• Monsterrrr (2023)

    Physical Comedy
    with Trygve Wakenshaw

    director: Fabian Sattler
    a Toboso production

  • Fähre ft. Marius Bajog (2022)

    Remix of a piece by Marius Bajog for his "Kontinent"

  • music for Piet (2022)

    live-performance with dance Cinthia Nisiyama inspired by the paintings of Piet Mondrian

  • unapologetic synthetic (2022)

    music and sound design for Lisa Hellmich's dance solo "unapologetic synthetic"

    In the unapologetic synthetic performance, Lisa Hellmich explores how the self-determined wearing of synthetic hair can be a performative sign for Unapologetic Blackness, and a new definition. Unapologetic Blackness is a concept that encourages Black persons to not apply any energy to the consideration of what white people might think of them. In dialogue with her hairdo, new movement qualities become possible that lead to a confident gesture of empowerment. The synthetic hair, in merging with one’s own, generates a body extension and takes up the space it deserves.

    Lisa Hellmich is currently concluding her master studies in dance composition, movement notation / movement analysis at the Folkwang University of the Arts.

    Concept, Performance: Lisa Hellmich; Music, Sounddesign: Lukas Tobiassen; Artistic Coaching, Dramaturgy: Robert Schulz; Outside Eye: Akasha Daley; Text-development: Lisa Tracy Michalik; Costume: Karen Afia

  • Vibrant Cymbals | Umbra & Ultramarin (2022)

    soft music with amplified crash cymbals

  • bagpipes (2021)

    music for "bagpipes" based on Béla Bartok's piano étude "Bagpipe"
    the dance piece is part of syncopated conversations by Frederico Mendes Teixeira

    "Too fast; too slow; or something in between.

    bagpipes is a study about TIME in dance. What happens to timing, when you change the energy of a movement? What happens to timing, when you change the origin of a gesture and its path in space?

    The study was based on Béla Bartok's piano étude "Bagpipe" and its structural division of time. It contains two main sequences, that were broken down into smaller sequences and varied in length, energy invested, front, etc. There was also a division between the accompaniment and the melody, which was played according to the contact of the dancers' feet on the floor."

  • dances for sevens (2021)

    music for "dances for sevens" based on Béla Bartok's piano étude "Dance in Bulgarian Rhythm II"
    the dance piece is part of syncopated conversations by Frederico Mendes Teixeira

  • Druckdicht (2021)

    for wind ensemble

    The flugelhorn part could be played by a second trumpet.
    The baritone horn part could be played by a second euphonium.

    premiered by Musikkapelle Ursensollen

  • Kamm drüber (2021)

    A piece for piano and live electronics using my newly developed Max for Live Plugins
    "COMBPHONIX", "RESONANCY" and "StutterKeys".
    I created a unique way to play with the piano's harmonics using Comb Filter and Resonance Filter.
    The Stutter Effect highlights the connection of thythm and pitch.

    All the Max for Live Devices can be downloaded here.

    The development of these plugins and this composition where realised as part of the "Stipendium für Künstlerinnen und Künstler zum Ausgleich von Nachteilen im Zusammenhang mit dem Ausbruch von Covid-19 im Jahr 2020"

  • mesh-me (2021)

    music for dance performance by Lisa Hellmich

    with Robert Schulz & Marius Ledwig

    „Meine Haare sind nicht nur Haare.” Ihre Frisur ist für Lisa Hellmich als Schwarze Person immer politisch, gewollt oder ungewollt. In der Performance mesh-me geht es um ihre persönliche Beziehung zu Frisuren mit synthetischem Haar. Sie untersucht, welchen Einfluss das Kunsthaar auf ihre Identität und ihre Bewegungsqualität als Tänzerin hat. Wie wirkt sich das Kunsthaar auf ihre Selbstwahrnehmung aus und wie reagiert der Körper auf das zusätzliche Gewicht?

