Uploaded February 2016 | Updated September 2026, 1 week ago
lonisation (the French spelling is in Varese's original score) is the first work ever written entirely for pitchless instruments of percussion (drums), friction (guiro), concussion (maracas) and sibilation (sirens). Varse completed the score in Paris on November 13, 1931.
lonisation (the French spelling is in Varese's original score) is the first work ever written entirely for pitchless instruments of percussion (drums), friction (guiro), concussion (maracas) and sibilation (sirens). Varse completed the score in Paris on November 13, 1931.




![Alban BERG: Klaviersonate, op.1
Alban Bergs Piano Sonata (German: Klaviersonate), Op. 1, was published in 1910, but the exact date of composition is unknown; sources suggest that it was written in 1909. The Sonata is Bergs only piano work to which he gave an opus number.
The sonata is not in the typical classical form of three or four contrasting movements, but consists of a single movement centered in the key of B minor. Berg originally intended for the Sonata to be a more traditional multi-movement work, the opening movement followed by a slow movement and a finale. However, for a long period he lacked any ideas for these other movements. Berg turned to Schoenberg, who commented that the lack of inspiration meant that [Berg] ... had said all there was to say. Following Schoenbergs advice, Berg decided to publish the finished movement and let it stand by itself.
Although the piece has the nominal key of B minor, Berg makes frequent use of chromaticism, whole-tone scales, and wandering key centers, giving the tonality a very unstable feel, which only resolves in the final few bars. The structure of the piece is traditional sonata form, with an exposition, development and recapitulation; however, the composition also relies heavily on Arnold Schoenbergs idea of developing variation, a method to ensure the unity of a piece of music by deriving all aspects of a composition from a single idea. In this case, much of the composition can be traced back to the two opening gestures.
Peter Hill, piano Alban BERG: Klaviersonate, op.1](https://i.ytimg.com/vi/ipWY3cVCo9E/mqdefault.jpg)
![Kazimir Malevich Poem (1919)
Sound poem from the article Of poetry [O Poezii], 1919, 025
Voice – Ernest Peshkov
Recording – Miguel Molina, Audio Laboratory of the UPV Dpt. of Sculpture (Valencia, Spain)
Postproduction – Leopoldo Amigo
Production Date – 2006
Kazimir Malevich, real name Kazimir Severinovich Malevich (b. Kiev/Ukraine 1878 - d. Leningrad/St. Petersburg 1935) was fundamental as a painter and writer to the Russian avant-garde, and also on the international scene. He began his work in futurism with his contribution to the sets and costumes of the opera Victory over the Sun (tracks 4, 5, 6 and 7), later creating his own movement in 1915, called Suprematism, defining this as art absolutely without object, or as a new plastic realism; his Black Square (1915) being the minimum (and maximum) synthesis of his pictorial proposals. In the post-revolutionary period, he created the UNOVIS school-workshop (the Affirmers of the New Art) where education was combined with artistic investigation by means of workshops, and its practical application in society with the execution of public commissions. He also tackled writing in great depth, especially in a critical essay about the various avant- garde movements including his own. And although he didnt cultivate the genre of poetry, we do know of probably the only poem he wrote, which appeared in his article Of poetry [O Poezii], written in 1918 and based on previous notes made between 1916-17, which was published in the magazine Izobrazitelnolé Iskousstvo (1919) . In this article he defines poetry, which for him is building on rhythm and tempo, arising as an expression from the visible forms of nature, from its rays, which stimu late our creative force subordinated to rhythm and cadence. So we can understand that the poet composes poetry where the forms of nature are absent because in reality pure rhythm is his form of the world. With these ideas Malevich transfers his theories on pictorial Suprematism to the field of poetry, with rhythm and time be ing the art without object of poetry. He suggests to the poets that they abandon the word as a form, or realist object, in favour of a language without words , a non-objective poetry. At the end of this article, Malevich introduces a wordless poem of his own that doesnt represent any specific external meaning (an identifiable object) but is given an essent ial autonomy. He ends up saying after the poem: This is where the poet has exhausted his noble action: these words cant be gathered up and no one can imitate their author. Kazimir Malevich Poem (1919)](https://i.ytimg.com/vi/ivhkKKwF4Go/mqdefault.jpg)

![Karlheinz STOCKHAUSEN: Kontakte (version Nr. 12½)
Kontakte (Contacts) is a celebrated electronic music work by Karlheinz Stockhausen, realized in 1958–60 at the Westdeutscher Rundfunk (WDR) electronic-music studio in Cologne with the assistance of Gottfried Michael Koenig (Morawska-Büngeler 1988, 109). The score is Nr. 12 in the composers catalogue of works, and is dedicated to Otto Tomek.
