• Ignatius' Glas (2023)

    Soundtrack zum Dokumentarfilm "Glaskunst des Ignatius Geitel" von Hans Gregor 1954

    Vertonung im Auftrag des Stadtarchiv Bochum

  • Vibrant Cymbals | Umbra & Ultramarin (2022)

    soft music with amplified crash cymbals

  • 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

  • ohne Wucht (2018)

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

  • 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

  • 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.


  • 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!"

  • Opus 64 (2016)

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

    for Flute, Piano and Viola da Gamba

  • Wirrungen (2016)

    for piano solo

    Duration ca. 13'

  • Dunkelheit erlischt (2015)

    for ensemble

    duration: 6'

    inspired by "nuages gris" from Franz Liszt

  • Gleißen (2015)

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

    duration: 6'

  • 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

  • Gleitzeit (2011)

    for Theremin solo

    duration: ca. 5'

  • Thereminquartett (2011)

    for 4 Theremins

    duration: ca. 7'

  • Verlass, Hort, dein Heim (2011)

    for quartet (fl,vn,va,vc)

    premiered by Ensemble Recherche

    duration: ca. 10'

  • Arama (2009)

    for Cello solo

    ca. 7'

    premiered by Botan Özsan