Aljoscha P.J. Ristow Composer and Music Theorist
Aljoscha Paulo Jonas Ristow, born 1995 in Jever (Germany), is a composer, music theorist, and choral conductor. He studied music theory at the Conservatorium van Amsterdam and at the Musikhochschule Köln as well as composition in the young talents program of the Hochschule für Künste Bremen. Since 2021, he teaches as Lecturer of Music Theory at the Conservatorium Maastricht.
His compositional oeuvre includes more than 50 chamber music works and more than 20 choral works as well as several orchestral, theatre, and jazz compositions. His works have been performed by renowned ensembles like the Nomos Quartet, the Junger Kammerchor Köln, or a chamber music ensemble of the Deutsche Kammerphilharmonie Bremen. In 2013, his composition ‚Continuo‘ was awarded with the national prize at the German competition Jugend komponiert.
In his music theoretical research, he mainly focuses on the historical understanding of music theoretical concepts, such as the history of enharmonicism throughout the centuries, the tonal system of the Baroque composer and music theorist Jean-Philippe Rameau, the late Romantic classification of altered chords after Rudolf Louis and Ludwig Thuille, or conceptions of musical form in 18th and 19th century composition treatises. To present his research, he is regularly invited to conferences of the Dutch-Flemish Society for Music Theory (DFSMT) and the Gesellschaft für Musiktheorie (GMTH).
In March 2024, his research on the history of enharmonicism was honored with the Martin Lürsen Prize. As awardee, he was invited to present his research thesis ‘From Fundamental Bass Theory to Symmetrical Systems: On the Role of Enharmonicism in the Music of Rameau, Wagner, and Ravel’ (Amsterdam, 2021) with a lecture at the international conference of the Dutch-Flemish Society for Music Theory in Amsterdam.
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Aachener Vokalsolisten: Morgenstern und Mondesaufgang
Performance of „Morgenstern-Gesänge“
Saturday, 19 October 2024 at 19.30
Church St. Marien
Marienplatz, Aachen, Germany
Sunday, 20 October 2024 at 17.00
Church St. Heinrich & Kunigund
Mauenheimer Str. 23, Köln, Germany
Free admission. Donations welcome.
Aachener Vokalsolisten is a vocal ensemble of 12 singers that was founded this year. In their first concert program, the two composers Aljoscha Ristow and Andy Janssen will conduct their own works, as well as works by Debussy, Ravel and Elgar. The concert will be opened with Aljoscha Ristow's seven Morgenstern-Gesängen based on texts by Christian Morgenstern (1871-1914).
Ensemble: Alina Palus, Malena Hoffmann, Iris Moraal, Anna Jussen, Sarah Meyer, Lea Becker, Younes Müller, Alexander Atanasyan, Phillip Tse, Andy Janssen, Aljoscha Ristow, Daniel Brockmann, Jens Wieben
Photos: Anna Jussen
Performed compositions:
→ Morgenstern-Gesänge (2024)Similar concerts:
→ Madrigalchor Aachen: Concerts in Franconia (Oct 2024)→ Madrigalchor Aachen: Auf verwachsenem Pfade (Jun 2024)
Tags:Choir Voice
Madrigalchor Aachen: Concerts in Franconia
Performance of „Morgenstern-Gesänge“
Saturday, 12 October 2024 at 20.00
Church St. Michael
Josef-Stangl-Platz 1, Würzburg, Germany
Sunday, 13 October 2024 at 16.00
City Church St. Kilian
Marktplatz 1, Bad Windsheim, Germany
In June 2024, my seven-movement choral work Morgenstern-Gesänge based on texts by Christian Morgenstern (1871-1914) has been premiered by the Madrigalchor Aachen. In October 2024, the choir will perform a selection of them again during a concert tour to Franconia (South Germany).
Conductor: Johannes Honecker
Performed compositions:
→ Morgenstern-Gesänge (2024)Similar concerts:
→ Aachener Vokalsolisten: Morgenstern und Mondesaufgang (Oct 2024)→ Madrigalchor Aachen: Auf verwachsenem Pfade (Jun 2024)
Tags:Choir Voice
Compositions
Morgenstern-Gesänge
for mixed choir
Composition for mixed choir based on seven texts by Christian Morgenstern (1871–1914).
Commissioned by the Madrigalchor Aachen, a chamber choir conducted by Johannes Honecker. Sponsored by the city of Aachen.
In his Morgenstern-Gesänge, composer Aljoscha Ristow sets seven texts by Christian Morgenstern (1871-1914) to music. The settings bring not only the humoristic, but also the philosophical and socio-critical aspects of Morgenstern's poetry to the foreground. It was not without reason that Morgenstern once used the term „Spiel- und Ernst-Zeug“ („playful and serious stuff“) in connection with his lyrical work. „If these two or three little books,“ he remarked, „create only a bit of inner lightness, cheerfulness, freedom, enliven the phantasy, unfreeze merely a glimpse of the music from the soul that had remained frozen in the posthorn, then it is just enough.“
I. Das æsthetische Wiesel
II. Die Schildkrökröte
III. Der Walfafisch oder Das Überwasser
IV. Die zwei Turmuhren
V. Die Täuschung
VI. Das Perlhuhn
VII. Die zwei Parallelen
Duration: ca. 14 minutes
Published on 14 March 2024
Performances:
→ Aachener Vokalsolisten: Morgenstern und Mondesaufgang (Oct 2024)→ Madrigalchor Aachen: Concerts in Franconia (Oct 2024)
→ Madrigalchor Aachen: Auf verwachsenem Pfade (Jun 2024)
Similar compositions:
→ Des Frühlings Wiederkehr (2016)Tags:Choir Voice
Liri und der Blauvogel
Intercultural music theatre with children's choir
Liri und der Blauvogel is a music theatre for one actress, musically accompanied by a children's choir and an instrumental ensemble with European and Arabic instruments. For the Church music festival Cologne (Kirchemusikfestival Köln), the children's book writer Andrea Karimé has written a story about ostracism and friendship, about courage, cunning and the value of freedom.
Libretto: Andrea Karimé
Instrumentation: Actress, Children's choir, Flute, Trombone, Violin, Violoncello, Double bass, Duduk/Nay, Oud, Percussion
Published on 18 September 2019
Story:
Wenn du einen Blauvogel siehst, ist das Wunder nicht mehr weit.
Liri ist mit ihrer Tante und dem Onkel und ihrem kleinen Bruder auf der Flucht vor dem Krieg in Syrien nach Deutschland gekommen. Sie wartet nun auf ihre Eltern, die immer nur anrufen und überhaupt nicht zum angekündigten Zeitpunkt kommen. Liri ist wütend und traurig und allein. Im Unterricht wird sie wegen ihrer Sprache ausgelacht und läuft daraufhin aus der Schule weg zum Rhein, wo sie etwas Glitzerndes findet – einen Geschichtenteppich! Da sieht sie den blauen Vogel auf einem Baum, der ihr seine Geschichte erzählt. Der Blauvogel wurde eines Tages von einem Vogelhändler gefangen. Durch eine List gelang ihm aber wieder die Befreiung und seither sagt man: Wenn du einen Blauvogel siehst…
Der Blauvogel singt ihr zu: Hebe deine Augen auf, du bist nie ganz allein! Liri schöpft neuen Mut und kommt auf gute Ideen, wie sie ihre Situation zum Guten wenden kann.
Performances:
→ Church music festival Cologne (Oct 2019)Tags:Cello Choir Double bass Duduk Flute Narrator Nay Orchestra Oud Percussion Trombone Violin Voice
Intensio
for string trio
audio
My composition Intensio can be regarded as a slow motion interpretation of a plucked string. The recurring tension and release cycles of the string are portrayed by a number of increasingly long build-up phases, which are then eventually interrupted by suddenly appearing downward glissandi in the cello.
Duration: about 2 minutes
Published on 12 February 2019
Tags:Cello String ensemble Viola Violin
Overture: Ariadna and Theseus
for symphonic orchestra
A concert overture in Romantic style that is programmatically related to the Greek myth of Ariadna and Theseus. It contains melodic references to the Song of Seikilos, one of the oldest surviving compositions from ancient Greece, which was discovered in 1883 on a historic tombstone.
Duration: about 12 minutes
Instrumentation: 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, Contrabassoon, 4 Horns, 2 Trumpets, 3 Trombones, Timpani, Violins I/II, Violas, Cellos, Basses
Cover picture: Niccolo Bambini (1651–1736) – Arianna e Teseo
Published on 12 January 2018
Tags:Bassoon Cello Clarinet Double bass Flute French horn Oboe Orchestra Percussion Trombone Trumpet Viola Violin
Des Frühlings Wiederkehr
for mixed choir
audio
Des Frühlings Wiederkehr is a three-movement composition for mixed choir, in which the end of the winter is viewed from various perspectives.
The two outer movements, which are are based on Middle High German poems by Walther von der Vogelweide, describe the change of seasons in quite different ways. Whereas the first movement is mainly characterized by a longing for the springtime, the last one appears just like a song of joy about the beautiful summer. This connection is expressed by the fact that the first movement corresponds musically with an upside down inversion of the last movement.
The space between them is filled by a Latin poem out of the medieval collection Carmina Burana that puts particular emphasis on the bitter coldness of the winter. This second movement is written in a musical language of emptiness and solitude and, beyond that, the movement corresponds with its own retrograde.
Duration: about 6 minutes
Published on 23 October 2016
Des Frühlings Wiederkehr – I. Uns hât der winter geschât über al
Des Frühlings Wiederkehr – II. Cedit, hiems, tua durities
Des Frühlings Wiederkehr – III. Der starke winder hât uns verlân
Text:
I. Uns hât der winter geschât über al:
heide unde walt die sint beide nû val,
dâ manic stimme vil suoze inne hal.
sæhe ich die megede an der strâze den bal
werfen! sô kæme uns der vogele schal.
(Walther von der Vogelweide)
II. Cedit, hiems, tua durities;
frigor abit, rigor et glacies
brumalis et feritas, rabies,
torpor et improba segnities,
pallor et ira, dolor, macies.
(Carmina Burana 135,1)
III. Der starke winder hât uns verlân,
diu sumerzît ist schône getân,
walt unde heide sih ich nû an
loup unde bluomen, clê wolgetân,
davon mac uns fröide nimmer mêr zergân.