  • Ronja Räubertochter (2021)

    Musik for the youth theatre play "Ronja Räubertochter" with TOBOSO

  • sincopados (2021)

    music for "sincopados" based on Béla Bartok's piano étude "Syncopation"
    the dance piece is part of syncopated conversations by Frederico Mendes Teixeira

    "center-out; periphery-in; center to another center; outside and more expanded...

    Where does a movement start and where does it travel to in the body? And how does this path change when you retrograde the movement? sincopados is a (tricky!) study about the different ways a movement travels through in the body when you start playing with come and go / back and forth.

    The starting point was the creation of a sequence with simple movements, then adding accents and changes in speed. Then we looked deeper into what body parts were involved, what were the exact contact points. Having collected this knowledge, the idea was then to retrograde all the movements, as detailed as possible. During the process, we figured out that working with pauses was very helpful, therefore they stayed in the final choreography.

    The structure follows: 9 counts of movements - 5 counts of retrograde - 4 counts pause (2x) 8 counts changes of placement in space 5 counts of movement - 5 counts of retrograde - 5 counts of movement and repeat!"

  • Suminoka (2021)

    Music and sound design for the dance film "Suminoka" by Keisuke Mihara and Johannes Steidle

  • Jagger Jagger (2020)

    music and sound design for theatre by toboso

  • Super & Action (2020)

    music (as Santiago 'Magic' Müller) and sound design for theatre by toboso

    SUPER & ACTION Teaser from TOBOSO on Vimeo.

  • Frank & Rita (2019)

    new piece with Foteini Papadopoulou at Maschinenhaus Essen

  • Hamlet (2019)

    collaboration with Mieko Suzuki on music and live electronics for Hamlet at Schauspielhaus Bochum

    Text: William Shakespeare
    Mit Auszügen aus Die Hamletmaschine von Heiner Müller

    Regie: Johan Simons
    Textfassung: Jeroen Versteele
    Bühne, Kostüme: Johannes Schütz
    Musik, Sounddesign: Mieko Suzuki
    Mitarbeit Musik und Sounddesign: Lukas Tobiassen
    Lichtdesign: Bernd Felder
    Dramaturgie: Jeroen Versteele
    Mitarbeit Dramaturgie: Felicitas Arnold

    Übersetzung: Angela Schanelec, Jürgen Gosch

    Mit: Sandra Hüller, Stefan Hunstein, Mercy Dorcas Otieno, Bernd Rademacher, Dominik Dos-Reis, Gina Haller, Konstantin Bühler, Ulvi Teke, Mourade Zeguendi, Jing Xiang, Ann Göbel, Mieko Suzuki, Lukas Tobiassen

    more info

    WDR documentary

  • Lab.el.ID (2019)

    Lab.el.ID is a project created by artists from Greece and Germany. Professionals in the fields of theater, dance, electronic/algorithmic composition and media/visual art meet in Athens for two weeks in an intensive creative and experimental residency. They deal with the concept of cultural identity and its significance, especially in the context of mobility, internet connectivity, feeds, messages, tweets, and updates. The result of their collaboration will be presented in the form of an installative performance at KET on the 12th and 13th of October.

    The idea for the project came up, when in the course of an application, choreographer Foteini Papadopoulou (having studied, been living, and creating art in Germany for over 16 years) found herself wondering about how she perceives herself and how she is being perceived: is she a german artist of greek origin or a greek artist living in Germany? Actor and director Marlene Kaminsky, media artist Klaudios Sklivanitis, choreographer Fotini Papadopoulou, and composer Lucas Tobiassen, with the support of actress Fotini Tsardouni, will dive into unknown territories in order to speak not so much about what they know, but about the things they want to learn through the experience of other people.

