lukas nowok
live stream with the IEMA Ensemble from the attic.
performance of Karlheiz Stockhausen’s “Stimmung” for six voices and microphones at the Festival Musica Strasbourg, France.
performed by Ensemble Les Métaboles
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 of a fixed media work working with form, rhythm and timbre as equal timestructures. Link
Release of a fixed media work exploring the technique of interference-patterns of rhythmic- and timbral material. Link
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.
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
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
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
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
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
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
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
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
assisting the sound directors Michael Acker and Joachim Haas for Mark Andre’s absolutely beautiful opera “Wunderzaichen” at the Staatsoper Stuttgart
Mark Andre, “Selig Sind…” for solo clarinet
Clarinet: Jörg Widmann Live Electronics: Michael Acker, Maximiliano Estudies, Lukas Nowok
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.
Mark Andre, “…als…II” for Contrabass Clarinet, Cello, Piano and Electronics
Performed by the Israel Contemporary Players
“Lingur” generative audio/video installation for 2 channel audio and 1 channel video at Generate Festival
“Lingur” Solo Audio/Visual Live Coding Performance with Touchdesigner and SuperCollider at the vernissage of the Open Codes exhibition.
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
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
installation for four channel audio and one channel video on semitransparent projection screen as part of the Arte Romeias arts festival.
premiere Petra Strahovnik, “Appulse” for Piano and Electronics
Piano: Rei Nakamura
Live Electronics: Maurice Oeser, Lukas Nowok
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.
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.
workshop introducing live coding with SuperCollider at the Institute of New Media, Frankfurt and at Zeitraumexit, Mannheim.
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
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
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
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-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).