modern classical · piano & cello
People hear modern classical and expect calm; underneath it, for me, it's mostly light.
The piano & cello does the thinking here; I only choose what to keep.
Made small, on purpose.
“Collaborations” started the way these do — the sound of form when no one is listening, at an odd hour.
I kept the takes that sounded like weather and cut the rest.
Play it low. It was made low.
So much for the intention; the rest is the listener's.
“Frequencies” started the way these do — one image of light I couldn't put down, at an odd hour.
I wrote it at the piano & cello, mostly late, mostly by deleting.
Made small, on purpose.
How it's actually made: piano & cello, close-mic'd, and everything unnecessary removed.
I keep the mistakes that sound like weather and cut the ones that sound like mistakes.
Owed to Erik Satie, Claude Debussy, Ludovico's quiet school. The rest I took by accident.
“Curves” started the way these do — light, at an odd hour.
Between the notes I left in as much geometry as I could.
Made small, on purpose.
Make the room quieter than you found it.
No shuffle. It's an album, not a playlist.
Appears infrequently, in small and unassuming venues throughout Germany. Performances are intimate by design and not widely advertised. Serious enquiries are welcome.
Counterpoint learned the hard way, then softened into something you can fall asleep to without shame.
The project situates itself within modern classical: the piano & cello treated less as an instrument than as a thesis, examined across form and light.
The catalogue — “Collaborations”, “Curves”, “Frequencies”, “Golden Ratio”, “Luminescence” and more — is best read as a single argument developed record by record.
Erik Satie · Claude Debussy · Ludovico's quiet school · Federico Mompou · Harold Budd
In the lineage of Erik Satie · Claude Debussy · Ludovico's quiet school · Federico Mompou · Harold Budd
