Overview of my compositions

Die Mauer

I originally wrote the work for solo cello. Thanks to my sister's patience and much enthusiasm, we also created a piano version of the piece. It is dedicated to the Berlin Wall. Although it has been more than 35 years since the Wall fell, it is important to remember it because it is part of the history of the people of Germany.

The Berlin Wall encircled West Berlin for 155 km from August 13, 1961, to November 9, 1989, forming a swathe through the entire city center. The wall was intended to prevent escape from East Berlin to the West. Starting in 1961, the Socialist Unity Party of Germany (SED) expanded the wall with numerous additional border barriers to create a deeply staggered barrier system. The resulting border strip was called the "Death Strip" in the West because many people were killed there while trying to escape. In 1989, the wall, with which the SED had attempted to maintain its power in the GDR, fell. The fall of the wall heralded the final end of the SED dictatorship.

Fünf Farben der Trauer

Quote from Professor Jan Ickert

„Fünf Farben der Trauer“ is a very demanding and personally emotional piece. A mature technical and musically convincing performance, very stable and colourful and with a good „groove“.

Good Intonation and sound. The pieces are a good mixture of experimental techniques and knowledge of how the instrument sounds specifically good. Also great effects of singing and playing at the same time and different techniques of col legno and pizzicato. By that she creates a real world. She really goes to extremes in all parameters: tempo, dynamic, sound, colours, direction, double stops. Sometimes the vibrato can be more differentiated according to the colour, it is always fast and small.

A very strong and inventive personality with own ideas, emotions and capability to perform them on a very high level on the cello.”

The Small Collection of deep emotions

Aviator

Inspired by the movie "Aviator"

Haydn Concerto in D Major Cadence

The Haydn concert in D-Major is a compulsory piece both in studies and for auditions. When I started working on this concerto, I kept putting off the cadenza of the first movement because I felt no motivation to practice it. After all, there were only a few weeks left until the start of the semester. Finally I thought: the cadenza was originally intended to show the skills and imagination of the respective performer. I sat in a room in Salzburg in the Mozarteum and simply improvised based on the themes of the concert. I took complete freedom to try out all sorts of crazy things. Finally I called my mother and showed her my sketches. She was enthusiastic and suggested adding more lightness and variety of line styles. So this cadence was created within two days.

I also performed them at auditions and was grateful every time. Because if I noticed that one or two passages didn't work out technically on the day of the audition, I could easily replace them. However, sometimes I really took this to the extreme in terms of technical difficulty and made it very difficult for myself. This process of inventing and omitting, from adding to "just playing" has made this cadenza very alive for me and I don't hide the fact that I gave it to the two orchestral positions (WDR and Theater Nürnberg) that I have had so far cadence.

Reflections

Those who are away
Stay there
Never leave...
Никогда!

Those who come, as usual,
To us, accompany...
You have a conversation,
As always, further

Only answer sounds
Not so direct and bright
...through rain, dream,
The sentence is made

But you have to be able to hear answer...
Through rain, dream, emotion
It sounds very clear
...in reflection

luzider traum

I once wrote these lines:
*When the reflection is
stronger than reality,
When the shadow of wings is
more tangible than the body,
When your will
sharper than a knife
pierces destiny –
only then is the soul
higher than the body.*
I am convinced that it is not without reason that humans draw strength from their dreams – it is
not just a process. It is a contact with the most mysterious of all worlds – the core of the
self, which in turn is connected to the universe. For the universe, there are no
individualities – there is only energy. And energy is life itself. That is precisely why I hope
that people understand as soon as possible that we can all only be happy together – all or none – and that by hurting others, we also hurt ourselves.

Mein kleines Alles