Evening Concert 6B
Concert 6B focuses on a monumental instrument that bridges centuries-old tradition and futuristic technology: the FEH organ. In this concert, its powerful pipe sounds merge with AI agents, mobile networks, and immersive live electronics. It is an invitation to experience the organ not only as a sacred instrument, but as a living, breathing part of a digital ecosystem—complemented by outstanding chamber works for flute, saxophone, and violin.
Program Overview
Traversée IIIb
Nicolas Brochec
Spring Code
Jian Feng
《Missed Call》
Yi-Tzu Huang
Schattenwald
Sarah Proske
pan:individual, “come closer, come home”
Franz Danksagmüller
Opus
S. Ali Hosseini
les lignes de désir
Pierre Alexandre Tremblay
About the pieces & artists
Nicolas Brochec: Traversée IIIb
Traversée IIIb is a mixed music piece for flute, live electronics, and Somax AI agents, in which the electronic part is generated in real time. In Traversée IIIb, the generation of electronic material is controlled by a real-time playing-technique recognition system. Combined with Somax AI agents, this enables close interactions between the instrumental and electronic parts, producing sonic responses ranging from counterpoint to accompaniment, and occasionally introducing unexpected electronic events. For this reason, a functional notation is used for the electronic part of the score, describing actions and parameters rather than musical results, which cannot be fully predetermined.
About the artist
Nicolas Brochec is a composer and sound artist specializing in contemporary instrumental and electroacoustic music. He has studied with leading contemporary composers, including Philippe Manoury, Martin Matalon, José Manuel López López, and Daniel D’Adamo. His work has been commissioned by institutions such as the Philharmonie de Paris, NHK member ensembles, and Improtech (IRCAM). His compositions have received international recognition, including the First Prize at the Sound’Ar-te Electric Ensemble competition (Portugal) and a Special Prize at the Ise-Shima Competition (Japan). He is currently a PhD candidate at Tokyo University of the Arts and has been awarded a Japanese Government (MEXT) Scholarship as well as grants from the Foundation for the Advancement of Telecommunications (NTT).
Jian Feng: Spring Code
Spring Code is a real-time interactive audiovisual work that revives the konghou (Chinese harp)—once lost for centuries—through a custom responsive interface. Treating classical poetic aesthetics as a generative source, it reimagines Wang Wei’s line “Clear spring flows over stones” not as an illustration, but as executable logic: a living data stream shaped by performance.
The konghou functions simultaneously as an instrument and an expressive interface. Its acoustic output—plucks, harmonics, string vibrations—is captured via a microphone, while performer gestures are tracked through laser distance, pressure, and sliding touch sensors. All inputs are fed into an integrated system built on Max/MSP, Arduino, and TouchDesigner, driving real-time granular synthesis, adaptive spatialization (VBAP), dynamic visuals, and responsive light from addressable LED strips.
The resulting soundscape evokes the fluidity of mountain streams; its visual layer maps audio features to flowing particles, creating a multimodal environment where cultural memory is continuously re-encoded. “Spring” embodies nature’s flow; “Code” pulses as digital lifeblood. Rather than preserving tradition as an artifact, Spring Code compiles it anew in every performance—where hand gestures conduct light and data, and konghou tones shape space and sound.
Between the echo of a mountain spring and the pulse of an algorithm, the work constructs an inexhaustible river of resonance across time. In Spring Code, the spring never dries—the code never stops flowing.
About the artist
Jian Feng is a composer and Associate Professor at the Wuhan Conservatory of Music, where she serves as Director of the Center for Computer Music Composition Research. She was a visiting scholar at the Center for New Music and Audio Technologies (CNMAT) at the University of California, Berkeley, supported by the China Scholarship Council.
Her creative and research practice centers on interactive electronic music and the application of artificial intelligence in musical contexts. Her works have been presented at leading international forums and festivals, including the International Computer Music Conference (ICMC), the International Society for Contemporary Music (ISCM) World New Music Days, Frontier+ Festival (UK), MUSICACOUSTICA-Beijing, MUSICACOUSTICA-Hangzhou, and the Shanghai International Electroacoustic Week.
