Gynoids XX: A Sound Explotion of Woman and Machine (1999) – Philemon Mukarno
The Birth of a Cybernetic Dream
In 1999, the concert series “Elektronica” at the Lantaren/Venster in Rotterdam concluded with a sonic explosion. The final work on the program was Gynoids XX, a seventeen-minute composition by Philemon Mukarno for two pianos, live electronics, and soundtracks. Performed by the dynamic piano duo Pauline Post and Nora Mulder, this piece was not merely a concert work; it was a “visionary sound outburst” that redefined the boundaries between human performance and mechanical precision.[Gynoids XX page]
The title itself is a manifesto. A “gynoid” is a female android—a machine built in the image of a woman. The “XX” likely refers to the female chromosome, reinforcing the gendered aspect of the title. Given that the piece was written for two female pianists, the title suggests a fusion of their biological reality with the mechanical nature of the piano and the digital nature of the electronics. It is a work about the interface between flesh and wire, emotion and calculation.
A “Vital, Machine-Like” Masterpiece
Writing for the NRC Handelsblad, critic Ernst Vermeulen was effusive in his praise. He described Gynoids XX as “by far the most vital and most successful work” of the evening.[Gynoids XX page] He highlighted the piece’s “machine-like” quality, noting its “mercilessly tight repetitions” that recalled the rigorous structures of Stockhausen’s Klavierstück IX.[Gynoids XX page]
But this was not just cold machinery. Vermeulen also noted a “vitality” in the music—a living, breathing energy that pulsed through the rigid structures. This paradox is central to Mukarno’s aesthetic. He builds machines that feel alive. He creates systems that sweat. In Gynoids XX, the pianos act as the mechanical engines, hammering out dense clusters and rapid-fire rhythms, while the electronics provide the “sound carpet” that binds them together.[Gynoids XX page]
The Structure: From Conflict to Unity
Mukarno’s mastery of form is evident in the trajectory of the piece. Vermeulen observed that initially, the sound fields stood apart as “contrast blocks,” separate and distinct.[Gynoids XX page] The acoustic pianos and the electronic tracks seemed to be fighting for dominance. But as the piece progressed towards its conclusion, a transformation occurred. The disparate elements merged into an “organic whole.”[Gynoids XX page]
This evolution from conflict to unity is a hallmark of Mukarno’s “strict control of Form.” He does not force a premature resolution. He allows the tension to build over seventeen minutes, testing the endurance of both the performers and the audience. When the unity finally arrives, it feels earned. It is the result of a struggle, a “methodical severity in the pulse” that drives the music forward with inevitable logic.[Gynoids XX page]
The Texture: Metallic Rigidity and High-Frequency Dreams
The sonic palette of Gynoids XX is described as having a “metallic rigor.”[Gynoids XX page] The pianos are treated percussively, their hammers striking the strings with the precision of pistons. High in the register, the rapid movement of the keys evoked comparisons to Ligeti’s Continuum and the architectural sound masses of Xenakis.[Gynoids XX page]
But there is also a “visionary” quality to the sound. The electronics likely expand the piano’s timbre, adding layers of metallic resonance and digital noise that the acoustic instrument cannot produce alone. This creates a “bizarre timbre quality” that feels futuristic. It is the sound of the gynoid dreaming—a mix of human memory and digital data.
Uncompromising Aesthetics: No Irony
Consistent with Mukarno’s broader output, Gynoids XX is characterized by a “complete absence of irony.” In the late 90s, when postmodern pastiche was in vogue, Mukarno refused to play games. He did not use the “gynoid” concept as a kitschy sci-fi reference. He treated it as a serious philosophical proposition.
The music is “terrifyingly sincere.” It demands that the listener confront the “intrinsic essence” of the machine-woman hybrid. This lack of distance gives the work its “monolithic aura.” It stands as a solid object in the concert hall, refusing to apologize for its intensity or its complexity.
