Zeigt 4 Resultate(s)
audio visual performance club culture experimental music contemporary songs stimme und video voice and ensemble zeitgenössische Musik und Club

keep quiet and dance #1 (2018/19)

for voice, clarinet, percussion, violin, cello and electronics

premiere: Nemø ensemble, 03.05.2019, Bijloke Campus Ghent

duration: 7:30 min

technical setup: all instruments are amplified, voice with effect device, tape


keep quiet and dance (2018, original version)

for voice, clarinet, violin, cello and electronics
duration: 7:30 min

keep quiet and dance #2 (2018/2019)

for 4-channel voice, flute, clarinet, saxophone, percussion, violin, viola, cello, video & fixed media
duration 14 min

keep quiet and dance #3 (2018/2019)
for voice, percussion and string ensemble ( and tape



Keep quiet and dance was originally written for the European-Egyptian Contemporary Music Ensemble and the singer Kamilya Jubran.
The piece follows the idea of a song developing it’s own rules by denying and incorporating different kinds of material and building it’s own musical consistency. The title is a quotation of  the last words of Electra when she died. She’s a kind of opposite figure to Nawal Saadawi, who’s voice appears as a second layer in the piece. These two female figures are representing the powerful force of reaching a state of impersonality by following the idea of a rebellion. But the forces behind are very different: Electras enormous uncontrolled force, leaded by feelings of hate and revenge and Saadawis calm and resistant moves towards a better society are two very present polarities determining social  and political developments.
keep quiet and dance follows the idea of an open work – I re-write, re-work on it for different contexts, for different singers with different cultural backgrounds, for different formats of presentation.

audio visual performance club culture experimental music multimediale werke solowerke mit Elektronik stimme und video voice and ensemble werke zwei Klaviere und Elektronik

kleine formationen

KreisIncrease (2018)

for two pianos, tape and live-electronics

Keep quiet and dance (2018)

für Stimme, Klarinette, Violine, Violoncello und Elektronik

Keep quiet and dance #1 (2018/19)

für Stimme, Klarinette, Schlagwerk, Violine, Violoncello und Elektronik

Keep quiet and dance #2 (2018/19)

für 4-kanal Stimme, Flöte, Klarinette, Saxophon, Schlagwerk, Violine, Viola, Cello und fixed media

#AsPresentAsPossible (2017)

performer, piano, drumset, video und Elektronik

key of absence (2017)

für zwei Klaviere, Live-Elektronik und Zuspielung

Public Privacy #6: voice – bright no more (2017)

Performance Szene für Sängerin, Video und Elektronik

Public Privacy #5 Aria (2016)

für synthesizer und live video

Public Privacy #4 Leap in the dark (2015)

für E-Gitarre, Video und Zuspielung

play me back and forth (2015)

für Sopran, Klarinette, Cello, Sampler, Drumset, E-Zither, Video & Elektronik

Key of presence (2014/15)

für zwei Klaviere, Zuspielung und Live-Elektronik

Public Privacy #1: Flute Cover (2013)

für Flöte, Video und Zuspielung

Public Privacy #2: Piano Cover (2013)

für Keyboard, Video und Zuspielung

Public Privacy #3: Trumpet Cover (2014)

für Trompete, Video, Tape und Live-Elektronik

shivers on speed (2013)

für Bassflöte, Bassklarinette, Violine, Violoncello und Klavier

behind her back (2012/13)

für Solo-Schlagwerk, Flöte, Klarinette, Viola, Posaune, Klavier und 2 Lichtspieler

Rundumschlag# (2012)

für Flöte, E-Gitarre, Piano, Schlagwerk, Violine und Violoncello

durchhören (2010)

für Klarinette, Bassklarinette, Oboe, Saxophon und Fagott

Yes, Master (2011)

für vier Performer und Zuspiel

hin und weg (2010)

für Sopran und Cello

Hinterhall (2009)

für Saxophon und Schlagwerk, Live-Video und Lichtgeneratoren.
Video/Licht: Stefan Demming, Videokünstler

Überhall (2009)

für Klarinette, Saxophon, Posaune, Schlagwerk, Violine, Kontrabass und Video

audio visual performance multimediale werke performance mit musik performances stimme und video werke werke für ensemble


for performer, piano, drumset, video & electronics (original version)

premiere: 1.12.2017 Elbphilharmonie Hamburg
ensemble: Decoder Ensemble, performer: Carola Schaal
duration: 13 min
technical data: 16:9 projection (flushfloor) / stereo tape / amplification of piano/drumset /  voice-effekct device for the performer.

