Latest updates and posts in chronological order

Published on Saturday, October 27th, 2018

New Instagram Acount

Since a few days there is a new Instagram account on which I will collect everything around the Amproprifications. It is only just starting but there is going to be content added step by step:


Published on Thursday, October 25th, 2018

Amproprification Recordings Offline

After some experiments and long consideration I have decided to take offline most audio recordings of the Amproprifications. I understand now that the difference between the live experience and the recordings is so huge that some major aspects of the pieces are lost.
The setting in which musicians perform an acoustic piece of music that is simultaneously being fragmented and modulated into an electroacoustic one has crucial implications that go far beyond spatialisation. It touches the very core of the series, its purpose and concept. Hence, it feels inappropriate to publish versions of the pieces that are purely electronic and fail to simulate the actual scenario. By taking this decision, I may on one hand lose a part of my audience. On the other, I hope that by limiting those pieces to be experienced in concert settings, I might encourage people to come to those events. Although there are going to be exceptions, most of the Amproprifications seem to be a kind of electroacoustic music that only works in its originally intended format: the concert.


Published on Thursday, October 18th, 2018

New Piece Announced:


an amproprification-performance for two electric guitars and live-electronics

Published on Tuesday, October 2nd, 2018

MA/IN 2018

Amproprification #6 (parts one and two) was awarded a Honorary Mention from the Jury of the MA/IN (Matera Intermedia) Festival 2018 in Matera, Italy.

Matera Intermedia Festival

Amproprification #6 on soundcloud

Published on Monday, October 1st, 2018

Amproprifications @ CDMX

The first solo show featuring my Amproprifications is currently running in the Goethe Institut in Mexico City. It will be open until January 9, 2019.

Published on Tuesday, July 17th, 2018

New Article:

Published on Monday, July 16th, 2018

New Piece Announced:

Amproprification #9: Schrift/Bild/Schrift, Bernhard Lang

for Ensemble and automated amplification

Published on Thursday, June 28th, 2018

New Piece Announced:

Fremdbestimmt (Studie) [Interlock No.2]

Study for a scene for performer and prepared stroh viola (or stroh violin)

Published on Thursday, June 28th, 2018

New Score:

Amproprification #8: Allegro con brio, Eroica, C.F.Ebers, L.v.Beethoven

"Amproprifications" is a series of pieces for performers and electronics. The title is a combination of the terms "Appropriation" and "Amplification": In short, all Amproprifications are elaborate amplification layers for preexisting pieces by other composers. The parts of the performers consist in the performance of scores by other composers. One specific score is performed for each piece in the series. Not a single note of the original's text is being altered, nothing is added, nothing is omitted, nothing is being changed in any way. The electronics on the other hand solely consist of amplification. No additional sound whatsoever is being produced. The possibilities of interference span a large variety of movements, from almost inaudibly slow fadings to extremely fast and brutal chopping. In a figure of speech, all Amproprifications are "silent" pieces. They themselves do not contain or produce any sound. They do, however, constitute filters, readings, processings of the original pieces. The development of the amplification layers are very different each time and stem from aspects regarding structure and content that are based in the respective original: The originals are being superimposed with external layers which have their origin in the works itsself. In Amproprification #8, the original is a chamber music version of the the first movement of Beethoven’s third Symphony, arranged by Carl Friedrich Ebers in 1818. Within the Amproprification-layer, two elements are especially important: First, a constant pulse, focusing certain aspects of the original. The first movement of the Eroica is written in a 3/4-metrum, which is quite unusual for a classical symphony. The pulses superimpose additionally odd tempi onto the music, turning the metrum into strange ratios. The second element is a rhythmical structure derived from the first chapters of the draft for a european constitution, which was written exactly 200 years after the Eroica, and which was stopped by referendums in the Netherlands and France in 2004. In general, Beethoven is especially interesting for an Amproprification because his works put up resistance against it, from within. Beethoven never poses as a canvas. Additionally, the Eroica carries a layer of political meaning, with references towards a liberal ideal of Europe. Insisting on the values of a liberal and open Europe is – unfortunately – very important once again. To think ahead and develop new models and visions for Europe based on those ideals maybe even more so.