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M4C81N3RY (2023)

Saxophone Qaurtet and motorized objects.

Duration: 8'30''

An auditory journey where the technical attributes of the saxophone merge with motorized noise objects, forming a kind of musical hybrid of human expressiveness and mechanical uncompromisingness.


Large latex balloon, vibration motor, piezo buzzer, light, mechanical relays and electronics.

Duration: 2'30''. Activated by motion sensor.

A menacing red light and buzzing sounds are placed in a corner and covered by a large black balloon. Sound and light are projected, and the observer can see their own distorted reflection in the balloon's shiny surface. Projection in both a literal and metaphorical sense.

S1NGVĂ–G3L (2023)

Sound installation. PVC conduit and electronic components. Version B1. 

Duration: 4'00''. 

An artificial and automated tree is constructed from PVC conduit, piezo buzzers, colored LED lights, wiring, and microcontrollers. The tree displays four different birds, each of which is associated with a specific color and a simplified square-wave rendition of its song. This installation exists in several different versions. The version known as B1 is a single tree situated indoors, resembling a house plant.

FR33 J4ZZ (2023)

Electromechanical sound installation. Motorized trombone (fully automated) with flex-tubes and centrifugal blowers.

Duration: 4'30''. 

A machine trying to perform like a jazz musician. The machine pretends to be free and human-like in its artistic expression but is being drowned out by mechanical noises and calculated musicality.

Ectoparasitism II (2022)

Electromechanical sound installation. Motorized cello (fully automated).

Duration: approx. 30'. Concert version: 8'.

Like a host/parasite relationship among animals, the cello in this piece is invaded by motors and electronics. The result is an unconventional cello sound and a conceptual set-up of autonomous aesthetics. 

Combiversion [FLDVN] (2022)

For recorder and violin

Duration: 2'30''

A simple archetypal musical structure is scored for different instruments. In this version, it is played simultaneously by a prepared recorder and violin without any visual contact between the musicians. The result is a kind of sloppy unison, and involuntary polyphony emerges.

Speilgran (2021)

For organ

Duration: 6'30''

Based on a scenario from 'The Snow Queen' by H.C. Andersen.

A magic mirror created by the devil distorts everything and only reflects the bad and ugly things. The mirror is dropped from the sky and shatters into billions of pieces, floating around in the world.

Apparatus Lacrimalis (2020)

For sinfonietta (14 musicians) and choir (SATB)

Duration: 8'40''

'Apparatus Lacrimalis' is the medical term for the physiological system producing tears. This piece illuminates the ambiguity of weeping as both an emotional and purely mechanical function. It includes excerpts of music and literature by Dowland, Bach, and Ovid.

Rotor (2019)

For alto flute, alto saxophone, percussion,

guitar and objects

Duration: 9'00''

This piece explores the concept of rotation, both as a physical/mechanical, temporal, spatial, and psychological phenomenon. Through the heavy use of motorized and mechanical objects, the four instruments are dissolved into a new instrument.

Automateria (2018)

For sinfonietta (14 musicians)

Duration: 17'00''

The notion of autogenerated matter translated into music. The piece evolves as a series of causal incidents. Outbursts of percussive noise trigger structures of mechanically repeated textures.

Introduktion und Motoren (2017)

For flute, violin, violincello. piano and motorized/

mechanical percussion-objects (4 performers)

Duration: 8'50''

Tableau Vivant (2015)

For amplified guitar

Duration 7'30''

Structon Icon (2014)

For amplified (de)constructed instruments

(3 performers)

Duration: 6'30''

Point's d'Orgue (2014)

For organ and castanets (1 performer)

Duration 6'30''

APART (2012)

For separated, modified and amplified violin

(4 performers)

Duration: 5'40''