• 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

  • 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

  • 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.

  • 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.

  • 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")

  • 100% Direktsound (2015)

    for 4 channel tape

    duration: 4'

  • 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."

  • 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.

  • Kruschtkammer (2011)

    for 4 channel tape

    duration: 6'09''


  • Transire (2011)

    for 4 channel tape

    concert version of "Transite"

    duration: 14'

  • Sus Scrofa (2010)

    for 4 channel tape

    duration: 3'17''

  • 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