There is no alternative. The public debate is under the seal of fatalism. There is no other objective than that of universal restrictions. Happy Happy brings together, in a sort of cabinet of wonders, impressions, quotations and scenes to become the plea for autonomy and co-humanity. The opera, written for a singer and a chorus, explores, in so doing, the connection between individual and crowd. It turns out that the person's singing gets lost in the hot-tempered aspiration of the multitude at the celebration. And life goes on. Happy Happy. (Commissioned by the National Opera Montpellier)
Live sound design for concerts of the Musica Viva series of the Symphonieorchester des Bayerischen Rundfunk, e.g. on 6 February 2014 with Helmut Lachenmann and Peter Eötvös in the Herkulessaal of the Residenz Munich.
'JETZT' (commissioned by the National Opera Montpellier) tries to tell the history of thought in a poetological way. Human being in relation to nature and his surrounding is in constant change. Man is re-inventing himself again and again by inventing new descriptions of himself and his surrounding. By those descriptions we can observe the changes in the past human history. It's the transformation of language use through human history which is the subject matter of this opera. Seven epochs are chosen. Short scenes about death interconnect those seven epochs.
For this composition by Wolfgang von Schweinitz I developed ring modulators in the old transformer diode circuit as it was used in the 1950s. This circuit sounds fundamentally different than the simple digital multiplication of two signals, as it is used today in digital live electronics: full of sonorous beauty.
With over 20 productions Elfride Jelineks Winterreise (Winter Journey) belongs to the most performed theatre plays of the recent years. For the world premiere in 2011 at the Münchner Kammerspiele by director Johan Simons I created the live sound design and took care of many guest perfomances.
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....
The central element of Annette Kurz's stage design was a four meter high music cabinet consisting of self-playing instruments: an orchestrion. I was responsible for the technical conception of the musical inner workings together with the implementation. I composed all the music for this award-winning evening by Luk Perceval at the Münchner Kammerspiele for this live music machine.
Andreas Kriegenburg's stage design (Münchner Kammerspiele) works with two layers: a wall just a few metres behind the front edge of the stage creates a claustrophobically close-fitting apron, into which an initially upright revolving stage is built. When this is lowered, a further space opens to the rear. The staging was completely microphoned and amplified so that the actors could strike a non-declamatory note. I translated the perspectives of the stage design into different sound levels and perspectives.
Michel Houellebecq filmed his novel "The Possibility of an Island" himself. In several years of collaboration, even before the actual shooting, I composed the film music for orchestra, choir, soloists and band.
Around the turn of the millennium I was a freelance sound designer for feature films by (among others) Dominik Graf, Jo Baier and Paul Anderson, working at the sound post facilities by ARRI and Bavaria Film. Watch some examples here.