sound of the surface noticeable.

ETUDE IN GRAU (1979/2005, 10-channel, 30 min)
Etude in grey
A study with filtered noise in 250 subjects based on pairs of opposites like fast/slow, calm/restless, even/uneven.

source: private material from 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.

COAL TRAIN BLUES (2014, stereo, 12 min)
Near Guy Fleming’s home runs a railway line on which long goods trains transport coal day and night. The constant distant sound of these transports forms the basis of this work. It is supplemented by the pulses of a Geiger counter with various radioactive material, as already in Fleming’s composition Geiger Beats.

RAIN ZONE (2014, stereo, 3 min)
A short conclusion of a collection of pieces (Coal Train Blues, Geiger Beats etc.) from 2014.

source: private material from 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.

COAL TRAIN BLUES (2014, stereo, 12 min)
Near Guy Fleming’s home runs a railway line on which long goods trains transport coal day and night. The constant distant sound of these transports forms the basis of this work. It is supplemented by the pulses of a Geiger counter with various radioactive material, as already in Fleming’s composition Geiger Beats.

RAIN ZONE (2014, stereo, 3 min)
A short conclusion of a collection of pieces (Coal Train Blues, Geiger Beats etc.) from 2014.

source: private material from the composer

Halim El-Dabh (1921, Kairo – 2017, USA)

The composer and ethnomusicologist Halim El-Dabh was born in Cairo in 1921. He is a pioneer of electronic music and made his first sound experiments as early as 1944. In 1950 he went to the U.S., researched Native American music, and studied composition with Aaron Copland and Irving Fine at the Berkshire Music Center in Massachusetts. In the late 1950s, El-Dabh worked at the Columbia-Princeton Electronic Music Center in New York. He composed electronic music, operas, symphonies, chamber works, and ballet music. His ethnomusicological research has led to the influence of Arabic, African, and even ancient Egyptian elements on his music. From 1969 to 1991, he was a professor at Kent State University Hugh A. Glauser School of Music in Ohio.

CROSSING INTO THE ELECTRO MAGNETIC (1944–2000, stereo, 34 min)

source: peer to peer

Karlheinz Essl (* 1960, Vienna)

Composer, improviser, media artist, software designer. Studied composition with Friedrich Cerha and musicology in Vienna. Composer-in-residence at the Darmstadt Summer Courses and at IRCAM in Paris. Since 2007 professorship for electroacoustic composition at the University of Music in Vienna. In addition to instrumental works and compositions with live electronics, he also develops generative composition software, improvisation concepts, sound installations and performances.

SEELEWASCHEN (2004/2022, 8-channel, 22 min)
Soul washing – a bell stroke in three aggregate states: 1) rising and falling sound surfaces from the spectrum of the sound, 2) bell strokes at different pitches, 3) “chirping” sound complexes from chaotic overtone transpositions. The piece was originally created as a sound environment for a light installation in the harbor basin of the Danube shipyard in Korneuburg/Lower Austria.

source: private material from the composer
drawing based on a foto by Maria Frodl

Karlheinz Stockhausen (1928, Mödrath – 2007, Kürten near Cologne)

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.

OKTOPHONIE (OCTOPHONY) (1991, 8-channel, 69 min)

“OKTOPHONIE is the testimony of my space experience of the years 1990-1991 […]
8-track composed I already earlier the Electronic Music to SIRIUS, INVISIBLE CHOIRS from DONNERSTAG aus LICHT (THURSDAY from LIGHT), the choral tape with sound scenes from MONDAY from LIGHT […] First I produced eight sound layers, together with my son Simon, with our own electronic instruments and devices […] The Electronic Music from TUESDAY from LIGHT is now projected through eight loudspeaker groups in the cube around the audience.”

source: material from the Stockhausen Foundation

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, Vienna.

13 MINIATUREN (1996, stereo, 60 min)
for 8-channel tape and piano (stereo mix)
This composition consists of 13 acoustic chapters in which each block is set up piece by piece, some loosely tied together, and some narrate a continuing story. For this tape composition only recorded sounds in their original form are used. The piono, which is partially prepared for this piece, is only one voice in the makeup of the ensemble.

BETON (2001, 10-channel, 44 min)
Sound transformation – especially with electronic means – is a work with a multidimensional phenomenon and comparable with sculptural work. Starting with the material/building material concrete, whose condition changed from liquid to extremely solid in a short time, the idea arose to acoustically break up a solidified mass again. During several visits to construction sites where concrete parts were sawed or cut out, I collected acoustic building material: so-called ‘noise’, an unavoidable by-product of working with concrete. Penetrating into the layers of this noise, uncovering noise and sound layers, the process of sawing, opening and finally smashing the material are the starting point of the compositional work.

source: private material from the composer
drawing based on a foto by Rania Moslam

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, Vienna.