  • New Joy (2019)

    Sound design and live electronics for a piece by Eleanor Bauer and Chris Peck at Schauspielhaus Bochum

    Konzept, Regie, Choreografie: Eleanor Bauer
    Konzept, Regie, Musik: Chris Peck

    more info

    WDR documentary

  • Halbdunkel, unverborgen (2018)

    auf vier Fenstern spiegeln Schatten Lichter wider

    im Halbdunkel von Abbild und Wirklichkeit
    zwischen Gerätschaften und dem Schein von irgendwelchen Reflexionen
    das Licht auf das Licht selbst richten

    eine Installation von Lukas Tobiassen in Zusammenarbeit mit Birte Lüderitz

    Eine Veranstaltung des EarPort Duisburg
    gefördert vom Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen

  • ohne Wucht (2018)

    piano piece for the social media projects by Martin Tchiba
    this piece refers to "010616" by Martin Tchiba

  • Schlieren (2018)

    for oboe solo, string trio, live electronics and optional aroma performer

    "Ein schwankendes Flimmern zwischen amorpher Schmierform und erstarrter Flüssigkeit"

    „Schlieren“ demands the oboe to exclusively play seamless transformations from normal notes
    into multiphonics and back. The string trio adds subtle veriations to the resulting chords of the oboe.
    Live electronics alter these sounds via convolution (with white noise, shepard risset glissandi etc.)
     amplitude modulation, comb filter and delay.

  • Docht - Elegien (2017)

    The "Docht - Elegien" (candle wick - elegies) were commissioned by the Beethovenfest Bonn 2017 and relate to the "love dreams" by Franz Liszt.


  • Dröhnen, überzuckert (2017)

    for solo Bass Clarinet and amplified Ensemble

    inspired by drone and metal music

    written for Kiev's Ukho Ensemble

    there is also a version for bcl (solo), eh, pn, acc, vc + distortion and optional e-bass
    written for Ensemble S201

  • Monochord (2017)

    improvisation for piano and live electronics

    "Monochord" explores one single note on the piano, the lowest d (D1).
    This is a mix of excerpts from a performance in Rieti(Italy) at Composit 2017.


  • PICKNICK (2017)

    ...an seltsam lichter Stelle...

    realisiert im EarPort Duisburg, Sonntag 28. Mai 2017 | 18.00 Uhr


    - handeln Sie nur auf Anweisung
    - verlassen Sie die gekennzeichneten Pfade nicht
    - verhalten Sie sich ruhig
    - bleiben Sie immer in der Gruppe

  • piece for 3 dancers (2017)

    "Stück für drei Tänzer" is a piece by is a performance by: Valentina Boneva, Liliana Ferri, Foteini Papadopoulou, Alejandro Russo, Lukas Tobiassen

    director: Foteini Papadopoulou

    PIECE FOR 3 DANCERS / Trailer from Foteini Papadopoulou on Vimeo.

  • study for string quartet - gleißend (2017)

    this study for string quartett explores the movement of the right hand.
    up-bow and down-bow are used to develop mainly a choreography which also has musical side effects.


  • Zerstiebt (2017)

    for 8 channel tape, piano and smartphones

    This piece was developed for pianist Martin Tchiba's social media
    piano recital "WIReless" at the Tonhalle in Düsseldorf. (www.wireless-piano.com/english/)
    As source material it uses recordings of piano pieces by Michael Denhoff, Erik Janson, Mateo Soto and Martin Tchiba composed for this project.
    The german word "zerstiebt" means something like dispersed or scattered.

  • Chimera (2016)

    for flute, bass clarinet, piano, violin, viola, cello
    (there is also a second version for: flute, bass clarinet, accordion, piano, violin, cello)

    Contribution to the 180° festival

    "The world of classical music has discovered the remix: electronic re-arrangements of compositions for acoustic instruments. For instance, the Deutsche Grammophon label has build an entire series on this concept: “ReComposed”, with techno artists remixing compositions of Vivaldi to Mussorgsky to Mahler. Being asked to provide such a remix by Weimar's Spring Festival, techno artist Stefan Goldmann asked himself the question: why not make this more challenging? Instead of transforming an ensemble recording, he created a purely electronic work of music. Then three composers were invited to listen to his “remix” and imagine how their (still non-existent) composition could have sounded if it were the source. The result: three wildly different works for ensemble, but all held together by the musical material laid out in the remix highlighting the composers' different artistic approaches. 180° takes this idea of reverse engineered scores into round two!"

