musique trouvé catalog (digital ALBUMS via mailorder) · download [176 KB]

TWENTYTWENTY Installation at Asia Contemporary Art Platform NON Berlin | Group Exhibition · September 2015 · Curator: Alaric Hobbs (England)
Serie TWENTYTWENTY continued · Die Welt und der ganze Kosmos liegen in den Buchstaben. Standardized thinking leads to a standardized world.
Enso [Water circle, Berlin] Water on pavement; public piece [not permanent; lasting for only a limited period of time]
Mobile II [nest]; 105 x 70 x 90 cm; branches and twine; free-moving sculpture ? nest = a structure or place made or chosen by a bird for laying eggs and sheltering its young
Zeichnungen und Collagen, 59 x 42 cm (23.2 x 16.5 inches)
Mahler Serie · cross/crossroads · grub/beetle · Monteverdi Serie · shang [above, over] · gong [work, worker] · Billboard · endless combinations · for Guillaume de Machaut · grotesques calligraphic · mythical creatures · Pérotin · Wittgenstein in conversation with Sun Ra · uncertain and unforeseeable · sidewalk cracks
Lost in contemplation — [in Anschauung versunken] — Exterritorial Art Project [2015] · Online Exhibition:
Zeichnungen und Collagen, 59 x 42 cm (23.2 x 16.5 inches)
simply another rag · Donatoni Serie · Corelli Serie · time/space · silence · Giambattista Vico/The New Science · zé [mysterious] · infinité · time time time · Conversation with Brion Gysin · cut-up · strings
Music for Gong [solo], Notation · 4x52, Piece for four voices, Notation
Work in progress: Serie TWENTYTWENTY [one, two] — 20 x 20 cm (7.9 x 7.9 inches) — Bilderzyklus [2013/2014/2015] Gouache, Inkpen, Inkjet Prints und Papier (Collage) auf Leinwand. Insgesamt ca. 220 Bilder
Brotlose Kunst Brote [Brot/Kunst Projekt, 2015] · in Vorbereitung

Gruppenausstellung: [ g ] galerie at home · Katarzyna Zorn · Berlin · 30. März bis 30. Juni 2014
art is not just about the ‚work‘ & art is not what you see — Zeichnung, Text, Montage, Fragment · Ausstellungs-Projekt in Berlin [2015] · in Vorbereitung
Lecture on art [without words, one] · not involving or using words or speech · for one performer and environment sound recordings [overdubs, DAT] [00'00'' — 22'43'']
Zeichnungen und Collagen, 59 x 42 cm (23.2 x 16.5 inches)
Coltrane Serie · Mingus Serie · Bartók Serie · Monteverdi Serie · Monteverdi/Berlin Serie · doughnuts, sinkers, record sleeves · aging and emerging dreams · the meaningless meaningful · revenir bredouille

A Dictionary of Rehearsals | Collection [2013] [in collaboration with Marjan Zahed-Kindersley]
Der Zeichner · Ein Theaterstück · [Fragment] [2012/2013]

dark message [2010-2011] · for voice, magnetic tape and small dark room
marjannajram · Work in progress [2011/2012]
signs [2011]
tonBAND montage · Berlin, São Paulo [version a4] [2011/2012] · in preparation
tonBAND montage · Zürich, Frankfurt am Main, Dublin, Berlin [version a3] [2011]
tonBAND montage · Zürich, Frankfurt am Main, Dublin, Berlin [version a2] [2011]
tonBAND montage [version b] [2011]
The Absolute is Passage [2010/2011/2012] [Composition for orchestra, tape, electronics and soprano voices/choir] · This piece contains concrete timbres and computer-generated sounds.
Part I Strings a+b [20:30] · for strings, double bass, turntable, electronics [Max/MSP, Spongefork], oscillator, ambient recordings, tape delay · Software: Pro Tools LE
Part II · [in preparation]
radioswitch [2011] · Concerto for celesta, percussion, strings and tape [Tonband] Part III
Golliwog for two marimbas [2011] · [Minimal piece based on Golliwog's Cake-walk, 61-64 by Debussy]
synoptiqueeuqitponys · Concerto for percussion, strings and tape [Tonband] [2011]
enjoy climate change · [part one 22:32] for e-guitar feedback system and electronic drones [2009/2010/2011/2012]
Composition no. 2 for flute solo · [07:44]
nocturne I [12:11] [complete]

musique trouvé project [2001-2011] · tape, electronics, soundclopedia, musique concrète · CD edition in preparation
musique trouvé i
musique trouvé ii
musique trouvé iii
musique trouvé iii-vi
musique trouvé iv+vii
musique trouvé v
musique trouvé vi
musique trouvé viii-xi
musique trouvé viii+ix
musique trouvé x
musique trouvé xi
musique trouvé xii
musique trouvé xii-xiv
musique trouvé xiii
musique trouvé xvi [spark]
musique trouvé xviii [spark]
musique trouvé xx
musique trouvé xxi
musique trouvé xxii
musique trouvé xxvii
musique trouvé xxxi
musique trouvé xxxii
musique trouvé xxxii [spark]
musique trouvé xxxiii
musique trouvé xxxiv [spark]
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musique trouvé xxxvi
musique trouvé xxxvii
musique trouvé xxxviii
musique trouvé xxxviiia
musique trouvé xxviii-xxvv [spark]
musique trouvé xiiia, xix, xv, xvi
musique trouvé xvii [bounce files]
musique trouvé xviii, xxix, xxv, xxvii, xxviii
musique trouvé xviii*+xxviia, xxx
musique trouvé xxiia, xxiii

New meaningless sound pieces [in progress...]
Related Adjectives:
fiddle-faddle, incommunicable, inexpressible, inexpressive, insignificant, meaningless, nonsensical, not expressed, not significant, quibbling, senseless, tacit, trashy, trivial, trumpery, twaddling, undefinable, unexpressive, unmeaning, unmeant, vacant, void of sense, washy...

