INSTRUMENTAL
Solo
Three Meditations on Music from Luigi Rossi’s Collection
Komposition 2 für Orgel allein (2023) [Og; ca. 10:00]
Premier: October 20, 2023/New York, NY, USA: Holy Trinity Lutheran Church – Austin Philemon
Program Note:
Three Meditations on Music from Luigi Rossi’s Collection (Drei Meditationen über Kompositionen der Sammlung von Luigi Rossi), for solo organ (2023), is an adaptation of the composition for solo piano (movements 2, 3, and 4) by the same name.
ineo
Komposition für Akkordion allein (2019) [Ac; ca. 11:00]
Commission: Ralph Crispino (I-Park Foundation)
Premier: November 12, 2019/New York, NY, USA: Scandinavia House – Matti Pulkki
Program Note:
ineo, for accordion solo (2019), was commissioned by Ralph Crispino's I-Park Foundation and is dedicated to Finnish accordionist Matti Pulkki. A quote by St. Augustin, used in the original Latin as well as in its English and German translation, was included as a reference to German American philosopher Hannah Arendt, whose interpretation reaches beyond its Christian context and focuses on the potential for political change represented by the birth of each human being. I think that this shift of focus from the mortality of humans to the nativity of humans is as relevant in our times as it was in the times Hannah Arendt reflected. Musically, the composition references contemporary composers (Sofia Gubaidulina, Arvo Pärt) as well as the music of Josquin Desprez (the chanson Nymphes des bois, also known as La Déploration de Johannes Ockeghem, and one excerpt of the Missa Pange lingua (“…et incarnatus est…”/“…and was made man…”).
Initium ut esset, creatus est homo.
Damit ein Anfang sei, wurde der Mensch geschaffen.
That there was a beginning, man was created.
St. Augustin
Men, though they must die, are not born in order to die but in order to begin.
Hannah Arendt
passage: time (copy)
Komposition 2 für Geige allein (2019) [Vn; ca. 11:00]
Premier: September 23, 2019/New York, NY, USA: Manhattan School of Music – Miranda Cuckson
Program Note:
passage: time (copy), for solo violin (2019), was commissioned by violinist Miranda Cuckson, to whom it is dedicated in admiration, gratitude, and friendship. The composition is based on quotations from Heinrich Franz Ignaz Biber, August Kühnel, Johann Paul von Westhoff, Johann Georg Pisendel, and Johann Sebastian Bach, as well as self-quotations. passage refers to Passacaglia (specifically the passacaglia by Biber, which is the 16th sonata of the "mystery sonatas" and generally considered to be a forerunner of Bach's Chaconne); copy refers to a quote by composer Johannes Kreidler:
"Composing for violin means to copy."
wand-schrift: inscriptio (deo gracias)
Komposition für Tenorsaxophon allein (2019) [Sx; ca. 11:00]
Premier: September 23, 2019/New York, NY, USA: Manhattan School of Music – Wonki Lee
Program Note:
wand-schrift: inscriptio (deo gracias), for solo tenor saxophone (2019), was written for Wonki Lee, to whom it is dedicated gratitude and friendship. The form of the composition is based on an early 14th century fresco in the Heiligen-Geist-Kirche in Wismar, Germany. The fresco arranges the 10 letters of “deo gracias” in 11x9 squares, which creates a total of 504 ways of reading the inscription. The only musical reference is the opening of the Quartet op. 22 by Anton Webern.
… broken song
Komposition für Klavier allein (2018) [Pn; ca. 16:00]
Commission: Danny Walden/Leonore Annenberg Foundation
Premier: May 8, 2018/New York, NY, USA: Manhattan School of Music – Thomas Feng
Program Note:
… broken song [… gebrochenes Lied], for solo piano (2018) was commissioned by Danny Walden, to whom it is dedicated in gratitude. The composition is based on the Canzon francese del Principe by Don Carlo Gesualdo.
Nachspie(ge)l im Nachspie(ge)l
Komposition für Vibraphon allein (2018) [Vb; ca. 7:00]
Premier: May 4, 2018/New York, NY, USA: Manhattan School of Music – Kexin Coco Li
rev. Premier: March 12, 2019/New York, NY, USA: Merkin Concert Hall – Caitlin Cawley
Program Note:
Nachspie(ge)l im Nachspie(ge)l (Epilogue’s Epilogue), for solo vibraphone (2018), was conceived as the epilogue’s epilogue to the opera Simulacrum, a collective compositional project by composers Yangzhi Ma, Meng Wang, James Diaz, Peter Kramer, Longfei Li, and myself.
Five Meditations on Music from Luigi Rossi's Collection
Komposition 5 für Klavier allein (2017) [Pn; ca. 20:00]
Commission: Danny Walden/Leonore Annenberg Foundation
Premier: September 29, 2017/New York, NY, USA: Manhattan School of Music – Danny Walden
Program Note:
Five Meditations on Music from Luigi Rossi's Collection [Fünf Meditationen über Kompositionen der Sammlung von Luigi Rossi], for solo piano (2017), was commissioned by Danny Walden, to whom it is dedicated in gratitude. Each meditation relates to a specific composition of the collection (the entire composition or a part of it), creating distinct pianistic commentaries.
sound: wonder: tuba mirum (23:57:30)
Komposition für Posaune allein (2017) [Tb; ca. 10:00]
Commission: Will Lang
Premier: June 25, 2017/Charlotte, NC, USA: Rowe Recital Hall – Will Lang
Program Note:
sound: wonder: tuba mirum (23:57:30) [klang: wunder: tuba mirum (23:57:30)], for solo trombone (2017), was commissioned by Will Lang, to whom it is dedicated in gratitude. Musically, the composition references the trombone solo of the Tuba mirum movement of Mozart's Requiem, as well as Luciano Berio's Sequenza V for solo trombone ("why?"). 23:57:30 refers to the setting of the Doomsday Clock on January 26, 2017.
names, erased (Prélude)
Komposition 2 für Violoncello allein/Fassung für Bratsche allein (2014) [Va; ca. 7:00]
Premier: January 25, 2014/Brooklyn, NY, USA: Zeavin-Moss Residence – Erin White
Program Note:
names, erased (Prélude) [gelöschte Namen (Prélude)], was originally composed for solo cello in 2012 and arranged for viola in 2014. It is based on quotations from Bach, Berg, and Ligeti, as well as my own works. The nature of the composition is closely related to the preludes of the solo cello suites by Bach. Its title refers to Robert Rauschenberg's Erased de Kooning, the technique of which inspired my treatment of the material during the compositional process.
wand-uhr: infinite shadows (Prélude)
Komposition 2 für Gitarre allein (2016) [Gt; ca. 7:00]
Commission: Dan Lippel
Premier: April 10, 2016/New York, NY, USA: Spectrum – Dan Lippel
Program Note:
wand-uhr: infinite shadows (Prélude) [wall-clock: unendliche Schatten (Prélude)], for solo guitar (2013/rev. 2016), was commissioned by Dan Lippel, to whom it is dedicated in gratitude and friendship. The composition refers to the poem Das Alter by Joseph von Eichendorff and is closely related to my solo cello composition names, erased (Prélude).
Echo des Lichts
Komposition für Orgel allein (2012) [Og]
Commission: Lydia Weißgerber
Premier: October 20, 2012/Dresden, DEU: Martin Luther Kirche – Lydia Weißgerber
Program Note:
Echo des Lichts [Echo of Light], for solo organ (2012), was commissioned by Lydia Weißgerber, to whom it is dedicated in gratitude and friendship. The composition originated in the parts "Ausgang" (“Exit”) and "Nachspiel" ("Postlude") of the composition “als ein licht”/extensio for chorus, gamba quintet, percussion quartet and positiv.
names, erased (Prélude)
Komposition 2 für Violoncello allein (2012) [Vc; ca. 7:00]
Premier: September 7, 2013/New York, NY, USA: St. Ann Holy Trinity Church – John Popham
CD Recording: New Focus Recordings (John Popham)
Program Note:
names, erased (Prélude) [gelöschte Namen (Prélude)], for solo cello (2012), is based on quotations from Bach, Berg, and Ligeti, as well as from my own works. The nature of the composition is closely related to the preludes of the solo cello suites by Bach. Its title refers to Robert Rauschenberg's Erased de Kooning, the technique of which inspired my treatment of the material during the compositional process.
