Works – Marta Kowalczuk

WORKS

Chamber

Der letzte Akt ist vorbei (2026) for two pianos (eight hands) and surface transducer

duration: ca. 9′

performed by Piano Duos VooDoo and Reverie

commissioned by Festival junger Künstler Bayreuth

premiere: 11.08.2026, Steingraeber Palais, Bayreuth

The final act is over, but something still lingers in the space before the applause. “Der letzte Akt ist vorbei” stays with this afterimage of an opera that has already ended.

zweiter satz für barockvioline nebst andern (2026) for bass clarinet, baroque violin, viola and cello

duration: ca. 6′

written for Zafraan-Ensemble

commissioned by Güldener Herbst

premiere: 26.09.2026, Güldener Herbst 2026, Gotha

Recording available upon request.

The Scrim Before the Scream (2025) for percussion

for percussion solo (bell plates, tuned gongs, tubular bells, metal tubes, tamtam)

written for Oscar Tudge

commissioned by HOOU/Inside Percussion

duration: ca. 10′

premiere: tba

fluorescent ember (2025) for 2 cellos

duration: ca. 5′

This work was written for young performers.

Commissioned with the support of the Lions Club Weimar and the Förderverein Freunde der Musikschule „Johann Nepomuk Hummel“ e. V.

inherited (2025) for guitar and accordion

duration: ca. 6′

commissioned by Lux Nova Duo

premiere: 07.11.2025, Hamburg Dialogues VI, resonanzraum Hamburg

The piece draws on the idea that memories, traumas, and experiences of previous generations may leave traces that are passed on unconsciously. A recurring E acts as a musical trigger, setting processes in motion that are otherwise hidden. Present throughout the piece, sometimes clearly audible and sometimes barely perceptible, the note E connects its beginning and end. The piece leaves open the question of what happens to the traces we carry and whether they can be changed.

ROSENMOND (2025) for electric guitar, double bass, drum set and piano

duration: ca. 4′

premiere: 28.09.2025, RADAR Quartett, Halle 424, Hamburg

Recording available upon request.

Der Schlafende Ritter (2025) for saxophone and piano

duration: ca. 3′

This work was written for young performers.

Recording available upon request.

Blau, Grün, Rot, Schwarz –Universum, wir kommen! (2025) for violin ensemble

duration: ca. 8′

Commissioned work for the ad libitum competition

premiere: 05.07.2025, as part of “ad libitum – Kompositionswettbewerb der Winfried Böhler Kultur Stiftung”, Waldkirch

program note: In dieser Komposition hebt das Geigenensemble zu einer interplanetaren Forschungsmission ab. Ziel: vier völlig unterschiedliche Planeten: der Wasserplanet gluckert, der Dschungelplanet raschelt, der Wüstenplanet flirrt. Und der schwarze Stilleplanet? Nun ja, er ist … still. Oder?
Bevor überhaupt ein Ton notiert wurde, mussten wir natürlich auf jedem Planeten landen. Danach die große Frage: Wie klingt das auf der Geige? Kann man Wüstenwind streichen? Darf der grüne Planet auch mal miauen?
Das Stück ist in enger Zusammenarbeit mit dem Ensemble entstanden – mit viel Neugier, Mut zur Lücke und Liebe zum Geräusch.
Wer wissen will, wie man mit einem Bogen durchs All reist: Bitte einsteigen – der Countdown läuft.

Recording available upon request.

Durch das Endlose (2025) for cello

duration: ca. 3′

This work was written for young performers.

Recording available upon request.

