K9 + ONE / NewComposerPool COMPOSITIONS

EPLUCARAS OREGA (Spain - © 2005)

Riccardo Massari Spiritini
EPLUCARAS OREGA is a magic word that Corto Maltese learns in his trip into the town of MU. It is a magic formula to exit and to escape difficulties. My composition is also about the concept of Haunting.
Why do animals and humans haunt? It is a basic question about surviving in nature. Existence is strongly characterized by haunting. You can be the one who haunts or the one that is haunted, capture or be captured, but this two roles repete in various contexts of life.
Epulcaras Orega is for me, like many magic words, the symbol of the border separating reality from other dimensions (dreams, sub-conscious, thoughts etc..)
It is the clash between two worlds. The opportunity to get in or out of the haunt.

About Riccardo Massari Spiritini is a composer and musician. His work, open to continuos transformations, is closely related with the other arts (video, poetry, theater, movement-dance, space-architecture). He is active as a composer, as a performer and as teacher of composition, live electronic, improvisation and multimedia creation.

Foto van Anne LaBerge
TOSS (version bass Solo, Holland - © 2005)

Anne LaBerge
TOSS is a structured improvisation- for 1-4 players.
Using amplification and samples controlled by:
LiSa, junXion and MIDI controllers for each player
Length: from 10-30 minutes

Toss is a work inspired by movement of air and the confusion we all face in trying to understand it. Collected samples of wind, breath and machines which use moving air in order to function are organized within a narrative. The narrative is a story about a boy who overheard his mother telling her friend about the circumstances surrounding her pregnancy with the boy. The details which stuck in the boy’s mind and drove him into obsession and confusion were centered around her statement “it all started when I tossed my diaphragm”. In the United States, the “diaphram” is the involuntary muscle which responds most intimately to our breathing and an object used regularly by some women as birth control.

Toss is the story and musical expressions of the boy’s misconceptions in his journey to understand diaphram tossing.

About Anne LaBerge
Anne La Berge`s career as flutist/composer streches across both international and stylistic boundaries. A pioneer in a vast array of new techniques, La Berge`s playing has left its mark on the avant-garde, experimental, improvisation with electronics and contemporary classical genres.

Foto: Urban Mäder
35 GESTEN FÜR KONTRABASS (Switzerland - © 2005)

Urban Mäder
35 GESTEN FÜR KONTRABASS Das ca. 12 Minuten dauernde Solostück für Kontrabass ist Cristin Wildbolz zugeschrieben. Es handelt sich um 35 meist kurze Spielfiguren, deren musikalische Ideen direkt aus den körperlichen Gesten beim Spiel stammen. Die Bewegungen am Instrument und mit dem Instrument sind sozusagen Thema des Stücks. Sie entwickeln sich im zeitlichen Verlauf, allerdings nur soweit dies die übliche gestische Praxis ermöglicht. Es geht nicht um Tanz oder gar Musiktheater - und trotzdem gewinnt die spieltechnische Bewegungssprache fast im Sinne einer Gebärdensprache eine besondere Bedeutung. Die musikalische Ebene und die Bewegungsebene balancieren sich in ihrer Bedeutung in gewisser Weise aus. Die beiden Ebenen verselbständigen sich nicht, obwohl beiden eine Bedeutungsentwicklung innewohnt.
Damit die ausführende Musikerin die Entstehung und Entwicklung der 35 Gesten in einem wirklich spielerischen Sinn vermitteln kann, ist es ihr erlaubt, Gesten zu wiederholen, wenn nötig mehrmals, oder gar auf vorher gespielte Gesten zurückzukommen um dann wieder vorwärts zu spielen. Höchstwahrscheinlich wird vor allem die Spielsituation, die Raumgrösse, die Akustik, die Grösse des Publikums und in einem gewissen Sinne die Stimmung das Spielverhalten beeinflussen.
Das mehrmalige Zurückgehen im Spielverlauf verändert die angegebene Dauer des Stücks entsprechend.

Born 1955 in Romanshorn, lives with his family in Lucerne, Switzerland.
Studies at Lucerne Conservatory and at the Academie for School- and Churchmusic. Professor on the faculty of the Highschool for music Lucerne.
Active as composer and performer. Co-founder of the Forum Neue Musik Luzern.
Diverse prizes and awards (Edwin Fischer Foundation Award, composition-subsidy: Canton Lucerne, Paris-Atelier: Canton Aargau), nomerous commissions.