(Carmina Burana 135a,
after Walther von der Vogelweide)
Performances:
→ Junger Kammerchor Köln: Lichtblicke (Feb 2017)→ Composition class concert (Dec 2016)
Similar compositions:
→ Morgenstern-Gesänge (2024)Tags:Choir Voice
Concerto Grosso in D major
for 2 solo violins, strings, and basso continuo
video
A Concerto Grosso in Baroque style with three movements.
The final movement is based on my Trio Sonata in D Major.
Duration: about 6–7 minutes
I. Allegro
II. Larghetto
III. Vivace
Cover picture: John Theodore Heins – A Music Party at Melton Constable (1734)
Published on 19 November 2015
Performances:
→ Composition class concert (Dec 2015)Similar compositions:
→ Trio Sonata in D minor (2020)→ Trio Sonata in D major (2015)
Tags:Cello Double bass Harpsichord String ensemble Viola Violin
Baumstämme im Schnee
for tenor and piano
video
Baumstämme im Schnee is an art song using the text of the parable Die Bäume (The trees) by Franz Kafka.
Duration: about 2 minutes
Published on 24 November 2014
Text:
Denn wir sind wie Baumstämme im Schnee. Scheinbar liegen sie glatt auf und mit kleinem Anstoß sollte man sie wegschieben können. Nein, das kann man nicht, denn sie sind fest mit dem Boden verbunden. Aber sieh, sogar das ist nur scheinbar.
Franz Kafka, Die Bäume (1903/04)
Performances:
→ Composition class concert (Dec 2014)Similar compositions:
→ Kein Frühling mehr (2021)→ Der Fischer (2014)
Tags:Piano Voice
Continuo
for cello and piano
audio
My composition Continuo was awarded with the national prize at the competition Jugend komponiert in 2013.
Duration: ca. 6–7 minutes
„Ein sehr experimentelles Werk, das den konstanten Zustand der Veränderung im Sinne des Philosophen Heraklit als das einzig Dauerhafte in Klänge malte. Tonale und atonale Passagen im Schwebezustand zwischen Klang- und Geräuschkulisse. Ein imaginärer Sekundentakt auf das Holz der Instrumente geklopft.
Es war gewagt und gleichsam beeindruckend, was der Nachwuchskomponist dem Publikum präsentierte. Laut aufbrandender Applaus vermeldete deutlich, dass der von ihm eingeschlagene künstlerische Weg in die richtige Richtung führt. Ohne Frage, mit diesem Konzert ist dem Bassumer Kulturforum ein Glücksgriff gelungen.“
04. Juni 2013, Diepholzer Kreisblatt (kreiszeitung.de) about the performance in Bassum
Published on 02 January 2013
Performances:
→ Deutsche Kammerphilharmonie Bremen: Kammermusik +21 (Jun 2013)→ Podium für junge Talente (Jun 2013)
→ Jugend komponiert 2013 (Apr 2013)
Released on:
→ Resonance (2013)Tags:Cello Piano
Lectures
Rhythmical Concepts in the Music of Tigran Hamasyan
Music Theory Symposium 2024 in Maastricht
Lecture at the Music Theory Symposium of the Conservatorium Maastricht
24 June 2024 at 14.15
Conservatorium Maastricht (Dependance), Wyck Hall
Franciscus Romanusweg 90, 6221 AH Maastricht
Abstract:
Tigran Hamasyan (*1987) is an Armenian jazz pianist and composer whose style is characterized by a high level of rhythmic complexity combined with influences from traditional Armenian music. On his albums ‘Shadow Theater’ (2013) and ‘The Call Within’ (2020), he uses some quite remarkable rhythmical techniques, such as polymetric structures, unequal subdivisions, micro-rhythmical quintuplets, or metric modulations.
In this lecture–workshop combination, we will use examples from Tigran’s music to investigate how the nature of such rhythmical phenomena can be understood and internalized with the help of South Indian Rhythmic Solfege, which has become increasingly important for rhythm pedagogy in the Netherlands over the recent decades, most notably at the Conservatorium van Amsterdam (Rafael Reina, 2015). This approach is particularly suitable for the comprehension of Hamasyan’s music by focusing less on notation, but rather on a direct interplay between perception, internalization, and performance.
Cover: Nana Tchitchoua / Elena Hamasyan
Related entries:
→ Rhythmical Concepts in the Music of Tigran Hamasyan (Lecture, Sep 2023)
Martin Lürsen Prize 2024
Research award of the Dutch-Flemish Society for Music Theory
On 03 March 2024, I was awarded by the Dutch-Flemish Society for Music Theory (DFSMT) with the Martin Lürsen Prize, which is given every two years to an outstanding research thesis written at a Dutch-Flemish institution in the field of music theory or musicology. As awardee, I presented my thesis with a lecture at the international conference of the Dutch-Flemish Society for Music Theory.
Title: From Fundamental Bass Theory to Symmetrical Systems: On the Role of Enharmonicism in the Music of Rameau, Wagner, and Ravel (Master thesis, Amsterdam 2021)
More information about the research
Awardee's lecture at the international conference of the Dutch-Flemish Society for Music Theory (DFSMT)
03 March 2024 at 11.30 in room 803
Conservatorium van Amsterdam
Oosterdokskade 151, Amsterdam, Netherlands
www.dfsmt.net
Teaching Altered Chords: New Paths on Historical Grounds
International Music Theory Conference 2024 in Amsterdam
Lecture at the international conference of the Dutch-Flemish Society for Music Theory (DFSMT)
02 March 2024 at 15.30 in room 445
Conservatorium van Amsterdam
Oosterdokskade 151, Amsterdam, Netherlands
www.dfsmt.net
Abstract:
How can altered chords be understood from a historical perspective? To investigate this, it can be rewarding to consult theoretical literature by contemporaries. The Late Romantic composer Ludwig Thuille (1861-1907), a student of J.G. Rheinberger and friend of R. Strauss, can certainly be regarded as a relevant source in this connection. His Harmonielehre (1907), co-authored with the music critic Rudolf Louis, contains a very systematic categorization of altered chords, which is well-known to have had a large influence on the music theory discourse in the Netherlands.
Starting from the historical origins of these theoretical traditions, this lecture will explore new ways to convey their core concepts didactically. In particular, it will be shown how relative solmization can serve as a tool to express Louis’ and Thuille’s scale-based understanding of altered chords didactically in an adequate way. The usefulness of this approach will be demonstrated by means of specifically developed teaching materials, such as harmony exercises including special indications, alongside with several newly discovered analysis examples from musical works by C. Franck, E. Elgar, A. Bruckner, as well as L. Thuille himself. The numerous possibilities of altered chords arising from Louis’ and Thuille’s principles can be explored further with a self-programmed online tool, which will be presented as well.
Related entries:
→ Altered Chord Generator (Software, 2019)→ Classification of Altered Chords after Louis/Thuille (Lecture, Sep 2023)
The Enharmonic Genus in Rameau's Theoretical and Compositional Oeuvre
Music Theory Conference 2021 in Basel
Lecture at the annual conference of the Gesellschaft für Musiktheorie (GMTH)
Friday, 01 October 2021 at 14:00
Schola Cantorum Basiliensis, Kleiner Saal
Leonhardsstraße 6, 4051 Basel, Switzerland
German title: Das enharmonische Klanggeschlecht im Schrift- und Musikwerk Rameaus
German abstract:
Die Bedeutung des Begriffes ‚enharmonisch‘ hat sich im Laufe der Jahrhunderte stark verändert. Das antike Konzept des enharmonischen Tetrachords wurde nicht nur 1555 durch Nicola Vicentino aufgegriffen, sondern auch im 18. Jahrhundert durch Jean-Philippe Rameau. Letzterer suchte dabei das Vorkommen des für den enharmonischen Tetrachord charakteristischen Vierteltons in der Beziehung zweier Töne wie Dis und Es, die seinem Tonsystem zufolge um einen Viertelton (125 : 128) auseinander lagen, wenngleich sie auf einer zwölftastigen Klaviatur durch dieselbe Taste, bzw. durch denselben Klang repräsentiert waren.
Dabei betonte Rameau, dass der „Effekt“ dieses enharmonischen Vierteltons in bestimmten Situationen selbst ohne einen Klangunterschied „spürbar“ oder „erfahrbar“ sei. Ähnliche Beobachtungen finden sich ebenfalls bei J.D. Heinichen (1728). Rameau belegte dies unter anderem anhand einiger seiner eigenen musikalischen Werke, darunter zwei Sätze seiner ‚Nouvelles Suites de Pièces de Clavecin‘ (ca. 1728), sowie zwei Szenen aus seinen Bühnenwerken ‚Hippolyte et Aricie‘ (1733) und ‚Les Indes Galantes‘ (1735).
In meinem Vortrag werde ich zunächst darauf eingehen, auf welche Weise das antike Konzept des enharmonischen Klanggeschlechts in Rameaus späterem Tonsystem verankert ist (Rameau 1737, 1750). Anschließend werde ich die konkrete musikalische Umsetzung des ‚genre enharmonique‘ anhand einer Analyse von Ausschnitten aus einigen der oben genannten Cembalo- und Bühnenwerke Rameaus veranschaulichen.
Davon ausgehend werde ich zur Diskussion stellen, inwieweit Rameaus „implizierter“ Viertelton zwischen enharmonisch verwandten Tönen (z.B. Dis und Es) aus heutiger Sicht tatsächlich wahrgenommen werden kann und zu welchem Grad das dabei zugrunde liegende Wahrnehmungskonzept im Hinblick auf den später durch G.J. Vogler und G. Weber geprägten Begriff der enharmonischen Mehrdeutigkeit als richtungsweisend gelten kann.
Related entries:
→ Master Exam Concert (Concert, Jun 2021)→ From Fundamental Bass Theory to Symmetrical Systems (Book/Article, 2021)
→ Microtonal Lab: Harmonic Analysis and (Just) Intonation (Lecture, Mar 2023)
Recordings
Farewell
Jazz album of the Trio 003
audio and video
Farewell is an album of the jazz trio Trio 003. It contains two songs by our bassist Liisi Salumaa (02, 03) and three songs by myself (01, 04, 05).