Boje Trepetljike (2024) for guitar and accordion

duration: ca. 6′

commissioned by Lux Nova Duo

premiere: 17.10.2024, Hamburg Dialogues V. Sounds of Guernica, Instituto Cervantes Chilehaus, Hamburg

program note: “Boje Trepetljike” means “The Colors of the Aspen” in Bosnian. The piece unfolds a multifaceted spectrum of colors that gradually fades into shades of grey over the course of the composition. With this work, I sought to capture the contrasts I encountered in Bosnia and Herzegovina.

shadows, glimmers, and apparitions (2024) for 2 two violins and viola

duration: ca. 9′

premiere: 31.10.2024, Dreieck Quartett, Kapelle Vonderau-Museum, Fulda

program note: The work was inspired by A. Tennyson’s The Two Voices and engages with inner conflict as well as existential questions arising in the speaker’s mind. It presents an internal dialogue between two voices that represent differing perspectives on life, belief, and existence.

Birke (2024) for piccolo/alto flute, clarinet/bass clarinet, accordion, violin and cello

duration: ca. 12′

premiere: 26.05.2024, ensemble via nova, 25. Weimarer Frühjahrstage 2024, Weimar

program note: The piece delves into the hidden world of roots. At its center is the birch tree: its processes of growth, colors, and forms become the central motifs of the work. Networks of sound intertwine, symbolizing the connection and communication of root systems.

bubble lava (2024) for trumpet/flugelhorn/piccolo trumpet, horn, trombone/alto trombone

duration: ca. 10′

commissioned by the Göttinger Symphonieorchester for the “horizonte festival for contemporary music”

premiere: 21.06.2024, horizonte – Festival für zeitgenössische Musik, Göttingen

Miniatur (2024) for cello and piano

duration: ca. 3′

This work was written for young performers.

Recording available upon request.

Fanfare (2023) for 4 horns, 3 trumpets, 3 trombones (2x tenor, 1x bass), tuba

duration: ca. 5′

commissioned by The Young ClassX e.V.

premiere: 24.10.2023, the Brass Ensemble of the MJO conducted by Kent Nagano, Elbphilharmonie Hamburg

Recording available upon request.

Esthers Intermezzo (2023) for organ

duration: ca. 5′

commissioned by Kirchengemeinde Aumühle

premiere: 08.10.2023, Stadtkirche St. Petri Ratzenburg

Looking Glass (2023) for basset horn in F, natural horn in D, violin, viola, double bass

duration: ca. 13′

premiere: 29.04.2023, Liszt Academy of Music, Budapest

program note: In my piece Looking Glass for basset horn in F, natural horn in D, violin, viola, and double bass, inspired by Lewis Carroll’s Alice’s Adventures in Wonderland, I imagine the process of sending sound through a mirror. Gradually, the listener is led to a point on the other side, where everything that is heard appears as a reflection and where sonic elements emerge that should not normally exist.
The work plays with this idea of mirrored perception: familiar sounds are transformed, distorted, or doubled, creating a musical space in which the boundary between the original and its reflection becomes increasingly blurred.

ru – ur (2022) for piccolo/alto flute and electronics

duration: ca. 9′

premiere: 18.11.2022, DUO F:LAUTE, Künstlerhof Roter Ochse Schleusingen

program note:

ru – ur (ru – rural, ur – urban) is a piece for piccolo/alto flute and electronics. Field recordings from wintry rural and urban environments form the electronic layer with which the flute enters into an ever-changing sonic dialogue. The idea for this piece emerged during a residency at the Künstlerhof Schreyahn. During this time, I regularly traveled between the village and Hamburg, taking regional trains through winter landscapes. Along the way, the contrast between the two places became repeatedly audible: the wide, quiet soundscape of the countryside and the denser acoustic environment of the city. At the same time, both shared something in common for me – their own particular form of winter stillness.

versteckt (2022) for piano

duration: ca. 6′

premiere: 2022, HfMT Hamburg

sea monster (2022) for flute/bass flute, contrabass clarinet, viola, cello

duration: ca. 8′

premiere: 28.04.2022, Kammerensemble Neue Musik Berlin, Subito! Woche der Neuen Musik Hamburg

program note: The musical material of the piece is inspired by the sea shanty Rolling Down to Old Maui. The work unfolds as a musical narrative about a sea monster.

