The Squid's Ear Magazine

Stiebler, Ernstalbrecht / Tilman Kanitz: The Pankow-Park Sessions, Vol.1 (Another Timbre)

Six potent duo improvisations for cello and piano by composer & pianist Ernstalbrecht Stiebler and fellow-Berlin resident Tilman Kanitz, who have been developing their dialog together for several years in studio, focusing much of their momentum on pitch and harmony, their work all the more remarkable for Stiebler only having begun improvising in his mid-80s.

Price: $15.95


In Stock

Quantity in Basket: None

Log In to use our Wish List
Shipping Weight: 2.00 units

Sample The Album:

product information:


Ernstalbrecht Stiebler-piano

Tilman Kanitz-cello

Click an artist name above to see in-stock items for that artist.

Label: Another Timbre
Catalog ID: at189
Squidco Product Code: 32028

Format: CD
Condition: New
Released: 2022
Country: UK
Packaging: Cardboard Gatefold
Recorded at Studio Tilman Kanitz in Berlin, from March 24th, 2021, to October 19th, 2021.

Descriptions, Reviews, &c.

Another Timbre Interview with Tilman Kanitz

Could you tell us how and when your duo with Ernstalbrecht came about?

At a festival for North Indian Classical music in Calcutta I was impressed by the extensive "tuning up" process of the musicians. I thought of Ernstalbrecht and wrote to him, suggesting that he should write a cello piece for me. A couple of months later, at the concert in Berlin where I premiered this solo, he asked me if I would like to improvise with him. That was in early 2019. Since then we have been meeting, almost weekly, to improvise and record ourselves in my studio in Berlin Pankow.

How long has each of you been playing improvised music?

Ernstalbrecht says he started improvising music with me, shortly before his 85th birthday. I started improvising when I was 5 years old, together with my sister. And since then, improvising music on the cello, the piano, and other instruments has played an important role in my life. But it's only with Ernstalbrecht that it has become a regular practice, and this is the first release of our improvised music for both of us.

I find it incredibly impressive that anyone can start improvising at the age of 85, and immediately do it so well. But are you improvising completely freely? To my (unmusical) ears, there seems to be some kind of modal system underlying the music. How much discussion, planning and preparation do you have before each session?

When we started improvising together it was a musical dialogue right away, with no discussion, planning and preparation. The only remark I remember is that at one point I made a request to play less notes. And on another occasion Ernstalbrecht asked me to play longer notes. These were the only two moments in our work when it seemed necessary to formulate one's wish to the other. Despite that, each improvisation is simply accepted by us, and starts without any previous arrangement of any kind. The only intention is to meet at a certain time, and play, alternating who begins. We develop the pieces in real time with no revisions, trusting in the full breath. The music is predetermined by what we did before, trusting in the now, the expansion in the now, the play in the now. We listen to the recording two or three times, then play again. When we write to each other, we comment only on positive things, never mentioning what doesn't or didn't work, but communicating and building only on what did.

I think of Ernstalbrecht's composed music as being wonderful, but quite austere. Yet the music you improvise together seems quite different - much more emotionally-driven, almost romantic....?

Ernstalbrecht's composed music is meant to be played in public. The idea is to unburden music from emotions, and to enable the listener to create inner spaces, in order to encounter oneself. It is a highly individualized musical experience, unique for each listener. Our common music, on the other hand, is not meant to be played in public initially. It is our private dialogue about each of our musical histories. Ernstalbrecht says that, for him, our improvisations are a way of making it possible to deal with music history. Maybe improvising is for both of us simply the echo, the memory of a Mozart Sonata, or Liszt's Petrarca Sonnet 104, or classical Persian music we listened to.

Yes, Ernstalbrecht described your music as "a new freedom to handle tradition" and says he is primarily using fifths and octaves. Your duo does seem to engage with melody more than other improvisations I listen to. Were you surprised that the music took that particular direction?

