© 1996-2021 Mathis Nitschke. All rights reserved.
sound designer, composer, director
Music theatre

JETZT

'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.

30. November 2012
Music projects

anthropogenically disturbed growing field

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....

24. September 2010
NEWSLETTER

Music for the stage

Little Man, what now?

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.

25. April 2009
Film music

The Possibility of an Island

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.

9. August 2008
InteractiveSound design/mixing

„Resident Evil“ – Kyma as monster vocoder

Supervising Sound Editor Nigel Holland asked me to use Kyma Sound Processing to help create the sound of the Licker monster from Paul Anderson's movie "Resident Evil". Nigel took an English vocal artist, Pete, as his basis, who first drank two litres of full-cream milk and then roared it into a monster-like arrangement of buckets and pipes. We developed a Dual-MonoVocoder with two times 50 bands, which was fed at the input with different loops of animal sounds and other diagonal tones.

14. February 2002