Works for plucked string orchestra
Cantô
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| instrumentation | plucked string orchestra (mandolin 1 and 2, mandola, mandoloncello, guitar and double bass) |
| finished | 20 July 2012 |
| dedication | Michiko Kataoka and the Ensemble Testa Calda |
| movements | – |
| length | 17 min. |
| first performance | 23 February 2013 |
| published | – |
The composition Cantô is a commissioned work dedicated to Michiko Kataoka and the Ensemble Testa Calda in Tokyo. The piece presents and develops mostly lyrical material in a single huge movement in sonata form.
The region Kantô in Japan consists of seven prefectures and Cantô can be divided in seven parts that refer each to one prefecture. "Cantô" is thus a wordplay of "canto" (Italian "chant") and "Kantô" (Japanese region around Tokyo).
The introduction is called SAITAMA. Its musical themes depict the green hilly landscapes of the national park with the climax being the highest rise of the area.
The exposition consists of two parts, the first section named GUNMA is a barren theme over static tremolo, only accompanied by a few small guitar motives. The second section CHIBA refers with its high tempo, ostinatos and nervous melody segments to areas like the airport, Disneyland and also reminds of the severe earthquake from 2011.
The development is named IBARAKI, as the region was famous for its many mines and martial habitants in the past. The section begins slowly, then a big fugue accounts for the majority of this part. It develops most of the material and reaches its climax at the return of the main theme, here entitled TÔKYÔ. This is the climax of the whole piece, and therefore it is named after the most important prefecture of Kantô.
The recapitulation combines both themes in a new way, and the section is called TOCHIGI referring with its national park to the one in Saitama.
A long coda named KANAGAWA ends the piece, depicting with softly flowing material the landscapes of that area.
Capriccio
| instrumentation | plucked string orchestra (mandolin 1 and 2, mandola, guitar and double bass) |
| finished | 27 August 2002 |
| dedication | Landesjugendzupforchester Brandenburg/Berlin (LJZO) |
| movements | – |
| length | 6 min. |
| first performance | 26 October 2003 in the Auenkirche Berlin-Wilmersdorf by the LJZO |
| published at | Vogt & Fritz |
The Capriccio is a concert piece in ABA form with a slow introduction. The opening adagio contains already some elements, that become important in the main section: the circling around E, chords of fourths and fifths, the rhythm "short-long-short", the tritones as an important accompanying interval. In the following vivo most of the action takes place in front of a rhythmical ostinato. The middle section (moderato, "groovy") presents a theme in the mandola, which is continued by the second mandoline. The material is developed canonically and appears in parallels with changed rhythm. A little percussion is added and then a final phrase in the base register prepares the recapitulation of the main part. The coda uses the material of the middle section, joints it with the ostinato of the main part and produces a triumphal ending of the piece.
Concerto da Camera
| instrumentation | plucked string ensemble or orchestra (mandoline 1 and 2, mandola, guitar and double bass) |
| finished | 1 November 2006 |
| dedication | Spielkreis für Zupfinstrumente Berlin |
| movements | 1. Allegro fluente – 2. Andante molto sostenuto e cantabile – 3. Allegro assai |
| length | 10 min. |
| first performance | 20 November 2010 in the Fontanehaus Berlin by the Teg'ler Zupforchester Berlin (TZO) |
| published at | Joachim-Trekel-Musikverlag |
The "Concerto da Camera" originated from a suggestion of the "Spielkreis für Zupfinstrumente" (which is a part of the Teg'ler Zupforchester and situated in Berlin).
It is a composition in three movements referring to baroque and classical models. The aim was to create a piece that is easily playable while providing appealing musical structures, to satisfy aesthetic as well as artistic demands.
The first movement is in three parts and begins with a happy theme, moving from C major to G major. After a short break the contrasting middle part appears in B major. A lyrical melody is presented and varied, before the main part returns. A short coda concludes this friendly head movement.
The second movement mainly consists of broken chords demanding a particularly calm interpretation. The motion moves from the first mandoline to the mandola and back. Then the middle section follows in a resolute manner. Its sharp dotted notes appear very strict and form a big contrast to the floating motions of the main part. Those two characteristics come together when the main section returns. At the end the broken chords from the beginning remain in finest pianissimo.
The third movement is a larking finale: An energetic theme is presented, suddenly terminated in the repetition and developped in fugal style. The tumultuous polyphony leads finally back to the middle section of the beginning theme and prepares a short ending sequence which rounds up the piece harmoniously.
Concerto No. 1
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| instrumentation | plucked string orchestra (mandolin 1 and 2, mandola, guitar and double bass) |
| finished | February 1998 (revised version, first version finished 1995) |
| dedication | Heinz Pfalzgraf (posthumously) |
| movements | 1. Allegro – 2. Andante con moto – 3. Allegro giocoso |
| length | 11 min. |
| first performance | 5 December 1998 in the Fontanehaus in Berlin-Reinickendorf by the Teg'ler Zupforchester |
| published | – |
The style of this Concerto is romantic to folkloristic, but it makes use of classical forms. The opening allegro is a sonata movement with two themes. The sequence of diminished chords at the beginning reoccurs before the recapitulation and the coda.
