Electroacoustic Works

Murals I-IV

(2012)
Play audio sample from 'Murals I-IV'

Ambisonic Tape

13’55

WP
15.12.2012
Kunstraum Walcheturm, Zürich

glass body

(2011)
Play audio sample from 'glass body'

tape, stereo

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.

zone de construct

(2009)

tape, stereo

7’28

WP
26.03.2010
Festival "Spring in Havana", Cuba

Solo + Electroacoustic

Amorphose 2

(2012)
Play audio sample from 'Amorphose 2'

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)
Play audio sample from 'Smoke'

Accordion and live elektronics

12’50

WP

Andrea Kiefer, Accordion

Karin Wetzel, live electronics

15.12.2012, Kunstraum Walcheturm, Zurich

Solo

Amorphose

(2011)

guitar


WP

Eva Beneke – guitar

06.08.2011, Literary Arts Center Beyond Baroque, Los Angeles, CA

Schattensaite

(2007/2008)

cello


WP

Niklas Seidl – cello

22.05.2009, HMT Leipzig

Inflammation

(2005/2006)
Play audio sample from 'Inflammation'

cello

11'24

WP

Niklas Seidl – Cello

19.06.2006, Stadtbibliothek Leipzig

Variations on Harangvirág by György Kurtág

(2004/2005)
Play audio sample from 'Variations on Harangvirág by György Kurtág'

piano


WP

Alicia Torrea Goioechea – piano

15.05.2008, HMT Leipzig

Duo

One On One

(2014)
Play audio sample from 'One On One'

Cello and Guitar

10:00

WP

duo leise dröhnung

Niklas Seidl, Cello

Steffen Ahrens, Guitar

31.07.2014, Quartier am Hafen, Köln

2 Gesänge

(2004)
Play audio sample from '2 Gesänge'

based on poems by Salvatore Quasimodo

for soprano and flute

7’18

WP

Ji-Young Hong, Soprano

Martina Fenzel, Flute

17.05.2004, HMT Leipzig

ensemble

Swarming

(2014)
Play audio sample from 'Swarming'

recorder ensemble

6:00

WP

Prime Recorder Ensemble, conductor: Antonio Politano

 

27.05.2014, BKA Theater, Berlin "Unerhörte Musik

Chronismen

(2013)
Play audio sample from 'Chronismen'

for large ensemble

8'00

published by babelscores

WP

Ensemble Modern, conductor: Johannes Kalitzke

24.11.2013, hr-Sendesaal, Frankfurt

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

published by babelscores

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.

Chaînon

(2006)
Play audio sample from 'Chaînon'

for flute, bass clarinet, accordion, piano, percussion, 2 violins, viola, cello

16’35

WP

Ensemble Avantgarde, conductor: Steffen Schleiermacher

11.10.2006, Gewandhaus Leipzig

Schlagweiten

(2005/2006)
Play audio sample from 'Schlagweiten' Play audio sample from 'Schlagweiten'

for percussion quartet

18’00

WP

Leipziger Schlagzeugensemble

07.10.2005, Leipzig

orchestra

Höhlungen

(2007/2008)
Play audio sample from 'Höhlungen'

for orchestra

14’00

published by babelscores

WP

HSO Leipzig, conductor: Barbara Rucha

15.01.2010, HMT Leipzig

theatre

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