Feng holds key roles in China’s interdisciplinary arts–technology community: Deputy Secretary-General of the Electronic Music Society of the Chinese Musicians Association, Committee Member of the Art & Artificial Intelligence Specialized Committee of the Chinese Association for Artificial Intelligence (CAAI), and Executive Committee Member of the Computational Arts Division of the China Computer Federation (CCF).
Yi-Tzu Huang:《Missed Call》
Missed Call for flute and live electronics was composed in 2025. The compositional idea was inspired by the concepts of “making choices” and “paused time”, exploring the subtle connection of social relationships. The sound materials of live electronics are totally based on the flute timbre, which not only imitates the intonations of the female voice but also motivates the dynamic of musical gestures throughout the whole piece. Moreover, I attempt to depict the potential feelings through the background of light electroacoustic sound. In the music, “Missed call” symbolizes unaligned energy and temporary pauses, while “receiving a call” represents a force that can change current reality of musical unfolding. Therefore, what may appear as a break or auditory interruption is actually a moment of inner preparation or cognitive balance, allowing the musical closure to be awakened again.
About the artist
Yi-Tzu Huang is a Taiwanese composer who studies in graduate program of music composition at the Institute of Music of National Yang Ming Chiao Tung University. Her music focuses on the subtle connections between sound and human emotions, exploring both the musical time and auditory space of human cognition. The experiments in electronic or instrumental timbres and the expression of sound are emphasized in her current research.
Sarah Proske: Schattenwald
Schattenwald mixes recorded organ sounds with the real organ. The hissing and whistling of a small, fully mechanical organ forms the basis of an almost romantically fragmentary soundscape. At the same time, the organ reveals something of its inner workings and sounds like “musique concrète instrumentale.” In addition to this technical aspect, the title reveals something about the poetic approach. Nature and culture collide. One thinks one can hear the call of an eagle owl, the wind rustling through the trees, the creaking of branches…
The electronics are based on recordings of a small, fully mechanical organ. Playing with the key pressure and half-drawn registers creates mystical-sounding tones, which have been arranged into a dramaturgically designed soundscape through multiple layers. The similarity to natural sounds is intentional here and is picked up and commented on by the live organ performance. A slightly changing chord (fixed with wooden wedges) emerges between the shadow sounds and increasingly dominates the tonal structure of the piece. The organist is repeatedly given musical material with which he improvises within the given framework.
The performance of the piece must be adapted to the respective organ; alternatives are indicated in the score. The composition was written for the organ in St. Nikolai, Hamburg, with its special possibilities, in particular wind swellers and built-in percussion instruments.
About the artist
Sarah Proske was born in Suhl (Thuringia) in 1999. She completed a church music degree (Master’s degree, with a focus on IKN – improvisation, composition and new media) as well as a master’s degree in organ improvisation with Prof. Franz Danksagmüller at Musikhochschule Lübeck. She has received several composition commissions, such as works commissioned by the “Orgelstadt Hamburg e.V.”, Erzbistum Paderborn, Dommusik Linz for the vocal ensemble „Cantando Admont“, as well as compositions for choir and ensemble for the Diocese of Graz-Seckau.
She won awards in different disciplines, so as a composer as well as a soprano and organ improviser at different competitions.
Her compositions have been performed at venues including the Orgelpark Amsterdam, the opening oft he festival „Leer_raum“ at Stiftskirche Tübingen, „Nordische Filmtage“ in Lübeck and the Schönberger Musiksommer.
Since March 2023, Sarah Proske has been working as an assistant organist at St. Jakobi Lübeck, and since November 2023 as a tutor for the subject “Improvisation, Composition and New Media” at the MHL.
Franz Danksagmüller : pan:individual, “come closer, come home”
pan:individual is a participatory work for organ, live electronics, mobile phones, and audience that explores how individual perception, agency, and identity are transformed within digitally mediated collective systems. The piece examines how contemporary technologies shape experiences of belonging, guidance, and participation, blurring the boundary between individual action and collective behavior.