Aljoscha Ristow - piano
Liisi Salumaa - bass, vocals
Nick Zacharias - drums
artwork by Liisi Salumaa
Released on 03 December 2013
01 Travel To The Garden
02 Lakkamatu Jutuvada
03 Jaanipäeva Paiku
04 Farewell
05 Nice Dream
Included compositions:
→ Travel to the Garden (2013)→ Farewell (2013)
→ Nice Dream (2012)
Related entries:
→ Trio 003: Jazz at Treffpunkt Arche (Concert, Sep 2013)Tags:Double bass Drumset Electric piano Jazz band Piano Voice
Resonance
Compositions for stringed instruments
audio
The album Resonance contains six compositions of mine, originating between 2010 and 2013. Three of the pieces have been awarded and performed in competitions (01, 02, 04).
Released on 18 August 2013
01 Continuo (studio recording)
02 Der Leierkastenmann
03 In Memoriam
04 String Quartet No. 3 „Zeitreise“
05 Three Inventions: I. Reflections
06 Three Inventions: II. Feel
07 Three Inventions: III. Fusion
08 Harmonic Factors
Included compositions:
→ String Quartet No. 3 (2013)→ Continuo (2013)
→ Three Inventions (2012)
→ In Memoriam (2012)
→ Der Leierkastenmann (2012)
→ Harmonic Factors (2010)
Related entries:
→ Musik 21 Festival 2013: Nomos Quartett (Concert, Aug 2013)→ Jugend komponiert 2013 (Concert, Apr 2013)
Tags:Cello Piano String ensemble Viola Violin
2024
Aachener Vokalsolisten: Morgenstern und Mondesaufgang
Performance of „Morgenstern-Gesänge“
Saturday, 19 October 2024 at 19.30
Church St. Marien
Marienplatz, Aachen, Germany
Sunday, 20 October 2024 at 17.00
Church St. Heinrich & Kunigund
Mauenheimer Str. 23, Köln, Germany
Free admission. Donations welcome.
Aachener Vokalsolisten is a vocal ensemble of 12 singers that was founded this year. In their first concert program, the two composers Aljoscha Ristow and Andy Janssen will conduct their own works, as well as works by Debussy, Ravel and Elgar. The concert will be opened with Aljoscha Ristow's seven Morgenstern-Gesängen based on texts by Christian Morgenstern (1871-1914).
Ensemble: Alina Palus, Malena Hoffmann, Iris Moraal, Anna Jussen, Sarah Meyer, Lea Becker, Younes Müller, Alexander Atanasyan, Phillip Tse, Andy Janssen, Aljoscha Ristow, Daniel Brockmann, Jens Wieben
Photos: Anna Jussen
Performed compositions:
→ Morgenstern-Gesänge (2024)Similar concerts:
→ Madrigalchor Aachen: Concerts in Franconia (Oct 2024)→ Madrigalchor Aachen: Auf verwachsenem Pfade (Jun 2024)
Tags:Choir Voice
Madrigalchor Aachen: Concerts in Franconia
Performance of „Morgenstern-Gesänge“
Saturday, 12 October 2024 at 20.00
Church St. Michael
Josef-Stangl-Platz 1, Würzburg, Germany
Sunday, 13 October 2024 at 16.00
City Church St. Kilian
Marktplatz 1, Bad Windsheim, Germany
In June 2024, my seven-movement choral work Morgenstern-Gesänge based on texts by Christian Morgenstern (1871-1914) has been premiered by the Madrigalchor Aachen. In October 2024, the choir will perform a selection of them again during a concert tour to Franconia (South Germany).
Conductor: Johannes Honecker
Performed compositions:
→ Morgenstern-Gesänge (2024)Similar concerts:
→ Aachener Vokalsolisten: Morgenstern und Mondesaufgang (Oct 2024)→ Madrigalchor Aachen: Auf verwachsenem Pfade (Jun 2024)
Tags:Choir Voice
Rhythmical Concepts in the Music of Tigran Hamasyan
Music Theory Symposium 2024 in Maastricht
Lecture at the Music Theory Symposium of the Conservatorium Maastricht
24 June 2024 at 14.15
Conservatorium Maastricht (Dependance), Wyck Hall
Franciscus Romanusweg 90, 6221 AH Maastricht
Abstract:
Tigran Hamasyan (*1987) is an Armenian jazz pianist and composer whose style is characterized by a high level of rhythmic complexity combined with influences from traditional Armenian music. On his albums ‘Shadow Theater’ (2013) and ‘The Call Within’ (2020), he uses some quite remarkable rhythmical techniques, such as polymetric structures, unequal subdivisions, micro-rhythmical quintuplets, or metric modulations.
In this lecture–workshop combination, we will use examples from Tigran’s music to investigate how the nature of such rhythmical phenomena can be understood and internalized with the help of South Indian Rhythmic Solfege, which has become increasingly important for rhythm pedagogy in the Netherlands over the recent decades, most notably at the Conservatorium van Amsterdam (Rafael Reina, 2015). This approach is particularly suitable for the comprehension of Hamasyan’s music by focusing less on notation, but rather on a direct interplay between perception, internalization, and performance.
Cover: Nana Tchitchoua / Elena Hamasyan
Related entries:
→ Rhythmical Concepts in the Music of Tigran Hamasyan (Lecture, Sep 2023)
Madrigalchor Aachen: Auf verwachsenem Pfade
First performance of „Morgenstern-Gesänge“
Saturday, 15 June 2024 at 20.00
City Church St. Nikolaus
An der Nikolauskirche 3, Aachen, Germany
Free entrance, donations welcome
Sunday, 16 June 2024 at 18.00
De Kopermolen
Von Clermontplein 11, Vaals, Netherlands
Entrance 13€ / 10€ (red.)
Thursday, 20 June 2024 at 20.00
Church St. Anna
Albert-Einstein-Str. 38, Aachen-Walheim, Germany
Free entrance, donations welcome
In June 2024, the Madrigalchor Aachen will perform a commissioned composition: My seven-movement choral work Morgenstern-Gesänge, based on texts by Christian Morgenstern (1871–1914), will be premiered as part of the concert program Auf verwachsenem Pfade.
Conductor: Johannes Honecker
Performed compositions:
→ Morgenstern-Gesänge (2024)Similar concerts:
→ Aachener Vokalsolisten: Morgenstern und Mondesaufgang (Oct 2024)→ Madrigalchor Aachen: Concerts in Franconia (Oct 2024)
Tags:Choir Voice
Morgenstern-Gesänge
for mixed choir
Composition for mixed choir based on seven texts by Christian Morgenstern (1871–1914).
Commissioned by the Madrigalchor Aachen, a chamber choir conducted by Johannes Honecker. Sponsored by the city of Aachen.
In his Morgenstern-Gesänge, composer Aljoscha Ristow sets seven texts by Christian Morgenstern (1871-1914) to music. The settings bring not only the humoristic, but also the philosophical and socio-critical aspects of Morgenstern's poetry to the foreground. It was not without reason that Morgenstern once used the term „Spiel- und Ernst-Zeug“ („playful and serious stuff“) in connection with his lyrical work. „If these two or three little books,“ he remarked, „create only a bit of inner lightness, cheerfulness, freedom, enliven the phantasy, unfreeze merely a glimpse of the music from the soul that had remained frozen in the posthorn, then it is just enough.“
I. Das æsthetische Wiesel
II. Die Schildkrökröte
III. Der Walfafisch oder Das Überwasser
IV. Die zwei Turmuhren
V. Die Täuschung
VI. Das Perlhuhn
VII. Die zwei Parallelen
Duration: ca. 14 minutes
Published on 14 March 2024
Performances:
→ Aachener Vokalsolisten: Morgenstern und Mondesaufgang (Oct 2024)→ Madrigalchor Aachen: Concerts in Franconia (Oct 2024)
→ Madrigalchor Aachen: Auf verwachsenem Pfade (Jun 2024)
Similar compositions:
→ Des Frühlings Wiederkehr (2016)Tags:Choir Voice
Martin Lürsen Prize 2024
Research award of the Dutch-Flemish Society for Music Theory
On 03 March 2024, I was awarded by the Dutch-Flemish Society for Music Theory (DFSMT) with the Martin Lürsen Prize, which is given every two years to an outstanding research thesis written at a Dutch-Flemish institution in the field of music theory or musicology. As awardee, I presented my thesis with a lecture at the international conference of the Dutch-Flemish Society for Music Theory.
Title: From Fundamental Bass Theory to Symmetrical Systems: On the Role of Enharmonicism in the Music of Rameau, Wagner, and Ravel (Master thesis, Amsterdam 2021)
More information about the research
Awardee's lecture at the international conference of the Dutch-Flemish Society for Music Theory (DFSMT)
03 March 2024 at 11.30 in room 803
Conservatorium van Amsterdam
Oosterdokskade 151, Amsterdam, Netherlands
www.dfsmt.net
Teaching Altered Chords: New Paths on Historical Grounds
International Music Theory Conference 2024 in Amsterdam
Lecture at the international conference of the Dutch-Flemish Society for Music Theory (DFSMT)
02 March 2024 at 15.30 in room 445
Conservatorium van Amsterdam
Oosterdokskade 151, Amsterdam, Netherlands
www.dfsmt.net
Abstract:
How can altered chords be understood from a historical perspective? To investigate this, it can be rewarding to consult theoretical literature by contemporaries. The Late Romantic composer Ludwig Thuille (1861-1907), a student of J.G. Rheinberger and friend of R. Strauss, can certainly be regarded as a relevant source in this connection. His Harmonielehre (1907), co-authored with the music critic Rudolf Louis, contains a very systematic categorization of altered chords, which is well-known to have had a large influence on the music theory discourse in the Netherlands.
Starting from the historical origins of these theoretical traditions, this lecture will explore new ways to convey their core concepts didactically. In particular, it will be shown how relative solmization can serve as a tool to express Louis’ and Thuille’s scale-based understanding of altered chords didactically in an adequate way. The usefulness of this approach will be demonstrated by means of specifically developed teaching materials, such as harmony exercises including special indications, alongside with several newly discovered analysis examples from musical works by C. Franck, E. Elgar, A. Bruckner, as well as L. Thuille himself. The numerous possibilities of altered chords arising from Louis’ and Thuille’s principles can be explored further with a self-programmed online tool, which will be presented as well.
Related entries:
→ Altered Chord Generator (Software, 2019)→ Classification of Altered Chords after Louis/Thuille (Lecture, Sep 2023)
Ensemble Ottovoci: Night of Classical Music
Concert of a vocal ensemble
Night of Classical Music
Saturday, 24 February 2024 at 21.15
Conservatorium Maastricht, Matty Niël Hall
Bonnefantenstraat 15, Maastricht, Netherlands
Concert announcement
The vocal ensemble Ottovoci will perform two movements of the Partita for 8 voices by Caroline Shaw, connected through a vocal improvisation, as well as a self-composed piece by four ensemble members.