To be honest, I am surprised each time I listen to our music. I am surprised by these hints of melodic fragments, woven into the progressions. Sometimes they sound like extremely stretched particles of musical sediments, the remnants of traditions. At moments I sometimes think "this reminds me of..." and then the music already moves on and leaves that memory again. Most of our tracks are a journey. A journey with an unexpected destination, or rather no destination, merely a stream that often just fades away, leaving the listener unable to understand: how did I get here? And along the way, those melodies are blown through the structure, moving things forward.

I didn't know your music until Ernstalbrecht sent me recordings of your duo. Can you describe your background, and what kinds of music you play in other contexts?

I have studied western classical music, especially the cello, since I was very little. At the same time, I listened over and over again to all kinds of old jazz records. And eventually, as a teenager, to Webern, Cage and Feldman, North Indian classical music, Lachenmann, and so on. At one point I became a soloist in an opera orchestra, playing Wagner, Verdi, Puccini - and finally I became the Artistic Director of the Berlin Solistenensemble Kaleidoskop. With this unique group of musicians, I had the wonderful opportunity to experiment with combining curating music and composing it. I was creating new works based on western classical music from 1400 until today. In the past three years I have been mainly working on my own music, and am invested in researching the relation of specific frequencies and different states of consciousness. At the moment I am listening to, if anything, sine waves, Pygmy music, Z. M. Dagar playing the Rudra veena, and, for research, any traditional music.

I hadn't thought of Indian music, but I can see that there's some connection between the contemplative, interiorised explorations of your duo with Ernstalbrecht, and a lot of the ragas I've heard. I think it's good to have this relationship without attempting any kind of fusion or crossover music. Do you use other traditional musics in similar ways in your current work as a composer?

My work is based on dialoguing. That can be with someone, like with Ernstalbecht. Or it can be with an artwork, like it is in a series of piano pieces, based on my reflections on an ancient Egyptian artwork. Or it can be a remix of a traditional piece of music for Daegum, the Korean bamboo flute, bringing out the areas offside the audible, bleaching the music, leaving us with modulations of white noise and a crackle here and there, unrecognizably carrying the horizontal energy of the original.

Or it can be the encounter with an animal in the wilderness, the whistling sound this animal produces, while looking into my eyes. I recorded that sound, because I was fascinated by it. And then, using different algorithms, prolonged this 1/10th of a second long sound of the animal, communicating with his fellow animals. I zoomed into this extremely fast sound progression until it was 20 minutes long. That, with all its digital artifacts, was then my material. Still carrying the intense energy that made me record the sound in the first place. The work was then, to bring out all the interesting rhythms, curves, even melodies, that are contained in this material, to make space for all the unknown forms, shapes and entities, to keep the initial dramaturgy and maybe the meaning and function of that sound. This is an example of how I like to work, entering into and interacting with the unknown, dialoguing with it and together finding a path through the endless possibilities. It is all the reflection of the music I have listened to, the music I have learned from, and am inspired by.

Artist Biographies

"Ernstalbrecht Stiebler. Berlin, Germany, 1934. Composer • Performer (piano)

Ernstalbrecht Stiebler (born March 29, 1934, Berlin). Esteemed German composer of mostly chamber, choral, piano, and organ works that have been performed throughout Europe and elsewhere.

Mr. Stiebler studied composition and piano at the Musikhochschule Hamburg, but had more important lessons at Darmstadt from 1958-61, including studies with Karlheinz Stockhausen in 1959.

His honors include the Bach-Preis Hamburg (1966) and a prize from the Stille Musik composition seminar in the Künstlerhaus Boswil (1991). Moreover, two of his productions for Hessischer Rundfunk received the Prix Italia Special Prize: Piece for Peace by Alvin Curran and Die Blinden by Walter Zimmermann.

Mr. Stiebler is also active in other positions. He served as director of new music for Hessischer Rundfunk from 1969-95 and founded the concert series Forum Neue Musik there in 1989. He co-produced numerous CDs for Hessischer Rundfunk in collaboration with the Hat Hut label, including the series devoted to the New York School (John Cage, Morton Feldman and Christian Wolff). In addition, he has written numerous essays for Musik-Konzepte, MusikTexte and other music journals, as well as booklet notes for the Montaigne Auvidis CD of Words and Music by Morton Feldman."