  • Ooze Of A Crushed Bouquet (2016)

    for 4 channel tape and Performer

    Duration: 12' - 13'

    Permiered at EarPort in Combination with an installation of Johanna Meyer and Birte Lüderitz as Performer.


    There is also a fixed media version (duration: 8'26")

  • Opus 64 (2016)

    for Trio VIS' Show "64 Things" at CEME Festival, Tel Aviv, Israel

    for Flute, Piano and Viola da Gamba

  • Vacuumed (2016)

    for 2 Performers

  • Wirrungen (2016)

    for piano solo

    Duration ca. 13'

  • 100% Direktsound (2015)

    for 4 channel tape

    duration: 4'

  • Der Schlaf der Vernunft (2015)

    for Altoflute, Bass clarinet, Accordion, performer, lights and live electronics

    inspired by "The Sleep of Reason Produces Monsters", an etching by the Spanish painter and printmaker Francisco Goya

  • Dunkelheit erlischt (2015)

    for ensemble

    duration: 6'

    inspired by "nuages gris" from Franz Liszt

  • gegenüber (2015)

    for ensemble (fl[bass],cl[bass],vn,vc,acc,pf) and live electronics (4ch)

    duration: 10'

  • Gleißen (2015)

    for ensemble (cl,vn,vc,acc,perc) and live electronics (2ch)

    duration: 6'

  • hier (2015)

    for ensemble (2cl[bcl],2tpt,2tbn,2tba,2perc) and live electronics (4ch)

    premiered in the Gasometer Oberhausen, Europes highest exhibition space, at the NOW Festival


  • warum hier (2015)

    für einen Akkordeonisten, einen Klarinettisten und einen Live-Elektroniker

    duration: 10'

    "why here", is a piece for accordeon, clarinet and live-electronics in which the accordeonist seems to be confronted with the most difficult contemporary music of his lifetime. At some point this is so overextending for him, that he interrupts his play and confronts the audience with his disagreement and anger concerning this composition in special and (the interpreter overextending) contermporary music in general. It has to be mentionend, that there are very less concrete notes in this piece, the majority has to be improvised and theatrically interpreted as written in the score. The idea came up while listening to a record of street people. These records are also used in the live-electronics.

  • alsbald (2014)

    for ensemble (fl,cl,vn,vc,acc,pf) and live electronics

    duration: 5'

  • as far as abstract objects (2014)

    Sound composition for the contemporary dance theater piece by Foteini Papadopoulou

    as far as abstract objects / teaser 1 from Foteini Papadopoulou on Vimeo.

    "What do you see, when you observe movement?"
    Whether playfull real-time visualizations, elegant and invigorating dance phrases or space-filling sound installations: In as far as abstract objects the audience is confronted with an extraordinary stage situation. Each audience member views and experiences a different version of the piece. Under the observing eye of a refined media technology four performers search for intermedial spaces, perspectives and the way we perceive time and space through movement.

    as far as abstract objects is a multimedia experience, in which body, sound and image meet and blend with each other in an unexpected way. 
    Artists, scientists and technicians where challenged by choreographer Foteini Papadopoulou to catch the complex subtleties of movement, to modify them and - at the constantly shifting boarder between the abstract and the concrete - to artistically articulate them in a distinct way.

