2017

Hoket dwd

2017 – for baritone saxophone & piano – 9'
→ page from score
Following Guillaume de Machaut's "Hoquetus David" the same gregorian melo­dy is adjusted to two modes and again from the resulting melodies two rhythmic patterns are derived. These serve as colores and taleae in the sense of medie­val isorhythm. The tonal and rhythmic patterns then are combined repeatedly always in a new way and distributed between the two instruments. Those throw the voices to each other in hoqetus-style, emphasising percussivity.

fuga nona rivi carpta

2017 – for guitar quartet – ca. 8'
→ page from score
Instrument-study, which "overwrites" the fugue in E from the second part of Bach's Well-tempered Clavier. Theme and other motives have been traslated into sounds, which explore the acoustic possibilities of the guitar. There is flexibility in the elaboration of collective cooperation and soloistic freedom. Herein Bach's fugue is – according to the different meanings of "carpta" – plucked and/or picked to pieces.



2016

Taqsīm ٣

2016 – for cello – 6'
→ page from score
Virtuoso solo piece which plays with the contrast between strong increase and decrease of density of events. After consisting of a crowded abundance of va­rious sounds, of which the isolated perception is difficult, the changes in sound are limited to a minimum so that one has to refocus to evaluate the relevance of each change. In the centre of the piece there is a point from which all events are reflected exactly in reverse.

fraktal

2016 – for soprano, flute, cello & piano – 8'
→ page from score
The heterogeneous components of this piece, like in a kaleidoscope, join re­peatedly without ever really forming a consistent entity. The basic structure is built upon the transcription of a porn movie with Sasha Grey, into which frag­ments from a love letter by Frida Kahlo are inserted in a formulaic manner. The piece ends with a paraphrase upon a song by John Dowland with a text from Virginia Woolf's suicide note.

Intracerto

2016 – for no soloist & small ensemble – 8' – P: 08.05.2016
→ page from score → publisher
This piece is about how a solo part effects and affects its accompaniment. The ensemble supports, imitates, contrasts or grows out of the hypothetical solo part, which – without ever actually having existed – works within the entire piece. First the accompaniment merges completely with it, then emancipates itself and subordinates itself again, but at strife in itself.

Eskapade

2016 – electronic composition – 4'30''-9'
→ video
Irregular, continuous impulses form the constant element in this piece, upon which four instances of sound join together and separate again within a struc­ture determined by chance. Each one of the instances of sound itself too is subjected to processes of chance for some aspects, which makes their current shape of sound unpredictable.

Thema und VVaarriiaattiioonneenn

2016 – for contrabassoon & live-electronics – 13'
→ screenshot
Dialogue between contrabassoon and live-electronics, in which both act as emancipated, autonomous partners. Their sounds are brought closer to the sounds of the other respectively and they influence each other constantly du­ring the course of the piece. Simultaneously each one varies the theme in his own way, with the result that the variations interlace.


2015

dógma

2015 – for vocal sextet – 12'
→ page from score
Syllables were isolated from the scriptures of the world religions in their original languages and the pitch for each syllable was calculated based on the resona­ting frequencies of the vowels. Inspired by the rapt expression of liturgical chant, this piece draws all its musical parameters from the text, which, by its new form, gains a different kind of meaning.

Taqsīm ٢

2015 – for bassoon – 10'
→ page from score
Instrument-study, that sounds out sonic possibilities on the basis of the harmo­nic spectrum of sub-contra-F. It therefore connects aspects orientated by tra­ditional Arabic music and by sounds from Spectral music. The piece observes subtlest structures in sound from different angles and explores horizontal as well as vertical events in sound.

Taqsīm ١

2015 – for electric guitar – 9'
→ page from score
Virtuoso instrument-study, that sounds out the possibilities of the instrument in an expressive way. The basis for this is provided by a modulation on traditional Arabic scales, during which the piece plays freely with hints at the oud, the Ara­bic lute, and at rock music, in particular by Jimi Hendrix.


2014

97 | 79

2014 – for string quartet – 6'
→ page from score
Rhythm is the only fixed information in this score, indications of pitch are only relative and after all subsidiary, because the piece is orientated to noise rather than defined tone. All numeric values base on prime numbers: rhythmical values, the number of bars, of phrases, of sections, of pages, even the tempo indication. Only exception is the instrumentation.

Penumbra

2014 – for violin or viola, alto saxophone & piano – 8-12'
→ page from score
Penumbra is acoustical "semi-shade", a diffuse sonic event, where shapes of sound become blurred. Sounds meld with the result that their sources get undistinguishable. This happens in a way that they are brought together up to indistinguishability or overlapped complementary so that they cannot be told apart anymore.

