Meditation and Ecstasy on 52 (1998) 8′ Piano, space/conventional notation Premiere 21.2.2003 Bergisch Gladbach Villa Zanders, Susanne Achilles (piano) CD 2017 The first movement of the two-part composition is space-scored and calls for preparation of the F-sharp 4-G-sharp 4 notes with a piece of metal (e.g. a angle iron), which is simply rested on the strings. The composition is divided into stanzas of equal length, which are introduced by low-pitched staccato tones (with subsequent pedal work). Each stanza develops into wide-ranging melodic arcs and mirror canons. In its timeless stasis the movement is reminiscent of John Cage. The following metrically notated movement develops from even four-part chord beats in a kind of minimalist toccata and a constant stream of rhythmic modulations into a virtuoso arpeggio figuration. Developed from the same material, this dynamic extrovert movement sharply contrasts with the static tranquil first part. Five Elegiac Studies for Piano (2000) 12′ Premiere Köln 2002 Susanne Achilles CD 2017 In these short aphorisms I applied the ‘humus’ compositional technique, in which the rhythm controls pitch selection with very original harmonic textures emerging from a polyphonic (in this case three-part) wave-like ritornello. All movements are in quintuple time. The third movement with its music box-like mechanical repetition (three-part canon) is in homage to Conlon Nancarrow. Zodiak for piano (2012) 27′ Twelve pieces on the signs of the zodiac Première 3.7.2014 University of the Arts Essen-Werden, Eleonore Klauser (piano) Ulla Geiges (choreography) CD 2017 The piano cycle "Zodiak" was composed in Cologne in January 2012, its artistic elaboration based on a projection of the zodiac signs in sound constellations. These are plucked at the beginning of every movement in the grand piano with the pedal held down: the interior of the instrument representing the cosmos – a space not created by human hand. Sitting down and playing on the keys, the pianist leaves the remote tracts of space to move in earthly human orbits. The stellar music of the grand piano unfolds into twelve character pieces composed in a wide variety of techniques and styles. The elements of Earth and Fire stand for expressiveness and individuality, while Water and Air develop formalistic similes of their zodiac signs. Anima (2008) 8′ for solo piano (further versions for harpsichord, organ) Prologue – Anima – Epilogue CD 2017 I composed my "Anima" piece for a cembalo as a commission for the Greifenberg Institut für Musikinstrumentenkunde in 2008. It is inspired by my water composition series comprising the oratory "Over the Waters" (premiere EXPO2000 Hanover, Hilliard Ensemble/BRONSKY RITUAL), the choral work "Song of the Spirits over the Waters (2002)" and "Water Lilies" for the guitar (2003). The material of the three-part work is based on a scoring of the first verse of Goethe's "Song of the Spirits over the Waters" in my composition of the same name. The "Prologue" depicts man in his worldly toils as caught between the Promethean ideal and failure and also as a victim of his own passions. In the following five-part canon "Anima" the syllabic rendering of the poem is run back and forth as the spirit hovers in the infinite space-time continuum. Seen from an almost of post mortal view, the epilogue distils human toil into staccato chords. The final motif closes the cycle as if in fast motion. The soul of man Is like the water: It comes from heaven, It returns to heaven, And down again To earth must go, Ever changing. (from "Song of the Spirits over the Waters" by Johann Wolfgang Goethe, 1779)