Stepha Schweiger – my interdisciplinary musical theatre and current compositions
How it all began: Experimental musical theatre, Anti-imperialist compositions, Social interaction, Reduction, Noise
I have always been enthralled by the world of musical theatre: As a child, I used to dream up performances to compensate for my sense of “otherness”. By the age of 20, I dared to fantasise that I wanted to study composition and direction. Having moved to Berlin by 1989, I became involved with experimental musical theatre and developed interdisciplinary music theatre pieces based on textual instructions, such as the 60-minute long “1au9tu9mn3” for 4 variable instrumentalists/performers and a dancer/performer (1993, commissioned by the Berlin Senate for the Sponsorship of Artists, performed at the Kulturbrauerei/Kunstquartier Bethanien), or the 89-minute long “Ashra”, texts by Kabir, for a singer, performer and two percussionists (1995, commissioned by Dezentrale Kulturarbeit Berlin-Schöneberg, performed at Crellestrasse Studio/Philipp Melanchthon).
In doing so, I was primarily motivated by a desire to discard the imperialist mindset in composing: The performers evolve their own actions and are not restricted to a prescribed notation. This contagious energy spreads to the audience, and they too come up with ideas. As is the case with “Envelopes”, where a solo performance is determined by the spontaneous drawing of action cards, whereby the audience regard themselves as part of the performance. The performers distribute blank paper cards and search for something hidden amongst the audience, as well as displaying objects and proclaiming the words “society” or “nature” aloud, along with other actions prescribed by the cards. This way, the participating “visitors” become empowered to also be active on a digital level, to give feedback, to influence the performance or get inspired to start something they have never done before.
The interlocking of voices became another structural element of my compositions. Just like in a real social network, which a forest is, this performed “intertwining activity” laps over into the audience, stimulating them to become an active part of this network on an emotional, mental and physical level. To enable this, I use the stage and audience space so that the members of the audience sit or move in the performance area at the same time as the actual performers.
Reduction and industrial also shape my music: Even then back in the early days, I shunned the superfluous, just like the aesthetic I subsequently discovered in the music of Eric Satie and John Cage. In doing so, I have taken up arms – shoulder to shoulder with Jean Cocteau – against “humanity’s grave problems that have never been tackled”. This I do in the form of noise as acoustic aggression, as in Act III of the interdisciplinary musical theatre “The Mark on the Wall” (2017), where the textual basis from Virginia Woolf revolves around war and burial mounds. With a similar state of mind and expression, I developed “ver-blich” for a performer as a double bass player and live/fixed electronics at the IRCAM in Paris in 2001 / revised version for the Steirischer Herbst Festival in 2018. The themes addressed here range from individual trauma to the trauma of society as a whole.
Ongoing obsessions: Tuning, Process, Ready-made, Sustainability:
Furthermore, such direct emotion finds expression in sound structures of a seemingly fragile nature, just like in “The Mark on the Wall”, where the string instruments in Acts III - IV are retuned to the natural pitch spectrum in a surprisingly delicate way.
Searching for the natural overtone spectrum is a fragile act, similar to trying to revive the primordial nature of our planet. I first stepped foot in this thrilling world of microtonality as a child when comparing the tuning of different instruments. I am motivated by a desire to transform this listening experience into a digital one in which everyone can participate, in other words, to hand over the power that lies in this experimentation and searching directly to the audience and wait for a response. When working, I attach great importance to two-way communication as opposed to the customary monologue.
The natural sound symbolises a green world combating destruction, as seen in “The Mark on the Wall”, where the protagonist in Act V – once natural tuning has been enforced – drifts away in a daydream into the middle of paradise-like nature, totally oblivious to her surroundings, a state of mind that could also appeal to people communicating in a digital space.
I want to make political statements to highlight issues close to my heart, such as gender equality, social justice and climate activism, using the most progressive contemporary methods available. As a means of implementation, I am interested in all things of a processual essence, sometimes supported by slowness as a hypnotic movement. It is important to me that people are willing to engage in something that demands more than half an hour of their time – that everybody can gain an insight for themselves (within their own four walls) as a basic ingredient for living in an enlightened and democratic world!