Train Sonor | etudes/across the grain :: across the grain = quer zur Faser [Holzwirtschaft]
Piece for prepared piano · for James M. Drew 6:19
Piece for prepared piano #1 9:52
Piece for prepared piano [for Robert Rauschenberg] 10:26
Piano minimal #3 8:50
For Marjan #1 6:21
For Marjan #2 5:40
For Marjan #3 5:44
Silence/Silence 1:55
Train drone #2 12:20 :: Train Sonor, a work in progress. This collection of compositions follows Saint Augustine's motto: TIME CAN ONLY BE PERCEIVED OR MEASURED WHILE IT IS PASSING. — Saint Augustine.
voyageacoustique six :: Train Sonor · Piano (January 22, 2008)
nycsubway #4 10:17
pianominimal #1 04:46
organpattern #1 02:46

ralph lichtensteiger, programming, soundprocessing :: saba tewelde, voice :: george koehler, e-guitar :: all compositions © 2007 by ralph lichtensteiger :: :: triadic · 37:16 :: citizen I · 02:58 :: deadalus · 15:11 :: citizen II · 08:50 :: fragmenté · 08:45 [free 192 kbps mp3 download] :: duration: 73:09 min :: limited edition of 50
The Beauty Of Found Music | with George Koehler
New collaborative CD including sound pieces composed during my trip to Detroit and New York/Brooklyn (usa). These sound investigations are dedicated to John Cage
new york drone [found in a bottle] 11:20
listening for jesse glass #1 [spongefork, ambient recordings] 04:17
gold vomit [george koehler e-guitar/zoom bfx-708 recordings] 09:15
the golden age [double bass, spongefork, ambient recordings] 11:18
versuch #12 [the anger of ghosts] [george koehler e-guitar] 10:13
listening for jesse glass #2 [spongefork, ambient recordings] 06:36
ghost dance #1 [george koehler e-guitar/zoom bfx-708 recordings] 03:01
lost phoenix [for paul glazier] 17:02
A Taste for the Secret was initially inspired by a series of dialogues between Jacques Derrida and Maurizio Ferraris.
The collaborative project was begun by Ralph Lichtensteiger and George Henry Koehler in October 2001. Due to unexpected difficulties in the process of composing and instrumentation, development was halted in late 2001. The material was put on ice, and only rediscovered in 2007. Seemingly irreconcilable contextual and aesthetic issues had averted the further development of this interesting conceptual sound journey.
When, in July 2007, we reviewed/revisited the "Taste for the Secret" folder, we discovered to our surprise that our response to this more-or-less abandoned 2001 material had changed radically with the passing of the years. Happy new ears! The interaction of the pieces, the instrumentation, as well as the musical significance at large, now seem fresh, more cohesive, and just perfect to us, the way we perceive it in 2007. And so, we deemed the project completed. We had achieved our goal without, at the time, realising it!
voyageacoustique four :: Train Sonor [april, 2007] [26:49] :: sound map: double bass, ambient sounds, subway cars, subway gate sounds, subway announcer voice, trains, train arriving, street, cars, car horns, tunnel, voices, bells, birds, street festival drums, piccolo flute, piano cluster, percussive sounds, ambulance, rain, Max/MSP layers, Karlette VST (Tape Delay) plug-in. | images by Todd Weinstein | In rail transport, a train consists of rail vehicles that move along guides to transport freight or passengers from one place to another. | train of thought - the connections that link the various parts of an event or argument together; "I couldn't follow his train of thought"; "he lost the thread of his argument". Internal monologue, also known as interior monologue, inner voice, internal speech, train of thought, stream of thought, chain of thought or stream of consciousness is thinking in words. It also refers to the semi-constant internal monologue one has with oneself at a conscious or semi-conscious level. Possible simultaneity with Argonauts part XVII (composition "essay one", 2006-07) and/or Six Instruments (1985-86).
Train Sonor [Self-Portrait] weaving and unweaving [2007]
1. Prelude - The Beauty of Ruins [19:33] · part one: guitar patterns, ambient recordings [suburb], birdsong, percussion frog, elecronics, Spongefork 3, GarageBand 2.0.2 (50) :: part two: percussion [glass], percussion frog, CellSynth 1.7, MetaSynth 4.0, fLOW 2.0,
2. Chant - a) Purification b) Negotiations and Discourse [39:25] · voices, shell crunch noise, ambient recordings [suburb], Karlette VST (Tape Delay), Max/MSP layers
3. Final Notes [03:57] · gong, Spongefork 3, birdsong, ambient recordings [suburb]
As we, or mother Dana, weave and unweave our bodies, Stephen said, from day to day, their molecules shuttled to and fro, so does the artist weave and unweave his image. — James Joyce, Ulysses, Shakespeare and Company, 1922 (Penguin edition 1992, reprinted 2000, ISBN 0 14 118280 6), page 249 [Episode 9 - Scylla And Charybdis]
The beauty of ruins? That they're no longer good for anything. The sweetness of the past? Our memory of it, since to remember it is to make it present, and it isn't present nor even can be - absurdity, my love, absurdity. — Fernando Pessoa, The Book of Disquiet, p. 278
In everyday language the word 'poetic' is now surrounded by a fog of misunderstandings. Hence, by reaction, the instinctive distrust of all such cliches as 'poet of sounds' and 'poetic music'. We must overcome this handicap, eliminate the element of the picturesque (to which the idea of 'poetry' has quite wrongly been restricted) and set out to discover the idea. — Pierre Boulez, Poetry - Centre and Absence - Music. In: Orientations, p. 184
instruments, source of sound: 1. Prelude - The Beauty of Ruins [19:33] :: :: :: part one: guitar patterns, ambient recordings [suburb], birdsong, percussion frog, elecronics, Spongefork 3, GarageBand 2.0.2 (50) :: part two: percussion [glass], percussion frog, CellSynth 1.7, MetaSynth 4.0, fLOW 2.0, :: :: :: 2. Chant - a) Purification b) Negotiations and Discourse [39:25] voices, shell crunch noise, ambient recordings [suburb], Karlette VST (Tape Delay), Max/MSP layers :: :: :: 3. Final Notes [03:57] gong, Spongefork 3, birdsong, ambient recordings [suburb]