Ensemble: Nora Tarraf, Sarah Meyer, Malena Hoffmann, Luna Gräfin von Hardenberg, Edoardo Gatta, Colin Crandal, Aljoscha Ristow, Pieter-Jan van den Broeck
Tags:Choir Voice
2023
Rhythmical Concepts in the Music of Tigran Hamasyan
Music Theory Conference 2023 in Freiburg
Lecture at the annual conference of the Gesellschaft für Musiktheorie (GMTH)
Saturday, 23 September 2023 at 12:00
Hochschule für Musik Freiburg, Room 156
Mendelssohn-Bartholdy-Platz 1, Freiburg, Germany
German Abstract:
Tigran Hamasyan (*1987) ist ein armenischer Jazzpianist und -komponist, dessen Stil sich vor allem durch eine hohe rhythmische Komplexität, sowie durch Einflüsse aus traditioneller armenischer Musik auszeichnet. Insbesondere seine Alben ‚Shadow Theater‘ (2013) und ‚The Call Within‘ (2020) sind stark durch die Verwendung komplexer Rhythmustechniken geprägt, darunter beispielsweise polymetrische Strukturen, ungleichmäßige Taktunterteilungen, mikrorhythmische Fünfteilungen oder metrische Modulationen.
Im Rahmen des Vortrags soll anhand von Beispielen gezeigt werden, wie die Beschaffenheit solcher Phänomene mithilfe des aus Südindien stammenden Rhythmic Solfege (Rafael Reina, 2015) analysiert und verinnerlicht werden kann, welches in den letzten Jahrzehnten u.a. für die Rhythmuspädagogik an niederländischen Conservatorien immer mehr an Bedeutung gewonnen hat. In Bezug auf Hamasyans Musik eignet sich dieser Ansatz besonders, da er nicht in erster Linie auf Notation, sondern vielmehr auf einem direkten Zusammenspiel von Wahrnehmung und Ausführung beruht.
Zudem soll unter Bezugnahme auf Untersuchungen von Fred Lerdahl und Ray Jackendoff (1983) auf Grundsatzfragen der metrischen Wahrnehmung eingegangen werden, wie beispielsweise auf die Frage nach Kriterien für das Empfinden einer metrischen Zählzeit, die sich beim Anfertigen von Transkriptionen in diesem Bereich unmittelbar stellt. Im Zuge dessen soll schließlich diskutiert werden, in welchen Aspekten Hamasyans Musiksprache über die von Lerdahl/Jackendoff vor allem für westliche klassische Musik aufgestellten Grundsätze hinausgeht und wie letztere dementsprechend erweitert werden könnten.
Cover: Nana Tchitchoua / Elena Hamasyan
Related entries:
→ Rhythmical Concepts in the Music of Tigran Hamasyan (Lecture, Jun 2024)→ Classification of Altered Chords after Louis/Thuille (Lecture, Sep 2023)
Classification of Altered Chords after Louis/Thuille
Music Theory Conference 2023 in Freiburg
Lecture at the annual conference of the Gesellschaft für Musiktheorie (GMTH)
Friday, 22 September 2023 at 15:30
Hochschule für Musik Freiburg, Room 117
Mendelssohn-Bartholdy-Platz 1, Freiburg, Germany
German Abstract:
In der 1907 erschienenen Harmonielehre von Rudolf Louis und Ludwig Thuille, letzterer ein Schüler J.G. Rheinbergers, findet sich eine sehr umfassende Klassifizierung alterierter Akkorde. Diese basiert zwar auf einer sehr engen Grunddefinition, die nur solche Akkorde einbezieht, die „die Beziehung zur Tonica […] aufrecht erhalten“, dennoch ermöglicht sie schließlich eine Mannigfaltigkeit von mehr als dreißig alterierten Akkorden innerhalb einer Tonart, die das klassische Standardrepertoire bei weitem übersteigt, aber dennoch mit zahlreichen Literaturbeispielen belegt ist. Mithilfe eines eigens programmierten Online-Tools kann nachvollzogen werden, wie sich aus den verschiedenen Alterationsmöglichkeiten Akkorde bilden lassen, die der oben genannten Definition entsprechen.
Bemerkenswert ist dabei, dass Louis und Thuille die Alterationsmöglichkeiten nicht akkordbezogen, sondern skalenbasiert betrachten. Dies legt die Kombination mit einem weiteren Bezeichnungssystem nahe, und zwar dem der relativen Solmisation. Die didaktischen Vor- und Nachteile solch eines kombinierten Analysesystems sollen in diesem Vortrag im Hinblick auf Aussagekraft und Vollständigkeit untersucht werden. Als musikalische Beispiele dafür dienen Ausschnitte aus Werken von A. Bruckner, R. Strauss, J. Brahms, C. Franck, C. Saint-Saëns, sowie von L. Thuille selbst.
Related entries:
→ Altered Chord Generator (Software, 2019)→ Teaching Altered Chords: New Paths on Historical Grounds (Lecture, Mar 2024)
→ Rhythmical Concepts in the Music of Tigran Hamasyan (Lecture, Sep 2023)
Kurt Thomas Course
Choral works by Mendelssohn and Poulenc
Saturday, 15 July 2023 at 19:00
Nicolaïkerk, Nicolaaskerkhof 8, Utrecht, Netherlands
As participant of the one week long Kurt Thomas Conducting Course 2023, I am conducting three choral works by Mendelssohn and Poulenc in the final concert.
F. Poulenc – Sept Chansons, 1. La blanche neige, FP 81/1
F. Mendelssohn – Herr, nun lässest du deinen Diener, op. 69/1
F. Mendelssohn – Sechs Sprüche, 2. Am Neujahrstage, op. 79/2
Choir: Koor Neon
Coaches: Rob Vermeulen, Mathieu Romano
Photos: Joris Louwes
Tags:Choir Voice
Microtonal Lab: Harmonic Analysis and (Just) Intonation
Music Theory Symposium 2023 in The Hague
Lecture at a Symposium of the Dutch-Flemish Society for Music Theory (VvM)
Saturday, 11 March 2023 at 10:15
Royal Conservatoire The Hague, Room 5.37
Spuiplein 150, 2511 DG Den Haag, Netherlands
www.dfsmt.net
Abstract:
Possibilities to expand the scope of diatonic composition by means of chromatic and enharmonic techniques have been explored and discussed by numerous theorists and composers throughout the centuries, such as by Boethius (c. 500), N. Vicentino (1555), J.P. Rameau (1737/50), G. Weber (1817), or S. Sechter (1853), to name but a few. In this presentation, it will be discussed (1) how diatonic, chromatic, or enharmonic passages from Baroque, Classical, or Romantic repertoire can be analyzed from historical perspectives and (2) how the analysis can influence choices of (just) intonation based on the tone map developed by J.P. Rameau (1726) and L. Euler (1739). Different intonational possibilities will be demonstrated using microtonally retunable organ samples within a sequencer software. The audience will be invited to participate in open discussions.
Related entries:
→ Tone Map Analysis (Software, 2023)→ The Enharmonic Genus in Rameau's Theoretical and Compositional Oeuvre (Lecture, Oct 2021)
Tone Map Analysis
Analyze tone relations using the tone map after Rameau and Euler
Analyze tone relations using the tone map after Jean-Philippe Rameau and Leonhard Euler
Released on 21 February 2023
Related entries:
→ Microtonal Lab: Harmonic Analysis and (Just) Intonation (Lecture, Mar 2023)→ Euler Genus Creator (Software, 2022)
→ Spannungsanalyse (Software, 2018)
2022
Euler Genus Creator
Create tone collections based on Euler's principles
This tool creates a tone collection (genus) based on historical principles laid out by the 18th century mathematician Leonhard Euler.
Released on 25 October 2022
2021
The Enharmonic Genus in Rameau's Theoretical and Compositional Oeuvre
Music Theory Conference 2021 in Basel
Lecture at the annual conference of the Gesellschaft für Musiktheorie (GMTH)
Friday, 01 October 2021 at 14:00
Schola Cantorum Basiliensis, Kleiner Saal
Leonhardsstraße 6, 4051 Basel, Switzerland
German title: Das enharmonische Klanggeschlecht im Schrift- und Musikwerk Rameaus
German abstract:
Die Bedeutung des Begriffes ‚enharmonisch‘ hat sich im Laufe der Jahrhunderte stark verändert. Das antike Konzept des enharmonischen Tetrachords wurde nicht nur 1555 durch Nicola Vicentino aufgegriffen, sondern auch im 18. Jahrhundert durch Jean-Philippe Rameau. Letzterer suchte dabei das Vorkommen des für den enharmonischen Tetrachord charakteristischen Vierteltons in der Beziehung zweier Töne wie Dis und Es, die seinem Tonsystem zufolge um einen Viertelton (125 : 128) auseinander lagen, wenngleich sie auf einer zwölftastigen Klaviatur durch dieselbe Taste, bzw. durch denselben Klang repräsentiert waren.
Dabei betonte Rameau, dass der „Effekt“ dieses enharmonischen Vierteltons in bestimmten Situationen selbst ohne einen Klangunterschied „spürbar“ oder „erfahrbar“ sei. Ähnliche Beobachtungen finden sich ebenfalls bei J.D. Heinichen (1728). Rameau belegte dies unter anderem anhand einiger seiner eigenen musikalischen Werke, darunter zwei Sätze seiner ‚Nouvelles Suites de Pièces de Clavecin‘ (ca. 1728), sowie zwei Szenen aus seinen Bühnenwerken ‚Hippolyte et Aricie‘ (1733) und ‚Les Indes Galantes‘ (1735).
In meinem Vortrag werde ich zunächst darauf eingehen, auf welche Weise das antike Konzept des enharmonischen Klanggeschlechts in Rameaus späterem Tonsystem verankert ist (Rameau 1737, 1750). Anschließend werde ich die konkrete musikalische Umsetzung des ‚genre enharmonique‘ anhand einer Analyse von Ausschnitten aus einigen der oben genannten Cembalo- und Bühnenwerke Rameaus veranschaulichen.
