How shall I put it?
With an affirmation? I’m writing solely the music I want to write.
Or with a negation? Nothing’s forbidden as soon as I make head or tail of it.

dig a listen? (By clicking on each piece’s title there, you find info about it, whom it was written for etc.)

PS. Ensemble pieces I’d fancy to watch being played again:

• perhaps you’re right: i’m devoid of lyricism (2015) ~10′
  [vln-vc(& narrator)-pno]
• where i’ll stay (2014) 10,5′
  [1.1.1(b cl).0.1(cbsn)-1.1.1.0-1perc-hp-1v(s)-pno-1.1.1.1.1]
• væsanus! (2014) 12′
  [1(fl/b fl).0.1(b cl).1(s sax).0-1.0.0.0-1perc-gtr-0.0.0.0.1] or [1(fl/b fl).0.1(b cl).1(s/a sax).1-0.0.0.0-1perc-gtr-0.0.0.0.1]
• mich nicht. in den fremden städten. (2014) 7,5′
  [actor-1v(s)-cl-str qt]
• so real as though metaphysical (2013) 14′
  [1(picc/fl).0.1(cl/b cl).1(a sax).0-1.0.0.0-1perc-1v(s)-cel-pno-1.1.1.1.1]
• a road not taken (2010) 7,5′
  [2(picc & fl).1.2.2(a & t sax).0-0.0.1.1-pno-0.0.0.0.0]
• when a B wants to Boogie-woogie But another B gets the Blues (2010) 8′
  [cl-vc-pno]
• sitzest du auch im sündenpfuhl (2010) 3′
  [2(picc & fl).0.1(b cl).2(a & b sax).0-1.1.2.1-1perc(dr)-e gtr-b gtr-3v(s, s, m-s)-pno]
• die unendliche melodie (2009) 8′
  [10 javanese gamelan musicians]
• ist musik sich bewegende architektur? (2008) 9′
  [1perc(crot/vib/mar/3roto-t)-str qt]
• the final compromise (2008) 5′
  [1.1(cb rec).1.1(b cl).0.0-1perc(xyl)-hp-gtr-mand-sho-1.0.1.1.1] or [1.0.1(b cl).1(s sax).1-1perc(xyl/congas)-hp-gtr-acc-0.0.0.0.1]
• the clock & the argonautic expedition (2008) 7′
  [2(picc & fl).2(ob & eng hn).2(cl & b cl).3(1 a & 2 t sax)-2.3.3.0-2perc(cym, b d, pno)]
• the connection (2007) 8,5′
  [0.1(musette).0.0.1-0.1.0.0-2perc(vib & dr)-pno-0.0.0.1.1]
• about characters (& sound-qualities) (2006) 9′
  [1(a fl).1(ob/eng hn).1(cl/b cl).0.0-1.1.1.0-2perc(mar & vib)-hp-1.0.1.0.1]