Concert Music


  • Zappora. Vivace, Maestoso, Lento, Vivace, Allegro Assai, Andante. UA Sept 2015, Neukoellner Oper. 12’30”
  • Approaching the Habitable Zone, UA Quanta Symphony Orchestra Taipei, 2013. 40′
  • Fenster, Laboratorio Novamusica, Venezia 2012. 15′
  • Konzert für 50 Windgongs, Hellerau – Europäisches Zentrum der Künste, 2010. 55′
  • Babylonische Schleife. Komposition für großes Ensemble und rotierendes Publikum. AW/UA Maerzmusik, Berliner Festspiele 2007, 60′. Drehrestaurant des Berliner Fernsehturms am Alexanderplatz. 60′
  • Mauser-Fragment: Zur Zeit des Stirb oder Töte. UA Heidelberger Frühling 2006. 10′


  • Creatures of Habit. Suite aus dem gleichnamigen Tanztheater, Moritz Gagern/Sommer Ulrickson. UA Sophiensaele Berlin 2004.

Creatures of Habit 1

Creatures of Habit 2

Creatures of Habit 3

Creatures of Habit 4

  • Blau. Versuchsanordnung für eine Kirche und fünf Musiker Blau

1. Café Noir

2. Rabena

3. The Wailing Women of Jerusalem

4. M.M.M.

5. Psalm 55 Song

6. Souira


Zur Zeit des Stirb oder Töte


Note on abstract music: I’m interested in structures that can’t be calculated. Compositions are reproduceable structures of imagined sounds. I like it when pictures, compositions or words are an imprint of life, when they carry traces of their process and technique of creation. The best example would be a xylography. It’s not very flexible, but paradoxically by that it transports more spirit. That’s why I prefer to not use computers. The digital code interrupts the gesture of production. In order to catch the imprint of a non-musical reality, it seems better to produce music with pencil, paper and instruments made of wood, metal, leather, guts. Even music, a rather non-material form of art, should be an imprint of life, not a sounding result of virtual speculations or calculations. That’s why i develop structures that can’t be calculated.