Compositions

Ludger Brümmer

Repetition, dedicated to Francesca von Habsburg

The sound material used in Repetitions consists of samples from Igor Stravinsky's "Rite of Spring". These samples were granulated, cut into small and very small portions and then again layered on top of each other. In addition each of these grains has been individually changed in pitch. Just these two rather simple parametric changes were applied and lead to a complete change of the music. The resulting texture ranges from flat sound without contours, to dense pulse trains like shattering glass. The granulation process is like eating and digesting a material that is assembled in this process in its molecules recombined into new structures.

Composition for: Karlsruhe 2013
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Asfast

I turn off the light, lay down my body and sink ...

For Asfast, the idea of music doesn’t arise through technical fascination, nor mathematic events, or political conflicts. His compositions are guided by emotions. The composition I turn off the light, lay down my body and sink… (2012) tries to communicate the story of a journey across mountains and valleys the artist once did.

Composition for: Vienna 2012, curated by Boris Ondreicka and Franz Pomassl/Laton
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Auxpan

Dovetailed halving Joint

Dovetailed halving joint is a sonic approximation, a translation into sound of what the artist knew about The Morning Line before having seen it. Working from pictures, technical data and taking inspiration from the name of the sculpture, Auxpan put together the composition, letting the mediated information influence the outcome. Dovetailed halving joint consists of low key drones evolving slowly and layered with pulsed sounds.

Composition for: Vienna 2012, curated by Boris Ondreicka and Franz Pomassl/Laton
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Abraham Cruzvillegas

Blind self portrait looking through the window after some minutes of mutual oral sex

Blind self portrait looking through the window after some minutes of mutual oral sex is part of a series by Cruzvillegas entitled Blind self portrait. These works are composed of masses of paper-based ephemera–flyers, newspaper cuttings, postcards and travel tickets collected from around the world–which are covered with layers of paint, in this case pink and grey. The paint covers the true nature of its paper components, giving the pieces an obscured sense of nothingness and hapless displacement against the white gallery wall.

Alexei Borisov

Decade

Decade (audio report) is the culmination of Alexei Borisov's sound research over the last ten years or more. On the one hand, this piece has a retrospective character because he used audio fragments from previously unreleased recordings of his live performances in different cities and countries and some home studio fragments. On the other hand, he added sounds, recently produced with some of his current equipment, and some improvised acoustic fragments.

Composition for: Vienna 2011, curated by Franz Pomassl/Laton
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Batuhan Bozkurt

Recoherence

Recoherence is a meta-model formulated as a computer program that is responsible for the synthesis of the sounds ranging between “digital sample” and “sound object” time scales, and the assemblage of the temporal form ranging between meso and macro time scales. Just as the The Morning Line itself, Recoherence does not have a single entry and exit point.

Composition for: Istanbul 2010, curated by Cihat Aşkın, Melih Fereli, Kamran İnce
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Bryce Dessner, David Sheppard, Evan Ziporyn

Propolis

Propolis combines prerecorded spatialized sound and generative MAX/MSP software patches with composed and improvised live bass clarinet by Evan Ziporyn. A multi-layered, non-linear composition with a palindromic form based around the order/chaos continuum, the work uses the scaleable 8:3 ratio applied fractally in the architecture to generate several different rhythm devices, as well as the cyclical thematic basis of the structure as formal inspiration.

Composition for: Seville 2008, curated by Bryce Dessner
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Cevdet Erek

Neither the time nor the place for dancing (NTNPD)

The Morning Line is being used as a tool in NTNPD in order to create experience in: 1. short and defined duration and semi-open disco / 2. polyrhythmia of different spaces, reaction of living creatures to them, spatio-rhythmicality / 3. stereo, fake (acoustic and cultural) diffusion, spatial sound / 4. dividing of “international style” dance time signatures into molecules / 5. dividing of regional dance time signatures into molecules...

Composition for: Istanbul 2010, curated by Cihat Aşkın, Melih Fereli, Kamran İnce
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Cevdet Erek

Calendar 1

Calendar 1 was commissioned for the premiere of TBA21 Sound-Space at ZKM, Karlsruhe in 2012.
TBA21 Sound-Space is the attempt to re-create the soundscape of the 17 tons heavy sculptureThe Morning Line in an exhibition space, only using speakers which are carefully put in place. Calendar 1 marks the beginning of a new era for musical compositions and the spatial context, which are commissioned for The Morning Line .

