Marcoll’s "Amproprifications" is a series of pieces for performers and electronics. The title is a combination of the terms "appropriation" and "amplification" – in short, each "Amproprification" is a system of elaborate amplification applied to a preexisting piece by another composer. The performers interpret the score of this preexisting piece as they would in any other context – not a single note of the original text is altered, added, or omitted. Meanwhile, the electronics control the volume but do nothing else – no additional sound is produced, no additional manipulations put into effect. The possibilities of this interference via volume control, however, span a large variety of movements, from almost inaudibly slow fadings to extremely fast and brutal chopping. Marcoll likens his process to that of sculptors carving shapes out of blocks of marble – the stone's size and appearance are changed, but the original is never destroyed completely. The “Amproprifications” communicate respect for and acceptance of the immutability of the original material's behaviour, namely its unnerving tendency to remain rock solid. The series has incorporated works by Gabriel Fauré, Peter Ablinger, Luciano Berio, Giovanni Pierluigi da Palestrina, Franco Donatoni, Michael Maierhof, and Mark Lorenz Kysela. This past fall, the striking black-and-white graphical prints of the pieces’ volume envelopes were exhibited for the first time ever at the Galerie im Ratskeller Berlin.

Marcoll is a member of the artist collective stock11 and lives in Berlin. His new piece “H A C K” (for two electric guitars and electronics) will be performed at CTM 2018. It makes use of procedures developed in his “Amproprifications”.