tanz.tanz
Komposition für Geige allein (2010) [Vn; ca. 9:00]
Commission: Alexandrina Boyanova
1st Prize: Abundant Silence Composition Contest
Premier: November 1, 2010/New York, NY, USA: Manhattan School of Music – Miranda Cuckson
Publisher: Abundant Silence Publishing
CD Recording: New Focus Recordings (names, erased: Miranda Cuckson)
CD Recording: New Focus Recordings (Streya: Olivia de Prato)
Program Note:
tanz.tanz [dance.dance], for solo violin (2010), was commissioned by Alexandrina Boyanova and is based on an analysis of Bach’s Chaconne by the Germany musicologist Helga Thoene, to whom the composition is dedicated. The chorale tunes that she discovered – which are woven into the texture of this unique closing movement of the D Minor Partita – form the original material of my composition. The title also refers to the novel Dance Dance Dance by Japanese writer Haruki Murakami.
land – haus – berg
Komposition 4 für Klavier allein (2009) [Pn]
Commission: Mia Elezovic
Premier: November 30, 2009/Zagreb, HRV: Museum Mirima – Mia Elezovic
CD Recording: New Focus Recordings (Yegor Shevtsov)
Program Note:
land – haus – berg [land – house – mountain], for solo piano (2009), was commissioned by Mia Elezovic, to whom it is dedicated in gratitude. The composition is based almost exclusively on settings by Beethoven, Schumann, and Wolf of Goethe’s poem Kennst du das Land, wo die Citronen blühen, otherwise known as Mignons Lied.
red wall
Komposition für Gitarre allein (2006) [Gt; ca. 11:00]
Commission: Dan Lippel
Premier: March 18, 2006/New York, NY, USA: Construction Company – Dan Lippel
Publisher: Guitar Review
CD Recording: New Focus Recordings (Dan Lippel)
Program Note:
red wall [Rote Wand], for solo guitar (2006), was commissioned by Dan Lippel, to whom it is dedicated in gratitude and friendship. The title refers to the mountain “Rotwand” in the Austrian Alps.
re-fraction: shadows
withdrawn until further revision
Komposition für Violoncello allein (2005/rev. 2007) [Vc]
Commission: Christine Christensen
Premier: March 19, 2005/New York, NY, USA: Manhattan School of Music – Christine Christensen
rev. Premier: April 17, 2007/Berlin, DEU: BKA – Matthias Lorenz
Program Note:
re-fraction: shadows [Re-Fraktion: Schatten], for solo cello (2005), was commissioned by Christine Christensen, to whom it is dedicated in gratitude. The composition refers with its title and original conception to the painting sequence Shadows by Andy Warhol, which is part of the permanent collection of the Dia:Beacon Foundation in Beacon, New York.
nach-klang: dissolve (Etüde)
Komposition 3 für Klavier allein (2003/rev. 2012) [Pn; ca. 9:00]
Commission: Caroline Park
Premier: January 22, 2004/New York: Greenwich Music House – Caroline Park
rev. Premier: April 17, 2007/Berlin, DEU: BKA – Matthias Lorenz
Program Note:
nach-klang: dissolve (Etüde) [after-sound: dissolve (Etude)], for solo piano (2003/rev. 2012), was commissioned by Caroline Park. The title refers to the various musical principles the piece is based on: echo, transformation of a sound (chord), and the cinemagraphic device of the dissolve. This last principle was inspired by the Second Frankfurt Lecture on Poetry by German author Patrick Roth: Dissolve: Mit Joy(ce) ins Bett der Toten.
leaving without
Komposition 2 für Klavier allein (2002/rev. 2003/rev. 2006) [Pn; ca. 6:00]
Commission: Arielle Levioff
Premier: March 14, 2002/London, GBR: St. Mary’s Church – Arielle Levioff
rev. 2003, Premier: January 29, 2004/New York, NY, USA: Manhattan School of Music – Ruben Yessayan
rev. 2006, Premier: February 12, 2006/New York, NY, USA: St. Andrew’s Church – Yegor Shevtsov
CD Recording: Edition Yegor Shevtsov
Program Note:
leaving without [verlassen, allein], for solo piano (2002/rev. 2003/rev. 2006), was commissioned by Arielle Levioff, to whom it is dedicated in gratitude. The old German folk tune Gesegn dich Laub served as its source material. Both title and form are a reflection of its content.
gleichzeitig nacheinander
withdrawn until further revision
Komposition für Klavier allein (2001/rev. 2002) [Pn]
Commission: Internationales Piano Forum “…antasten…” Heilbronn
Premier: November 16, 2001/New York, NY, USA: Manhattan School of Music – Ho Yi Chen
rev. Premier: June 8, 2002/Heilbronn, DEU: K3 – Reiko Füting
Chamber Music (2 to 5 Players)
im – it – at – (I) – on/ distance
Komposition für Violoncellotrio (2023) [3 Vc; ca. 7:00]
Commission: Andreas Voss
Premier: October 11, 2023/Halle, Saale, DEU: Puschkinhaus (Andreas Voss, Philine Lemback, Mathis Mayr)
Program Note:
im – it – at – (I) – on / distance (to read in English as: imitation/distance), for cello trio (2023) was commissioned by Andreas Voss, to whom it is dedicated in gratitude. The composition includes references to fragments from Thomas Lupo’s Fantasia for Three Bass Viols.
pre – re: pli/ca/t(e)/ion
Komposition für Barockquartett (2023) [Fl, Vn, Vc, Hc; ca. 10:00]
Commission: Zentrum für Telemann-Pflege und -Forschung Magdeburg, Germany
Premier: September 3, 2023/Magdeburg, DEU: Gesellschaftshaus (l’Apothéose)
Program Note:
pre - re: pli/ca/t(e)/ion (to read in English as: pre-replication), for Baroque quartet (2023) was commissioned by the Zentrum für Telemann-Pflege und -Forschung in Magdeburg, Germany. It was specifically composed for the Spanish Ensemble l'Apothéose, to whom it is dedicated in gratitude. The title refers to two movements of the 5th Paris Quartet by Georg Philipp Telemann (Première Suite in e minor), the Prélude and the Replique. pre - re: pli/ca/t(e)/ion anticipates these two movements; ideally, they are succeeded by the Prélude without interruption.
re-sound
Komposition für Kontrabassflöte und siebensaitige Gitarre (2023) [KBFl, Gt; ca. 7:00]
Premier: May 6, 2023/Nordwestuckermark, DEU, Quillo (Ursula Weiler, Daniel Göritz)
Program Note:
re-sound, for contrabass flute and seven-string guitar (2023), was commissioned by Ursula Weiler and Daniel Göritz for a portrait concert with the Quillo Ensemble and is dedicated to both musicians in gratitude and friendship. The composition is based on Heinrich Schütz’ “Da pacem, domine” and on the hymn “O frommer Christ herzlich betracht” as set by Johann Hermann Schein.
con-cert-are: we/hear?
Komposition für Barockensemble (2022) [Fl, 3Vn, Va, Vc, DB, Hc; ca. 10:00]
Commission: Ensemble l'Apothéose
Premier: February 12, 2023/Brussels, BEL: Bozar (l'Apothéose)
Program Note:
con-cert-are: we hear?, for Baroque ensemble (2023), was commissioned by the ensemble l'Apothéose to which it is dedicated in gratitude. The composition is based on the first movement of the Fifth Brandenburg Concerto by Johann Sebastian Bach.
Chorale (“those driven out will come”)
Komposition für Streichquartett (2021) [2Vn, Va, Vc; ca. 12:00]
Premier: November 12, 2021/New York, NY: Tenri Cultural Institute – Quartet121
Program Note:
Chorale (“those driven out will come”), for string quartet (2021), was written for Quartet121. The title refers to the composition’s musical reference (the third movement of the String Quartet op. 132 by Ludwig van Beethoven, “Heiliger Dankgesang”) as well as its literal references (two quotes from the New and Old Testament):
“…standing at the four corners of the earth, holding back the four winds of the earth to prevent any wind from blowing on the land or on the sea or on any tree…” (Revelations)
“…and there shall be no nation to which those driven out will not come…” (Jeremiah)
These two quotes connect the number “four” with the reality of migration. Migration as such was discussed by the philosopher Vilém Flusser in his collection of essays “The Freedom of the Migrant: Objections to Nationalism”.
As a reference to John Cage, this is a “string quartet in four parts”. The formal approach was inspired by a short story by Jorge Luis Borges, “The Garden of Forking Paths”:
I. Gardens of Forking Paths
II. Gardens of a Forking Path
III. A Garden of Forking Paths
IV. A Garden of a Forking Path
act: ab-stain, from
Komposition 2 für Klarinette, Geige, Violoncello und Klavier (2021) [Cl, Vn, Vc, Pn; ca. 18:00]
Commission: Barlow Foundation
Premier: June 5, 2021/Brooklyn, NY: Mise-En Place – Unheard-Of Ensemble
Program Note:
act: ab-stain, from, for clarinet, violin, violoncello, and piano, was commissioned by the Barlow Foundation for the Unheard-Of Ensemble. It is based on the composition “Da pacem, domine” by Heinrich Schütz, and on the hymn “O frommer Christ herzlich betracht” as set by Johann Hermann Schein. Both compositions were written during the Thirty Years’ War. The title is a reference to the following question by Hannah Arendt, which appears in spoken form in the last movement: “Could the activity of thinking as such be among the conditions that make humans abstain from evil-doing?”