Foto van Joelle Léandre
BALLADE (France - © 2005)

Joelle Léandre
BALLADE (France- © 2005)

French double bass player, improviser and composer, Joëlle Léandre is one of the dominant figures of the new European music. Trained in orchestral as well as contemporary music, she has played with l'Itinéraire, 2e2m and Pierre Boulez's Ensemble Intercontemporain. Joëlle Léandre has also worked with Merce Cunningham and with John Cage, who has composed especially for her -as have Scelsi, Fénelon, Jolas, Clementi and about twenty composers. As well as working in contemporary music, Léandre has played with some of the great names in jazz and improvisation, such as Derek Bailey, Anthony Braxton, George Lewis, Evan Parker, Irene Schweier, Barre Phillips, Steve Lacy, Lauren Newton, Peter Kowald, Urs Leimgruber, Fred Frith, John Zorn. She has written extensively for dance and theater, and has staged a number of multi disciplinary performances. Her reputation is international, and her work as a composer and as performer, both in solo recitals and a part of ensembles, has put her under the lights of the most prestigious stages of Europe, the Americas and Asia.
Joëlle Léandre also has more than eighty recordings to her credit.
Foto van Nicholas Chase
7TH SENSE (USA - © 2005)

Nicholas Chase
7TH SENSE (USA - © 2005)
7th Sense is about finding one’s voice through one's instrument. Its intention is to take the listener with the performer into the intimate space that the performer and instrument share. By fusing sounds through amplification, the performer, the electronics and the bass all become layers of one single voice that expresses itself out of time.

Alpert Award Nominee Nicholas Chase studied composition and electronic media at the California
Institute of the Arts and Arabic Classical Music in Syria. Chase was awarded the first President's
Distinguished Alumnus Award from Cal Arts and the Andy Warhol Prize from the Philadelphia Academy of Fine
Arts for his composition tw!TcH. Chase has been commissioned by the California E.A.R. Unit, Long Beach
Opera, Viola Plus Ltd., Connecticut based Port au Prince Dance Company, and illustrious soloists from
around the globe. Chase has appeared performing electronics and DJ turntables with the Los Angeles
Music Studio Ensemble, the California E.A.R. Unit and most recently as part of the electro-acoustic
improvisation trio, NIRUSU III. Based in Los Angeles, California, Chase is founder of the Musical
Arts/Sound Laboratory (www.MAS-Lab.org.) who will premiere Chase's trans-media epic "Dali's Egg" in 2007.
Mr. Chase teaches composition privately and gives lectures on composition, technology and esotericism.

Foto van Mark Steven Brooks

Mark Steven Brooks
From A Distant Shore -for double bass and sampled percussion.

A tale of abandonement, of loneliness and sorrow, of being adrift at sea and ultimately marooned. A classic metaphor for a state of mind a few of us experience at some point in our lives.

Note-the percussion sounds are triggered by the bassist during performance using footpedals. (you may leave out this sentence if it has been stated elsewhere).

Mark Steven Brooks, born NYC 1955, has composed over 200 works for a variety of media including non-western instruments and electronics and his music has been heard throughout the U.S. as well as in Europe,Scandinavia, Israel and the Far East. He received a B.M. in composition in 1978 from the Manhattan School of Music and an M.A. in music from Wesleyan University in 1984. He has received awards from the Charles Ives Foundation, Boston Center for the Arts, Mass. Councilon the Arts, N.Y. State Council on the Arts, American Music Center and various local arts organisations.
In addition to composing, Mr. Brooks performs on guitar, electricbass, keyboards and percussion and has performed at New Music America, BAM, Linclon Center, The Knitting Factory and other new music venues. He has recorded for the Tzadik, Folkways, GSOL, XI and Elaterium Records labels.
Foto van Amnon Wolman
BUMP (USA © 2005)

Amnon Wolman
BUMP is an installation/performance piece with no determined length.
There are two basic components to the piece, the live part for bass solo and the electronic part.
The piece should be performed in an open space where people are usually standing or walking but not sitting. A gallery, a lobby, a foyer of a concert hall, or the middle of a park could all serve as places for the performance of the piece, but not a traditional concert hall.