I defined a new notation system in 2019 consisting of ready-mades, whose structures are interpreted and implemented based on sustainability. There are two types of these in the musical theatre composition “Rook Song” (2019, commissioned by Pyramidale Berlin): The “already destroyed” are played with mere silence – or in exceptional cases with sparse music from the imperialist pool of sound from former centuries – while the “still untouched, natural” are interpreted with delicate sounds interspersed with theatrical actions, not just on stage but across the entire venue and with audience participation.
The road ahead:
My musical theatres are developed as a process aimed at creating new viewpoints, such as in “Rook Song”, where performers in the form of primeval people first follow the primeval raven from the primeval forest into the steppe lands, and then stride through time to the present day, or in “Koi Song”, where a woman, in accordance with Japanese tradition, is only allowed to stay at home, and then takes to the streets as a suffragette/demonstrator/feminist.
I aim to implement and continue these processes, and the viewpoints gained, as a force that is amplified via various elements using new (digital) media. The occurrence of several moments in a single moment, in various places and locations, be it in the theatre or/and at home: In a new musical theatre (2023), final moments are superimposed, emerging from the process. Which moments, of which we are still unaware, will be added to the mix? Many things are possible in the digital space. My works also evolve as an overall process. Here I want to further explore the (digital) theatre space by letting it become a private space and vice versa, without fundamentally challenging the theatre form!
Berlin, January 25, 2022
press clippings excerpts
»New music from Berlin, compellingly Mansfield - Through the art-pop of her new project, she merges her penchant for indie-pop with an openness towards improvisational experiments: songs that are well-rounded, often almost haunting, replete with many barbs. Just as ethereal as they are urgent – opening up a myriad of ways of tuning in.« (taz Berlin, 2022)
»Wild and darkly rampant Krautjazz songs« (Rolling Stone, 2022)
»The result [is] magnificent. Whether as a tender pop song like the title track, or delicate, gripping indie rock like ‘Gray’s Inn Road’ or sometimes as a SiSo-style, withdrawn, but always enormously powerful ArtPop with a jazz feeling like in ‘Pitiful God’ – even a few free jazz sax snippets casually interspersed in a KrautPostPsychAvantPop amalgam work a treat (‘Revelation’). And Schweiger’s versatile voice towers above it all.« (5 out of 5 points, Westzeit, 2022)
»Featherlight summer sounds. The new album from the Berlin-based composer and singer Stepha Schweiger sounds dreamy and poppy with a slight hint of psychedelia. Her striking voice, which Schweiger liberally sprinkles between the synthesizer sounds, lends the perfect measure of authenticity. A magical summertime experiment in sound.« (Westdeutsche Allgemeine Zeitung 2020)
»...The Berliner with her distinctive voice is traversing dark untrodden paths between chamber pop, electronic noise, jazz and art music. Her new album is a bow to Katherine Mansfield, ... A deep, dramatic and enriching "piece of art"...« (Flight13, 2019)
»It is the composition that actually provides the elementary lifesoil for this stream of thoughts, as it flows through primeval depths and naturalism along the crumbling edges of a society in a state of change. Stepha Schweiger permits the ensemble to breathe, sense and soar, to become consummate in space.« (Süd-West-Presse, 2018)
»Music between upheaval and a retro effect, between evident delight in experimentation and a classic trim. ... Schweiger enhances the suspensive tension of sensually tender sound clusters to a melodiousness almost reminiscent of the free jazz experiments in the 1970s, one that lures us with its irresistible groove.« (Augsburger Allgemeine, 2018)
»Stepha Schweiger has composed a web of sounds more minimalistic in effect, one that emerges in a shimmer and with fine-spun tensions from her unique transformation of Virginia Woolf’s textual flow.« (nmz - neue musikzeitung, 2017)
Stepha Schweiger
Avantgarde composer, producer, director, singer/songwriter pianist.
In the 1980-s Stepha is active in the field of new wave, lateron in new music.
Her specific style advances in the fields of music theatre, experimental, industrial, free jazz, song, in the spectral technique of composition and in natural tuning.
Stepha Schweiger lives in Berlin
News:
New album Tiny Moment with her Band The Moon Is No Door, was released 26th August 2022 on L’ST records / Broken Silence.
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The Maxi-Single Floryan nachdenklich (Jlin remix) was released end of march 2021.
The new album Stepha Schweiger - When I was a Bird appeared in spring 2020 on L’ST records / Broken Silence.
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On 4th und 5th Oktober 2019, 8 pm, the music theater The Mark on the Wall, based on the story of the same name by Virginia Woolf, was performed with reworked scene at Theater im Delphi Berlin.