Composition for: ZKM, Karlsruhe 2013
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Mark Fell and Roc Jiménez de Cisneros

A very short proof of Forester's rigidity result

When asked, "why doesn’t your sound move from speaker to speaker?" prominent sound artist Yasunao Tone replied, "why is this necessary when the audience can move around the sound?" A very short proof of Forester's rigidity result develops this position: rather than moving around the audience, as is typical of multispeaker pieces, here the sound itself is rigid. The listener is placed within and moves through a complex matrix of digital oscillators, each producing one component of the overall sound. (MF / RJC)

Composition for: Seville 2008, curated by Florian Hecker
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Christian Fennesz

follow blind

follow blind builds on a sonic world of highly processed guitar sounds and drones, a sort of signature sound Fennesz has developed and honed over the past decades. Its condensations and topographic spatializations also form the basis for the composition for The Morning Line. Layers and parallel trajectories of superimposed guitar drones with various frequencies are combined to form an overtone melody or seem to blend into each other in their overtone ranges.

Composition for: Vienna 2011, curated by Franz Pomassl/Laton
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Ghostigital

Cannibal in Tuxedo (internal/external)

For those new to the sonic world of Ghostigital, you should know that there doesn’t seem to be any floor plan to the music, even though there is architecture. It’s best you just relax, release preconception, don’t think or analyze too much. Here’s an idea: let us do the analyzing so the thoughts don’t get in the way of your listening experience. Know the music will come to you the way it wants to; you are not in control.

Composition for: Istanbul 2010, T-B A21
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Bruce Gilbert

ab intra

Through association and dissociation, in musical production and theory, ab intra questions the reconfiguration of a space through a singular composition and introduces a swarm of pieces. Bruce Gilbert describes his work for The Morning Line as an almost living, breathing organism. Sculpted from a multitude of sonic miniatures in Gilbert's unique editing style, ab intra eschews a linear narrative structure.

Composition for: Seville 2008, curated by Florian Hecker
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Tommi Grönlund & Petteri Nisunen

Time

Time deals with the contradictions of the cyclic and linear interpretation of time. It is about longing for the past and dreaming of the future; it is a sound track for approaching death. Time is universally supreme, but in our human horizon, it is delicate, precious, or worthless, like the last minutes of life.

Composition for: Vienna 2011, curated by Franz Pomassl/Laton
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Florian Hecker

Rotating psychoacoustic tuning curves

The piece starts with an emission of a superabundance of complex noises, synthesized by an “improved” version of the Xenakian technique of the dynamic stochastic synthesis. In a synchronistic prelude these streams of sounds penetrate the open cell structure of The Morning Line before a slowly evolving shift of audible perspective embarks and the movement of sound is structured by patterns shaped in the style of Heinrich Klüver's form constants.

Composition for: Seville 2008, curated by Florian Hecker
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Erdem Helvacıoğlu

Timeless Waves

The piece complies of six movements, symbolizing and delivering the six basic human emotions: Love, joy, surprise, anger, sadness and fear. Sine wave is a smooth repetitive oscillation. It has a timeless form of its own. Similar to the sine wave, the unique handmade, futuristic, hybrid electric guitarviol also has a timeless timbral quality that features both the cello and the guitar. The combination of these two timeless forms, and their processed timbres create a soundworld that leads us to The Morning Line.

Composition for: Istanbul 2010, curated by Cihat Aşkın, Melih Fereli, Kamran İnce
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Jónsi & Alex

All Animals

Faraway melodies floating in and out from places we feel are familiar but do not recognize. Is it singing? Is it piano? Is it the animals and trees creaking about in the wind? There is magic within the stillness. We long to start over, use all that is around us to build new beginnings. For some this is the end, but for us it is a second chance, a hope to create harmony and endless possibilities … All Animals was recorded in Reykjavik, Iceland, with acoustic instruments, primarily piano, voice, and animal sounds.

Composition for: Istanbul 2010, curated by T-B A21
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JG Thirlwell

Euthanasia

Created for the Morning Line structure, this piece was inspired by its form and location. JG Thirwell wanted to make an enveloping and immersive piece in three movements, with elements in the composition directly taking advantage of the spatial placement of the speakers, while acknowledging the architecture and grandeur of the piece.

Composition for: Vienna 2012, curated by Boris Ondreicka and Franz Pomassl/Laton
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Kollektiv/Rauschen

Entrapment

Entrapment starts with the wind. With an imitation of natural ventilation passing through the TML, the composition focuses on the physical aspects of the sculpture, letting the ornaments fissures breaking the wind. The six rooms of the sculpture are acoustically held together, becoming the resonance chambers of a coherent, open sound architecture.

