ARCHIVE

All publications in chronological order:



Published on Wednesday, November 29th, 2017

New Magazine:

Positionen #113

M.Marcoll: "Der Schritt ins Visuelle" (2017)
more info




Published on Tuesday, November 14th, 2017

New Recording:


Aneignung und Verstärkung

Radio feature by Dirk Wieschollek about the Amproprification series. Broadcasted on SWR2 on October 23rd 2017



Published on Sunday, November 12th, 2017

New Piece Announced:

H A C K


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




Published on Friday, November 10th, 2017

New Video:




Live recording of Amproprification #3 at Unerhörte Musik, BKA, Berlin, 07.11.2017, Mark Lorenz Kysela, Tenor Saxophone – M.Marcoll, Piano



Published on Friday, November 10th, 2017

New Magazine:

Musiktexte #155

M.Marcoll: "Fader, Grappa, Gamecontroller", new version (2017)
more info




Published on Wednesday, October 25th, 2017

New Recording:


Fremd 2: ALT

"Über Neue Musik, die auf alter basiert." Radio Feature by Maximilian Marcoll. Broadcasted on DLF Kultur, Oct 24th, 2017



Published on Wednesday, October 11th, 2017

New Magazine:

NZFM 05/17

Article about the Amproprifications by Dirk Wieschollek
more info




Published on Monday, October 2nd, 2017

New Piece Announced:

Interlocked Dependency No.2


for four EWIs
new piece for the EW-4 Quartett




Published on Tuesday, September 12th, 2017

ECHOES


First exhibition showing Amproprification prints, opening in Berlin: From Sept. 13th until Nov 10th, the group show “ECHOES” features four of the Amproprification visuals.

rk – Galerie für zeitgenössische Kunst
Möllendorffstr. 6
10367 Berlin




Published on Monday, August 28th, 2017

Adhan Schöneberg


Nice review of Adhan in the NMZ (in German):
https://www.nmz.de/online/mehr-als-ein-symbol-maximilian-marcolls-adhan-in-berlin




Published on Monday, June 12th, 2017

New Piece Announced:

Amproprification #8: Allegro con brio, Eroica, C.F.Ebers, L.v.Beethoven


Ensemble and automated amplification




Published on Wednesday, June 7th, 2017

ADHAN – Project Website


The Adhan project website is now public. It provides a detailed project description as well as links to all press releases and other content.

www.adhan.eu




Published on Friday, June 2nd, 2017

New Magazine:

NMZ 6/2017

Interview in the NMZ by M. Hufner
more info




Published on Sunday, March 26th, 2017

New Video:




Visualisation Video of Amproprification #3



Published on Friday, March 24th, 2017

New Recording:


Amproprification #3: Après un rêve, Gabriel Fauré

Performed by Marie Schmit (Vc.) & M. Marcoll (Pno.)



Published on Sunday, March 12th, 2017

New Score:


Amproprification #7: Weiss / Weisslich 17c, Peter Ablinger

“Amproprifications” is a series of pieces for performers and electronics. The electronics consist of automated amplification. No additional sound is being produced. The parts of the performers consist in the performance of scores by other composers. One specific score is performed for each piece in the series. Not a single note of the respective piece's text is being altered, nothing is added, nothing is omitted, nothing is being changed in any way.


The automated amplification layer of "Amproprification #7: Weiss / Weisslich 17c, Peter Ablinger" is derived from the volume envelope of a spoken recording of this very text, lasting exactly forty seconds. You will listen to this text twice: First, in the form of a digitally analysed volume envelope of the recording, applied to the volume envelope of the snare drum roll that constitutes the first half of Ablinger's piece. Second, as a manually drawn copy of a graphical print of the recording's volume envelope, translated back into digital sound data. It is applied to the volume envelope of the white noise, constituting the second half of Ablinger's piece.




Published on Sunday, March 12th, 2017

Amproprifications – New Patch


Freshly squeezed: A new MaxMSP-Patch, suitable for all of the Amproprification pieces. The documentation of the patch can be found here.




Published on Wednesday, February 15th, 2017

Preis der deutschen Schallplattenkritik


Preis der deutschen Schallplattenkritik / Bestenliste for the newly published CD by Ensemble LUX:NM containing Drill & Sander.