-Quatuor Bozzini Website (

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Tilman Kanitz studied music at the Lübeck, Freiburg and Cologne Universities and finished his studies at the University of Southern California in Los Angeles.

From 2015 - 2018 he was the Artistic Director of the Berlin music theatre group Solistenensemble Kaleidoskop.

In his productions Tilman Kanitz builds sound collages from classical and experimental music, collaborating with musicians, dancers and performers. He builds his room settings as light spaces and installations, presented in theater halls as well as in museums, galleries and urban off-spaces.

In recent time he collaborated with the choreographers Laurent Chétouane and Lyllie Rouvière, the composers Sebastian Claren and Chiyoko Szlavnics, the theatre directors Susanne Kennedy and Ludger Engels, the fashion designer Pam Hogg, the artist Dirk Bell and others.

He was guest of international music, dance and performance festivals such as: the Ruhrtriennale, Tanzplattform Deutschland, ctm-Festival, the Donaueschingen Festival, the Darmstadt International Summer Courses, the Schleswig-Holstein Music Festival, Malta-Festival Poznan, Operadagen Rotterdam, Wien Modern, Vianna do Castello Music Festival, Hitzacker Festival, the Tongyeong International Music Festival in South-Korea."

-Tilman Kanitz Website (

Have a better biography or biography source? Please Contact Us so that we can update this biography.

Track Listing:

1. Session 28.3 (20210906) 9:37

2. Session 17.1 (20210324) 14:20

3. Session 28.2 (20210906) 8:29

4. Session 29.1 (20210930) 7:10

5. Session 32.1 (20211015) 13:51

6. Session 33.1 (20211019) 5:14

Related Categories of Interest:

Improvised Music
Chamber Jazz
European Improvisation, Composition and Experimental Forms
Piano & Keyboards
Stringed Instruments
Duo Recordings
New in Improvised Music

Search for other titles on the label:
Another Timbre.

