...selig ist... (2024)
(for piano and electronics)

It is a music of disappearance. It is the revelation of the most fragile, unstable compositional intermediate time-spaces and their idiomatically, sonically, phenomenologically, spatially and temporally correlating signatures.

These were analysed using sonograms (Fast Fourier Transformation) of the most fragile sonic phenomena (including decays) that had previously been recorded. In this way, all the compositional signatures of the piano part were revealed, developed, derived, analysed and typologised. On the one hand, this exposes the extreme structural instability of the compositional intermediate time-spaces between correlating results and artifacts (the sonograms); on the other hand, the setup of the electronics and the files of those new, most unstable, most fragile signatures of the recorded score fragments were combined with concrete sound signatures of recordings from the Berlin Charité, from the ‘Tränenpalast’ at the former border crossing Bahnhof Friedrichstraße or from the Freiburg Cathedral Boys' Choir and the river Dreisam flowing through Freiburg. This results in a fully composed, deconcretised, neither illustrative nor allegorical typology of sound traces of extreme existential, perhaps metaphysical, phenomenological, organisational, spectral, marking, transient, compositional instability. This reveals a fully composed music of departure, decay, disappearance. 

The composition often includes interpolations of phenomenological micro-intervals and micro-sound colours.

Ultimate de/re-territorialising, de/re-idiomatising, de/re-concretising compositional correlations unfold. These phenomena, uncovered from deep within, form the music of disappearance, the music of disappearance.

Disappearance is one of the most central themes of the gospel message. It appears in the pericopes of the Passion, for example at the Last Supper in Emmaus or at the Ascension of Christ.

The pericope from the Gospel of Matthew quoted at the end of the score (‘Blessed are those who mourn, for they shall be comforted’; Mt 5:4) unfolds in the compositional approach in the sense of music in remembrance of a deceased child.