"And now for something completely different"

2014 – for piano – 10'
→ page from score
This is a piece of deconstructivist character, which prevents any feeling of con­sistence and connection. It sounds out different playing techniques for the piano and queries them immediately. By means of its flexible and incoherent structure it juxtaposes various styles and techniques in opposition and evokes an im­pression of instability.

Liebe

2014 – for vocal sextet & piano – 9'
→ page from score
The word "love" (German: "Liebe") is the connecting element within this piece; it consists completely of quotations, which set the word to music. Those quota­tions were isolated and recomposed. Thereby a heterogeneous connection of the most diverse music emerges and the confrontation of the different settings gives the piece a theatrical character.

Does it communicate anything? Must it?

2014 – for flexible setting – flexible duration – P: 23.05.2014
→ video → page from score → publisher
These questions by John Cage are to be asked for every music anew. Music is communication and therefor organically alive. It lives within the moment and this always-being-different is made absolute in this piece. It provides enormous freedom for the player(s), by which he/they should encounter the composer in communication at eye level.

TrioB

2014 – for clarinet, piano & drums – 7' – P: 22.02.2014
→ video → page from score → publisher
Study on the roles of different instrumental functions within an ensemble. Melo­dy-, harmony- and rhythm-instrument play the melody-, harmony- and rhythm-part consecutively, all of which feed on elements from the blues. Only in the last movement every instrument fulfills the role, which it is assigned to traditionally.



2013

2013/2014 – chamber opera – 50' – P: 07.07.2014
→ trailer → website
Multidisciplinary opera-project, where each one of the protagonists is confron­ted with his own dire fate. The language is unintelligible, because it is formed by the singers and speakers every time anew. In this way access is lifted from the level of "understanding" onto the level of "experiencing", which is also suppor­ted by the music.

Mrph II

2013 – for 2 flutes – 6-9' – P: 25.04.2013
→ video → page from score → publisher
The title derives from the word (to) morph and is an onomatopoeia for the ex­pression of grunting or sighing. The idea behind this piece is the transition bet­ween noise and sound on the one hand and different sound sources on the other. The boundaries of sounds should blur as much as possible and the current sound source at each time should be disguised.

Mrph I

2013 – for soprano & flute – 6-9' – P: 25.04.2013
→ video → page from score → publisher
The title derives from the word (to) morph and is an onomatopoeia for the ex­pression of grunting or sighing. The idea behind this piece is the transition bet­ween noise and sound. It is a portrait, built from quotations from interviews. The dramaturgy within this piece is embodied by the players by shifting between in­teraction and merger into one character.

"... gleichsam, um die entflohene Zeit wieder zurückzu­spulen"

2013 – for orchestra – ca. 9' – P: 30.05.2013
→ video → page from score → publisher
Montage-piece, which uses as source of material three orchestral pieces, which were never performed. Its charm lies in particular in the very heterogeneous connection of fragments of very diverse stylistics. The variety is a result of the distance of time between the three original pieces and the connection within this piece gives its sound a whole new quality.


2012

[aš-Šām]

2012 – for string quartet & electronics – 12'
→ page from score
Improvisatory piece with a basic structure built upon the cartography of three walks through the old city of Damascus. The environment is shaped by the electronics, where Arabic poems about Damascus were processed. The players react according to their own experiencing on "outward" impressions and encounters amongst each other.

Somnambul

2012 – for ensemble – 4' – P: 06.07.2012
→ video → page from score → publisher
Like a sleepwalker, who performs remembered actions, which lose their pur­pose by taking them out of their usual context and thereby become independent in a new way, this piece uses small cells as material. It wanders through these cells lead by a number symbolism, which derives from the name Somnambul, and in this way new connections emerge.

Suite

2012 – for toy piano – 5' – P: 24.04.2012
→ video → page from score → publisher
This is an homage to John Cage, on occasion of his 20th day of death and his 100th day of birth. But only in the choice of the instrument; the piece is com­pletely independent in its construction and language. The five short movements follow a selection of rhythmical patterns and melodic material, both derived from traditional Arabic music.

HABE

2012 – for ensemble – 4'
→ video → page from score → publisher
B A Bb E (German: H A B E) are the four notes, which – also in this order – form the exclusive material of this piece therefor its possession (German: Habe = possession). First the material is taken as collective and used in larger groups, which are then broken up to smaller parts. This creates an interaction of individual and collective within the ensemble.


