Latest updates and posts in chronological order

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 Wednesday, July 4th, 2018

New Recording:

Amproprification #8: EROICA

Recording of the first performance, Konzerthaus Berlin, June 24th 2018 Ensemble UnitedBerlin Vladimir Jurowski, cond M. Marcoll, sound projection

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.

Published on Tuesday, June 19th, 2018

New Program Note:

Amproprification #8

Program note for Amproprification #8.1: Allegro con brio, Eroica, C. F. Ebers, L. v. Beethoven

Published on Thursday, May 24th, 2018

New Article: