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exerpts from [iɱˈfɛrno] (aus: MAPPA) collective lovemusic  25th Novembre 2022 Arsenal de Metz

2022 [iɱˈfɛrno] (from: MAPPA) Contrapasso I – V (to: Wladimir Putin / Sergej Lawrow)

based on Dante Alighieri / Sandro Botticelli

for bass flute + bass clarinet + violoncello + e-guitar + audioplay + SignMimoChoreography

duration: ca. 12


world premiere Novembere 2022 Klangwerkstatt – festival for new music Berlin

collective lovemusic Strasbourg


Hagen Klennert

Magere Hein in het gezelschap van twee Tinsel Stallions (Godfather Death accompanied by two Lamettastallions

GraphicPhotoCollage 2022

From 1307 to his death 1321 AD exiled Dante Alighieri wrote La Divina Commedia (The Devine Comedy) in three parts – Inferno (Hell), Purgatorio (Purgatory) and Paradiso (Paradise) – and laid with this outstanding epic verse narrative a foundation of the Italian literary language and poetry. 1480 Sandro Botticelli drew, under the title Mappa dell’Inferno, the Abyss of Hell as Dante had described. The cyclical compositional-visual work [iɱˈfɛrno] (from: MAPPA) Contrapasso I – V  (to: Wladimir Putin / Sergej Lawrow) is orientated especially towards Boticelli’s drawing as well as the principle of divine justice which Dante has described in Inferno: Contrapasso. It implies that all sins committed in life lead on to „condign punishment“. Formally abstracting the complex numerical proportions, numerological intentions and mathematischen calculations, which underlie Dante’s Inferno, the score is composed of five parts (Contrapasso I – V) and nine main layers – nine circles of hell. According to Dante the seventh circle of hell is reserved for brigands, perpetrators of violence, tyrants, murderers…

In a transformative process similar to Gerhard Richter’s, who used documentary photos (for example of the death camp Auschwitz-Birkenau, the Nuremberg Rally 1933 or the isolation lock-ups of Red Army Faction’s members in Stuttgart-Stammheim) as templates for his paintings, the audiovisual composition [iɱˈfɛrno] (from: MAPPA) Contrapasso I – V  (to: Wladimir Putin / Sergej Lawrow) is based on speeches of the Russian foreign minister and the Russian president, which they delivered in late February 2022 at the beginning of their aggressive war against Ukraine. These „vocal biomarkers“ were itemised in declaration, syntax, grammar and content by use of speech analysis software like Beyond Verbal, VoiceSense and Invoca in order to transform the DNA and neuropsychologic-emotional analysis of their socioeconomic language’s context and, in the sequel of this „emotion monitoring“, being disassembled, assembled and repainted during the composition process. So the „underlying emotions“ and decoded-encoded „vocal intonations“ behind the ideology of both Russian leading politicians were set as SonicImages into an infernal visual LinguisticLandscape. Next to the instrumental parts of the composition, two electroacoustic sequences were realized and also two segments, in which exclusively sign choreography, performed by the four instrumentalists, is center stage.

Since 1960 American linguist William Clarence Stokoe proved in his studies at the Gallaudet University in Washington D.C., that sign languages in general are full-fledged languages, and initiated the beginning of a modern research of sign language. Stokoe elaborated the written notation system for sign language, based on Latin alphabet. Linking to the tradition of Stokoe-based systems, the academical orientated Hamburg Sign Language Notation System (HamNoSys) was originated in 1985, a phonetic transcription system for gestures, which currently is widely disseminated. Already in the 1970s the classic dancer Valerie Sutton delivered the Sutton Movement Writing, a system for the description of all kinds of visual forms of movement – a five-line-system similar to the known musical-compositional notations on which simultaneous or individual hieroglyphs / signs are figured in varying intervals and altitudes. A specifically refined mimography is used in Contrapasso I (kɔnˌtɛkst) and Contrapasso V (kɔnˌtɛkst) as well as in Contrapasso II/3 and Contrapasso IV/8. A special form of SignMimoChoreography is completely executed in Contrapasso III and Contrapasso IV/8, based on complementary to the score produced videoclips, which the four musicians have to study and realize in the visual sequences of the composition.