voyageacoustiquefive :: Sirens [Train Sonor] [may 2007]
"compendium of shreds" :: field recordings — rain, water, wind, thunderstorm, found noise :: flow tracks, Max/MSP :: Spongefork_3_2_2 tracks :: piano :: prepared piano :: voices :: Sirens is affected by James Joyce's Ulysses, Episode 11 - Sirens | Possible simultaneity with voyageacoustique four :: Train Sonor (2007) and/or Argonauts part XIX (composition "essay two", 2006-07) :: sirens gallery :: :: :: aural diagram [by Peter Lichtensteiger] :: Sirens at :: voyageacoustiquefive
millimeters [part I, 09:19]* for prepared acoustic guitar, Spongefork_3_2_2 interface** [live electronics] and gurgle shells
* (the sensation of slight things) "But it is the subtlest sensations of the slightest things that I live intensely. Perhaps this is due to my love of futility. Or maybe it's because of my concern for detail. But I'm inclined to believe — I can't say I know, for these are things I never bother to analyse — that it's because slight things, having absolutely no social or practical importance, are for that very reason absolutely free of sordid associations with reality. Slight things smack to me of unreality. The usless is beautiful because it's less real than the useful, which continues and extends, whereas the marvellously futile and the gloriously minuscule stay where and as they are, living freely and independently. The usless and the futile open up humbly aesthetic interludes in our real lives. What dreams and fond delights are stirred in my soul by the puny existence of a pin in a ribbon! What a pity for those who don't realize how important this is!" — Fernando Pessoa, The Book of Disquiet, p. 436
** Spongefork is a complete softsynth, sampler, live improvisation instrument, and soundfile processing application. The 2.* series has been completely rewritten to provide many new features and native Mac OS X support. SF's oscillators and interface are controllable via a unique XY based modulation controller, your computer keyboard, or by any MIDI device or application.
work in progress :: Collaboration with George Koehler [acoustic guitar and prepared acoustic guitar] | Ralph Li [percussion, Max/MSP, software instruments, Spongefork_3_2_2 interface*, live electronics] :: J & H blueprint :: in a clockwork :: intimacy :: distance :: nocturne I & II :: Inannis I. | Composition by Ralph Lichtensteiger & George Koehler | © 2007 by musique trouvé.
* Spongefork is a complete softsynth, sampler, live improvisation instrument, and soundfile processing application. The 2.* series has been completely rewritten to provide many new features and native Mac OS X support. SF's oscillators and interface are controllable via a unique XY based modulation controller, your computer keyboard, or by any MIDI device or application.
voyageacoustique three :: "sound assemblage" [espace intermédiaire] with overlapping compositions by David Braden, Doyle Dean, Ralph Lichtensteiger, Lothar Reitz and Philip Schuessler. The assortment and montage of the material was implemented by Ralph Lichtensteiger with authorization by the composers. Although the composers David Braden, Doyle Dean, Lothar Reitz and Philip Schuessler are not responsible for the assembly of the material used in this montage. © 2007 by Ralph Lichtensteiger & musique trouve. All rights reserved. [Run time: 00:55:04]
David Braden, poet and sound artist, lives and works in Oakland, California. He has been published in the following on and off-line publications: Stone Country, Green Zero, SPIT, Blood Over Oil, Red Dancefloor, Protea Poetry Journal, The Gopherwood Review, Verve, etc. He is interested in experimental writing in general, and sound poetry in particular.
Void Chapel (2004) by Philip Schuessler for two-channel digital audio was composed at the Computer Music Studio of the State University of New York at Stony Brook. The piece establishes various taxonomies of sonic presence as main criteria of formal development. The clarity and “integrity” of some sounds contrasts other sounds of more diffuse quality, and the gap between these two types of sounds is widened in some parts of the piece while bridged in others.
Void Chapel is dedicated to Kari Besharse.
voyageacoustique two :: The Music of James M. Drew (2007) :: Montage by Ralph Lichtensteiger :: "The Flow of Musically Experienced Time" | This James M. Drew podcast track is a montage presenting excerpts of James M. Drew's rich musical ceration. The assortment and montage of the material was implemented by Ralph Lichtensteiger with authorization by the composer James M. Drew. Although the composer James M. Drew is not responsible for the assembly of the material used in this podcast. © 2007 by Ralph Lichtensteiger & James M. Drew. All rights reserved. [Run time: 00:37:44]
voyageacoustique one :: Music for Merce Cunningham I (2000) :: "Music for Merce Cunningham I" composed in 2000 for double bass (bowed and plucked) and live-tape with pre-recorded seep, dropping water sounds, marker (felt tip pen) sounds, and (mirror reflex) camera release sounds. The piece represents a "sound track" for an imaginary dance choreography. I see the stage in clear, bright light. No dramatic turnarounds, no expressivity, no impatience, just sound, light, motion and independency. [Run time: 00:33:53]
argonauts | klangschiff [6 CDs] :: prologue one [26'54''] and prologue two [24'08''] | epilogue [coda] [30'06''] (2006) for two clarinets, strings and notebook (tapemachine) | argonauts four [excerpt] [03'45''] | Clarinet I motif [excerpt] [03'58''] | The heroes who sailed with JASON on the ship Argo in quest of the Golden Fleece. Homer (Odyssey 12.69-72) © 2006 by musique trouvé | argonauts is affected by Fernando Pessoa's The Book of Disquiet (1998) and by Michel Foucault's volume The Order of Things (1966), Of Other Spaces (1967), and Heterotopias (1966).
ARGONAUTS | time structure for [30'06''] epilogue [coda] (2006) for two clarinets, strings and notebook (tapemachine)
argonauts # two | klangschiff | LISTEN :: non arrival three [06'58'']

mirrors/flipside I & II | 68'36'' for A.S. | 75'34'' for A.C. | Sonorous reflection/meditation in two parts. Part one is dedicated to the poet and media artist Alan Sondheim, part two is dedicated to the composer Alvin Curran | 2-CD set |
Ralph Lichtensteiger : modified piano, percussion instruments, cardboard tubes, double bass, turntable, drone electronics, software instruments and environment sound treatment | Disc 1, Inscribed material : Sound8 file [46'20'' to 55'18''] by Alan Sondheim | Disc 2, Inscribed material : "voice clip" by Alvin Curran | Digital piano recording : January 2005 (Roland RD-150) | Percussion recordings : Nov. 2004 and Feb. 2006 | Digital environment recordings : August 2000, April 2002 & July 2004 via Sony DAT-Recorder (ZA5ES) | Analog subway and street recordings : New York City & Brooklyn, March 23-24, 2006 | Realization/Software : Digidesign® Pro Tools® HD 7 · GarageBand 2.0.2 (50) · fLOW 2.0, ambient sound generator by Dr. Karlheinz Essl · Spongefork 3.1.3 · Max MSP 4.3 (Cycling ’74) | Limited release, Edition of 50 CD’s | recommended/possible method of listening : use two devices (cd-player) for playing the two compact discs SIMULTANEOUSLY
fear of writing (Tapemusic) | one, two, three