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In July 2018 Stepha Schweiger releases her album - Now I’m a Plant - produced by Hanno Leichtmann with electronic sounds, basses and loops.
On October 10 2018 two remixes by Pyrolator and In the garden of beauty follow.
In June 2019 the CD Now I’m a Plant, including the remixes, is out.
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October 06 2018 "ver-blich" for double bass and electronics is premiered in a new version for IKO loudspeaker of the institute for electronic music of Kunstuni Graz at musikprotokoll im Steirischen Herbst, Graz.
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In 2017 Stepha Schweiger premieres her 100 minutes long music theatre work "The Mark on the Wall", she composed for the singer and performer Anna Clementi based on the story of the same name by Virginia Woolf from 1917 - for singer, speaker, dancer, ensemble, electronics - at Tete a Tete-Festival in London, followed by scenic performances - direction by Sebastian Bauer - at Acker Stadt Palast Berlin, at Festival für neue Musik, Klanghaus Ulm in April 2018 and at Theater im Delphi Berlin in October 2019.
Biography and worklist:
As a child: creations of performance and audio recordings. Piano lessons and choir singing, five years at dancing school Krippner Regensburg. At school: first encounter with 12-tone music and electronic music. Studies in philosophy, musicology, linguistic, and activities in the fields of indie and experimental music.
Studies in composition among others at the Hochschule (now Universität) der Künste Berlin Piano studies with Cristian Petrescu and Larry Porter. One-year-course at the Ircam Paris, and at the Institute of Sonology, Conservatory The Hague.
Lectures and workshops (selection): at the Institut für Neue Musik Berlin ("Luciano Berio: Sequenze-Meisterkurs"), at the Hochschule für Musik Hanns Eisler Berlin (Reihe "Komponieren zur Zeit", and Mentoring: Diploma about Tristan Murail), at the University of New Mexico, Albuquerque, USA (Composers Symposium, Lectures and Workshop in Composition), at the Kunsthochschule für Medien Köln (Microtonal Projects) and others.
In 1993 Stepha Schweiger created her first experimental music theatre 1au9tu9mn3, commissioned by the Berlin Senate. Her works are performed internationally and are featured on radio and TV.
Stepha Schweiger’s texts on "composition, language and everyday life" and intonation are edited in KunstMusik World Edition Köln, KunstZeitung Usedomer Kunstverein, Positionen (review).
Worked on analysing destinctive compositions from the second half of the 20th century with an efficient method in respect to their organisation in time.
Her music has been published on the labels Subup Records Munic, GGM Galler Musikverlag Berlin, little salt, L’ST records and others.
Since the 1980-s Cassette/LP/Single/CD/DVD releases, as well as 2006-17 in the song project "Stepha" with the CD "Through the Screen" in 2006. Lately, in 2015/2016, Stepha released the Indie-Pop-EP "Dissolve into" (CD/Vinyl). In 2018 the album "Now I’m a Plant" produced by Hanno Leichtmann and two remixes by Pyrolator and Inthegardenofbeauty.
Her works are performed among others at:
musikprotokoll im Steirischen Herbst Graz
Biennale Venedig
Heroines of Sound Festival Berlin
Tete a Tete Opera Festival London
Staatsoper Berlin Unter den Linden, Atonale
Festival Agora, Ircam Paris
Suoni del Corpo Festival Rom
Guitar Festival Istanbul
Festival für neue musik KlangHaus UIm
Composers Symposium, Albuquerque, University of New Mexico, USA
Durham University, England
University of Exeter, England
BKA Club Konzerte Berlin
Werkschau Senat Berlin
Pyramidale Festival Berlin
Kulturbrauerei Berlin
Künstlerhaus Bethanien Berlin
Theater im Delphi Berlin
Acker Stadt Palast Berlin
Kunstprojekt Karlshof Nürnberg
Frauenmusiktage Weimar
Darmstädter Ferienkurse
Randfestspiele Zepernick
Lucero Festival Paris
and at more festivals and events in Germany, The Netherlands, Switzerland, England, Italy, Czechia and Brazil.
