2014

hum’s almanac partners: [“Ensemble Zeitfluss”] instruments: [“Flute”, “Bass Clarinet in b”, “Saxophone”, “Bassoon”, “Percussion”, “Piano”, “Violin”, “Viola”, “Cello”, “Contrabass”] The rhythmical structure for this composition was created using weather data collected by the Met √Čireann weather station that is positioned at Belmullet, County Mayo in Ireland. At the time, I was very interested in observing naturally occuring processes and letting them structure the composition. Similar to the types of aleatoric processes used by composers like John Cage in the 20th century. [Read More]

2012

Blue pentagonal remnant of tile instruments: Organ, Kontrabass, Trombone partners: Aleksey Vylegzhanin, Matej Bunderla, Margarethe Maierhofer-Lischka, Sandor-Laszlo Krakoczk Composed for Stephanie Barry DaHe instruments: Harmonium, Electronics Piece for electronics, video by Trevor Furlong Fragments (glas) partners: Bronagh Linck-Ryan, Aleksey Vylegzhanin, Peter Venus instruments: Piano Kosmotopy partners: Klaus Lang, Anna Kropfelder, Yulan Yu, Hristina Takovska, Ja-Young Baek, Seongmin Ji This was a project that we started in 2012, one of the many projects that this group of people managed together during their time in Graz. [Read More]

2017

A way after remains or reflections In his poem Bogland, Seamus Heaney writes about the influence of the landscape on the pioneers. He compares the Prarie of the Western USA with the Moores in Ireland. A way after remains or reflections is certainly not a long walk into the sunset. The ground swallowsan endless horizon.Every layercontainsimmaculate black.The horizonappears againnonchalantfleetingit cleaves the groundto the ground.Sound is not only individually received as the result of a physical process, but is also in a broader context an interface to abstract experience. [Read More]