Next Friday, November 28, 2025, at 8:00 PM
HIDRA
performs at
SÓNICO
in Salobreña (Granada),
the work
Tsing Kew
Event curated by Jose Luis Palomares Rodriguez
Tsing Kew (青丘)
aka Xi Hydrae, Latinised from ξ Hydrae, is a solitary star in the equatorial constellation of Hydra. It was also given the Flamsteed designation 19 Crateris. This magnitude 3.54 star is situated 130 light-years from Earth and has a radius about 10 times that of the Sun. It is radiating 58 times as much luminosity as the Sun.
First I looked for information about Tsing Kew (that is the old Chinese name for Xi Hydrae and means "Green Hill", I know very little about astronomy.
Some scientific data, numbers about the giant star were used to construct a heptatonic scale and a twelve-tone series. These numbers could just as well have come from a lottery machine, but the star data fired up my imagination and I began to dream about it. I was particularly impressed by the information about its seismic activities and periodic oscillations and I decided to use a few basic formulas to first create several sounds that would symbolize the different layers of the star, as I was experiencing them more and more often in dreams.
Bb was chosen as the central tone and drone.
Finally I composed a form, also from numbers from the basic formulas, in which the different layers "pop up and down" according to subjective, more dramatic sensations. By repeating the sequence of sections (one or more simultaneous layers) of the main part, the formal structure is easily recognizable.
The star Tsing Kew is particularly interesting in the field of asteroseismology since it shows solar-like oscillations. Multiple frequency oscillations are found with periods between 2.0 and 5.5 hours.
Tsing Kew has left the main sequence, having exhausted the supply of hydrogen in its core. Its spectrum is that of a red giant. Modelling its physical properties against theoretical evolutionary tracks shows that it has just reached the foot of the red giant branch for a star with an initial mass around 3 M☉. This puts its age at about 510 myr.
(source: Wikipedia)
Tsing Kew (青丘): Oscillations of a Red Giant
Harmonic Echoes from the Seismic Heart of the Universe:
In Tsing Kew, Markus Breuss transcends the boundaries of music, crafting a sonic narrative inspired by the red giant star Xi Hydrae. The star, known as "Green Hill" in ancient Chinese, becomes a cosmic focal point through which Breuss channels the vast mysteries of the universe. His composition is grounded in a complex interweaving of a twelve-tone series and heptatonic scale, shaped by the star's seismic oscillations.
For Breuss, Xi Hydrae isn't just a celestial object but a musical entity with its own voice. He uses Bb as the tonal anchor, creating a drone that echoes through the cosmic expanse, with layers of sound rising and falling in rhythm with the star’s internal seismic activity. Electronics and trumpets become the star’s symbolic layers, while the atmospheric backdrop provided by Juan Belda’s synthesized keyboards crafts a sonic map of space itself. Breuss's ability to translate the cold data of the star's physical properties into a soundscape filled with warmth and life speaks to his deep connection with both music and science.
As Breuss himself has noted, the numbers he used could have been random, but the cosmic source of these figures lends a profound weight to the composition. The star’s seismic waves, which oscillate over periods of hours, become the pulse of the piece, reverberating through the minimalist sound layers. Each tone, each fluctuation, reflects the birth and death cycles of celestial bodies, mirroring the evolution of Xi Hydrae from a hydrogen-fueled star to its slow death as a red giant.
The piece represents a dialogue between time and space, where musical form reflects the universe’s ever-shifting nature. By constructing a multi-layered composition that evolves over time, Breuss echoes not only the internal dynamics of the star but also its cosmic lifecycle. This layering of sound becomes a meditation on time itself—both geological and astronomical—drawing us into a musical experience that feels as expansive and timeless as the universe.
Breuss’s work pushes the boundaries of sound art and science, placing Tsing Kew within a larger tradition of music that seeks to make sense of the cosmos. His fusion of asteroseismology with musical composition results in more than just a piece of music—it becomes a living part of the cosmos itself, resonating with the same frequencies that pulse through the stars. Breuss’s work challenges us to listen beyond the human, to attune our ears to the vibrational language of the universe, where every tone is a ripple in space-time.
