Experience the famous orchestral suite "The Planets" by Gustav Holst, played by the Munich Philharmonic Orchestra, as an interactive audio walk in a park near you. All you need is a smartphone and headphones.
The just intonation differs clearly from the usual equal temperament in its sound but also in its practicability. On this accordion a third C-E sounds clear and free from beating, while the third B-D, for example, sounds totally sloped and crooked. This offers not only the possibility of playing particularly pure sounds, but also, in a particularly charming way, to play wonderfully iridescently "wrong". This "wrong sounding" is not the result of a randomly detuned accordion, but is determined in an audibly conscious and concrete way.
As part of the RE:ECM exhibition at Storage by Hyundai Card in Seoul, Korea, my piece “Small Places” presents the entire music catalogue ever produced by ECM Records as a sound installation. It is inspired by the game of ping-pong which can be regarded as a metaphor for many aspects in music production: the interaction between producer and musician(s), the give and take between the musicians themselves, but also the active interplay between the listener and the music.
Created in collaboration with digital artist Lars Ullrich, "Flow" lets the visitor experience the motion inside the music. By creating an abstract landscape from the music, the visitor can explore its fluid dynamics and be part of its organic behavior: The listener is literally drawn into the music. "Flow" is part of the RE:ECM exhibition at Storage by Hyundai Card, Seoul, 2019.
London Label Nonclassical included my composition 'Kabelsteg' in their first release of the series Outside the lines, a fascinating compilation of interesting positions in the young classical music.
For the album of Stoner Rock Band Colour Haze "To the highest gods we know" I created wind and string arrangements which we recorded, among others, with the Modern String Quartett, fully analog on 24 track 2" tape.
The starting point of my research for the Linde Sound Signet was the aeolian harp: mostly harp-like music sculptures built as larger installations with strings that are not played by a musician's fingers but vibrated by the wind. Equipped with a compressed air pistol, I recorded a variety of air played harp glissandi.
As hardly any other musical style Tango has the ability to incoporate and assimilate new influences. My idea for this composition was an inter-cultural encounter between classical, Jazz and Tango musicians, to sound the borders between those styles and eventually to pass them. To repeat the process of birth of the Argentinian Tango, which developed as a completely new style from the inter-play between the European and Russian emigrants in the harbour of Buenos Aires....
Seven red motor sirenes are hanging at a steel rope of 11 meters length. They get short impulses of power which make them produce a short, cat-like sound. From time to time they run on low constant power which makes them produce a soft humming sound.