Sonne.Ohne.Leben
Komposition für Klarinette und Klavier (2020) [Cl, Pn; ca. 3:00]
Commission: Tom Piercy
Premier: July 29, 2020/live stream – Tom Piercy, Shoichiro Tanaka
Program Note:
The composition Sonne.Ohne.Leben (sun.without.live), for clarinet and piano, was commissioned by Tom Piercy for a live stream concert to create a virtual artistic community during the COVID19 pandemic. The acronym of the title refers to the first sound of the piece (a g minor triad), as well as the first three letters of the word “solidarity”.
free: whereof – wherefore
Komposition (nach Ludwig van Beethoven) für Geige, Violoncello und Klavier (2020) [Vn, Vc, Pn; ca. 9:00]
Commission: Five Boroughs Music Festival
Premier: January 10, 2020/Queens, NY, USA: Flushing Town Hall – longleash Piano Trio
Program Note:
The composition free: whereof – wherefore, for violin, cello, and piano, was commissioned by the longleash Piano Trio and the Five Boroughs Music Festival. It is based on (refers to, responds to, fragments, orchestrates, elaborates, expands, and eventually loses) the second movement of the Piano Trio op. 1 no. 3 in c minor by Ludwig van Beethoven, which famously caused a disagreement between the composer and his teacher Joseph Haydn. Besides the musical reference, there are also two literal references which are integrated in the piece in both the original German and the English translation.
"Ruhe und Freiheit sind die größten Güter" / "Tranquility and freedom are the greatest treasures."
(Ludwig van Beethoven)
"Das Umschlagen der Frage 'frei wovon' in 'frei wozu' … hat mich seither in meinen Migrationen wie ein Basso continuo begleitet"
"The switch of the question “free of what” to “free for what” … has accompanied me in my migrations like a basso continuo ever since."
(Vilém Flusser)
mo(ve)ment for 2: Choreophonie – Schatten/Spiegeltanz –
Komposition 2 für Geige und Klavier (2019) [Vn, Pn; ca. 13:00]
Commission: New Chamber Ballet/O’Donnell-Green Foundation
Premier: February 10, 2019/New York, NY, USA: Opera America – Doori Na, Thomas Feng
Program Note:
mo(ve)ment for 2: Choreophonie – Schatten/Spiegeltanz – , for violin and piano (2017), was commissioned by the New Chamber Ballet and is dedicated to its director Miro Magloire in gratitude and friendship. The composition quotes songs by Gustav Mahler, Hugo Wolf, Claude Debussy, and Richard Strauss.
procession – process: peace (dona nobis pacem)
Komposition für Klarinette, Geige, Violoncello und Klavier (2017) [Cl, Vn, Vc, Pn; ca. 10:00]
Commission: Unheard-Of Ensemble
Premier: December 18, 2017/New York, NY, USA: Weill Recital Hall at Carnegie Hall – Unheard-Of Ensemble
CD-Recording: Unheard-Of Ensemble: Dialogues
Program Note:
procession - process: peace (dona nobis pacem) [Prozession – Prozess: Frieden (Dona nobis pacem)], for clarinet, violin, violoncello, and piano, was commissioned by Ford Fourqurean, to whom it is dedicated in gratitude. The composition is based on the third Agnus Dei of the Missa Pange lingua by Josquin des Prez.
leaving without/palimpsest 3
Komposition für Klavier mit Klarinette und Geige (2014) [Pn, Cl, Vn]
Commission: Zodiac Trio
Premier: February 22, 2014/Bronx, NY, USA: Wave Hill – Zodiac Trio
Program Note:
leaving without/palimpsest 3 [verlassen, allein/Palimpsest 3], for piano with clarinet and violin (2014), was commissioned by the Zodiac Trio, to whom it is dedicated in gratitude. The composition is based on my composition leaving without/palimpsest for piano with clarinet (2006). The old German folk tune Gesegn dich Laub served as its source material. Both title and form are a reflection of its content.
ist – Mensch – geworden
Komposition für Flöte und Klavier (2014) [Fl, Pn; ca. 11:00]
Commission: Ear to Mind
Premier: April 2, 2014/Seoul, KOR: Kumho Art Hall – Luna Kang, Youngwoo Lee
CD Recording: New Focus Recordings (Luna Kang, Jing Yang)
Program Note:
ist – Mensch – geworden [was – made – man], for flute and piano (2014), was commission by Ear To Mind and is dedicated to Johann Davin Füting on the occasion of his third birthday. The material consists mainly of fragmented quotes by Josquin, Bach, Schumann, and Debussy; additional composition for flute and piano by Pierre Boulez, Morton Feldman, Beat Furrer, Jo Kondo, Tristan Murail, and Nils Vigeland are quoted as well. The number 3 plays an important role in the structural concept of the piece: three words in the title, three main pitches, three sections, three flutes, three performers (two instrumentalists and one page turner), three types of instruments, and three languages for the spoken parts.
infinite spring
withdrawn until further revision
Komposition für Gitarre mit Flöte, Klarinette und Schlagzeug (2014) [Gt, Fl, Cl, Pc]
Commission: International Contemporary Ensemble (ICE)
Premier: October 23, 2009/Bowling Green, OH, USA: State University – International Contemporary Ensemble
Kaddish: The Art of Losing
Komposition für Violoncello und Klavier (2008) [Vc, Pn; ca. 16:00]
Commission: Heasook Rhee
Premier: September 4, 2009, New York/NY, USA: The Stone – John Popham, Yegor Shevtsov
CD Recording: New Focus Recordings (John Popham, Yegor Shevtsov)
Program Note:
Kaddish: The Art of Losing [Kaddisch: Die Kunst des Verlierens], for cello and piano (2008), is dedicated to the German musicologist Ulrich Siegele in gratitude and friendship on the occasion of his eightieth birthday. The general form of the piece is based on a novel by Hungarian writer Imre Kertesz, Kaddish for a Child Unborn. The other reference in the title is to a poem by Elizabeth Bishop. The piece ends with a piano epilogue, that recapitulates the form in a condensed way. It was inspired by the death of Anthony Richard Caleb (1925-2008).
leaving without/palimpsest
Komposition für Klavier mit Klarinette (2006) [Pn, Cl; ca. 9:00]
Premier: February 24, 2006/New York, NY, USA: Tenri Cultural Institute – Yegor Shevtsov, Carol McGonnell
CD Recording: New Focus Recordings (Yegor Shevtsov, Josh Rubin)
Program Note:
leaving without/palimpsest [verlassen, allein/Palimpsest], for piano with clarinet (2002/rev. 2003/rev. 2006), is based on my composition leaving without for solo piano (2002). The old German folk tune Gesegn dich Laub served as its source material. Both title and form are a reflection of its content.
re-fraction: shadows/palimpsest 2
Komposition für Violoncello mit Geige und Klavier (2005/rev. 2007) [Vc, Vn, Pn]
Commission: elole Klaviertrio
Finalist: Internationaler Kompositionswettbewerb “Stadt-Klang-Stille” für Klaviertrio
Premier: November 7, 2005/New York, NY, USA: Manhattan School of Music – Christine Christensen, Miranda Cuckson, Yegor Shevtsov
rev. Premier: April 17, 2007/Berlin, DEU: BKA – Ensemble Courage
Program Note:
re-fraction: shadows/palimpsest 2 [Re-Fraktion: Schatten/Palimpsest 2], for cello with violin and piano (2005/rev. 2007), was commissioned by the elole Piano Trio and it is dedicated to Matthias Lorenz in gratitude. The composition is based on my composition re-fraction: shadows for solo cello (2005/rev. 2007). It refers with its title and original conception to the painting sequence Shadows by Andy Warhol, which is part of the permanent collection of the Dia:Beacon Foundation in Beacon, New York.