Amnon Wolman is a sound artist working with music and texts for a sundry of instruments along with a computer. His work is acknowledged through commissions, awards, recordings and publications. He lives both in the US and in Israel with his partner Eyal Levinson and their animals. His catalogue of works includes ones involving computer generated and processed sounds, symphonic works, vocal and chamber pieces for different ensembles, film music, and music for theater and dance. His recently premiered pieces include "Picnic Site" used for a choreography by Trisha Brown and Steve Paxton for the Lyon Biannale in September 2003, "End Divided Road" for Flute and electronics for Mario Carolli at the TRAIETTORIE Festival in Parma Italy also in September 2003, "Cruising Prohibited when Lights Flashing" for the Gay Gotham Chorus at the Greenwich House, NY, premiered in October 2003. He is the director of the center for Computer Music at Brooklyn College, where he is on the composition faculty as well as on the faculty of the Graduate Center of CUNY.

Foto van Cathy van Eck

Cathy van Eck

Cathy van Eck (1979, Leidschendam) studied composition with Diderik Wagenaar, Martijn Padding and Gilius van Bergeijk at the Royal Conservatory in The Hague, where she got her bachelor-degree in 2001. She continues her studies now with Walter Zimmermann at the University of Arts in Berlin. She visited several composition courses, among them the Bartók-seminar in Szombately, Acanthes 2000, the course forcomposition and computermusic at Ircam and the composition course at Schloss Solitude. During these courses she had lessons from Michael Jarrell, Jacopo Baboni Schilingi, Chaya Czernowin, Steven Takasugi and Richard Barrett.
Foto van Marie Cécile Reber
SRUN (Switzerland - © 2004)

Marie Cécile Reber
Piano studies by Peter Miital. Since 1993 research and experimentation with noise as a base for samples and sound (pieces). They serve as an archive for compositions, installations and live performances. All works consist of compositional concepts and improvisation.
1994-98 guest student at the electronic studio of the Academy of Music in Basel with Thomas Keßler.
2001 grant from the Swiß Composer’s Association
2003 commission for a composition from Pro Helvetia
2004 working grant from City and Canton of Lucerne, Switherland

„SRUN“ is a live electronic piece divided into three parts: rhythm, surface and melody
Although some base sounds were recorded and mastered beforehand, most of them are generated live by the double bass player.
Each of the three parts has a framework of composed segments as well as open parts conceptualized for improvisation. Thus, the piece alternates between composition and improvisation.
So e.g. in the first part the final rhythm is dependent on the improviser’s feeling for time and pulse while building up the rhythm. Meanwhile, the soundmaterial is strictly defined and shouldn’t be altered.
The same concept accounts for part three. The soundscape is recorded three times and then layered. Again, the way these layers come into play is up to the musician, yet they constitute the foundation for the subsequently added improvisatons. Prefabricated samples can be added at different time intervals.
"Srun" therefore is a piece between conceptual composition and improvisation.

Foto van Katharina Rosenberger
zsOom (USA - © 2004)

Katharina Rosenberger


music where movement does
measured motion... one ends
where does one start?

zsOom investigates the correlation of the audible and
visual impressions produced when playing the
contrabass. Conventional movement patterns are
refined, enlarged or deformed to suggest a visible
form of audible events, which at times contradict or
underline our expectations.

zsOom exists through-composed or as an expanded
version with a strong improvisational approach to
structure and development of the musical material. The
latter is dedicated to bassist Cristin Wildbolz.

Born in Zurich, Katharina's slight tendency to "nomadism" has brought her to collaborations all around Europe and the USA. Her works, electronic & acoustic, are often inspired and linked with the visual arts, theater and inquiries into perceptual and phenomenological issues. She is currently studying composition with Tristan Murail and completing her PhD with a Faculty Fellowship at Columbia University in NYC.

Foto van Mayke Nas
DIDO (Holland - © 2003)

Mayke Nas
Dido is the life-story of a woman in the midst of her life. While playing, the bassplayer reflects on Dido's past in short blocks of spoken texts, memorating some of the critical moments in the life of this woman. As a counterpoint, each sentence is mirrored by slide-projected texts that show the or a possible future for Dido.

