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. Despite the ‘intellectual rigour’ of contrapuntal techniques, the sound language is poetic—calm, talking passages alternate with powerful polyphonic clashes of sounds that conclude the movement even with the greatest dynamics.
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. The basses of the choir call from the depths and – in the sense of the word – the chorus of speech. The Domine, exaudi vocem meam is an extensive choir joint, the consequences of which are intensified and thus lend emphasis to the reputation of listen to my voice.
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 first movement of the sonata reworks the chant Caritas abundat in omnia by Hildegard von Bingen, interspersing choral motifs with freer passages, highly virtuoso with serene elements and outbursts of ecstasy with moments of contemplation.
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. Numerous tempo changes and breaks are characteristic for the movement. A two-part fugue, the theme of which is taken from the previous motifs, is stored centrally.
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. The floating-etheric tone of the harp combines with the pure, bright sound of the soprano voice and the highly expressive, large-format paintings, brings beauty to resonance, pours metaphors into tangible images and fragrances into sound.
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. But also sections of strict polyphony; horizontal and vertical forces form a double passacaglia, a soul journey, a dream, or flee each other in a double gap of springlike winds and thus tell – more poetically inspired than programmatically conceived – a story of flying, travelling, losing and finding each other.
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. However, it soon became clear that for ‘programmatic’ reasons, the score would have to be expanded, first to include a trombone, and then later also a soprano voice.
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. One of the major contributions in recent years. It is as though we are given the cadenzas of four concerti, two for violin and one each for viola and cello.
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. It includes works from five centuries, and presents a range of various styles (including gospel and sacro pop).