Four Clouds with Kowalczuk’s First Galliard and The Dog Galliard (2022) for baroque violin, viol consort, theorbo

duration: ca. 10′

commissioned by Hamburger Ratsmusik

premiere: 31.01.2023, Kleiner Saal, Elbphilharmonie Hamburg

program note: The piece is based on baroque rhetorical figures and rhythmic elements of the galliard. It takes inspiration from the theme of Flow, My Tears by John Dowland.

morlièsque (2021) for recorder consort

duration: ca. 9′

premiere: 27.06.2021, HFM Weimar

conexiones (2021) for flute, clarinet in Bb /bass clarinet, violin, cello, tape

duration: ca. 10′

premiere: 23.05.2021, ensemble via nova, 22. WEIMARER FRÜHJAHRSTAGE 2021, Weimar

program note: Conexiones means connections in Spanish, and that is the main idea of the piece.
The connections are between the instruments, but also appear as a connection to nature. The composition is a collage in which the elements change quickly but still relate to the main idea. Two important elements that appear in this musical collage are inspirations from South America – bird calls and traditional dance from Ecuador: San Juanito.

de*sync (2021) for clarinet in Bb, accordion, cello

duration: ca. 7′

Platz der Demokratie (2020) for piano trio

duration: ca. 2′

commissioned by MDR Klassik

Massenhysterie (2020) for alto sax, guitar/prepared guitar, accordion, double bass, tape

duration: ca. 8′

premiere: 30.05.2020, Ensemble Miet+, 21. Weimarer Frühjahrstage, Weimar

Weinseligkeit (2020) for guqin and piano

duration: ca. 10′

Quintet (2020) for 3 violins (or 2 violins and viola), cello, trumpet in Bb

duration: ca. 7′

premiere: 14.08.2020, Sondershausen

Suite (2019) for string quartet

duration: ca. 17′

Miniatura (2018) for violin and cello

duration: ca. 1′

Improvvisazione per violino barocco (2018) for baroque violin

Improvvisazione per violino (barocco) for modern violin

duration: ca. 6-8′

premiere: 2018 in Wrocław

program note: Improvvisazione per violino barocco is a work for solo baroque violin, composed in October 2018. The piece brings together two musical styles – two eras that may seem distant, yet reveal unexpected similarities. Elements of baroque music are juxtaposed with contemporary techniques, creating a dialogue between past and present.
A central focus of the work is the virtuosity of both the instrument and the performer. At the same time, inspired by aleatoric practices, the piece incorporates elements of choice: the performer determines the course of certain improvised sections, shaping the musical form in real time.
The work is conceived specifically for the baroque violin. Its sound world relies on the characteristics of a historical instrument, including gut strings and a baroque bow, and is intended to be performed at a pitch standard of A = 415 Hz. While performance on a modern instrument is not excluded, the piece is closely tied to the sonic qualities of historical performance practice.

3 minutes for 3 flutes (2018)

for 3 flutes

duration: 3′

Brass Quintet (2018)

for brass quintet

Drapex (2017) for horn in F and harp

duration: ca. 5′

Krajobraz Tatr Wysokich (2017) for 10 flutes

duration: ca. 10′

CB 2016 (2016) for flute, violin, viola and cello

duration: ca. 8′

program note: “CB 2016” is inspired by Codex Buranus. In the piece appear original medieval melodies, which are introduced by viola in intentionally lower tuning.

Trio (2016) for bassoon, cello and piano

duration: ca. 7′

Maestoso (2014) for piano

duration: ca. 6′

premiere: 2014 in Wrocław

Voice

ruft uns die Stimme (2025) for open ensemble (at least 9 players) and audience choir

duration: ca. 10′

commissioned by ensemble reflektor

premiere: 08.11.2025, ultraBACH Festival, St. Michaelis Lüneburg, ensemble reflektor conducted by Yudania Gómez

The work is written for an open ensemble divided into three register groups (high, middle, low) and an audience choir. The musicians are positioned around the audience so that performers and listeners share the same space.

