This album is available here : epicentre-editions.bandcamp.com/album/peter-jakober-ensemble-h-iatus

Peter Jakober, live electronics (tracks 3 & 5)
Martine Altenburger, cello
Tiziana Bertoncini, violin
Fabrice Charles, trombone
Isabelle Duthoit, clarinet
Carl Ludwig Hübsch, tuba
Géraldine Keller, voice
Lê Quan Ninh, percussion
Thomas Lehn, analog synthesizer
Angelika Sheridan, flute and bass flute

Acknowledgements
Philippe Le Goff, Eva Maria Silberschneider, Marlène Perronet, Thierry Madiot, Akademie Schloss Solitude, Samuel Allain, Tim Hodgkinson and Peter Zacherl.

Released on Césaré. Ref 16/10/17/1

Recording, mixing and mastering Samuel Allain
except beneden, mixing Thomas Lehn

Recording in the Césaré studio from 6 to 8 April 2014

Photo credit and texts Lê Quan Ninh

Graphic design Yann & Margaux

Translation Claire Simon et Tim Hodgkinson

Label Césaré, Centre national de création musicale

Sensitive mathematics
Whilst using mathematics to structure his works - specially to allow the deployment of complex systems of synchronisation and desynchronisation - Peter Jakober inhabits the sound material from the inside, as if the fact that its vibrations are vehicled by multiple and differential pulsations drives him to become more possessed and hypersensitive to them. If we find in the music of this young composer something of trance, this is always destabilised or reinforced by the superimposition of several temporalities, by the play of the slippings of definitions, and by the emergence - both unforeseen and precise - of new sound colours. But the numerical systems that underpin and integrate the chance elements in each of his compositions are not immediately available to the ear: the listener is drawn, rather, into a total physical engagement in which a primary act of breathing is brought to life by the physical presence of the body.

Improvising within the ensemble]h[iatus
Before and after the moment of playing, improvising together, released into the uninterrupted flow of immediate circumstances, both acting on them and driven by them, compelled to live the experience of the moment. It is the moment – which appears here because it is collectively traversed – which makes it all work, in this special movement in which action and contemplation cease to grow apart from one another. More interacting than reacting, each of us adjusts to the phenomena in progress, freeing memory and projection, forgetting ourselves, opening up to influences, accepting every break, every surprise and every sign of continuity.