re-fraction: shadows/palimpsest
Komposition für Violoncello mit Geige (2005/rev. 2007) [Vc, Vn]
Premier: June 15, 2005/New York, NY, USA: The Bowery Poetry Club – Wet Ink Ensemble
rev. Premier: April 17, 2007/Berlin, DEU: BKA – Ensemble Courage
Program Note:
re-fraction: shadows/palimpsest [Re-Fraktion: Schatten/Palimpsest], for cello with violin (2005/rev. 2007), is dedicated to Ilya Rubinstein in gratitude. The composition is based on my composition re-fraction: shadows for solo cello (2005/rev. 2007). It refers with its title and original conception to the painting sequence Shadows by Andy Warhol, which is part of the permanent collection of the Dia:Beacon Foundation in Beacon, New York.
nach-klang: dissolve (Etüde)/palimpsest
withdrawn until further revision
Komposition für Klavier mit Flöte und Fagott (2004) [Pn, Fl, Bn]
Premier: April 2, 2004/New York: The Friends Seminary Meeting House – The Scarborough Trio
finden – suchen
Komposition zum 60. Geburtstag von Jörg Herchet für Altflöte, Violoncello und Klavier (2003/rev. 2005/rev. 2011) [Afl, Vc, Pn, ca. 3:00]
Premier: November 1, 2003/Dresden, DEU: Blaue Fabrik – Karoline Schulz, Matthias Lorenz, Uwe Krause
rev. Premier: February 12, 2006/New York, NY, USA: The New York School of Strings – Erin Lesser, Christine Christensen, Yegor Shevtsov
rev. Premier: October 31, 2011/New York, NY, USA: Manhattan School of Music – Eric Lamb, John Popham, Yegor Shevtsov
CD Recording: Iosis (Ensemble Courage)
CD Recording: New Focus Recordings (Eric Lamb, John Popham, Yegor Shevtsov)
Program Note:
finden – suchen [to find – to search], for alto flute, cello, and piano (2003/rev. 2005/rev. 2011), was written for a concert of works by former students of Jörg Herchet on the occasion of his sixtieth birthday.
light, asleep
Komposition für Geige und Klavier (2002/rev. 2010) [Vn, Pn; ca. 7:00]
Commission: Tyler Neist
Premier: April 18, 2002/New York, NY, USA: Manhattan School of Music – Tyler Neist, Reiko Füting
rev. Premier: April 13, 2010/Manzano, ITA: Villa Romano – Olivia de Prato, David Broome
CD Recording: New Focus Recordings (Olivia de Prato, David Broome)
Program Note:
light, asleep [Licht, schlafend], for violin and piano (2002/rev. 2010), was commissioned by Tyler Neist. The composition was originally based on the song Du mein einzig Licht by Heinrich Albert and Simon Dach, from 1648. By the time I finished revising the work, in 2010, I found that the source material was reflected only in the title and general atmosphere of my composition.
Es geht ein’ dunkle Wolk’ herein
withdrawn until further revision
Komposition 2 nach dem deutschen Volkslied für Flöte und Gitarre (1997/rev. 2012) [Fl, Gt]
Premier: November 20, 1997/New York, NY, USA: Manhattan School of Music – Peter Schultz, Daniel Göritz
Ach Elslein, liebes Elselein
withdrawn until further revision
Komposition nach dem deutschen Volkslied für Geige und Bratsche (1996/rev. 2003/rev. 2008) [Vn, Va]
Premier: April 18, 1996/Houston, TX, USA: Rice University
rev. Premier: June 12, 2003/Dresden, DEU: Hochschule für Musik “Carl Maria von Weber” – Barbara Tzschoppe, Daniel Schultze
rev. Premier: April 12, 2008/New York, NY, USA: Tompkins Square Gallery – Olivia de Prato, Victor Lowrie
Wenn nichts mehr da wäre, wohin man zu gehen hätte, ist das Wiederkommen von Heil
Komposition für Bratsche und Klavier (1994) [Va, Pn]
Premier: March 27, 1995/Houston, TX, USA: Rice University – Eberhard Stoll, Reiko Füting
Ensemble (More than 5 Players)
von der Stadt
Komposition 2 für Ensemble (2023) [Fl, Ob, Cl, Bn, Hn, Pn, Vn, Va, Vc, DB; ca. 10:00]
Commission: Gesellschaftshaus Magdeburg
Premier: November 23, 2023/Berlin, DEU: Gesellschaftshaus (Ensemble/Jan Michael Horstmann)
Program Note:
von der Stadt [of the city], for ensemble (2023), was commissioned by the Gesellschaftshaus in Magdeburg, Germany. The composition is based on the hymn “O frommer Christ herzlich betracht” as set by Johann Hermann Schein.
sounds, from: ab/ove/r: us(tling)
Komposition für Sheng und verschiedene Blasinstrumente (2023)
Premier: May 10, 2020/New York, Sakura Park (Li-Chin Li, sheng/Manhattan School of Music students)
Program Note:
sounds, from: ab/ove/r: us(tling) is a project for my composition studio at Manhattan School of Music and Taiwanese sheng player Li-Chin Li, which was realized at Sakura Park in Upper Manhattan. Each student wrote a four-minute piece for sheng with or without other wind instruments. Some of the wind instruments were positioned at the terrace of Manhattan School of Music, whereas the sheng player was positioned in the center of the park.
Sound: Moves: Us
Komposition für Schlagzeug und Tanz (2020)
Premier: December 1, 2020/New York, NY, USA: Sakura Park – Manhattan School of Music students, New Chamber Ballet/Miro Magloire
Program Note:
Sound: Moves: Us is a project for my composition studio at Manhattan School of Music, which as of now was realized at three different locations (Sakura Park in Upper Manhattan, Socrates Sculpture Park in Queens, The Clark Institute in Williamstown, MA) for moving percussionists and dancers (New Chamber Ballet and its choreographer Miro Magloire).
“…let freedom sound.”
Komposition für 14 Trompeten (2020)
Premier: November 3, 2020/New York, NY, USA: Sakura Park
Program Note:
“…let freedom sound” is a project for my composition studio at Manhattan School of Music, which was realized at Sakura Park in Upper Manhattan. Each student wrote a three-minute composition for 14 trumpets. The performers were spread out over the entire park.
fall from your spring
Komposition für Gambenconsort, Laute und Bandoneon (2020) [5Gb, Lt, Bd; ca. 12:00]
Commission: Art d’Echo
Premier: February 5, 2021/Berlin, DEU: Villa Elisabeth – Art d’Echo, Magnus Anderson, Lothar Hensel
Program Note:
fall from your spring, for gamba consort, lute, and bandoneon, was commissioned by gamba player Juliane Laake and her ensemble Art d’Echo, and it is dedicated to both in gratitude. The composition substitutes the fourth pavane of John Dowland’s Lachrimae. The inclusion of the bandoneon was inspired premier program, which juxtaposed the entire Dowland cycle with tangos by Carlos Gardel and Osvaldo Donato.
F/fern
Komposition für Geige mit Ensemble (2018) [Vn + Fl, Cl, Pc, Pn, Vc]
Commission: Amalgama
Premier: April 24, 2019/New York, NY, USA: Judson Memorial Church – Amalgama/Michal Raymond Massoud
Program Note:
F/fern, for ensemble (2018), was commissioned by Amalgama, to whom it is dedicated in gratitude. The piece is part of The Lost Words project which pairs poems by Robert Macfarlane with new compositions, intended “to create a space for children to engage with the issue of environmental crisis with creativity and hopefulness.” F/fern is based on the poem Fern, and the specifics of the composition refer to both the English and German meaning of the word (the plant/”distant”).
mo(nu)ment 129
Komposition für Schlagzeugsextett (2015) [6 Pc]
Commission: Manhattan School of Music Percussion Ensemble
Premier: March 31, 2016/New York, NY, USA: Manhattan School of Music – MSM Percussion Ensemble/Jeff Milarsky
Program Note:
mo(nu)ment 129, for percussion sextet (2015), was commissioned by the Manhattan School of Music Percussion Ensemble and is dedicated to Claire Heldrich and Jeff Milarsky in gratitude and respect. The title contains two references: “monument” refers to sculptures by the American artist Dan Flavin, and “129” refers to the terrorist attacks in Paris on November 13, 2015. In terms of structure and content, the composition functions as a continuation of my composition mo(nu)ment for C/palimpsest for baritone, trumpet, trombone, bass clarinet and string orchestra, which pays tribute to the victims of the attack on Charlie Hebdo on January 7, 2015.