2011

Sonate décadente 68

2011 – for viola & piano – 10'
→ page from score
Vertical-harmonic and horizontal-melodic aspects in this sonata are separately divided into the two movements. In both cases the rhythmical structure is based on a ratio between tone – based on values for intervals – and rest, which always amounts to a total sum of 68. Additionally each movement is subject to a decay from sound to noise.

Peinture pour chordes

2011 – for string orchestra – 10'
→ page from score
Inspired by a painting by Pierre Soulages this piece is like a canvas, upon which all colours (in analogy between the spectra of light and sound, not accor­ding to synesthesia) are applied in layers. At various spots different colours are scratched off. The music is static and it gains its appeal from subtle changes in the quality of sounds.

3 songs on poems by Helena Kaschel

2011 – for soprano & piano – 7' – P: 28.05.2013
→ video → page from score → publisher
The three songs are joined like a triptych. Their separate topics on being, loss and void form a consistent story in this context. A spirit experiences itself, loses itself and finally dissolves into endless void. Merciless eternity swallows every­thing up – makes everything equal. "Who would want immortality?"

Mephisto-Fanfare

2011 – electronic composition – 2' – P: 24.04.2012
→ video
Mephistopheles' speech, introducing himself to Faust, is put to music in an ex­perimental way. A trumpet-fanfare is subject to various electronic alienations. These are each connected to groups of word of similar meaning and thereby, in a way, trace the content of the monologue.

Totentanz

2011 – for ensemble – 4'
→ video → page from score → publisher
This Dance of Death is an individual involvement with the idea of nearness of Death. Elements of threat or chaos in the music, however, are not perceived as intimidating, but comprehended as relieving and propulsive. Dance of Death is also a kind of experiment: only dancing with Death one feels how near of far it actually is.

Scrabble

2011 – for marimba – 2'
→ video → page from score → publisher
Putting elements together like tiles is characteristic for this piece. It has a cer­tain tonal source material however its development is almost playful. The spare indication of expression and the instruction con molto espressione should en­courage every interpret to "play" the piece his own way.

RAVAGE ÉLÉGANT

2011 – for 2 pianos – 7' – P: 21.11.2013
→ video → page from score → publisher
Ravage élégant (elegant devastation) is both an homage hidden in a play of words and basic principle: a formal and expressive model is alienated from its original meaning, by small neat alterations in the sound material. The result is a completely independent work. Devastation, in this case, is of fertile nature.

Political music

2011 – for ensemble – 2'
→ video → page from score → publisher → review
Art is an end in itself. This piece declares this credo with sarcasm, the only way to avoid a paradox in this case. Therefore this piece adopts in its first part a fan­fare-type tone that is influenced by the bitonality of Darius Milhaud and it strikes in its second part a sweet note that is inspired by Jazz and early Hollywood-sounds.

La maison

2011 – chanson
→ video



2010

Arabeske

2010 – for 2 percussionists – 4' – P: 23.03.2011
→ video → page from score → publisher
This piece is solely based on a relation between impulse and sound, without instruments of definite pitch. Many rhythmical elements, used in this piece, de­rive from patterns of traditional Arabic music. Complementary and shifting struc­tures evolve on the basis of the continuous but aperiodic run of the bass drums.

Großer Mittag

2010 – for piano – 2' – P: 12.04.2011
→ audio → page from score → publisher
The great noontide is the moment of overcoming man and the appearance of the Übermensch in Nietzsche's Zarathustra. This event needs calm, subtle and unemotional music. Inspired by Scriabin's preludes this piece wants to say: "This is my morning, my day beginneth: arise now, arise, thou great noontide!"

Choco

2010 – dance-music-project
→ video

3 Expressionen

2010 – for string sextet – 6'
→ page from score
Studies on expression, which focus on sounding out various qualities and inten­sities of expression, without classical theme or traditional form. The individual movements are in a rather loose context but are particularly connected by their increased extend of tension, the shadings of which are of special importance for the interpretation.

La lune

2010 – for orchestra – 8' – P: 04.07.2010
→ video → page from score → publisher
"The adoration of the moon" stands for a strong affinity that almost resembles a prayer. The intensity increases within the repetitions and is almost threatened to be drowned by longing, until the former formula of worship transforms into bliss­ful exaltation with the "entrance of a goddess".


2009

Lewin – musical portrait

2009 – for bass-clarinet & orchestra – 4' – P: 20.03.2010
→ video → page from score → publisher
"Lewin" is a protagonist from Lew Tolstoy's "Anna Karenina". He is a contem­plator, a doubter, a man full of passion – in its archaic meaning. The bass-clari­net is the ideal instrument for a musical portrait of this character; with its mur­muring deep and its yelling high register and with its expression that reaches from soft to sharp.