Composition for: Vienna 2012, curated by Boris Ondreicka and Franz Pomassl/Laton
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Carsten Nicolai

morning line quanta

morning line quanta relates to the fundamental idea of the pavilion: constructing a representation of the universe. The composition draws on the research into the sun’s corona and the solar wind undertaken by the Solar and Heliospheric Observatory, a joint project undertaken by NASA and ESA that examines the properties of light. The composition’s structure is derived from formal patterns of organization that emerge in the solar wind.

Composition for: Vienna 2011, curated by Franz Pomassl/Laton
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Richardas Norvila/Benzo

Reappearance (Part V and Part VI)

The compositions are the two final parts of the work Solitude, a piece for piano, strings and sounds in 16 parts, with a total duration of four hours and a half. Benzo began to work on Solitude in January 2012 and finished it in August of the same year.
Reappearance is rather introspective and reflects upon the speedy life-rhythm we are all in.

Is it time to downshift everything?

Composition for: Vienna 2012, curated by Boris Ondreicka and Franz Pomassl/Laton
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Mehmet Can Özer

Katpatuka

The piece is based on the concepts of memory, possession, and belonging. From a landscape of nothing to an ocean, then its transformation to an inland sea to that of volcanic eruptions, from mountains to erosion, from deep valleys to extraordinary fairy chimneys, from no name to Katpatuka to Cappadocia. These physical and cultural layers embody the sound environment and have become the sound environment itself.

Composition for: Istanbul 2010, curated by Cihat Aşkın, Melih Fereli, Kamran İnce
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Zsolt Olejnik

Spin

The Spin sound composition complements the architecture of The Morning Line, following the peculiarities of the complicated and detailed space constructed of lattices and cells created by fractal design, and it strives to become an integral part of the solid-state architectural structure.

Composition for: Vienna 2011, curated by Franz Pomassl/Laton
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Finnbogi Pétursson

Angelica

Angelica evolved from a 2008 recording that Finnbogi Pétursson made in Iceland, just after he first saw the plans for The Morning Line. The recording was made from inside an angelica plant as an experiment. Finnbogi Pétursson decided to use a short, resonant part of the recording from inside the Angelica stalk. It was only then that he began to see the parallels between the plant and the structure, not only in the similarity of their forms but also in the way that each seems to grow bigger every time it spreads its seeds over a new field.

Composition for: Vienna 2011, curated by Franz Pomassl/Laton
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Franz Pomassl

Sonax

Sound is examined and explored in its various qualities: the frequency spectrum, the sonic resonance body as a physical and immaterial object, the perceptive faculty, the human body at the focus of a stimulus-response mechanism, spatial and site-specific parameters, acoustic phenomena such as three-dimensional stationary waves, interferences, spatial clustering, refractions, diffractions, malfunctions, instabilities, discharges …

Composition for: Vienna 2011, curated by Franz Pomassl/Laton
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Lee Ranaldo

Maelstrom

Maelstrom is a multi-channel soundscape that, following on the heels of Ranaldo’s 2005 DRIFT project in collaboration with Leah Singer, utilizes elements extracted from that work to create a wholly new piece. While there are many subtle shifts going on within the sound field, the overall effect is meant to be a rather sustained, monolithic sonic cloud—indeed, a maelstrom—real brain-eraser type stuff to erect a series of loud chambers within The Morning Line, within which one might think silent thoughts.

Composition for: Seville 2008, curated by Bryce Dessner
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Terre Thaemlitz

TML #25

Despite its prodigious size, The Morning Line's fractal-based physical structure visually invokes the microscopic and plays on a morphing sense of scale. In a similar way, this audio composition uses high frequencies as a form of sound that is delicately microscopic yet takes on mass and presence through its inability to be ignored.

Composition for: Vienna 2011, curated by Franz Pomassl/Laton
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Yasunao Tone

Raining

Yasunao Tone’s piece consists of recordings of rain and of computer voices reading Guillaume Apollinaire's calligramme poem “Il Pleut" (1916) in French and in English, which fall down the structure like rain. “I was seeking a form that corresponds with The Morning Line and thought that emulating Apollinaire's calligramme with Matthew Ritchie's sculpture is interesting. So, I let the sound of precipitation rain inside the structure. The audience can listen to the illusion of rain and even visualize it.“

Composition for: Istanbul 2010, curated by Russell Haswell
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Carl Michael von Hausswolff

No Rest Even for the Static (Matter II)

The piece consists of 24 tracks which are played simultaneously and as each track has its own special duration, the outcome, the combination of tones, never will be the same. The title indicates an interest for solid state phenomena. It proposes a movement within all matter, physical as psychical and also discusses the function of aging including both the physical bodily transformation and the psychologically unclear ideas of the self being a solid matter or not.