2022 [iɱˈfɛrno] (from: MAPPA) II Contrapasso VI – VIII (to: Sergej Schoigu / Sergej Naryschkin)

based on Dante Alighieri / Sandro Botticelli

for three bass clarinets + SignMimoChoreografie + obligatory audioplay

duration: ca. 8


world premiere May 2023 clarinet-festival Netzeband

Sabina Matthus-Bébié + Petra Stump-Linshalm + Heinz-Peter Linshalm

2022 For F (in memoriam)

for guitar + organ

duration: ca. 8'


Uworld premiere Septembre 2022 Marien Church Kassel

Francesco Palmieri

2022 House Burning Down II (April 29th 1992)

stringquartet No. 4

duration: ca. 12'


world premiere March 2022 Wigmore Hall London

Ensemble Apartment House London

2022 House Burning Down I (August 11th 1965)

stringquartet No. 3

duration: ca. 12'


world premiere June 2022 Morgner society Chemnitz


2021 κάθαρσις / KATHARSIS I – III

for violin + multichannel audioplay + SignMimoChoreography

audio production: Torsten Ottersberg / GOGH s.m.p.

duration: 10'


wp November 2021 Societaetstheater Dresden

Florian Mayer + Katja Erfurth

2020 AURORA (aus: Nachtschatten)

for saxophone quartett + theremin

duration: ca. 12'


world premiere 2021 Academy of The Arts Berlin

Adumá Quartett + Susanne Kohnen

2020 was by far one of the strangest, surreal years. It began for me in Los Angeles with sunrises like I had never experienced before. Every morning I woke up early in the Lion Feuchtwanger Room at Villa Aurora and saw the sun rising over the distant outskirts of the city through the small, old window to my left, with the Pacific Ocean to my right and the Santa Monica Pier Ferris wheel somewhere in between. Nowhere else have I experienced such a clash - not to say clash - of light and darkness, beauty and dirt, empathy and indifference, devaluation, faith and destruction as in the City of Angels. Not a day went by on my bike rides through Topanga Canyon and along Santa Monica Beach to Marina del Rey without people waving and smiling at me. and shouting "goodjob!, nice hair! nice bicycle!" from the curb, which is the only remaining shelter for many others. The old Bundestag bicycle with three gears, un unconfortable saddle and only poorly

functioning brakes was my companion and saw with me the timid smile of the angel of Paul Klee and Walter Benjamin's story in the face of man-made progress and the piled-up ruins of its disasters.

In 2013, parallel to my Angelus Novus cycle, I composed the Seven Songs for SUNRISE on Friedrich Wilhelm Murnau's groundbreaking Hollywood silent film classic Aurora / Sunrise. Song of two humans, which was the first film ever to win three Oscars in 1927. A few years earlier, I wrote the orchestral GOYA cycle, also in connection with Lion Feuchtwanger's novel of the same name. I received the Arnold Schönberg Prize for the GOYA II memoratorium, which was premiered in the Berlin Philharmonie by the Deutsches Symphonieorchester under Ingo Metzmacher and the Rundfunkchor Berlin. Like Feuchtwanger, Schönberg found exile in LA, where I met his son Ronald and his wife Barbara, daughter of the Viennese exile composer Erich Zeisl, in January. And a little later the music critic and composer Walter Arlen, to whom I dedicated AURORA (from: Nachtschatten) for his 100th birthday. Like Walter Arlen, the theremin also turned 100 this year; its inventor, Lew Termen, called himself Leon Theremin as a Russian in LA. His invention - the only electronic instrument that can be played without touching it and produces sounds through arm and hand movements - seems magical with its fragile, ghostly songs. But it actually sounds like a SCREAM deep on the rocky Pacific floor.
In 1989, I wrote my very first orchestral work with the palindrome title KOMA on and about the so-called German reunification period: a long-term musical photograph of social and human upheavals. Composed before the fall of the Berlin Wall in East Berlin, where I had not been able to study as a multiple conscientious objector, it was premiered in West Berlin in 1990. I received my first composition prize for it, named after Hanns Eisler, who had played the organ in exile at the Villa Aurora. Eisler had been a teacher of my master teacher Georg Katzer at the Berlin Academy of Arts. Katzer in turn composed the oratorical scenes Medea in Corinth to a libretto by Christa Wolf. A few years earlier, she had written her novel Stadt der Engel (City of Angels) about the fall of the Berlin Wall in the Villa Aurora.
Whether I was composing in the Lion Feuchtwanger or Franz Werfel Room or in the so-called garage, I always had Topanga Canyon behind me and the Pacific Ocean with the four offshore islands in front of me. This was the land and sea of the Tongva. They were the first to colonize the entire Los Angeles Basin, an area of around 4000 square miles, reclaiming it and creating their magical places. These native americans experienced the same sunrises as the countless people they call homeless people here today. And like me, from January to March 2020 with a view from Villa Aurora in the hills of Pacific Palisades on the edge of the Topanga. This sunny paradise is now itself a fragile "homeless dance floor", just like the mostly concreted-over, built-up magical places of the indigenous people. In this place, the poorest as well as the richest are in exile.
Almost every day of my stay at Villa Aurora, I saw the green EXIT sign covered in white tape in the salon of the villa. Three small strips of tape transformed the word into EXIL.
AURORA (from: Nachtschatten) is a work about farewells, displacement, exile. About the resulting LOSHEIT. About fatherland, mother tongue. The erasure. Tearing out. Erasing. It is about the magical places of the Tongva and of East and West Berlin, about German history and destinies. About what it is like to write historical novels in German, persecuted and homeless in exile in a huge villa in a foreign country with a different language. Or, like Schönberg, composing the Survivor of Warsaw and finding a spiritual EXIT from the shadows of this sunny place.
In February of my stay at Villa Aurora, I worked on two poetic audio-video documentaries about the serious riots and uprisings in the L.A. neighborhoods of Watts (1965) and South Central (1992). It was only after my return to Germany, when I completed these audiovisual works as well as AURORA (from: Nachtschatten) in my workhouse in Märkische Schweiz - five minutes by bike from Bertolt Brecht's last place of residence and work after his return from exile in L.A. - that the nationwide I can't breathe and Black Lives Matter protests ignited. Again. Figures crawled out of the night shadows, out of the cracks, holes, fissures in the stone plaster and half-timbering of Villa Aurora and told me about all this and more during my nights. Goya's spirits and those of the Tongva. The native people firmly believed that everything in the world is filled with life, the bushes, the rocks, the sun, the water, ourselves and also our places. They believed in the ideas that flow into all living things and in the messages that radiate back. They had the knowledge of these existential connections. AURORA (from: Nachtschatten) - sound images of basic conflicts and loyalties, songs of the human factor and the basic questions of human coexistence. Light and shadow of the rising and setting sun in this non-place.Helmut Oehring, Oktober 2020

