composer / performer

WORKS (selected) in reverse chronological order

Sayings (2020-)
aphorisms and shortest stories for phone-videos and instruments
ongoing series

Parts:
psycho analysis
lead
codex
interlude I
psycho analysis (again)

coming:
vicious circle (of fifths)
trauma
tba.
- in preperation -
Encyclopedia of music (2020-)
for phone-videos and instruments
ongoing series
What is a garden? (2019)
for dulcimer, theremin, guitar, loops, spoken voice, movements

Prints of Gfeller+Hellsgard read as graphic score combined with poems of Shuntarō Tanikawa (谷川 俊太郎), Ali Ahmad Said (Adonis), Liang Dandan (梁丹丹).
Ich kann nicht zwischen das Meer und den Himmel sehen (2019)
for piano solo and spoken voice

based on a poem by Liang Dandan (Beijing)
Concept pieces
Konzert (2018- ) (by my alter ego)
concept piece series to be performed during concerts or just to be read as a musical joke. 

​the "KONZERT" pieces all have been sparked while sitting in concerts and are dealing with this situation. 

​some of them are discarded / verworfen
China Bicycle Route pieces (2019) (by my alter ego)
for solo instrument
PARALLEL ENCOUNTERS SESSION #2 in a-moll (2020)
für ANDREAS KARL (a) in Korrespondenz mit HAN-GYEOL LIE (b).

correspondance piece.
a responds to b. b responds to a.
www.a-moll.at

In Kooperation mit .akut – Verein für Ästhetik und angewandte Kulturtheorie
Graphic Notation Book #1

Landschaft mit Fernportraits
望回信
​(2020)

61 pictures that could be musical pieces.

All pictures share the same person placed in the center of the picture. Sometimes standing, sitting, hiding, gazing, with different accents, colors, emotional moods and in different positions and sizes. The environment changes from picture to picture, sometimes in distant leaps, sometimes in small steps. There are augmentations and diminuations, variations, sequences and imitations, within one score and also throughout the whole collection. Material appears in all states of growth: blooming, adolescent, fully grown and cut down again, distributed over a field or put into a shelf. The score can be read either from the center outward or from the outer frame inward, following a spiral or concentric circles. This person in the center is the idée fixe of this piece. Its musical shape can change as the situation of the person changes from picture to picture. If the person is big or distinct from the environment the material should be more prominent. If the person is far away, hidden or blurred with the environment it should be more subtle. But all variations should remain in recognizable relation to each other. It is either the beginning or the end of a piece.

10 copies of the book are given to selected musicians and composers. Any numbers of pictures can then be transferred into music.
Gazing for an answer - 望回信.

The selection is based on the gradual darkening of the sun light. Advancing through the hours of the day. 
a small selection out of the 61 pages of score:
LUKREZ RGB (2018)
music for short film by Andreas Mueller
for theremin, guitar, violin, doublebass, hammered dulcimer

​"LUKREZ RGB" interprets Lucretius’ revolutionary theories on the origin of our planet, the celestial bodies and the universe, with intense images. Written over 2,000 years ago the text, which the film is based on, unfolds a lost perspective, that seems outdated from today's point of view. A thought pattern that seems incompatible with our modern research methods and theories, but yet it anticipates the findings of the present sciences. In Lucretius’ text this is shown in his doubt about a higher intelligence, that controls the formation of the universe. A distinction between mind and matter is alien to him, both concepts rank on the same level. In doing so, he allows chance a decisive role in the process of creating the cosmos, whose elements are reduced to their corporeal components.
In analogy to this paradigm, the three primary colors red, green and blue refer in the film "LUKREZ RGB“ to the non-tangible. They represent the basics of the image, the light colors, from which all colors can be formed. 
The formal structure of each scene is determined by grids and arches. In the film the grid organises the image surface in a way that inseparably unites similar elements, creating a uniform overall structure, which in turn is broken up by the curves of the arches.
According to the use of these basic elements, the film takes a look back at old techniques of film history with a twinkling eye, and plays with our perception by closely connecting documentary shots and fictional images, that interpret the text.
The music by Cornelius Berkowitz follows the film's images and the ideas of Lucretius into a world of shifted proportions and constellations, which transcends the horizon of our perception. The instruments appearing are the hammered dulcimer, theremin, violin, doublebass and effect pedals. – Carmen Baumschlager, 2018

see:
Andreas Mueller / Mueller concept
Picture
photo: Andreas Müller, Still from the film LUKREZ RGB, 10min16sec, 2018
Im Sommer als mein Gletscher starb (2018)
for double bass, cello and dulcimer