  • Die ultimative Annularfusion des Exponats mit seinem Käfig (2014)

    for ensemble (v,fl,cl(bcl),vn,vc,acc,pf) and live electronics

    duration: ca. 15'

    for english description scroll down

    [german program note:]

    In diesem Werk werden die Klänge des Ensembles und der Elektronik einer ultimativen Annularfusion mit dem Konzertraum unterzogen. Dies geschieht auf folgende Art und Weise: Eine von zerbrechlicher Feingliedrigkeit durchdrungene Schicht bahnt sich an, in der sich eine zunächst mikrotonale symmetrische Akkordstruktur allmählich aufbaut. Die einzelnen Stimmen sind dabei äußerst ausdifferenziert geführt und erfordern ein konzentriertes Zusammenspiel des Ensembles. Im weiteren Verlauf werden fernere Gefilde der symmetrischen Akkordstruktur in kurzen Ausbrüchen erreicht, bis ein nahezu improvisatorisches Agieren vom Ensemble gefordert wird, wenn in der Elektronik die Gegebenheiten des Konzertraums erkundet werden. Innen verschmilzt mit Außen. Ultimativ.

    (der Titel ist einem Roman von David Foster Wallace entnommen)


    [english description:]
    A couple of years ago I sat in a contemporary music concert in an acoustically bad room where you could here a lot of the things going on outside: ambulance siren, squeaking car tires, rain, birds etc.
    The interesting thing was that these otherwise disturbing sounds fitted extremely well into the music. At some moments they even seemed to be prepared by the music or the music seemed to comment on them, for instance a siren outside followed by an glissando inside or vice versa.
    Based on this experience I realised this piece (the title „The ultimate annular fusion: that of an exhibit and its cage“ is cited from "Infinte Jest" by David Foster Wallace) for ensemble and live electronics with surround loudspeakers and additional loudspeakers under the seats and outside oft he concert room in the year 2014.
    In the beginning I develop a very tense atmosphere of a fragile and superficially complex contemporary music virtuosity which gets more and more disturbed by increasingly obvious incidents such as musicians coughing, dropping something, a singer doing warm-up outside, mobile phone alarm etc. Up to the unlikely event of a marching band outside.
    All these things reflect in different kinds in the music, blurring the boundaries of outside and inside, music and non-music, resulting in the fusion of the ensemble with it’s ‚natural’ environment.

  • lähmend birst (2014)

    for 4 channel tape

    duration: 2'38''


    [program note:]


    "lähmend birst" ist eine äußerst gelungene Studie über den kurzen entscheidenden Moment der Erlösung von echtem Schmerz, transportiert durch ein als Ausgangsmaterial dienendes Sample, das hier mit chirurgischer Präzision sorgfältig und analytisch auseinandergenommen wird, wobei der Komponist mit einer ebenso großen Maß an kompositorischer Raffinesse ein faszinierendes Bild der Diskrepanz adiastematischer granularer Cluster zu zerbrechlich feingliedrigen auskomponierten Linien zeichnet und sich dabei auf einem selten errreichten kompositorischen Nivea bewegt, das, wie es zur ernsthaften Kompsoition gehört, zum Ziel hat, sich durch das kompositorische Werk Gottt zu nähern.

    Dazu ein Zitat des Komponisten zu seiner Kompostion:
    "Screamin' Jay Hawkins sagte einst:
    'Most people record songs about love, heartbreak, loneliness, being broke...
    Nobody's actually went out and recorded a song about real pain.'
    Diesem Ungleichgewicht Entgegenzuwirken machte auch ich mir zur Aufgabe.
    Als ich diese Kompsoition abschloss, sah ich mein Selbst mit einer Ausgeburt
    musikalischer Reinheit konfrontiert.
    Ja, ich kann mit einiger Gewissheit behaupten, dass dieses Opus auf bis zu 2.8 Nanometer an Gottt heran reicht.
    Ein bisher äußerst selten erreichtes Ergebnis, oder erreichter Wert, schreiben Sie einfach auf, was Sie besser finden, oder was Sie meinen, dass die/der Leser/in besser findet, ich bin mir da gerade nicht ganz so sicher, was besser ist."

