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Published on Monday, December 24th, 2018

DeadComposers.net


DeadComposers.net is a web application announcing the last death anniversaries of composers before their works enter the public domain.

On the website you can browse composers’ death anniversaries.
There is a twitter-bot (@dead_composers) announcing the dates as they occur.
And you can subscribe to an ics-formatted calendar to include a comprehensive collection of composers’ death dates right into your digital calendar application.

deadcomposers.net was built in the hope that artists and composers who – like me – work with material by others, will appreciate a way of exploring who’s work can be used freely and when.

Merry Christmas!




Published on Thursday, December 20th, 2018

Ampro8 back online


The recording of Amproprification #8: EROICA about the first movement of Beethoven’s third symphony is now back online, too




Published on Wednesday, December 12th, 2018

Amproprification Recordings


The Amproprification recordings will come back online soon. A new mix of #6.1 & #6.2 (Palestrina) has recently been published on soundcloud and recordings of a few other pieces will follow very soon.




Published on Saturday, October 27th, 2018

New Instagram Acount


Since a few days there is a new Instagram account on which I will collect everything around the Amproprifications. It is only just starting but there is going to be content added step by step:

@amproprifications




Published on Thursday, October 25th, 2018

Amproprification Recordings Offline


After some experiments and long consideration I have decided to take offline most audio recordings of the Amproprifications. I understand now that the difference between the live experience and the recordings is so huge that some major aspects of the pieces are lost.
The setting in which musicians perform an acoustic piece of music that is simultaneously being fragmented and modulated into an electroacoustic one has crucial implications that go far beyond spatialisation. It touches the very core of the series, its purpose and concept. Hence, it feels inappropriate to publish versions of the pieces that are purely electronic and fail to simulate the actual scenario. By taking this decision, I may on one hand lose a part of my audience. On the other, I hope that by limiting those pieces to be experienced in concert settings, I might encourage people to come to those events. Although there are going to be exceptions, most of the Amproprifications seem to be a kind of electroacoustic music that only works in its originally intended format: the concert.

MM




Published on Thursday, October 18th, 2018

New Piece Announced:

A H C K


an amproprification-performance for two electric guitars and live-electronics




Published on Tuesday, October 2nd, 2018

MA/IN 2018


Amproprification #6 (parts one and two) was awarded a Honorary Mention from the Jury of the MA/IN (Matera Intermedia) Festival 2018 in Matera, Italy.

Matera Intermedia Festival

Amproprification #6 on soundcloud




Published on Monday, October 1st, 2018

Amproprifications @ CDMX


The first solo show featuring my Amproprifications is currently running in the Goethe Institut in Mexico City. It will be open until January 9, 2019.




Published on Wednesday, August 22nd, 2018

New Score:


Canone Monodico a 2 [Interlock 3]

Interlock 3 has been written for two performers controlling a single sawtooth wave generator. The two performers simultaneously control the frequency of the same monophonic sound throughout the entire piece.
Both performers play on a fixed range of two octaves. Their impact on the sound, however, is different: While the two octaves of the first performer change the resulting frequency in a range of slightly more than one octave, the second performer controls a range of approximately five octaves, resulting in rather odd scales.
The diminution and augmentation of the range played on by the performers corresponds to the organisation of the musical text that is being performed: Interlock 3 is a proportional canon. While the first performer plays the text twice, the second performer plays it only once, in half speed.
The text itself is composed of nothing else but augmentations and diminutions (in both time and pitch) along with their inversions and retrogrades, all derived from the opening theme of Stravinsky’s “Le sacre du printemps”.
The overall organisation of those variations is laid out in the form of one long downwards glissando, which corresponds to the waveform used to play the piece, the sawtooth wave.
Interlock 3 is also a “table canon”. Just like the sawtooth waveform, (comprised of all harmonics with their relative amplitudes being their respective inverted [sic!] index), the entire piece is symmetrical: it is its own inverted retrograde.