In this composition, Breuss captures the silent conversation between stars and space, translating it into a symphony that resonates not only within the halls of music but also within the fabric of the cosmos itself.
The Cosmic Legacy of Markus Breuss
Breuss: Astronaut of Sound and Time:
Markus Breuss stands on the threshold where music and science meet, blending creativity, improvisation, and rigorous composition in ways that elude simple categorization. His works defy the constraints of genre, drifting freely between electroacoustic compositions and the vast expanse of free jazz. Yet beneath this fluidity, Breuss’s music is anchored in the unknown, the ineffable, reflecting his profound engagement with the cosmos. His compositions are more than auditory experiences—they are sonic maps of the universe, offering a window into the abstract mathematical beauty that governs the stars and celestial bodies.
In Tsing Kew, Breuss presents us with more than just sound—he invites us to witness the universe itself. His ability to transmute the cold, distant facts of astronomy into vibrant, sonic landscapes positions him as a true pioneer. It is through this translation of scientific data into musical form that Breuss engages in a dialogue with the cosmos. The seismic oscillations of Xi Hydrae, the star’s rhythmic pulses, become musical motifs—living, breathing entities within his composition. Just as the universe is in a constant state of expansion, so too does Breuss’s music stretch outward, always seeking, always exploring.
Breuss’s legacy will reverberate in the space where science and art converge. His compositions act as bridges between the empirical and the imaginative, where the human desire to comprehend the universe merges with the power of sound to express what language cannot. Just as Xi Hydrae pulsates with the energy of a star on the brink of transformation, Breuss’s music resonates with the same intensity—both a reflection of cosmic processes and a testament to the limitless possibilities of human creativity.
Breuss is not merely a musician; he is an astronaut of sound and time, navigating the unexplored regions of both disciplines with equal mastery. His works do not merely reflect the cosmos—they become part of it. In his hands, the trumpet becomes an instrument of asteroseismology, echoing the vibrations of distant stars and galaxies. His electroacoustic compositions, filled with layers of sonic texture, mirror the complex structures of the universe itself—multidimensional, ever-shifting, and filled with hidden depths.
Markus Breuss’s influence extends far beyond the immediate impact of his works. He has redefined the relationship between music and science, showing that the two are not separate realms but intertwined threads in the fabric of reality. In his music, we find the intersection of data and dreams, of theory and improvisation, and of the rational and the mystical. His compositions serve as a reminder that the universe is not only a subject to be studied but also a vast, unfolding composition in which we all play a part.
The significance of Tsing Kew lies not only in its brilliance as a piece of music but in the questions it raises about our place in the cosmos. What does it mean to hear the rhythms of the stars? How do we interpret the music of the universe? Breuss challenges us to listen beyond the familiar, to hear the underlying frequencies that connect us to the stars, to the galaxies, to the unknown.
As a pioneer of sound, Markus Breuss has charted new territories in the musical cosmos, opening doors for future generations of musicians, composers, and scientists to continue the exploration. His legacy is one that transcends time, echoing through the infinite expanse of space, where sound and silence, science and art, coalesce into a single, harmonious whole.
In the same way that stars die only to give birth to new worlds, Breuss’s music will continue to inspire, evolving and expanding, much like the universe he so profoundly echoes in his work. His contribution to contemporary music is nothing short of cosmic—a stellar force that will illuminate the path for those who dare to venture into the unknown, much like Breuss himself.
Vítor Rua, October 28, 2024
aka Xi Hydrae, Latinised from ξ Hydrae, is a solitary star in the equatorial constellation of Hydra. It was also given the Flamsteed designation 19 Crateris. This magnitude 3.54 star is situated 130 light-years from Earth and has a radius about 10 times that of the Sun. It is radiating 58 times as much luminosity as the Sun.