Barcelona

2009 – for guitar & orchestra – 5' – P: 21.11.2009
→ video → page from score

Notturna sul Garda

2009 – for bassoon & orchestra – 4' – P: 19.09.2009
→ audio → page from score

Une promenade à Paris

2009 – for piano – 5' – P: 11.02.2011
→ audio → page from score → publisher
The view from Sacre Coeur over the city on a misty day. A walk through Mont­martre. Meal in the Quartier Latin. A visit at the Louvre. The fireworks at the Eiffel Tower on July 14th. A picnic in Jardin Luxembourg. Promenade on Pere Lachaise. The Seine. Paris. This is what this piece talks about with a calm and dreamy language.

Sancho Pansa – musical portrait

2009 – for 11 instruments – 3' – P: 19.09.2009
→ audio → page from score → publisher
Sancho Pansa is the knave of the legendary Don Quixote. Beneath his foolish, lazy and clumsy appearance also valour and cleverness show through. He stays the same in every entrance, but is still somehow a different person. The theme repeated several times throughout this piece is modelled on this nature.

Prélude pour maman

2009 – for cello – 2'
→ audio → page from score → publisher → review
Naturally this piece, a birthday present for my mother, was inspired by the suites by Johann Sebastian Bach (how could it possibly be different with a piece for solo-cello). The term prélude does not mean that I wanted to write my own suite, it is however based on the romantic understanding of the prelude-form.

"Man stirbt nicht mitten im fünften Akt."

2009 – orchestral fantasy on Peer Gynt – 4' – P: 14.02.2009
→ video → page from score
In this piece themes as departure, unrest or alleged idyll from Ibsen's drama are translated into music. Like in the play ironic-romantic moments within the course of the plot are a key topic in this piece. This irony culminates in the un­expected happy end, which in this piece has its analogy in the c-major-ending.


2008

Valse on the Jazz-theme "Hm!"

2008 – for orchestra & Jazz-trio – 5' – P: 29.11.2008
→ video → page from score

Adagio misterioso

2008 – for orchestra – 3' – P: 21.11.2009
→ video → page from score → publisher
I call this piece a sound-image, because of my intention to create an image in a musical way, rather than to copy one. The title indicates a mood that this piece inspired by late romantic and impressionist influences aims to create. This piece should be "impressionist" in another understanding. It does not reproduce but generate the impression.

Allegro

2008 – for brass quintet – 2' – P: 27.09.2008
→ audio → page from score → publisher
The musical language of this piece – my very first one – is an indicator of a former abandon, which is a special feature of its expression and its syntax. The lack of awareness of form and harmonical structure during the construction of the three parts of this piece leads to a lightheartedness, which I would not have been able to reach consciously.

Tasty

2008 – Jazz quintet
→ audio



Stage/vocal

dógma

2015 – for vocal sextet – 12'
→ page from score
Syllables were isolated from the scriptures of the world religions in their original languages and the pitch for each syllable was calculated based on the resona­ting frequencies of the vowels. Inspired by the rapt expression of liturgical chant, this piece draws all its musical parameters from the text, which, by its new form, gains a different kind of meaning.

Liebe

2014 – for vocal sextet & piano – 9'
→ page from score
The word "love" (German: "Liebe") is the connecting element within this piece; it consists completely of quotations, which set the word to music. Those quota­tions were isolated and recomposed. Thereby a heterogeneous connection of the most diverse music emerges and the confrontation of the different settings gives the piece a theatrical character.

2013/2014 – chamber opera – 50' – P: 07.07.2014
→ treiler → website
Multidisciplinary opera-project, where each one of the protagonists is confron­ted with his own dire fate. The language is unintelligible, because it is formed by the singers and speakers every time anew. In this way access is lifted from the level of "understanding" onto the level of "experiencing", which is also suppor­ted by the music.

Mrph I

2013 – for soprano & flute – 6-9' – P: 25.04.2013
→ video → page from score → publisher
The title derives from the word (to) morph and is an onomatopoeia for the ex­pression of grunting or sighing. The idea behind this piece is the transition bet­ween noise and sound. It is a portrait, built from quotations from interviews. The dramaturgy within this piece is embodied by the players by shifting between in­teraction and merger into one character.

3 songs on poems by Helena Kaschel

2011 – for soprano & piano – 7' – P: 28.05.2013
→ video → page from score → publisher
The three songs are joined like a triptych. Their separate topics on being, loss and void form a consistent story in this context. A spirit experiences itself, loses itself and finally dissolves into endless void. Merciless eternity swallows every­thing up – makes everything equal. "Who would want immortality?"