  • Fetzen (2013)

    for large ensemble
    (fl,ob,bcl,cbn, hn,tpt,tbn,tba, perc, pf, 2vn,va,ca)

    duration: 6'

  • Verdure (2013)

    for large orchestra
    (3+picc,3+eh,3+bass,3+contra - 4,3,3+bass,1, timp, 3perc, 12/10/8/6/4)

    duration: 10'

    premiered by the Bochumer Philharmoniker

  • Aus innerer Hand (2012)

    Kurzfilm (Konzept, Kamera, Schnitt, Musik, Sounddesign), 5'


    Aus innerer Hand from Lukas Tobiassen on Vimeo.

    camera & storyboard: Lukas Tobiassen, Andra Wildgrube, Elisabeth Szwarc
    video design: Lukas Tobiassen
    audio design: Lukas Tobiassen

    Die der inneren Hand des Protagonisten zur ubiquitären Belanglosigkeit seiner Umgebung inhärente Diskrepanz, fungiert, vermittelt durch den Austritt einer leicht transluzenten Flüssigkeit, als Internalisierung der gesellschaftlichen Obsoleszenz, aus der seine deliriöse Existenz erwächst.
    Auch wenn seine Pathogenese nicht detailliert eruiert wird, tangiert sie unsere Perzeption mit einer zirkulären Redundanz, deren akustische Bezüge die Einsatzpunkte des auf der spektralen Ebene metamorphotisch implementierten Granularsynthese-Prozesses manifestieren und so die Faktur als eine kulminierende Progression ontologischer Substanz der Physiognomie des Protagonisten opponieren.
    Abgestoßen von Akkumulationen degoutanter Adoleszenz ist ihm die Laterne eine morphologische Entität, derer negierten anthropomorphen Lumineszenz er sich nicht entziehen kann.
    Den trivialen Aspekt einer dispositiven Teleologie seines Prozederes dementierend, insistiert er auf die evidente Koinzidenz auditiver Signifikanz und der Irreversibilität seiner eigenen Ontogenese, die in eschatologisch verbalisierter Trance, semantisch irrelevant, in klerikaler Peripherie terminiert wird.

  • Hat nicht der dünne Name genuegt? (2012)

    for 4 channel tape

    duration 3'33''

    made out of sounds of the "SynLab


  • Schnee von Gestern (2012)

    for stereo tape

    duration: 2'35''

  • spectators only (2012)

    sound/music for the installation from David Pollmann

    duration: 48'

    spectators only from David Pollmann on Vimeo.

  • Gleitzeit (2011)

    for Theremin solo

    duration: ca. 5'

  • Kruschtkammer (2011)

    for 4 channel tape

    duration: 6'09''


  • Thereminquartett (2011)

    for 4 Theremins

    duration: ca. 7'

  • Transire (2011)

    for 4 channel tape

    concert version of "Transite"

    duration: 14'

  • Verlass, Hort, dein Heim (2011)

    for quartet (fl,vn,va,vc)

    premiered by Ensemble Recherche

    duration: ca. 10'

  • WörterKörper (2011)

    Sound composition for the contemporary dance theater piece by Foteini Papadopoulou

    duration: ca. 70'

  • Sus Scrofa (2010)

    for 4 channel tape

    duration: 3'17''

  • Transite (2010)

    for 4 channel tape

    duration: 33'

    zur Ausstellung "Schön wäre, wenn uns möglichst viele besuchen würden"

  • Wapiti (2010)

    for five Theremins and stereo tape

    duration 8'03''

  • Arama (2009)

    for Cello solo

    ca. 7'

    premiered by Botan Özsan

  • seeking druses (2009)

    for 4 channel tape

    Duration: 10'05'

    program note:

    Drusen sind Gesteinshohlraeume die von innen mit Kristallen bewachsen sind. Entstanden ist dieses Stueck aus geschlagenem und geriebenem Holz und Stein, die in ihrer Abspielgeschwindigkeit (Transposition) und Amplitude (Huellkurve) veraendert wurden (in einzelnen Faellen auch durch Filter). Durch ihren oft massenhaften Einsatz entstehen neue Klanglichkeiten.

  • furrynurture (2005)

    da wood in da furrr