Weg, Lied der Schwäne
Komposition für Ensemble (2015) [Fl, Cl, Pc, Pn, Vln, Vla, Vc; ca. 13:00]
Commission: Oerknal Ensemble
Premier: November 5, 2015, Amsterdam, NDL: Splendor – Oerknal Ensemble/Lewis Nielson
CD Recording: New Focus Recordings (Oerknal Ensemble)
CD Recording: 7 Mountain Recordings (Oerknal Ensemble)
Program Note:
Weg, Lied der Schwäne [Journey, Song of the Swans], for ensemble (2015), was commissioned by the Oerknal Ensemble, to whom it is dedicated in gratitude. The composition was mainly written during a residency at the Civitella Ranieri castle in Umbria, Italy. The original material is based on a madrigal by Jakob Arcadelt, Il bianco a dolce cigno, which appears shadow-like at the end of the composition. The spoken words toward the end of the main section are taken from the title of the 2014 German film, Hin und Weg.
vine: snow
Miniatur-Komposition für Ensemble (2014) [3Fl, 2 Cl, Pc, Pn, 3 Vn, Va, Vc; ca. 0:20]
Premier: February 21, 2014/New York, NY, USA: Manhattan School of Music – Tactus Ensemble/Jeff Milarsky
Program Note:
vine: snow, for ensemble (2014), is part of a collaborative composition project with my students. It was inspired by the video art genre “Vine”, and it is based on the first measure of Debussy’s The Snow is Dancing from the piano cycle Children’s Corner.
leaving without/palimpsest 2
Komposition für Klavier mit Klarinette und Ensemble (2007) [Pn, Fl, Sx, Hn, Tp, Tb, Vn, Va, Vc]
Premier: May 3, 2007/New York, NY, USA: The Friend’s Seminary Meeting House – Yegor Shevtsov, Sarah Beaty, Wet Ink Ensemble/Carl Bettendorf
Program Note:
leaving without/palimpsest 2 [verlassen, allein/Palimpsest 2], for piano with clarinet and ensemble (2007), is based on my composition leaving without/palimpsest for piano with clarinet (2002/rev. 2003/rev. 2006). The old German folk tune Gesegn dich Laub served as its source material. Both title and form are a reflection of its content.
nach-klang: dissolve (Etüde)/palimpsest 2
withdrawn until further revision
Komposition für Klavier und Ensemble (2007) [Pn, Fl, Cl, Bn, Tp, Tb, Vn, Va, Vc, DB]
Premier: November 16, 2007/New York, NY, USA: Good Shepherd Church – Caroline Park, Manhattan Chamber Orchestra/Richard Clark
Orchestra
Stimmen, nachtdurchwachsen
Komposition für Orchester (1997) [Orch]
Premier: November 30, 1997/Dresden, DEU: Semper Opera House – Orchester der Hochschule für Musik “Carl Maria von Weber” Dresden/Roland Kluttig
Compositions for Children
I wonder as I wander
Kinder-Komposition nach dem amerikanischen Volkslied für Klavier allein (2008) [Pn]
Premier: January 27, 2008/Rostock, DEU: Hochschule für Musik und Theater – Johanna Furthmann
Stufen – Schleifen – Kreise
Kinder-Komposition für Klavier mit Violoncello und Geige (2006) [Pn, Vc, Vn]
Premier: January 20, 2007/Bad Doberan, DEU: Festsaal – Johanna Furthmann, Eleonora Heiden, Deborah Heiden
VOCAL
Vocal Without Accompaniment
"... gesammeltes Schweigen"
Komposition nach Reiner Bonack für Bariton und Klavier/Fassung für Mezzosopran allein (2004/rev. 2013) [Mz; ca. 9:00]
Commission: Ivonne Fuchs
Premier: October 27, 2006/New York, NY, USA: Greenwich House of Music – Daisy Press
rev. Premier: March 3, 2013/New York, NY, USA: Trinity Evangelical Lutheran Church – Nani Füting
CD Recording: New Focus Recordings (Nani Füting)
Program Note:
“… gesammeltes Schweigen” [“… collective silence”], in a version for solo mezzo-soprano (2004/rev. 2013), was commissioned by Ivonne Fuchs, to whom it is dedicated in gratitude. The poems are part of the collection Gespannte Stille (Expectant Silence) by Reiner Bonack, which was awarded the Haiku Prize of the German Haiku Society in 1995.
Vocal With Piano
9 Songs
Komposition für Stimme und Klarinette nach Texten von Tim Blunk und Michael Grossmann (2020) [Vx, Pn]
Premier: November 3, 2020/München, DEU: Theater HochX – Katharina Heißenhuberg, Oliver Klenk
“... gesammeltes Schweigen”
withdrawn until further revision
Komposition nach Reiner Bonack für Bariton und Klavier (2002/rev. 2004) [Br, Pn]
Commission: Festival “Magdeburgisches Concert”
Premier: October 12, 2002/Magdeburg, DEU: Konzerthalle – Matthias Vieweg, Reiko Füting
rev. Premier: November 18, 2004/New York, NY, USA: Manhattan School of Music – Matthias Vieweg, Reiko Füting
Program Note:
“… gesammeltes Schweigen” [“… collective silence”], for baritone and piano (2002/rev. 2004), was commissioned by the festival “Magdeburgisches Concert.” The poems are part of the collection Gespannte Stille (Expectant Silence) by Reiner Bonack, which was awarded the Haiku Prize of the German Haiku Society in 1995.
“… einst wuchsen am Grund”
withdrawn until further revision
Komposition nach Reiner Kunze für Bariton und Klavier (1999) [Br, Pn]
Premier: June 19, 1999/Glashütte, DEU: Museum – Matthias Vieweg, Reiko Füting
CD Recording: Edition Matthias Vieweg (Matthias Vieweg, Reiko Füting)
Vocal With Instruments/Ensemble
kommen – gehen
Komposition für Sopran, Countertenor und Ensemble (2018/rev. 2020) [S, Ct, Afl, Bfl, Cl, BCl, Tp, Tb, Hp, Pn, 3Vn, Va, Vc, DB; ca. 9:00]
Commission: Gesellschaftshaus Magdeburg
Premier: March 2, 2019/Magdeburg, DEU: Gesellschaftshaus – Ensemble Junge Musik/Finn Wiersig
rev. Premier: February 26, 2020/New York, NY, USA: Manhattan School of Music – Tactus Ensemble/Jeremy Gill
Program Note:
kommen – gehen (to come – to leave), for soprano, counter tenor, and ensemble was commissioned by the Gesellschaftshaus Magdeburg for the Ensemble Junge Musik and its conductor Finn Wiersig; it is dedicated to both in admiration. The composition is based on the conductus Veni creator spiritus, which is attributed to Perotin. In addition, there is also a short musical reference to the motet “Komm, Jesu, komm” by Johann Sebastian Bach.
The vocal parts are based on the lyrics of the conductus. Additional words are “roofless, homeless, hopeless, mindless, we”, which refer to protests by homeless people after the partial fire destruction of the Notre Dame Cathedral in Paris and the abundance of subsequent donations for its restauration.
wie der Tag – wie das Licht
Komposition nach Kathleen Furthmann für Sopran und Bassgambe (2018) [S, BGb; ca. 3:00]
Commission: Steuart Pincombe
Premier: October 12, 2018/Dresden, DEU: Militärhistorisches Museum – Viktoria Wilson, Frauke Hess
CD Recording: New Focus Recordings (Viktoria Wilson, Frauke Hess)
eternal return (Passacaglia)
Komposition nach Friedrich Nietzsche für Sopran und Trompete (2017) [S, Tp; ca. 7:00]
Commission: Andy Kozar
Premier: April 6, 2017/Miami, FL, USA: Miami Beach Urban Studio Main Gallery – Corrine Byrne, Andy Kozar
Program Note:
eternal return (Passacaglia) [Ewige Wiederkunft (Passacaglia)], for soprano and trumpet (2017), was commissioned by Corrine Byrne and Andy Kozar, to whom it is dedicated in gratitude. The text was taken from Friedrich Nietzsche’s Thus Spoke Zarathustra: “And eternal recurrance also of the smallest…”
mo(nu)ment for C
Komposition für Bariton, Trompete, Posaune und Bassklarinette (2017) [Br, Tp, Tb, BCl; ca. 11:00]
Commission: loadbang Ensemble
Premier: September 29, 2017/New York, NY, USA: Manhattan School of Music – loadbang Ensemble
Program Note:
mo(nu)ment for C, for baritone, trumpet, trombone, and bass clarinet (2017), was commissioned by the loadbang Ensemble, to whom it is dedicated in gratitude. The title refers to sculptures by the American artist Dan Flavin. The whispered text consists of three fragments – “Je suis” (French), “Ich bin” (German), and “I am” (English). They refer to the attack on Charlie Hebdo on January 7, 2015.
versinkend, versingend, verklingend: fernes Lied
Komposition für Vokalquartett und Ensemble (2015) [S, A, T, B, Cl, Vn, Vc, Pn; ca. 10:00]
Commission: Damask Ensemble, Oerknal! Ensemble
Premier: January 16, 2015/Amsterdam, NDL: Agenda Korzo – Damask Vocal Quartet, Oerknal! Ensemble
CD Recording: New Focus Recordings (Damask Vocal Quartet, Oerknal! Ensemble)
Program Note:
versinkend, versingend, verklingend: fernes Lied [sinking, singing, sounding: distant song], for vocal quartet and instrumental ensemble (2015), was commissioned by the Oerknal Ensemble, as well as the Damask Vocal Quartet, to whom it is dedicated in gratitude. The composition refers to Claude Debussy's piano prelude La cathédrale engloutie; the epilogue is based on the German folk song Gesegn dich Laub.
