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The immersive sonic textures that characterize Michael Winter's (b 1980) music are crafted from comprehensive lists of data, with each composition encompassing a musical question that is addressed algorithmically. A performance lasts for as long as it takes to "answer" the question, expressing all results as efficiently as possible. Winter leaves room for unanticipated results by keeping things open, notably in the instrumentation, which, rather than specifying instruments, tends to designate ce…
XI Records is very pleased to announce the release of a 2 CD set of Michael Winter’s music organized by guitarist Elliot Simpson. Each CD features a single composition, demonstrating different sides of Winter’s work. The first, Counterfeiting in Colonial Connecticut, is a socially-engaged piece written for Simpson and in honor of George Floyd. The second, a lot of tiles (trivial scan), derives music from a set of mathematical tilings (often referred to as tessellations). The album art features r…
An extraordinary 7-part canon, which starts fast and gradually slows down across its 45 minute duration. Composed by the Berlin-based US composer Michael Winter, and performed by the leading Mexican new music ensemble Liminar.
Interview with Michael Winter
Single track is a really arresting piece that appealed to me immediately. At one level it’s obvious what’s happening – a 7-part canon that starts out fast and gradually slows down. But what else can you tell me about it?
In a way, the gradual …
text adapted from gregory chaitin's 1994 book the limits of mathematics muirgen éléonore gourgues (reading) judith hamann (violoncello) with samples contributed by: omás Cabado, Raven Chacon, Yiannis Christofides, Alan Courtis, John Eagle, Carmina Escobar, Bryan Eubanks, Jacqueline George, Tom Johnson, David Kant, Aj Kluth, Ulrich Krieger, Juan Sebastián Lach Lau, Ingrid Lee, John Lely, Todd Lerew, Heather Lockie, Scott Mclaughlin, Ezequiel Menalled, Ian Mikyska, Pablo Riera, Dean Rosenthal, Kar…