The piece is inspired by a chorale from Johann Sebastian Bach’s cantata “Wachet auf, ruft uns die Stimme”, BWV 140.

Recording available upon request.

Nie den letzten Sommertag verpassen (2025) for countertenor, baritone, bass clarinet, percussion and double bass

duration: 4′

premiere: 01.03.2026, Theater Münster

program note:

“Nie den letzten Sommertag verpassen” was inspired by an image with the same subtitle from the book “Die Regeln des Sommers” by Shaun Tan. The focus is on a moment of pause: a final lingering before the end of summer – much like the last day of the summer holidays – before something new begins. The music moves between nostalgia, lightness, and transience. For a brief moment, time seems to stand still while at the same time remaining noticeably fleeting. In this suspended state, calm and carefree lightness blend with quiet joy and a subtle anticipation of what is to come: the transition from an easy present into a new stage, accompanied by the almost unnoticed feeling that this moment will never return.

Recording available upon request.

It Speaks from the Darkness, I Yearn for Light (2025) for 2 sopranos, cello and chest organ/harpsichord

on fragments from The Raven by Edgar Allan Poe and Melancolía by Alfonsina Storni

duration: ca. 20′

commissioned by the Schlosskonzerte Oranienburg

supported by the Ministry of Science, Research and Culture of the State of Brandenburg

premiere: 05.10.2025, Schlosskonzerte Oranienburg

program note: The piece is based on two texts: excerpts from “The Raven” by Edgar Allan Poe and “Melancolía” by Alfonsina Storni, both addressing themes of lamentation and mourning. Poe’s dark, symbol-laden style enters into dialogue with the elegant melodic language of François Couperin, forming the starting point for a sonic exploration of grief and darkness. Voices and instruments merge and contrast, creating an intense emotional reflection on the human experience of suffering, hope, and transcendence.

Recording available upon request.

Yo pienso en ti (2023) for bass and piano

text: Poem “Yo pienso en ti” by José Batres Montúfar

written for Julia Rinderle and Oscar Marin-Reyes

duration: ca. 8′

premiere: 24.08.2024, Achtelton – Neue Musik In Hitzacker (Elbe)

program note: “Yo pienso en ti” ist ein Lied für Bass und Klavier zu dem Gedicht von José Batres Montúfar. Der Bass singt ein melancholisches Lied und beschreibt, wie die geliebte Person unaufhörlich seine Gedanken beherrscht. In seiner Fantasie wird das Bild der Geliebten mit einem Lichtstrahl verglichen, der die Dunkelheit und sogar den kalten Marmor eines Grabes erhellt – ein Symbol für die Mischung aus Schönheit und Traurigkeit. Musikalisch ist das Stück von guatemaltekischen Klängen inspiriert, mit einem präparierten Klavier, das den Klang einer Marimba nachahmt.

60 Silben (2022) for baritone and guitar

duration: ca. 4′

premiere: 27.02.2022, Liederabend, Hochschule für Musik und Theater Hamburg

The piece is built around the concept of 60 syllables. Performers are free to choose any text that fits this structure, allowing the work to adapt to different languages, poems, or spoken material.

aus/ohn’/durch/die Lieb (2019) for mezzo-soprano, soprano, viola da gamba, tape

texts: J. W. von Goethe – Poem Die Lieb
F. Petrarca – Sonnet 101
M. Bulgakov – Quote from The Master and Margarita

duration: ca. 15′

premiere: 15.11.2019, HfM Weimar

program note: The work combines elements of early music with contemporary techniques – two eras that seem far apart but share striking similarities. The piece is semi-staged and presents a meditation on love, exploring its different forms: sorrowful, unrequited, passionate, and hopeful.

