++ 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.
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.
meanwhile Ensemble Proton Dampfzentrale Bern
Year: 2018 Instrumentation: English horn, bass clarinet, contraforte, cello + four music stands Duration: ca. 5-6′
Program note: Meanwhile, I was -ing…
*a miniature piece for pub or bar.
while 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: While I was -ing…
*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.
assessed Project Ensemble Morph Koreanisches Kulturzentrum Berlin
Year: 2017 Instrumentation: percussion, piano + electronics (four channels+subs) Duration: ca. 15′
Program note: Values of Condensate Emptiness
#####d[^_^]b##### Byungseon Park I am [ ]ing, Seoul
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.
Added 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.
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)
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.
Reduced Ensemble nostri temporis Kyiv international master class for new music COURSE
Year: 2015 Instrumentation: horn, cello Duration: ca. 8′