Two Places (for Matthew Rogalsky) | Part one: For one or two pianos, environment sounds and spare percussion | Part two: For one or two pianos and Rogalsky's FontanaNet (2002) sounds arranged by Ralph Lichtensteiger | Realization with two tape-machines and/or two DAT-recorders | CD | (score fragments) | Two Places (for Matthew Rogalsky): Ein Ort ist immer auch gerade da wo man sich nicht befindet. Der Medienkünstler Matt Rogalsky hatte mir eine Aufnahme seiner Network-Realisation von Cage's FontanaMix geschickt, und mir erlaubt mit dieser Aufnahme "etwas" zu machen (zweiter Teil von Two Places). Im ersten Teil verwende ich recordings aus meiner direkten Umgebung und sehr sparsame percussive Klänge und einen Klavierpart. Räumliche Distanz und die Idee einer Musik die diese abbildet hat mich zu dieser Arbeit gebracht. "Musical topography of two places. No-place, loss of a place, dispossession. To be out of place or act in place of."
Part II · piano & FontanaNet sounds [5:49] [excerpt]
see sonoloco: CD-Review of "Two Places" by Ingvar Loco Nordin
sonoloco CD-Review of "Two Places" by Ingvar Loco Nordin as Acrobat Reader file (pdf)
silence | silence (for Jacques Derrida) for female voice, two tape machines (with digital sound material) and prepared pedal harmonium | CD (in preparation)
sonorité sans mémoire I | voyage acoustique (one) (2005) | CD | commencer · démarrage 5'02'' · retour · attardé 11'34'' · ordre · désordre 4'12'' · voyage acoustique 20'11'' · danse · chanson enfantine 7'35'' · paysage musicaux [extérieur] 29'19'' · TT 77'55'' | Auch hier spielt der Raum (im Sinne einer Landschaft (paysage musicaux, extérieur) eine Rolle. Aber auch die Begriffe Ordnung/Unordnung, Leicht/Schwer und Reise (voyage acoustique) haben mich hier geleitet. Arbeit mit Klängen meiner Umgebung. In "paysage musicaux [extérieur]" (Track 6, 29'19'' min) wurde das Software-Instrument FontanaMixer 1.0 (generative sound environment) von Dr. Karlheinz Essl verwendet. Gefüttert habe ich ihn mit Stimmen, double dass Klängen, elektronischen Klängen, digitalen drum beat Fragmenten, Tierstimmen und mehr... Der zweite und dritte Teil von "paysage musicaux" ist noch in Arbeit.
sonorité sans mémoire II | voyage acoustique (two) (2005) | CD | écriture chiffrée I · for James Drew 21'26'' · écriture chiffrée II · respiration 20'57'' · dérivation · exploration I 10'23'' · dérivation · exploration II 8'00'' · non-arrival · rappeler 6'29'' · improvisation · relations 8'53'' · TT 76'10'' | L’archéologie sonorité. Non-arrival, écriture chiffrée. Coquillage et crypte. Dissociation, consonance, dépolarisation. Espacement, espace intermédiaire, interspace. Dérivation and exploration, the process continues. Tranquillité, mémoires sonorité. Paysage musicaux, bêler.
non-arrival · rappeler : [Try to play a piece of music which follows no direction, which has no syntax, no logical structure, no romanticism, no drama. Use sound and silence as equal elements.]
improvisation · relations : [Two streams, process one, process two. Pattern one, pattern two : moiré effect. Coherence, interrelation, to be linked.]
sonorité sans mémoire III | voyage acoustique (three) (2005) | CD | écriture chiffrée III · the enigma of arrival 10'24'' · paysage musicaux · décharge 12'51'' · écriture chiffrée IIIa · étude 8'27'' · dérivation · exploration III 8'54'' · apples · trancher · for J.-C. Risset 18'01'' · paysage musicaux · bêler 15'49'' · TT 74'28'' | "Music is for human communication; and our chief novelty in this respect today has been in extending the range of sounds (including electronic sounds) which we make available to musical intention." — Robert Donington, Music and its Instruments
paysage musicaux · décharge : [discharge, removal, electrostatic discharge]
apples · trancher · for J.-C. Risset : [Max MSP 4.3/Cycling ’74]
Soundscape (for JD) | Part I & II
1) the storyteller · untitled #1 · tox loop · type loop · dark matter · deep organ · gloria · low · les jours du kippour singing
2) golem · pilgrim cologne · bass loop #2 · element #3 · open window #1 · piano hall #1&4 · noise loop #1 · violin collage
Ralph Lichtensteiger : piano, percussion, gong, cymbals, double bass, software instruments, modified violin, turntable, tape machines, electronics, programming, Max /MSP (traffic noise)
The Storyteller [excerpt] 02:22
Music for Video [DVD] | Dancing Ears · Formless · Jozan · Sudden Shower [...] | GALATEA RESURRECTS (A Poetry Review, Editor: Eileen Tabios) | Jesse Glass reviews : 4 Videos by Ralph Lichtensteiger PDF | With screen shots from the DVD!
non arrival/improvisations [Miniatures II] | non arrival two · non arrival three · beler drone · beler two · impossible improvisations (Part II) · [Try to play a piece of music which follows no direction, which has no syntax, no logical structure, no romanticism, no drama. Use sound and silence as equal elements.]
Tapemusic | one [...] | sound collage (2005/6)