Let’s tell stories (2018) for mixed choir and piano

duration: ca. 10′

premiere: 2018, HfM Weimar, UniversitätenChor Weimar conducted by Vitali Alekseenok

program note: The piece contains 4 stories from different countries in their native languages. The first one is Chinese Mid-Autumn Festival legend about Chang’e flying to the moon. The second is sufi poem in Punjabi language. The name of the poem is “Main jana jogi de naal” written by Bulleh Shah. The third one is about Spanish city of Granada, song written by Mexican composer Agustín Lara. The last story is “Taketori Monogatari”, old Japanese fairy tale written about 1000 years ago. Main idea of ”Let’s tell stories” is improvisation. Improvisation is quite defined, but not strict. The choir follows the score and introduces, creates background, cooperates or supports read stories.

Sancte Michael Archangele (2017) for mixed choir

duration: ca. 5′

premiere: 2017 in Wrocław

Pod śniegu srebrnym puchem… (2017) for soprano and piano

written to the poem of the Polish writer Kazimierz Przerwa-Tetmajer

duration: 10′

premiere: 2018, Konzertsaal der Hochschule für Musik Carl Maria von Weber Dresden

From ‘Twelfth Night’ (2016) for 2 altos, 2 tenors, baritone, bass

text: William Shakespeare from “Twelfth Night”

duration: ca. 6′

premiere: 2017 in Wrocław

Music Theatre / Opera

König Jammer und Bruder Froh (2025)

König Jammer und Bruder Froh is an immersive children’s opera inspired by the Ukrainian fairy tale “Цар Плаксій та дядько Лоскотон” by Wasyl Symonenko.

DIRECTOR Viktoria Holenok

COMPOSITION Marta Kowalczuk

LIBRETTO Maike Graf

STAGE AND COSTUME DESIGN Pina Bunn & Maja Munksgaard Meedom

MUSICAL DIRECTION Arthur Sebastiano

LIGHTING DESIGN Ellen Bolz

duration: ca. 60′

premiere: 29.11.2025, HfMT Hamburg Campus Barmbek

program note:

In Tränenland, the greedy König Jammer lives from the tears of his subjects. His eternal law is simple: no one is allowed to laugh. Only the brave Bruder Froh ever dared to question him and his rule. But he is gone. Now only his two sisters, Fidele and Froni, remain, keeping the memory of him alive. They constantly sing his Lachendes Lied, and when they one day encounter a group of children who have just arrived in Tränenland, they decide to begin a search. It is time to bring their brother—and laughter—back to the land.

The opera reflects on the power of laughter in times of existential crisis. Can laughter help us cope with loss, loneliness, war, and death? At the same time, the work questions the freedom of emotions: does anyone have the right to judge feelings as right or wrong, good or bad? And how can we prevent our feelings from being taken away from us?

Recording available upon request.

Abrieb (2024)

mini opera for soprano, bass, bassoon, percussion, piano, violin, cello, double bass

duration: ca. 10′

Composition: Marta Kowalczuk

Libretto: Stefan Czura after ‘The Beautiful Stranger’ by Shirley Jackson

Direction: Stefan Czura

Dramaturgy: Maike Graf

premiere: 06.02.2025, HfMT Hamburg Campus Barmbek

Recording available upon request.

HEAT ein musiktheatraler Cooldown (2024)

Anna Senda-Pimentel, Adriano da Silva Trarbach

Antonio Lo Curto, Adriano da Silva Trarbach

music theatre

for soprano, actress, cello, baroque cello and piano.

duration: ca. 60′

Team Affekt und Geste: Marta Kowalczuk (composition), Lutz Rademacher (musical direction), Vanessa Könemund (visual design), Hans-Jörg Kapp (direction)

premiere: 13.11.2024, Tonali Saal Hamburg

program note:

What does the heat do to our bodies? In the face of global warming, how can we still sing and make music? And can the Baroque music of the last ice age provide us with some cooling relief? Team Affekt und Geste links the oil-based present with the Baroque language of affects and a text by Ovid.