2020 masḫara 

for a guitarist/voc + string trio/voc

duration: ca. 10'


world premiere 2020 Potsdam

Andreas Willers + Biliana Voutchkova + Nikolaus Schlierf + Cosima Gerhardt

2020 A Portrait 

for violin + dancer

Dauer: ca. 12'


world premiere 2020 Villa Wigman Dresden

Florian Mayer + Katja Erfurth

2020 glitch / AMOK 

for two accordion soloists 

duration: ca. 12'


world premiere 2020 Klangwerkstatt Berlin / Festival for New Music

Susanne Stock + Felix Kroll

2019 aufRUHE (HolzFisch fehlt)

for violin + piano

in memoriam Georg Katzer

duration: ca. 5'


world premiere 2019 Randfestspiele Zeprnick, Berlin

Duo Tocar

2019 JULI

for voice + viola d'amore

song after Erich Kästner

duration: ca. 5'


world premiere 2019 St. Nikolai Aachen

Berenike Langmaack + Gertrud Schmidt

2017 Der Vogel, weiß

version for voice + conzert guitar + electric guitar + multiinstruments + percussion + trumpet + accordion
based on the poem of same name by Johannes Bobrowski

duration: ca. 5'


world premiere 2015 Festival Wege durchs Land

Dagmar Manzel + Helmut Oehring + Nico van Wersch + Marena Whitcher + Lukas Rutzen + Damir Bacikin + Felix Kroll

version for voice + bass clarinet

world premiere 2017 Christopherus-Kirche Berlin

Sirje Alexandra Viise + Miguel Perez Inesta

version for voice + accordion + preproduced audioplay

world premiere 2019 Komische Oper Berlin

Dagmar Manzel + Felix Kroll


2015/16 Songs of Comfort and Despair (‚I hate!’)

for soprano + alto saxophone + piano + percussion
with texts by William Shakespeare and Helmut Oehring

duration: ca. 30’


world premiere 2016 Opera Kopenhagen

Lore Lixenberg + Trio ZOOM

2015 Come not near
for clarinet/voice + accordion/voice
with texts by William Shakespeare

duration: 13’

world premiere 2015 Intersonanzen. Brandenburg Festival of New Music/ Potsdam Museum

Duo im Goldrausch – Sabine Matthus Bébié + Felix Kroll

version for bass clarinet/voice + accordion/voice

version for bass flute/voice + prepared piano/voice

version for trumpet + accordion/voice

2015 There’s something wrong
duet for soprano + tenor
duration: ca. 5’

world premiere 2015 Schlossmediale Werdenberg

Early Bird Ensemble

2015 EDGEmusic I
for soprano+ tenor + violone + theorbe + cembalo + percussion

duration: ca. 8’

world premiere n.n.

