Theater
I write music and sound design for the stage, working as musical director and often performing the score live throughout the run.
My work ranges from Tennessee Williams and Horváth to fairy tales for young audiences, and every production calls for a different approach.
I often treat theater music much as I would a film score, using several layers. Some music takes the foreground; much of it sits beneath a scene, where the audience feels it more than hears it. Some productions need only a handful of cues; others grow beyond a hundred.
When the production allows it, I involve the actors in the scoring process.
Der gestiefelte Kater
A colorful, eclectic production needed a score to match: minuets for harpsichord and strings next to rock, cha-cha-cha, tango and a blues saxophone.
View production →Geschichten aus dem Wiener Wald
Broken pianos and a zither carry this score, alongside string arrangements, remixed gramophone recordings from the early twentieth century, and Austrian folk songs set against electronics.
View production →Wunderland!
I wrote the songs performed live in every show, and the underscore for Alice's journey through Wonderland.
View production →Wir sind nicht das Ende
A claustrophobic, intense evening. The music and sound design work below the surface, where the audience sometimes feels them more than hears them.
View production →Endstation Sehnsucht
Written with Günther Harder, actor and my partner in the band ear, and played live on stage for A Streetcar Named Desire.
View production →Wir sind nicht das Ende
A claustrophobic, intense evening. The music and sound design work below the surface, where the audience sometimes feels them more than hears them.
View production →Gewalten
Sascha Hawemann used his favorite songs by my band ear for this production. It was part of the Leipziger Festspiele 2013, which closed Sebastian Hartmann's years as artistic director.
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