COMPOSITION

 

 

17.08.2017

List of works

Performativ
Intervention 007 "Sehlenhygene" / 2017

Acousmatic Music
Only the real ghost survive / 2016-17

Piano
SAEUBERUNG Nr.1 / 2015
Häutung / 2016

Ensemble
paypa / 2010
STOCHA / 2007
Schweiß / 2015
Die Absetzung des Kopfes / 2016

Choir
A-T-E-M
Nebelabend
Es tanzt ein Mi Ma Monsterchen
Three Humoresques

Percussion
MADHOUSE / 2015
Knochensplitter / 2016
Progressive Etüden / 2009
Irish Suite / 2010

Guitar
III Blätter
Taupila Ree & Erüb
IMA & 22/9
Soida
Widele Wedele

PIANO PIECES

SAEUBERUNG Nr.1

for solo piano and fixed audio-video media

DURATION
approx. 12'

NOTE
The piece is based on the physical movements of the piano-player. A mother-form was generated and seved as a guideline throughout the work-process. It is notated merely as a choreography for the performer which is a viedo to be projected, thus serving as score and stage design. Also the performer needs to react to the stereo audio that goes with it.

ENSEMBLE PIECES

SCHWEIß

a physical piece for four solo-singers (SATB)

PARTS
1. Korvai 1
2. Part two

DURATION
approx. 20'

NOTE
The piece confronts the performer with simultaneous physical and vocal actions. Its goal is to re-establish a rather physical singing performance for the musicians and the audience. The metrik and form works with southindian rhythmik concepts. It has been a co-work-project with the german poet Daniel Schmidt, who contributed the three poems on which it is based.

PAYPA

paypa video installation

INSTRUMENTS
baritone
clarinet in Bflat
guitar
percussion
video- & audio installation

DURATION
approx. 12‘

NOTE
The musical material of this piece is based on the ritual chanting of the Kallawaya during the healing ceremony. It describes the loss of the so called little soul, the ritual healing ceremony and the avocation of the new Kallawaya.

STOCHA

INSTRUMENTS
flute I
flute II (in duo version recorded)
actor
video installation

The piece can be performed in a duo or trio version.

DURATION
approx. 25' - 30'

NOTE
This composition deals with architectural dynamics and its material is based on the architecture of the UFO gallery. It's pulse is determined by the limit of exhaling of the flutist.

CHOIR PIECES

A-T-E-M

VOICES
soprano
alto
basso

DURATION
8'

NOTE
This piece was written in commission of the HAUS STEINSTRASSE e.V. for an event in the old oriental sauna of Leipzig. It deals with audible breathing actions and continuous choral breathing and therefore requires a strong choir and a quiet, big hall with a lot of reverb.

NEBELABEND

VOICES
soprano
alto
basso

DURATION
5'

NOTE
A very calm piece setting the mood of the poem, that deals only with seconds, fourths and fifths.

ES TANZT EIN MI MA MONSTZERCHEN

four pieces after poems by H.C.ARTMANN

PIECES
backe, backe Kuchen
es tanzt
gruess Gott
wenn im Oeflein's Feuer brennt

VOICES
in two voices for women and men

DURATION
approx. 10'

NOTE
Childen songs for adults, that's what they are. Thus, they have been kept rather simple but very rhythmic and are accompanied by clapping. They refer to the chanting and dancing tradition of balcanian music.

THREE HUMORESQUES

PIECES
Pfirsichkauf (Priewe)
zwiefache poetische Sendung (E. Fried)
Wettlauf (J.Ringelnatz)

VOICES
soprano
alto
basso

DURATION
2'
2'
3'

NOTE
These three little pieces are perfect encores. The first two are tonal pieces and somewhat refer to the italian villanelles of the 16th century. The last one is a sound and word collage in space notation.

GUITAR PIECES

III BLAETTER

INSTRUMENT
classical guitar with picup system
frame drum
mics
loop station

DURAION
15'

NOTE
This is a classical guitar solo that additionally utilizes a loop station, mics, framedrum and voice. All musical material was generated from three stellar constellations: Scorpio, Cancer and Pisces. It's dedicated to a woman that died of leukaemia just recently. Its premier took place at a photo exhibition which was curated by her before her death. Therefore, it deals with the sound of death, or better to say the sounds that we're not able to detect even though they do exist. Although it may not seem that way, the piece was written in a rather positive state of mind and may reflect the somewhat peaceful aspect of the on-going circle of life and death.

22/9 & IMA

INSTRUMENT
plain classical guitar

DURATION
8'
4'30''

NOTE
The two pieces were commissioned by the Wagner Society Leipzig and
composed for the Wagner Festival 2007.

IMA
This piece offers a brief examination of the theme of Richard Wagner’s "Tannhaeuser", which seeks to discover the roots of human artistic genius. The following material was quoted:
"Dich teure Halle gruesse ich" (Tannhaeuser, II. Movement), "Sirenenchor" (Tannhaeuser), "Leise zieht durch mein Gemuet" (Felix Mendelssohn-Bartholdy)
Felix Mendelssohn-Bartholdy’s folk melody at the end of the piece represents the Pope’s newly blooming rod, a symbol of redeeming fertility.

