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The major part of my (musical) work has by nature an ephemeral character, for it is made for the stage. Music for dance, music theatre, theatre, opera, ... Or all things in between - what's in a name.

John Cage said: "One way to write music: study Duchamp." I guess I did. Looking at existing art and recontextualising it, is a major part of my thinking. Everything is a readymade. And by changing its environment/context we potentially discover new layers of meaning, not intended by the original artist. Or as Schoenberg stated: "Music is not a sound, but a concept." And let's not forget: composing (from the Latin componere) means "putting together". 

The time concept of trees is far from ours. They are the silent philosophers surrounding us. Trees communicate and help each other. Their keywords are symbioses (instead of competition), entanglement and support. More and more, scientists start to understand the mind-blowing world of trees, discovering the Wood Wide Webs (Merlin Sheldrake) they create. There's a lot to learn here. Paraphrasing Alexander von Humboldt: "not a simple linear direction, but a net-like intertwined web." (Kosmos. Entwurf einer physischen Weltbeschreibung, 1845).

Collected here:  a few excerpts from pieces for the stage.

C(H)ŒURS 2022, 2022

Berg, 2018

nicht schlafen, 2016

tauberbach, 2014

C(H)ŒURS, 2012

Gardenia, 2010

Visite Guidée Mâlique, 2008-9

Contrapunctus per augmentationem et diminutionem, 2008

Le Reveil Tam-Tam, 2004

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