​A piece to be played as a soundinstallation at an exhibition of hoelb/hoeb. Hoelb/hoeb's project IG-Verlust deals with the many forms of loss. In the case of Im Sommer als mein Gletscher starb with the death of a glacier. 
Hic sunt dracones (2017)
for cello, hammered dulcimer and theremin

​A piece for a collection and fashion show by Dominique Raffa / R!

see:
Dominique Raffa
MQ Vienna Fashion Week ​
Spieluhrbruchstücke (2017)
for celesta, piano, glockenspiel, theremin

Music for jewelry collection of Beijing label ARP (Atelier Rouge Pekin) 

See:
ARP
Écart (2017)
Ein Stück für und mit dem Vinylograph
for theremin, hammered dulcimer, guitar, glockenspiel, saxophone

Analoger Charme entsteht dort wo Unebenheiten oder Abweichungen, bewusst oder zufällig, einen ganz besonderen Reiz und Farbe aufkommen lassen. Wer versucht Schallplatten zuhause mit exakt auf den Kammerton gestimmten Instrumenten zu begleiten, wird unter Umständen bemerken, dass sich da manchmal ein intervallischer Spalt auftut, der von kleinen mikrotonalen Schwebungen bis zu einem Halbton oder mehr anwachsen kann. Abseits der bei der Aufnahme genutzten Stimmungen, hat dies vor allem damit zu tun, dass die Abspiel und auch Aufnahmegeschwindigkeiten, teils sogar bewusst, leichten Schwankungen unterliegen. Für das normale Hören spielt das kaum eine Rolle. Für mein Stück jedoch sollen diese kleinst-Differenzen die Hauptsache werden. Mit einem Instrumentarium (diverse Saiteninstrumente, Metallophone, Saxophon) das teils mikrotonal ineinander und gegeneinander verstimmt ist, sowie mit einem außerhalb aller Stimmungen klingendem Theremin, wird die auf den im Raum vorhanden Plattenspielern ausgetestete Differenz zum musikalischen Material des Stücks. Dabei werden auch Platten selbst als Schallerzeuger zum Einsatz kommen. Mit der Live-Aufnahme des Stückes durch den Vinylograph erlebt das Stück ein weitere Verschiebungen, die die Differenzen zu den ebenfalls abgespielten Referenztönen auf den Plattenspielern wieder gegen Null schwingen lassen. Zwei Seiten hat ja eine Platte, dabei wird auf der A-Seite alles (schnell) um den Ton a kreisen, auf der B-Seite (langsam) um den Ton b.

five unique singles haven been made that day.
Cover artwork by Nieuw NDG.

http://nataschamuhic.at/albums/vinylograph
https://www.facebook.com/transformermusic/
Grisaille (Intrada) (2016)
Intrada/Overture to be played next to Hieronymus Bosch' "The Last Judgment" tryptich 
For hammered dulcimer, theremin, viola, saxophone

Performed as part of "Excuse my dust III". A concert organized by Verein akut in cooperation with Wien Modern and Modeschule Herbststrasse) based on Hieronymus Bosch' "The Last Judgment". 