Composition for: Istanbul 2010, curated by Russell Haswell
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Chris Watson

Snaefellsnes

Recorded on location in Iceland, this composition, which resonates throughout the structure of The Morning Line, captures the atmosphere, mystery, and elemental forces of the remote Snᴂfellsnes Peninsula, home to the Snᴂfellsjökull volcano. The audience is invited to enter and browse within this unique acoustic landscape, which was recorded in surround sound at the time of the midnight sun, before being drawn up the mountainside into the crater and transported toward the center of the earth.

Composition for: Seville 2008, curated by Florian Hecker
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Thom Willems

Das Gewicht von Licht

A conductor-composer coaches three trombones-composers through a maze of composer-composed improvizations. This rich flux beam stream of sound is refracted through the artificial gravity lens of digital-composer evolutionary process.

Composition for: Seville 2008, curated by Bryce Dessner
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Jana Winderen

Between Dry Land

Soundscapes under the surface, invisible but audible – soundscapes which have evolved from the beginning of time. The acoustic environment of the oceans is an essential component of life for the creatures inhabiting the seas. Sounds from the environment, like the cracking of ice fifty meters under the surface of Disco Bay (Greenland), violent waves against the shores and beaches announce to the fish that the shore is close by. Soundscapes provide a three-dimensional “view” of their world.

Composition for: Istanbul 2010, curated by Russell Haswell
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Jana Winderen

Silencing of the Reefs: departure Iceland

The composition for The Morning Line in Vienna is based on recordings from both under and above water at the starting point of an ongoing journey, on the north coast of Iceland in 2011. Around Iceland there are deep water reefs that are threatened by deep sea trawlers. The cold deep sea coral reefs have evolved for hundreds of thousands of years, and they grow extremely slowly and are very sensitive to temperature changes. The currents are changing and fish that used to feed further south have moved north following their prey into Icelandic waters.

Composition for: Vienna 2012, curated by Boris Ondreicka and Franz Pomassl/Laton
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Zavoloka

Volution

Digital Nature surrounds us, and we move through it and it moves around us.
It moves us in time and in space; it moves us in mind, and we move it too.
We interact with sound; we can hear it in different dimensions at one time.
It is a multilayered dance; we can feel it physically.
Biomechanical music...

Composition for: Vienna 2011, curated by Franz Pomassl/Laton
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Zavoloka & Kotra

Graftal

Taking inspiration from computer graphics, mathematical chaos theories and modern techno culture, Zavoloka & Kotra try to explore the possibilities of stochastic sound, rhythmic probabilities through context sensitive parametric compositions. Graftal is the sound of a constant change, whose behavior is intrinsically non-deterministic for listeners, partly sporadic and not intermittent. Risk.

Composition for: Vienna 2012, curated by Boris Ondreicka and Franz Pomassl/Laton
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Peter Zinovieff

Bridges from Somewhere and Another to Somewhere Else

Bridges from Somewhere is a set of contrasted electronic music pieces with impossible derivations from snatches of classical music and textures of real sounds. The Bridge to Somewhere Else uses multiple fragments from some of Béla Bartók’s 1936 Edison Phonograph recordings of Turkish folk music, which is a collection among Jürüks in Anatolia. In all the sections similar but wild electronic distortion techniques are used to glue them into a single work.

Composition for: Istanbul 2010, curated by Russell Haswell
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Peter Zinovieff

Good Morning Ludwig

Good Morning Ludwig is an electronic music composition made up of a set of linked quasi-symphonic variations on Beethoven’s Coriolanus overture. Conventionally scored, sampled, orchestral instruments are subsequently electronically transformed into new instruments in differing spatial positions. Some 20 regions in a 3-D space are designated as diagonally opposed, monophonic pairs, of an orchestral ensemble. These are manipulated so that, during the performance, a shifting spatial environment is experienced. 23 minutes long, It was specifically composed for the TBA21 multi-spatial sound space at ZKM, Karlsruhe. The piece is dedicated to Tony Myatt.

Composition for: ZKM, Karlsruhe 2013
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