Beginnings (part I) | What is a beginning? What must one do in order to begin? Beginning is not only a kind of action; it is also a frame of mind, a kind of work, an attitude, a consciousness. | CD | part II (in preparation)
Société subsonic (for Wolfram Kiepe) | pour l'exploitation du vocabulaire "Hörspiel" in two parts
Two pieces for elec. organ
Le langage de l'espace (part I) | CD | "Ghosts? The anger of ghosts - I believe there is such an anger, if only in ourselves, and it's the most terrible anger because we cannot respond, or they cannot respond to our response." — Jacques Derrida
Musik für Schlagzeug, Klavier, Elektronik und Tonband | CD | "Misstöne: gellen, gröhlen, janken, jaulen, johlen, kläffen, klappern, klirren, knarren, knirschen, krächzen, kreischen, piepsen, plärren, quäken, quaken, quiek(s)en, quitschen, rasseln, reiben, schaben, schettern, schlagen, schnarren, schnarchen, schreien, schrillen, zischen, brummen, flöten, flüstern, keuchen, niesen, rascheln, rauschen, sausen, säuseln, schnalzen, schnaufen, schnorcheln, schnüffeln, schnuppern, schwirren, sirren, summen, sumsen, surren, zischeln, zischen, zirpen. Missklang: dissonieren, misstönen, das Ohr beleidigen, verletzen, geht durch Mark und Bein, ächzen, brüllen, detonieren, gröhlen, jaulen, johlen, knödeln, knautschen, krächzen, leiern, missklingen, misstönen, orgeln, piepsen, plärren, quietschen, molieren, duddeln, klimpern, die Saiten, die Tasten maltretieren, ausrutschen, daneben greifen, sich vergreifen, falsch spielen, überschnappen, atonal, falsch, futuristisch, melodiearm, melodielos, stimmlos, taktwidrig, unharmonisch, unmelodisch, unmusikalisch, unrein, verzerrt, zu hoch, zu tief, ohrenzerreissend, Tonverwirrung." — Franz Dornseiff, Der Deutsche Wortschatz nach Sachgruppen, 1943
Montmajour | Acoustic installation for the Abbaye de Montmajour, Route de Fontvieille, 13200 Arles (France) | CD | Montmajour ist eine Auswahl von Klangbildern die ich unter dem Eindruck eines Besuchs in dieser Anlage Abbaye de Montmajour bei Arles hatte. Ich stellte mir eine Organisation von mehreren Klangquellen in den verschiedenen Räumen dieser Abbaye vor. Also eine Musik zu einer bestimmten Architektur. Sehr beeindruckt war ich von den Felsnekropolen – Felsgräber die gerade genug Platz boten um die Körper der Verstorbenen aufzunehmen. Die ältesten (11.-13. Jh.) dieser Gräber sind anthropomorph, lassen die Stelle für Kopf und die Position der Schultern und Füsse erkennen (siehe Cover).
lieu d'émission (Asstrahlungsort) | No. 1, 2, 3, 4 & 5 for piano, percussion and electronics | CD (in preparation) | see lieu d'émission (no. 1) [17'53''] (embedded composition Study no. 8 (see Studien Klang | Fragment disc four) as track 9 of impossible improvisations | CD
Studies and Montage-Pieces for piano, digital piano, electronics, percussion, digital percussion, claves, double bass, violin, pedal harmonium, flute, cymbals, radio, homemade instruments, toys, cardboard horns, gurgle shells and sampler | CD | Study #1 "homicide"; Study #2; Study #3 "optimism is continuous" for John Cage; Study #4 "directed me before"; Study #5 "unconsciously calculating"; Study #6 "millions of artists create" for Marcel Duchamp; Study #7 for Allen Ginsberg; Study #8 for Jack Kerouac; Study #8a; Study #9 "the divorce of State & industry" for John Cage; Study #10; Study #11; Study #12 "do fish run out of patience?"; Study #12a
Montage for Piano and Tapemachine (for Luc Ferrari)
The Invisible Masterpiece for piano and orchestra, 4 MiniDisc players and Khene (Laos) PDF | CD (in preparation)
espacement (Zwischenraum, Durchschuss, Spationierung) | No. 1, 2, 3 & 4 for piano, percussion, toys and electronics | (in preparation)
Early tape-experiments & collage pieces | CD (in preparation)
Silence/Stories | was planned as a new part of the Uglybeautycage (Dialogue with John Cage) project | online concept | participants/contributors: Participants/Contributors: Miekal And, Yassine Aissaoui, John M. Bennett, Anne Bichon, Stephanie Boisset, Arthur Chandler, Claude Chuzel, Thanos Chrysakis, Lowell Cross, A. P. Crumlish, Alvin Curran, Doyle Dean, James Drew, Jude D'Souza, Karlheinz Essl, Raymond Federman, Jesse Glass, Hans Ulrich Gumbrecht, Peter Gutmann, Gordon Hempton, Martin Hawes, August Highland, Justin Katko, Matthias Kaul, George Henry Koehler, Richard Kostelanetz, Tamara Lai, Fabien Lévy, Ralph Lichtensteiger, Ian S. Macdonald, Mike Pearson, Harry Polkinhorn, Friedhelm Rathjen, Lothar Reitz, Mitchell Renner, Terry Rentzepis, Kathleen Ruiz, Mike Silverton, Damon Smith, Rod Stasick, Beat Streuli, Lun-Yi Tsai, Lawrence Upton, Tracy Youells, Dan Waber, Louise Waller, Sigi Waters (soon), John Whiting ... | independant concert and visual projection based on accumulation of the silence/stories text material and composition for piano, percussion and 2 female voices | (in preparation)

Continues the Uglybeautycage (non-semantic mushroom texts) project
Toy Symphony (work in progress) | CD (in preparation)
Impossible Improvisations I, II & III; | 1st construction for one percussionist and piano | 3rd construction for one percussionist and piano | violin piece IV (2nd version) | lieu d'émission (no. 1) for Jacques Derrida, first version of voyage acoustique (see sonorité sans mémoire CD), composed 2004 | CD
Study #1 ("Mother said that's not all" for John Cage); Study #2; Study for Piano #1; Study for Piano #2 (for Allen Ginsberg); Study #3 (for Jean-Paul Sartre); Study #4; Study #5; One-two-three-four (for György Ligeti); Study for Vibraphone #1; Study #6; Study for Piano #3; Landscape (one); between|ashes (part 1); between|ashes (part 2); Study for Vibraphone #2; Emptiness that surrounds (for Henry D. Thoreau, text: Thoreau cut-up as part of Thoreau kills Buddha) | CD

Music in three Parts (for Toru Takemitsu) | CD | Part I · flute, xylophone, gong & percussion | Part II · flute, double bass, glockenspiel & gong | Part III · flute, guitar, violin, glockenspiel & triangle | "A sound is undoubtedly a living thing. It is like nature that has no individual. As transformations of the wind or water are complicated, a sound becomes rich or even poor. That depends on how deep our sensitivities accept sound." — Toru Takemitsu
Do You Think Cage I, II and III for speaker, piano, percussion, recorded environmental sounds and electronics
From here to emptiness for double bass, percussion and piano | CD
finishing Uglybeautycage (miswordings) | fifty-three mushrooms | fifty-three pieces for voice and instruments
Catalog The Spectropoetics of John Cage for the Uglybeautycage project
Nothingness & Creation (poetry) | CD (in preparation)
Thoreau kills Buddha | see emptiness that surrounds and Study Pieces 2002 & 2003 (with George Koehler) | CD
John, can a photograph be lonely? (Thoreau meets Cage) see From here to emptiness & other compositions| CD
Study for Piano
Three pieces for double bass solo (for James Tenney) | CD (in preparation)
A Taste for the Secret (with George Koehler) | (fragment) | CD (in preparation)
1-440 for speaker, piano and percussion | Acrobat Reader pdf.: 1 to 440.pdfand Acrobat Reader pdf.: 1 to 394.pdf
Elevator Geography (poetry)
A Crouwn of Feathers (for Pierre Boulez) | for piano, two flutes and percussion | see Music in three Parts (for Toru Takemitsu) | CD
Unknown Centers for piano, modified e-piano, double bass, glockenspiel, guitar, timpani, bowed gong, electronics & percussion | CD
Typographic Sound (for Michel Leiris) | for piano, double bass, timpani, xylophone, eating, whistle (speaking), hooter, radio, flowerpots, percussion, electronics & turntable | CD
Newark Airport for double bass, whistle, embouchure, glockenspiel, gong & turntable | CD
Sound Lecture pieces I, II, IIIa for piano, electronics, percussion, gong, gurgel shells, radio, turntable and computer | CD | "One would like to say: The imaged is in a different space from the heard sound. (Question: Why?) The seen in a different space from the imaged. Hearing is connected with listening; forming an image of a sound is not. That is why the heard sound is in a different space from the imagined sound." — Ludwig Wittgenstein, Zettel (622), p. 109e
Pastorale I (for Henry D. Thoreau) | for voice, piano, phone, radio, glockensp., timpani, double bass, whistle, hair blower, water basin, gong & percussion | CD
Pastorale II for piano, speaker, percussion and flute | (in preparation)
The Second yEar for piano and timpani | Study (for Harry Partch)
Temperature (for J.C.) | for prepared piano, double bass, gong, glockenspiel and flute | CD
Around 1913 (for Ad Reinhardt) part I | for double bass and electronics | CD