Stepha Schweiger chronologische Werkliste (Auswahl)
Titel (Jahr) Instrumentierung Dauer / Details / Ort und Jahr der Uraufführung
Saprobie (1989/1990) Trompete, Saxophon, Piano, 2 Violinen, Kontrabass 13
Nine Pieces (1990) Filmmusik für Trompete, Posaune, Saxophon, Perkussion, Piano, Synthesizer, 2 Violinen, Viola, Kontrabass 9 / Auszeichnung beim Kurzfilm-Festival Oberhausen / Berlin 1990
Erspähet (1990/1992) Altstimme, Piano (eigener Text) 5
Sp19ri9ng one (New York, 1991) Piano 20 / Studioeinspielung in New York, Steinway B, 1991, auf MC erschienen und uraufgeführt in Berlin 1992
The Swing (New York, 1991/1999) Variables Streichtrio frei / Passau 1996
Songs 1 (1992) Stimme(n), Piano (eigene Texte) ca. 30
Envelopes - für Gisburg (1993) Solo für Sing- und Sprechstimme / Performance (Texte: Antonin Artaud und aus Zeitungen) frei / Portraitkonzert Berlin 1993 / Neue Version: Berlin 2016, aufgeführt von Natalia Pschenitschnikowa
amidst - für Lavinia Reinke und Barbara Thun (1993) Musiktheater für Singstimme, Schauspiel und Präpariertes Klavier (ohne Text) frei / Portraitkonzert Berlin 1993
Words - für Lavinia Reinke (1993) für eine Sprechstimme (Text: Andrej Tarkowskij) / Portraitkonzert Berlin 1993
1au9tu9mn3 - für Matthias Bauer, Ebba Rohweder, Robert Hoare, Simon Jacob Drees, Alex Brustmann (1993) Experimentelles Musiktheater für vier variable Instrumente und Tanz (1) 60 / Kompositionsauftrag vom Senat Berlin / Künstlerhaus Bethanien Berlin 1993
Stück für einen Menschen (1994) für einen bis unbestimmt viele Menschen frei / Ort unbestimmt, 1994
Stück für einen Stromzähler, einen tropfenden Wasserhahn und eine Person (1994) frei
28 - für das ConGioccoEnsemble (1994) Experimentelles Musiktheater für Flöte, Klarinette, Horn, Posaune, Violoncello, Kontrabass 28 / Kompositionsauftrag vom ConGioccoEnsemble / Tage der Frauenmusik, Weimar 1994
La Crescenza di 49 (1994) Flöte, Klarinette, Violoncello, Kontrabass 7 / Hochschule der Künste Berlin 1994
Floréal (1994) Flöte 5 / Randspiele Zepernick 2012 durch Erik Drescher
Solo für Ebba - für Ebba Rohweder (1994) Flöte 60 / Kompositionsauftrag vom Senat Berlin, Studioeinspielung und CD-Release 1994 / Kulturbrauerei Berlin 1994
Sites (1994) Horn, Violoncello 18 / Kompositionsauftrag der Künstlergruppe G-Lock, Passau / Kulturmodell Passau, 1994 (neue Version 2012, Einspielung und Release der neuen Version 2012)
metaxy 1 - für Anna Clementi (1995) Solo für Sing- und Sprechstimme / Performance (Texte aus Träumen und Erlebnissen der Sängerin) frei / Berlin 1996
Vahide (1995) Solo für Violoncello mit Singstimme 19 / Hochschule der Künste Berlin 1995
ekloge (1996/1997) Mezzosopran, Viola, Gitarre, Perkussion (Text: Vergil) 10 / Hochschule der Künste Berlin 1997
frango phragmón - Gösta Neuwirth zum 60. Geburstag (1996/1997) Akkordeon 5 / Berlin 1997 durch Gerhard Scherer (extended Version 2012)
Ashra - für Barbara Thun, Janis Somerville, Claudia Sgarbi und Martin Lonak (1997) Musiktheater für Sing- und Sprechstimme (1), Sprechstimme/Performance (1), Perkussion (2) (Text: Kabir) 89 / Kompositionsauftrag vom Bezirk Berlin-Schöneberg, Christine Crecelius / Ateliers Crellestraße 1997
Sommerregen (1997) gemischter Chor a-cappella (Text: Thomas Bernhard) 8 / Staatsoper Berlin, 2018
