Music and sound for live performances
WHAT I DO
• sound design for live performance
• live electronics
• arrangement and adaptation of classical repertoire
• flute performance combined with electronics
• atmospheres, textures, and experimental sound
I make music and sound for live productions ranging from music-theatre and contemporary ritual performance to dance-based and interdisciplinary formats. Sometimes that means working with singers or classical instruments, sometimes with dancers or body-based performance, and sometimes building textures, atmospheres, or more experimental sonic material.
A lot of my work combines live electronics with flute, so I often perform both at the same time.
APROACH
I don’t approach sound from one fixed style. Every project asks for something different, and I like responding to that. In some pieces, sound works more like a score. In others, it becomes atmosphere, tension, texture, or a kind of ritual frame around the performance.
I’m interested in performances where sound is not just accompaniment, but an active part of the structure, atmosphere, and emotional movement of the piece.
DESCENT
For DESCENT, I worked as sound designer, creating the electronic sound of the piece. What interested me from the beginning was how to make the sound feel emotionally and physically embedded in the performance, not as background music, but as part of its internal tension. I worked with textures, low-end pressure, processed breath and voice, unstable transitions, and fragments that could move between intimacy and violence.
Article: Ritual Grief in the Age of Scrolling
A lot of the material came from close recordings of breath, voice, and scream, which I then transformed until they became something more textural and spatial. The goal was to make grief and confrontation feel present in the room, not just represented on stage. Inspired by the ritual and mythic structure of the piece, but also by its connection to contemporary violence and image culture, I approached the sound as a series of emotional states rather than musical cues.
The result was a sound environment that shifts between pressure, fragility, rupture, and emptiness, always trying to stay connected to the body, the space, and the emotional movement of the performance.
DESCENT was performed twice in Berlin: first at 90mil on 8, 9, and 10 April 2025, and later at Hošek Contemporary on 1, 4, and 5 September 2025.
1781 COLLECTIVE
Since 2023, I have been part of 1781 Collective, a Berlin-based collective working with alternative formats for classical music and interdisciplinary performance. Through this collaboration, I’ve been involved in several projects that bring together classical material, live electronics, dance, theatre, and immersive staging.
LABYRINTH #6: The Rites of Spring
For this one, I reworked Stravinsky’s The Rite of Spring into a live performance format for flute, cello, piano, and electronics. Instead of making a fixed reduction, I took the orchestral score and I built a live electronic project that I could trigger and shape in real time while playing flute.
The first version was created together with dancers and centered around the idea of sacrifice. Later, the piece developed further in a performance at Kasseler Musiktage, where we presented a longer version. This one focused more on the music itself and less on the choreography, which gave the material a different kind of intensity. We are now working toward a larger version with full choreography.
“Von einem Elektronik-Pult werden heftige Perkussion und Klänge zugespielt. Die hämmernden Rhythmen und Akkorde aus Igor Strawinskys Skandalmusik „Le sacre du printemps“ treiben den Puls.” Kasseler Musiktage
MYSTERIUM: Enter the Void
For this performance I created an arrangement based on Schubert’s Winterreise for baritone, flute, and live electronics. In this project I performed flute while also playing the electronic part live, which is something I’m especially interested in: keeping both the acoustic and electronic layers active and present at the same time.
LABYRINTH #5: Melancholia
For my first project with the 1781 Collective, I made a live arrangement inspired by Lucia di Lammermoor for opera voice, flute, and electronics. It was my first performance with 1781 Collective, and it set the tone for a way of working that I’ve continued developing since then: using classical material as a starting point, but transforming it through live performance and electronics.