Solo

Taqsīm ٣

2016 – for cello – 6'
→ page from score
Virtuoso solo piece which plays with the contrast between strong increase and decrease of density of events. After consisting of a crowded abundance of va­rious sounds, of which the isolated perception is difficult, the changes in sound are limited to a minimum so that one has to refocus to evaluate the relevance of each change. In the centre of the piece there is a point from which all events are reflected exactly in reverse.

Taqsīm ٢

2015 – for bassoon – 10'
→ page from score
Instrument-study, that sounds out sonic possibilities on the basis of the harmo­nic spectrum of sub-contra-F. It therefore connects aspects orientated by tra­ditional Arabic music and by sounds from Spectral music. The piece observes subtlest structures in sound from different angles and explores horizontal as well as vertical events in sound.

Taqsīm ١

2015 – for electric guitar – 9'
→ page from score
Virtuoso instrument-study, that sounds out the possibilities of the instrument in an expressive way. The basis for this is provided by a modulation on traditional Arabic scales, during which the piece plays freely with hints at the oud, the Ara­bic lute, and at rock music, in particular by Jimi Hendrix.

"And now for something completely different"

2014 – for piano – 10'
→ page from score
This is a piece of deconstructivist character, which prevents any feeling of con­sistence and connection. It sounds out different playing techniques for the piano and queries them immediately. By means of its flexible and incoherent structure it juxtaposes various styles and techniques in opposition and evokes an im­pression of instability.

Does it communicate anything? Must it?

2014 – for flexible setting – flexible duration – P: 23.05.2014
→ video → page from score → publisher
These questions by John Cage are to be asked for every music anew. Music is communication and therefor organically alive. It lives within the moment and this always-being-different is made absolute in this piece. It provides enormous freedom for the player(s), by which he/they should encounter the composer in communication at eye level.

Suite

2012 – for toy piano – 5' – P: 24.04.2012
→ video → page from score → publisher
This is an homage to John Cage, on occasion of his 20th day of death and his 100th day of birth. But only in the choice of the instrument; the piece is com­pletely independent in its construction and language. The five short movements follow a selection of rhythmical patterns and melodic material, both derived from traditional Arabic music.

Scrabble

2011 – for marimba – 2'
→ video → page from score → publisher
Putting elements together like tiles is characteristic for this piece. It has a cer­tain tonal source material however its development is almost playful. The spare indication of expression and the instruction con molto espressione should en­courage every interpret to "play" the piece his own way.

Großer Mittag

2010 – for piano – 2' – P: 12.04.2011
→ audio → page from score → publisher
The great noontide is the moment of overcoming man and the appearance of the Übermensch in Nietzsche's Zarathustra. This event needs calm, subtle and unemotional music. Inspired by Scriabin's preludes this piece wants to say: "This is my morning, my day beginneth: arise now, arise, thou great noontide!"

Une promenade à Paris

2009 – for piano – 5' – P: 11.02.2011
→ audio → page from score → publisher
The view from Sacre Coeur over the city on a misty day. A walk through Mont­martre. Meal in the Quartier Latin. A visit at the Louvre. The fireworks at the Eiffel Tower on July 14th. A picnic in Jardin Luxembourg. Promenade on Pere Lachaise. The Seine. Paris. This is what this piece talks about with a calm and dreamy language.

Prélude pour maman

2009 – for cello – 2'
→ audio → page from score → publisher → review
Naturally this piece, a birthday present for my mother, was inspired by the suites by Johann Sebastian Bach (how could it possibly be different with a piece for solo-cello). The term prélude does not mean that I wanted to write my own suite, it is however based on the romantic understanding of the prelude-form.



Ensemble small (5 players or less)

Hoket dwd

2017 – for baritone saxophone & piano – 9'
→ page from score
Following Guillaume de Machaut's "Hoquetus David" the same gregorian melo­dy is adjusted to two modes and again from the resulting melodies two rhythmic patterns are derived. These serve as colores and taleae in the sense of medie­val isorhythm. The tonal and rhythmic patterns then are combined repeatedly always in a new way and distributed between the two instruments. Those throw the voices to each other in hoqetus-style, emphasising percussivity.

fuga nona rivi carpta

2017 – for guitar quartet – ca. 8'
→ page from score
Instrument-study, which "overwrites" the fugue in E from the second part of Bach's Well-tempered Clavier. Theme and other motives have been traslated into sounds, which explore the acoustic possibilities of the guitar. There is flexibility in the elaboration of collective cooperation and soloistic freedom. Herein Bach's fugue is – according to the different meanings of "carpta" – plucked and/or picked to pieces.

fraktal

2016 – for soprano, flute, cello & piano – 8'
→ page from score
The heterogeneous components of this piece, like in a kaleidoscope, join re­peatedly without ever really forming a consistent entity. The basic structure is built upon the transcription of a porn movie with Sasha Grey, into which frag­ments from a love letter by Frida Kahlo are inserted in a formulaic manner. The piece ends with a paraphrase upon a song by John Dowland with a text from Virginia Woolf's suicide note.

