FELIX NAGL


is a

pianist / performer 

and

sound - designer


within the fields of

contemporary music
free improvisation
theater/performance
 
based in Stuttgart / Brussels

+ a member of        
pony says
y-band
goldstaub
heuschnupfen
 

︎                           
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upcoming


06.12.2020  
Pony Says plays Philipp Krebs and Felix Stachelhaus  
@ tba - Hamburg

21.11.2020
Pony Says plays Black, Schüttler, Lang, Løffler and Walshe
Südseite Nachts - Stuttgart


past

22.10.2020 
Pony Says - InterAKT Initativ
“Women United“
in solidarity for Maria Kalesnikava
and the Belarusian people
@ Theaterhaus - Stuttgart


24.08.2020 
y-band plays Sam Pluta 
@ attacca - Basel

22.08.2020 
Pony Says - InterAKT Initative
@ Kunst auf Rädern - Stuttgart

04.08.2020 
guest @ Ensemble ascolta
“coming together”
@ Sommer im Schloss - Stuttgart

01.05.2020 
online-premiere of shortfilm
“Mein Freund, der Baum”
@ MDR #coronacreative
(sounddesign)

27.04.2020  - cancelled -
G.A.M.E. plays Romitelli and Grisey
Miry Concerthall - Gent

14. - 15.03.2020  - cancelled -
Workshop “the sonic network”
for ELIG Foundation
@ Buchmesse - Leipzig

12.03.2020
“Kontakte” with Lucas Gerin  
@ Musik der Jahrhunderte - Stuttgart


15.02.2020
G.A.M.E. plays Karl Naegelen and more
@ Werkplats Walter - Brussels

19. - 24.01.2020  
Workshop “sonic identity” for LKJ Stuttgart
@ Kloster Neresheim - Stuttgart

12.01.2020 - 8 p.m.
G.A.M.E. plays Jesse Broekman,
Ann Cleare and more
@ Miry Concerthall - Gent





Mark

pianist / performer

                                                                                             
Carlos Hernández - Radio-K





Radio-K (2019): For keyboard and orchestra

I. II. Interlude III. Cadenza IV. Coda

SWR Symphonieorchester
conductor: Gregor Mayrhofer
keyboard: Felix Nagl

composition: Carlos Hernández
sounddesign: Felix Nagl and Carlos Hernández

Hochschule für Musik, Stuttgart___________________________________________________________________________________________________________________________
Martin Schüttler - schöner leben 02

                                                            

Martin Schüttler in "Darmstädter Beiträge zur Neuen Musik" #21(2012):

"In meiner Komposition schöner leben 2 (Monument für T.H.) für Klavier und Live-Elektronik treffen heterogene Komponenten aufeinander, ohne dass zwischen ihnen klanglich vermittelt wird. Am Schluss des Stückes stehen elektronisches Rauschen, Oktavpermutationen, einzelne, zum Teil präparierte Klaviertöne, Dur-Akkorde, der leicht bearbeitete Soundtrack eines Hardcore-Pornos und die geglättete Melodie eines Popsongs nebeneinander. Der instrumentale Einzelton ist nur eine Möglichkeit unter vielen. Er ist nicht Normalfall, Ausgangspunkt oder kleinster Baustein für alle musikalischen Entwicklungen innerhalb eines Stücks. Stattdessen werden unterschiedlich stark vorstrukturierte Materialien wie gesetzte, unteilbare Klangobjekte aufeinander bezogen. Ein Verfahren, das ich «Materialvergröberung» nenne. Alle Objekte werden gleichberechtigt behandelt, egal, woher sie stammen und ob es sich im Ursprung um gefundenes oder um konstruiertes Klangmaterial handelt."

recorded at Musikhochschule Stuttgart for "Resonanz-Klavierfacetten 2017"-CD Recording, Mix and Mastering: Arne Morgner
Piano: Felix Nagl

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Simon Steen-Andersen - Mono



Autotune Study
for low male voice, keyboard & electronics
Felix Nagl: keys, autotune-voice, electronics, video

Programm Note:
AUTOTUNE is a much used effect in pop music production, sometimes used in “secret”, rather discretely, but just as often used with quite extreme settings as a characteristic effect. The first (main) part of the piece explores or “hacks” the plug-in, trying out its possibilities, bringing it to its limits and looking for the beauty of its flaws.

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Philipp Krebs - Gloss (selbstportrait #)



 
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Olivier Messiaen - L'Alouette Calandrelle 


recorded at Bauer-Studios Ludwigsburg
Mix and Mastering: Jonas Kieser

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Karlheinz Stockhausen- Kontakte für elektronische Klänge, Klavier und Schlagzeug 12½

private Link to Demo-Video on demand

During the rehearsals of „Kontakte", Lucas Gerin and Felix Nagl were driven by Stockhausen's ideal of merging electronic and acoustic sounds. They take the initial idea of the composer to have several instrumentalists improvise to a pre-produced tape as a guideline to an interpretation that also allows for moments of spontaneity within the given time-frames. Gerin and Nagl, who also improvise together with percussion and analogue tape recorders, perceive the electronic and the instrumental layers as a hybrid sound complex, which Uikyung Lee at the mixing console appropriately balances and projects for each room.

 
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Enzo Pauchet, Constance Diard, Fan-Yun Yang, Monika Dalach, Felix Nagl  - taped

Darmstädter Ferienkurse für Neue Musik 2018

dance ->
Constance Diard
Enzo Pauchet
Fang-Yun Yang

sound/stage-direction/video ->
Monika Dalach
sound/video/performance ->
Felix Nagl

[ today, we feel like: 
velor; puffs; lycra tights; glitter; crayon tracksuit; Cyndi Lauper; perm; neon dress; plastic sandals; queen; down vest; ramones; rolled up jeans; XXL hair; cassetes ...]  
This interdisciplinary work re:imagine the past, re:visit the pathos and re:interpret it in a new way. The goal is to dig through references, re:create them and examine the distance. The process of creation through deconstruction, the process of rewaving through tranformation. Focus on making a new quality based on re:visited archival images from the decade that began on January 1, 1980 and ended on December 31, 1989.

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Felix Nagl (reel-to-reel tape machine)/Lucas Gerin (no-input-mixer)/Leyla Gersbach (installation) - BLUBBer

The live improvised noise-collages of found footage and sound-artefacts
melt with the BLUBBer (PET-foil) to create a void that becomes a site-specific playground: between us, the sounds, the walls and the city.
A thought bubble that dynamically limits and expands perceptible space.






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InterAKT Initiative - #nopera



"Don't try #nopera" is a music theatre performance with InterAKT Ensemble and Jasmin Schaedler. Lucas Gerin - percussion Felix Nagl - keyboards Viktoriia Vitrenko - voice Maria Kalesnikava - flutes Jasmin Schaedler - stage and dramaturgy Stefanie Zurstegge - costumes and props. Music by: Raphaël Cendo, Beat Furrer, Karlheinz Stockhausen and Sara Glojnarić. Supported by the City Stuttgart and LBBW-Stiftung.
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John Cage - daughters of the lonesome isle (snippet)



The sound of each prepared note was sampled and can be provided by the performer on demand.
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Heuschnupfen - DOPM 





Live Set @ Fuchsbau-Festival with
Analog-Synthesizers, Tuba, Live-Sampling, Prepared Piano and Live-Electronics
by Heuschnupfen-Duo (Jonas Urbat & Felix Nagl) and Visuals by Lucas Gutierrez.
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Julian Siffert - Disko Interface 

Disco Interface
for MIDI-controller, variable performers and live-electronics

Felix Nagl - MIDI-controller
Thilo Ruck - e-guitar
Nina Kazourian - viola
Lucas Gérin - snaredrum

Pony Says Club #1
Stuttgart, Romantica
11.01.2017

Disco Interface is a work that is inspired by the often hidden virtuosity of people interacting with hardware interfaces (e.g. DJs, gamers, electronic musicians).

Its core is a simple sort of generative video-game that has been programmed for the AKAI APC40 with max/msp. Its various tasks (e.g. beat-matching, color-matching, tuning, pattern recognition) are designed to initiate a diverse set of interactions between performer and controller that directly produce different kinds of rhythmic and sonic structures: the sounds of its haptic interface. The MIDI-controller is being transformed into a percussion instrument while the game itself is the score of the piece. Since being almost inaudible in a live-context, a contact microphone on the MIDI-controller captures and feeds these sounds into the other performers headphones who have to reproduce them with their instruments in real-time, decoupling the sounds from their original context and presenting them as aesthetic material rather than a simple byproduct of the game/score. Furthermore, the use of a contact mic amplifies not only the interaction itself but also the sounds of the internal electronic circuit, leading to two different sonic layers between which the performers can choose freely. The live-electronics and the synthesizer are controlled by an algorithm that measures different aspects of the interaction between performer and controller (reaction time, amount of needed attempts, failures, amount of finished tasks etc.). All of the live-electronics' material consists of the originally produced sounds.

Disco Interface has been written for and is dedicated to Pony Says.

Mark