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.

This Evening Concert is open to the public. Those without a conference pass can purchase a ticket here.

 

Program Overview

The Man in the Mangroves counts to Sleep 
James A. Moorer et al.

Traversée IIIb
Nicolas Brochec
Flute: Lauriane Boulezaz (Ensemble 404)

《Missed Call》
Yi-Tzu Huang
Flute: Lauriane Boulezaz (Ensemble 404)

ULYSSES II
Roberto Cipollina
Violin: Wakako Matsubara (Ensemble 404)

Intermission – 15 mins

Schattenwald 
Sarah Proske

Opus
S. Ali Hosseini and Federico Lessio

les lignes de désir
Pierre Alexandre Tremblay
Violin: Wakako Matsubara (Ensemble 404)

 

About the pieces & artists

James A. Moorer et al.: The Man in the Mangroves Counts to Sleep 

The Man in the Mangroves Counts to Sleep is the first of its kind: a speech-synthesized opera novella, based on an original poem. It is an innovative work that merges poetry, music and animation, embracing the vocal and musical elements of an opera with the narrative thrust of a short novel. The narrator’s digitized voice has been transformed through computer techniques into a variety of musical forms. The film is unique for its totally synthetic score, generated mathematically using computer speech synthesis technology. The poem and music are brought to life through animation that reveals layers of meaning in both poem and score. 

The movie recounts the inner monologue of a homeless mathematician living in a Key West mangrove swamp. As he surveys his current circumstances, “The Man” reflects on his past, his struggles, and his yearning. The movie originated from the poem of the same name by Tallahassee, Florida poet Donna Decker. The poem dramatizes her experience meeting “The Man” in a Key West, Florida homeless encampment. 

In preparation for the movie, please read the poem, “The Man in the Mangroves Counts to Sleep,” by Donna Decker here. You will find a German and English version side-by-side.

About the artist

James A. (Andy) Moorer – Producer/Director/Original Score – An internationally known figure in digital audio and computer music, Moorer is the winner of an Emmy® Award and an Academy Award® “for his pioneering work in the design of digital signal processin and its application to audio editing for film.” He is also the creator of the THX1 Deep Note sound—THX’s sonic logo, heard in thousands of movie theaters around the world. 

The Man in the Mangrove Counts to Sleep builds on Moorer’s pioneering work in computer music and more specifically in the use of computer speech synthesis for music. As an MIT and Stanfordtrained engineer, Moorer’s innovations include advances in the technology used for these compositional purposes. Many of these advances have become routine today in the world of electronic music. 

 

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 artists

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).

Flute: Lauriane Boulezaz (Ensemble 404)

 

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 artists

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.

Flute: Lauriane Boulezaz (Ensemble 404)

 

Roberto Cipollina: ULYSSES II

Ulysses 2 is a project conceived by composer Roberto Cipollina. The work serves both as a performative and technological exploration of real-time performer-machine interaction, emphasizing the role of AI not as a passive tool, but as an active and adaptive musical agent within the creative process.
The work is conceived as a closed-form improvisational structure for acoustic instrument and real-time interactive electronics, developed specifically to explore the creative potential of artificial intelligence in relation to the performer’s improvisation.
At the core of Ulysses 2 is the integration of Somax2, a real-time generative system developed within the Max environment, which enables responsive electronic behavior through the analysis and transformation of live performance data.
While the project fully embraces aleatory elements and the concept of extemporaneity, it also adheres to an organized formal structure that guides its overall development. In fact, the performer engages with a series of prompts provided by the composer, ensuring a coherent trajectory.
The electronic component, built from a database of sampled sounds recorded by Eleonora Sofia Podestà, responds and adapt to the performer’s expressive gestures in real-time. Through Somax2’s processing, the system generates musically congruent textures and transformations.
This piece highlights the software’s ability to translate performance parameters into musically coherent electronic answers, fostering a dynamic and co-creative dialogue between human performer and machine intelligence.

About the artists

Roberto Maria Cipollina is a composer and researcher in immersive technologies applied to music, whose works have been performed across Europe and America. His compositions include A Lover’s Tale (2018), Alchimie (2020), Lu Re d’Amuri (2022), and Al-Qantarah (2024). Author of two musicological books and lecturer on palazzi della memoria in music, artificial intelligence, and virtual reality, his works are internationally performed and published by Da Vinci Records.

Violin: Wakako Matsubara (Ensemble 404)

 

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.
Sarah Proske has been working as an assistant organist at St. Jakobi Lübeck, and as a tutor for the subject “Improvisation, Composition and New Media” at the MHL. Since April 2026 she is based in Cologne, working as organist and choir director at Martin-Luther-Kirche Köln-Porz.

 

S. Ali Hosseini and Federico Lessio: 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 artists

S. Ali Hosseini. Born in 1991 in 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).

Federico Lessio

 

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.

—

Thanks Irine Røsnes, Linda Jankowska, the FluCoMa team, Notam’s team, and CeReNeM’s Creative Coding Lab.

About the artists

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.

Violin: Wakako Matsubara (Ensemble 404)

 

Volunteers

Technical Director / FOH
Giovanni Dinello

Sound Engineering
Luciano Correa

Light Design
Gabriel Saber, Lukas Becker

Stage & Sound Assistance
Adrián Velasco

Production
Valentina Donato
Haewon Sim