The title of the work “refers both to contacts between instrumental and electronic sound groups and to contacts between self-sufficient, strongly characterized moments. In the case of four-channel loudspeaker reproduction, it also refers to contacts between various forms of spatial movement” (Stockhausen 1964, 105). The composition exists in two forms: (1) for electronic sounds alone, designated Nr. 12 in the composers catalog of works, and (2) for electronic sounds, piano, and percussion, designated Nr. 12½ (Frisius 2008, 132; Heikinheimo 1972, 115; Stockhausen 19, 104; Stockhausen 1971, 384). A further, theatrical work, Originale (Nr. 12⅔), composed in 1961, incorporates all of the second version of Kontakte (Stockhausen 1964, 107).
The score is divided into sixteen sections with many subsections, numbered I A–F, II, III, IV A–F, V A–F, VI, VII A–F,VIII A–F, IX A–F, X, XI A–F, XII A1BA2, XIII A, Ab, Ad, Ae, Af B–F, XIV, XV A–F, and XVI A–E [and F].
According to the composer, “In the preparatory work for my composition Kontakte, I found, for the first time, ways to bring all properties [i.e., timbre, pitch, intensity, and duration] under a single control” (Stockhausen 1962, 40), thereby realizing a longstanding goal of total serialism. On the other hand, Kontakte is arguably the last of Stockhausens tape pieces in which serial proportions intervene decisively at anything but the broad formal level (Toop 1981, 189). The most famous moment, at the very center of the work, is a potent illustration of these connections: a high, bright, slowly wavering pitch descends in several waves, becoming louder as it gradually acquires a snarling timbre, and finally passes below the point where it can be heard any longer as a pitch. As it crosses this threshold, it becomes evident that the sound consists of a succession of pulses, which continue to slow until they become a steady beat. With increasing reverberation, the individual pulses become transformed into tones once again (Clarke 1998, 225).
Stockhausen also made advances over his previous electronic composition, Gesang der Jünglinge, in the realm of spatial composition, adding the parameters of spatial location, group type, register, and speed (Toop 2005, 170). Kontakte is composed in four channels, with loudspeakers placed at the corners of a square surrounding the audience. With the aid of a rotation table, consisting of a rotatable loudspeaker surrounded by four microphones, he was able to send sounds through and around the auditorium with unprecedented variety (Maconie 2005, 208–209). Karlheinz STOCKHAUSEN: Kontakte (version Nr. 12½)](https://i.ytimg.com/vi/jf-x2cAAkOM/mqdefault.jpg)
![Krzysztof Penderecki Quartetto per archi
LaSalle-Quartett, 1968
Krzysztof Eugeniusz Penderecki (Polish: [ˈkʂɨʂtɔf ɛuˈɡɛɲuʂ pɛndɛˈrɛt͡skʲi]; born 23 November 1933) is a Polish composer and conductor. According to The Guardian, Penderecki has been called Polands greatest living composer.[1] Among his best known works are his Threnody to the Victims of Hiroshima, St. Luke Passion, Polish Requiem, four operas, eight symphonies and other orchestral pieces, a variety of instrumental concertos, choral settings of mainly religious texts, as well as chamber and instrumental works.
Born in Dębica to a lawyer, Penderecki studied music at Jagiellonian University and the Academy of Music in Kraków. After graduating from the Academy of Music, Penderecki became a teacher at the academy and he began his career as a composer in 1959 during the Warsaw Autumn festival. His Threnody to the Victims of Hiroshima for string orchestra and the choral work St. Luke Passion, have received popular acclaim. His first opera, The Devils of Loudun, was not immediately successful. Beginning in the mid-1970s, Pendereckis composing style changed, with his first violin concerto focusing on the semitone and the tritone. His choral work Polish Requiem was written in the 1980s, with Penderecki expanding it in 1993 and 2005.
