Marcus SCHMICKLER
“Richters Patterns”
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Double-CD collecting five of Schmicklers key-works composed & recorded between 2006 and 2016.
Edition of 400 copies in fullcolour digipak with 8-page booklet.Edition of 400 copies in fullcolour digipak with 8-page booklet.
“Richters Patterns (2016) is a collaboration among Marcus Schmickler, artist Gerhard Richter, director Corinna Belz and the Ensemble Musikfabrik. In 2011, Richter took an image of his work Abstract Painting (CR: 7244) and divided it vertically into strips and gave them to Belz who utilized specially developed software operations involving cuts, mirroring and reproduction to create a movie from these images. Schmickler and Belz worked in parallel, with the film and composition following their own independent logic. Schmickler’s idea was to extend Richter’s method to divide, mirror, repeat into sound and time. Richters Patterns was commissioned by Koeln Musik and had its premiere on September 9, 2016 at Cologne Philharmonic Hall. Marco Blaauw (Trumpet), Helen Bledsoe (Flute), Christine Chapman (Horn), Bruce Collings (Trombone), Diamanda Dramm (Violin), Florentin Ginot (Double Bass), Benjamin Kobler (Piano, Synthesizer), Ulrich Löffler (Piano), Heidi Mockert (Bassoon), Melvyn Poore (Tuba), Axel Porath (Viola), Carl Rosman (Clarinet), Dirk Rothbrust (Percussion), Marieke Schoenmakers (Harp), Peter Veale (Oboe), Hannah Weirich (Violin), Dirk Wietheger (Violoncello), Marcus Schmickler (Computer), Paul Jeukendrupp (Soundprojection).
“Kemp Echoes” (2013) refers to a physical phenomenon in the ear discovered by physicist David Kemp in 1978. Otoacoustic Emissions (OAE) are signals in the ear (that can be detected with high quality small microphones) that are emitted by the cochlea, either spontaneously or in response to stimuli (frequently clicks). I have strived to create a piece that can seem ‘electronic’ to the ear without actually utilizing electronics. With Helen Bledsoe (Flute), Peter Veale (Oboe), Carl Rosman (Clarinet), Heidi Mockert (Bassoon), Christine Chapman (Horn), Ales Klancar (Trumpet), Bruce Collings (Trombone), Melvyn Poore (Tuba), Ulrich Löffler (Synthesizer), Benjamin Kobler (Piano/Sampler), Dirk Rothbrust (Percussion), Thomas Meixner (Percussion), Juditha Haeberlin (Violin), Hannah Weirich (Violin), Axel Porath (Viola), Dirk Wietheger (Violoncello), Benedict Ziervogel (Bass), Marcus Schmickler (Computer), Paul Jeukendrup (Soundprojection). Conducted by Enno Poppe.
“Fokker Bifurcations” (2014) marks a departure into microtonal works for keyboards and mallets and maintains the composer’s penchant for juxtaposed fixed pitches with pitch continua. Recorded live at ISSUE Project Room, Brooklyn on Nov 7 2014. The recording has been edited for this publication. With Laura Barger (piano), Ning Yu (piano), Ian Antonio (percussion), Russell Greenberg (percussion).
“E-UROPAS / Plurality of Centers” (2006). Shall we say goodbye to modernism? I dare to confront the myths of new music in this music theater creation. Layers containing the manifestos of Cornelius Cardew, Guy Debord and sound materials from six decades of the avant-garde create a collage that utilizes some of the formal principles guiding John Cage’s Europera V. With Hayden Chisholm (Voice), Juditha Haeberlin (Violin), Axel Porath (Viola), Dirk Wietheger (Violoncello), Ulrich Löffler (Piano), Dirk Rothbrust (Percussion), Marcus Schmickler (Voice, Computer, Radios), Carsten Goertz (scenography).
“ATA OTO” (2017) for Robot instruments TEMBLO, TINTI, TROMS, XY by Logos Foundation & computer.
Un double CD anthologique et rétrospectif sur la carrière de Marcus Schmickler comme compositeur pour ensemble instrumental avec des œuvres qui retracent la période 2006 – 2016. On retrouve tout l’intérêt du compositeur pour les effets psychoacoustiques et l’envie de faire sonner l’acoustique comme de l’électronique.
“Richters Patterns” (2016). Une collaboration avec Gerhard Richter, Corinna Belz et l’Ensemble Musikfabrik. Une œuvre qui joue sur des effets de miroir, des déplacements de temps et d’espace, des moirages fins et délicats. Avec Marco Blaauw, trompette, Helen Bledsoe, flûte, Christine Chapman, cor, Bruce Collings, trombone, Diamanda Dramm, violon, Florentin Ginot, contrebasse, Benjamin Kobler, piano, synthétiseur, Ulrich Löffler, piano, Heidi Mockert, basson, Melvyn Poore, tuba, Axel Porath, alto, Carl Rosman, clarinette, Dirk Rothbrust, percussion, Marieke Schoenmakers, harpe, Peter Veale, hautbois, Hannah Weirich, violon, Dirk Wietheger, violoncelle, Marcus Schmickler, ordinateur, Paul Jeukendrupp, diffusion.
“Kemp Echoes” (2013). Une pièce basée sur des phénomènes internes de l’oreille. Avec Helen Bledsoe, flûte, Peter Veale, hautbois, Carl Rosman, clarinette, Heidi Mockert, basson, Christine Chapman, cor, Ales Klancar, trompette, Bruce Collings, trombone, Melvyn Poore, tuba, Ulrich Löffler, synthétiseur, Benjamin Kobler, piano, échnatillonneur, Dirk Rothbrust, percussion, Thomas Meixner, percussion, Juditha Haeberlin, violon, Hannah Weirich, violon, Axel Porath, alto, Dirk Wietheger, violoncelle, Benedict Ziervogel, basse, Marcus Schmickler, ordinateur, Paul Jeukendrup, diffusion. Direction Enno Poppe.
“E-UROPAS” (2006). Composée pour le théâtre, cette pièce se réfère à celle de John Cage, “Europera V.”, utilise des textes de Cornelius Cardew et Guy Debord, et beaucoup de citations dans un effet de collage.
Avec Hayden Chisholm, voix, Juditha Haeberlin, violon, Axel Porath, alto, Dirk Wietheger, violoncelle, Ulrich Löffler, piano, Dirk Rothbrust, percussion, Marcus Schmickler, voix, ordinateur, radios, Carsten Goertz, scénographie.
“Fokker Bifurcations” (2014). Une plongée dans la microtonalité et le battement de fréquences. Avec Laura Barger, Ning Yu, piano, Ian Antonio, Russell Greenberg, percussion.
“Ata Oto” (2017). Composition pour des instruments robotisés développés par Logos Foundation.
Tirage de 400 copies.
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