Our present is characterized by a call for declaration and confirmation of self that triggers an almost perverse attitude of sending individuality through all channels of our communication network.
In our digital-real continuum the existence and „raison d’être“ is constituted by visibility – while invisibility is equivalent to non-existence. In „As#presentAs#possible #solo“ the clarinet player defines her presence by a vanishing self, enters the stage without her instrument and explores the space between defining and being defined, between projecting and being projection.


#AsPresentAsPossible (2017)

performer, piano, drumset, video & electronics (original version) – premiered by Decoder Ensemble

#AsPresentAsPossible SOLO (2017/18)

for performer, video & electronics – premiered by Carola Schaal

#AsPresentAsPossible TWO (2017/19)

for two performer, piano, drum set, video & electronics – premiered by Ensemble Garage


All photos by Gerhard Kühne:

Concert #AsPresentAsPossible“ Decoder Ensemble / curated by Brigitta Muntendorf

The piece #AsPresentAsPossible was premiered at a concert program with Decoder Ensemble of the same name at the Elbphilharmonie Hamburg. A special concert that explores possibilities to share music in the middle of the audience – enjoy our trailer!

#AsPresentAsPossible – an homage to the “Bang”!  With a glimpse from the Elbphilharmonie, the Decoder Ensemble and Brigitta Muntendorf invite all to a transmedia happening, where the significance of corporal presence intertwines with concepts of physical and virtual existence in the events occupying all areas of the concert room.  With the music of Michael Beil​, Jessie Marino​, Brigitta Muntendorf (WP), Fat Boy Slim, Josh Spear and interludes drawing upon the Youtube/street musicians “Too Many Zooz”, #AsPresentAsPossible is constantly exploring the space between music, theater, and video amidst real and virtual “thereness”.  Through the collaboration with the choreographer Miriam Heinrich Horwitz​, one witnesses how the Decoder Ensemble encounters a new side of performance culture.  Here, physicality and reality, and the perception of those, confronts the musical interpretation.  How present can we, and do we want to be?  When do we transcend into presence through the very mediums that should make us invisible?

audio visual performance performance mit musik performances public privacy stimme und video

Public Privacy #6: voice | bright no more

performance scene for singer, video and electronics

Public Privacy #6 voice Bright no more | Muntendorfmusic/video/scene: Brigitta Muntendorf
duration: 8 min
premiere: Festival Rümlingen 2017, in frame of SCREEN-SHARING
composed for: Frauke Aulbert, singer and performer (www.stimmkuenstlerin.de)

general technical needs: 
projector / screen (white Gaze or natural proejction surface)
Stereo-PA and subwoofer
effect device for voice (for example TC Helicon Voicelive 2 or voice-software)
microphone (Shure SM 58)
requisites: working desk & laptop with score, different varicolored LED-Lights



Program notes

Public Privacy #6: voice: bright no more is the a piece within the Public Privacy series for solo instrument, video and electronics. The discourse about the public and the private in our digital culture takes place against a backdrop of manifold and fast moving developments. I composed the piece while my stay in Japan, Kyoto, at the Villa Kamogawa of the Goethe Institute. My experiences and observations concerning the structural organization of the Japanese society and communication had a deep impact on my artistic access to socio-political themes connected to a living within the digital culture. A completely different society with different models of public and private, balancing between a future-oriented thinking and the preservation of traditions, confronted with political implications on the development of individuality on the one hand and the required conformity on the other hand. The“Craziness of the Japanese“ – as the saying goes – appeared more and more as multi-layered consequences of a socio-political structure, some images seem to be weird, yes, but from circumstances that force people to invent and create real, digital and interpersonal spaces, we don’t have or need in Europe or other parts of the western world.

Separation and isolation as visibilities of an imbalance between public and private are not only in Japan a big topic – they’re social realities in every society, in which capitalistic ideas creates new needs and expectations.

On this background I wanted to show the vulnerable but also powerful side of this tireless and artificial force to develop a so called individuality. Sharing the space with an „I“, that yes, could be individuality. But it could also be a construction of relationship between a force and a space in between models of public and private and a state between being and performing.

Public Privacy #6: voice | bright no more at Festival Rümlingen


commissioned by Ernst von Siemens Musikstiftung and Festival Rümlingen