Iannis Xenakis Thalleïn (1984) für 14 Instrumente
Lucia Dlugoszevski Fire Fragile Flight (1973) für 17 Instrumente
Sarah Nemtsov MOOS (2019/20) für 13 Musiker mit Elektronik Dt. EA.
Márton Illés Forajzok (2021) für Ensemble
Michael Pelzel Pavlopetri (2022) (in memoriam Iannis Xenakis)
für 17 Musiker UA
The fascination for physical phenomena awakens the artistic spirit of enquiry. Even if analysing them is the domain of the natural sciences, sonic methods can also bring us close to their essence – and sometimes even closer. In the ensemble piece Fire Fragile Flight by the almost forgotten American composer Lucia Dlugoszewski, one might think one can actually see the sun’s reflection shimmering on the falling leaves. Sarah Nemtsov evokes the soft yet firm feeling of »treading on moss« in her composition MOOS by using an unusually indirect method of producing sound. Márton Illés attempts to adapt the most varied instruments to the human voice, especially those primordial noises that it produces, aside from words and song. The instrumental sounds grow together so organically that the ensemble seems to turn into some highly expressive creature. Meanwhile, the Greek-French composer, engineer and architect Iannis Xenakis based almost all his works on specific systems of reference from the natural sciences – an unprecedented practice in musical history, which also comes to fruition in his ensemble piece Thalleïn (Greek for »to sprout«): he applies sieve theory, allowing the most varied small motifs to grow and proliferate, transform and become enmeshed in organic textures of sound. A hundred years after Xenakis’ birth, composer Michael Pelzel, in his new work Pavlopetri, reflects »the raw and archaic power« of the music that has grown out of such rigorous processes.