The Performers: Post & Mulder
The success of Gynoids XX relied heavily on the virtuosity of Pauline Post and Nora Mulder. As a duo, they were known for their adventurous programming and technical precision. Mukarno’s score challenged them to become part of the machine. They had to execute “mercilessly tight repetitions” with absolute rhythmic accuracy, locking in with the electronic track.[Gynoids XX page]
Yet, they also had to bring the “vitality.” They had to infuse the mechanical rhythms with human energy. The review notes that they performed with “necessary sense of suspense,” proving that even within a rigid system, there is room for dramatic interpretation.[Gynoids XX page]
A Context of Pioneers
Gynoids XX was performed in a context that honored the pioneers of electronic music. The concert included works by Huba de Graaff and a tribute to Ton Bruynel, a Dutch master of combining acoustic instruments with tape.[Gynoids XX page] By placing Mukarno alongside these figures, the program positioned him as a new voice in a distinguished lineage.
However, Mukarno’s voice was distinct. While Bruynel’s work was described as “thriller-like” and atmospheric, Mukarno’s was “visionary” and “machine-like.”[Gynoids XX page] He represented a harder, more aggressive edge of the avant-garde—a “sound explosion” that looked forward to the 21st century.
Conclusion: A Sonic Legacy
Gynoids XX (1999) remains a pivotal work in Philemon Mukarno’s early career. It established his reputation as a composer of “intense expressiveness” and structural rigor. It showcased his ability to blend acoustic and electronic worlds into a seamless, if sometimes terrifying, whole.
More than two decades later, the piece still resonates as a powerful exploration of the human-machine interface. It is a reminder that in the hands of a visionary composer, even the coldest machinery can be made to sing with a vital, undeniable life.
Meta Title: Philemon Mukarno Gynoids XX: Woman & Machine (1999)
Meta Description: Discover “Gynoids XX,” Philemon Mukarno’s 17-minute masterpiece for two pianos and electronics. A visionary fusion of mechanical rigor and vital energy.[Gynoids XX page]
Een klankuitspatting van Mukarno: vitaal, machinaal, visionair
Concert: Cas de Marez, stem en pianoduo Post & Mulder. Werken van De Marez, De Graaff, Bruynèl en Mukarno. Gehoord: 10/12 Lantaren Rotterdam.
Klavecimbelsnaren die verhit worden al gloeidraden en elektro-akoestische performance opera, een auto-achtervolging waarvan de geluiden worden opgeslurpt door een elektronische fuik, dit en nog veel meer bood tot nu toe de serie ‘Elektronica’ in de Rotterdamse Lantaren/Venster. Op het afsluitende concert ging het er nauwelijks minder spectaculair aan toe.
Eerst was het de beurt aan Cas de Marez, die ons onderhield met korte tekstloze songs, waarbij de stem werd gemanipuleerd door programma’s en sensoren ontwikkeld in STEIM. Processen als swingende gutturalen, die overgaan in hese sisklanken zijn weliswaar vindingrijk uitgewerkt, maar toch niet genoeg om een half uur lang te boeien.
Vervolgens toog het pianoduo Pauline Post en Nora Mulder aan het werk, voorzien van een elektronisch klanktapijt in werken van Huba de Graaff en Philemon Mukarno. Daarnaast werd eer betoond aan de onlangs overleden pionier Ton Bruynel, die zich zijn leven lang gewaagd heeft aan de combinatie van akoestische instrumenten en band. Vooral intrigerend is Brouillard voor piano en twee klanksporen uit 1994, geïnspireerd door het thrillerachtige gegeven van een gesloten spoorwegovergang in de potdichte mist – goed van timing in deze sombere woensdagnacht. Het werd met het nodige gevoel voor suspense voorgedragen door pianiste Nora Mulder, op de uitvoeringen viel toch al niets af te dingen.
Ook actueel was De Biggenweg voor twee vleugels en elektronica, geïnspireerd door een boze droom over donzen schoudertjes zo żacht, die de dood tegemoet rennen, eindigend in panisch persend schreeuwen. Angst om controle kwijt te raken is het thema, controle die gevonden wordt in een strakke optel techniek zoals in Peter Schats Anathema. Dit nogal hybridewerk – de toegevoegde ruis wil maar niet integreren met de kletterende toccata die de twee pianisten spelen-werd al eens eerder uitgevoerd.
