The Amproprification exhibition that has been shown in the Goethe Institute in Mexico City last year will move to Guadalajara.
It will be shown in the “Ex-Convento del Carmen” from May 9th until September 9th.

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!

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.

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

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