for violin and piano
Duration: 10' 30"
for violoncello solo and live electronics (ambisonic setup, min. 4 loud speakers)
"Kanon" is based on the overtone series of the cello strings C - G - D - A and works with each string's natural flageolets. The cello signal is picked up by the microphone and turned into a canon using an algorithm created expecially for this piece.
Duration: 7' 30"
for ensemble (22.214.171.124/126.96.36.199/2perc/hp.pf/188.8.131.52)
"TON" is actually a passacaglia within which the bass can not initially be heard ... E - Eb - D - C# are the key notes in this piece, modulating within their partial tones throughout the different voices while the progression is defined by the upward trend of the voices (partial tones). When looking at the intervals' overtone structure up to the 16th partial tone and then putting the overtones into an order from low to high frequencies, a series evolves which is very much like an overtone series itself - though having smaller intervals towards the heighs. From the 12th partial onwards the key notes modulate chromatically to the low: E - Eb - D - C#.
While the high voices continue to go higher, ever searching for the next tone pitch, the bass (being the fundament) stays within the realm of the chromatic world.
Within the world of micro tones, the spectrum glides upwards like a filter independently of the 12 tone system, but remains connected to its origin. An investigation of the phenomenon "sound". Something continuously changing and at the same time persisting because of these changes.
Laozi, Tao The King, 11:
Therefore, what has a (positive) existence serves for profitable adaptation, and what has not that for (actual) usefulness.
Duration: 10' 00"
for 2 celli, double bass and harp
Duration: 9' 00"
for horn in F and live electronics (ambisonic setup)
Duration: 12' 00"
Duration: 6' 20"
for e-guitar, baritone saxophone, percussion and live electronics
Duration: 10' 00"