• 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

  • 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"

  • 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

  • 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.

  • 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'

  • 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'

  • 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.

  • Wapiti (2010)

    for five Theremins and stereo tape

    duration 8'03''