In his Amproprifications, Maximilian Marcoll takes existing compositions and superimposes them with a precisely composed layer of amplification. No note of the original is altered: the music is left intact, yet transformed through shifts in loudness, fading, or abrupt cuts. This process turns amplification itself into a compositional tool, both magnifying and refracting the original.
With Amproprification VI, Marcoll turns to Palestrina’s Missa Papae Marcelli, composed almost 460 years ago. The Renaissance polyphony unfolds in full, yet the amplification highlights the distance that separates us from it today. What often feels like a direct, timeless connection—a mass that “speaks across the centuries”—is revealed as a mediated, historically charged experience. Marcoll’s work makes this duality audible: the living sound of the mass on one hand, and on the other, its cultural aura as a revered monument refracted through contemporary ears.