Pia Palme by Markus Gradwohl

Pia Palme by Markus Gradwohl

 

Updating this list and the commentaries to the compositions is work in progress. I add material on as soon as available. Click links for details about the work, sounds, texts, and more:

 

WEISSE HÖRGEBIETE 2017   >>>more

a performance & lecture on feminist listening
with contrabass recorder, voice (live performance), electronics (4-channel) and video (fixed media)
Duration: 50 minutes (shorter version exist, too)

 

THAT I’M ONE AND ALSO TWO 2017 

a performance & lecture on the interaction between vocality and instrumentality,
[referring to a poem by Johann Wolfgang von Goethe (“Daß ich Eins und doppelt bin”)]
with contrabass recorder, voice (live performance), electronics (4-channel) and video (fixed media)
Duration: 30 minutes

 

arbesbach 2016   >>>more

a cartographic performance
performed with a contrabass recorder, filmed and recorded in the Vienna Woods (Wienerwald)

 

VOM RAUSCH IM SCHWARM II.av   >>>more

A work for ensemble (fl. (bs.fl. + picc.), bs.cl., bar.sax., vl., vlc., d.b.)
electronics and video
Duration: 16 minutes

Written for the festival tgnm Graz,
performed by ensemble SCHALLFELD

 

SETZUNG 1.2 (January 2016)

Lecture-performance, Pia Palme solo
With texts, video, live-performance with contrabass-recorder and electronic playback

Produced for a composer’s presentation at Harvard University, January 2016.
Duration: 28 minutes

 

VOM RAUSCH IM SCHWARM II (January 2016)   >>>more

A work for ensemble (fl. (bs.fl. + picc.), bs.cl., bar.sax., vl., vlc., d.b.)
With a text and electronic playback track (4 channels)
Duration: 16 minutes

 

MUSTERBUCH für Mezzosopran
 (January 2016)

for a vocalist with a throat-microphone

The score contains music and instructions, text,
video and electronic playback (4 channels).
Duration: app. 14 minutes

 

ESHQ II (January 2016)

for oboe da caccia
Duration: 12 minutes

 

UNDER ELEPHANTINE SKIN (November 2015)   >>>more

For countertenor, theorbo, baroque oboe,
recorders, electronics,
with a text by Pia Palme

Duration: app. 20 minutes
Commissioned by Wien Modern (A Phenomenology of Pop)

 

MORDACIOUS LIPS, TO DUST (October 2015)     >>>more

A work for four singers (soprano, countertenor, tenor, bass)
With a text by Pia Palme
Duration: 11 minutes

Composed for the ensemble EXAUDI (James Weeks, director)
for the portfolio opportunity via Sound and Music UK
The composition was also supported by BKA  Art Department Austria and the City of Vienna.

 

VOM RAUSCH IM SCHWARM (September 2015)     >>>more

A work for ensemble
(violin, viola, cello, flute, clarinet, trombone and wind-machine)
With a text by Pia Palme
Duration: app. 14 minutes

Commissioned by the ensemble Reconsil
Composed with support from the BKA Art Department Austria

 

Patterns to punctuate speech, with darkness. (June 2015)      >>>more

Lecture performance with video/sound/text by Pia Palme
Live performance with voice & contrabass recorder
Duration: 20 minutes

 

BIRDSONG CRANNIES (May 2015)    >>>more

text & score for voice & movement
for 1 male & 4 female voices

German text & text compilation by Pia Palme,
contemplating a passage from ‘Romeo and Juliet’ by William Shakespeare,
with English excerpts from ‘The Waves’ by Virginia Woolf

 

PATTERNS TO PUNCTUATE SONG,
WITH DARKNESS (March 2015)    >>> more

for voice (mezzo) with a throat-microphone, electronics
and a punchcard score,

commissioned by the festival Salzburg Biennale 2015
for Ute Wassermann

 

MOMENT MAGNETIQUE (December 2014)
Doris Schmid: video / Pia Palme: sound 

 

RELATIVELY SCARY (October 2014)   >>> more
for contrabass recorder and electronics,
co-composed with Electric Indigo
commissioned for the ECAS carousel at musikprotokoll, Graz 2014

 

SETZUNG 1.1 (September 2014)   >>> more

Solo for an actress/vocalist,
composition, text and setting with a transparent membrane score
commissioned by Cercle – Konzertreihe für neue Musik, Wien 2014

 

GIB SIE WIEDER (March 2014)
A warning commentary on resonance II    >>> more

for harp & electronics
Text by Pia Palme

 

GIB SIE WIEDER HER (March 2014)
A warning commentary on resonance I   >>> more

for viola d’amore, electronics, a sounding object & contrabass recorder
Text by Pia Palme

 

BUT STILL ATTACHED TO LIFE AT ALL FOUR CORNERS
(December 2013)     >>> more

In this piece for voice and ensemble (mezzosoprano, percussion, live electronics and a Baroque ensemble performing with flauto traverso, cembalo and bass viol at a=415 hz) I wrap modules of a new composition around a fragmented baroque Prelude by Elisabeth Jacquet da La Guerre.

