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Selected pieces by TIsha Mukarji

Chekhov's Ear: A Boring Story
for six, 8' - 16', June 2018.  For Jean McGarry

Following the silences and sonic details in Chekhov's "A Boring Story".
First performed at Cafe Oto, London with Angharad Davies, Áine O'Dwyer, Mira Benjamin, Dominic Lash and John Lely.

Fugitive Counterpoint #2 
Recorded and performed at Fylkingen, Stockholm - 5th -8th March 2018.
Thanks to Lisa Ullèn for the Disorder Residency and Vilhelm Bromander for recording.

Piano : Lisa Ullen 
Piano : Tisha Mukarji 
Percussion: Erik Carlsson 
Double Bass: Vilhelm Bromander 
Saxophone : Anna Högberg
Saxophone : Johan Arrias

Fugitive Study: Reading Nietzsche 
4' approx - open, 2015.

First performed for 2 pianos at Art Geneve, 2015.

Follow the indications
Repeat as necessary

sehr langsam
immer (resonance)


Fugitive Counterpoint #2
for six, 9' - 22', 2015.

Recorded by Simon Reynell at Goldsmiths College, London October 2015.

Angharad Davies - violin
Rhodri Davies - harp
Lina Lapelyte -violin
John Lely - objects
John Tilbury - piano

Listen here:


Fugitive Counterpoint #1
for eight, 9' - 25', 2015.

Commissioned by the a·pe·ri·od·ic ensemble for the series "Controlled Indeterminacy in Text Scores."
Premiered and recorded at Constellation, May 31st, 2015, Chicago.

see the ensemble here:


Tuning IV
Solo, 2013.

Written for and performed by Sabine Ercklentz with trumpet and electronics.

The first relationship is that each note needs another note for this music to develop.
The two notes can imitate each other, or they can correspond.
Take a note* 
Play it continuously. Walk with it gently.
While the first note is playing, play another note with a shorter duration and repeat it.
The second note should be
Close to the first one
Not too far away

*Note here could be a tone or a sound. 

Full text here:


Metronome Series #2 Temporal Poem

For 100 performers (ideally), 5' - to 15' approx - open. 2008.
First performed for in Ghent with 25 people, 2009.

A variation of Gyorgi Ligeti’s Poeme Syphonique, a work which used a hundred metronomes set to different tempos.

For a 10 minute performance the metronomes will be substituted for one hundred people who will be beating (conducting) time with their hands. Twenty groups of five people will each have a tempo that they will attempt to follow.

For example one group will beat time at adagio which is 45 beats per minute, another group will be at 85 beats per minute, etc.

It is a silent commentary on several different aspects of musical performance and synchronisation. Not only do the “time keepers” have to be synchronised but the substitution of metronomes for people is intended to display one of the primary and visual features of music, that is gesture. Although in this case the gestures are silent features of music, producing simultaneous illusions of time.



Satie's Standard Time | SST (+ or - variable)

Metronome Series #3: For Erik Satie
+ or - variable time and configuration, 2009.

With the same formal structure as the previous piece in the series, this work attempts to measure the cryptic performance indications that were used by Erik Satie in his compositions. 

"Even duller, if you can
Carried away
Like a gentle request
Dry as a cuckoo
Calm without slowness
Light as an egg
In the deepest silence
Slow down mentally
Bury the sound
Look closely, that is all"

Each time the piece is performed the conductor must record and note down the number of beats per minute each person performs given his/her indication. The subsequent gathering of measurements over the years will form a collection that future performers of Satie’s music may consult and use as a standard. This collection will be named SST Satie’s Standard Time.

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