lukas nowok

Live Electronics: Frankfurt, Germany

live stream with the IEMA Ensemble from the attic.


Live Electronics: Strasbourg, France

performance of Karlheiz Stockhausen’s “Stimmung” for six voices and microphones at the Festival Musica Strasbourg, France.

performed by Ensemble Les Métaboles


Live Electronics: Freiburg, Germany

premiere of Clemens K. Thomas’ “Clouds and Memories” for ensemble and floppy disk
at Ensemblehouse Freiburg with a live broadcast at Deutschlandfunk Kultur

performed by Ensemble Recherche
Cello: Åsa Åkerberg
Clarinet: Shizuyo Oka
Piano: Klaus Steffes-Holländer
Percussion: Christian Dierstein
Live Electronics: Clemens K. Thomas, Lukas Nowok


Release: CODE012

Release of a fixed media work working with form, rhythm and timbre as equal timestructures. Link


Release: CODE003

Release of a fixed media work exploring the technique of interference-patterns of rhythmic- and timbral material. Link


Live Electronics: Stuttgart, Germany

It keeps eternal whisperings around desolate shores (John Keats)

James Dillon, The Freiburg Diptych
for Solo Violin, Tape & Live Electronics / 38’

I . . . drone . . .
II . . . ghost stations . . .

Violin: Irvine Arditti
Live Electronics: Thomas Hummel, Lukas Nowok

premiered at eclat festival Stuttgart, Germany.

program notes

An island of concentration in the middle of an evening marked by “telling stories”. A diptych unfolds whose two equally important movements could not be more different: one is exuberant, extroverted, virtuoso and episodic, the other an elegy - fragile, pale, in which the musical action is captured in slow motion. The work was the result of a long, intensive and mutually understanding collaboration between the composer and his interpreter together with the Freiburg sound specialists from the SWR Experimentalstudio.

Live Electronics: Berlin, Germany

premiere of Chaya Czernowin’s opera “Heart Chamber”

Composition and text: Chaya Czernowin
Director: Claus Guth
Stage: Kristian Schmidt
Dramaturgy: Yvonne Gebauer / Dorothea Hartmann / Christoph Seuferle

Singers: Patrizia Ciofi, soprano / Dietrich Henschel, baritone / Noa Frenkel, contralto / Terry Wey, countertenor / Frauke Aulbert, vocal artist
Instrumental soloists: Ensemble Nikel (Patrick Stadler, saxophones / Yaron Deutsch, electric and amplified acoustic guitar / Antoine Françoise, keyboards and piano / Brian Archinal, percussion) plus Uli Fussenegger, double bass
Choir: 16 voices
Orchestra: Deutsche Oper Berlin
Conductor: Johannes Kalitzke
Electronics: SWR Experimentalstudio Freiburg with Joachim Haas, Carlo Laurenzi and Lukas Nowok

read more about Heart Chamber here


Live Electronics: Donaueschingen, Germany

premiere Michael Pelzel, “Mysterious Benares Bells” for Orchestra and Electronics

Conductor: Emilio Pomàrico
Orchestra: Southwest German Radio Symphony Orchestra
Live Electronics: Michael Acker, Maurice Oeser, Lukas Nowok

aired on the BBC 3 new music show or available here

Live Electronics: Freiburg, Germany

premiere Chaya Czernowin, “Habekhi” for Ensemble, Female Voice and Electronics
James Tenney, “Critical Band” for Chamber Music Ensemble

performed by Ensemble Experimental
Live Electronics: Joachim Haas, Thomas Hummel, Lukas Nowok


Live Electronics: Copenhagen, Denmark

Detlef Heusinger, “Crossroads” for Ensemble and Electronics
Jonathan Harvey, “Ricercare Una Melodia” for Cello and Electronics

Piano: Rei Nakamura
Theremin: Carolina Eyck
Cello: Esther Saladin
Guitar: Jürgen Ruck
Percussion: Olaf Tschoppe
Live Electronics: Constantin Popp, Maurice Oeser, Lukas Nowok


Video & Scenography for Huihui Cheng's Echo & Narcissus

premiere Huihui Cheng, “Echo & Narcissus” for two female voices, ensemble and electronics at the Gigaherz Awards. Video & Scenography commissioned by the German Music Council

performed by Ensemble Experimental
Conductor: Detlef Heusinger
Live Electronics: Constantin Popp, Thomas Hummel
Live Video: Lukas Nowok