First I looked for information about Tsing Kew (that is the old Chinese name for Xi Hydrae and means "Green Hill", I know very little about astronomy.
Some scientific data, numbers about the giant star were used to construct a heptatonic scale and a twelve-tone series. These numbers could just as well have come from a lottery machine, but the star data fired up my imagination and I began to dream about it. I was particularly impressed by the information about its seismic activities and periodic oscillations and I decided to use a few basic formulas to first create several sounds that would symbolize the different layers of the star, as I was experiencing them more and more often in dreams.
Bb was chosen as the central tone and drone.
Finally I composed a form, also from numbers from the basic formulas, in which the different layers "pop up and down" according to subjective, more dramatic sensations. By repeating the sequence of sections (one or more simultaneous layers) of the main part, the formal structure is easily recognizable.
The star Tsing Kew is particularly interesting in the field of asteroseismology since it shows solar-like oscillations. Multiple frequency oscillations are found with periods between 2.0 and 5.5 hours.
Tsing Kew has left the main sequence, having exhausted the supply of hydrogen in its core. Its spectrum is that of a red giant. Modelling its physical properties against theoretical evolutionary tracks shows that it has just reached the foot of the red giant branch for a star with an initial mass around 3 M☉. This puts its age at about 510 myr.
(source: Wikipedia)
Tsing Kew (青丘): Oscillations of a Red Giant
Harmonic Echoes from the Seismic Heart of the Universe:
In Tsing Kew, Markus Breuss transcends the boundaries of music, crafting a sonic narrative inspired by the red giant star Xi Hydrae. The star, known as "Green Hill" in ancient Chinese, becomes a cosmic focal point through which Breuss channels the vast mysteries of the universe. His composition is grounded in a complex interweaving of a twelve-tone series and heptatonic scale, shaped by the star's seismic oscillations.
For Breuss, Xi Hydrae isn't just a celestial object but a musical entity with its own voice. He uses Bb as the tonal anchor, creating a drone that echoes through the cosmic expanse, with layers of sound rising and falling in rhythm with the star’s internal seismic activity. Electronics and trumpets become the star’s symbolic layers, while the atmospheric backdrop provided by Juan Belda’s synthesized keyboards crafts a sonic map of space itself. Breuss's ability to translate the cold data of the star's physical properties into a soundscape filled with warmth and life speaks to his deep connection with both music and science.
As Breuss himself has noted, the numbers he used could have been random, but the cosmic source of these figures lends a profound weight to the composition. The star’s seismic waves, which oscillate over periods of hours, become the pulse of the piece, reverberating through the minimalist sound layers. Each tone, each fluctuation, reflects the birth and death cycles of celestial bodies, mirroring the evolution of Xi Hydrae from a hydrogen-fueled star to its slow death as a red giant.
The piece represents a dialogue between time and space, where musical form reflects the universe’s ever-shifting nature. By constructing a multi-layered composition that evolves over time, Breuss echoes not only the internal dynamics of the star but also its cosmic lifecycle. This layering of sound becomes a meditation on time itself—both geological and astronomical—drawing us into a musical experience that feels as expansive and timeless as the universe.
Breuss’s work pushes the boundaries of sound art and science, placing Tsing Kew within a larger tradition of music that seeks to make sense of the cosmos. His fusion of asteroseismology with musical composition results in more than just a piece of music—it becomes a living part of the cosmos itself, resonating with the same frequencies that pulse through the stars. Breuss’s work challenges us to listen beyond the human, to attune our ears to the vibrational language of the universe, where every tone is a ripple in space-time.
In this composition, Breuss captures the silent conversation between stars and space, translating it into a symphony that resonates not only within the halls of music but also within the fabric of the cosmos itself.
The Cosmic Legacy of Markus Breuss
Breuss: Astronaut of Sound and Time:
Markus Breuss stands on the threshold where music and science meet, blending creativity, improvisation, and rigorous composition in ways that elude simple categorization. His works defy the constraints of genre, drifting freely between electroacoustic compositions and the vast expanse of free jazz. Yet beneath this fluidity, Breuss’s music is anchored in the unknown, the ineffable, reflecting his profound engagement with the cosmos. His compositions are more than auditory experiences—they are sonic maps of the universe, offering a window into the abstract mathematical beauty that governs the stars and celestial bodies.