97 | 79

2014 – for string quartet – 6'
→ page from score
Rhythm is the only fixed information in this score, indications of pitch are only relative and after all subsidiary, because the piece is orientated to noise rather than defined tone. All numeric values base on prime numbers: rhythmical values, the number of bars, of phrases, of sections, of pages, even the tempo indication. Only exception is the instrumentation.

Penumbra

2014 – for violin or viola, alto saxophone & piano – 8-12'
→ page from score
Penumbra is acoustical "semi-shade", a diffuse sonic event, where shapes of sound become blurred. Sounds meld with the result that their sources get undistinguishable. This happens in a way that they are brought together up to indistinguishability or overlapped complementary so that they cannot be told apart anymore.

Does it communicate anything? Must it?

2014 – for flexible setting – flexible duration – P: 23.05.2014
→ video → page from score → publisher
These questions by John Cage are to be asked for every music anew. Music is communication and therefor organically alive. It lives within the moment and this always-being-different is made absolute in this piece. It provides enormous freedom for the player(s), by which he/they should encounter the composer in communication at eye level.

TrioB

2014 – for clarinet, piano & drums – 7' – P: 22.02.2014
→ video → page from score → publisher
Study on the roles of different instrumental functions within an ensemble. Melo­dy-, harmony- and rhythm-instrument play the melody-, harmony- and rhythm-part consecutively, all of which feed on elements from the blues. Only in the last movement every instrument fulfills the role, which it is assigned to traditionally.

Mrph II

2013 – for 2 flutes – 6-9' – P: 25.04.2013
→ video → page from score → publisher
The title derives from the word (to) morph and is an onomatopoeia for the ex­pression of grunting or sighing. The idea behind this piece is the transition bet­ween noise and sound on the one hand and different sound sources on the other. The boundaries of sounds should blur as much as possible and the current sound source at each time should be disguised.

[aš-Šām]

2012 – for string quartet & electronics – 12'
→ page from score
Improvisatory piece with a basic structure built upon the cartography of three walks through the old city of Damascus. The environment is shaped by the electronics, where Arabic poems about Damascus were processed. The players react according to their own experiencing on "outward" impressions and encounters amongst each other.

Sonate décadente 68

2011 – for viola & piano – 10'
→ page from score
Vertical-harmonic and horizontal-melodic aspects in this sonata are separately divided into the two movements. In both cases the rhythmical structure is based on a ratio between tone – based on values for intervals – and rest, which always amounts to a total sum of 68. Additionally each movement is subject to a decay from sound to noise.

RAVAGE ÉLÉGANT

2011 – for 2 pianos – 7' – P: 21.11.2013
→ video → page from score → publisher
Ravage élégant (elegant devastation) is both an homage hidden in a play of words and basic principle: a formal and expressive model is alienated from its original meaning, by small neat alterations in the sound material. The result is a completely independent work. Devastation, in this case, is of fertile nature.

Arabeske

2010 – for 2 percussionists – 4' – P: 23.03.2011
→ video → page from score → publisher
This piece is solely based on a relation between impulse and sound, without instruments of definite pitch. Many rhythmical elements, used in this piece, de­rive from patterns of traditional Arabic music. Complementary and shifting struc­tures evolve on the basis of the continuous but aperiodic run of the bass drums.

Allegro

2008 – for brass quintet – 2' – P: 27.09.2008
→ audio → page from score → publisher
The musical language of this piece – my very first one – is an indicator of a former abandon, which is a special feature of its expression and its syntax. The lack of awareness of form and harmonical structure during the construction of the three parts of this piece leads to a lightheartedness, which I would not have been able to reach consciously.



Ensemble large (more than 5 players)

Intracerto

2016 – for no soloist & small ensemble – 8' – P: 08.05.2016
→ page from score → publisher
This piece is about how a solo part effects and affects its accompaniment. The ensemble supports, imitates, contrasts or grows out of the hypothetical solo part, which – without ever actually having existed – works within the entire piece. First the accompaniment merges completely with it, then emancipates itself and subordinates itself again, but at strife in itself.

Does it communicate anything? Must it?