Davon ausgehend werde ich zur Diskussion stellen, inwieweit Rameaus „implizierter“ Viertelton zwischen enharmonisch verwandten Tönen (z.B. Dis und Es) aus heutiger Sicht tatsächlich wahrgenommen werden kann und zu welchem Grad das dabei zugrunde liegende Wahrnehmungskonzept im Hinblick auf den später durch G.J. Vogler und G. Weber geprägten Begriff der enharmonischen Mehrdeutigkeit als richtungsweisend gelten kann.
Related entries:
→ Master Exam Concert (Concert, Jun 2021)→ From Fundamental Bass Theory to Symmetrical Systems (Book/Article, 2021)
→ Microtonal Lab: Harmonic Analysis and (Just) Intonation (Lecture, Mar 2023)
Master Exam Concert
Performance of three style compositions
Monday, 28 June 2021 at 12:00
Conservatorium van Amsterdam, Sweelinckzaal
Oosterdokskade 151, Amsterdam, Netherlands
My final exam concert includes the performance of three style compositions on historical instruments, as well as a music theory lecture.
Picture: L.C. Carmontelle – Monsieur Rameau (1760)
Performed compositions:
→ Piano Trio in D minor (2021)→ Kein Frühling mehr (2021)
→ Trio Sonata in D minor (2020)
Related entries:
→ The Enharmonic Genus in Rameau's Theoretical and Compositional Oeuvre (Lecture, Oct 2021)→ From Fundamental Bass Theory to Symmetrical Systems (Book/Article, 2021)
Tags:Cello Harpsichord Piano Violin Voice
Piano Trio in D minor
for violin, cello, and piano
A piano trio in Classical style.
Duration: about 10 minutes
Published on 16 June 2021
Tags:Cello Piano Violin
Kein Frühling mehr
for voice and piano
A Romantic song based on a text by Luise Hensel (1798–1876), who was the sister-in-law of Felix Mendelssohn's sister Fanny Hensel.
Duration: about 3–4 minutes
Cover picture: Portrait of Luise Hensel, drawn by her brother Wilhelm Hensel (1829)
Published on 14 June 2021
Tags:Piano Voice
From Fundamental Bass Theory to Symmetrical Systems
Master thesis at the Conservatorium van Amsterdam
From Fundamental Bass Theory to Symmetrical Systems
On the Role of Enharmonicism in the Music of Rameau, Wagner, and Ravel
Master Thesis at the Conservatorium van Amsterdam 2021
Published on 15 February 2021
Abstract:
From a certain perspective, the term “enharmonic” appears quite ambiguous. On the one hand, it can refer to the principle of enharmonic equivalence, meaning that two enharmonically related tones (e.g., C# and Db) are considered to be the same. On the other hand, however, it can also refer to the concept of enharmonic change, which certainly implies that the two respective tones are to be regarded as different. This raises the question: to what extent should two enharmonically related tones be regarded as the same or as something substantially different?
The present thesis aims to shed light on this matter by investigating how the concept of enharmonicism has evolved over the centuries, with a particular focus on two types of tonal systems: fundamental bass theory and so-called symmetrical systems. For this purpose, we will consult music theoretical treatises by Gioseffo Zarlino, Jean-Philippe Rameau, Simon Sechter, Nikolai Rimsky-Korsakov, as well as by many other authors. Moreover, this will be illustrated further by means of analyses of musical repertoire by Jean-Philippe Rameau, Richard Wagner, and Maurice Ravel.
Related entries:
→ Martin Lürsen Prize 2024 (Lecture, Mar 2024)→ The Enharmonic Genus in Rameau's Theoretical and Compositional Oeuvre (Lecture, Oct 2021)
→ Master Exam Concert (Concert, Jun 2021)
2020
Das Concerto in d-Moll von J.S. Bach (BWV 1052)
Master thesis at the Musikhochschule Köln
Das Concerto in d-Moll von J.S. Bach (BWV 1052)
Betrachtung eines Meisterstückes vor dem Hintergrund seiner historischen Vorbilder
Master Thesis at the Hochschule für Musik und Tanz Köln 2020
Published on 14 July 2020
Sicut lilium inter spinas
Motet for mixed choir
A five-part motet in Renaissance style.
Published on 02 June 2020
Tags:Choir Voice
Trio Sonata in D minor
for 2 violins and basso continuo
A trio sonata in Baroque style.
I. Preludio (Grave)
II. Allemanda (Allegro)
Published on 31 May 2020
Performances:
→ Master Exam Concert (Jun 2021)Similar compositions:
→ Concerto Grosso in D major (2015)→ Trio Sonata in D major (2015)
Tags:Cello Harpsichord Viola Violin
2019
Altered Chord Generator
Create altered chords based on Louis/Thuille
Create altered chords based on principles of Rudolf Louis and Ludwig Thuille (Harmonielehre, 1907)
Released on 17 November 2019
Related entries:
→ Teaching Altered Chords: New Paths on Historical Grounds (Lecture, Mar 2024)→ Classification of Altered Chords after Louis/Thuille (Lecture, Sep 2023)
Church music festival Cologne
Performances of „Liri und der Blauvogel“
10. Ökumenisches Kirchenmusikfestival Köln
– Kirche macht Schule
Concert Announcement
Liri und der Blauvogel is a music theatre for one actress, musically accompanied by a children's choir and an instrumental ensemble with European and Arabic instruments. For the Church music festival Cologne (Kirchemusikfestival Köln), the children's book author Andrea Karimé has written a story about ostracism and friendship, about courage, cunning and the value of freedom. Further information
Tuesday, 08 October 2019 at 18.00
Immanuelkirche, Paul-Humburg-Straße 11, Köln-Longerich
Wednesday, 09 October 2019 at 18.00
St.-Johannes-Kirche, Tempelstraße 31, Köln-Deutz
Thursday, 10 October 2019 at 18.00
Kartäuserkirche, Kartäusergasse 7, Köln-Altstadt
The entrance is free.
Andrea Karimé (Librettist)
Aljoscha Ristow (Composer)
Samuel Dobernecker (Conductor and Project coordination)
Ruth Dobernecker (Conductor and Project coordination)
Michael Mienert (Direction)
Magdalena Lehnen (Actress)
Cologne primary school classes (Children's choir)
Ensemble Les Lumières (Flute, Trombone, Violin, Cello and Double bass)
Rageed William (Duduk and Nay)
Saif Al-Khayyat (Oud)
Saad Thamir (Arabic Drums)
Poster illustration: Annette von Bodecker
Tags:Cello Choir Double bass Duduk Flute Narrator Nay Orchestra Oud Percussion Trombone Violin Voice
Liri und der Blauvogel
Intercultural music theatre with children's choir
Liri und der Blauvogel is a music theatre for one actress, musically accompanied by a children's choir and an instrumental ensemble with European and Arabic instruments. For the Church music festival Cologne (Kirchemusikfestival Köln), the children's book writer Andrea Karimé has written a story about ostracism and friendship, about courage, cunning and the value of freedom.
Libretto: Andrea Karimé
Instrumentation: Actress, Children's choir, Flute, Trombone, Violin, Violoncello, Double bass, Duduk/Nay, Oud, Percussion
Published on 18 September 2019
Story:
Wenn du einen Blauvogel siehst, ist das Wunder nicht mehr weit.
Liri ist mit ihrer Tante und dem Onkel und ihrem kleinen Bruder auf der Flucht vor dem Krieg in Syrien nach Deutschland gekommen. Sie wartet nun auf ihre Eltern, die immer nur anrufen und überhaupt nicht zum angekündigten Zeitpunkt kommen. Liri ist wütend und traurig und allein. Im Unterricht wird sie wegen ihrer Sprache ausgelacht und läuft daraufhin aus der Schule weg zum Rhein, wo sie etwas Glitzerndes findet – einen Geschichtenteppich! Da sieht sie den blauen Vogel auf einem Baum, der ihr seine Geschichte erzählt. Der Blauvogel wurde eines Tages von einem Vogelhändler gefangen. Durch eine List gelang ihm aber wieder die Befreiung und seither sagt man: Wenn du einen Blauvogel siehst…
Der Blauvogel singt ihr zu: Hebe deine Augen auf, du bist nie ganz allein! Liri schöpft neuen Mut und kommt auf gute Ideen, wie sie ihre Situation zum Guten wenden kann.
Performances:
→ Church music festival Cologne (Oct 2019)Tags:Cello Choir Double bass Duduk Flute Narrator Nay Orchestra Oud Percussion Trombone Violin Voice
Composition class concert
First performance of „Intensio“
audio
Saturday, 22 June 2019 at 19.30
Hochschule für Musik und Tanz Köln, Kammermusiksaal
Unter Krahnenbäumen 87, 50668 Köln
Concert evening with compositions by students of Prof. Johannes Schild
Works by Francisco C. Goldschmidt, Robin Moll, Aljoscha Ristow, Olga Ryazantseva, Arsenis Selalmazidis and Rainer Serwe
Tags:Cello String ensemble Viola Violin
Intensio
for string trio
audio
My composition Intensio can be regarded as a slow motion interpretation of a plucked string. The recurring tension and release cycles of the string are portrayed by a number of increasingly long build-up phases, which are then eventually interrupted by suddenly appearing downward glissandi in the cello.
Duration: about 2 minutes
Published on 12 February 2019
Tags:Cello String ensemble Viola Violin
Nun komm, der Heiden Heiland
Chorale prelude for organ
Chorale setting of Martin Luther's Nun komm, der Heiden Heiland for organ, in the style of the chorale preludes of Johann Pachelbel.
Duration: about 2 minutes
Published on 27 January 2019
Tags:Organ Piano
2018
Spannungsanalyse
Calculate the tension of musical ratios inspired by Euler
Calculate the tension of musical ratios inspired by Leonhard Euler (Tentamen novae theoriae musicae, 1739)
Released on 25 November 2018
Related entries:
→ Entwicklung einer Methode zur musikalischen Spannungsanalyse (Book/Article, 2017)→ Tone Map Analysis (Software, 2023)
→ Euler Genus Creator (Software, 2022)
Méditation II
for string ensemble
Méditation II is a composition for strings. As a follow-up of Méditation I, the players follow their natural breathing rhythm. Two ensembles are positioned throughout the room and their breathing cycles run independently.
