The exploding Head Kafka’s work is permeated with moments of extreme anxiety. Moments in which adrenaline surges and blood pressure rises. Veins that appear to constrict pump vast quantities of blood, the pressure of which could make one believe that one’s head is about to explode. Many of the great author’s works contain such situations, …
Category archives: Kammermusik
Rhapsodie II – Gesang des Phoenix
Rhapsody II – Song of the Phoenix The work continues the violin tradition established by Maurice Ravel’s concert rhapsody ‘Tzigane’. This rousing piece is also a good alternative to frequently played well-known works for competitions.
Der Zaubergarten – Concertino for violin and chamber orchestra
Sorcery, magic, myths, legends – these are the major themes of Baroque opera, expressing the longing of that era to indulge in the fantastical through the illusion of opera. This unmistakable parallel to our present day forms the basis for a profound compositional and thematic exploration of the themes and gestures of early music, which …
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Portrait – for solo violin
For this short, elegiac piece, each player is invited to imagine a portrait of their choice. Musically inspired by contrasting works such as ‘Portrait for Tracy’ by jazz bassist Jaco Pastorius and Johann Sebastian Bach’s Sarabande in D minor, it is programmed as a compulsory piece at the 2014 PACEM IN TERRIS Bayreuth International Music …
Rumor Images
for cello and piano The chamber music “Rumor Images” is part of the music of the opera “Rumor”
lautlos – for cello solo
‘Lautlos’ (Silent) was composed in the context of Christian Jost’s choral opera Angst – 5 Pforten (Fear – 5 Gates), a journey into the depths of fear. Like the opera, ‘Lautlos’ is based on a mood of uncertainty, searching, even resignation on the one hand, and desperate, rebellious outbursts on the other. The work’s linguistic …
lautlos II – for cello solo
Like its predecessor lautlos I, my work lautlos II for solo cello follows the idea of an inner dialogue between the player and their instrument. The player must take care to seamlessly blend the fragmentary elements together so that a flowing “speech” is communicated. Nevertheless, the individual sound and rhythm sculptures should be given enough …