Amproprifications, a portmanteau of the words "appropriation" and "amplification", is a series of works for performers and automated amplification. In short, all Amproprifications are elaborate amplification layers for preexisting pieces by other composers. For each Amproprification, one specific score is being performed as intended by the original’s composer, except that it is picked up by microphones and played back through loudspeakers. It is this point, the amplification between the microphone and loudspeaker that is the subject of composition.
The possibilities of interference span a large variety of movements, from almost imperceptibly slow fader movements to extremely rapid 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 originals are being superimposed with additional layers of musical content. In this sense the Amproprifications could be considered "counter-compositions". They can temporarily serve as interpretations, comments, support, as a means of magnifying aspects not necessarily playing significant roles in the originals, and they can transform them into something new.
The selection of a piece for an Amproprification requires love and respect for the original, otherwise the process would be utterly pointless. The Amproprifications are not about destruction. And yet, by "chopping them up", the respective original's context is being broken to allow for the emergence of the new.
The concept for the development of the amplification layer is very different for each piece. It is always built on aspects of the respective original’s structure and content. Hence, the originals are being superimposed with layers that are external, yet based on the works themselves. The general aims of the series are to excavate musical realities, hidden within the originals, to adress the historic distance we might have towards them and to transform the old acoustic pieces into new electroacoustic ones, the paradox of listening to something that is both well known and entirely new at the same time.

The older originals are transformed into something new, something unexpected, a hitherto unknown "thing". To say it with a twisted line by Eichendorff:
A thing's asleep in every song