Consumed Variations
project ensemble morph

Jenseits der Leere, wieder (빈곳의 바깥에서, 다시), Seoul

Year: 2021
Instrumentation: recorder, percussion, piano, violin, viola, cello
+ electronics (stereo+subs, stereo omnidirectional mics), webpage, video

++ all the people in the room need ear-protectors such as earmuffs, earplugs

Duration: ca.28' to 36'

*This piece contains a lot of physical (bodily) elements that one cannot experience with the recording. Some soft sounds in the recording are amplified for better understanding.  The video recording is to provide a glimpse of the piece. Using headphones is recommended.

The score is available.

and go
Ensemble Adapter
Adoptions, Berlin

Year: 2020
Instrumentation: flute, clarinet, percussion, harp
+ electronics (stereo+subs), light, self-built shakers
Duration: the piece lasted ca. 25′ at the premiere, however, it virtually lasts forever

Program note:
In the room the women

*This piece contains a lot of physical (bodily) elements that one cannot experience with the recording. The video recording is to provide a glimpse of the piece. Using headphones is recommended.

Ensemble Proton
Dampfzentrale Bern

Year: 2018
Instrumentation: English horn, bass clarinet, contraforte, cello
+ four music stands
Duration: ca. 5-6′

Program note:
I was

*a miniature piece for pub or bar.

Ensemble Proton
Dampfzentrale Bern

Year: 2018
Instrumentation: piccolo, vintage keyboard
+ electronics (iPhone), light (remote-controlled), self-built shaker (attached to the chair, remote-controlled)
Duration: ca. 4′

Program note:
I was

*a miniature piece for pub or bar.

one’s name
Aleksandra Raszyńska (soprano) and NAMES Ensemble
Crossroads Festival, Salzburg

Year: 2018
Instrumentation: flute, clarinet, piano, electric organ, percussion, cello, violin
+ soprano, electronics (stereo+subs)
Duration: ca, 12’+

*Some audio elements including electronics are often extremely soft. Using headphones is recommended.

Project Ensemble Morph
Koreanisches Kulturzentrum Berlin

Year: 2017
Instrumentation: percussion, piano
+ electronics (four channels+subs)
Duration: ca. 15′

Program note:
Values of

Byungseon Park
I am [ ]ing, Seoul

Year: 2016
Instrumentation: clarinet
+ electronics (stereo+subs), earplugs
Duration: ca, 10′

Program note:
The traditional musical space, which we call “concert hall”, is built to maximize the “proper” resonance of instruments.
It is a publicly shared cultural space.
That historical chamber does not exist anymore in this piece, but we appreciate our own personal small room, i.e. ears.
In this personal room, we may build a new instrument and a new musical space as well.
Extreme loud noise space, where we cannot hear anything else and even get pain without protecting our ears.
In the closed-ear room, the dangerous space is not something horrible, but it provides an experience like a spacewalk. The earplugs, in this situation, are the same as a spacesuit.
They filter out all the unpleasant obstructions and let us be conscious of the very pure essence of the human sense.

*Using headphones is recommended.

Moscow Contemporary Music Ensemble
The fourth international young composers academy, Tchaikovsky city

Year: 2014
Instrumentation: piano, accordion, violin, cello
Duration: ca. 14′

Program note:
In additional time, we perceive a space rather than the linear time.
The individuality of each sound creates its own dimension and soon we forget and remember in another dimension or in the additional time.

Ensemble Recherche
Tonlagen Festival Hellerau

Year: 2013/14
Instrumentation: flute, oboe, clarinet, percussion, piano, violin, viola, cello
Duration: ca. 17-18′

Other works

in h
Project Ensemble Morph
지금 여기 – 숭고/Jetztzeit – Erhabene, Seoul

Year: 2018
Instrumentation: two recorders, percussion, piano, harpsichord, accordion, cello
+ electronics (stereo+subs)
Duration: ca. 15′

Added (nonet version)
Lucerne Alumni Ensemble
Lucerne Festival Academy

Year: 2014/2017
Instrumentation: flute, clarinet, horn, trumpet, piano, two violins, viola, cello
Duration: ca. 14′

*Reorchestrated (original work above)

eigen II

Year: 2016
Instrumentation: Trumpet, four horns, tuba
+ electronics, earplugs, sound installation
Duration: ca. 15′

Program note:
We face numerous spaces in our daily life.
Our perception of the corporeal spaces is influenced by countless variables (e.g. temperature, air pressure, brightness, capacity, etc.), and changes with the passage of time.
All the time we differently absorb the visual and acoustic spaces depending on the conditions.
eigen suggests a contrary possibility of the spatial perception.
Through the entire piece in two different corporeal spaces (opened, isolated), one encounters static high and low tones that are lying on the boundary limit of human acoustic perception.
They are not something that is “listened” to in the manner of our musical culture, however, they create impervious unchangeable spaces. Our real ambient spaces, i.e. concert hall and lobby, are fremd in this situation.
In this piece, earplugs allow one to be conscious of the invisible spaces that would be ignored in the ambient spaces
The historical function of the concert hall is neutralized and one may take a completely pure spatial experience in one’s personal room.

*The piece has never been performed. One can download the score from the below link. If you are interested in playing this piece, please contact me.

Ensemble nostri temporis
Kyiv international master class for new music COURSE

Year: 2015
Instrumentation: horn, cello
Duration: ca. 8′


Year: 2012
Instrumentation: string quartet
+ speaking performance
Duration: ca. 10′