Seiltanz
(2018)
Saxophone Quartet
7'00
WP
Cascatelle Saxophone Quartet
14.11.2018,
Zurich, Toni-Areal
Windbruch
(2017)
for ensemble and live-electronics
11'50
WP
Ensemble Proton Bern
cond. Matthias Kuhn
Karin Wetzel, Florian Bogner – Live-Electronics
07.02.2018,
Gare du Nord, Basel
Air parasite
(2017)
Vocal quartet and Live-electronics
12'00
WP
Ensemble SoloVoices
Karin Wetzel, Live-Electronics
14.01.2018,
Gare du Nord, Basel
[-]
X-Pieces
(2017)
Recorder Duo
4'30
WP
Lydia Dietrich, recorder
Laura Kalchofner, recorder
12.04.2019,
Toni-Areal, Zurich
Backslash
(2017)
from X-Pieces
recorder
4'33
WP
Laura Kalchofner – recorder
29.11.2018,
Toni-Areal, Zurich
Slash
(2017)
from X-Pieces
recorder
4'30
WP
Lydia Dietrich – recorder
12.04.2019,
Toni-Areal, Zurich
One On One
(2014)
10:00
WP
duo leise dröhnung
Niklas Seidl, Cello
Steffen Ahrens, Guitar
31.07.2014,
Quartier am Hafen, Köln
Swarming
(2014)
6:00
WP
Prime Recorder Ensemble, conductor: Antonio Politano
27.05.2014,
BKA Theater, Berlin "Unerhörte Musik
Murals I-IV
(2012)
13’55
WP
15.12.2012
Kunstraum Walcheturm, Zürich
Chronismen
(2013)
8'00
WP
Ensemble Modern, conductor: Johannes Kalitzke
24.11.2013,
hr-Sendesaal, Frankfurt
Amorphose 2
(2012)
Guitar and live-electronics
8’40
WP
Panagiotis Megarchiotis, Guitar
Karin Wetzel, Live Electronics
15.12.2012,
Kunstraum Walcheturm, Zurich
[-]
The natural harmonics of the retuned guitar strings form the melodic basic structure of the guitar-part and are supplemented by a second harmonic line. The relationship between the melodic voice as the main voice and the harmonic part as a secondary line is also reflected and developed further in the relationship between the guitar and the live-electronic part. The title „Amorphose“ describes the formal aspect of the piece. The aggregate state of an amorphous structure is situated between solid and liquid. This idea of an amorph structure is transferred onto different musical layers: It is reflected through the pitch system, which is divided into „crystallized“ central notes and „fluid“ harmonic structures. It is also present in the relationship between the precisely defined pitches of the Guitar Part and the Live Electronic Part. This relationsship transposes and multiplies the Guitar part permanently on a microtonal level. It does so randomly and therefore always leads to a slightly different result.
Smoke
(2012)
Accordion and live elektronics
12’50
WP
Andrea Kiefer, Accordion
Karin Wetzel, live electronics
15.12.2012,
Kunstraum Walcheturm, Zurich
glass body
(2011)
11’33
WP
06.08.2011
Literary Arts Center Beyond Baroque, Los Angeles, CA
[-]
Glass combines characteristics such as rigidity, fragility, or translucency. Breaking glass as a natural act of granulation corresponds to the technique of granular synthesis, which I used as the main tool in order to generate streams of cullet. Next to the sounds of glass, water is the most important sound source. Water, being a material related to glass (cullet-drops) also forms a material counterpoint (crystallization versus fluid). This relationship is reflected by the inner amorphous structure of glass, its aggregate state being situated between solid and liquid.
Amorphose
(2011)
WP
06.08.2011,
Literary Arts Center Beyond Baroque, Los Angeles, CA
bricht an dem halm sich der laut
(2009/2010)
based on the text »balancen I« by Anja Utler
for voice, alto flute, bass clarinet, guitar, prepared piano, violin, double bass
3’50
WP
Ensemble Arc-en-Ciel, conductor Cornelius Volke
21.01.2011,
Zürcher Hochschule der Künste
[-]
The meaning of Anja Utler's poem »balancen I« revolves around nature and the body. The noise-like instrumentation of the ensemble intensifies the poem's rhythmics language and its richness of consonants. The continuous rhythm of the vocal line is based on repetition patterns and their variations, and is disrupted by the arhythmic structure of the instrumental part.
Gilgamesch Miniaturen
(2009)
for cello, two horns and percussion
WP
Moritz Müllenbach, Cello
Louisa Marxen, Percussion
Benedikt Hayoz, Horn
Jannis Weggenmann, Horn
17.02.2010,
Theater der Künste, Zurich
zone de construct
(2009)
7’28
WP
26.03.2010
Festival "Spring in Havana", Cuba
Schattensaite
(2007/2008)
WP
22.05.2009,
HMT Leipzig
Chaînon
(2006)
for flute, bass clarinet, accordion, piano, percussion, 2 violins, viola, cello
16’35
WP
Ensemble Avantgarde, conductor: Steffen Schleiermacher
11.10.2006,
Gewandhaus Leipzig
Inflammation
(2005/2006)
11'24
WP
19.06.2006,
Stadtbibliothek Leipzig
Variations on Harangvirág by György Kurtág
(2004/2005)
WP
Alicia Torrea Goioechea – piano
15.05.2008,
HMT Leipzig
2 Gesänge
(2004)
based on poems by Salvatore Quasimodo
7’18
WP
Ji-Young Hong, Soprano
Martina Fenzel, Flute
17.05.2004,
HMT Leipzig