Dominik Matzka

Composer | Music Producer

Modern Classical Music

WORKS

“Blossom, Blossom!” (2019, version for orchestra)
for symphony orchestra
recorded by the Filmorchester Babelsberg

UNSEEN (2016)
for two loudspeakers
Dance performance in collaboration with Maja Lamovšek (dance, choreography).

When the Rocking Horse Realized that it was Mortal (2016)
for alto sax, violin, violoncello and piano

Passacaglia (2016)
for chamber orchestra

Four little Piano Pieces (2016)
to be played at particular times of the day

Roaring Tube (2015)
for four trombones

Under the Skin (2015)
for djembé and live electronics.
Dance performance in collaboration with Flora Geißelbrecht (composition) and Chris Yi (dance, choreography).

Blossom, Blossom!“ (2015)
for two recorders and ensemble

Piece for Quki Ensemblée (2014)
for baritone sax, e-guitar, piano and accordion

pEDALcHANGE (2014)
for pedal harp

Voices From My Bio-Bin (2012)
for chamber orchestra and organ

Rhapsody (2010)
for piano

String Quartet No. I (2009, revised in 2019)


SAMPLES

UNSEEN
for two loudspeakers

This video features a dancer and a piece of electroacoustic music.
Originally I made it as an accompaniment for Maja Lamovšek’s dance, but it turns out well as a music video.

Here’s what we kept asking ourselves: Everything is moving. How about identity? Is it traveling through the body? And what lies beyond the form of the body?

Composition and video: Dominik Matzka
Dance and Choreography: Maja Lamovšek
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When the Rocking Horse Realized that it was Mortal
for alto sax, violin, violoncello and piano

To me, reading Carlos Castaneda’s “Don Juan” was an amazing experience. Since then, I’ve been dreaming of making a piece as unpredictable and magic as these books.

“You don’t have time, and yet you are surrounded by eternity. What a paradox for your rea­son!”

“Without the awareness of death, everything is ordinary and banal.”

“Listen to this barking. [It] is the sadest of all audible things. […] The barking of the dog is a human being’s nightly voice. […] He begs his death to come and free him from his life’s mindless, desolate chains.”

(Don Juan in “Tales of Power” by Carlos Castaneda. The quotes have been translated into English from the German version of this book.)
The piece was commissioned by “Die Andere Saite” – a concert series of new music in Graz – and was premiered by members of the Schallfeld Ensemble.
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Passacaglia
for chamber orchestra

„Passacaglia“ is a classical term for a dance with variations. This rather turbulent dance tries to capture the wonder of being born, and the struggle that follows it.

The piece was premiered by students of the University of Arts Graz, with Dovilé Supienyte conducting.
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Four little Piano Pieces
to be played at particular times of the day

Those four miniatures can be seen as a tribute to the instrument I spent many hours with during my childhood. They also reflect the dreamy, trance-like state of mind I used to be in as a child.

In the video you see me playing, and also some animals (they are not playing). It was made directly after the piano pieces were finished.
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Piece for Quki Ensemblée
for baritone sax, e-guitar, piano and accordion

“Some centuries ago there was a monk in tibet who discovered the technique of throat singing. During a dream, he heard a strange sound like the roaring of a bull combined with a children’s voice high above. He wondered where this could come from… As he awoke, he found that he himself was the source of the sound.”
(Quote from J.E.Berendt: Rituals of Transformation, Stuttgart 1996, Network)

When listening to silence, strange things happen. Sounds that used to be inaudible get louder. What used to be a second becomes an eternity. Here and there dreamlike noises evolve from within. Contemplating the situation, I find that it is me who does the listening. So who am I?

The piece was premiered and played many times by the Quki Ensemblée – Matej Bunderla (bar. sax), Julian Rogge (e-guit) Yulan Yu (pf), and Ivan Trenev (acc).
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Voices From My Bio-Bin
for chamber orchestra and organ

This piece was written with the intention to evocate the smell of compost. I didn’t follow any synaesthetic equivalences, only some sounds I associated with it. The rhythmic structure imitates human breathing. Bio-Bins fascinated me because they represent wilderness and death (but also birth) in a clean urban environment.
Video and music were planned together, as a multimedial experience. The recording consists of computer-arranged instrumental samples.

© 2020 Dominik Matzka

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