101 Questions and Answers regarding John Cage | text and music | online project | 2 CDs
musique trouvé | tape, electronics, soundclopedia, musique concrète | CD edition (in preparation)
mushroom music | (in preparation)
Music for Mark Rothko (Layers I, II, III) double bass, violin, mod. violin, flute, gong, bowed gong, xylophone, glockenspiel, triangle, electronics & percussion (version for orchestra) | CD | Bewegung und Ruhe | "Kunst ist für mich eine Angelegenheit des Geistes und das einzige Mittel, den Sinn in seinem Wechsel von Bewegung und Ruhe fassbar zu machen." — Mark Rothko in Anne Seymour, Beuys/Klein/Rothko, Stuttgart 1988, S. 12 | Hier habe ich versucht mit Klangschichten zu arbeiten. Auch hier gibt es einen räumlichen Bezug. Stelle mir verschiedene reale Räume vor, in denen jeweils eine Klangschicht (Layer) klingt, wobei diese jeweils wie Licht auf die Nachbarräume ausstrahlt (lieu d'émission).
Louis Mink Duos (with George Koehler) | see Expression Theory | CD
1 to 16 (2nd version) for three voicec, amplified violin, electronics and percussion
1 to 23 (2nd version) for voices, amplified violin and two CD-player
Violin pieces I, II, III (for Samuel Beckett), IV, V, VI, VII | 2 CD set (in preparation)

Permutations | text and music pieces | CD (in preparation)
Grotesques for piano, percussion, vibraphone and electronic sound system | CD | Violin Pieces IV, VII, IX | Piece for double bass n°3
Music for Merce Cunningham I (2000) | CD (in preparation) | Listen to the piece at :: "Music for Merce Cunningham I" composed in 2000 for double bass (bowed and plucked) and live-tape with pre-recorded seep, dropping water sounds, marker (felt tip pen) sounds, and (mirror reflex) camera release sounds. The piece represents a "sound track" for an imaginary dance choreography. I see the stage in clear, bright light. No dramatic turnarounds, no expressivity, no impatience, just sound, light, motion and independency
Instruments | espace · formlessness | dépolarisation : one · two · three | tranquillité · en mouvement | CD | L’archéologie sonorité. Correspondence between note, key, and color. Complexes of sounds correspond to complexes of colors. Lighter shades in the high octaves, and darker shades in the low octaves. Coquillage et crypte. Dissociation, consonance, dépolarisation. Espacement, espace intermédiaire, interspace. Tranquillité, mémoires sonorité. Wide interval, the process continues. | Ralph Lichtensteiger: piano, percussion, double bass, prepared violin, timpani, claves (palitos), glockenspiel, tempelglöckchen, gong, turntable, computer generated sounds, recorder, soda bottle, marker (writing) and eating | George Köhler: flute, acoustic guitar and violin
"What, then, is time? I know well enough what it is, provided that nobody asks me; but if I am asked what it is and try to explain, I am baffled." — Saint Augustine, Confessions, book 11, 28
devellopment of visual concept for Uglybeautycage (Dialogue with John Cage), first live realisation of parts of Uglybeautycage | see Zeil 5 live concert | 2 CDs
Studio version (realisation with ProTools software) of the first part of Uglybeautycage (Dialogue with John Cage) | CD one | CD two
Study for piano and percussion | see From here to emptiness | CD
Funeral Orchestra & Other Duos (with George Koehler) | CD | 1 Funeral Orchestra | part one | text by George Koehler | Foreward Into Light (version A, text by Henry Alford) | Foreward Into Light (version B) | Eat More Grease (version A, text by Allen Ginsberg) | Eat More Grease (version B) | Flatiron one | Flatiron three | There Are No Doors (text by Raymond Federman) | musique trouvé xxxvii | Ein alter Schuh (text by John Cage) | Pilze hören (text by John Cage) | election TV cut
Zeil 5 live concert with George Koehler in Frankfurt | 2 CDs | (tapemachines, turntables, speaker, voices, percussion, MD-players, CD-players, flute, e-bass, e-guitar, violin, echopet, prepared piano, xylophone, marimbaphone, travelling sound system, toys) | see Zeil 5 concert photos | "All experience open to the future is prepared or prepares itself to welcome the monstrous arrivant, to welcome it, that is, to accord hospitality to that which is absolutely foreign or strange, but also, one must add, to try to domesticate it, that is, to make it part of the household and have it assume the habits, to make us assume new habits." — Jacques Derrida, Points . . . Interviews, 1974-94, p. 387 (trans. Peggy Kumpf)