Studied piano and composition with Martijn Padding, Gilius van Bergeijk, Daan Manneke, Alexandre Hrisanide and Bart van de Roer. She received commissions from a.o.VPRO Television, Festival New Music Middelburg, Music centre Frits Philips, Foundation For Current Music Brabant, Dutch Fund for the Creation of Music, Festival November Music and ASKO ensemble.
She has a particular interest in working in the field of theatre. In 1998 she made SPELD, a music production for children with the Aquarius ensemble. In 2001 the scenographic music-performance DiGiT 1 t/m 10 came to existence in collaboration with graphic designer Annelys de Vet, bassoon-player Alban Wesly en violinist Bas Wiegers.
Recently, in May 2003, she wrote One Way Bedroom, a modern-communication-technological-dramatic harpsichord-solo for Anne Faulborn, directed by Adelheid Roosen and Moniek Toebosch.
Since 1997 she also organizes concerts for chamber music platform 'DeLink' in Tilburg (www.delink.nl) and keeps a weblog for dead birds and other fortunes www.xs4all.nl/~mayke

Foto van Margrit Rieben
YUME (Switzerland - © 2002)

Margrit Rieben
For doublebass and recording

YUME is japanese and means dream(s). Last summer I was in Japan. Generally, people there live in closer proximity than here in Europe. While sitting in a kitchen I was able to observe children as they slept for an extended period. I noticed the uniqueness of their breathing patterns; how they would have a regular rhythm and then suddenly change accompanied by little noises that hinted at the presence of dreams. This experience made an important impression upon me. For the composition I recorded children while they slept. I then edited the sounds to construct a complete soundfile. The special sounds of the doublebass where found, worked out and expanded together with the musician Cristin Wildbolz. The whole music piece has been composed for her. Yume is a quiet music.

She was born 1963 in Bern/Switzerland. She studied drums with Billy Brooks at the Swiss Jazz School, music grant for Paris 95 by the Kanton Bern. Her interests in acoustic and electronic sounds brought her to the field of experimental and improvised music in collaboration with various artists, bands and projects in the field of performance, installation, modern dance and theater.

Foto van Mela Meierhans
DIAPHONIE II (Germany - © 2002)

Mela Meierhans
"..Thinking is an inner dialog, a silent self-conversation .."
"..The capacity to think demonstrates that, alone, a human does not constitute a 'unity' .."
"..The silent dialog of the I with itself actualizes an originary duality, the difference between me and me ... [which] renders futile every search for a so-called identity.
" from: Christina Thürmer Rohr, on Hannah Arendt)
Regular "musical journal entries" document this inner dialog. An attempt at musical translatation/confrontation of: the inner dialog as origin and "Thinking (...) as t(w)ogetherness with the self".
Questions raised by Cristin Wildbolz "why, when, how do we move in a space to get what sound or no sound AND what sound does make us move in or out of space and how or not?" are taken up and musically transformed. Each particular 'diary' theme/subject as quasi playing instructions is disclosed to the soloist, who also performs certain related actions. This composition has an associative character, proceeding from and engaging with a momentary experience, to (re)hear after thought.
It refers also to the text of I.Bachmann: der Fall Franza.

Mela Meierhan's was born in Switzerland and lives in Berlin/Basel. her creative interests are preoccupied with multi layering and openess: compositions often are related to the lyrics and challenge philosophie, politics and architecture; special interest in 'music and urban space'. Partnerschaftliche Musik (music of relationships)' for dance/video/theatre and opera; Sound-design. Comissions from and collaboration with various soloists, ensembles and orchestras. foto © julia scheschonka
Foto van Barbara Woof

Barbara Woof
Digital Signal Processing and editing: Michèl Koenders
A lullaby is sung to banish the fears a child may have when going to sleep:
the fear of the unknown, the vulnerability of the sleeping body, the
uncertainty of whether one will wake again.
Sleep and death are close neighbours

My piece explores this world of darkness and fragile tranquility.

One may think it strange to use the double bass for a lullaby, but it’s almost
human body size and shape and it’s acoustically soft but deep sound make
it a perfect vessel for what I want to convey.

The text you hear in the piece comes from a poem by Georg Trakl :
"In der Stille erstirbt der bangen Seele einsames Saitenspiel"

Studied composing and musicology at the University of Sydney (Australia). In 1981 she came to the Netherlands
to further her composition studies at the Royal Conservatorium in The Hague and at the Institute of Sonology in Utrecht.
Since 1988 she has been teaching composition at the Faculty of Art, Media and Technology in Utrecht.
She and Michèl Koenders often collaborate on works for instruments and electronics.

Studied computer composition at the Institute of Sonology, The Hague and the Faculty of Art, Media and Technology of the Utrecht School of Arts.
Composes mainly for computer and live electronics, for concert and theatre productions.
Has worked at IRCAM Paris and ZKM Karlsruhe as software developer and composer.

