Genoveva oder Die weiße Hirschkuh (1975)
A Honnoverian drama in four pictures and an interlude
Texts: Julie Schrader
Score: pic.1.1.2.2/2.1.1.1/3perc/hp.pf/2.0.2.2.2;btpt on the stage
Cast:
Wilhelm II, Emperor of Germany and King of Prussia: baritone buffo
Hugestines: bass buffo
Adolphine Plückerjahn: alto
Adelkurt: tenor
Vevchen: soprano
The Angel Hesekiel: coloratura soprano
Duration: 60' 00"

Nocturne (1975)
for violin and piano
Duration: 8' 00"

Konzert (1975)
for 19 instrumentalists
Duration: 13' 00"

Les sanglots longs des violons de l'automne (1975)
for flute, oboe, clarinet, horn and bassoon
After Paul Verlaine.
Duration: 10' 00"

Scherzo und Adagio Patetico (1976)
for orchestra (3(3.pic).3(3.ca).3(3.bcl).3(3.cbn)/4.3.3.1/2perc/str)
Duration: 8' 00"

Zwei Stücke (1976-1977)
for chamber orchestra (2.2.2.2/2.0.0.0/1.1.1.1.1)
Duration: 9' 00"

Variationen über einen Ländler von Schubert (1977-1978)
for wind and string quintet
dedicated to György Ligeti.
Duration: 18' 00"

Passacaglia (1978)
for orchestra (pic.3.3.3.3(3.cbn)/4.3.3.1/perc/str)
Duration: 17' 00"

Erste Symphonie (1978-1980)
for orchestra (pic.3.3.3.3(3.cbn)/4.3.3.1/perc/str)
Duration: 45' 00"

Under Neonlight I (1980-1981)
for chamber orchestra (1.1.1.1/1.1.1.0/field dm/pf/eorg/1.1.1.0.1)
Duration: 14' 00"

Konzert (1980-1981)
for piano and orchestra (3.3.3.3/4.3.3.0/2perc/eorg/str)
Duration: 22' 00"

Under Neonlight II (1980-1983)
for piano
Duration: 36' 00"

Konzert (1983-1984)
for viola and orchestra (2(2.pic).4.2.asx.2/4.3.2.1/2perc/pf/6.0.0.4.4)
Duration: 20' 00"

Lieder und Pavanen (1984-1985)
for soprano or tenor and orchestra (3(3.pic).3.3(3.bcl).3(3.cbn)/4.3.3.1/str)
After fragments from notebooks and loose pages by Franz Kafka.
Duration: 35' 00"

Pavane (1984-1985)
for nine instruments (1.1.1.1/0.0.0.0/pf/1.1.1.1.0)
Duration: 11' 00"

Arioso (1986)
for soprano, tenor, solo horn, four choir groups and orchestra (pic.2.2.ca.2.bcl.2.cbn/4.3.3.1/str)
After a fragment by Franz Kafka.
Duration: 8' 00"

Under Neonlight III (1987)
for piano
Duration: 15' 00"

Quatre Passages (1988)
for orchestra (3.3.3.3/4.2.3.0/2perc/14.12.10.8.6)
Duration: 24' 00"

Konzert (1988-1989)
for horn and orchestra (pic.2.2.2.bcl.2.cbn/2.2.2.1/perc/12.10.8.6.4five stringed)
Duration: 20' 00"

Oktett (1988-1989)
for clarinet, horn, bassoon, 2 violins, viola, violoncello and double bass
Duration: 20' 00"

Die Menschen (1989-1990)
Opera in two acts
After the play bearing the same title by Walter Hasenclever.
Score: 3(3pic).3(3.ca).3(3.bcl).3(2.&3.cbn)/4.2.3.1/4perc/str; onstage ('Bar-Trio'): ebcl, pf, db)
Birth, death, power, suppression, law, murder, fear, loneliness - the existential experiences of the human being is the theme of this opera. The libretto is based on the theatre piece 'Die Menschen' by Walter Hasenclever, whose mnemonical, often single-worded suggestive dialogue fascinates the composer. Müller-Siemens eliminated in his adaptation of the text the redemptive theme intended by Hasenclever and the partly very mystical colouring of the piece in such a way that the libretto became somewhat peculiarly crude. The character of the music develops between the two poles of the text: on the one hand side the atmosphere is of constant, latent or direct force within which things simply happen - unpsychologic, lapidary, drastic, imminent, grotesque, on the other hand side islands, silkiness, quiet parts - weightless plant-like rampant lines circle and combine.