Listening example is an excerpt of the 1,5h piece. Performed while the audience was wandering through the gallery.
​Körkarlen (The Phantom Carriage / Der Fuhrmann des Todes) (2016)
A silent film in concert. Victor Sjöström, 1921
For violin, recorders, paetzold flutes, alt-saxophone, tenor-saxophone, electric guitar, electric bass, theremin, hammered dulcimer, glockenspiel

See:
UNSAFE + SOUNDS Festival
Picture
photo @ unsafe+sounds festival. Philippe Gerlach
Paris qui dort (2016)
A silent film in concert. Rene Clair, 1925
​For electric guitar, theremin, glockenspiel, hammered dulcimer and loop station
Scarecrow (2016)
A silent film in concert. Buster Keaton, 1921.
​For piano, theremin, hammered dulcimer and wood blocks
Quasi parlando (2016)
Based on texts by Lukrez and Leoš Janáček
For theremin, flute, saxophone, violin and voice

Kann man Musik verstehen? Verstehen, so wie wir Zeichen, Wörter, Mimik verstehen? Kann Musik Bedeutung transportieren, sie gar aus sich heraus entwickeln? Die Musikphilosophie denkt seit der Antike über die Verbindung und Wechselwirkung von Musik und Wort nach, sucht nach Grammatiken, nach dem "richtigen" Ausdruck, nach Verständnis, angetrieben noch durch das Aufkommen der Oper. Nichts anderes macht dieses Stück, es denkt "laut" über Musik und Wort nach.​
untitled music for an installation of Olafur Eliasson (2015)
For guitar, theremin and loop station

to be played next to/inside a water dripping / stroboscopic light installation of Olafur Eliasson. 
Космический рейс (Kosmicheskiy Reys / Cosmic Voyage) (2015)
A silent film in concert. Vasili Zhuravlov, 1935
For electric guitar, theremin, glockenspiel, hammered dulcimer and loop station
Den Flyvende Cirkus (2015)
A silent film in concert. Alfred Lind, 1912
For piano, electric guitar, theremin, percussion and loop station
La Selva (2015)
Music for the film inside/outside (2015) by Sophie Lembke
For electric guitar, theremin and percussion
Music for M. (2015) (with Noah Zeldin)
Based on a play by Heiner Müller
For saxophone, theremin, hammered dulcimer and effects
Vampyr (2014)
A semi-silent film in concert. Carl Theodor Dreyer, 1932
For piano, electric guitar, theremin, percussion, glockenspiel and loop station
Lichtspielmusik (2015)
music from 5 scenes of the Vampyr soundtrack combined to a suite.

released on the Crossovers compilation by V/A in 2015
Makeover (2014)
Concert installation for a video object by hoelb/hoeb
For electric guitar, tuning fork, theremin and loop station
Exhibition Es geht voran, Feldbach, Styria
Wandering Tribe (2012) (by my alter ego)
Music for a performance/fashion show by Christina Dörfler (Christina Raab)
For Paetzold flute, recorder, percussion, cello, trumpet and fluegelhorn Spatial composition
Choreography by Bettina Foeldesi
Nagelschritt voraus (2011) (by my alter ego)
For string trio and three voices
Text by Maria Hofer

Drei Sonette treffen auf Prosatexte und ein Streichtrio und bewegen sich dabei zwischen Genres wie Hörspiel, Kammerminiaturoper, Monodram, Lesung  und Rezitativ. Es bedient sich dabei alten Formen und Ideen aus dem neueren Musiktheater. Die Musik steht zu den Texten in einer gespalteten Beziehung. Sie ist Kommentar, Kontrahentin, Zwischenruferin, Pflegerin und Erbschleicherin, sie führt einen motivisch-thematisch komponierten Dialog mit dem Text. Die Bühnenhandlung ist miniaturisiert und zieht sich in die Sprache selbst zurück.

Tape Sonata (2011) (by my alter ego)
For five performer with tapedecks and a conductor

Fragments of 25 songs, recorded on tapes, are re-aranged to a 20 min tape sonate in 4 movements. Played live by 5 musicians with tape decks. Play/rewind/forward/pause.
Carré. Texturtanz (2008) (by my alter ego)
Music for a performance by Christina Dörfler (Christina Raab)
For violin, flute, two dancers and costumes
Choreography by Bettina Foeldesi
Costumes by Christina Dörfler (Christina Raab)
Bild
Photo: Christina Raab