Säulen (Pillars) is an extensive organ sonata in three movements. The opening movement picks up a theme from Schönewolf’s Sonata for violin solo, Caritas abundat, transforms it into a space-consuming theme in the pedal and implements it as a passacaglia, then as fugue.
The 130th Psalm (Vulgata: 129th Psalm) belongs to the six penitential psalms and has often been set in notes. The present work begins with a loud, exalted sound of the organ in order to plunge into the depths with this sound.
A solo sonata for violin inevitably draws comparison with Johann Sebastian Bach’s monumental pieces for this instrument.The present work, Caritas abundat, follows in this powerful polyphonic tradition and confronts the musician with considerable technical and musical challenges. The subtitle Song sonata refers to three songs that underlie the three movements of the composition: a medieval chant, a chorale and a folk song.
The Suite for flute solo is a collection of dances with an extensive opening movement in front. Hevel havalim represents a kind of extensive overture. A slow introduction is juxtaposed with a fast section. As a result, the sentence is constantly recomposed from the motifs cut into individual parts.
Songs in PicturesNaturodes in nine pictures, two contemplations and one imprecation for soprano and harp with an exhibition of paintings
“An almost magical experience.” Kölner Stadt-Anzeiger The songs in pictures, a synaesthetic work of art with lyric, painting and music, is an ode to beauty, beauty, as reflected in art, in the aesthetics of philosophy and religion, in the sublime nature.
Schwebungen is a work about flying, hovering and pulls out all the tonal stops – in versions for recorder and saxophone quartet. Desireful, breathy, dragging with cranes, roaming in wild dances, cooing, courtship, flapping wings, plunging down in virtuoso cascades. Chordal cloud clusters, like cotton wool pressing, above them condensation trails of free melodic lines.
Following the extremely arduous and protracted work of composing the Concerto for String Quartet SOLO, this piece was initially conceived as a short and simple work for flute, viola and harp—an instrumentation which preoccupied Debussy among others in one of his late works.
The apparent oxymoron in the title of String Quartet No. 2 refers to a formal peculiarity of the work: four of its five movements end in a solo cadenza for one of the instruments—the fifth movement opens with this cadenza—which forms a recurring theme throughout the work.
Today an increasing number of church choirs are lamenting the lack of male voices. The present Chorbuch a tre addresses this situation with 160 three-part settings. The collection, designed for ecumenical use, offers a broad selection of choral settings for the church year, times of the day, praise and thanks, the Ordinary, etc.