Skira - für Klaus Schöpp, Claudius von Wrochem, Gerhard Scherer (1997) Flöte, Violoncello, Akkordeon 14 / Kompositionsauftrag vom Bezirk Berlin-Schöneberg, Christine Crecelius / CD- und DVD-Release 2012 / Neue Musik im Lichthof, Berlin 1997
the garden of flowers - für Barbara Thun (1997) Mezzosopran (Text: Kabir) 10 / Kompositionsauftrag von Carlo Inderhees / Zionskirche Berlin 1997
pandory - für Jutta Philippi und Claudia Sgarbi (1997) Marimbaphon, Piano 13 / Berlin 1998
Spirkel (1998) Theatermusik für Oboe, Horn nach Goethe 13 / Kompositionsauftrag / Sophiensäle Berlin 1998
exilata - für das Ensemble Accroche Note (1998) Sopran, Klarinette (Text: Emile M. Cioran) 5 / Kompositionsauftrag des Festivals Lucero / Paris 1998, auch für Sopran, Flöte / 2013, und für Sopran, Fagott
asphodels 1-7 - für Steve Altoft (1999) Trompete, nach Möglichkeit elektrisch verstärkt 4 / Neue Musik im Lichthof Berlin 1999
Fresko - Crocifissione - nach dem Triptychon von Perugino in der Chiesa Sancta Maria Magdalena dei Pazzi, Florenz (1999) Großes Orchester 7
sum1999mer - für Daniela Linkiewicz (1999) Textanweisungen zum Bauen einer Partitur, Violine 10 / Kompositionsauftrag von Carlo Inderhees / Zionskirche Berlin 1999
sum1999mer 1 - 8* (1999/2000) Textanweisungen zum Bauen einer Partitur für Flöte / Klarinette / Posaune, sowie Versionen für (Mezzo-) Sopran / Bassstimme (Text: Goethe) / Piano als Kompositionsauftrag von Dr. Helga und Thomas Ulrich / Version für Gitarre für Silvia Ocougne / Violine / frei / seit 1999
* können als Soli oder in beliebigen Ensemblekombinationen ausgeführt werden
Postkarte - Erzengel-Michael-Teppich (2000) nach dem Wand-Teppich im Domschatz Halberstadt, Motiv einer Postkarte, erhalten von Peter Ablinger, für großes Ensemble, :
2 Fl, Ob, 2 Kl, Fag, Horn, Trp, Pos, Tuba, Sax, Harfe, Piano, 2 Perk, 2 Vl, 2 Vlen, 2 Vc, Kb 13
ver-blich (2001) Kontrabass, elektronische Klangbearbeitung in Echtzeit, Zuspielband (digital), inspiriert durch "Èloge de la fadeur" von François Jullien 14 / Festival Agora, IRCAM Paris 2002, Kontrabass: Didier Meu
Spur (2002/2003) Streichtrio (Vl, Vla, Vc), Studioeinspielung durch Ensemble Faktor3, Hamburg 2015, 15, Tonaufnahme: soundcloud
BerlinTaumel (Den Haag, 2002/2003) Elektronische Komposition, 10 Teile , 20 / Institute of Sonology, Den Haag / Acker Stadt Palast Berlin 2016
sum1999mer’ für Hilary Jeffery (1999/2004) Textanweiseungen zum Bauen einer Partitur für amplifizierte Posaune, 9 / Amsterdam 2004
Schneefeld (2004) für Johannes Öllinger - Konzertgitarre, nach Möglichkeit elektrisch verstärkt 5’ / beauftragt von Caroline Delume / uraufgeführt von Johannes Öllinger, Berlin 2005
asphodels 8-10 für Matthias Bauer (2004) Kontrabass, nach Möglichkeit elektrisch verstärkt 3 / Randspiele Zepernick 2012
perpetual für Eva Curth (2005) Konzertharfe, nach Möglichkeit elektrisch verstärkt 8 / Studioeinspielung und CD-Release 2013 durch Eva Curth / Uraufführung in Lübeck 2005 durch Elena Lavrentev
Songs 2 (2004-2012) Stimme, Piano / Gitarre oder Band 120 / CD-Releases 2006 und 2015 / ab 2006
Engel für Eva Zöllner und Eva Curth (2011) Szene für Harfe, Akkordeon und Zuspiel mit Sprechstimme, (Text: Lil Steen) 16 / Berlin 2011
Totraum (in memoriam Heinz Brink) (2011/2012) Violoncello 10 / Kompositionsauftrag / Portraikonzert Kunstpavillon Heringsdorf 2012