Luxus




Published on Wednesday, January 25th, 2017

New Article:





Published on Monday, December 5th, 2016

New Video:





Published on Friday, December 2nd, 2016

New Score:


Amproprification #2: Ombra, Franco Donatoni

Amproprification #2.1 : 8'
Amproprification #2.2 : 5'

"Amproprifications" is a series of pieces for performers and electronics. The title is a combination of the terms "Appropriation" and "Amplification": In short, all "Amproprifications" are elaborate amplification layers for preexisting pieces by other composers.
The parts of the performers consist in the performance of scores by other composers. One specific score is performed for each piece in the series. Not a single note of the original's text is being altered, nothing is added, nothing is omitted, nothing is being changed in any way.
The electronics on the other hand solely consist of amplification. No additional sound whatsoever is being produced. The possibilities of interference span a large variety of movements, from almost inaudibly slow fadings to extremely fast and brutal chopping.
In a figure of speech, all "Amproprifications" are "silent" pieces. They themselves do not contain or produce any sound. They do, however, constitute filters, readings, processings of the original pieces.




Published on Monday, November 28th, 2016

New Recording:


Adhan

Performed by Thomas Noll



Published on Wednesday, November 9th, 2016

New Recording:


Compound No.2a: AIR PRESSURE TRAIN TV

Performed by Norbert Krämer & Michael Pattmann



Published on Monday, November 7th, 2016

New Release:


LUXUS

The Debut-CD of the Berlin based Ensemble LUX:NM containing “Drill & Sander” for Alto Trombone and Ensemble from early 2015.

more info

Contains Piece(s):
DrillAndSander


Published on Tuesday, November 1st, 2016

New Recording:


Compound No.3: MACHINE CONSTRUCTION AFTERMATH

Excerpt of the premier performance, 2011



Published on Tuesday, October 25th, 2016

New Recording:


Folgesätze (first part)




Published on Friday, October 14th, 2016

New Score:


Amproprification #3: Après un rêve, Gabriel Fauré

"Amproprifications" is a series of pieces for performers and electronics. The title is a combination of the terms "Appropriation" and "Amplification": In short, all "Amproprifications" are elaborate amplification layers for preexisting pieces by other composers.
The parts of the performers consist in the performance of scores by other composers. One specific score is performed for each piece in the series. Not a single note of the original's text is being altered, nothing is added, nothing is omitted, nothing is being changed in any way.
The electronics on the other hand solely consist of amplification. No additional sound whatsoever is being produced. The possibilities of interference span a large variety of movements, from almost inaudibly slow fadings to extremely fast and brutal chopping.
In a figure of speech, all "Amproprifications" are "silent" pieces. They themselves do not contain or produce any sound. They do, however, constitute filters, readings, processings of the original pieces.




Published on Friday, October 14th, 2016

New Score:


Amproprification #6.1: Kyrie, Missa Papae Marcelli, Giovanni Pierluigi da Palestrina

"Amproprifications" is a series of pieces for performers and electronics. The title is a combination of the terms "Appropriation" and "Amplification": In short, all "Amproprifications" are elaborate amplification layers for preexisting pieces by other composers.
The parts of the performers consist in the performance of scores by other composers. One specific score is performed for each piece in the series. Not a single note of the original's text is being altered, nothing is added, nothing is omitted, nothing is being changed in any way.
The electronics on the other hand solely consist of amplification. No additional sound whatsoever is being produced. The possibilities of interference span a large variety of movements, from almost inaudibly slow fadings to extremely fast and brutal chopping.
In a figure of speech, all "Amproprifications" are "silent" pieces. They themselves do not contain or produce any sound. They do, however, constitute filters, readings, processings of the original pieces.




Published on Wednesday, October 12th, 2016

New Recording:


Compound No.1a: CAR SEX VOICE HONKER




Published on Wednesday, October 5th, 2016

New Book:

Darmstädter Beiträge 23

Collection of lectures of the Darmstadt Summer Courses 2014. Contains: M.Marcoll: "Concrete Matters"
more info




Published on Sunday, October 2nd, 2016

New Recording:


Recording: Amproprification #1: Sequenza 9c, Luciano Berio

Performed by Heather Roche



Published on Thursday, September 29th, 2016

New Recording:


Recording: Amproprification #6.2

Recording of the first performance, Neue Vocalsolisten, Berlin, 4.9.2016



Published on Thursday, September 29th, 2016

New Recording:


Recording: Amproprification #6.1

Recording of the first performance, Neue Vocalsolisten, Berlin, 4.9.2016



Published on Tuesday, September 6th, 2016

New Magazine:

eContact: Quince

Article on quince
more info




Published on Tuesday, June 28th, 2016

New Score:


Compound No.2: AIR PRESSURE TRAIN TV

Ein Regionalzug von innen, stehend, am Frankfurter Hauptbahnhof; Ein ICE-Bordrestaurant während eines verlängerten Zwischenhalts in Dortmund; Eine Techno Party ("Möbel Olfe") im alten Bechsteinhaus am Moritzplatz in Berlin; Eine Passagierin mit elektronischem Beatmungsgerät in einem Zug nach Berlin; Eine pfeifende Dusche in einem Hamburger Hotel; Windräder in Schleswig-Holstein; Durch die Lübecker Altstadt fahrende Autos an Weihnachten 2008; Eine stehende E-Lock; Das Wartezimmer der Abteilung für Strahlentherapie des Lübecker Uni-Klinikums; Ein Ausschnitt aus der TV-Serie "24" (Staffel 6 Episode 11); Der Hinterhof meiner Berliner Wohnung;




Published on Tuesday, June 28th, 2016

New Score:


Amproprification #4: Splitting 8.1, Michael Maierhof

"Amproprifications" is a series of pieces for performers and electronics. The title is a combination of the terms "Appropriation" and "Amplification": In short, all "Amproprifications" are elaborate amplification layers for preexisting pieces by other composers.
The parts of the performers consist in the performance of scores by other composers. One specific score is performed for each piece in the series. Not a single note of the original's text is being altered, nothing is added, nothing is omitted, nothing is being changed in any way.
The electronics on the other hand solely consist of amplification. No additional sound whatsoever is being produced. The possibilities of interference span a large variety of movements, from almost inaudibly slow fadings to extremely fast and brutal chopping.
In a figure of speech, all "Amproprifications" are "silent" pieces. They themselves do not contain or produce any sound. They do, however, constitute filters, readings, processings of the original pieces.




Published on Tuesday, June 28th, 2016

New Score:


Amproprification #1: Sequenza 9c, Luciano Berio

"Amproprifications" is a series of pieces for performers and electronics. The title is a combination of the terms "Appropriation" and "Amplification": In short, all "Amproprifications" are elaborate amplification layers for preexisting pieces by other composers.
The parts of the performers consist in the performance of scores by other composers. One specific score is performed for each piece in the series. Not a single note of the original's text is being altered, nothing is added, nothing is omitted, nothing is being changed in any way.
The electronics on the other hand solely consist of amplification. No additional sound whatsoever is being produced. The possibilities of interference span a large variety of movements, from almost inaudibly slow fadings to extremely fast and brutal chopping.
In a figure of speech, all "Amproprifications" are "silent" pieces. They themselves do not contain or produce any sound. They do, however, constitute filters, readings, processings of the original pieces.




Published on Tuesday, June 28th, 2016

New Score:





Published on Tuesday, June 28th, 2016

New Score:


Compound No.6: VOICE ALARM AIR MACHINE

Hämmern von Bauarbeitern bei Renovierungsarbeiten an der Aussenfassade meines Wohnhauses; Das Abschleifen des Dielenbodens in der Nachbarwohnung; Ein pfeifender Kellner in einer Kreuzberger Kneipe; Eine Drehorgel in Mexico City; Ein Testalarm in Bludenz (Vorarlberg); Ein schreiender Nachbar im Innenhof vor meinem Küchenfenster; Die Aufnahme einer Probe mit dem Flötisten Erik Drescher;




Published on Tuesday, June 28th, 2016

New Score:


Compound No.4: FRICTION MACHINE ALARM SIGNAL CONSTRUCTION

In Compound No.4 kommen vor: Ein ICE-Bordrestaurant mit piependem Gerät; eine quietschende Rolltreppe am Kölner Hauptbahnhof; Ein Alarmsignal nicht näher bestimmter Herkunft, aufgenommen im Innenhof vor meiner Wohnung in Neukölln; Ein Flugzeug kurz nach der Landung mit knirschendem Kinderwagen auf dem Rolllfeld; Beiläufiges Fingergetrommel einer Freundin; Hämmern von Bauarbeitern bei Renovierungsarbeiten an der Aussenfassade meines Wohnhauses; Wind während einer Zugfahrt mit geöffneten Fenstern;




Published on Tuesday, June 28th, 2016

New Score:


Compound No.1: CAR SEX VOICE HONKER

The materials of Compound No.1a are: single passing cars in Lübeck (Northern Germany) at night; an intersection with an overhead passing train in Berlin Kreuzberg during the day; a car from the inside during a day trip through Northern Germany; heavy breathing during sex; a whining child in my backyard; an excerpt from "Coptic Light" by Morton Feldman; a cafe in Lübeck; a dubstep intro; honking fans of the Turkish National Soccer Team at the Hermannplatz in Berlin; During the course of the piece, the accordions constantly change their identity: The accordeon is lung, is voice, is car horn.