Recommended & Related Releases:
Other Recommended Releases:
Vicens, Gabriel
(Stradavarius )
Reflecting on the slow decay of Roman and Egyptian murals, New York City-based, Puerto Rican-born composer, guitarist, visual artist and No Base Trio member, Gabriel Vicéns, presents a collection of chamber works including two piano trios, a wind quintet performed by Nu Quintet, cello & violin and violin & piano duos, a solo piano work, and a sextet conducted by David Bloom.
Lang, Klaus / Trio Amos
Tehran Dust
(Another Timbre)
Three chamber works by Klaus Lang of a beautifully fragile and dark nature and a meticulous inner structure, alongside arrangements of early music pieces by Johannes Ockeghem and Pierre de la Rue, performed by Klaus Lang himself on organ with the Trio Amos of Sylvie Lacroix on flute, Krassimir Sterev on accordion and Michael Moser on cello.
Ellestad, Mark
Discreet Angel
(Another Timbre)
Three chamber works by Calgary, Canadian composer Mark Ellestad composed between 1988 and 1994 and recently retrieved by the composer, including the title track, a graceful solo guitar work performed by Christián Alvear; a meditative piece for pump organ & Hardanger fiddle performed by the composer; and a large work for violin and cello performed by Apartment House.
Rodgers, Georgia / Apartment House
(Another Timbre)
Eight chamber works of interestingly structured and exquisitely restrained character, composed between 2016 and 2021 by UK composer Georgia Rodgers, performed by the Apartment House ensemble in configurations of acoustic duos, trios & quartets, one solo piece for piano & electronics, one solo work for electronics and the title piece in 3 parts by a quintet.
Akama, Ryoko
Songs For A Shed
(Another Timbre)
Six beautiful, fragile and mysterious works for piano in combinations with other orchestral arrangements and solo, including pitch-based compositions and a graphic work directed by photographs, performed by members of Apartment House in duos, quintets & sextets; works initially commissioned by Another Timbre and Philip Thomas and here performed on piano by Siwan Rhys.
Smith, Linda Catlin / Apartment House
(Another Timbre)
Two works from Canadian composer Linda Catlin Smith and performed by cellist Anton Lukoszevieze and pianist Kerry Yong: "Through the Low Hills" a piece for constrained variations like an object viewed from different angles as it is turned over; and "Ballad" a major work intended for performance that unfolds slowly, allowing for delicate melodic interaction.
Democ, Adrian / Apartment House
(Another Timbre)
Commissioned by Another Timbre for the quarantine commissions series, Hlaholika was developed by composer Adrián Demoč for the Apartment House ensemble as a quintet of violin, double bass, clarinet, viola & piano, using the configurations for 3 other works performed here by Apartment House; plus a piece for an ensemble from the Janacek School of Music in the Czech Republic.
Leith, Oliver / George Barton / Siwan Rhys
Good Day Good Day Bad Day Bad Day
(Another Timbre)
UK composer Oliver Leith presents a work in 8 movements for piano, keys and percussion performed by Siwan Rhys (keys) and George Barton, an invocation of everyday life through a personal and often idiosyncratic orchestration reflective of personal ritual & habits; our good and our irrational, often contradictory impetus, portrayed through quirky and embraceable episodes.
Falzone, J.P.A. / Morgan Evans-Weiler
Chordioid [2 CDs]
(Another Timbre)
2 CDs of works for violin, piano & vibraphone, composed and performed by two young American composers and members of the ensemble Ordinary Affects, who have recorded music by the Jurg Frey, Magnus Granberg, Michael Pisaro, Eva Maria Houben, &c.; the 1st disc presents the Feldman-esque work of JPA Falzone, while the 2nd contains an exquisite new work by Morgan Evans-Weiler.
Denyer, Frank
The Boundaries of Intimacy
(Another Timbre)
A set of varied compositions from Frank Denyer, most of them of a delicate acoustic intimacy, with works for female singers & flute, two works for koto, a string quartet, one for flute and electronics and the two-part "Frog" for a bowed stringed instrument of Denyer design, the "sneh"; uncategorizable music of sublime imagination and unusual approaches.
Smith, Linda Catlin
(Another Timbre)
Eight sophisticated chamber pieces composed by Linda Catlin Smith and realized by the Canadian Apartment House ensemble, including a solo piano performed by Philip Thomas, a piano duo with Thomas and Mark Knoop, and works for percussion & cello, 2 quintet pieces for strings, percussion and winds, and two 7-piece conducted works with two percussionists, strings and brass.
Stiebler, Ernstalbrecht
...Im Klang...
(Hat [now] ART)
Composer Ernstalbrecht Stiebler presents three solo pieces, one for accordion (Teodoro Anzellotti) one for piano (Marianne Schroeder) and the third for organ (Huub Ten Hacken).