Duration: about 3–4 minutes
Published on 18 July 2018
Tags:Cello String ensemble Viola Violin
Conception of Form in A.B. Marx’s ‚Kompositionslehre‘
Music Theory Conference 2018 in Maastricht
Lecture at the conference of the Dutch-Flemish Society for Music Theory (VvM)
Saturday, 10 March 2018 at 15:15
Conservatorium Maastricht, Matty Niël Hall
Bonnefantenstraat 15, 6211KL Maastricht, Netherlands
www.dfsmt.net
Abstract:
The present discourse on musical form is often particularly influenced by the terms ‘period’ (german: „Periode“) and ‘sentence’ (german: „Satz“), more or less in the way they are presented in Arnold Schönberg’s “Fundamentals of Musical Composition”. However, the examination of historical writings from the classic-romantic era might gain a deeper insight into the common ways of understanding of musical form in that time. In this light, I will give a presentation on the conception of musical form in “Die Lehre von der musikalischen Komposition”, a guide to composition in four volumes, which was written and elaborated between 1837 and 1864 by Adolf Bernhard Marx (1795-1866), a long-term friend of Felix Mendelssohn Bartholdy and professor of music at the Friedrich-Wilhelms-Universität Berlin from 1830 onwards.
Even though Marx uses the terms “Satz” and “Periode” as well, his instructions and examples show that he understands them in a strikingly different way than Schönberg. Firstly, his usage of the term “Satz” corresponds rather with the english word ‘phrase’ than with the word ‘sentence’, meaning that it may for instance represent an antecedent (“Vordersatz”) or a consequent (“Nachsatz”). Secondly, Marx uses the term ‚period‘ (“Periode”) in a much broader sense. Most of his examples do not indicate a parallel beginning of the antecedent and the consequent, but rather an ascending antecedent and a descending consequent. As a result, a period is for him primarily defined through the cadences and the melodic direction, whereas the motivic content is secondary.
With my presentation, I aim to convey this way of understanding musical form. Therefore, I will start with introducing Marx’s terminology for the basic entities in comparison with Schönberg’s concepts. On that basis, I will exemplify the extending and expanding techniques that Marx presents in the second volume. The last part of the presentation will be an analytical discussion of musical examples following Marx’s conception of form.
Philharmonic Fridays
First performance of the Overture „Ariadna and Theseus“
Friday, 16th of February 2018 at 12:30 (lunchconcert)
Conservatorium van Amsterdam, Bernard Haitinkzaal
Oosterdokskade 151, Amsterdam, Netherlands
Concert Announcement
Performance of four Symphonic Style Studies of Music Theory Major students at the Conservatorium van Amsterdam.
The entrance is free.
Alberto Martín Entrialgo
Orchestration and Arrangement of
Isaac Albéniz: Launcelot – Overture and Duet between Morgan and Mordred
Aljoscha Ristow
Overture: Ariadne and Theseus
More information about this composition
Inés Costales
Nuit d'eté (2017; text by Paul Bourget)
Claude Debussy
De rêve... (1892); orchestration by Inés Costales
Davide Catina
Overture: Gaston de Foix
Performed compositions:
→ Overture: Ariadna and Theseus (2018)Tags:Bassoon Cello Clarinet Double bass Flute French horn Oboe Orchestra Percussion Trombone Trumpet Viola Violin
The Sound of Silents
Silent movie project with live music
German description text:
Fr, 26. Januar 2018 um 19:30 Uhr
Domforum Köln
Domkloster 3, 50667 Köln
CoGNiMUS Ensemble
Leitung: Jan-Paul Reinke
www.cognimus.de
The Sound of Silents – Unter diesem Motto steht die Vorführung eines etwa einstündigen Filmwerkes mit Kurzfilmen des frühen 20. Jahrhunderts. Im Mittelpunkt steht der Film L’Assassinat du Duc de Guise (1908) von den Frères Lafitte, einer der ersten Filme, für den eine Originalfilmmusik komponiert wurde.
Eintritt: 10€ / ermäßigt 5€
L’Assassinat du Duc de Guise (Frères Lafitte, 1908)
Originalfilmmusik von Camille Saint-Saëns
Notenmaterial rekonstruiert von Aljoscha Ristow
Besetzung: Flöte, Oboe, Klarinette, Fagott, Horn, Klavier, Harmonium, 2 Violinen, Viola, Cello, Kontrabass
aus: Jeux de reflets et de la vitesse (Henri Chomette, 1925)
Liveimprovisation mit Klavier (Jonas Erdmann) und Live-Elektronik (Aljoscha Ristow)
Trädgårdsmästaren (Victor Sjöström, 1912)
Ensemble-Improvisation nach einem Konzept von Paulo Alvares
aus: Jeux de reflets et de la vitesse (Henri Chomette, 1925)
Liveimprovisation mit Klavier (Jonas Erdmann) und Live-Elektronik (Aljoscha Ristow)
L’Assassinat du Duc de Guise (Frères Lafitte, 1908)
Neukomponierte Filmmusik von Martin Brenne
Similar concerts:
→ The Sound of Silents (May 2017)Tags:Bassoon Cello Clarinet Double bass Flute French horn Live electronics Oboe Organ Piano Video Viola Violin
Overture: Ariadna and Theseus
for symphonic orchestra
A concert overture in Romantic style that is programmatically related to the Greek myth of Ariadna and Theseus. It contains melodic references to the Song of Seikilos, one of the oldest surviving compositions from ancient Greece, which was discovered in 1883 on a historic tombstone.
Duration: about 12 minutes
Instrumentation: 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, Contrabassoon, 4 Horns, 2 Trumpets, 3 Trombones, Timpani, Violins I/II, Violas, Cellos, Basses
Cover picture: Niccolo Bambini (1651–1736) – Arianna e Teseo
Published on 12 January 2018
Tags:Bassoon Cello Clarinet Double bass Flute French horn Oboe Orchestra Percussion Trombone Trumpet Viola Violin
2017
Ensemble miXtur: Christmas concerts
Performances of an arrangement of „Ich steh' an deiner Krippen hier“
The vocal ensemble miXtur has commissioned an arrangement of Ich steh' an deiner Krippen hier from me. This will be performed in six Christmas concerts in Bonn, Augsburg, and around Middle Franconia.
Sonntag, 03.12.2017 um 17 Uhr
Christuskirche, Bad Godesberg - Bonn
Montag, 18.12.2017 um 19 Uhr
St. Nikolai, Neuendettelsau
Dienstag, 19.12.2017 um 19.30 Uhr
St. Johannes, Königsbrunn - Augsburg
Donnerstag, 21.12.2017 um 19.30 Uhr
Stadtkirche Schwabach
Freitag, 22.12.2017 um 19 Uhr
Münster Heilsbronn
Samstag, 23.12.2017 um 19.30 Uhr
St. Gumbertus, Ansbach
Performed compositions:
→ Ich steh' an deiner Krippen hier (2016)Similar concerts:
→ Ensemble miXtur: Christmas concerts (Dec 2016)Tags:Choir Voice
Lamentation
for cello solo
A lament for cello solo, in which fragments of the aria „When I am laid in earth“ from Henry Purcell's Dido and Aeneas are combined with the „Minuetto II“ from the „Suite for violoncello solo in G“ by Johann Sebastian Bach.
Duration: about 7 minutes
Published on 13 December 2017
Tags:Cello
Benedictus
Two proportion canons
Two proportion canons in Renaissance style. The sample score only contains the first canon.
Duration: about 1–2 minutes
Published on 10 November 2017
Text:
Benedictus, qui venit in nomine Domini.
Similar compositions:
→ Sicut lilium inter spinas (2020)→ Quam pulchra es (2017)
Tags:Choir Voice
Quam pulchra es
Motet for mixed choir
A motet in Renaissance style.
Published on 21 September 2017
Text:
Quam pulchra es, amica mea!
Quam pulchra es!
Oculi tui columbarum,
absque eo quod intrinsecus latet.
Capilli tui sicut greges caprarum,
quae ascenderunt de monte Galaad.
(Canticum Canticorum IV:1)
Similar compositions:
→ Sicut lilium inter spinas (2020)→ Benedictus (2017)
Tags:Choir Voice
Entwicklung einer Methode zur musikalischen Spannungsanalyse
Bachelor thesis at the Musikhochschule Köln
Schwingung – Klang – Rhythmus – Form
Entwicklung einer Methode zur musikalischen Spannungsanalyse
Bachelor Thesis at the Hochschule für Musik und Tanz Köln 2017
Published on 04 July 2017
The Sound of Silents
Silent movie project with live music
German description text:
Fr, 19. Mai 2017 um 19:30 Uhr
Hochschule für Musik und Tanz Köln, Konzertsaal
Unter Krahnenbäumen 87, 50668 Köln
CoGNiMUS Ensemble
Leitung: Jan-Paul Reinke
www.cognimus.de
The Sound of Silents – Unter diesem Motto steht die Vorführung eines etwa einstündigen Filmwerkes mit Kurzfilmen des frühen 20. Jahrhunderts. Im Mittelpunkt steht der Film L’Assassinat du Duc de Guise (1908) von den Frères Lafitte, einer der ersten Filme, für den eine Originalfilmmusik komponiert wurde.
Der Eintritt ist frei.
L’Assassinat du Duc de Guise (Frères Lafitte, 1908)
Originalfilmmusik von Camille Saint-Saëns
Notenmaterial rekonstruiert von Aljoscha Ristow
Besetzung: Flöte, Oboe, Klarinette, Fagott, Horn, Klavier, Harmonium, 2 Violinen, Viola, Cello, Kontrabass
aus: Jeux de reflets et de la vitesse (Henri Chomette, 1925)
Liveimprovisation mit Klavier (Jonas Erdmann) und Harmonium (Aljoscha Ristow)
Trädgårdsmästaren (Victor Sjöström, 1912)
Ensemble-Improvisation nach einem Konzept von Paulo Alvares
aus: Jeux de reflets et de la vitesse (Henri Chomette, 1925)
Liveimprovisation mit Klavier (Jonas Erdmann) und Harmonium (Aljoscha Ristow)
L’Assassinat du Duc de Guise (Frères Lafitte, 1908)
Neukomponierte Filmmusik von Martin Brenne
Similar concerts:
→ The Sound of Silents (Jan 2018)Tags:Bassoon Cello Clarinet Double bass Flute French horn Oboe Organ Piano Video Viola Violin
Junger Kammerchor Köln: Lichtblicke
Performances of „Des Frühlings Wiederkehr“
audio
This concert programme of the Junger Kammerchor Köln, directed by Alexander Lüken, contains works by Brahms, Debussy and Monteverdi, as well as my composition Des Frühlings Wiederkehr.