Uglybeautycage (Dialogue with John Cage) | six hour multimedia piece which includes movie projection, images, multi-layer slide projection, travelling sound setting, piano, percussion, electronics, turntable, gongs, reeds, whistles, xylophone, bowed e-bass, speaker, voice layers and environmetal sound recordings
Studies 1-13
Configurations I-IV
Misleading Paralells I and II
Mutations I-III
dissémination I-VI
Klang | Fragment (Studien 1-13) see Studien 2000 | 4 CD set
the earLab studies
EINE WOCHE MIT HEGEL | "Hörspiel" fragment | CD (in preparation)
re-imagination dead re-imagine for narrator, tape machines and piano (body) | based on a text by Samuel Beckett (imagination dead imagine, Residua) | CD (in preparation)
Music for Luc Ferrari | tape study
Colors (Tape I-VI) | for two or more female vioces and black & white slide and/or digital projection (see Colorworld)
Duos No. 1-45 | mixed instrumentation | CD (in preparation)
Charles Ives songs | voice and piano | CD | see Funeral Orchestra
Human Apparatus (for William S. Burroughs) for percussion, MD-player and piano configuration
Arbeit am Mythos (fragment)
Yet another poisonous mushroom part I and II | text piece

Brocken (with George Koehler) free A-Z reference e-book on John Cage and the avant garde | (in preparation)
Composes incidental music for the radio-play The Siddartha of Broadway by George Koehler

Destruction is followed by construction and construction is followed by destruction... | The exhibition was launched with a performance of George Koehler's True Confessions (for ambient guitar and speaker) and wrapped up with a performance of UNTITLED DETAILS III (version for three tape recorders)
Stage set for the music-theater piece Head on Vacation (City of the Mind) by George Koehler (Libretto)

Scar | 52 drawings and tape fragments to short texts of Ludwig Binswanger, George Koehler and Jacques Derrida

Cageware | The Revolution of Life and Language Vol. 1 (a study on Cage's relationship with language and literature)
Two Existences (with Bill Kotero) | 23-hour-piano-performance, 23rd Street, New York City | DVD (in preparation)
UNTITLED DETAILS III for three tape machines | Untitled Details III (Version für 3 Tonbänder) | "Ich habe Untitled Details für Klavier ca. 1987 begonnen. Mit der Zeit stellte sich heraus, daß das Stück keine festumrissene Komposition im klassischen Sinn werden sollte. Ich betrachte es mehr als eine Sammlung, ein Materialfundus, oder auch als ein 'work in progress'. Es kann unterschiedliche Konzeptionen und damit Versionen dieses Stücks geben, je nach Auswahl der Materialien. Zur Entstehungszeit von Untitled Details beschäftigte ich mich sehr mit den Begriffen 'offene Form' und 'Rahmenpartitur'. Ein wichtiger Einfluß für dieses Stück ist sicher die Musik von Scelsi gewesen. Sharon Kanach über Giacinto Scelsi: 'He had a favorite [game] which he enjoyed inflicting on admiring musicians who came to visit him. He would sit them down behind the piano, ask them to choose any note. Then repeat that same note twelve times, twelve different ways. His eyes glowed when the quasi-inevitable deception occured.' Die Bandversion ist sozusagen ein Trio. In dieser Realisation für 3 Tonbänder habe ich auf zum Teil schon 10 Jahre alte Aufnahmen zurückgegriffen. Zum Zeitpunkt der Aufnahmen stand mir ein Flügel zur Verfügung. Ich habe den Korpus dieses Instruments mit Filz und anderen Dämmaterialien ausgelegt und das Micro direkt in diesem plaziert. So war ich gezwungen eine sehr zurückhaltende und sensible Anschlagstechnik anzuwenden. Natürlich fiel es mir in der ersten Zeit schwer das Aufnahmegerät nicht zu übersteuern, aber nach einigen Tagen erreichte ich eine erstaunliche dynamische Bandbreite. Durch Umplazieren des Micros konnte ich ausserdem die Klangfarben manipulieren." — RLi
Theater 26 (with George Koehler) | theater piece for piano and narrator
I Like (with Wolfram Kiepe and George Koehler) | Text and reading piece | CD (in preparation)

UNTITLED DETAILS II for prepared piano
60 PAGES for voice and piano (with George Koehler) based on texts by Samuel Beckett, Thomas Pynchon and Laurence Sterne.
Six Compositions for piano (fragments)
Bigfoot for piano and strings | CD (in preparation)
Old Photographer Tricks for camera shutter release and prepared piano | CD (in preparation)

I did it for miscellaneous number of tape machines
I am motionless for miscellaneous ensemble | CD (in preparation)
The Animal that Cleans Itself for 1 to 30 singer/s and 4 tape machines
Collaborates with George Koehler, multi-lingual music-theater piece, based on Shakespeare-cut-ups that also contains aleatoric music utilizing cut-up motifs from Elizabethan sources

Six Instruments
String Quartet [I]
Variations for audiotape, modified piano (body) and percussion
collab projects

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