RECORDINGS

With "AION 2" Johannes Motschmann, renowned composer in the field of electroacoustic music and algorithmic composition, presents a highly interesting album. The basis is his composition AION for artificial intelligence and ensemble, which was written for the Ensemble Modern and premiered in October 2021 at the Alte Oper in Frankfurt/Main under the direction of Peter Tilling. In advance, Motschmann, together with the music IT specialist Thomas Hummel, had developed an artificial intelligence in the SWR experimental studio that not only produces coherent pieces of music, but is also able to create music that can convey emotions. Compositions created with the help of this software can now be heard on AION 2 for the first time. Passages from the original live recording of the concert have been used and rearranged while keeping the original compositional idea intact. Motschmann's electro-acoustic trio also played some elements for the project. The result is an emotionally touching album that was composed entirely by artificial intelligence and then orchestrated and refined by human hands. The result of this interplay of man and machine makes you completely forget all the technical requirements and the methods used to compose. Trained early on on the piano and organ, Motschmann studied composition, piano, electronic music and music theory. He composes for well-known ensembles such as the SWR Symphony Orchestra, the NDR Radio Philharmonic, the Ensemble Modern, the German Chamber Orchestra Berlin and also for his own trio. Johannes Motschmann lives in Berlin. tracklist 1 drone 2 carillons 3 Vox Celestis 4 Acute 5 Overlap 6 Echo 7 rupture 8 Vox Humana I 9 Vox Humana II 10 Cor De Nuit 11 Dissolve

On his new album with orchestral works, the composer Enjott Schneider focuses on the materials wood and metal. Wood stands for the organic world, it is alive. Created from solar energy, wood is the engine of our living ecosystem. Metal stands for the inorganic world and since the beginning of its use, which presupposed fire, for progress, but also for the lifeless. The antagonists wood and metal are sensualized on this album in two essentially different drum concerts. This was achieved through the enthusiastic initiative of the two performers (dedicatees of the respective concert). David Christopher Panzl built his own setup from wooden materials, from buzzing wood to elm bells. Stefan Blum collected "scrap metal" from rubbish dumps and arranged all the metallic colors of modern drums around this "scrap". The opening movements of the Secret of Trees concerto are inspired by the nature of two trees, the elm and the spruce. The middle movement consists of miniatures that symbolize the three energy fields of the tree: roots - trunk - leaf crown. "Machine Worlds", the concerto for scrap metal, percussion and orchestra, is dedicated to the "man-machine" dialectic, as found in the films "Batman: Gotham City" or "Metropolis" and in the visual arts - e.g Duchamp, HR Giger to Jean Tinguely and his machine sculptures. Following Enjott Schneider's drum concerts, both interpreters recorded small solo works to present the multi-faceted variety of sounds of the extraordinary setups. Enjott Schneider: Secret of Trees. Concerto for Percussion and Orchestra Enjott Schneider: Machine Worlds. Concerto for scrap metal, percussion and orchestra Stefan Blum: Studies in Metal David Christopher Panzl: Fuyugeshiki - Winter Songs

Conceived as a narrative, "Lifestream" itself reflects the natural cycle of all things - from birth to death, from "Craving", a euphoric, shimmering track that contains the DNA of the entire album, to "Grave", a... Track about weightlessness and "a space that I don't want to describe in detail" according to the composer Johannes Motschmann.

In lyrical texts, photographs and as a composition, the writer Angelika Reitzer, the photographer Ditz Fejer and the composer Maria Gstättner make a poetic, geographical and musical inventory of the Styrian Mürztal and pose nationally relevant and contemporary questions in the book and music CD - starting from this area , such as those based on the prerequisites for a good life.

Carl-Emmanuel Fisbach and David Christopher Panzl are two remarkably dynamic young artists. The works featured here include several adaptations of Astor Piazzolla’s music with which Fisbach and Panzl have many affinities. The gifted musicians confirm that the saxophone’s virtuosity is comparable to that of the flute, just as the marimba’s and vibraphone’s virtuosity is comparable to that of the guitar. They also show their commitment to the music of today, by celebrating the work of Luis Naón, an emblematic Paris-based Argentinian composer, who strives to preserve his culture’s roots in his music.

Waves At Boundaries tells little stories from the musical universe of Electric Fields, expands and supplements the sound between electronic dance music, avant-garde and orchestral sound spheres, for which Motschmann currently stands like no other. Four new pieces have been created in the last few months; a snapshot of the development that the ensemble around Motschmann and his team of multipercussionist David Panzl and sound magician Boris Bolles went through last year.

In 2016 Neue Meister organized together with the Deutsches Kammerorchester Berlin and the DRIVE. Volkswagen Group Forum in Berlin three concerts. On the occasion of these concerts, top international composers from completely different genres met for a common task

This electro sound played live is rough, melancholic and dark, in which analogue synthesizers, an old Wurlitzer piano and the famous CP-70 piano are rhythmically intertwined with a huge multi-percussion set and violin sounds.

Franz Koglmann's opera JOIN! (Libretto: Alfred Zellinger) With a great desire to experiment, Franz Koglmann oscillates between different musical epochs and different musical styles in his music theater compositions - classical, ars nova, pop, jazz, rock, noise and cool jazz. The result is a ruthless economic thriller - with the irresistibly sensual, swinging "Koglmann touch". Music: Franz Koglmann Text: Alfred Zellinger Staging: Michael Scheidl Equipment: Nora Scheidl Dramaturgy: Caroline Weber Choreography: Florian Hurler Light design: Norbert Joachim Sound design: Peter Boehm Music video: Alex Püringer Musical direction: Koen Schoots/Carsten Paap. Ensemble the series With Anna Erb, Wolfgang Gratschmaier, Anthony Heidweiller, Dennis Kozeluh, Max Niemeyer, Katja Reichert, Annette Schönmüller, Sébastien Soulès

Stockhausen Edition no.105 IN FREUNDSCHAFT (IN FRIENDSHIP) for oboe LINKER AUGENTANZ (LEFT-EYE-DANCE) for saxophones, a percussionist, a synthesizer player (1983/ 90) TAURUS for bassoon (1974/ 2007) TAURUS-QUINTETT (TAURUS-QUINTET) for tuba, trumpet, bassoon, horn, trombone (1974/ 2007) KAMEL-TANZ (CAMEL-DANCE) for bass, trombone, synthesizer (1997) ROTARY-Bläserquintett (ROTARY Woodwind Quintet) (1997)

Ensemble "die reihe" Georg Fritzsch, conductor Recording: Vienna, ORF RadioKulturhaus, November 30, 2010 (Live Recording) Head of Recording / Recording Supervision: Erich Hofmann Tonmeister / Recording Engineer: Ing. Martin Leitner A recording of the Austrian Broadcasting Corporation