Des Frühlings Wiederkehr – I. Uns hât der winter geschât über al
Des Frühlings Wiederkehr – II. Cedit, hiems, tua durities
Des Frühlings Wiederkehr – III. Der starke winder hât uns verlân
Fr, 17. Februar 2017 at 19:00
Kirche St. Mariä Geburt
Stammheimer Hauptstr. 65, 51061 Köln-Stammheim
Sa, 18. Februar 2017 at 18:00
Kirche St. Hildegard in der Au
Correnstraße 2 (on the corner of Florastraße), 50733 Köln-Nippes
So, 19. Februar 2017 at 18:00
Kirche St. Maria Königin
Goethestraße 84, 50968 Köln-Marienburg
The entrance is free. Donations are welcome.
Performed compositions:
→ Des Frühlings Wiederkehr (2016)Tags:Choir Voice
2016
Ensemble miXtur: Christmas concerts
Performances of an arrangement of „Ich steh' an deiner Krippen hier“
audio
The vocal ensemble miXtur has commissioned an arrangement of Ich steh' an deiner Krippen hier. This will be performed in six Christmas concerts around Middle Franconia.
Fr, 23.12.2016 at 19.30
Stadtkirche Merkendorf
Do, 22.12.2016 at 19.30
Stadtkirche Schwabach
Mi, 21.12.2016 at 19:00
St. Georgskirche Happurg
Di, 20.12.2016 at 19:00
Evangelische Andreaskirche Neu-Ulm
Benefizkonzert
Mo, 19.12.2016 at 19:00
St. Nikolai Neuendettelsau
So, 18.12.2016 at 18:00
Stadtkirche in Gunzenhausen
www.ensemble-mixtur.de
Performed compositions:
→ Ich steh' an deiner Krippen hier (2016)Similar concerts:
→ Ensemble miXtur: Christmas concerts (Dec 2017)Tags:Choir Voice
Ich steh' an deiner Krippen hier
Arrangement for male choir
audio
An arrangement of Ich steh' an deiner Krippen hier with jazz influences, in which two different melodies that are passed down for this text are combined with each other. In the first strophe the well-known melody by Johann Sebastian Bach (1736) and in the second one an elder melody that was, amongst others, used by Michael Praetorius (1609) and Johann Hermann Schein (1627). In the third strophe, both melodies are contrapuntally combined with each other.
Duration: about 3–4 minutes
Published on 15 December 2016
Text:
Ich steh an deiner Krippen hier,
o Jesu, du mein Leben;
ich komme, bring und schenke dir,
was du mir hast gegeben.
Nimm hin, es ist mein Geist und Sinn,
Herz, Seel und Mut, nimm alles hin
und laß dir's wohlgefallen.
Ich lag in tiefster Todesnacht,
du warest meine Sonne,
die Sonne, die mir zugebracht
Licht, Leben, Freud und Wonne.
O Sonne, die das werte Licht
des Glaubens in mir zugericht',
wie schön sind deine Strahlen!
Eins aber, hoff ich, wirst du mir,
mein Heiland, nicht versagen:
daß ich dich möge für und für
in, bei und an mir tragen.
So laß mich doch dein Kripplein sein;
komm, komm und lege bei mir ein
dich und all deine Freuden.
Performances:
→ Ensemble miXtur: Christmas concerts (Dec 2017)→ Ensemble miXtur: Christmas concerts (Dec 2016)
Tags:Choir Voice
Composition class concert
Performance of „Generatio et Corruptio“ and „Des Frühlings Wiederkehr“
video
Thursday, 8 December 2016 at 19.30
Hochschule für Musik und Tanz Köln, Kammermusiksaal
Unter Krahnenbäumen 87, 50668 Köln
A concert with compositions of music theory students at the Hochschule für Musik und Tanz Köln.
Performed compositions:
→ Des Frühlings Wiederkehr (2016)→ Sonate in C-Dur (2016)
→ Generatio et Corruptio (2016)
Similar concerts:
→ Composition class concert (Jun 2019)→ Composition class concert (Dec 2015)
Tags:Choir Piano Violin Voice
ZETT EMM
Performance of „Generatio et Corruptio“
German description text:
Sa, 12. November 2016 von 14 bis 19 Uhr
Alte Feuerwache Köln
Melchiorstraße 3, 50670 Köln
Konzertankündigung der Musikschule
ZETT EMM ist ein Jugendfestival für zeitgenössische Musik, organisiert und gestaltet von der Kompositionsklasse der Rheinischen Musikschule Köln. Zu Beginn des dritten von fünf kurzen Konzerten, also gegen 16:30 Uhr, wird meine Komposition Generatio et Corruptio für Violine solo aufgeführt.
Tags:Violin
Des Frühlings Wiederkehr
for mixed choir
audio
Des Frühlings Wiederkehr is a three-movement composition for mixed choir, in which the end of the winter is viewed from various perspectives.
The two outer movements, which are are based on Middle High German poems by Walther von der Vogelweide, describe the change of seasons in quite different ways. Whereas the first movement is mainly characterized by a longing for the springtime, the last one appears just like a song of joy about the beautiful summer. This connection is expressed by the fact that the first movement corresponds musically with an upside down inversion of the last movement.
The space between them is filled by a Latin poem out of the medieval collection Carmina Burana that puts particular emphasis on the bitter coldness of the winter. This second movement is written in a musical language of emptiness and solitude and, beyond that, the movement corresponds with its own retrograde.
Duration: about 6 minutes
Published on 23 October 2016
Des Frühlings Wiederkehr – I. Uns hât der winter geschât über al
Des Frühlings Wiederkehr – II. Cedit, hiems, tua durities
Des Frühlings Wiederkehr – III. Der starke winder hât uns verlân
Text:
I. Uns hât der winter geschât über al:
heide unde walt die sint beide nû val,
dâ manic stimme vil suoze inne hal.
sæhe ich die megede an der strâze den bal
werfen! sô kæme uns der vogele schal.
(Walther von der Vogelweide)
II. Cedit, hiems, tua durities;
frigor abit, rigor et glacies
brumalis et feritas, rabies,
torpor et improba segnities,
pallor et ira, dolor, macies.
(Carmina Burana 135,1)
III. Der starke winder hât uns verlân,
diu sumerzît ist schône getân,
walt unde heide sih ich nû an
loup unde bluomen, clê wolgetân,
davon mac uns fröide nimmer mêr zergân.
(Carmina Burana 135a,
after Walther von der Vogelweide)
Performances:
→ Junger Kammerchor Köln: Lichtblicke (Feb 2017)→ Composition class concert (Dec 2016)
Similar compositions:
→ Morgenstern-Gesänge (2024)Tags:Choir Voice
Sonate in C-Dur
for piano
A piano sonata movement in Classical style.
Duration: about 7–8 minutes
Published on 23 August 2016
Performances:
→ Composition class concert (Dec 2016)Similar compositions:
→ Piano Trio in D minor (2021)Tags:Piano
Weise aus der Ferne
for string quartet
Weise aus der Ferne is a composition for string quartet. It begins with a theme in the cello, which is complemented by the other instruments with a kind of „mirror harmony“, that is, a harmony based on the inversion of traditional harmony. In the main part, the melody is divided between all the instruments in the form of a dialogue and interlaced among each other.
Duration: about 2-3 minutes
Published on 27 July 2016
Tags:Cello String ensemble Viola Violin
Symphony in F major (fragment)
Orchestration after Mozart's Sonata K. 547a
Orchestration of the first movement after the model of Wolfgang Amadeus Mozart.
Instrumentation: 2 flutes, 2 oboes, 2 bassoons, 2 horns, violins I/II, violas, cellos, basses
Published on 28 June 2016
Tags:Bassoon Cello Double bass Flute French horn Oboe Orchestra Viola Violin
Sinfonietta goes chamber music
Performance of compositions
audio
Sun, 08 May 2016 at 11.00
Musikhochschule Köln, Kammermusiksaal
Unter Krahnenbäumen 87, 50668 Cologne, Germany
This chamber music evening will feature various ensembles that have emerged from the student orchestra Sinfonietta 104 from Cologne. Among others, my String Trio in D minor and my string quartet Méditation will be performed, as well as a Piazzolla arrangement by myself for nine cellos.
Tags:Cello Cello ensemble String ensemble Viola Violin
Gestaltungsmittel-Generator
Randomized display of musical characteristics
Randomized display of musical characteristics (in German)
Released on 29 April 2016
Piano recital
Concert at the Musikhochschule Köln
Thu, 28/01/2016 at 19:30
Hochschule für Musik und Tanz Köln, Kammermusiksaal
Unter Krahnenbäumen 87, 50668 Cologne, Germany
At this piano recital I will play the Six Little Piano Pieces op. 19 by A. Schoenberg.
Tags:Piano
Generatio et Corruptio
for violin solo
video
My composition Generatio et Corruptio for violin solo is about the transition between matter and form in the sense of the natural philosophical theses from Aristotle's De generatione et corruptione („Of becoming and passing away“).
Matter is initially presented in the form of score fragments, which are displayed to the performer on a tablet in random chronological order. From this, clearer and clearer metric and tonal structures emerge gradually (generatio), which then dissolve again in a natural way (corruptio).
The composition was premiered at Jugend musiziert 2016, including the national competition.
Duration: about 3-4 minutes
Published on 15 January 2016
Performances:
→ Composition class concert (Dec 2016)→ ZETT EMM (Nov 2016)
Related entries:
→ imageload (Software, 2016)Tags:Violin
imageload
Tablet web application for my composition “Generatio et Corruptio“
German description text:
imageload ist ein Programm zum zufälligen Anzeigen von Notenfragmenten in zufälligen Zeitabständen. In meiner Komposition Generatio et Corruptio für Violine solo (2015) kommt es im Anfangsteil und im Schlussteil zum Einsatz.
Released on 03 January 2016
2015
Zweite Heimat
Soundtrack
Music for a documentary film by Takashi Kunimoto.
Published on 09 December 2015
Tags:Double bass Drumset Electric piano Guitar Jazz band Piano Video
Composition class concert
Performance of the Concerto Grosso in D major
video
Mon, 07 December 2015 at 19:30
Hochschule für Musik und Tanz Köln, Kammermusiksaal
Unter Krahnenbäumen 87, 50668 Cologne, Germany.
A composition class concert with works by music theory students of the Musikhochschule Köln.