 

RADIAT MN performing the noise of mind (2013)     >>> more

Installation and performance instructions for a solo performance
with a contrabass recorder (or any other instrument),
voice and 4 microphones, 4 installed speakers.

 

BOUNDARY LAYER LISTENING (2013)     >>>more

A text piece temporarily installed at a huge glass wall at the university of Huddersfield.

 

Opera ABSTRIAL (2013)     >>> more

for baritone solo, 3 female voices, contrabass recorder (by Palme),
computer and 10 loudspeakers (by Electric Indidigo)
in collaboration with director and choreographer Paola Bianchi,
installation artist Ivan Fantini
and poet Anne Waldman, premiered in Vienna, April 25th 2013.

 

Turquoise Passages (2013)     >>> more

sketches of a new solo piece
for contrabass recorder, voice & electronics started in Tehran.

 

LIP OF THE REAL II (2013)     >>> more

for flute & voice (with throat-microphone),
percussion and live-electronics
with a libretto by Pia Palme from exts by Anne Waldman, Pia Palme and translated fragments by Margret Kreidl.

 

BARE BRANCHES (2012)     >>> more

weltliches Requiem und Raumanordnung
für 2 Solostimmen, 2 Vokalensembles (teilweise mit Audio-Partituren), Schlagwerk.
Texte von Anne Waldman, Pia Palme.

 

KEMPELEN’S RING (2012)    >>> more

Minute/cyborg/opera
for a mobile-phone, Kempelen’s talking machine and electronics
(ringtone for wienmodern 2012)

 

CANTU FOLIATO (2012)    >>> more 

toolkit for voices SATB, headphones and optional live-electronics,
4 up to 20 singers.
With words by Anne Waldman, from Iovis.

 

LIP OF THE REAL (2012)    >>> more

for voice (mezzosoprano with throat-microphone), percussion and electronics.
With texts by Margret Kreidl, Anne Waldman and Palme.

 

DER KÜHNERE ENTSCHLUSS. (2011)    >>> more

Entwurf für Stimme, Oboe da Caccia, Elektronik und die Sprechmaschine von Kempelen.
Auftragswerk für das Festival Klangspuren Tirol.

 

ESHQ close-up (2011)    >>> more

for Oboe da Caccia Solo
(composed for the project FERNRAUM at e_may 21011)

 

DAS KLEINE ZIMMER AM ENDE DER TREPPE (2011)    >>>more

Electronic composition,
co-composed in cooperation with Electric Indigo,
electronic music for theatre composed on demand.

 

HIER NICHT FORT (2010)    >>> more

für Mezzosopran, Stimme, Englischhorn, Streichtrio, Elektronik und die Sprechmaschine von Kempelen.
Auftragswerk für das Festival e_may.

 

AX.WHO. (2009)       >>> more

für Viola, Violoncello, Kontrabass, Subbassblockflöte und Live-Elektronik, Synthesizer, Innenklavier.
UA bei Reihe Im Loth und e_may 09, 14.5.2009, Wiener Konzerthaus, Berio Saal

 

VARIETIES (2009)       >>> more

für zwei Solostimmen und großen gemischten Chor,
experimentelle Konzeptkomposition
UA im Rahmen einer MAK NITE© im MAK Wien, 29.9.2009
Eingebettet in eine raumgreifende interdisziplinäre Installation mit Irene Pichlhöfer in den Ausstellungshallen im MAK

 

EXHIBIT #ONE (2009)     >>> more

für historische Sprechmaschine mikrofoniert, Stimme und Live-Elektronik
Auftraggeber: IMA Institut für Medienarchäologie.

 

LE POMPE (2009)

Musterblatt für 13 SpielerInnen
für 4 Trios (oder mehr SpielerInnen) jeweils Sopran- Alt-, Tenor- und Bassblockflöten, 
Perkussion (Wood Blocks in 5 Tonhöhen).
Form und Länge kann von den SpielerInnen über Partiturmodule gestaltet werden.
Dauer: 4 bis 12 Minuten, wählbar

 

ORTUNG des Paradieses (2008)

für Stimme, Subbassblockflöte und Live-Elektronik, Kontrabass, Perkussion
Grafische Partitur, Textarrangement
Texte: Künstler der Villa Gugging / Ernst Herbeck, August Walla, Arnold Schmidt
Dauer: 50 Minuten
Optional dazu: Performance von Yoshie Maruoka

Foto: David Palme