𝑪𝑷𝑯 𝑴𝒊𝒄𝒓𝒐𝒕𝒐𝒏𝒂𝒍 𝑪𝒐𝒎𝒎𝒖𝒏𝒊𝒕𝒚 presents: 𝐃𝐚𝐫𝐢𝐮𝐬 𝐇𝐞𝐢𝐝 & 𝐎𝐬𝐤𝐚𝐫 𝐓𝐨𝐦𝐚𝐥𝐚

𝘛𝘩𝘦 𝘊𝘰𝘱𝘦𝘯𝘩𝘢𝘨𝘦𝘯 𝘔𝘪𝘤𝘳𝘰𝘵𝘰𝘯𝘢𝘭 𝘊𝘰𝘮𝘮𝘶𝘯𝘪𝘵𝘺 𝘪𝘴 𝘢𝘯 𝘪𝘯𝘤𝘭𝘶𝘴𝘪𝘷𝘦 𝘴𝘱𝘢𝘤𝘦 𝘧𝘰𝘳 𝘮𝘶𝘴𝘪𝘤𝘪𝘢𝘯𝘴, 𝘤𝘰𝘮𝘱𝘰𝘴𝘦𝘳𝘴 𝘢𝘯𝘥 𝘤𝘳𝘦𝘢𝘵𝘪𝘷𝘦𝘴 𝘵𝘰 𝘦𝘹𝘱𝘦𝘳𝘪𝘮𝘦𝘯𝘵, 𝘱𝘢𝘳𝘵𝘪𝘤𝘪𝘱𝘢𝘵𝘦 𝘢𝘯𝘥 𝘥𝘪𝘴𝘤𝘶𝘴𝘴 𝘮𝘪𝘤𝘳𝘰𝘵𝘰𝘯𝘢𝘭𝘪𝘵𝘺 𝘢𝘯𝘥 𝘪𝘵𝘴 𝘣𝘳𝘰𝘢𝘥𝘦𝘳 𝘢𝘱𝘱𝘭𝘪𝘤𝘢𝘵𝘪𝘰𝘯𝘴.

𝘛𝘩𝘪𝘴 𝘸𝘪𝘯𝘵𝘦𝘳/𝘴𝘱𝘳𝘪𝘯𝘨 𝘸𝘦’𝘳𝘦 𝘩𝘰𝘴𝘵𝘪𝘯𝘨 𝘢 𝘧𝘰𝘶𝘳-𝘱𝘢𝘳𝘵 𝘸𝘰𝘳𝘬𝘴𝘩𝘰𝘱/𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘢𝘯𝘤𝘦 𝘴𝘦𝘳𝘪𝘦𝘴, 𝘦𝘢𝘤𝘩 𝘧𝘰𝘤𝘶𝘴𝘪𝘯𝘨 𝘰𝘯 𝘢 𝘥𝘪𝘧𝘧𝘦𝘳𝘦𝘯𝘵 𝘢𝘴𝘱𝘦𝘤𝘵 𝘰𝘧 𝘮𝘪𝘤𝘳𝘰𝘵𝘰𝘯𝘢𝘭𝘪𝘵𝘺.

𝘌𝘯𝘵𝘳𝘢𝘯𝘤𝘦 𝘢𝘯𝘥 𝘱𝘢𝘳𝘵𝘪𝘤𝘪𝘱𝘢𝘵𝘪𝘰𝘯 𝘪𝘴 𝘧𝘳𝘦𝘦!

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𝐃𝐚𝐫𝐢𝐮𝐬 𝐇𝐞𝐢𝐝 & 𝐎𝐬𝐤𝐚𝐫 𝐓𝐨𝐦𝐚𝐥𝐚

Darius Heid (piano) and Oskar Tomala (zither, clarinet) started collaborating based on friendship and mutual interests in microtonal intertwinements. Extending the piano’s stubborn 12-toneness into tuning-specific music practises became a clumsy yet relevatory point of departure for their explorations. By mixing systematic tunings of the zither and intuitive approaches in improvisation they create drones that navigate through a shared space of heightened receptivity.