Published on Tuesday, June 28th, 2016

New Score:


Samstag Morgen - Berlin Neukölln. Studie. Und Selbstportrait. Mit Hirsch.

Ausgangspunkt war eine Aufnahme aus dem Innenhof vor meiner Wohnung. Zu hören war ein Dialog von Vögeln mit etwas anderem. Möglicherweise ein anderer Vogel, vielleicht auch irgendein Gerät. Jedenfalls machte es “ziiep”. (Ausgerechnet Vögel!) Allerdings handelt es sich nicht um Vogelgezwitscher im “klassischen” Sinn: Kein Singen, kein Balzen, bloßes vereinzeltes Piepsen. Das Klavier spielt Teile aus Transkriptionen der Vogel-Aufnahmen, die in leichter Bearbeitung zugespielt werden. Eine weitere Schicht, die auch den Anfang des Stückes bildet und über die ganze Dauer nicht abbricht, ist eine (ebenfalls angefasste) Aufnahme des Autors bei der Arbeit an eben diesem Stück. Abgesehen von den konkret objekthaften Ereignissen besteht die Aufnahme aus dem Rauschen des Zimmers und desselben Hofs, diesmal spät abends (Kühlanlage des Imbiß-Restaurants inklusive). Es entsteht eine Situation mit folgenden Komponeten: Konzertraum, Arbeitsraum, Außenraum; Anwesenheit des Autors; Vögel vs. Klavier (als Resynthesemaschine) vs. Klavier (als Klavier); Schliesslich Quantisierungsrauschen und Abstraktion der akustischen Phänomene;




Published on Tuesday, June 28th, 2016

New Score:


Compound No.7: OPERATION ENOK

The pieces of the "Compound"-Series are based on a collection of transcriptions of recordings of my personal environment. For "OPERATION ENOK" I partly abandonned the technique of precise transcription to achieve a more open relation between the "original" recordings, the tape and the performers. Of course, the tape does dictate a fix temporal structure which the performers have to follow, but almost everything else happens around it, not on top of it. My focus is not so much on an aural scanning of a flow of sound but on a side by side coexistence of several contexts. You will hear: A recording of a neighbour playing a Computer Game; Workers "clearing out" the flat of my neighbour, who had died, car breaks at the freedom square in Tbilisi, Georgia, as well as a collection of recordings of TV Game Shows.




Published on Tuesday, June 28th, 2016

New Score:


Drill & Sander

1. B o d e n

Seit 2007 bin ich als einer der zugezogenen "jungen Kreativen" für die Gentrifizierung in Berlin-Neukölln mitverantwortlich. Sie umgibt mich, ich lebe in ihr und sie ist fast jeden Tag nicht nur sicht- sondern auch deutlich hörbar. In meinem Alltag, und damit also während des Kompositionsprozesses, bin ich beinahe permament umgeben von Schleifmaschinen, die den neuen Akademikerkindern von nebenan einen schöneren Untergrund zum Barfusslaufen bereiten. Diverse Aufnahmen von jaulenden Maschinen in Nachbarwohnungen legen Zeugnis ab von der Dichte der offenbar dielenfreilegungsbedürftigen Behausungen in meinem Bezirk. Es nervt kolossal. – Erbarmungslos wie ein Zahnarztbohrer.

2. K o p f

Anfang 2014 wurden mir in einer Marathonoperation zwei Weissheitszähne entfernt. Der Eingriff war nicht nur sehr kompliziert, sondern auch sehr lang. Ich trug während der gesamten OP kleine (sogenannte Originalkopf-) Mikrofone in den Ohren und habe auf diese Weise ein Dokument erhalten, das "Renovierungsarbeiten" in meinem Kopf festhält, uns allen vermutlich nicht unbekannt. Für mich klanglich-strukturell: die Schleifmaschine von nebenan.