2015 EDGEmusic II
for six voices
duration: ca. 13’

world premiere 2015 Schlossmediale Werdenberg

new vocal.soloists

2015 RAND/innen
for percussion solo + string trio
duration: ca. 18’

world premiere 2015 Schlossmediale Werdenberg

Christian Hartmann + Trio Oriade

2013 SUNRISE . Song for 4
for baritone + trumpet + bass clarinet + trombone
duration: ca. 12’

world premiere 2013 DiMenna Centre for Classical Music New York

Ensemble loadbang

2013 Zwei Lieder
for flute(s) + trumpet
duration: ca. 10’

world premiere 2013 Ankunft: Neue Musik / Hauptbahnhof Berlin

Paul Hübner + Gregor Schulenburg

for bass clarinet (or bass flute) + percussion
duration: ca. 12’

world premiere 2012 carinets festival Netzeband

Theo Nabicht + Alexandre Babel

2010 Für Friedrich (In Erinnerung an)
version for electric guitar + organ
duration: ca. 13’

world premiere 2010 Randspiele Zepernik

Hannes Buder + Thomas Noll

version for guitar + accordion

world premiere  2013 Unerhörte Musik / BKA Theater Berlin

Duo Brilling + Mahnken

2010 Stille.Wind
for three trombones + tuba
duration: ca. 15’

world premiere  2010 musica viva / Herkulessaal München

musicians of the symphonic orchestra of Bavarian broadcast

2010 Melencolia I

based on the copperplate engraving of the same name by Albrecht Duerer and poems by Heinrich Heine
duration: ca. 20’


version for oboe/voice + prepared piano/voice
2010 Musikfestwochen der UdK Berlin

Burkhard Glaetzner + Hansjacob Staemmler
version for bass flute/voice + prepared piano/voice
world premiere 2012 Dampfzentrale Bern

ensemble interface – Bettina Berger + Anna D’Errico

version for percussion/voice + prepared piano/voice
world premiere 2015 Schlossmediale Werdenberg

Jan Schlichte + Heike Gneiting
version for alto saxophone/voice + prepared piano/voice
world premiere 2016 FORUM WALLIS Festival for New Music


version for bassoon/voice+ prepared piano/voice

world premiere 2015 Philharmonic Freiburg Bern

Ensemble Aventure – Wolfgang Rüdiger + Akiko Okabe

version for bass clarinet/voice + accordion/voice

world premiere 2019 Konzertkirche St. Marien Warfleth

Antje Thierbach + Felix Kroll

2010 Reflexe
for piano trio
duration: ca. 13’

world premiere 2010 KlangZeit Münster

Ensemble TIMF

2009 Papelera/Kolportage
for four saxophonists + four percussionists
duration: ca. 16’

world premiere 2009 Festival Via Stellae Santiago de Compostela

S@x21 and drumming

2009 El fauno 1944
for accordion + guitar + double bass
duration: ca. 12’

world premiere 2009 Klangwerkstatt Berlin-Kreuzberg

Susanne Stock + Daniel Göritz + Matthias Bauer

for electric guitar + bass clarinet + violoncello + percussion + piano

duration: ca. 16’

world premiere 2009 Ultima Festival Oslo

Ensemble asamisimasa

2007 WINDEATER (from: ornament & rentention)
version for bass clarinet + akkordion + double bass
duration: ca. 14’

world premiere 2007 Nikodemus Church Berlin

Miguel Perez-Inesta + Susanne Stock + Matthias Bauer

version for bass clarinet + akkordion + percussion

world premiere Berlinische Galerie

Ensemble Klarinette, Akkordeon plus...

version for bariton saxophon + akkordon + violoncello

world premiere  2009 ignm Bern

Ensemble ecco

2007 Phoenix Music
for bass flute + bass clarinet + piano + violin + viola + violoncello 

duration: ca. 9’

world premiere  2007 Gare du Nord Basel

Ensemble Phoenix Basel

2007 SACKS music
for piano trio + bass clarinet + percussion ad. lib. (plus audio-CD + live elektronics)

duration: ca. 13’

world premiere  2007 Teatro Studio Rom 

alter ego & ensemble

2006 LOVE IN (double quartet with Henry)
version for stringquartet + saxophone quartet
duration: ca. 15’

world premiere 2006 deSingel Antwerpen

Danel Streichquartett + Blindman Quartet
version for Englisch horn + horn + baritone saxophon + viola + audio CD ad. lib.

world premiere  2007 Ausstellungszentrum Pyramide

ensemble p i a n o p l u s

2005 Bluemusic
version for percussion ensemble + audio-CD
audioconcept + -production: Torsten Ottersberg/GOGH s.m.p.

duration: ca. 9’

world premiere  2005 Festival Drumming Ulm

Stefan Blum u.a.

