We Are Only Breathing
For solo percussionist performing marimba and 10 Thai bao gongs.
This work forms its subject on breathing. Each breath within the human body differs to some degree, depending on context, environment, mood… Here, a structure is built with resonance that will breathe around the performer. In essence we are only breath and movement within the air that we breathe. No human and no corner of the earth differs in this regard.
n. the ambiguous intensity of looking someone in the eye, which can feel simultaneously invasive and vulnerable—their pupils glittering, bottomless and opaque - The Dictionary of Obscure Sorrows
While we look into the window of another's soul, it becomes apparent that they too see into our own. Here begins the interaction of two people who function simultaneously as both observer and the observed. What do we see in the other and what is reflected in our own eyes during this interaction of two people?
A piece on the subject of mining; Orbis was the first work composed in the Artefact Series collection of works in 2016, detailing the inflections and particular qualities of a performer and their characteristic of playing.
A narrative piece journeying deeper into the earth with each phrase to celebrate the beauty of the earth while also observing the extent to which the human touch passes over and within the planet.
"Not in lone splendour; hung aloft the night" - Keats
On the subject of water and set to the work 'Bright Star' by John Keats, Sleepless Eremite paints a scene of two people spending a finite time in each other's presence. It is a work of peace, celebration and nostalgia wound into one entity.
Scored for Chinese flutes, yangqin, pipa, erhu, violoncello and piano.
Permiered 18th February 2018 by Andrzej Karałow and Pablo Sánchez-Escariche Gasch at the Pałac Łazienkowski in Warsaw, Poland. Vol translates directly from French as both theft and flight. The piece captures a fleeting moment as two worlds collide, one fading into the past and another rising into the present. All is overwhelmed and saturated in the knowledge of impending exile; that this is the last glimpse what was once home but can no longer be. It has been stolen and one must take flight.
A piece on the subject of plastic pollution and its presence of interaction within our world. The extent of its touch is beyond anything we could have imagined and, like a work of Frankenstein, is now interacting with the world out of our control. We have created substances that have stepped beyond us, having a life of their own right down to the methods of which they interact within the ecosystem.
If a forest could speak to us what would it say? The most ancient living aspect of our planet unveiled into a tangible face of interaction through a conversation most traceable to siren-song. The album has been inspired by a reading of Peter Wohlleben's 'The Hidden Life of Trees'. The single 'ex aere' first premiered in July 2017 in City Recital Hall, Sydney Australia, before remastering for release 31st December 2017.
Available on iTunes, Spotify and Bandcamp.
“De Voir presents an extremely fine and differentiated triad of surprises. We have an intricate triangle, especially since it is not clear whether it is only dreamed… The music, which was specially composed by Kirsten Milenko for this dance – she also plays De Voir herself on the piano – supports the feeling laid impression. It is an inner action, and to what extent it is objectively real, the spectator must decide for himself… The cooperation of music and dance is very much to be praised. And composition is also a part of the choreography.”
– Gisela Sonnenburg, Ballett Journal
"Music is liquid architecture; Architecture is frozen music" - Goethe
In moments of stillness, the intimate sounds of our world emerge into the audible realm and bring with them a state of absolute peace. O is an expression of convergence points, set as an analysis of air movements around the surface of cliff faces. This work was written for and first performed by members of the E-Mex ensemble: Evelin Degen, Joachim Striepens, and Martin von der Heydt in Poland, 2016.