Piano Trio in Düsseldorf

I am delighted to announce the forthcoming performances of my piano trio Kammerdialog. A Conversation with Violin, Cello, and Piano, which will be played multiple times on 9 and 10 July as part of the Tage der Kammermusik series at Robert Schumann Hochschule Düsseldorf. The piece already dates from 2008, but has been performed in public only twice (also some years ago). So I am lucky to enjoy the support of some talented musicians, cellist Inés Bueno López and violinist Enrique Carlsson, with whom I will share the stage on two consecutive days, with two respective performances of the trio in either concert. Cordial invitation implied!

  • Saturday, 9 July 2022, from 7 pm: in a programme with piano trios by Beethoven and Clara Schumann
  • Sunday, 10 July 2022, from 11 am: alongside more piano trios by Haydn and Shostakovich

A Capricious New Duo

Finally finished engraving my recent composition, Capriccio spirituoso for recorder (or flute) and piano, a piece that seeks to combine traditional harmony with a somewhat sophisticated approach to motivic work and form. The rather ambitious solo part was commissioned and supervised by my dear colleague Simon Borutzki, whose appealing virtuosity I will be fortunate enough to rely on for the forthcoming premiere. Everybody else is invited to access and check out the sheet music via IMSLP.

Music for my Children

After my previous attempts to compose music for my children had all turned out too complicated, I tried again and produced a little song without words, dedicated to my daughter and son. It is to be performed on their respective instruments, harp or guitar. Also, there is a version for piano. If you think it might suit your children or pupils as well, feel free to get hold of it! #musicforchildren

Gender Strongholds in Orchestras

There are 129 professional orchestras in Germany. According to a recent survey conducted by the Deutsches Musikinformationszentrum, most of the orchestras have significant gender imbalances among their employees, which vary strongly depending on the instrument, rank, and income level. The largest disparities appear in the tuba section (98.1% male) and harp section (93.7% female). To raise awareness of this issue, I am considering to compose a duo for a female tuba player and a male harpist in which both performers are also required to sing while playing. The piece is envisaged to incorporate a musical reference to Josquin Desprez, commemorating the 500th anniversary of his death. Anybody interested in receiving the dedication?

Triadic Transformations

I made a short analysis video on Carlo Gesualdo‘s Miserere from his Responsories for Holy Saturday. The chord progressions at the beginning, enriching modal harmony with chromaticised voice-leading, can be regarded as transformations according to Neo-Riemannian theory, and made visible as triadic relations in an Eulerian Tonnetz. This is a rather simple yet fascinating example that suited me well for a first approach to teaching transformational theory.

Also, for those of you who are interested in my compositions, there are some new recordings available on SoundCloud: a folk song duet from my Lyric Diptych for two voices and piano, and two excerpts from the suite At the Forest Verge for guitar and marimba duo.