Friday 24.Sept., 19h , Kl. Wasserspeicher Concert 1 Print

Daisuke Ishida -- Erratic Flow
Paulo Ferreira-Lopes -- de Profundis, for violin and electronics
Scott Price -- Veils
Pyoung Ryang Ko -- Fantaisie-Impromptu electroacoustique, for flute, percussion and electronics
Olaf Hochherz -- Hoffnungsträger
Fernando Lopez-Lezcano -- A Very Fractal Cat, Somewhat T[h]rilled, for performer and four virtual pianos
Tom Hall  & Katy Price -- "Under the Yoke", for narrator, flute, electric guitar, trombone, percussion and laptops

ensemble unitedberlin


Andreas Bräutigam violin
Martin Glück flute
Daniel Göritz guitar
Florian Juncker trombone
Friedemann Werzlau percussion


Venue: Kleiner Wasserspeicher

Wasserspeicher Berlin Prenzlauer Berg
10405 Berlin
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Daisuke Ishida (Japan)

Erratic Flow (2010)

This performance project is channel-independent and all sounds are digitally generated. The whole process of the performance is algorithm-based. Continuously throughout the piece, incoherent sound gestures keep overlaying and again distancing from one another, so that at any given moment in time the sound could either be very focused or distracted. This results in an unpredictable inconsistent undulatory motion of the sound, however accidental correlations may occur.

Paulo Ferreira-Lopes (Portugal / Germany)

de Profundis II (2010) for violin and electronics

De Profundis is one of a series of pieces written for solo instruments, with an additional piece of electronic treatments in real time (live electronics). Profundis II, written in 2010, reports some events of 2004. One of these events would mark deeply my life: the unexpected death of my father. This piece, like almost all my works, does not intend to be a narrative of situations or feelings. However, its structure, sometimes based on thematic patterns, helps to bring out some of my feelings.


L. Scott Price (USA)

Veils (2009)

gets its title from the overall shape of its sonic progression: from distant, slow moving, and indistinct sounds to discrete, resonant, and distinctly pitched material. I liken this progression to a slow revealing of hidden beauty, much like pulling layered veils from a work of art. Within this overall shape, certain compositional decisions are determined at performance time by logic built into the computer playback system. By using this logic, every performance realizes a variety of unique details within the same overall progression.


PyoungRyang Ko (South Korea)

Fantaisie-Impromptu électroacoustique (2009/2010)
for flute and percussion

This piece is composed irrespectively of any established formal schemes using time-based notation and involves improvisation from all performers. The pitch structure in the first few minutes is based on the partials of the tam-tam (model: Paiste 34"), which are also articulated by the electronics and flute. The electronic realisation is performed with prisma sonorum developed by the composer for MaxMSP, SuperCollider and JackOsX.


Olaf Hochherz (Germany)

Hoffnungsträger (2009)

„Hope-carriers“ are small beings of lower duration. They appear and disappear. They follow each other. Sometimes they appear in clouds, dispersed in a landscape. They are similar to each other, perhaps. They create gestures, rhythms, clouds that are stratified and fragmented. They form an associative field. Practically, they are results of contingent, structural operations on sound recordings and the selection of specific constellations. They meet in two levels of production, the machinery of creation and the machine of selection. Two machines, with their own contingencies, but their own determination of the music.


Fernando Lopes-Lezcano (Argentina / USA)

A Very Fractal Cat, Somewhat T[h]rilled (2008-2010)

This is the latest of a series of performance pieces for pianos, computer and “cat” (the proverbial cat walking on a piano keyboard). The performer connects through a keyboard, four pedals and two wheels to virtual pianos, directly and through algorithms. Markov chains, fractal melodies, scales and trills are used throughout the piece. The pianos are heard directly, processed using spectral and granular techniques and spatialized using Ambisonics. The software was written in SuperCollider.


Tom Hall (music) & Katy Price (text) (UK)

under the yoke (2010) 
for flute, trombone, guitar, percussion, narrator and laptop

combines contemporary narration, algorithmically composed instrumental parts (based on Luddite folk-songs) and laptop 8-channel algorithmic melodic synthesis and playback of treated recordings of sounds from the natural and industrial worlds. The piece examines, at different historical and aesthetic distances, the textual and musical remnants of 200 year old Luddite events in the UK and is a multi-layered reflection on what can be considered the natural and the technological.