The second movement gives a romantic impression by its diffuse harmonics. In the middle section it is the guitars that present a happy melody in D major.
In the third movement a spirited theme appears after a slow introduction. The contrasting middle section uses material of the second movement.
Concerto Nr. 2
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| instrumentation | solo violin and plucked string orchestra (mandolin 1 and 2, mandola, guitar and double bass) |
| finished | 21 December 1997 |
| dedication | – |
| movements | 1. Allegro moderato – 2. Andante sostenuto – 3. Molto vivo e ritmico |
| length | approx. 18 min. |
| first performance | 19 June 2004 in the concert hall of the University of Arts Berlin by the Landeszupforchester Berlin (LZO) |
| published at | – |
The Concerto Nr. 2 is the first step into harmonic areas beyond tonality. It begins with a sonata movement that presents traditionally two themes. These are developed thoroughly, resulting in various characteristics.
In the second movement different counter parts are added in ten variations to a contemplative theme, that occurs like in a passacaglia.
The final follows attacca after the slow movement. Several small motives show up tumultuously, before the grotesque dance in the middle section reminds of Shostakovich. After a big cadenza, where all themes of the concert return, the recapitulation follows. Heavy action in all parts, then a reminiscence to the opening movement and finally a stretto spiritedly ending the concerto.
Concero Nr. 3
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| instrumentation | solo mandolin, percussion and plucked string orchestra (mandolin 1 and 2, mandola, guitar and double bass) |
| finished | 26 January 2009 |
| dedication | Berliner Zupforchester (BeZO) |
| movements | 1. Allegro – 2. Largo – 3. Grave. Allegretto |
| length | ca. 17 min. |
| first performance | 3 May 2009 in the small hall of the Berlin Philharmony by the Berliner Zupforchester |
| published at | – |
The Concerto Nr. 3 walks on the paths of Dmitri Shostakovich. Especially the symphonies and solo concertos of the Russian composer served as models.
The first movement is a classical sonata movement. After a beat of the base drum the solo instrument begins the main theme with hardly any acompaniment. The following motives are manifold, after a dramatic development and a long cadenza the recapitulation appears in the manner of a march.
The contemplative atmosphere of the second movement makes it the emotional climax of the concerto. Two themes alternate resulting in a five-part form.
The third movement is a spirited final that works once more with material heared in the first movement. Here the solo mandolin can prove its virtuosity.
Salzburger Konzert
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| instrumentation | solo mandola, recorder quartet and plucked string orchestra (mandoline 1 and 2, mandola, guitar and double bass) |
| finished | 27 May 2004 |
| dedication | – |
| length | 1. Allegro non troppo – 2. Andante sostenuto – 3. Allegro |
| length | ca. 18 min. |
| first performance | 28 May 2005 with the Teg'ler Zupforchester, soloist: Takaaki Shibata |
| published at | coming soon |
The "Salzburger Konzert" is an homage to Mozart and thus remains in the style of the Viennes classic.
The head movement is like classical models a sonata movement with a double exposition. The mandola solo first appears in its repetition. A dialogue of the soloist and the orchestra develops. Near the end of the movement the soloist has the opportunity to prove his abilities in a cadence.
In the slow movement several melancholic and wollowing melodies alternate. Soloist and orchestra accompany each other here as well.
The third movement is a vital rondo. Two contrasting thoughts are opposed to the main theme and joined, as they reappear. After quaver triplets have been shown in the 2/2-beat the concert reaches a spirited ending.
Rituel
| instrumentation | plucked string orchestra (mandolin 1 and 2, mandola, guitar 1 and 2, double bass) |
| finished | 27 June 2010 |
| dedication | Landesjugendzupforchester Brandenburg/Berlin (LJZO) |
| movements | – |
| length | 6:40 min. |
| first performance | 5 June 2011 in the church of Müncheberg by the Landesjugendzupforchester Brandenburg/Berlin (LJZO) |
| published at | Joachim-Trekel-Musikverlag |
"Rituel" was written for the LJZO Brandenburg/Berlin and its conductor Christian Laier who suggested a new piece for the orchestra. It is inspirited by the rhytmical structures in Yasuo Kuwahara's works and in those of Stravinsky's "Sacred du Printemps".
A nervous introduction opens the piece, establishing the tonal language of the following ritual. The elements presented (chromatism, interfering structures, harsh dynamic contrasts, sudden unisoni) will significantly model the musical process.
The main part starts a dance with apparently irregular rhythms piling up in the orchestra. The mandola presents a theme which is extended canonically after a motoric climax. Dissonant ostinati end the main part, contrasting greatly with the contemplative middle section.
A tremolo chant by the solo mandolin represents the adoration resp. consecration within the ritual. At the end of this section a small quote from the "Sacre" refers to Stravinsky, then a frantic unisono run leads back to the dance.
After a shortened recapitulation of the main part some elements of the introduction reappear in the coda. Another climax featuring rhytmic ostinati, this time not glaring but grimly in the low registers, then the piece comes – after a short reminiscence of the solo mandoline – to a forceful finish.
»Rituel« has received the 1st prize at the composition competition "José Fernández Rojas 2010".