“…bis die Zeit ein Ende hat”
Komposition nach Kathleen Furthmann für Mezzosopran und Klaviertrio (2014/rev. 2017) [Mz, Vn, Vc, Pn]
Commission: Michael Grossmann
Premier: September 22, 2014/München, DEU: Gasteig – Monica Sardi, Trio Minori
rev. Premier: November 13, 2017/New York, NY, USA: Manhattan School of Music – Nani Füting/longleash Piano Trio
Program Note:
“…bis die Zeit ein Ende hat” [“…until time ends”], for mezzo-soprano and piano trio (2014/rev. 2017), was commissioned by Michael Grossmann, to whom it is dedicated in gratitude and friendship. The lyrics by Kathleen Furthmann refer to the writings by German author Arno Schmidt. The composition includes quotations of my compositions “…gesammeltes Schweigen” for solo mezzo-soprano, as well as Meditation 2: Passacaglia after a Toccata by Francesco Lambardo for solo piano. Both pieces function as clausulas.
“werden wir klar werden”
Komposition nach Kathleen Furthmann für Mezzosopran und Ensemble (2014) [Mz, Fl, Ob, Cl, Bn, Hn, Tp, Tb, Pc, Pn, 2Vn, Va, Vc, DB]
Commission: Mise-En Ensemble
Premier: March 28, 2014/New York, NY, USA: Tenri Cultural Institute – Nani Füting, Mise-En Ensemble/Mark Liora
Program Note:
“…werden wir klar werden” [“to become – us – clear – to be”] after a poem by Kathleen Furthmann, for mezzo-soprano and ensemble (2014), was commissioned by the Mise-En Ensemble and is dedicated to my wife, Nani Füting. The composition functions as a commentary on my composition “…wie wir klar werden” [“…as we reach clarity”] (after a poem by Carola Moosbach), for soloists, chorus, and orchestra (2011). My composition “…gesammeltes Schweigen” [“…collective silence”] for solo mezzo-soprano (after haikus by Reiner Bonack) functions as the introduction.
land of silence: waves – bridges
Komposition nach Kathleen Furthmann für Bariton, Trompete, Posaune und Bassklarinette (2009) [Br, Tp, Tb, BCl; ca. 10:00]
Commission: loadbang Ensemble
Premier: March 18, 2010/New York, NY, USA: Issue Project Room – loadbang Ensemble
CD Recording: New Focus Recordings (loadbang Ensemble)
Program Note:
land of silence: waves – bridges [Land der Stille: Wellen – Brücken], for baritone, trumpet, trombone, and bass clarinet, was commissioned by the loadbang Ensemble, to whom it is dedicated in gratitude and friendship. The composition is based on fragments of a poem by Kathleen Furthmann, translated into English.
“über zwischen-welten”
Komposition nach Kathleen Furthmann für Bariton, Klavier und Schlagzeugquartett/Fassung für Mezzosopran, Klavier und Schlagzeug (2008) [Mz, Pn, Pc]
Premier: March 17, 2008/Denver, CO, USA: Denver State College – ECCE Ensemble
Program Note:
“über zwischen-welten” [“across in-between worlds”], for mezzo-soprano, piano, and percussion (2008), is based on my composition for baritone, piano, and percussion quartet (2006) of the same title, which was commissioned by the Percussion Quartet Percusemble. The composition is based on a poem by Kathleen Furthmann, which utilizes the principle of addition and subtraction. The content refers to poems by Bertold Brecht, written during his exile in the United States and set to music by Hanns Eisler.
“über zwischen-welten”
Komposition nach Kathleen Furthmann für Bariton, Klavier und Schlagzeugquartett (2006) [Br, Pn, 4Pc]
Commission: Percusemble
Premier: July 13, 2006/Berlin, DEU: Hochschule für Musik “Hanns Eisler” – Matthias Vieweg, Dana Sturm, Percusemble Berlin
Program Note:
“über zwischen-welten” [“across in-between worlds”], for baritone, piano, and percussion quartet (2006), was commissioned by the Percussion Quartet Percusemble. The composition is based on a poem by Kathleen Furthmann, which utilizes the principle of addition and subtraction. The content refers to poems by Bertold Brecht, written during his exile in the United States and set to music by Hanns Eisler.
“... und ich bin Dein Spiegel”
Komposition nach Mechthild von Magdeburg für Sopran und Streichquartett (2000/rev. 2001/rev. 2006/rev. 2012) [S, 2Vn, Va, Vc]
Commission: Festival “Magdeburgisches Concert”
Premier: October 14, 2000, Magdeburg, DEU: Konzerthalle – Monika Meier-Schmid, Streichquartett
rev. Premier: November 17, 2001/New York, NY, USA: The Friend’s Seminary Meeting House – Sung Ji Kim, Vega String Quartet
rev. Premier: February 14, 2008/New York, NY, USA: Zankel Hall at Carnegie Hall – Megan Schubert, Zero Gravity Ensemble
rev. Premier: September 13, 2012/New York, NY, USA: German Consulate – Nani Füting, Mivos String Quartet
CD Recording: New Focus Recordings (Nani Füting, Mivos String Quartet)
Program Note:
“... und ich bin Dein Spiegel” [“…and i am Your reflection”], for soprano and string quartet (2002/rev. 2001/rev. 2006/rev. 2012), was commissioned by the festival “Magdeburgisches Concert” and is dedicated to Carsten Gerth in gratitude and friendship. The composition is based on excerpts from the fragmentary writing of Mechthild von Magdeburg (ca. 1207-1282). Two musical sources (the Minnelied Meie, din liehter schin by Neidhart von Reuental, as well as the medieval sequence Laudes crucis attollamus) serve as “time witnesses.”
“…weil sie in den Gedichten steht”
Komposition nach Georg Trakl für Bariton und Violoncello (1994) [Br, Vc]
Premier: May 10, 1994/Dresden, DEU: Dreikönigskirche – Matthias Hoffmann, Sandra Heinicke
Vocal With Orchestra
“…erst im erschrockenen Raum”
Komposition nach Rainer Maria Rilke für Mezzosopran und Orchester (1999/rev. 2003) [Mz, Orch]
Premier: February 26, 1999/New York, NY, USA: Manhattan School of Music – Carola Günther, MSM Composer’s Orchestra/Glen Cortese
rev. Premier: August 28, 2003/Ostrava, CZE: Philharmonic Hall – Petra Saverova, Janacek Philharmonie Ostrava/Petr Vronsky
mo(nu)ment for C/palimpsest
Komposition für Bariton, Trompete, Posaune, Bassklarinette und Streichorchester (2015/rev. 2017) [Br, Tp, Tb, BCl, StrOrch]
Commission: String Orchestra of Brooklyn
Premier: March 29, 2015/New York, NY, USA: Roulette – loadbang Ensemble, String Orchestra of Brooklyn/Eli Spindel
rev. Premier: February 12, 2017/Albuquerque, NM, USA: University of New Mexico – loadbang Ensemble/David Felberg
Program Note:
mo(nu)ment for C/palimpsest, for baritone, trumpet, trombone, bass clarinet and string orchestra (2015/rev. 2017), was commissioned by the String Orchestra of Brooklyn, to whom it is dedicated in gratitude. The title refers to sculptures by the American artist Dan Flavin. The musical references found in the string orchestra originate in the music of Johann Sebastian Bach, Gustav Mahler, Charles Ives, and Samuel Barber. The whispered text consists of three fragments – “Je suis” (French), “Ich bin” (German), and “I am” (English). They refer to the attack on Charlie Hebdo on January 7, 2015.
