COMPOSITIONS
ORCHESTRAL WORKS
1st Symphony “KRAFTWERK” (2009)
Sofia Philharmonic Orchestra, CD release 2012 “Kraftwerk”; OehmsClassics
2nd Symphony (2016)
RTV Symphony Orchestra Moscow
CD release 2017 “The Moscow Recording”; TYXArt
Vier Sinfonische Fabeln (2019)
for large orchestra and speaker | Lyrics: Helen Brecht; commissioned by Mozarteum University Orchestra
Käfer töten (2018/ 2021)
songs and performances for chamber orchestra, boy soprano and actor | Lyrics: Alexander M. Wagner
Premiere 2018 – Solitär Mozarteum, Salzburg
STAGE MUSIC
Opera “ADMIN“ (2024)
Libretto: Johanna Kapelari
OPERETTA “Café Ringelspiel” (2018)
Libretto and Co-composer: Lukas Metzenbauer
CHORAL WORKS
Octocorallia (2023/24)
for mixed choir, Japanese bell chimes and light; Text: Helen Brecht
Andacht (2021)
for bass-baritone, mixed choir and chest organ | Lyrics: Ave Maria (liturg.); Charles Baudelaire, “Les Fleurs du Mal”
Die Sonne sinkt (2014)
for six voices | Lyrics: Friedrich Nietzsche, “Dionysus Dithyrambus VI”
Es weint die Nacht (2012)
for mixed choir | Lyrics: Georg Trakl | Premiere November 2014 – Passau; Heinrich Schütz Ensemble
VOCAL / INSTRUMENTAL WORKS
Humanoskop (2024) for string quartet
Rosendorn (2023) for bass-baritone, speaker and salterio; premiere: June 2023, Salzburg Commissioned by Summer Academy Mozarteum
Käfer töten (2023) for voice, flute, clarinet, violin, cello and piano; premiere: October 2022, Künstlerhaus Munich; Graham F. Valentine
Rhapsotüde (2021) for sextett: fl, cl, vl, vla, vlc, piano; premiere: April 2021, London; Explore Ensemble
Nänie für das Menschentier (2021) for bass-baritone, lyre und Loop Station Text: Johann Wolfgang von Goethe „Eins und Alles“
Arien ohne Vorhang (2019/2020) 8 experimental Chansons for Chansonette, melodica, Loop Station & prepared piano; Text: Helen Brecht – premiere: 2020, Salzburg
Triptychon (2017) for soprano, tenor, bass, tambourine, castagnet, rototom & gong. Text: Alexander M. Wagner; premiere: November 2017; Opera of Bari, Italy
Minimal Requiem (2020) for sextett: fl, tenor sax, bcl, vl, vla, vlc; premiere: April 2021, London
Die Konkubinen Süleymans I. (2019) for 8 pianists on 3 pianos, Janitschar-box, triangel and headset Based on: Ludwig v. Beethoven; Türkischer Marsch premiere: October 2021, Beethovenfest Bonn
Café Ringelspiel (2020) Suite for violin and piano; Waltz, Tango & Polkas from the operetta
Chaconne (2017) for solo violin
Couplets „Der Jahrmarkt-King“ (2021) for two Harmonikas and voice; Co-Composer: Lukas Metzenbauer; Text: Franzobel
Das kleine Horn (2017) for mezzo-soprano, horn & piano; premiere: 2017, Munich
Reger-Variation for clarinet and string quartet (2015) Carmina-Quartett & Wolfgang Meyer, clarinet; premiere: 2016, Max-Reger-Halle Weiden
Fünf barocke Stücke (2016) for oboe d’amore – premiere: 2016, Salzburg
Auftakt-Variationen (2016) for ob, vla und vlc – premiere: 2016, Salzburg
PIANO WORKS
Miniaturen über Mohn (2020)
for piano solo | Premiere October 2020 – Anif
Traum einer Maschine (2018)
for two pianists, megaphone and feed | Premiere April 2018 – Baden-Baden
Rhapsotüde (2017)
for piano solo | Premiere September 2018 – Beethovenfest Bonn
Traumgewächse (2017)
comprovisation for piano solo
INFERNO (2014)
for piano solo | Premiere 2016 – Munich, Herkulessaal of the Residence | CD release 2014 TYXArt.
Les-Adieux-Burleske (2013)
for piano solo | Commissioned work on the occasion of the farewell of Intendant Ilona Schmiel | Premiere 2013 – Deutsche Welle, Bonn
Prélude explosif (2017)
for piano solo | Arrangement: S. Rachmaninoff, “Prelude op. 23/2”
Diatonische Fantasie (2012)
arrangement for two pianos | J.S. Bach, “Chromatic Fantasy and Fugue BWV 903” | CD release 2012 “Kraftwerk”; OehmsClassics
Toccata (2009)
for piano solo | Premiere 2010 – Friedrichshafen
Graphic Works:
Mohn auf Wolken (2020) Comic Art
Pi für Violino (2019)
Die Nymphe einer Großstadt (2019)
Ball der Monaden (2020)
Fünf DNA_Preludes (2019)
Audio-Graphic
Mohn auf Wolken
Comic ART 2020
“He dares to step into the air – and it carries. How can one describe this music which captivates from the first moment? There is something compelling about his music. Not structurally compelling or dogged, but compellingly following the strange paths of deeply felt poetry.”
www.kultur-port.de, Hans-Jürgen Fink