13 MINIATUREN (1996, stereo, 60 min)
for 8-channel tape and piano (stereo mix)
This composition consists of 13 acoustic chapters in which each block is set up piece by piece, some loosely tied together, and some narrate a continuing story. For this tape composition only recorded sounds in their original form are used. The piono, which is partially prepared for this piece, is only one voice in the makeup of the ensemble.

BETON (2001, 10-channel, 44 min)
Sound transformation – especially with electronic means – is a work with a multidimensional phenomenon and comparable with sculptural work. Starting with the material/building material concrete, whose condition changed from liquid to extremely solid in a short time, the idea arose to acoustically break up a solidified mass again. During several visits to construction sites where concrete parts were sawed or cut out, I collected acoustic building material: so-called ‘noise’, an unavoidable by-product of working with concrete. Penetrating into the layers of this noise, uncovering noise and sound layers, the process of sawing, opening and finally smashing the material are the starting point of the compositional work.

source: private material from the composer
drawing based on a foto by Rania Moslam

Manuel Knapp (* 1978 Wolfsberg, Carinthia)

1997–2002 Studies of painting at the Academy of Fine Arts, Vienna
2002–2004 Studied computer music at the Institute for Electroacoustics, University of Music and Performing Arts, Vienna. Since 2002 freelance activity in the field of visual arts, music and film. His videos are often characterised by strict geometric sequences, mostly in black and white. As a musician, he sees himself more as a representative of “harsh noise”, a music scene that has developed in the large urban centres. But he also deals with field recordings, especially recordings of all kinds of noise in nature.

THELXIOPE (2022, stereo, 26 min)
A recording of wind sounds in the forest, on which you can hear the traffic of a neighboring highway from afar. Spherical sounds, which are here attributed to one of the ancient sirens, Thelxiope.

source: private material from the composer

Manuel Rocha Iturbide (* 1963, Mexico City)

He studied composition at the Escuela Nacional de Música at UNAM. He finishes an MFA in electronic music and composition at Mills College. In Paris, he finished a PHD in computer music at the University of Paris VIII in 1999. He worked as a researcher at IRCAM and later as a professor at the University of Paris VIII. He has received prizes from different international contests like Bourges, Russolo, Ars Electronica and the Schaeffer Prize. He has produced works for ensembles such as Court Circuit, Arditti String Quartet, Onix and Liminar. Currently he lives in Mexico City where he is a full time professor and researcher in the art deparment at the Universidad Autónoma Metropolitana University (UAM).

YE IXQUICH CAHUITL (2021, 8-channel, 37 min)
All this Time has
A commission from the Universidad Nacional Autónoma de México in 2021, 500 years after the confrontation of Europe and America in Mexico. The title of this work is in Nahuatl, the language of the Mexicas and other Indigenous cultures in central Mexico, still spoken these days. The title also is connected to the Nahuatl word “Cahuitl” (Time), which is at the same time register, accumulation of past memory. This work is made with many of these languages, but it is also a chronological time line that jumps from the pre-Columbian Mexico before the Spaniards came, jumping later into the modern and contemporary world of the 19th, 20th and 21st centuries, where I use the sounds of street vendors in the big cities, as well as other urban sounds like traffic, wrestling (lucha libre) political marches, etc. I also allude to the ancient music, and then to the contemporary popular music played today, as well to the present indigenous music in different rituals (fiestas religiosas) all across the country.

PÁJAROS DEL ALTIPLANO (2014, 8-kanal, 18 min)
Birds from the Highland
This is a work created specifically for the acoustic pavilion of the Museo Laberinto in San Luis Potosí. The acoustic pavilion is on the edge of Tangamanga Park, and the sounds of the park permeate the pavilion and invade its space at certain times of day (particularly the birds that come especially at dawn and dusk to perch on the pavilion tree) and interact with the sounds of recorded birds.

source: private material from the composer

Manuel Rocha Iturbide (* 1963, Mexico City)

He studied composition at the Escuela Nacional de Música at UNAM. He finishes an MFA in electronic music and composition at Mills College. In Paris, he finished a PHD in computer music at the University of Paris VIII in 1999. He worked as a researcher at IRCAM and later as a professor at the University of Paris VIII. He has received prizes from different international contests like Bourges, Russolo, Ars Electronica and the Schaeffer Prize. He has produced works for ensembles such as Court Circuit, Arditti String Quartet, Onix and Liminar. Currently he lives in Mexico City where he is a full time professor and researcher in the art deparment at the Universidad Autónoma Metropolitana University (UAM).