Chorus/Vocal Ensemble A Cappella
“…let freedom ring”
Komposition für Vokalensemble (2020)
Premier: April 25, 2021/YouTube – Calmus Ensemble
Program Note:
“… let freedom ring”, for vocal ensemble (2020) after fragments by Rosa Luxemburg (“Freedom is always, and exclusively, freedom for the one who thinks differently.”) and Martin Luther King (“...let freedom ring”), was commissioned by the Calmus Ensemble for their “MOSAIK 2020” project. Both text fragments pay tribute to current social movements, specifically “Black Lives Matter.”
flehen – fliehen
Komposition nach Kathleen Furthmann for Vokalensemble a cappella (2014) [Chor: SSSSAAAATTTTBBBB]
Commission: vocal modern
Premier: November 29, 2018/Leipzig, DEU: Stadtbibliothek – vocal modern/Christfried Brödel
Program Note:
flehen – fliehen (to plead – to escape) after a poem by Kathleen Furthmann and texts by Michael Grossmann, for vocal ensemble a cappella is based on the motet Also hat Gott die Welt geliebt by Heinrich Schütz. The composition was commissioned by the ensemble vocal modern and is dedicated to both the ensemble and its conductor, Christfried Brödel in gratitude.
atme – erkenne
Komposition nach Kathleen Furthmann for Chor und Posaune/Fassung für Chor a cappella (2014) [Chor: SSTABB]
Commission: Meißner Kantorei
Premier: August 14, 2014/Ahlbeck, DEU: Kirche – Meißner Kantorei/Christfried Brödel
Program Note:
atme – erkenne [to breathe – to see], was commissioned in its original version for mixed chorus and trombone by the ensemble Incanto Weimar as a part of a concert with works by Josquin Desprez and Jakob Obrecht during the MDR-Musiksommer Festival 2004. The composition is dedicated to the vocal ensemble as well as its conductor, Tilo Krause. The four parts of the composition are based on relationships to the surrounding works of the two Renaissance composers. This also holds true for the poems by Kathleen Furthmann.
“als ein licht”
Komposition nach Kathleen Furthmann für Vokalensemble a cappella (2011/rev. 2018) [VEns: SSSSAATTBB]
Commission: Meißner Kantorei
Premier: August 17, 2011/Leipzig, DEU: St. Nikolai – Meißner Kantorei/Christfried Brödel
Program Note:
“als ein licht” [“as a light”] after a poem by Kathleen Furthmann, for vocal ensemble a cappella (2011/rev. 2018), was commissioned by the Meißner Kantorei chorus for the 33rd Lutheran Convention in Dresden in 2011. The composition is dedicated to the choir as well as its conductor, Christfried Brödel.The motet Verleih uns Frieden gnädiglich by Heinrich Schütz, from Geistliche Chormusik 1648, served as the compositional origin.The relationship exists on the musical as well as poetic levels.
“in allen landen”
Komposition nach Kathleen Furthmann für Vokalensemble a cappella (2010) [VEns: SSSSAATTBB]
Commission: labia vocalia Vokalensemble
Premier: October 23, 2010/Magdeburg, DEU: St. Sebastian – labia vocalia Vokalensemble/Reiko Füting
Program Note:
“in allen landen” [“in all lands”], for vocal ensemble a cappella (2010), was commissioned by the labia vocalia vocal ensemble and is dedicated to Susanne Hammer and Ulrike Nieder. The composition is based on a poem by Kathleen Furthmann, which refers to the lyrics of the chorale Lobt Gott in allen Landen by Martin Behm. This relationship exists on a musical level as well.
“der töne licht”
Komposition nach Kathleen Furthmann für Chor a cappella (2008) [Chor: SSATBB/SSATBB]
Commission: Europäisches Zentrum der Künste Hellerau
Premier: January 17, 2009,/Dresden, DEU: Hochschule für Musik “Carl Maria von Weber” – Dresdner Kammerchor/Hans-Christoph Rademann
Program Note:
“der töne licht” [“the light of tones”] after a poem by Kathleen Furthmann, for chorus a cappella (2008), was commissioned by the European Center for the Arts Hellerau for the Dresden Chamber Choir and its workshop in the New Music Network 2009. The composition is dedicated to the choir as well as its conductor, Hans-Christoph Rademann. The composition is based on the choral composition Abendständchen by Johannes Brahms (op. 42, no. 1) after a poem by Clemens Brentano. A strong relationship between both compositions exists on both the poetic and musical levels.
“…und wo Du bist”
Komposition nach Kathleen Furthmann für Vokalensemble a cappella (2007) [VEns: SSATB]
Commission: labia vocalia Vokalensemble
Premier: May 31, 2008/Magdeburg, DEU: St. Sebastian – labia vocalia Vokalensemble/Reiko Füting
Program Note:
“…und wo Du bist” [“…and where You are”], for vocal ensemble a cappella (2007), was commissioned by and written for the labia vocalia vocal ensemble, to whom it is dedicated in gratitude and friendship. The composition is based on poem by Kathleen Furthmann, which is refering to texts by Mechthild von Magdeburg.
weht – umweht
Komposition nach Kathleen Furthmann für Chor a cappella (2005) [Chor/VEns: SSATB/SSATB]
1. Preis: Internationaler Kompositionswettbewerb des Dresdner Kammerchores
Premier: October 31, 2006/Dresden, DEU: Semperoper – Dresdner Kammerchor/Hans-Christoph Rademann
Program Note:
weht – umweht, for chorus a cappella (2005), is based on a poem by Kathleen Furthmann, which refers to the text of Hans Leo Hassler's Ach weh, dess leiden of the Nuremberg collection Lustgarten neuer teutscher Gesäng, Balletti, Galliarden und Intraden from 1601 in regard to content and form. This relationship exists on a musical level as well, although in a more subtle way.
“silently wanders”
Komposition nach E. E. Cummings für Chor a cappella (1999/rev. 2002) [Chor: SATB]
Commission: Sächsisches Vocalensemble
rev. Premier: October 7, 2002/Dresden, DEU: Dreikönigskirche – Sächsisches Vocalensemble/Matthias Jung
Program Note:
“silently wanders”, for chorus a cappella (1999/rev. 2002), was commissioned by the Sächsisches Vocalensemble. The composition is dedicated to the choir as well as its conductor, Matthias Jung. The lyrics is based on two poems by E. E. Cummings from the collection Late Poems (1930-62).
Chorus/Vocal Ensemble With Instruments
“weil wir leben, können”
Komposition für vier Chöre und zwei Orgelpositive (2022)
Commission: Culture Foundation of the State of Thuringa, Art Foundation of the State of Saxony-Anhalt
Premier: October 3, 2022/St Martin, Kassel – State Youth Choirs Hessen, Thuringia, Saxony, and Saxony-Anhalt, Svenja Reis, Jakob Dietz/Justin Doyle
Program Note:
“weil wir leben, können” (“because we live, we can”), for four choirs and two positive organs, was commissioned by the State Youth Choirs from Saxony, Saxony-Anhalt, Thuringia, and Hessen for the Schütz Year 2022. The composition is dedicated to the initiator of this project, Christoph Caesar. The text is inspired by fragments of poems and song lyricsby various authors: Erich Kästner, Zig Zigler, Nena, and Rostenstolz. This idea was initiated by the singers of the four choirs. Additionally, a reference to a poem by Friedrich von Logau (“Des Krieges Buchstaben”) and a sentence by Vilém Flusser (from “Wohnung beziehen in der Heimatlosigkeit [Heimat und Geheimnis - Wohnung und Gewohnheit]”) are integrated. These text fragements are combined and confronted with various quotations from the collection Geistliche Chormusik 1648 by Heinrich Schütz, as well as a reference to Johannes Brahms’ motet “Warum ist das Licht gegeben dem Mühseligen?”.
“in allem frieden”
Komposition 2 nach Kathleen Furthmann für Vokalensemble, Gambenquintett, Schlagzeugquartett und Positiv (2012/rev. 2018) [VEns: SSATB/SATB, 5Gb, 4Pc, Pv]
Commission: Mitteldeutsche Barockmusik MDB
Premier: October 13, 2012/Dresden, DEU: Kirche Loschwitz – Sächsisches Vocalensemble/Matthias Jung
rev. Premier: August 15, 2018/Königstein, DEU: Kirche – AuditivVokal Dresden, Art d’Echo/Olaf Katzer
CD Recording: New Focus Recordings (AuditivVokal Dresden, Art d’Echo/Olaf Katzer)
Program Note:
“in allem frieden” [“in all peace”] after a poem by Kathleen Furthmann, for vocal ensemble, gamba quintet, percussion quartet, and positiv (2012/rev. 2018), was commissioned by the Mitteldeutsche Barockmusik (MDB) for the Heinrich Schütz Musikfest 2012. The composition refers to Da pacem, Domine by Heinrich Schütz, written for the Elector Convention in 1627, and it uses its disposition and instrumentation. The addition of the percussion quartet reflects the concert program of the premier, which – with the composition “als ein licht”/extensio – included another piece based on Heinrich Schütz (the motet Verleih uns Frieden from Geistliche Chormusik 1648). The composition is dedicated to the Sächsisches Vocalensemble as well as its conductor, Matthias Jung.