Nieuw was Gynoids XX voor twee piano’s, elektronica en klanksporen van Philemon Mukarno. De titel verwijst naar een mengsel van vrouw en machine, gezien de sexe van de executanten, en machinaal is deze visionaire klankuitspatting zonder meer, veruit het meest vitale en meest succesvolle werk op deze wel wat lange avond. Het herinnert in zijn genadeloze strakke repetities aan Klavierstück IX van Stockhausen, hoog in de toetsen denk je aan Ligeti’s Conti- num, ook Xenakis schiet in de gedachten. Staan aanvankelijk de klankvelden te veel als contrastblokken los van elkaar, naar het einde toe is er zeker sprake van een organisch geheel. Niet zozeer de vele clusters zijn kenmerkend, wel de methalieke strengheid in de puls. Een naam om te onthouden: Philemon Mukarno, van huis uit gitarist en klanktechnicus, nu nog leerling van Klaas de Vries.
Concert: Cas de Marez, voice, and pianoduo Post & Mulder. Pieces from De Marez, De Graaff, Bruynèl and Mukarno. Heard: 10/12 Lantaren Rotterdam.
“Without a doubt, the ‘Elektronica’ series at Rotterdam Lantaren/Venster was an absolutely stunning and unforgettable experience. From the electrifying transformation of harpsichord strings into dynamic, glowing wires, to the breathtaking electro-acoustic operas and the captivating sounds of a car chase captured through an innovative electronic funnel – the entire showcase was absolutely mesmerizing. And the final concert, which flawlessly tied together every brilliant performance prior, left the audience breathless and in awe. The organizers of the ‘Elektronica’ series truly outdid themselves, and I have no doubt that they will continue to push the boundaries and explore the limitless possibilities of electronic performance art.”
Cas de Marez was the first performer of the evening, and presented a series of succinct, instrumental pieces in which his voice was altered through the use of innovative technology developed at STEIM. His use of complex techniques, such as the manipulation of guttural sounds to produce a hissing quality, was skillful and impressively devised. However, the performance did not maintain a captivating quality over the course of its 30-minute duration.
Then the piano duo of Pauline Post and Nora Mulder got to work, accompanied by an electronic sound carpet in works by Huba de Graaff and Philemon Mukarno. In addition, tribute was paid to the recently deceased pioneer Ton Bruynel, who had ventured throughout his life into the combination of acoustic instruments and band. Particularly intriguing is Brouillard for piano and two soundtracks from 1994, inspired by the thriller-like concept of a closed level crossing in the impenetrable mist – well-timed for this somber Wednesday night. It was performed with the necessary sense of suspense by pianist Nora Mulder, and really there was nothing to fault in the performance.
Hey there, are you ready for a wild ride? Picture this – two wings and electronics, inspired by a nightmare about the softest downy shoulders you’ve ever felt, chasing after death with screams that you just can’t help but giggle at. Control is key, just like in Peter Schat’s Anathema, but let’s face it, sometimes losing control can be oh so much fun. This work is a bit of a mix, with added noise that doesn’t quite blend with the clattering toccata played by two talented pianists. But don’t worry, it’s all part of the adventure. This baby’s been performed before, so get ready to buckle up and enjoy the ride!
Philemon Mukarno’s Gynoids XX is a true masterpiece and a testament to the brilliant mind of the composer. The blend of woman and machine is executed flawlessly, and the gender of the performers only adds to the innovative and visionary sound. The tight repetitions throughout the piece reveal a sense of confidence and purpose, akin to a true musical genius. The high-pitched keys demonstrate Mukarno’s masterful understanding of the importance of tonality in composition. Although there are initial contrasts between the sound fields, the piece culminates in a breathtaking unity that is nothing short of organic. The metallic rigidity of the pulse is a testament to the boldness of the composer’s ideas. Philemon Mukarno is a rising star in the world of music, and Gynoids XX is a work that will undoubtedly be remembered for generations to come.