YE IXQUICH CAHUITL (2021, 8-channel, 37 min)
All this Time has
A commission from the Universidad Nacional Autónoma de México in 2021, 500 years after the confrontation of Europe and America in Mexico. The title of this work is in Nahuatl, the language of the Mexicas and other Indigenous cultures in central Mexico, still spoken these days. The title also is connected to the Nahuatl word Cahuitl (Time), which is at the same time register, accumulation of past memory. This work is made with many of these languages, but it is also a chronological time line that jumps from the pre-Columbian Mexico before the Spaniards came, jumping later into the modern and contemporary world of the 19th, 20th and 21st centuries, where I use the sounds of street vendors in the big cities, as well as other urban sounds like traffic, wrestling (lucha libre) political marches, etc. I also allude to the ancient music, and then to the contemporary popular music played today, as well to the present indigenous music in different rituals (fiestas religiosas) all across the country.

PÁJAROS DLE ALTIPLANO (2014, 8-kanal, 18 min)
Birds from the Highland
This is a work created specifically for the acoustic pavilion of the Museo Laberinto in San Luis Potosí. The acoustic pavilion is on the edge of Tangamanga Park, and the sounds of the park permeate the pavilion and invade its space at certain times of day (particularly the birds that come especially at dawn and dusk to perch on the pavilion tree) and interact with the sounds of recorded birds.

source: private material from the composer

Martin Gut (*1976, Hohenems, Vorarlberg)

He is a composer and guitarist who lives in Krems. His main instrument is the so called “Scheit” – an electrically amplified monochord, which allows him to play with higher overtone structures. In his compositions he combines traditional approaches with microtonal explorations.

CHIRON (2023, stereo, 5 min)
Chiron is dedicated to the “wounded healer”, a donkey centaur who is said to be at the beginning of the bardic tradition and to have been the first teacher of kithara playing. The starting point of the piece are two tetrachord divisions based on different averages. With sine tones as four-notes, which are moved in themselves by logarithmic durations, melodies with declamatory gestures are created, which let the differences between the two tetrachords be heard clearly. Formally, the tetrachord passages are balanced by sections in which their frame intervals can be heard. The composition has an ethereal and plaintive character. Chiron, like other other-worldly beings, would like to have more contact with us humans, it seems to me.

source: private material from the composer
drawing based on a foto by Gert Lanser

Oliver Grimm (* 1977, 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.

Chieko Mori (* 1976, Beppu, Japan)

Chieko Mori started to play the koto at the age of three. After graduation from Keio University, she began her music career in Europe. Her overseas performance activities span over 70 cities in 18 countries.
Since 2007, she has presided over KOTO STUDIO Jiyu-ryu (freedom and liberation from belonging) in Tokyo as the grand koto master, and focuses on training independent koto players through her own composition pieces. She is one of the few independent koto players who do not belong to any existing schools in the world of Japanese music.

BEPPU PROJECT (2006, stereo, 42 min)
Chieko Mori: bass koto
This production arose from an invitation of the ‘Beppu Project’ and an examination of the landscape in Beppu, Japan, which is shaped by onsen and jigoku (hot springs). Water, steam, bamboo, sand and the 17-string bass koto provide the material for the electroacoustic collages and compositions, which successively alternate with the studio recordings of improvisations.
Produced at Onpaku House, Beppu, Japan, 2006.
Bass koto recordings: Studio Take Five, Oita, Japan.

source: private material from the composer

Pierre Henry (1927–2017, Paris)

He is considered as a pioneer of electroacoustic music. Together with the engineer and music theorist Pierre Schaeffer, he coined the term musique concretè in the early 1950s – concrete music, whereby recorded sound material is used to compose directly onto sound carriers (as opposed to ‘abstract music’ in musical notation and score). In the seven decades of his work, he created countless works, some of them monumental, which were performed on a large scale worldwide.