“als ein licht”/extensio
Komposition nach Kathleen Furthmann für Vokalensemble, Gambenquintett, Schlagzeugquartett und Positiv (2011/rev. 2018) [VEns: SSSSAATTBB, 5Gb, 4Pc, Pv]
Commission: Meißner Kantorei
Premier: June 4, 2011/Dresden, DEU: St. Petri – Meißner Kantorei Dresden/Christfried Brödel
CD Recording: audiolis (Meißner Kantorei Dresden/Christfried Brödel
CD Recording: Querstand (Meißner Kantorei Dresden/Christfried Brödel
rev. Premier: August 15, 2018/Königstein, DEU: Kirche – AuditivVokal Dresden, Art d’Echo/Olaf Katzer
CD Recording: New Focus Recordings (AuditivVokal Dresden, Art d’Echo/Olaf Katzer)
Program Note:
“als ein licht”/extensio [“as a light”/extensio] after a poem by Kathleen Furthmann, for vocal ensemble, gamba quintet, percussion quartet, and positiv (2011/rev. 2018), was commissioned by the Meißner Kantorei chorus for the 33rd Lutheran Convention in Dresden in 2011. The composition is dedicated to the choir as well as its conductor, Christfried Brödel. The motet Verleih uns Frieden gnädiglich by Heinrich Schütz, from Geistliche Chormusik 1648, served as the compositional origin. The relationship exists on the musical as well as poetic levels.
“…als aus nacht himmel wurde”
withdrawn until further revision
Komposition nach Kathleen Furthmann für Chor, Flöte und Posaune (2004) [Chor: SATB, Fl, Tb]
Commission: Hochschule für Kirchenmusik Dresden
Premier: January 29, 2005/Dresden, DEU: Kreuzkirche – Chor der Hochschule für Kirchenmusik Dresden, Karoline Schulz, Christoph Auerbach/Christfried Brödel
CD Recording: audiolis
Program Note:
“…als aus nacht himmel wurde” [“…when night turned into sky”], for chorus, flute, and trombone (2004), was commissioned by the Hochschule für Kirchenmusik Dresden. The composition was written for the occasion of the 60th anniversary of the destruction of Dresden. The premier took place during a Vespers at the Kreuzkirche in Dresden in January of 2005. The poems and bible references (Jeremiah 6, 10) by Kathleen Furthmann refer to this occasion.
atme – erkenne
Komposition nach Kathleen Furthmann für Chor und Posaune (2004) [Chor: SSATBB, Tb]
Commission: Mitteldeutscher Rundfunk MDR
Premier: August 28, 2004/Eisenach, DEU: Wartburg – Incanto Weimar, Jörg Leitz/Tilo Krause
Program Note:
atme – erkenne [to breathe – to see], for chorus and trombone (2004), was commissioned by the ensemble Incanto Weimar as a part of a concert with works by Josquin des Prez and Jakob Obrecht during the MDR-Musiksommer Festival 2004. The composition is dedicated to the vocal ensemble as well as its conductor, Tilo Krause. The four parts of the composition are based on relationships to the surrounding works of the two Renaissance composers. This also holds true for the poems by Kathleen Furthmann. However, the pieces form an autonomous cycle as well.
Chorus With Orchestra
“…wie wir klar werden”
Komposition nach Carola Moosbach für Solisten, Chor und Orchester (2012) [2S, A, T, B, Chor: SSATB, Orch]
Commission: Hochschule für Kirchenmusik Dresden
Premier: December 16, 2012/Dresden, DEU: St. Anne – Chor der Hochschule für Kirchenmusik Dresden, Dresdner Barockorchester/Christfried Brödel
Program Note:
“…wie wir klar werden” [“…as we find clarity”] after a poem by Carola Moosbach, for soloists, chorus, and orchestra (2012), was commissioned by the Dresdner Hochschule für Kirchenmusik in Dresden, Germany. It was premiered at a concert honoring the retirement of the institution's dean, Christfried Brödel, to whom the composition is dedicated in gratitude and admiration. The text refers to Johann Sebastian Bach's cantata Ich freue mich in dir, BWV 133, written for the Third Day of Christmas. The composition is based on the pitches C, F, B-flat, and D, which is a reference to the first letters of the four syllables of the name of the dedicatee. / Without the wonderful support of my wife, this composition would not have been possible.
höhen – stufen
Komposition nach Kathleen Furthmann und Dieter Füting für Solisten, Chor und Orchester (2011/rev. 2014) [2S, A, T, B, Chor: SSATB, Orch]
Commission: Singakademie Dresden
Premier: December 4, 2011/Dresden, DEU: Lukaskirche – Singakademie Dresden, sinfonietta Dresden/Ekkehard Klemm
rev. Premier: December 6, 2014/Dresden, DEU: Lukaskirche – Singakademie Dresden, sinfonietta Dresden/Ekkehard Klemm
Program Note:
höhen – stufen [heights – steps] after Kathleen Furthmann and Dieter Füting, for soloists, chorus, and orchestra (2011/rev. 2014), was commissioned by the Singakademie Dresden and is dedicated to the choir as well as its conductor, Ekkehard Klemm. The composition refers to the Gloria of Bach’s Mass in B minor, and it is based on poetic fragments by Kathleen Furthmann und Dieter Füting. These fragments refer to a sentence from the apprentice letter in Johann Wolfgang Goethe's Wilhelm Meister's Apprenticeship: “The heights tempt us, not the steps; looking at the peak, we enjoy walking on the plain.” This sentence is related to the text of the Gloria: “Glory to God in the highest heaven, and peace on earth”.
Compositions for Children
“alle Dinge”
Kinder-Komposition für die Taufe von Lilly Riedel für gemischten Chor a cappella (2008) [Chor]
Premier: July 25, 2008/Bad Doberan, DEU/Münster
MUSIC THEATER, DANCE, AND FILM
Music Theater
Mechthild
Komposition für Musiktheater nach einem Libretto von Christian Lehnert (2022) [2 S, VEns SSAATTBB, Fl, Cl, Vc, Hp, Pc, Pv]
Commission: Magdeburger Musikverein
Premier: September 16, 2022/Magdeburg, DEU: Kloster Unser Lieber Frauen – Olivia Stahn, Hanna Herfurtner, Susi Wirth, Helge Leiberg, AuditivVokal Dresden, Ensemble Adapter, New Chamber Ballet New York/Olaf Katzer
CD Recording: New Focus Recordings
Stabat Mater
Musiktheater-Komposition für Mezzosopran und Ensemble, sowie Sprecher und Tänzer (2018) [Mz, Fl, Cl, Vn, Vc, Pn]
Premier: May 19, 2018/München, DEU: Schwere Reiter – Katharina Heissenhuber, Ensemble BlauerReiter/Armando Merino
Simulacrum
Musiktheater-Komposition nach Marianna Staroselsky für Sopran, Mezzosopran und Ensemble (2014) [S, Mz, Fl, Ob, Cl, Hn, Tp, Tb, Tu, Ac, Hp, Pn, Pc, Vn, Va, Vc, DB]
Premier: June 8, 2018/New York, NY, USA: 3-Legged Dog – Ensemble/Michal Massoud
Dance
mo(ve)ment for 2: Choreophonie – Schatten/Spiegeltanz –
Tanz-Komposition für Geige und Klavier (2017) [Vn, Pn]
Commission: New Chamber Ballet/O’Donnell-Green Foundation
Premier: November 3, 2017/New York, NY, USA: City Center – Doori Na, Take Kigawa
Program Note:
mo(ve)ment for 2: Choreophonie – Schatten/Spiegeltanz – , for violin and piano (2017), was commissioned by the New Chamber Ballet and is dedicated to its director Miro Magloire in gratitude and friendship. The composition quotes songs by Gustav Mahler, Hugo Wolf, Claude Debussy, and Richard Strauss.
…dance…
Tanz-Komposition für Mezzosopran, Bariton, Schlagzeug mit live-electronics (2014) [Mz, Br, Pc, El]
Commission: WCV, Inc.
Premier: March 21, 2014/New York, NY, USA: Park Avenue Armory – Nani Füting, Jeff Gavett, Jacek Mioduszewski
Film
Hine Ma Tov
Film-Komposition (Zerstörte Vielfalt) für Orchester (2013) [Orch]
Premier: November 10, 2013/Berlin, DEU: Brandenburger Tor