Customers Who Bought This Item Also Bought:
Paccione, Paul
Distant Musics
(Another Timbre)
Influenced by the New York School of composers (Cage, Feldman, &c.), composer Paul Paccione revisits and revises five of his compositions written 40 years prior, performed by a 10-piece configuration of London's Apartment House; beautifully contemplative pieces linked together through common threads, the momentum of individual moments absorbed by the presence of the larger work.
Frey, Jurg + Apartment House
Borderland Melodies
(Another Timbre)
Three chamber works in single and multiple movements by minimalist composer Jurg Frey, exploring time & duration, form & shape and a balance of material, performed by a core quartet from the UK ensemble Apartment House, orchestrated for clarinet and bass clarinet, violin and cello, the final work adding piano, viola and percussion in a septet reworking of a 2014 composition.
Johnson, Evan
L' Art De Toucher
(Another Timbre)
Five works from US composer often based in Amsterdam, Evan Johnson, in solo, duo and trio settings including a triptych titled "L'art de toucher" in three configurations, demonstrating his unique approach to writing using disparate musical influences from modern to Baroque, mated to anarchic experimentalism and a Wandelweiser sensibility; fascinating!
Lely, John / Apartment House
Meander Selection
(Another Timbre)
A diverse set of compositions by London composer, performer and improviser John Lely performed by the UK ensemble Apartment House, demonstrating the spectrum of Lely's work across string quartets, solo piano works, a solo electronic piece, and a work for violin, two violas & cello; works of cohesive direction across a variety of approaches and interests.
Cage, John / Apartment House
Hymnkus / Thoreau Drawings / Two
(Another Timbre)
The UK avant ensemble Apartment House performs three of John Cage's later works: Two (1987), a number piece using randomly-determined time brackets specifying pitch & dynamic; Hymnkus for up to 14 instrumental parts each of 17 elements blending the concepts of a hymn and a haiku; and Thoreau Drawings, the score twenty unnumbered pages on which Cage drew shapes onto a grid of six systems, each divided into 5+7+5 parts, following the form of a haiku.
Parkinson, Tim / Apartment House
An Album
(Another Timbre)
Collecting five chamber works from prolific London-based composer Tim Parkinson, written between 1998 and 2017 and performed by the Apartment House ensemble: one piece for solo violin performed by Mira Benjamin, two duos for violin & piano (by Benjamin & Siwan Rhys), a quintet for winds and strings and a septet, both featuring flute and bass clarinet.
Cameron, Allison / Apartment House
Somatic Refrain
(Another Timbre)
A diverse set of compositions from Canadian composer Allison Cameron showing the breadth of her interests across experimental and compositional forms, including a solo multiphonic work for bass clarinet; a guitar trio with the Allison Cameron band of Cameron, Eric Chenaux & Stephen Parkinson; and Apartment House performing quintet and sextet compositions.
Reeder, Kory / Apartment House
Codex Vivere
(Another Timbre)
A beautifully unfolding story in connected works forming a codex from Texas composer and Wandelweiser artist Kory Reeder, a long form work performed by the UK Apartment House Ensemble in a septet of strings, winds and piano, each section creating a loose narrative ark through several notational strategies envisioned with characters, scenes, diversions, and digressions.
Roberts, Cath / Olie Brice
(Relative Pitch)
Recording in real-time during the pandemic, UK improvisers, baritone saxophonist Cath Roberts (Favourite Animals, Madwort Sax Quartet) and double bassist Olie Brice (Olie Brice Quintet, Tobias Delius, &c) recorded these extended improvisations simulateously at their homes, beautifully paced and intently listening as they keep the conversation going despite a world of restrictions.
Feldman, Mark / Katinka Kleijn
Sine Nomine
(Listen! Foundation (Fundacja Sluchaj!))
Blurring free improvisation and compositional strategies in this encounter at the "First Meeting Series" at FAB Music Studio Chicago between New York violinist Mark Feldman and Chicago cellist Katinka Kleijn, a remarkable concert in two parts showing imaginative skills of phenomenal technical expertise and experience, instant compositions of the highest order.
Grimal, Alexandra
(Relative Pitch)
Recorded using the natural resonance from the base of a stone double spiral staircase in the Castle of Chambord, France, improvising soprano saxophonist Alexandra Grimal explores her own personal language and the affect the ambience brings to her adept playing, through beautifully melodic lines, long arpeggiations, or short bursts of penetrating utterance.
Warelis, Marta
A Grain of Earth
(Relative Pitch)
Working inside and out of the piano and sometime evoking wild sounds that seem to have no relationship to the instrument, Polish-born and Amsterdam-based pianist Marta Warelis explores the concepts of realities beyond our perception, and a thought that we are a part of a big organism where everything goes endlessly bigger and smaller in scale of size, time and speed.
Riley, Terry played by John Tilbury
Keyboard Studies
(Another Timbre)
There is uncertainty of when pianist John Tilbury recorded these three solo keyboard works by his associate and friend, legendary minimalist composer Terry Riley, performing "Keyboard Study #1" and #2, along with "Dorian Reeds" using piano, electric organ, harpsichord & celesta, captured with excellent quality in superb performances from Tilbury at the height of his powers.
Clark, Katelyn / Isaiah Ceccarelli
(Another Timbre)
Eight powerful and often cinematic pieces for organ and percussion, jointly composed and performed by long-time collaborators, Montreal composers and improvisers Katelyn Clark and Isaiah Ceccarelli, these 8 compositions developed around improvisations on the historic instruments continuo & portative organs, with percussion including a 40" bass drum, bell plates, and almglocken.

The Squid's Ear Magazine

The Squid's Ear Magazine

© 2002-, Squidco LLC