3. N e r v

Der Entstehungsprozess von "Drill & Sander" (Bohrer & Schleifmaschine) nahm seinen Ausgangspunkt an Transkriptionen der beiden beschriebenen Materialien und führte zu einer Beschäftigung mit verschiedenen Formen des "Nervens". Es geht um die Nervensäge, den Störenden, die das Soziale Gefüge störende Instanz, den akustischen Schandfleck in der kleinen bürgerlichen Idylle.

4. G r u p p e

Das Ensemble verhält sich dabei wie ein Netzwerk aus Individuen mit klaren Rollen und Aufgaben, die nur bestimmte Verbindungen zulassen, was zu immer neuen Subgruppierungen führt. Der Solist und die anderen Musiker werden immer wieder neue Koalitionen eingehen: Es gibt zu beinahe jeder Zeit ein Trio, ein Duo, ein Solo, sowie eine_n Schweigende_n. Der Solist ist dabei meistens (aber durchaus nicht immer) die Altposaune.




Published on Monday, June 27th, 2016

New Score:


Adhan

In the summer of 2014, I was commissioned to write a piece for the Carillon (bell tower) in the Tiergarten in Berlin. Two concerts had been planned for Pentecost Sunday and Monday of 2015, which were to feature not only the piece I had written, but also two older pieces by other composers.
Given the circumstances — namely the bell tower's symbolic association with the church — and the date (Pentecost), addressing the religious context of the event was unavoidable.
The question of openness in central European societies has become increasingly controversial in recent years, and it was against this backdrop that the commission took on even greater potential. The piece "Adhan" (Arabic for "call to prayer"), consists of an Islamic call to prayer doubled by the bells of the carillon, and a recording of an ancient Jewish wind instrument — the shofar.
The recording of the muezzin was transcribed and arranged for the carillon, the bells of which are synchronized to the vocals. The vocals and the shofar are played back from a loudspeaker positioned at the top of the bell tower. The world's three largest monotheistic religions woven into a single musical gesture: The call of the muezzin, doubled by a Christian bell tower, supported by the Jewish shofar, on a Judeo-Christian holiday.
However, out of fear of islamist-motivated attacks, the piece was removed from the program by the organizer. Public reactions to the removal resulted in the program temporarily returning to its original form before the concerts were finally canceled altogether.

Every instrument has a history: the history of its origins, its development, and of its use. When an instrument is played, its history is inevitably called up in association with the sound it emits. The history of the carillon is intertwined with that of the church. Although the tradition of the carillon is a secular one, primarily in the Benelux countries, bells bring about an almost automatic association with the tradition of the church and with Christian society. For hundreds of years, the bell tower was — and continues to be — a keeper of time and a distinctive mark of the church, easily recognizable from a distance. A functional equivalent to the bell tower and the muezzin, found in the Jewish tradition, is the shofar — a wind instrument made out of the horn of a ram. The shofar is traditionally blown to celebrate the new year, and on a handful of other Jewish holidays.
The histories of the instruments used in a piece are not the only layers of meaning expanding into it. The context within which the performance takes place can be equally important. The signifcance of a particular date adds contextual signifcance to a concert, which in turn can have a considerable effect on the piece. A piece of music performed on Christmas, for example, is contextualized differently than one played on the 9th of November (or September 11th).
The Christian celebration of Pentecost takes place around the same time of year as the Jewish feast of Shavuot. Occassionally they actually coincide. Shavuot, in addition to its other signifcances, is celebrated as the day upon which God revealed the Torah. According to the Bible, it is precisely during this celebration that the Holy Spirit descended upon the Apostles and granted them the ability to speak in all the tongues of Jerusalem.
Pentecost is, therefore, a sort of adapted Jewish holiday, representing at once the "birth of the church" and the antithesis of Babel: common understanding between different cultures.

Visit the project website: adhan.eu




Published on Monday, June 27th, 2016

New Score:


Compound No.5: CONSTRUCTION ADJUSTMENT

The pieces of the Compound series are based on sonic material from my everyday life. The materials are organised into a network structure, which grows continuously, independent of actual pieces. The network consists of recordings, their transcriptions and derivatives which are interconnected by phenomenological similarities. Compound No.5: CONSTRUCTION ADJUSTMENT was written for the Black Box, a custom percussion instrument with an interchangeable surface and some other features. The piece is based on recordings of: My favorite Sushi Restaurant in Berlin Kreuzberg; A shopping mall; Construction Workers in my backyard; The renovation of a friend's appartment; The setting-up of the recording equipment; Wind Clipping in the microphone on a train; Cooling hot plates in my kitchen.