Duration: 2h 00"

Erstes Streichquartett (1989-1990)
Duration: 28' 00"

Tom-a-Bedlam (1990-1991)
for vocal sextet (2SMezTBarB) and chamber orchestra (1(pic).1(ca)1(bcl)1(cbn)/1.0.0.0.0/1.1.1.1.1)
Based on an anonymous poem from the 17th century.
Duration: 27' 00"

Tom-a-Bedlam (1990-1993)
Instrumental version
for ensemble (1(pic).1(ca).1(bcl).ssx.asx.tsx.1(cbn)/1.0.cnt.1.bar.0/2.0.1.1.1)
Duration: 27' 00"

Carillon (1991)
for orchestra (3(3.pic).3(3.ca).3(3.bcl).3(3.cbn)/4.3.3.1/3perc/pf/str)
Duration: 20' 00"

Doppelkonzert (1992)
for violin, viola and orchestra (2(2.pic).2(2.ca).2(2.bcl).2(2.cbn)/2.2.0.0/perc)
Duration: 24' 00"

Sextett (1993)
for flute (piccolo), oboe, clarinet (bass clarinet), violin, viola and violoncello
Duration: 24' 00"

Phoenix 1/2/3 (1993-1995)
for 13 instrumentalists (1.1.1(bcl).1/1.1.1.0/pf/1.1.1.1.1)
Can be performed separately.
Phoenix I (14') (1993)
Phoenix II (16') (1994)
Phoenix III (14') (1995)
Duration: 45' 00"

Maïastra (1995-1996)
for orchestra (3(3.pic).3.3(3.bcl).3/2.2.2.0/12.12[10].8.8.4)
Duration: 15' 00"

Cuts (1996-1997)
for alto saxophone and ensemble (ebcl.bn/hn/perc/pf/1.0.1.1.1)
Duration: 10' 00"

Refuge (1997-1998)
for 11 instrumentalists (1.1.1.1/1.0.0.0/pf/1.1.1.1.1)
Duration: 11' 00"

Bing (1998-2000)
Opera
For two speakers, two sopranos and orchestra (2(2pic).2(2.ca).2(1.ebcl, 2.bcl).2(2.cbn)/2.2.0.0/2perc/2pf tuned a ¼ tone deeper/2.0.2.2.2.2 with H string)
BING (=Ping) is based on the text bearing the same title by Samuel Beckett (in the translation into German by Elmar Tophoven). It describes a singular situation: a naked human is portrayed standing in a one-yard square white cube. The maelstrom of text consisting of a limited number of sentences which are permutatively combined to form ever new superordinate sentences is irregularly punctuated with two words: 'Bing' (mostly connected with the question of a sense, a picture, another person, a way out etc.) and 'fixed', followed by the word 'elsewhere' which refers to an apparent change of location.
I had in mind a quasi-congealed musical theatre distributed over three levels:
- The main figure, who in his/her/its isolation listens to itself as another, is split into two female singers.
- Two speakers, who classify the 'development' from without rather like a concurrent commentary.
- The chamber orchestra as pure 'environment', like the cube with its white walls, where the elusive 'senseless figure' appears and whose room is filled with 'senseless buzzing'.
My music uses a repertoire of forms (e.g. 'breathing', 'oscillation', 'fleeing', 'fumbling', 'congealing', 'sliding', 'klanging', 'meandering', 'stumbling', 'bumping', 'lightning', 'arpeggio', 'pedal', horizontal lines', 'islands' etc.) whose characters vary in detail and appear in the main as ever changing 'aggregate forms'. A recursive process runs in the background which controls the appearance of these forms in the musical room and exhibits similarities to the hopeless-circling character of the Beckettian text. Despite the 'deep-frozen' basic configuration of BING I believe that primal human themes such as loneliness, love and death nevertheless shine through, a quasi-reflection of 'opera'.

Duration: 60' 00"

Light blue, almost white (1998)
for 11 instrumentalists (pic.1.0.ebcl.2.bcl.0/0.0.0.0/pf/1.1.1.1.0)
In memory of Olivier Messiaen.
Duration: 8' 00"

Bedlam Dances (2003)
for flute and percussion
Duration: 14' 00"

Die Aussicht (2003-2004)
8 voices (SSAATTBB) and 13 instruments
Texts: Friedrich Hölderlin
Duration: 11' 00"

the space of a step (2004-2005)
for orchestra (3.3.3.3/4.3.2.1/str)
Duration: 12' 00"

distant traces (2007)
In memory of György Ligeti
for violin, viola and piano
Duration: 9' 00"

lost traces (2007)
for piano quartet
Manuscript

called dusk (2009)
for cello and piano
Manuscript