Canon

Instrumentation: for three female voices

Texts: Peking-Oper

The kernel of Three Fragments is the imperfection of the human being. The chosen text is a section taken from the libretto of a traditional Peking opera, which throughout the three pieces becomes systematically deconstructed - this as an example of the impression that in China society functions collectively. The first fragment is a canon for three (identical) female voices; the second a quartet for male voices, the third meanwhile was conceived as a monody for four voices (SATB) from which a two part melody gradually evolves. All fragments can be performed either chorally or soloistic.

Duration: 4' 00"
Manuscript

Canon

Instrumentation: for four female voices

Duration: 6' 00"
Manuscript

Instrumentation: for male voices or a-cappella choir

Texts: Peking-Oper

The kernel of Three Fragments is the imperfection of the human being. The chosen text is a section taken from the libretto of a traditional Peking opera, which throughout the three pieces becomes systematically deconstructed - this as an example of the impression that in China society functions collectively. The first fragment is a canon for three (identical) female voices; the second a quartet for male voices, the third meanwhile was conceived as a monody for four voices (SATB), from which a two part melody gradually evolves. All fragments can be performed either chorally or soloistic.

Duration: 5' 00"
Manuscript

Instrumentation: for solo voices or a-cappella choir (SATB)

Texts: Peking-Oper

The kernel of Three Fragments is the imperfection of the human being. The chosen text is a section taken from the libretto of a traditional Peking opera, which throughout the three pieces becomes systematically deconstructed - this as an example of the impression that in China society functions collectively. The first fragment is a canon for three (identical) female voices; the second a quartet for male voices, the third meanwhile was conceived as a monody for four voices (SATB), from which a two part melody gradually evolves. All fragments can be performed either chorally or soloistic.

Duration: 9' 00"
Manuscript

Instrumentation: for recorder solo

A solo piece for the G alto recorder (early Baroque); all possibilities (and a little more!) are used extensively. The somewhat rough sound has inspired me to produce a composition of the utmost virtuosity ending in a duet (+voice).

Duration: 8' 00"
Manuscript

Instrumentation: for double recorder quartet

'Eisstücke' is essentially an ensemble piece suitable for advanced amateurs or students, but not undemanding for a professional ensemble. The second quartet is scored for four bass flutes, the first alternating between soprano, alto and tenor. The five partly very short pieces are based on an eight-part harmony, and require a high standard of interplay.

Duration: 9' 00"
Manuscript

With this piece I have chosen to emancipate the bassoon from its stereotype as an instrument merely for expressing humour or the bizarre. The solo part is playable only by virtuosi, not only because of its rapid note movement, but also because of demanding passages and multiphonics etc. An ambitious amateur ensemble can quite easily tackle the orchestral part.

Duration: 18' 00"
Manuscript

Instrumentation: for English horn (including oboe and musette) and electronic

This piece requires a musette in F and a delay apparatus, in addition to the English horn. Contains physical elements.

Duration: 13' 00"
Manuscript

Instrumentation: for baroque oboe (a=415 Hz) and oboe (a=440 Hz)

This piece is the result of a discourse on things past, the (un)attainable, the irrevocable and possibly the repeatable. The minor second acquires a specific meaning through special tuning of the two instruments, even more so because the two oboe players have to play the same note at the end.

Duration: 8' 00"
Manuscript

Instrumentation: for free score ensemble with between three and fifteen players

Concept piece.

Duration: var.
Manuscript

Instrumentation: for improvising wind instrument (or voice) and string orchestra

This piece should be performed without a conductor; instead the Soloist (any wind instrument or voice) gives the cue. The orchestra also contains improvised parts.

Duration: 15' 00"
Manuscript

Orchestra version of 'Redo'. Can be performed with or without conductor.

Duration: 13' 00"
Manuscript

Instrumentation: for wind quintet (afl.ca.bcl/hn.bn)

Excessive use of playing techniques e.g. 'alla tromba' and sporadic partially dismantled horn. The bassoonist has plenty to sing.

Duration: 18' 00"
Manuscript

Instrumentation: for horn

'Voice' is that broad horn solo from the wind quintet 'Detours'. For a richer sound two bows have to be removed from the instrument.

Duration: 4' 00"
Manuscript

Instrumentation: for piano, cello and two or three other musicians

With regard to my need to grapple with the piano and inspired by the wish of æquatuor for me to produce a composition for them, I produced in the first instance, three piano pieces and (with an identical piano part) 'another beautiful day'. The title is a quote from a thoughtless vocalization between rehearsals and concert on a concert tour in New Zealand. It is not as is usual a mixture of philosophical, textual and formal observation, and thus is as serious or not as any other title I have chosen for my works. The piano parts have been enhanced by three voices, this does not necessarily mean more music: addition can also mean manipulation and therefore lead to reduction. The added instruments, apart from the violoncello, are two percussion although the only instrument the two musicians have to play is the inside of the piano. Single resonance tones can be sung, whistled or played on a melodica, violin or alike. The piano part, in contrast, is simply a question of keyboard play.

Duration: 13' 00"
Manuscript

Instrumentation: for deep or high solo voice

Texts: Cecilia Meireles

Version 1 for high voice.
Version 2 for deep voice.
'Música' was commissioned by the alto Luis Alvez da Silva and sets a text by the Brazilian poet Cecilia Meireles to music. There are different effects between tone and noise, the singer is also required to produce various noises with a newspaper (tearing, scratching, scrunching etc...), but this can be made by a second person.


Duration: 7' 00"
Manuscript

Duration: 15' 00"
Manuscript

Instrumentation: for flute solo

Duration: 5' 00"
Manuscript

Instrumentation: for alto flute, oboe (melodica), bass clarinet, violin, double bass, harp and accordion

Duration: 18' 00"
Manuscript

Instrumentation: for violine solo

Duration: 3' 00"
Manuscript

Instrumentation: for melodica and banjo

Duration: 7' 00"
Manuscript

Instrumentation: for violoncello solo

Part of 'Cadenza'. 'Cadenza' consists of the parts 'Abstieg', 'Aura I' (with interventions) and 'Aufstieg'.
'Aura I' is to be played with two bows, one in each hand.
Possibilities for performance are as follows:
1. As a cadenza (in place of the 3rd movement) in the Cello Concert N°1 by Dmitri Schostakovich: Abstieg - Aura I (shortened variation with vi=de) - Aufstieg
2. As a solo piece, long version: Abstieg - Aura I – Aufstieg
3. As a solo piece, medium-length variation: Abstieg - Aura I
4. As a solo piece, short version: Aura I. This variation is to be played under the title 'Aura I'
'Abstieg' and 'Aufstieg' can not be performed as single pieces.

Duration: 12' 00"-16' 00"
Manuscript

Instrumentation: for violoncello solo

Part of 'Cadenza'. 'Cadenza' consists of the parts 'Abstieg', 'Aura I' (with interventions) and 'Aufstieg'.
'Aura I' is to be played with two bows, one in each hand.

Duration: 10' 00"-13' 00"
Manuscript

Instrumentation: for violin solo

Duration: 2' 00"
Manuscript

Instrumentation: for violoncello solo

Duration: 5' 00"
Manuscript

Instrumentation: for accordion solo

Duration: 10' 00"
Manuscript

Instrumentation: for flute (soprano ad libitum) and string orchestra

Duration: 6' 00"
Manuscript

Instrumentation: for soprano and piano

Texts: Sylvia Nopper

Duration: 7' 00"
Manuscript