Live Electronics: Rome, Italy

Roque Rivas, “Blumentanz” for solo Cello and Electronics
Luigi Nono, “…Sofferte Onde Serene…” for Piano and Tape

as part of Roque Rivas’ artistic residency at the Villa Medici

Cello: Severine Ballon
Piano: Jean-Pierre Collot Live Electronics: Roque Rivas, Maurice Oeser, Lukas Nowok

full program


Acousmatic Diffusion: Donaueschingen, Germany

premiere Florian Hecker, “Synopsis As Texture” for Computer and Frei Systemtechnik Filterbank
premiere Marcus Schmickler, “Larsen Sky Dice/ Mapping the Studio” for Computer and ARP 2500 Synthesizer

Live Electronics: New York, USA

Georg Friedrich Haas, String Quartet #7
Felipe Lara, “Trans(late)” String Quartet #2
premiere Sabrina Schroeder, “Underroom”

Strings: Jack Quartet
Live Electronics: Caley Monahon-Ward, Detlef Heusinger, Lukas Nowok


Live Electronics: Stuttgart, Germany

assisting the sound directors Michael Acker and Joachim Haas for Mark Andre’s absolutely beautiful opera “Wunderzaichen” at the Staatsoper Stuttgart

Live Electronics: Witten, Germany

Mark Andre, “Selig Sind…” for solo clarinet

Clarinet: Jörg Widmann Live Electronics: Michael Acker, Maximiliano Estudies, Lukas Nowok

Live Electronics: Bergen, Norway

premiere Peter Ablinger, “Remove/Terminate/Exit” concert-installation for solo-guitar, ensemble in 2 groups, 2 speakers, live-electronics and 50 dripping bathrobes

Conductor: Ilan Volkov
Ensemble: Bit 20
Guitar: Stian Westerhus

short discription of the piece

There is a framing installation with 50 drip-wet bathrobes; drips are slightly miked. This installation is in the lower foyer and basically for entrance situation and ending.
The central part is happening in the upper foyer and lasts 72 minutes exactly (9 x 8 minutes). This central part is structured in 9 general layers from “everything” to silence. In the beginning all 9 layers start together (loud, dense, white). Every 8 minutes one layer is terminated, until the piece ends with a silence of 8 minutes. The upper foyer is as dark as possible (only music-stand lights), but the surrounding outside is accentuated with light.

During the 1st 8 minutes White Noise (and sounds of “thousend waterfalls”) are wrapping (hiding/masking) all the other layers - allthough it is important that everything and everyone is activ and performing already. With each end of a layer the next layer becomes foreground. Step by step we go through different stations, becoming softer and softer, until we reach the bottom.

the text of the two speakers stuck with me for a very long time.


Live Electronics: Tel Aviv, Israel

Mark Andre, “…als…II” for Contrabass Clarinet, Cello, Piano and Electronics

Performed by the Israel Contemporary Players

Sound/Video Installation at Generate Festival

“Lingur” generative audio/video installation for 2 channel audio and 1 channel video at Generate Festival


Live Coding at ZKM Karlsruhe

“Lingur” Solo Audio/Visual Live Coding Performance with Touchdesigner and SuperCollider at the vernissage of the Open Codes exhibition.

Live Electronics: Warsaw, Poland

Andrzej Dobrowolski, “Muzyka na Tasme Magnetofonowa i Fortepian” for Piano and Tape
Luigi Nono, “Omaggio a Kurtag” for Contraalto, Flute, Clarinet, Tuba and Electronics
Luigi Nono, “Post-Praeludium Per Donau” for Tuba and Electronics

Contraalto: Noa Frenkel
Flute: Maruta Staravoitava
Clarinet: Andrea Nagy
Tuba: Joszef Bazsinka

yellow warsaw
source: Adam Dudek

Live Electronics: Victoria, Canada

Luigi Nono, “…Sofferte Onde Serene…” for Solo Piano and Tape
Koan: Having never written a note for percussion in memoriam Ana-Maria Avram, 9/12/61-8/1/17 James Tenney
performed as part of the SALT New Music Festival and Symposium in Victoria, Canada.

Piano: Ermis Theodorakis
Percussion: David Shively


A/V Installation: Singen, Germany

installation for four channel audio and one channel video on semitransparent projection screen as part of the Arte Romeias arts festival.