Sekt mit Effekt (2024)

Moritz Rahl, Sophie Frieda Twachtmann, Lisa Indorf, Kevin Citozi, Wakako Matsubara, Zuzanna Pietrzak

Moritz Rahl, Sophie Frieda Twachtmann, Lisa Indorf, Kevin Citozi, Palina Vereti

Moritz Rahl, Sophie Frieda Twachtmann, Lisa Indorf, Kevin Citozi, Palina Vereti, Wakako Matsubara, Zuzanna Pietrzak

Mini Music Theatre for mezzo-soprano, 5 actors, violin and piano

directed by Luca Riepe

duration: ca. 15′

premiere: 03.03.2024, HfMT Hamburg

Recording available upon request.

What if I’m gone for ever? (2022)

Mini-Opera for soprano, bass, flute, percussion, cello, harp

directed by Christian Poewe

based on Beckett’s “Waiting for Godot”

duration: ca. 10′

premiere: 10.02.2023, HfMT Hamburg

program note:

This piece presents a short scene of crisis between a couple who have been together for many years and who, standing at the threshold of death, reflect on their relationship. They recognize that many painful things have happened, which is why they repeatedly speak about separating. Yet, because of the little time they have left, they remain together. The couple even looks forward to a “natural” separation.

At the same time, however, they care for one another and fear this separation. In the end, they realize that despite everything that has happened in their lives, they have, on the whole, been happy together. Or perhaps this realization is only ironic?

Auf der Seite des Todes das Leben (2021)

opera

2 soloists, SATB, horn in F, percussion, violin, viola, cello and double bass

Baśń o rycerzu bez konia (2019)

theater music

directed by Karolina Okurowska-Wabnic

duration: ca. 30′

premiere: 2019 in Wrocław

Recording available upon request.

Kiedy króla boli ząb (2019)

theater music

directed by Monika Reks

duration: ca. 30′

premiere: 2019 in Wrocław

Orchester / Ensemble

ORGEL 2.0 - Ouvertüre zur Orgel (2026)

for symphony orchestra

3.3.3.3 – 4.3.3.1 – timp + 2 perc – harp – cel – str (10.8.6.5.4)

duration: ca. 10’

commissioned by Theater Erfurt

premiere: 08.04.2027, Philharmonisches Orchester Erfurt

Hay ojos bajo la marea (2025)

symphony orchestra

2.2.2.2 – 4.3.3.1 – timp – 2 perc – harp – pno – str (12.10.8.6.4)

duration: ca. 5’

commissioned by Theater Kiel

premiere: 07.12.2025, Philharmonisches Orchester Kiel conducted by Holly Hyun Choe

program note:

Hay ojos bajo la marea was composed in connection with the city of Havana. Rather than portraying the city directly, the music shows a more imaginary dimension: what lies hidden beneath the surface, the myths and presences that remain unseen yet resonate strongly. The piece unfolds in shifting waves of sound, at times fluid and suspended, at times driven by pulse and rhythm. Echoes of Afro-Cuban drumming traditions emerge in the background, not as literal borrowings but as a subtle grounding over which my own musical language develops. In this way, the piece reflects Havana as a space of inner images and submerged stories.

Recording available upon request.

Melodie der Tiefe (2023)

for school orchestra

The ensemble is divided into four groups:

Group 1
2 Flutes
2 Clarinets in B♭

Group 2
2 Trumpets in B♭
Euphonium

Group 3
Percussion
Piano

Group 4
Violin I
Violin II
Viola
Violoncello
Double Bass

The piece incorporates elements of soundpainting

duration: ca. 6′

The work was composed for the School Orchestra of the Wichern-Schule in Hamburg as part of the composition competition “New is Now.”

premiere: 28.06.2023, Wichern Schule Hamburg

program note:

Melodie der Tiefe

Das U-Boot versinkt in den unbekannten Tiefen des Ozeans. Je tiefer wir im U-Boot hinabtauchen, desto geheimnisvoller wird es. Stell dir nur einmal vor, welch Blubbern, Dröhnen und Zischen dort unten auf uns warten. Vielleicht hören wir auch nichts als Stille? Oder aber es eröffnet sich eine Klangwelt, die unsere Vorstellungskraft übersteigt.