Foto van Keren Rosenbaum
CONTRAVOICE (Israel - © 2002)

Keren Rosenbaum
Written for double bass, prerecorded clicktrack & soundtrack. Contra-Voice is a monologue, which also exposes the subtext it is based on. The walking bass line, the inner voice, makes up the trigger for the lead voice, providing a framework of structure and intensity. The voice emulates the dialect of the instrument meeting it mid-way.

A prolific composer and talented flautist from a very young age, Rosenbaum studied with renowned Israeli composers Arik Shapira and continued developing her distinctive style at the Royal Conservatory, The Hague, with Van Bergeijk, De-Man, Waganaar and L. Andrissen. After directing and producing "New Voices", the first interdisciplinary festival in Israel, she founded the Reflex Ensemble, a unique collective of classical musicians. Since 1998 the Ensemble has challenged the old-school classical music tradition in its focus on performance, openness to new technologies, incorporating lighting and sound artists as equal members, and choosing not to stage its performances in concert halls.
Foto van Anne LeBaron
INNER VOICE (USA - © 2002)

Anne LeBaron
A new work for contrabass and electroacoustic music, was written by Anne LeBaron and dedicated to Cristin Wildbolz, who commissioned the piece. MK Gandhi, in 1930, wrote that "Inner Voice may mean a message from God or the Devil, for both are wrestling in the human breast. Acts determine the nature of the voice." Four primary sources form the sound environment, enveloping the performer at times, and providing a contrasting backdrop at other times. From the bowels of the earth, the endless lashings of water against lava and sandstone in a blowhole on the island of Maui alternately merge with fragmented and filtered phrases from the old gospel tune, "I'll Fly Away," and with a trio of actors intoning "why this." The sonorous clappings of wood against an ancient temple bell residing at the Jodo Mission in Lahaina, Maui, provide resonant punctuation as well as evaporative elements that conjoin with the voices.The music for the contrabass, with a vocal part to expand its range, becomes wed via harmonics and other coloristic techniques to the spectra of the water / earth and metal / wood elements, as well as the wind in the breath of the intoning voices. These diverse sources reflect, individually and collectively, the inner voice of the earth, of a wooden stringed instrument, of a forged hunk of metal refined to call forth spirits, and of humanity as expressed in the voice.

Internationally known composer of electronic and instrumental music and performance, harpist and tutor. She studied together with G. Ligeti and did a PhD at Columbia University. She has won several awards and prizes, currently teaches composition at California Institute of the Arts.
Foto van Haruna Miyake
URBAN DREAMS (Japan - © 2002)

Haruna Miyake
In modern urban life, there are mirage like or quick-lightening like scenaries which usually are once forgotten, but sometimes appear in our mind again.
They also are kinds of short stories passing through us like daydreams.
This composition is a set of three pieces, and each peace has different sonorities, textures and playing techniques to express the various phases of Contrabass.

Studied at the New York Music School 'Julliard School'.
Working as a composer and performer in the areas of orchestra music, improvisation and traditional Japanese music.
'Poem for string orchestra' was awarded with the 'Edward Benjamin Award'.
Currently lives and works in Tokyo. She was invited to the 'Lockenhaus Internationale Music Festival' in Heidelberg (contemporary music festival).
She has performed as pianist and composer with Wayne Shorter, Frederic Rzewski und Buto dancer Kazuo Ohno.
Foto van Huba de Graaff
SPIRAL JETTY 'convulvulus' (Holland - © 2002)

Huba de Graaff
A doublebass, overgrown with small loudspeakers, from which female voices ring.
As a ritual the composition for doublebass and speaker-plant garlands through the stories of different women.
(I.e. Joke Kool-Smit, Nel Kraanenburg, women from S.-Afrika, China, Queen Wilhelmina, from Spain, such as the daughter of General Franco and Petra Roman de Bondia, etc.)
Voices of women, most of them already died. They tell oral history, and hope things will be better for their children.

Studied sonology in Utrecht and composition at the 'Royal Conservatorium' in Den Haag (v.Bergeijk, L. Andriessen, F. Rzewski, Raaymakers, Zimmermann)
She works with computer technology from the beginning of the 80's. She performs live elektronic and cynamic sound sculptures herself, translating movement into sound and the other way round (Asko Ensemble, de Volhardin).
Foto van Adelheid Roosen
Director and Coach

Adelheid Roosen
'The rose is a rose is a rose'
Gertrud Stein