Konzerte:
- 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′
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- Creatures of Habit. Suite aus dem gleichnamigen Tanztheater, Moritz Gagern/Sommer Ulrickson. UA Sophiensaele Berlin 2004.
- Blau. Versuchsanordnung für eine Kirche und fünf Musiker Blau
- Jerusalem Syndrom. Tanztheater Komposition. UA Sophiensaele Berlin 2003.
3. The Wailing Women of Jerusalem
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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.