2014 – for flexible setting – flexible duration – P: 23.05.2014
→ video → page from score → publisher
These questions by John Cage are to be asked for every music anew. Music is communication and therefor organically alive. It lives within the moment and this always-being-different is made absolute in this piece. It provides enormous freedom for the player(s), by which he/they should encounter the composer in communication at eye level.

Somnambul

2012 – for ensemble – 4' – P: 06.07.2012
→ video → page from score → publisher
Like a sleepwalker, who performs remembered actions, which lose their pur­pose by taking them out of their usual context and thereby become independent in a new way, this piece uses small cells as material. It wanders through these cells lead by a number symbolism, which derives from the name Somnambul, and in this way new connections emerge.

HABE

2012 – for ensemble – 4'
→ video → page from score → publisher
B A Bb E (German: H A B E) are the four notes, which – also in this order – form the exclusive material of this piece therefor its possession (German: Habe = possession). First the material is taken as collective and used in larger groups, which are then broken up to smaller parts. This creates an interaction of individual and collective within the ensemble.

Totentanz

2011 – for ensemble – 4'
→ video → page from score → publisher
This Dance of Death is an individual involvement with the idea of nearness of Death. Elements of threat or chaos in the music, however, are not perceived as intimidating, but comprehended as relieving and propulsive. Dance of Death is also a kind of experiment: only dancing with Death one feels how near of far it actually is.

Political music

2011 – for ensemble – 2'
→ video → page from score → publisher → review
Art is an end in itself. This piece declares this credo with sarcasm, the only way to avoid a paradox in this case. Therefore this piece adopts in its first part a fan­fare-type tone that is influenced by the bitonality of Darius Milhaud and it strikes in its second part a sweet note that is inspired by Jazz and early Hollywood-sounds.

3 Expressionen

2010 – for string sextet – 6'
→ page from score
Studies on expression, which focus on sounding out various qualities and inten­sities of expression, without classical theme or traditional form. The individual movements are in a rather loose context but are particularly connected by their increased extend of tension, the shadings of which are of special importance for the interpretation.

Sancho Pansa – musical portrait

2009 – for 11 instruments – 3' – P: 19.09.2009
→ audio → page from score → publisher
Sancho Pansa is the knave of the legendary Don Quixote. Beneath his foolish, lazy and clumsy appearance also valour and cleverness show through. He stays the same in every entrance, but is still somehow a different person. The theme repeated several times throughout this piece is modelled on this nature.



Orchestra

"... gleichsam, um die entflohene Zeit wieder zurückzu­spulen"

2013 – for orchestra – ca. 9' – P: 30.05.2013
→ video → page from score → publisher
Montage-piece, which uses as source of material three orchestral pieces, which were never performed. Its charm lies in particular in the very heterogeneous connection of fragments of very diverse stylistics. The variety is a result of the distance of time between the three original pieces and the connection within this piece gives its sound a whole new quality.

Peinture pour chordes

2011 – for string orchestra – 10'
→ page from score
Inspired by a painting by Pierre Soulages this piece is like a canvas, upon which all colours (in analogy between the spectra of light and sound, not accor­ding to synesthesia) are applied in layers. At various spots different colours are scratched off. The music is static and it gains its appeal from subtle changes in the quality of sounds.

La lune

2010 – for orchestra – 8' – P: 04.07.2010
→ video → page from score → publisher
"The adoration of the moon" stands for a strong affinity that almost resembles a prayer. The intensity increases within the repetitions and is almost threatened to be drowned by longing, until the former formula of worship transforms into bliss­ful exaltation with the "entrance of a goddess".

Does it communicate anything? Must it?

2014 – for flexible setting – flexible duration – P: 23.05.2014
→ video → page from score → publisher
These questions by John Cage are to be asked for every music anew. Music is communication and therefor organically alive. It lives within the moment and this always-being-different is made absolute in this piece. It provides enormous freedom for the player(s), by which he/they should encounter the composer in communication at eye level.

Lewin – musical portrait

2009 – for bass-clarinet & orchestra – 4' – P: 20.03.2010
→ video → page from score → publisher
"Lewin" is a protagonist from Lew Tolstoy's "Anna Karenina". He is a contem­plator, a doubter, a man full of passion – in its archaic meaning. The bass-clari­net is the ideal instrument for a musical portrait of this character; with its mur­muring deep and its yelling high register and with its expression that reaches from soft to sharp.

"Man stirbt nicht mitten im fünften Akt."

2009 – orchestral fantasy on Peer Gynt – 4' – P: 14.02.2009
→ video → page from score
In this piece themes as departure, unrest or alleged idyll from Ibsen's drama are translated into music. Like in the play ironic-romantic moments within the course of the plot are a key topic in this piece. This irony culminates in the un­expected happy end, which in this piece has its analogy in the c-major-ending.

