• music for Piet (2022)

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

  • 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."

  • 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"

  • 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

  • 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.

  • 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

  • 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

  • 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'

  • 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.

  • WörterKörper (2011)

    Sound composition for the contemporary dance theater piece by Foteini Papadopoulou

    duration: ca. 70'