frango phragmón extended (1996/1997/2012) Akkordeon und elektronische Bearbeitung 10 / CD- und DVD-Release 2012
Sites (neue Version) (1994 / 2012) Violoncello und Horn 11 / Studioeinspielung, CD- und DVD-Release 2012 / Portraikonzert Kunstpavillon Heringsdorf 2012
d. o. a. r. (2010/2013) Streichquartett mit Sprechstimme
d. o. a. r. (2010/2013/2015) Streichquartett mit Sprechstimme, Szenische Version
hiddensee 2 für Roman Trekel und Isa von Wedemeyer (2013) Bariton und Violoncello (Text: Ulrike Draesner), Kompositionsauftrag Bezirk Berlin-Steglitz-Zehlendorf / Berlin Schwartzsche Villa 2013
Songs 3 (2014-2015)
Three Early Fluxus Pieces ( ... / 2015)
Durcharbeiten - Dieter Schnebel zum 85. Geburtstag - für Anna Clementi und Ariane Jeßulat (2015) für eine/n Sänger/in, Sprecher/in, Performer/in und eine/n Pianisten/in, Sprecher/in, Performer/in / Berlin, Akademie der Künste 2015
Das Geräusch einer Hand denken (2015) szenisch, Textpartitur für Posaune, Saxophon, Akkordeon, Violine
Envelopes (1993/2016) neue Version: inspiriert und aufgeführt von Natalia Pschenitschnikowa, Berlin 2016, Unerhörte Musik
Frost Pattern - Eisblume (2016) für E-Gitarre und Bassflöte, optional mit elektronischen Sounds, geplant für Darmstädter Ferienkurse 2016. UA: November 2019, Köln Alte Feuerwache, Trio NYT: Pavel Tseliapnou, Stephan Wolke, Emanuel Wittersheim
The Mark on the Wall (2003 / 2014 - 2017), Musiktheater nach der gleichnamigen Kurzgeschichte von Virginia Woolf von 1917, 100 Min, UA 2017: Konzertant in London, Tete a Tete, und szenisch in Berlin, Acker Stadt Palast, gefördert durch den LAFT und das Ministerium für Bildung und Kultur Baden-Württemberg
TRAILER nach einer Bearbeitung von Aniara Amos: youtube
Connecting… Skizze für 4 elektrische Orgeln und fixierte Elektronik, Elisabethkirche Berlin, Mai 2017, Thomas Noll, Nathan Plante, Silke Lange, Sebastian Elikowski-Winkler und Ferdinand Breil, Elektronik
Koi (2017), Elektronik, Text: Anna Hetzer, Sprechstimme: Stepha Schweiger, Acker Stadt Palast Berlin 2017
Koi Song (2017), für Anna Clementi, Performance mit Stimme und Elektronik, mit Fragmenten des Women s March von Ethel Smyth, Brasilien 2017
Drunken Trees (2018), fixierte Elektronik, beauftragt von Pacifico Exercises, gefördert von INM Berlin, Acker Stadt Palast Berlin 2018
ver.blich (2001 / 2018), Kontrabass und Elektronik, 2018 für Margarethe Maierhofer-Lischka und IKO Lautsprecher, eingerichtet von Peter Venus, neu bearbeitet für das musikprotokoll im Steirischen Herbst Graz 2018
Now I’m a Plant (2012-2018), Songs nach Katherine Mansfield, produziert von Hanno Leichtmann, CD 2019, Wien WOW-Signal, Graz Cafe Wolf, Moosburg Jazzclub Hirsch, 2019
Pas d Asphodeles (2017/18) für Nathan Plante, Trompete und Elektronik
Take a Seat (2019), Stimme und Performance: Natalia Pschenitschnikowa, Elektronik, beauftragt von Pacifico Exercises II, Choreografie und Tanz: Mariangela Tinelli, gefördert von INM Berlin, Acker Stadt Palast Berlin, April 2019
Rook Song (2019), für Ensemble mit Elektronik und Video, beautragt durch Pyramidale Berlin, September 2019 durch das Ensemble via nova Weimar youtube
Rook Organ (2019), Adaption von Rook Song für Thomas Noll, Orgel, November 2019, St. Emmaus Kirche Berlin
When I was a Bird (2018-2020), Songs nach Katherine Mansfield, produziert von Pyrolator, CD, Vinyl 2020, Frannzclub Berlin / RBB, radioeins 2020