MOUVEMENT RYTHME ETUDE (1970, stereo, 66 min)
dedicated to the choreographer Maurice Béjart
Mouvement Rythme Etude, premiered in 1970 at the Palais des Sports in Toulouse, is a moment of quiet reflection, a resumption of breath, a return to purity and geometry. The material is partly electronic, partly made up of recordings of traditional instruments such as vibraphone, celesta, oboe or zither. The work as a whole functions like a living organism – again, like a human body – without its elementary links being able to be separated from each other.

source: private material from the composer
special thanks to Isabelle Warnier

Rainer Kremser (* 1963, Wien)

Diagnosed with an incurable progressive eye disease at the age of nine.
Studied classical guitar and the course for basic harmonic research at the University of Music and Performing Arts in Vienna. Teaching activity at higher state schools until 2018. Freelance authoring activity for Edition Text & Kritik, Munich, among others. Member of various ensembles in the field of jazz and free improvised music, compositions for smaller ensembles and soloists. Since 2018 author and producer of his own radio plays, since 2020 increasingly using electro-acoustic and acousmatic techniques as well as using algorithmic design possibilities. 2020 and 2021 finalist in two categories each at the Berlin Radio Play Festival.

TRIANGULAR WAVES (2022, stereo, 18 min)
in three parts
An important constant occurring in the work is the number “3”, this manifests itself in three sections: 1) in the perfect symmetrical triangle wave as the exclusive sound source, 2) in the concept of the algorithms used, in the sound durations, 3) in the temporal course of the sounds, their distribution in space and much more. The basis for all three sections is a twelve-tone series common to them, tempered to the same level. Clusters and complex chords are formed through beats and microintervals.

source: private material from the composer

Richard Bruzek (* 1973, Wien)

An all-round artist in the field of music, light, video, sound engineering and stage construction. He participates in numerous theater productions, films, concerts, performances and festivals in Vienna and Lower Austria. His approach to music is basically intuitive-improvisational, his musical pieces mostly ephemeral, a work in progress. This is also the case with the piece presented here, which was created for the night program.

BRALLETT (2023, 10-channel, 37 min)

source: private material from the composer

Shing-Kwei Tzeng (1946–2021, Taiwan)

After initially studying music in Taipeh, Taiwan, the composer moved to Germany in the late 1970s. He studied composition in Freiburg, and a scholarship enabled him to undertake further research visits in France. Within the context of his work, Shing-kwei created multimedia pieces in which instruments and western composition are fused into a unique language of forms. Shing-kwei Tzeng has been professor of composition, computer music and music analysis at the National Taiwan University, Taipeh since 1981; in 1995, he founded the Society for Electro-acoustic Music in Taiwan (TCMA).

A PRAYER FOR HOMETOWN (2021, stereo, 12 min)
The piece is constructed with soundscapes of environment at my Hometown Hsin-chu, Taiwan. which I have recorded during 2013–15, such as the joyful Lantern Festival at Cultural Center, the very strong, disastrous Du-chuen Taifoon ( hurricane) … there are also many short recordings I produced at my home, such as sounds vacuum machine, toy piano, music box, glass cracking etc.. The piece was played by ACL Music Festival at Tokyo Japan.

source: private material from the composer

Kamp

The Kamp, the largest river system in the geologically oldest part of Austria, flows through a variety of landscapes and habitats – from its sources in the rugged granite area of the western Waldviertel to the wine-growing regions of the Danube region. It flows just past the Temple of Sound hall, after a bend through an area called the “Schutt”, where boulders, remnants of a prehistoric landslide, form the riverbed. From about 4 a.m. to 6 a.m. in the morning a collage of the rushing water of the river fills the hall with sound.

source: original recordings of the river

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 a hearing damage he retired from music creation and concentrated more on programming work. Today he works as a developer for several renowned software companies, such as Native Instruments or Cycling ’74.

冷甜 LENG TAN (2013, 7-channel, 34 min)
Monolith for 128 spatially distributed microtonal oscillators.

source: private material from the composer

Tsvetan Dobrev (* 1956, Kazanlak, Bulgaria)

Growing up in simple circumstances in the mountains of Bulgaria, his musical talent was recognised at an early age. He received piano lessons and was financed to study composition. He composed works for chamber music, film and ballet and was something of a figurehead of contemporary Bulgarian music. When he performed an opulent work for ballet, wind instruments, percussion, folk instruments, vocals and electronics at the Palace of Culture in Sofia, he attracted 3000 visitors. This made the security forces so nervous that from then on contemporary music was only allowed in small ensembles. Dobrev then left the country and emigrated to France. He earned his living as a bar pianist in Montmartre and by teaching at a conservatory. Familiar with the basics of Bulgarian folk music, he also wrote his own harmony theory.

