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Self-Portrait, for me
2016

Princess Nightmare Moon, for violin, clarinet, piccolo, piano, percussion, electronics
2016

35 Degrees, for 2 assistants, electric guitar, keyboard, percussion, electronics, video
2016

Elpis, for 2 sopranos, 3 assistants, soprano saxophone, french horn, cello, percussion, keyboard, electronics, video
2016

Words to Sleep By, for voice, saxophone, basson, electronics
2016

Song for Matilda & Me, for clarinet and electronics
2014-15

Child of Chimera, for drumset, cello, piano, electronics
2015

An Economy of Means, for miniature drumset and electronics
2014-15

The Colors Don't Match, for voice, piccolo, clarinet, violin, percussion, electronics
2014

2.5 Nightmares for Jessie, for cello and two assistants
2014

Wee Robot, for 4 disklaviers and electronics
2014

A Case for Dysfunctional Persistence, for piccolo, oboe, clarinet, 2 violins, 2 basses, trumpet, trombone, tuba, accordion, percussion, piano/sampler
2014

Second Nightmare, for KIKU, for violin and two assistants
2013

Vexed, for pic, Eb clar, vln, vcl, 2 perc, pno, harp, sampler, video
2013

Twistisch II, for two performers
2013

Nightmare for JACK (a ballet), for string quartet
2013

Panik(bread), for two percussionists and 2 pianists
2012

Twistisch, for two performers
2012

Bahnhof, for voice and electronics
2012

On Silence, for two performers
2012

Strange Attractors, for piccolo, percussion, and electronics
2012

Uncanny Valley, a monodrama
2011

Nystagmus, for two performers
2010-11

Symbiosis II, for violin, cello, piano, and computer
2010

Symbiosis I, for tape and performative lasers
2009

nonlinear interface, for flute, violin, cello, percussion, computer
2007

filament, for flute, violin, cello, percussion, sine waves
2006

ether
for amplified piccolo and tape
2005

 

 

Strange Attractors

for piccolo, percussion, and sampler
Natacha Diels 2012
Score Excerpt


[strange attractors]

A footnote to chaos: 
curious interminglings of impossibly aerial voices performing cyclic beat patterns, exchanging oneself for the other from A to end, engaging in melodramatic waltzes sprinkled with glamour or glum, allowing order to poison the abrasive mischief, melting into its final geometry.

For Chris Nappi.

 

 

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