Own works

Adagio (1999) for clarinet (B), piano and percussion  [w.p. Hamburg, Musikhalle]
Veränderte Landschaft (2000) for mezzo soprano and large ensemble  [w.p. Karlsruhe, ensemble "Der Gelbe Klang", cond. Johannes Fischer]
...lächeln, dass sie gewesen... (2001) for orchestra  [w.p. Olpe, German National Youth Orchestra, cond. Johannes Fischer]
Als das zarteste Geflüster schon Sprache gab und Zeichen (2002) for alto flute (G), piano and percussion  [w.p. Munich University of Music]
3 Stücke (2002) for Violine and Violoncello
Gestalt (Studie III. Fassung) (2000/2003) ) for vobraphone and several snare drums  [w.p. Frankfurt, Modern Art Museum]
inchiffren (2003) ) for Violine, Viola, Violoncello, Doublebass and Piano  [commissioned by the Pestrofa Ensemble, w.p. Munich Academy for the Arts]
Zerfließend ins Blau (2003) ) for sound sculpture and 3 percussionists  [w.p. Freiburg Music University]
àiolos (2004) for flute, vibraphone and cowbells  [w.p. Busan, South Korea, duoApeiron]
Korybantentanz (2005) for percussion and tape
rivers and tides (2006) for 12 percussionists  [comissioned by the Lucerne Festival Academy, w.p. Lucerne Festival, Ensemble XII]
Strandgut...Spuren (2007) for flute, clarinet (B), Violin, Violoncello and Piano  [comissioned by the Crested Butte Music Festival, Colorado, USA]
dans le cadre – mozart mobile (2008) for 2 clarinets and 3 bassethorns  [comissioned by the Louvre Paris in coorperation with the Lucerne Festival, w.p. Louvre, Paris]
Programm Notes to „dans le cadre – mozart mobile“
 
While working on the piece, I always had the idea to rather build a musical frame to the Mozart Adagio KV 411 than juxtaposing it with another piece of music. As it is common in galleries and museums to put masterpieces in frames to isolate their world from ours, my intentions with Mozart's clarinet piece were going in the same direction.
Some musical material of the Adagio can be found in my music, but I would consider it instantly as a leakage of material due to the borderless transitions between the pieces and not as quotation.
The two clarinets and three bassetthorns are a homogeniously sounding group I am looking at as one instrument with five mobile parts instead of five independent and individual instruments. These five parts expand and distract in the performance space, going along with each other, or sometimes against, gather together in subgroups... but the invisible string which all parts are attached to remains uncut.
 
"If everything works, a mobile is a piece of poetry, joyful dancing and full of surprise" (Alexander Calder)
auf Biegen und Brechen (2009) for trombone and percussion  [w.p. Burghof Lörrach, Frederic Belli (trb) Johannes Fischer (perc)]
Traumspur (2009) for solo percussion and orchestra  [comissioned by the Young Sound Forum of Central Europe, w.p. Svednice, Poland, cond. Christoph Altstaedt]
high wire choreographie (2010) for 4 percussionists  [w.p. Odessa Music Festival 2daysand2nights, Luebeck Percussion Group]
Einige Versuche, Dinge in Gang zu bringen [several attemps to get things moving] (2011) for trombone, piano and percussion  [w.p. Ravensburg, Germany, Trio Belli-Fischer-Rimmer]
Let's pretend this coffee is champaign! (2011) for string quartet and percussion  [comissioned by the Amaryllis Quartet, w.p. Hamburg Laeiszhalle]
"Und in den Nächten fällt die schwere Erde aus allen Sternen in die Einsamkeit" (2011) for Violine, Violoncello and Piano  [comissioned by the Leibnitz Trio w.p. 2012]
In den Tag geträumt - d'un air spontanée (2011/12) for string quartet and percussion  [comissioned by the Louvre, Paris, w.p. 2012]

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