Adagio misterioso

2008 – for orchestra – 3' – P: 21.11.2009
→ video → page from score → publisher
I call this piece a sound-image, because of my intention to create an image in a musical way, rather than to copy one. The title indicates a mood that this piece inspired by late romantic and impressionist influences aims to create. This piece should be "impressionist" in another understanding. It does not reproduce but generate the impression.

Barcelona

2009 – for guitar & orchestra – 5' – P: 21.11.2009
→ video → page from score

Notturna sul Garda

2009 – for bassoon & orchestra – 4' – P: 19.09.2009
→ audio → page from score

Valse on the Jazz-theme "Hm!"

2008 – for orchestra & Jazz-trio – 5' – P: 29.11.2008
→ video → page from score



Electronics

Eskapade

2016 – electronic composition – 4'30''-9'
→ video
Irregular, continuous impulses form the constant element in this piece, upon which four instances of sound join together and separate again within a struc­ture determined by chance. Each one of the instances of sound itself too is subjected to processes of chance for some aspects, which makes their current shape of sound unpredictable.

Thema und VVaarriiaattiioonneenn

2016 – for contrabassoon & live-electronics – 13'
→ screenshot
Dialogue between contrabassoon and live-electronics, in which both act as emancipated, autonomous partners. Their sounds are brought closer to the sounds of the other respectively and they influence each other constantly du­ring the course of the piece. Simultaneously each one varies the theme in his own way, with the result that the variations interlace.

2013/2014 – chamber opera – 50' – P: 07.07.2014
→ trailer → website
Multidisciplinary opera-project, where each one of the protagonists is confron­ted with his own dire fate. The language is unintelligible, because it is formed by the singers and speakers every time anew. In this way access is lifted from the level of "understanding" onto the level of "experiencing", which is also suppor­ted by the music.

[aš-Šām]

2012 – for string quartet & electronics – 12'
→ page from score
Improvisatory piece with a basic structure built upon the cartography of three walks through the old city of Damascus. The environment is shaped by the electronics, where Arabic poems about Damascus were processed. The players react according to their own experiencing on "outward" impressions and encounters amongst each other.

Advanced mediocrity

2014 – video

Dictators die

2012 – dance-music-project
→ video

Mephisto-Fanfare

2011 – electronic composition – 2' – P: 24.04.2012
→ video
Mephistopheles' speech, introducing himself to Faust, is put to music in an ex­perimental way. A trumpet-fanfare is subject to various electronic alienations. These are each connected to groups of word of similar meaning and thereby, in a way, trace the content of the monologue.

born 1988 in Peine, raised in Recklinghausen
trumpet player in various bands, Jazz-formations and Youth Orchestras
from 2007 self taught studies in music theory and harmony and first classical compositions
performances at the Ruhrfestspiele Recklinghausen and in the context of the european capital of culture RUHR 2010; performances in Italy, France and the Netherlands
composition training by Rüdiger Blömer
bachelor-studies composition in Arnhem (NL) with Dolf de Kinkelder and in Zwolle (NL) with Alex Manassen
performances amongst others by the New Philharmonic Orchestra of Westphalia, Het Gelders Orkest and orkest 'de ereprijs'
since 2011 his entire work is being published by Verlag Dohr Köln
in 2014 premiere of his multidisciplinary opera-project
since 2014 Simon Al-Odeh lives and works in Cologne

Simon Al-Odeh (*1988 in Peine) was raised in Recklinghausen, where he learned to play the trumpet, before he taught himself music theory and began writing his first musical pieces. Early on his music was performed in Germany – at the Ruhrfestspiele Recklinghausen and in the context of the european capital of culture RUHR 2010 –, in Italy and France. Simon Al-Odeh received composition training by Rüdiger Blömer and studied with Dolf de Kinkelder in Arnhem and with Alex Manassen in Zwolle, in the Netherlands. His music has been performed amongst others by the New Philharmonic Orchestra of Westphalia, Het Gelders Orkest and orkest 'de ereprijs'.
Since 2011 his entire work is being published by Verlag Dohr Köln.
In 2014 his multidisciplinary opera-project premiered.
Simon Al-Odeh lives and works in Cologne.

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notes


info[at]simonal-odeh.de


Links:

Verlag Dohr Köln WIND MUSIC Edition orkest 'de ereprijs'
Rüdiger Blömer
- composer
Dolf de Kinkelder
- composer
Aljosja Buijs
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Lars Ponath
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Martin Herrmann
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