2003 GOTTFRIED W. – for the greatest goalkeeper of all times

for tuba + bass clarinet
duration: ca. 11’

 world premiere 2003 SOCCER GLOBUS Berlin

Robyn Hayward + Theo Nabicht

2002 Sex/Looser (aus: Geschenke)
for percussion sextet + audio-CD
audioconception + -production: Torsten Ottersberg/GOGH s.m.p.

duration: 15’

world premiere 2002 Schloss Herrenhausen Hannover

Ensemble S duration

2002 I.SILENCE (from: DearFog/Victom/PowederFinger)
version for bass flute + guitar + percussion (glas harp / vibraphone / marimbaphone)

duration: ca. 18’

world premiere 2002 Neue Musik in der Kirche St- Martin Kassel

Ensemble L’art pour l’art

version for amplified flute + guitar + audio-CD (arrangement by Daniel Göritz)
world premiere 2002 autumn festival Leipzig

Sarah Hornsby + Daniel Göritz

2000 MICH.STILLE. (from: Cruising/Opfer)
for four guitars + CD
audioconception + -production: Torsten Ottersberg/GOGH s.m.p.

duration: ca. 10’

world premiere 2001 Gasteig-Klangaktionen München

Aleph Quartet

1999 STILLE.MACHT. (aus: Cruisen)
for saxophone quartet + CD
audioconception + -production: Torsten Ottersberg/GOGH s.m.p.

duration: ca. 12’

world premiere 2001 Mousonturm Frankfurt a.M.

Blindman Quartet

1998/99 Marie B. (Seven Chambers) – string quartet No. 2

for string quartet + live elektronics
audioconception + -production: Torsten Ottersberg/GOGH s.m.p.

duration: ca. 20’


world premiere 2003 Laurence Batley Theatre Huddersfield

Ensemble Apartment House

for octet (oboe + bass clarinet + bassoon + percussion + piano + violin + violoncello + double bass)

co-composer: Iris ter Schiphorst
Dauer: 15’

world premiere 1998 Saarbrücken

Ensemble Aventure Freiburg

1998 Plath S.
for akkordion + double bass
world premiere 2005 KunstRaum Drochtersen-Hüll

oh-ton-ensemble Oldenburg

1997 Prae-Senz (Ballet Blanc II)
for violin + violoncello + prepared piano / sampler-keyboard
co-composer: Iris ter Schiphorst
duration: 25’

world premiere 1997 Berliner Festwochen / Hebbeltheater Berlin

Ictus Ensemble Brüssel

1997 Silence Moves II
for voice solo + violin + violoncello + e-bass + prepared piano / sampler keyboard + audioplay

co-composer: Iris ter Schiphorst
audioconception + -production: Torsten Ottersberg/GOGH s.m.p.
duration: 20’

world premiere Centro Recherchi Musicali Rom

Ensemble Intrors

1996 ZUENDEL (from: kurz im Müll gestochert)
for flute + oboe + horn + violin + violoncello + prepared piano (audioplay ad. lib.)

duration: 13’

world premiere 2000 Künstlerhof Buch, Berlin

Ensemble Modern Art Berlin

1996 DIENEL (from: kurz im Müll gestochert)

for bassoon + double bass + cembalo (audioplay ad. lib.)

duration: 13’

world premiere 1996 Rathaus concert Berlin

Trio Bassonata


for six percussionists + audioplay
duration: 15’

world premiere 1994 Dresden

Le Percussion de Strasbourg

1994 Leuchter (from: kurz im Müll gestochert)
version for oboe + violoncello + prepared Klavier (audioplay ad. lib.)
duration: 13’

world premiere 1994 Konzerthaus Berlin

Aulos Trio
version for saxophone + violoncello + prepared piano
world premiere 2016 FORUM WALLIS Festival for New Music


for English horn + bassoon + viola + audioplay
duration: 13’

world premiere 1995 Rathaus concert Leipzig

Ensemble Sortisatio

for trumpet + trombone + piano + viola + double bass

duration: 13’

world premiere 1993 states opera Dresden

Ensemble United Berlin

version for guitar + bassoon + percussion
duration: 18’

world premiere 1993 Ballhaus Naunynstraße Berlin

Kammerensemble Neue Musik Berlin
version for guitar + bass clarinet + percussion
version for violoncello + bassoon + percussion

world premiere 1994 Berlin

Kammerensemble Neue Musik Berlin
version for violoncello + bass clarinet + percussion
world premiere 1996 Bremen