“Melodie der Tiefe” – so lautet der Titel meiner Komposition, die ich im Rahmen des Projekts “New is Now” speziell für das Schulorchester geschrieben habe. Inspiriert von einem Zitat aus Jules Vernes Meisterwerk “20.000 Meilen unter dem Meer”, entführt uns das Werk in eine fesselnde Welt voller Geheimnisse und Abenteuer.

Sowohl die Musikerinnen und Musiker als auch der Dirigent navigieren in der legendären Nautilus durch die Geschichte. Gemeinsam führen sie uns durch die Unterwasserwelt und offenbaren uns die Erlebnisse und Begebenheiten in Klängen und Melodien. Um jeder Persönlichkeit die Möglichkeit zu geben, den Verlauf des Stücks zu beeinflussen, habe ich die Improvisationstechnik namens Soundpainting gewählt: Der Dirigent leitet das Orchester durch gezielte Gesten, die die Grenzen des Klangspektrums anzeigen – seien es Unterwassergeräusche, das Knarren des U-Boots oder andere Effekte. Das Orchester reagiert auf diese Gesten und jeder Einzelne improvisiert innerhalb des vorgegebenen Rahmens auf seine ganz eigene Weise.

In unserem musikalischen Abenteuer sind keine Grenzen gesetzt. Wir werden auf seltsame Geräusche aus den Tiefen des Meeres stoßen, den betörenden Gesang von Sirenen vernehmen und uns vielleicht sogar einem epischen Kampf mit einem sagenumwobenen Seeungeheuer stellen. Doch bleibt die Frage: Werden wir all diese Herausforderungen unbeschadet überstehen? Wie werden die Musikerinnen und Musiker mit ihren Instrumenten auf diese Gefahren reagieren?

Komm mit auf diese unvergessliche Reise und entdecke die Mysterien, die in den Tiefen des Ozeans lauern. Lass dich von “Melodie der Tiefe” in den Bann ziehen und erfahre die Kraft der Musik, die uns mit dem Unbekannten verbindet.

Recording available upon request.

Should Men Walk Home? (2023)

silent film music for saxophone, trombone, percussion, electric guitar/bass guitar, piano, violin, viola, cello

duration: ca. 30′

A composition for the 1927 American silent film. World premiere as part of a collaboration with Ensemble Garage and ZDF/ARTE.

Recording available upon request.

This work is published by 2eleven Edition musiQ.

Der Rundfunk auf dem Lande (2021)

music for silent film
for symphony orchestra

2.2.2.2 – 3.2.2.1 – timp – 2 perc – harp – str (8.6.4.3.2)

duration: ca. 7′

premiere: 19.10.2021, MDR Symphony Orchestra conducted by Frank Strobel, Leipzig

Recording available upon request.

This work is published by 2eleven Edition musiQ

Trumpets in the sky (2021)

music for the film by Robin De Cock

for flute, oboe, clarinet, bassoon, horn, trumpet, trombone, percussion, cello and double bass

una breve commedia dell’arte (2019)

for chamber orchestra, tenor and baritone

Flute, Oboe, Clarinet in B♭, Bassoon
Horn in F, Trumpet in B♭, Trombone
Piano
Tenor, Baritone
Violin I, Violin II, Viola, Cello, Double Bass

duration: ca. 7′

premiere: 23.02.2020, Weimar, Conductor – Niuniu Miao Liu, Tenor – Gustavo Eda, Baritone – Oleksandr Pushniak with musicians from the Staatkapelle Weimar

Recording available upon request.

123 (2018)