METAMORPHOSES (1982, stereo, 21 min)
Music to paintings by Bulgarian painter Hristo Simeonov.
One of the rare purely electronic works by Dobrev, produced in the well-equipped studio of Radio Sofia, which at that time was headed by Simo Lazarov, who had also mentored the young pop and electronic scene. The piece, related to pictures by Simeonov, has nine parts:

Calmly Cold – Sparkle – Life on the Continental Shelf – Transmigration – Focused on Photons – Following the Infinite Path – Invasion – Silence – Mirage.

source: private material from the composer

Veronika Mayer (* 1977, Vienna)

Composer, sound artist and musician. She studied piano, electroacoustic music and composition at the University of Music in Vienna. The altercation with material and space, the experience of spheres of sound, practicable inaudible sounds and noises, the subject of hearing itself are characteristic of her work.
She teaches at IEM in Graz as well as computer music at the University of Music and Performing Arts, Vienna (MDW).

ECO180i (2016, stereo, 10 min)
The portrait of a gas boiler: The expansion noises at the beginning, then the heating is switched on and again the crackling of the expansion noises.

source: private material from the composer

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.

BEVEL (2020, 8-channel, 12 min)
percussion & string instruments: Isabella Forciniti

Tuned according to the Lucy Harrison scale the composition Bevel moves across the room in a line of six loudspeakers. With zwo additional speakers a quadraphony is alternatively formed. Rhythmic and tonal structures of percussion recordings were interwoven, their rows permuted. Original sounds flash occasionally.

MÄANDER 2 (2017, 8-channel, 53 min)
“As the nomad of restraints and the smallest of intensities, Schwab has been dealing with the algorithms and routines of the exceptional Austrian electronic composer and sound physicist Günther Rabl for quite some time and, on the basis of this “digital Helmholtz,” crafts idiosyncratic possibilities of the “uncanny in the restraint” in Mäander 2. The applied mood architectures and noise conditions originate from Schwab’s bodies of water, demonstration and insects between Patagonia and the Vienna Woods … Mäander 2 is music that forsakes culture and, in case of doubt, rather the soul of the animal, dreams a type of civilization of the uncanny, without crying wolf in the process.” (Stefan Fraunberger)

BUMBLEBEES (2023, stereo, 17 min)
a recording of bumblebees in the bushes.

source: private material from the composer

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.

BEVEL (2020, 8-channel, 12 min)
percussion & string instruments: Isabella Forciniti

Tuned according to the Lucy Harrison scale the composition Bevel moves across the room in a line of six loudspeakers. With zwo additional speakers a quadraphony is alternatively formed. Rhythmic and tonal structures of percussion recordings were interwoven, their rows permuted. Original sounds flash occasionally.

MÄANDER 2 (2017, 8-channel, 53 min)
“As the nomad of restraints and the smallest of intensities, Schwab has been dealing with the algorithms and routines of the exceptional Austrian electronic composer and sound physicist Günther Rabl for quite some time and, on the basis of this “digital Helmholtz,” crafts idiosyncratic possibilities of the “uncanny in the restraint” in Mäander 2. The applied mood architectures and noise conditions originate from Schwab’s bodies of water, demonstration and insects between Patagonia and the Vienna Woods … Mäander 2 is music that forsakes culture and, in case of doubt, rather the soul of the animal, dreams a type of civilization of the uncanny, without crying wolf in the process.” (Stefan Fraunberger)

BUMBLEBEES (2023, stereo, 17 min)
a recording of bumblebees in the bushes.

source: private material from the composer

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.

BEVEL (2020, 8-channel, 12 min)
percussion & string instruments: Isabella Forciniti

Tuned according to the Lucy Harrison scale the composition Bevel moves across the room in a line of six loudspeakers. With zwo additional speakers a quadraphony is alternatively formed. Rhythmic and tonal structures of percussion recordings were interwoven, their rows permuted. Original sounds flash occasionally.

MÄANDER 2 (2017, 8-channel, 53 min)
“As the nomad of restraints and the smallest of intensities, Schwab has been dealing with the algorithms and routines of the exceptional Austrian electronic composer and sound physicist Günther Rabl for quite some time and, on the basis of this “digital Helmholtz,” crafts idiosyncratic possibilities of the “uncanny in the restraint” in Mäander 2. The applied mood architectures and noise conditions originate from Schwab’s bodies of water, demonstration and insects between Patagonia and the Vienna Woods … Mäander 2 is music that forsakes culture and, in case of doubt, rather the soul of the animal, dreams a type of civilization of the uncanny, without crying wolf in the process.” (Stefan Fraunberger)

BUMBLEBEES (2023, stereo, 17 min)
a recording of bumblebees in the bushes.

source: private material from the composer