During his life, Penderecki has won several prestigious awards, including the Commanders Cross in 1964, the Prix Italia in 1967 and 1968, the Knights Cross of the Order of Polonia Restituta in 1964, three Grammy Awards in 1987, 1998 and 2001, and the Grawemeyer Award for Music Composition in 1992. Krzysztof Penderecki Quartetto per archi](https://i.ytimg.com/vi/k36oD_6D3J8/mqdefault.jpg)

![no pulse only color (vol. I)
Presented and curated by △ thoHk ▽
Gridlines dissolve. Time stops. This is a canvas of pure texture, frequency, and weightless gravity, where traditional rhythm is stripped away to expose the raw, vibrating spectrum of avant-garde sound. Six visionary composers, no pulse only color.
01. Katharina Klement – Vortex (2018/2021) [00:00 - 09:28] (Stereo Acousmatic Version) — Winner of the first prize at the Weimar Spring Days for Contemporary Music (Weimarer Frühjahrstage) in 2023, this purely loudspeaker-intended piece follows the Baroque concept of the elastic fold. Beginning with a narrow, sustained midrange line, it gradually folds into weightless glissandi that accelerate into spirals, turbulence, and dense, magnificent acoustic whirls.
02. Dganit Elyakim – One On 1.1 for metal percussion and electronics (2021) [09:29 - 17:56] (Percussion: Tomer Galili | Mix: Ronald Boersen) — An ongoing musical dialogue designed for a solo acoustic instrument paired with live electronics, where the computer acts as a sonic parasite, mutating Tomer Galili’s metal percussion in real time. The boundary between physical striking and digital resonance blurs entirely, morphing hard metal into fluid soundscapes.
03. Alen Ilijic – sHe knows (2024–2026) [17:57 - 29:01] — Composed and performed by Alen Ilijic, recorded by Sven Pavlović at Sunday Studios, and mixed and mastered by Charlie Beresford. This piece reflects a radical, avant-garde approach that prioritises raw, intuitive expression and uncompromising artistic truth over traditional structures. The work serves as a deeply personal act of remembrance, dedicated by Ilijic in 2026 to the memory of Dina, Evgeny, Eitan, and Aline Kapshetar, a family whose lives were lost to HAMAS terrorists on October 7th, 2023.
04. Dafna Naphtali – Scatternet (2016) [29:02 - 37:55] — Performed by Dafna Naphtali (voice, electronics, live sound processing) and originally released on the album Silver Shift. This track is a masterful study in real-time digital alchemy, using custom electronic patches to fragment and scatter her own voice across the stereo field, turning a human instrument into a complex, shimmering web of pure electronic color.
05. Guy Barash – Proteus: Electric Monologue (2008–2009) [37:56 - 46:19] — A profound musical rendition featuring text by Nick Flynn and the voice of Andrew Struck-Marcell, drawing from Flynn’s memoir “The Ticking Is The Bomb” and his poetry collection “The Captain Asks for a Show of Hands.” Named after the shifting Greek sea-god who changes his shape to evade capture, this piece slips seamlessly through shifting electronic forms, anchoring an elusive future in the raw grit of the spoken word.
06. Arie Shapira – Left-Right (1996/2000) [46:20 - 1:01:03] — A monumental electro-acoustic work from the late Israeli modernist master, originally featured on his retrospective album Electronics Plus and layered with text by poets Meir Wieseltier, Dan Pagis, Aryeh Sivan, Natan Zach, and Raya Harnik. Left-Right serves as a stark, dense sonic commentary on political polarisation, stripping away traditional harmony to expose the clashing, static friction of words, memory, and social structures.
Vol. II is already in the works and coming soon! Stay tuned for the next phase. no pulse only color (vol. I)](https://i.ytimg.com/vi/kHeBmGTQi9c/mqdefault.jpg)