In early July 2018, New York-based violinist Natasha Lipkina motivated me to make an attempt to enrich th not exactly opulent repertoire for violin and harpsichord with a piece. I have had a long friendship with Natasha since my studies at Indiana University at the beginning of the nineties, and just last year we played together on various occasions. Natasha forms a duo with the wonderful harpsichordist Olga Martynova, who is also a professor at the Tchaikovsky Conservatory in Moscow. During my summer vacation in the USA, I spent a few leisure hours enjoying the fascinating sound world of these two so different instruments, which led to the creation of the miniatures. Both emotionally and in terms of compositional technique and motif, the elaboration of these short pieces meant a confrontation with Johann Sebastian Bach, the musical overfather I loved so much.

In May 2020, the Metamorfosi should now sound for the first time. I am grateful to my old friend and companion Roland Glassl and his wife Cornelia, with whom I have also been working for several years. After the premiere of my violin sonata in February 2019, I spontaneously decided, upon request, to also write a work for viola and piano. So the twelve-minute Metamorfosi for viola and piano were created. They consist of 4 separate movements: the introductory misterioso is followed by a perpetuum mobile, then a romance that develops over ostinate bass, and finally a rather high-spirited, final movement. I am looking extremely much forward to the premiere of the new work!

Sextett

Sonate

Concertion for Recorder and String orchestra

Chanson perpetuélle op. 37 - Version für Sopran und Klavierquartett

(In preparation)

Arrangement für Klavierquartett

Benedictus from Missa solemnis

(In preparation)