Kammerensemble Neue Musik Berlin
version for double bass + tenor saxophone + percussion
version for bass flute + violoncello + percussion

world premiere 2001 Festival rencontre de la création musicale Bordeaux

oh-ton-Ensemble Oldenburg

version for violoncello + tenor saxophone + percussion (vibraphone)
UA 2002 BIS Kulturzentrum Mönchengladbach

oh-ton-Ensemble Oldenburg
version for tenor saxophone + e-bass + percussion
world premiere 2003 Konzerthaus Berlin

Kammerensemble Neue Musik Berlin

version for trumpet + guitar + vibraphone
world premiere 2021 Theater Wrede

oh Ton-Ensemble 

version for double bass duo
duration: 15’

world premiere 1992 Konzerthaus Berlin

Kontrabass-Duo Berlin
version for violine + violoncello
world premiere 1996 Kreuzberger Klangwerkstatt Berlin

Steffen Tast + Ringela Riemke
version for bass flute + violoncello
world premiere 2003 Contemporary Music Festival Huddersfield 

Natalia Pschenitschnikowa + Anton Lucoczewieze

1992 Locked-In
version for guitar + violin + viola + violoncello
duration: 15’

world premiere 1993 Schönberg-Festival Duisburg

Kammerensemble Neue Musik

version for guitar + violin + violoncello + double bass
world premiere 2003 Freiburg

Ensemble Aventure

1991 gestauchte WINKEL
for wind quintet (oboe + bass clarinet +  bassoon + horn + trombone)
duration: 8’

world premiere 1992 Philharmonie Berlin 

attacca Berlin

conductor: Konstantia Gourzi

1990 No. 2 (from: Coma) – Rapid Eye Movement
for clarinet + double bass + percussion
duration: 25’

world premiere 1993 Schloss Herrenhausen Hannover

Kammerensemble Neue Musik Berlin

1989 as always...
for bass tuba + percussion

duration: ca. 13’

world premiere n.n.

1989 No. 3 (from: Coma)
for septet (flute + clarinet + bassoon + double bass + two guitars + percussion)
duration: 15’

world premiere Theater at Palace of Republic Berlin

Kammerensemble Neue Musik Berlin

conductor: Christian Münch

1988/96 No. 1 (from: Coma)
version for two guitars
duration: 16’
world premiere 1988 University of the Arts Berlin

Duo Feldmann

version for guitar + percussion

world premiere 1996 Kleve

Rainbert Evers + Stephan Foleyks

1988 Do you wanna blow job
for saxophone quartet
duration: 12’
world premiere 1996 Konzerthaus Berlin

Berlin Saxophone Quartet

1988 Foreplay and Singing
for mezzo soprano + flute + oboe + guitar + viola + double bass

after words of Franz Joseph Strauß

duration: 9’
world premiere n.n.

1987 Alternativo à quattro fiati di legno

for flute + English horn + bass clarinet + bassoon

duration: 12’
world premiere n.n.

1987 string quartet No. 1
duration: 15’
world premiere 1995 Ballhaus Naunynstraße Berlin

Thürmchen Ensemble Köln

1987 Trio I
3 pieces for 3 flutes
duration: ca. 3’
world premiere 1993 Berlin

Kammerensemble Neue Musik Berlin

1987 Trio II
for violin + guitar +double bass
duration: ca. 3’
world premiere 2002 Weimar

oh-ton-Ensemble Oldenburg

1986 Fragments
for six + eight strings guitars

world premiere 1986 Berlin

Sabine Oehring + Helmut Oehring

1986 Duo III

for six + eight strings guitars

world premiere Brotfabrik Berlin

Sabine Oehring + Helmut Oehring

1985 Duo II

for six + eight strings guitars

world premiere Brotfabrik Berlin

Sabine Oehring + Helmut Oehring

1985 Duo I

for six + eight strings guitars

world premiere Brotfabrik Berlin

Sabine Oehring + Helmut Oehring

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