25
Jan 26
KASSANDRA in Bielefeld
Yeah, yeah, Bielefeld doesn’t exist. And Bielefeld does exist after all. I can promise you: I’m here. And I’ll be here for the next four weeks.
On February 21, we will premiere KASSANDRA by Christa Wolf. With Christina Huckle as Kassandra, directed by Nadja Loschky, who is also the artistic director here, in the adaptation by Yvonne Gebauer and Nadja.
And of course – yes – the music is conceived by me. But not only by me, rather above all by my composition partner Stefan Behrisch.
And in fact, the whole thing is a team effort anyway: Mathis Meyer on cello, improvising through the evening, connecting everything; Jörg Hüttner in the composition team, responsible for synthesis and electronic sound spaces; and the whole thing is held together by our musical director Anne Hinrichsen, who conducts it.
This is not classical drama and not classical music theatre. It is a dramatic monologue with orchestra and choir – exactly the kind of format that is actually not foreseen in the logic of theatre institutions.
When Nadja asked me whether I wanted to do this, I had serious reservations. Not because I didn’t want to – on the contrary. I’ve been dreaming for years of truly bringing drama and music theatre together. But I also know how differently these two fields function, organisationally, structurally, mentally.
And then I came here for the first preliminary meetings and found a theatre that has not been voted Theatre of the Year more than once without reason. I understood very quickly why.
People here actually want to make something. They don’t complain that there is no bound score, only a loose-leaf collection. Everyone knows that this is risky. And everyone is willing to take exactly that risk.
Rehearsals have been running for two weeks. I was in Munich for a few days in between. And from tomorrow on, the final sprint begins: four weeks until the premiere.
I’m curious.
Theatre Bielefeld website with further performance dates:
https://www.buo-bielefeld.de/theater/veranstaltung/kassandra
12
Dec 25
Cabaret Premiere
Today, the new production of Cabaret, directed by Claus Guth at the Residenztheater Munich, premieres. I was responsible for the sound compositions — the sound in the moments between the songs, connecting the individual numbers without becoming a song itself.
More here
14
Nov 25
15
Oct 25
CORPUS LIVE on 27 October 2025
The Future of Music Licensing in the Age of AI – Explained in One Evening
If you’ve heard of CORPUS before, probably not much. And what you’ve heard might have sounded complex. It is.
We’re building a complete ecosystem – one that connects musicians, authors, and creators with users, industrial partners, and AI developers. All within a shared data and value cycle.
The diagram below shows exactly that: how music becomes data, how data turns into value – and how that value flows back to the people who make it possible.
On October 27, we’ll present the full system at CORPUS LIVE at Munich’s Schwere Reiter. With a keynote by Matthias Hornschuh, music by Tetra Brass and the Paranormal String Quartet, and insights into the Contribution Platform.
Free entry, please register here: https://rausgegangen.de/en/events/corpuslive-0/
Full programm: https://crps.ai/live
17
Jun 25
CORPUS is here
CORPUS is here — a new project for anyone who believes that the future of music should be shaped with artists, not against them.
I’ve spent my life exploring how new technologies can open artistic spaces — from opera and sound installations to immersive environments. Now, with AI changing the rules of creative work, the question becomes urgent: how do we make sure this shift benefits musicians?
CORPUS is our answer. We’re building the first high-quality, ethical, and legally compliant music corpus for AI training — created by real musicians who are fairly rewarded for their work. No scraping. No exploitation. Just a system where artists are at the center of innovation.
AI can’t replace creativity — but it can unlock new forms of expression. With the right foundation, we can build tools that expand what’s possible, not just automate what already exists.
CORPUS is not just a dataset. It’s a movement. A way to make sure that AI in music reflects real artistic values — and remains rooted in the human practice of sound.
18
Jul 24
Artist Taryn Simon: The Art Of Mourning
Louisiana Channel released the documentary about Taryn Simon and her sound installation “Start Again The Lament” which I helped her realize in the Cisternerne Kopenhagen.
4
Jul 24
Today’s Premiere in Aix-en-Provence: SAMSON
Today, the opera “Samson” by and after Jean-Philippe Rameau (1683-1764) celebrates its world premiere at the Theatre L’Archêveché in Aix-en-Provence.
Info: https://festival-aix.com/en/programmation/opera/samson
or
20
Jun 24
Be Safe With Us
At the end of June, Gesche Piening will be premiering a new theater work in Zirka, the center for interdisciplinary spatial and cultural work in the Kreativquartier, where she will set up a theater course of six panic rooms in which the audience can take a one-hour tour in a risk-free environment to confront their fears, examine their perceptions and become aware of their multi-layered need for protection, stability and security.
I have contributed a bit of music to this, including the one heard in the trailer.
World premiere
Friday, June 28, 2024 from 3.30 pm
Saturday, June 29, 2024 from 3.30 pm
at ZIRKA (Dachauer Str. 110 c, 80636 Munich)
The course starts every 10 minutes from 3.30 pm and lasts 60 minutes from start to finish.
Tickets are available here:
t.rausgegangen.de/tickets/shop/hochx-theater-und-live-art=sei+uns+sicher
3
Apr 24
Samson Sound Design Recordings
A wonderfully productive night recording session with the fantastic percussionist Mathias Lachenmayr in his pop up studio. We recorded unusual sounds from percussion instruments, for example played with super ball, for the upcoming „Samson“ music theatre piece conceived and directed by Claus Guth to be premiered 5th of July at the Festival Aix-en-Provence, composed and conducted by Raphael Pichon.
12
Mar 24
Another day in the office
Hello from the huge Copenhagen cistern, where I am currently realizing Taryn Simon’s large-scale sound installation “Start Again The Lament“.
