About
composer, performer, organizer
I usually do music; composing, performing, organizing. Other times film, theater, philosophy, or whatever the good life demands.
Recent works include the slowest metal music you ever heard, an apophatic oratory, and a horror-documentary about suffering as a mode of attention.
Committed to breaking institutional boundaries, I founded a non-academic music academy and, before that, established some strangely academic squats. Somehow the two aren't unrelated.
Ábel Fazekas usually does music; composing, performing, organizing. Other times film, theater, philosophy, or whatever the good life demands.
Recent works include the slowest metal music you ever heard, an apophatic oratory, and a horror-documentary about suffering as a mode of attention.
Committed to breaking institutional boundaries, he founded a non-academic music academy and, before that, established some strangely academic squats. Somehow the two aren't unrelated.
I usually do music; composing, performing, organizing. Other times film, theater, philosophy, or whatever the good life demands.
Most of the work sits at the intersection of music, philosophy, and mathematics, often via tuning systems and feedback. Recent works include the slowest metal music you ever heard, an apophatic oratory, and five dimensional piece for five pianos.
As a performer, I play clarinets (though at this point, more research into extended techniques than standard repertoire) and I also improvise, having shared stages with Han Bennink, Fred Frith, John Duncan, Ingebrigt Håker Flaten, Jasper Stadhouders, Balázs Pándi, among others.
Beyond composition: I recently produced a horror-documentary about suffering as a mode of attention, led an artistic research series called Research Concert Cycle at Studio Loos Den Haag, contributed to a pop-science book on prime numbers, and host thematic dinner party performances. I also run somewhat notorious workshops around consensual pain, called Violence Club.
Committed to breaking institutional dichotomies, I founded Hangzavart!? in 2021 — a non-academic music academy. Think Darmstadt meets Burning Man: intensive artistic exploration, summer camp for thoughtful rebels, Erasmus+ funded. High art. Barefoot. Before that, I ran strangely academic squats with art and music students in The Hague.
Ábel Fazekas usually does music; composing, performing, organizing. Other times film, theater, philosophy, or whatever the good life demands.
Most of the work sits at the intersection of music, philosophy, and mathematics, often via tuning systems and feedback. Recent works include the slowest metal music you ever heard, an apophatic oratory, and a five-dimensional piece for five pianos.
As a performer, he plays clarinets (though at this point, more research into extended techniques than standard repertoire) and also improvises, having shared stages with Han Bennink, Fred Frith, John Duncan, Ingebrigt Håker Flaten, Jasper Stadhouders, Balázs Pándi, among others.
Beyond composition: he recently produced a horror-documentary about suffering as a mode of attention, led an artistic research series called Research Concert Cycle at Studio Loos Den Haag, contributed to a pop-science book on prime numbers, and hosts thematic dinner party performances. He also runs somewhat notorious workshops around consensual pain, called Violence Club.
Committed to breaking institutional dichotomies, he founded Hangzavart!? in 2021 — a non-academic music academy. Think Darmstadt meets Burning Man: intensive artistic exploration, summer camp for thoughtful rebels, Erasmus+ funded. High art. Barefoot. Before that, he ran strangely academic squats with art and music students in The Hague.
BA in Composition from The Royal Conservatory of The Hague.
MA in Composition from Musikakademie Basel.
BA in Composition from the Royal Conservatory of The Hague, studying with Martijn Padding, Yannis Kyriakides, Cornelis de Bondt, and Raviv Ganchrow. During those years, I also attended courses at the Institute of Sonology, the ArtScience faculty of the Royal Academy of Arts, and Leiden University.
MA in Composition from Musikakademie Basel with Johannes Kreidler and Johannes Caspar Walter. Visiting student at Schola Cantorum Basel, studying with Johannes Menke and Johannes Keller.
Over the years, I attended masterclasses with Helmut Lachenmann, Georg Friedrich Haas, Giorgio Netti, Jennifer Walshe, Peter Ablinger, Nicolas Collins, and Marc Sabat.
Currently based in Budapest and Basel.