Live Electronics: Ljubljana, Slowenia

premiere Petra Strahovnik, “Appulse” for Piano and Electronics

Piano: Rei Nakamura
Live Electronics: Maurice Oeser, Lukas Nowok

Live Coding: Tallinn, Estonia

live coding performance with SuperCollider in the Söprus Cinema in Tallinn, Estonia following a two day workshop at the Estonian Academy of Music and Theatre.


SuperCollider Workshop, Tallinn

a two day lecture and workshop on digital instrument design and live coding with the SuperCollider programming language for the Audio/Visual Composition class at the Estonian Academy of Music and Theatre, Tallinn - followed by a live coding performance at Söprus Cinema as part of the Estonian Music Days.

SuperCollider Workshop, Frankfurt

workshop introducing live coding with SuperCollider at the Institute of New Media, Frankfurt and at Zeitraumexit, Mannheim.

Live Electronics: Florence, Italy

premiere Detlef Heusinger, “Ver-Blendung” for Flute, Accordion and Electronics

premiere Gianluca Ulivelli, “Non Ombre Nei Puri Silenzi” for Accordion and Electronics

Flute: Roberto Fabbriciani
Accordion: Francesco Gesualdi
Live Electronics: Dominik Kleinknecht, Lukas Nowok


Live Coding: Helsinki, Finland

solo live coding performance with Gibberwocky at MUTE Festival.

a few months after, Charles Roberts and Graham Wakefield, the brilliant minds behind Gibberwocky, published a paper about the language for the NIME conference. It contained a few short snippets of a conversation between Charles and me about my usage of Gibberwocky and the show in Helsinki

The beautiful thing about gibberwocky is that the code with the visualizations is a close representation of a musical situation at every moment — the distance between the notation and the outcome is small which isn’t the case for other notations like SuperCollider for example. And this makes it much easier for an audience to understand the relation between notation and music and in turn the role of the performer. That was very apparent to me when I played a live coding performance with SuperCollider last week in Tallinn. The musical aesthetic and overall ‘feel’ was very similar to the performance in Helsinki that I did with gibberwocky but the feedback I got was drastically different in that people in Tallinn couldn’t follow the unfolding of the musical structure and connect it with what I was writing. I got many questions asking if I was playing back prerecorded material.

which I partially did… but I still love Gibberwocky. the full paper can be downloaded here

Wind Etude, Composition for Dance Performance

collaboration with choreographer Soili Huhtakallio as part of her master thesis at the Theatre Academy Helsinki.

Soili Huhtakallio about Wind Etude: (source)

[…] Wind Etude studies wind as an element or force that in itself is invisible, but becomes visible or audible when it reacts with materiality. The relationship of visible and non-visible also relates nicely to the bigger aim of the project which was to shed light to the process where ideas and theories are though about within the materiality of the artistic performance. My starting points were wind or wave resonating in material, resonance in space and body and setting audible information as priority for the composition instead of sight. This was a way of questioning the dualistic setting that sight centeredness creates for us.

concept and choreography : Soili Huhtakallio
performance : Meeri Altmets, Elisa Keisanen, Anni Koskinen and Katriina Tavi
lighting design : Teo Lanerva
consume design : Anton Vartiainen
sound design : Lukas Nowok

Electroacoustic Composition: Vilnius, Lithuania

collaboration with Olle Petersson - performance of a composition for synthesizer and digital delays on a 23 channel loudspeaker-dome - as part of a one-week residency at the Music Innovation Studies Centre Vilnius, together with sound art- and composition students from

  • Lithuanian Academy of Music and Theatre
  • Jāzeps Vītols Latvian Academy of Music
  • Estonian Academy of Music and Theatre
  • Sibelius Academy
  • Royal Danish Academy of Music Aarhus/Aalborg
  • Malmö Academy of Music
  • Royal College of Music, Stockholm
  • Gothenburg University, Academy of Music and Drama
  • Norwegian Academy of Music

analog synthesizer (BugBrand) going into SuperCollider doing
spatial modulation synthesis
multiband panning
multirate delay

Live Film Soundtrack

live-scoring experimental shortfilms by finnish filmmakers - from the archives of the finisch artists’ association AV-arrki. the ensemble consisted of nyckelharpa, drumset, two synthesizers and guitar. performed as part of Siba Fest 2016.

some of my favourite films we’ve been working on for this project are “Rome Dérive I” by Lauri Astala and “Parametronomicon” by the Pink Twins (Juha and Vesa Vehviläinen).