Published on Monday, June 27th, 2016

New Score:


Interlocked Dependency No.1: If music be the food of love

In the secret prisons of Guantánamo Bay and Abu Ghraib (at least), the U.S. forces applied music as a means of torture. As far as the public knows at this point, the selection of songs used, which is known as the “Torture Playlist” or “GTMO-Playlist”, consists of Pop, Rock and Metal Songs which are well known, accessible and very popular in the western world. While the precise criteria for the selection of particular songs are as yet unknown, there is a rather plausible possibility: the lyrics. Of course, the majority of the prisoners, who don’t speak English, were not able to understand them. Additionally, the playing back of two songs simultaneously (as reported by some sources) might render the lyrics incomprehensible, even for someone with sufficient language skills. For the torturing soldiers, though, the lyrics provide yet another way to further humiliate their victims. Having been used as torture instruments, the songs themselves are imprinted with ambivalency in three ways: The victims do not have access to a way of hearing the songs as popsongs. For them they can only mean pain, suffering, the inability to hear their own thoughts. For us, the popsongs are still popsongs. Our perception might be slightly changed because of our knowledge of their use as weapons, which, then again, lies far beyond our imagination. The torturing soldiers themselves actively change their own relation to the songs in a drastic way. Of course they have not been exposed to the songs in a way similar to their victims, they are however directly involved in the procedure. They must know the songs pretty well, after all, they made the decision to use them. They conciously decided to use something they like, something they identify themselves with on a cultural level, as a weapon against their prisoners. I find it quite hard to imagine that they could later listen to the songs without also hearing the torture instruments. The songs, I think it safe to presume, have been selected because the soldiers think of them as cultural symbols, because they like them, because they listen to them regularly anyway, because they have access to them and because the lyrics open up possibilities for some incredibly cruel and cynical jokes. The songs are imprinted with two opposed ways of perception, that can never be accessed simultaneously. On the contrary, they obscure one another. While listening to them, the songs as weapons and as songs, are always present and absent at the same time, yet always in the directly invers relation. The GTMO-playlist is, as of yet, unverified. Various sources claim however, that certain songs have been used. A selection of those serves as the sole musical material for this piece. Both performers are equipped with two micophones, head- (or ear-) phones and a speaker. For most parts of the piece, each of the performers hears a different song of the GTMO-Playlist on their headphones and, in excerpts, plays along to it, in the rhythm of their respective song’s lyrics. Every single note played by one performer causes the other player’s current song to be audible for the audience, through the respective other player’s loudspeaker. The songs are modulating each other. Both are there, simultaneously, in both saxophone & speaker-combinations, both as the rhythm that modulates the other song and as the “carrier” that is being modulated. Both are simultaneously present and absent: Our perception does not permit us to actively listen to both layers at once. The focus has to change, to switch, back and forth. The respective other relation is permanently inaccessible.




Published on Monday, June 27th, 2016

New Score:


Compound No.3: MACHINE CONSTRUCTION AFTERMATH

MACHINE CONSTRUCTION AFTERMATH ist Teil der Werkreihe "Compounds", die auf einem Netzwerk aus Aufnahmen meiner alltäglichen Umgebung, deren Transkriptionen und Ableitungen basiert. In den Stücken der Reihe kollidieren Klänge deren Ursprung nicht zwangsläufig verwandt ist, die aber auf phänomenlogischer Ebene verknüpft werden können. Die in MACHINE CONSTRUCTION AFTERMATH verwendeten Materialien sind: ein Mähdrescher auf einem Feld in Norddeutschland, Renovierungsarbeiten in der Wohnung meiner Nachbarn in Berlin, ein tropfender Wasserhahn in Köln, Atemgeräusche beim Sex, eine auskühlende Herdplatte, eine Boing 747 während eines Transkontinentalfluges, Staubsaugende Nachbarn, die Klimaanlage einer Berliner Bar, ein U-Bahn-Lüftungsschacht in Mailand, eine Kettensäge.




Published on Monday, June 27th, 2016

New Score:


Compound No.1a: CAR SEX VOICE HONKER

The materials of Compound No.1a are: single passing cars in Lübeck (Northern Germany) at night; an intersection with an overhead passing train in Berlin Kreuzberg during the day; a car from the inside during a day trip through Northern Germany; heavy breathing during sex; a whining child in my backyard; an excerpt from "Coptic Light" by Morton Feldman; a cafe in Lübeck; a dubstep intro; honking fans of the Turkish National Soccer Team at the Hermannplatz in Berlin; During the course of the piece, the accordeon constantly changes its identity: The accordeon is lung, is voice, is car horn.