In Tsing Kew, Breuss presents us with more than just sound—he invites us to witness the universe itself. His ability to transmute the cold, distant facts of astronomy into vibrant, sonic landscapes positions him as a true pioneer. It is through this translation of scientific data into musical form that Breuss engages in a dialogue with the cosmos. The seismic oscillations of Xi Hydrae, the star’s rhythmic pulses, become musical motifs—living, breathing entities within his composition. Just as the universe is in a constant state of expansion, so too does Breuss’s music stretch outward, always seeking, always exploring.
Breuss’s legacy will reverberate in the space where science and art converge. His compositions act as bridges between the empirical and the imaginative, where the human desire to comprehend the universe merges with the power of sound to express what language cannot. Just as Xi Hydrae pulsates with the energy of a star on the brink of transformation, Breuss’s music resonates with the same intensity—both a reflection of cosmic processes and a testament to the limitless possibilities of human creativity.
Breuss is not merely a musician; he is an astronaut of sound and time, navigating the unexplored regions of both disciplines with equal mastery. His works do not merely reflect the cosmos—they become part of it. In his hands, the trumpet becomes an instrument of asteroseismology, echoing the vibrations of distant stars and galaxies. His electroacoustic compositions, filled with layers of sonic texture, mirror the complex structures of the universe itself—multidimensional, ever-shifting, and filled with hidden depths.
Markus Breuss’s influence extends far beyond the immediate impact of his works. He has redefined the relationship between music and science, showing that the two are not separate realms but intertwined threads in the fabric of reality. In his music, we find the intersection of data and dreams, of theory and improvisation, and of the rational and the mystical. His compositions serve as a reminder that the universe is not only a subject to be studied but also a vast, unfolding composition in which we all play a part.
The significance of Tsing Kew lies not only in its brilliance as a piece of music but in the questions it raises about our place in the cosmos. What does it mean to hear the rhythms of the stars? How do we interpret the music of the universe? Breuss challenges us to listen beyond the familiar, to hear the underlying frequencies that connect us to the stars, to the galaxies, to the unknown.
As a pioneer of sound, Markus Breuss has charted new territories in the musical cosmos, opening doors for future generations of musicians, composers, and scientists to continue the exploration. His legacy is one that transcends time, echoing through the infinite expanse of space, where sound and silence, science and art, coalesce into a single, harmonious whole.
In the same way that stars die only to give birth to new worlds, Breuss’s music will continue to inspire, evolving and expanding, much like the universe he so profoundly echoes in his work. His contribution to contemporary music is nothing short of cosmic—a stellar force that will illuminate the path for those who dare to venture into the unknown, much like Breuss himself.
Vítor Rua, October 28, 2024
se lanzó el 8 de octubre de 2024
Markus Breuss - Tsing Kew (青丘)
Markus Breuss: trumpet, flugelhorn, fx pedals, percussion, electronics, concrete sounds
Juan Belda: minimoog, keyboards, electronics
cover artwork: Elizaveta Fedorova
Composed and Produced in June-July 2024
Electroacoustic work inspired in the red giant star Xi Hydrae (aka Tsing Kew) and designed for a documentary film about the cosmos.
special thanks to Juan Carlos Fernandez
Markus Breuss - Tsing Kew (青丘)
Markus Breuss: trumpet, flugelhorn, fx pedals, percussion, electronics, concrete sounds
Juan Belda: minimoog, keyboards, electronics
cover artwork: Elizaveta Fedorova
Composed and Produced in June-July 2024
Electroacoustic work inspired in the red giant star Xi Hydrae (aka Tsing Kew) and designed for a documentary film about the cosmos.
special thanks to Juan Carlos Fernandez
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