22/9
Richard Wagner’s "The Flying Dutchman" is thematically related to the "Tannhaeuser". The curse of egocentric attitudes are finally being banished by the self-sacrifice of the Dutchman. The ballade of Senta is being quoted and serves as the foundation for 22/9.

ERUEB & TAUPILA REE

INSTRUMENT
classical guitar

DURATION
5'
3'

NOTE
Two very rhythmic pieces that refer to oriental and balcanian traditions.

SOIDA

SOIDA cover

eight intermediate pieces for guitar students

PIECES
KEMAI
AAT
IGR
OELKOEL
LARIZ
PTAH PTAH
BULAF
ITU

INSTRUMENT
classical guitar

DURATION
approx. 17'

NOTE
All these piece were developed out of tonal and techniqual material that came up during guitar lessons. They were written to give the students additional playing material.

WIDELE, WEDELE

Widele, Wedele cover

PIECES
Zum Tanze da geht ein Maedel
Du liegst mir im Herzen
Kuckuck und Jaegersmann
All mein Gedanken
Bettelmanns Hochzeit

INTRUMENT
classical guitar

DURATION
approx. 15'

NOTE
A while ago I was asked to take some german folksongs into my concert-programs, to give the elderly audience something well-known to listen to. Even though I truely value this song-heritage, I did not want to present it in the classical manner, knowing that they surely expected that. I have always disliked the trimed character of those songs, that have been standardized in the 19th and 20th century. What I strived for, was to give them back some of their folklike playfulness and colorfulness, without making them unrecognizable. That is how the first versions of those pieces emerged. During the process of reworking the versions, a lot of new ideas came up. Quite often I had to slow down and make myself stick to the topic of arrangment again. I got so taken away. But the songs had to be the ones everybody knows. That is why the arranments are still tonal and do not get to wild in the end. (Although I sometimes would have liked it to be that way.)

PERCUSSION PIECES

KNOCHENSPLITTER

three miniatures for one percussionist

PARTS
1. Medulla ossium
2. Substantia corticalis
3. Substantia spongiosa

INSTRUMENTS
The piece is written for:
Konnakol
Cajinto
Becken
DTX 12
Riqq
Rahmentrommel

NOTE
"It all depends on wheter one regards to this one yellow flower as one of many yellow flowers or nothing but this very yellow flower." Fernando Pessoa

MADHOUSE

cinematografic Solo for drumset
2015

PARTS
1. Shot Reverse-Shot
2. Point of View
3. Cut on Action
4. Multiple Shot Scene
5. Center Line Crossing
6. Single Shot Sequenz

DURATION
approx. 6'

INSTRUMENT
normal drumset with three TomToms and diverse Cymbals

NOTE
The piece was inspired by the editing of the 1960 Hitchcock movie <Psycho>. Each bar of the piece is based on the concept of camera-shots, thus forming a musical unit of its own. These units then are being put together in a rather montage-theorie kind of manner.
The piece is very powerfull and calles for total controll of meter changes.

CAJON - PROGRESSIVE ETUDES

progressive etudes cover

ETUDES
28 technique etudes
20 solo etudes
10 duo etudes
1 solo etude
1 duo etude

INSTRUMENTS
cajon, cajinto, bass cajon, woodblock

NOTE
Virtuoso playing-techniques, extraordinary time-signatures, new musical forms, exciting rhythm-variants and accompany-pattern for bells: with the help of the «Progressive Etüden» one's own musical knowledge and playing-skill is deepened and improved. The student is given the opportunity to enhance their musical vocabulary and hence become able to interpret music in a new exciting way. With each piece your view of the cajon as an instrument will be changed - there are so many possibilities of making music with it. Destinct fingerings for all notes as well as musical expressions facilitate the working out and sensitize for a differentiated performance. For the first time working- and performance-material for your own playing, teaching and the big stage is summed up in one volume.

CAJON - IRISH SUITE

cajon ensemble / Irish Suite / cover

five Irish dances for cajon ensemble in four voices

MOVEMENTS
March
Double Jig
Slide & Polka
Reel
Hornpipe

INSTRUMENTS
The suite has been designed for the following instruments:

I voice: Cuban cajinto with or without snare-effect
II voice: Peruvian cajon without snare-effect
III voice: Peruvian cajon with snare-effect
IV voice: Cuban bass-cajon
(This setting is not obligatory and can be adapted to whatever instrumental circumstances.)
 
NOTE
There are so many fascinating music cultures out there! This collection is a result of my research in the field of Irish folklore, in particular the dance music. I tried to transfer the regional traditional way of dealing with music, the rhythmic of melody and dance, the special phrasing and articulation they use as well as the structure of their pieces to a cajon ensemble. This way I would like to give the player an immediate impression of the musical language of Ireland, along with some options of how to adapt these experiences to something new. So it’s all about extracting cultural peculiarities to enrich the own musical understanding. What a refreshing thing to do!