Concert Music


  • Nigunim fuer Orchester, AW Jewish Chamber Orchestra Munich 2017/18, UA Muffathalle München 2017. 73′
  • Zappora. Vivace, Maestoso, Lento, Vivace, Allegro Assai, Andante. UA Sept 2015, Neukoellner Oper. 13′
  • Air Condition for Orchestra. Approaching the Habitable Zone, UA Quanta Symphony Orchestra Taipei, 2013. 40′
  • Fenster, Laboratorio Novamusica, Venezia 2012. 15′
  • Konzert fuer 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 (2005)


Note on abstract music: I’m interested in structures that can’t be calculated. Compositions are reproduceable structures of sounds that stem from imagination. Pictures, compositions or words can be imprints of life, if they carry traces of their process and technique of creation. Like a xylography. It’s not a very flexible design technique, but paradoxically it transports more of the imagination. 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.