Darius Heid (DE) – prepared piano
Oskar Tomala (PL) – zither, clarinet

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Workshop & Performance:
“𝐀𝐮𝐝𝐢𝐛𝐥𝐞 𝐧𝐮𝐦𝐛𝐞𝐫𝐬 – 𝐥𝐢𝐬𝐭𝐞𝐧𝐢𝐧𝐠, 𝐬𝐢𝐧𝐠𝐢𝐧𝐠, 𝐭𝐮𝐧𝐢𝐧𝐠”

The comparison of light and sound can be presented through the explanation of the relationship between the rainbow and white light – showed that all colors are already present in white light.
These visible colors can in turn be compared to the overtones of sound. And the rainbow itself to the harmonic series. What is essential is that the description of the rainbow enables the next discovery – infrared and ultraviolet light, meaning something imperceptible “below” and “above” what is perceptible. The visible part of the spectrum thus leads us to discover its invisible part.

So what can be discovered about sound by starting with the overtone series?

Numerical designations in musical notation appear at almost every stage. What if we denote with a number one unique relationship between two sounds, regardless of the situation? The situation will
then give us context while the relationship remains the same.
During the workshop, we will perform simple exercises developing our hearing in the resolution of the harmonic series by moving between its components – intervals. To access higher partials outside of a comfortable singing range, a pile of loose organ pipes will be provided and blown into like a flute. By adjusting the pitch through closing the hole carefully, frequencies of the upper harmonic series can be resonated into. Through this intuitive, subtle and fine- tuned action, reciprocities of body, sound and instruments are revealed.

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𝐎𝐬𝐤𝐚𝐫 𝐓𝐨𝐦𝐚𝐥𝐚 (b. 1996) is a sound artist, composer, and multi-instrumentalist based in Copenhagen and Gdańsk, working across electroacoustic composition, site-specific sound installations, and music for film. His artistic practice focuses on the phenomenology of intensity, ambiguity, and possibility as they emerge in the perception of sound, harmony, and timbre. Central to his work is an expanded approach to listening, explored through the interaction of harmonic sound with architectural space using site-specific multichannel systems, acoustic resonance capture, impulse measurements, and the integration of acoustic instruments, sine waves, noise, and sound processing.

Tomala studied jazz guitar at the Karol Szymanowski Music Academy in Katowice before continuing composition studies at the Stanisław Moniuszko Music Academy in Gdańsk, and later completed the Music Creation MA program at the Rytmisk Musikkonservatorium in Copenhagen. His musical thinking
has been shaped by teachers including Catherine Lamb, Peter Ablinger, Paweł Mykietyn, Ellen Arkbro, Marc Sabat, and Jacob Anderskov. He collaborates closely with filmmakers connected to the Krzysztof Kieślowski Film School and the Danish Film Institute, co-leads the quartet ZIEMIA, and has been associated with the Colony of Artists in Gdańsk. His works have been presented at
international festivals such as Rewire Festival, Sacrum Profanum, and the Organ Sound Art Festival.

𝐃𝐚𝐫𝐢𝐮𝐬 𝐇𝐞𝐢𝐝 is a composer, improvisor, pianist and sound artist based in Copenhagen, Denmark. His artistic practice explores qualities of timbre, texture, silence and resonance. Unbound by genre, his work moves fluidly between free improvisation, sound art, electronic music and contemporary music. Focusing on bending the piano’s sound possibilities he has developed a personal approach on the piano, including a refined palette of extended techniques and preparations. With a personal
performance approach influenced by studies of traditional japanese Noh theater, Heid’s performances leave a strong impression of subtle intensity.

Since 2019, Heid has released twelve albums as a (co-)leader and has performed in Japan, Indonesia, Canada, South Africa, and across Europe. His collaborative work also extends into
interdisciplinary projects with dancers and sound installations. Notable among his ongoing projects are the ensemble „Funkstille“, for which he serves as composer and artistic director; the working trio „Vließ“ with Emily Wittbrodt and Jonas Gerigk; his free improvisation trio with Danish drummer Kresten Osgood and Dutch bassist Wilbert de Joode; and the experimental electronic project JUUMP! with Thea Soti and Anthony Greminger. Since 2024, he has been a member of IMPAKT (Improvisation und Aktuelle Musik Köln)