Published on Monday, June 27th, 2016

New Score:


Personal Data

In the Summer of 2013, the case Snowden/NSA revealed that a rather old dystopian nightmare had already come true. A large number of publications have since given us shocking information on how powerful the secret monitoring programs really are. The individual citizen seems to be quite powerless against those attacks on our freedom. It is my belief that art has a responsibility to react. "PERSONAL DATA" is a two minute piece in which the performers, following a simple structure, proclaim their personal data. Adresses, login data to email and other accounts, bank details etc are given away. Although, the simultaneity of the disclosures renders the individual data sets incomprehensible.




Published on Monday, June 27th, 2016

New Score:





Published on Saturday, April 2nd, 2016

New Recording:


Fremd 1: ZUGRIFF

"Über Appropriation in der Neuen Musik." Radio Feature by Maximilian Marcoll. Broadcast on DeutschlandRadio Kultur, March 22th, 2016



Published on Thursday, July 23rd, 2015

New Article:





Published on Thursday, July 23rd, 2015

New Article:


Adhan Leaflet


Leaflet published for the cancelled first performance of the piece "Adhan"
2015





Published on Thursday, July 23rd, 2015

New Video:







Published on Wednesday, June 24th, 2015

New Article:


Sechs Punkte


Eine Antwort, erschienen in "Blatt 3000", Feb. 2015
2015





Published on Wednesday, June 24th, 2015

New Magazine:

Blatt3000 #2

M.Marcoll: Sechs Punkte
more info




Published on Thursday, January 1st, 2015

New Video:




Video produced by M.Marcoll, 2014



Published on Saturday, November 29th, 2014

New Article:





Published on Saturday, November 29th, 2014

New Magazine:

Blatt3000 #1

M.Marcoll: Fader, Grappa, Gamecontroller
more info




Published on Friday, November 7th, 2014

New Program Note:




Published on Tuesday, August 26th, 2014

New Recording:


Compound No.8

Nadar Ensemble playing "BREAK REMOVE DEMOLISH"



Published on Thursday, August 14th, 2014

New Article:


Concrete Matters


Lecture @ Internationale Ferienkurse für Neue Musik 2014
2014





Published on Wednesday, August 13th, 2014

New Recording:


Concrete Matters

Lecture in Darmstadt, 12.08.2014



Published on Sunday, August 10th, 2014

New Video:




Live @ GAM | Santiago de Chile
Concert of the International Composers Meeting 2014
Students of Composition
Universidad Catholica



Published on Sunday, August 10th, 2014

New Book:

Umverteilung

A Book about the UMVERTEILUNG installation.
more info




Published on Tuesday, March 25th, 2014

New Recording:


Privat

"Über privates, intimes, und nicht öffentliches in der Neuen Musik." Radio Feature by Maximilian Marcoll. Broadcasted on DeutschlandRadio Kultur, March 25th, 2014



Published on Wednesday, February 12th, 2014

New Recording:


radiofeature

Radio Feature by Jakob Bauer



Published on Thursday, November 28th, 2013

New Article:


Danke!


Zu Stefan Drees’ Artikel "Musikjournalismus als Propagandamaschine"
2013





Published on Thursday, September 12th, 2013

New Program Note:

Samstag Morgen


Program Note for "Samstag Morgen - Berlin Neukölln. Studie. Und Selbstportrait. Mit Hirsch."
2007





Published on Thursday, September 12th, 2013

New Program Note:

Compound No.6


Program Note for Compound No.6: VOICE ALARM AIR MACHINE
2012





Published on Thursday, September 12th, 2013

New Program Note:

Compound No.4


Program Note for Compound No.4: FRICTION MACHINE ALARM SIGNAL CONSTRUCTION
2011





Published on Thursday, September 12th, 2013

New Program Note:




Published on Thursday, September 12th, 2013

New Program Note:




Published on Thursday, September 12th, 2013

New Program Note:




Published on Thursday, September 12th, 2013

New Program Note:




Published on Thursday, September 12th, 2013

New Recording:


Compound No.3 – AudioTrailer

Audio Trailer for Compound No.3: MACHINE CONSTRUCTION AFTERMATH



Published on Tuesday, September 10th, 2013

New Article:


Luvsound Interview


Interview by Eric Schoster for the "Split EP" webrelease on "Luvsound"
2005





Published on Sunday, September 8th, 2013

New Recording:


Compound No.4 performed by stock11

Studio Version, performed by stock11
EXCELLENT SOUND QUALITY



Published on Sunday, September 8th, 2013

New Recording:



Marcoll & Ensemble United Berlin, 2012
POOR SOUND QUALITY



Published on Sunday, September 8th, 2013

New Recording:



Eva Zöllner live in Cologne (Part 2)



Published on Sunday, September 8th, 2013

New Recording:



Eva Zöllner live in Cologne (Part 1)



Published on Sunday, September 8th, 2013

New Recording:



Sebastian Berweck @ Piano+ 2011, wide shot



Published on Sunday, September 8th, 2013

New Recording:



Sebastian Berweck @ Piano+ 2011, close up



Published on Saturday, September 7th, 2013

New Recording:


WDR3 Open: Rebhahn on Compounds

Radio Feature on the Compound series by Michael Rebhahn. Broadcasted on Apr 17th, 2013 on WDR3.



Published on Friday, September 6th, 2013

New Article:





Published on Friday, September 6th, 2013

New Magazine:

Positionen #84

M.Marcoll: Transkription und Handwerk
more info




Published on Thursday, September 5th, 2013

New Release:


dis.playce: R

Published on Thursday, September 5th, 2013

New Release:


Split EP: Marcoll/dis.playce

Published on Thursday, September 5th, 2013

New Release:


CrossCut


more info

Contains Piece(s):
FastForward


Published on Thursday, September 5th, 2013

New Release:


dis.playce: Das Ende von Amerika

Published on Thursday, September 5th, 2013

New Magazine:

Positionen #93

Compounds - Dezentrales Komponieren
more info




Published on Thursday, September 5th, 2013

New Article:


Umverteilung


Report on reactions of the audience. (German)
2010





Published on Thursday, September 5th, 2013

New Article:





Published on Thursday, September 5th, 2013

New Article:


Neue Musik


About what new music could be (German)
2011





Published on Thursday, September 5th, 2013

New Article:





Published on Thursday, September 5th, 2013

New Article:


Konkret


Text on transcription in new music. (German) Published in MusikTexte #137
2013





Published on Thursday, September 5th, 2013

New Article:


Weitervermittelt


An Interview with artist Ian W.Coel and Cartograph Karl Ortmann by Hannes Seidl and Maximilian Marcoll (in German)
2012





Published on Thursday, September 5th, 2013

New Magazine:

Positionen #92

Marcoll/Seidl: Raumgreifen. Text about the work of the electronics duo dis.playce.
more info




Published on Thursday, September 5th, 2013

New Article:


Raumgreifen


A text about the work of the electronics duo dis.playce, by M.Marcoll & Hannes Seidl. Published in Positionen #92
2012





Published on Thursday, September 5th, 2013

New Article:


Compounds_Eng


Early description of the concept of the Series (in English)
2009





Published on Thursday, September 5th, 2013

New Article:


Compounds


Early description of the concept of the Series (in German)
2009





Published on Thursday, September 5th, 2013

New Release:


stock11: 2


more info

Contains Piece(s):
SamstagMorgen


Published on Wednesday, September 4th, 2013

New Program Note:




Published on Thursday, August 22nd, 2013

New Book:

Ways Ahead

Proceedings of the First International Csound Conference. Contains a paper on quince by M.Marcoll
more info




Published on Thursday, July 18th, 2013

New Magazine:

Seiltanz #2

Roman Pfeifer: Narrative Netzwerke.
more info




Published on Wednesday, July 17th, 2013

New Magazine:

MusikTexte #137

M.Marcoll: Konkret. Transkription in aktueller Musik
more info




Published on Wednesday, July 17th, 2013

New Release:


dis.playce: HABITAT

Published on Wednesday, July 17th, 2013

New Release:


stock11: 3


more info

Contains Piece(s):
CompoundNo4


Published on Wednesday, July 17th, 2013

New Video:




performed by Maximilian Marcoll, live @ Ultraschall 2011, Sophiensäle, Berlin



Published on Wednesday, July 10th, 2013

New Article:





Published on Wednesday, July 10th, 2013

New Article:


The Black Box


Some short remarks on the Percussion Instrument "Black Box".
2010