The performance unfolds as a distributed audiovisual environment in which audience members access individualized video streams on their mobile phones. Initially fragmented and asynchronous, these streams gradually align, forming a shared sonic and visual field. The organ part follows algorithmic and process-based instructions that guide constrained improvisation, functioning not as an authoritative voice but as one element within a larger collective texture shaped by live electronics.
As the performance progresses, audience members are invited to participate vocally, tuning into sustained pitches suggested by the audiovisual environment. Digital avatars address participants directly, encouraging alignment and proximity and culminating in the formation of a collective sonic organism.
Rather than presenting a narrative or explicit critique, pan:individual creates an experiential situation in which participants are invited to reflect on how digitally mediated systems influence collective identity, agency, and the desire to belong.
About the artist
Franz Danksagmüller (*1969) is an Austrian organist, composer, and media artist working at the intersection of instrumental performance, live electronics, rule-based improvisation, and participatory systems. He is Professor for Organ and Improvisation at the University of Music in Lübeck and currently Visiting Professor at the Royal Academy of Music, London. His works include music theatre, ensemble and vocal works, and participatory projects integrating digital technologies and audience interaction, presented internationally across Europe, Asia, Africa, and North America.
S. Ali Hosseini: Opus
This project draws inspiration from the works of German filmmaker and cinematographer Walter Ruttmann, a pioneering figure in abstract experimental cinema.
By studying Ruttmann’s visionary approach, I have reinterpreted his work through a contemporary lens, integrating modern technology to introduce a new dimension of abstraction.
My goal is to build upon his artistic legacy, pushing the boundaries of visual expression while staying true to the essence of his groundbreaking innovations.
The musical composition for this project blends electronic, electroacoustic, and acoustic elements to authentically capture its essence.
By incorporating synthesizers and concrète sounds, I seek to establish a fresh sonic approach, one that bridges tradition with innovation, enhancing the abstract nature of the work through a dynamic and immersive auditory experience.
About the artist
Born in 1991in Tehran, Iran. I hold a Bachelor’s degree in Composition from the Tehran Conservatory of Music, where I focused on Classic music and composition. Currently, I am pursuing a Master’s degree in Applied Music (Musica Applicata) at the Conservatorio G. Nicolini in Piacenza, Italy. My studies encompass electroacoustic, electronic, and contemprory composition, as well as sound design and the integration of video and short films.
I am currently exploring new approaches to composition based on spatial audio and microtonality and integration with visual Art.
My works have been featured at several prestigious festivals, including the PdMaxCon25~ (USA), UVM 2025: COSMOCENO (Brazil), Simultan Festival (Romania), MA/IN Festival (Italy), SEHSUCHTE film festival (Germany), Musicmediale Festival (Italy), Appennino Festival (Italy), Piacenza Music Festival (Italy), Pensiero Contemporaneo Festival (Italy), and La Notte dei Ricercatori (Italy), 43rd Festival Tous Courts (France), Evimus 2025 (Germany).
Pierre Alexandre Tremblay: les lignes de désir
Architects, luthiers, designers, urban planners, and other dreamers, imagine a Platonic aesthetic intended use of the object of their creativity. A vision of beauty in action. Yet lives/masses/swarms/users have their ways, and soon emerge lines of desire.
This piece is an ode to the beauty of aging and experience, of traces of time passing and writing its story, of patina and of wrinkles, of used leather boots, of rusty structures, of crow’s feet. Fragile and subtle at first, these lines, in the wake of usage, are the witnesses of the soft and gentle resistance of the ignored wanderer.
It is an homage to the emerging beauty of subversive (ab)uses.
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Thanks Irine Røsnes, Linda Jankowska, the FluCoMa team, Notam’s team, and CeReNeM’s Creative Coding Lab.
About the artist
Pierre Alexandre Tremblay (Montréal, 1975) is a composer and performer on bass guitar and electronic devices, in solo and group settings, between electroacoustic music, contemporary jazz, mixed music and improvised music. He also worked in popular music, and practises creative coding. His music is available on empreintes DIGITALes. He was Professor of Composition and Improvisation at the University of Huddersfield (England, UK) from 2005 to ’24. In September 2024, he joined the team of the Conservatorio della Svizzera italiana as a research professor in composition.