Performed compositions:
→ Concerto Grosso in D major (2015)→ Méditation I (2015)
→ String Trio in D minor (2015)
Similar concerts:
→ Composition class concert (Dec 2016)→ Composition class concert (Dec 2014)
Tags:Cello Double bass Harpsichord String ensemble Viola Violin
Concerto Grosso in D major
for 2 solo violins, strings, and basso continuo
video
A Concerto Grosso in Baroque style with three movements.
The final movement is based on my Trio Sonata in D Major.
Duration: about 6–7 minutes
I. Allegro
II. Larghetto
III. Vivace
Cover picture: John Theodore Heins – A Music Party at Melton Constable (1734)
Published on 19 November 2015
Performances:
→ Composition class concert (Dec 2015)Similar compositions:
→ Trio Sonata in D minor (2020)→ Trio Sonata in D major (2015)
Tags:Cello Double bass Harpsichord String ensemble Viola Violin
Trio Sonata in D major
for 2 violins and basso continuo
A trio sonata in Baroque style, consisting of one movement (Vivace).
Also available for a larger ensemble as the third movement of my Concerto Grosso in D Major.
Duration: about 1–2 minutes
Published on 02 September 2015
Tags:Cello Harpsichord Violin
Méditation I
for string quartet
audio
Méditation I is a composition for string quartet, in which every player follows his own natural breathing rhythm.
Duration: about 1–2 minutes
Published on 05 August 2015
Performances:
→ Sinfonietta goes chamber music (May 2016)→ Composition class concert (Dec 2015)
Similar compositions:
→ Méditation II (2018)Tags:Cello String ensemble Viola Violin
String Trio in D minor
for 2 violins and viola
The String Trio in D minor is a composition for 2 violins and viola in Classical style. The four movements are structured like a Classical sonata. The Gavotte, which was added as final movement, is a Baroque dance that is to be understood as a reminiscence of the Baroque Sonata da camera, consisting mainly of dance movements.
Duration: about 12 minutes
I. Adagio - Allegro
II. Andante
III. Scherzo
IV. Gavotte
Published on 20 July 2015
Tags:String ensemble Viola Violin
Ensemble concert: Stravinsky meets Handel
Performance of a Handel instrumentation for wind ensemble
video
Wed, 10 June 2015 at 20:30
Hochschule für Musik und Tanz Köln, Kammermusiksaal
Unter Krahnenbäumen 87, 50668 Cologne, Germany
Performance of my instrumentation of G.F. Handel's Concerto Grosso op. 6, 4 for wind ensemble, as well as two works by Igor Stravinsky, conducted by Nicolas Kierdorf.
Tags:Bassoon Clarinet English horn Flute Oboe Trombone Trumpet Wind ensemble
Handel: Concerto Grosso in A minor op. 6,4
Arrangement for wind ensemble
video
Arrangement of G.F. Handel's Concerto Grosso in A minor op. 6,4 for wind ensemble.
Duration: about 12-13 minutes
Instrumentation: piccolo trumpet, trumpet, trombone, bass trombone, flute, oboe, clarinet, cor anglais, bassoon
I. Larghetto affetuoso
II. Allegro
III. Largo, e piano
IV. Allegro
Published on 07 May 2015
Tags:Bassoon Clarinet English horn Flute Oboe Trombone Trumpet Wind ensemble
Danzón del Mundo
for piano
A concert piece for piano with influences from Spanish, Cuban and Oriental music.
Duration: about 4 minutes
Published on 02 April 2015
Tags:Piano
2014
Composition class concert
First performance of „Miniatures Tonales“ and „Baumstämme im Schnee“
video
Tue, 09 December 2014 at 19:30
Hochschule für Musik und Tanz Köln, Kammermusiksaal
Unter Krahnenbäumen 87, 50668 Cologne, Germany.
A composition class concert with works by music theory students of the Musikhochschule Köln.
Performed compositions:
→ Miniatures Tonales (2014)→ Baumstämme im Schnee (2014)
→ Der Fischer (2014)
Similar concerts:
→ Composition class concert (Dec 2015)→ Composition class concert (May 2014)
Tags:Cello Drumset Piano Viola Voice
Miniatures Tonales
for viola and cello
video
The Miniatures Tonales for viola and cello are investigating the field of tension between tonal and atonal harmony, as well as between metrical and ametrical rhythm.
Fanfare - Fugue et Séquence - Canon de Proportion et Strette - Fanfare
Duration: about 2-3 minutes
Published on 03 December 2014
Tags:Cello Viola
Baumstämme im Schnee
for tenor and piano
video
Baumstämme im Schnee is an art song using the text of the parable Die Bäume (The trees) by Franz Kafka.
Duration: about 2 minutes
Published on 24 November 2014
Text:
Denn wir sind wie Baumstämme im Schnee. Scheinbar liegen sie glatt auf und mit kleinem Anstoß sollte man sie wegschieben können. Nein, das kann man nicht, denn sie sind fest mit dem Boden verbunden. Aber sieh, sogar das ist nur scheinbar.
Franz Kafka, Die Bäume (1903/04)
Performances:
→ Composition class concert (Dec 2014)Similar compositions:
→ Kein Frühling mehr (2021)→ Der Fischer (2014)
Tags:Piano Voice
Fugue in B minor
for piano
Toggle
for jazz band
video
Toggle is a jazz composition that I have recorded and performed in Cologne.
Published on 08 October 2014
Tags:Double bass Drumset Electric bass Jazz band Piano Trumpet
(In the) Air
for cello solo
A composition for cello solo.
Duration: about 2-3 minutes
Published on 03 August 2014
Tags:Cello
Composition class concert
First performance of „Der Fischer“
Sat, 24 May 2014 at 19:30
Hochschule für Musik und Tanz Köln, Kammermusiksaal
Unter Krahnenbäumen 87, 50668 Cologne, Germany
A composition class concert with works by music theory students of the Musikhochschule Köln. Among others, my composition Der Fischer for mezzo-soprano, piano and percussion will be premiered.
Tags:Drumset Piano Voice
Der Fischer
for voice, piano, and drumset
video
Der Fischer ist an art song for voice, prepared piano, and jazz drums.
Duration: ca. 3 minutes
Published on 01 May 2014
Text:
Der Fischer fährt aufs Meer hinaus
und bringt uns große Fische nach Haus.
Die kleinen Fische kann er nicht fangen,
weil sie aus seinen Netzen entwischen.
Bist du denn sicher, dass es sie gibt?
Du musst dich täuschen,
denn was man nicht fischen kann ist auch kein Fisch!
Der Fischer fährt aufs Meer hinaus
und wirft dort seine Netze aus.
Manchmal, wenn er genau hinsieht,
glaubt er, etwas zu sehen, das es eigentlich gar nicht gibt.
Aljoscha Ristow (2014)
Performances:
→ Composition class concert (Dec 2014)→ Composition class concert (May 2014)
Similar compositions:
→ Baumstämme im Schnee (2014)Tags:Drumset Piano Voice
2013
Farewell
Jazz album of the Trio 003
audio and video
Farewell is an album of the jazz trio Trio 003. It contains two songs by our bassist Liisi Salumaa (02, 03) and three songs by myself (01, 04, 05).
Aljoscha Ristow - piano
Liisi Salumaa - bass, vocals
Nick Zacharias - drums
artwork by Liisi Salumaa
Released on 03 December 2013
01 Travel To The Garden
02 Lakkamatu Jutuvada
03 Jaanipäeva Paiku
04 Farewell
05 Nice Dream
Included compositions:
→ Travel to the Garden (2013)→ Farewell (2013)
→ Nice Dream (2012)
Related entries:
→ Trio 003: Jazz at Treffpunkt Arche (Concert, Sep 2013)Tags:Double bass Drumset Electric piano Jazz band Piano Voice
Trio 003: Jazz at Treffpunkt Arche
Concert of the Trio 003
15 September 2013 at 11:15
Treffpunkt Arche (Erlöserkirche Bremen)
Schwachhauser Heerstrasse 179, Bremen, Germany
The Trio 003 was founded in July 2013 by Aljoscha Ristow (piano) and Nick Zacharias (drums), who met through educational work at the Erlöserkirche. Their common preference for Scandinavian trio jazz is also shared by Liisi Salumaa (bass), who joined soon. In addition to various Scandinavian titles, including those by the Esbjörn Svensson Trio or the bassist Lars Danielsson, the program also includes some of their own compositions.
Performed compositions:
→ Travel to the Garden (2013)→ Farewell (2013)
→ Nice Dream (2012)
Related entries:
→ Farewell (Album, 2013)Tags:Double bass Drumset Electric piano Jazz band Piano Voice
Musik 21 Festival 2013: Nomos Quartett
First performance of the 2nd and 3rd string quartet
audio and video
Newcomer concert
18/08/2013 at 11:00
Joseph-Joachim-Saal, Stiftung Niedersachsen
Sophienstrasse 2, 30159 Hannover
The Newcomer Composition Competition of the Musik 21 Festival Niedersachsen has awarded prizes to two of my string quartets and selected them for this concert: Der Leierkastenmann and String Quartet No. 3 „Zeitreise“. They will be premiered by the Nomos Quartet as part of the festival.
Performed compositions:
→ String Quartet No. 3 (2013)→ Der Leierkastenmann (2012)
Related entries:
→ Resonance (Album, 2013)Tags:Cello String ensemble Viola Violin
Resonance
Compositions for stringed instruments
audio
The album Resonance contains six compositions of mine, originating between 2010 and 2013. Three of the pieces have been awarded and performed in competitions (01, 02, 04).
Released on 18 August 2013
01 Continuo (studio recording)
02 Der Leierkastenmann
03 In Memoriam
04 String Quartet No. 3 „Zeitreise“
05 Three Inventions: I. Reflections
06 Three Inventions: II. Feel
07 Three Inventions: III. Fusion
08 Harmonic Factors
Included compositions:
→ String Quartet No. 3 (2013)→ Continuo (2013)
→ Three Inventions (2012)
→ In Memoriam (2012)
→ Der Leierkastenmann (2012)
→ Harmonic Factors (2010)
Related entries:
→ Musik 21 Festival 2013: Nomos Quartett (Concert, Aug 2013)→ Jugend komponiert 2013 (Concert, Apr 2013)
Tags:Cello Piano String ensemble Viola Violin
Travel to the Garden
for jazz trio
audio
Travel to the Garden is a composition that I wrote for my jazz formation Trio 003.
Published on 25 July 2013
Performances:
→ Trio 003: Jazz at Treffpunkt Arche (Sep 2013)Released on:
→ Farewell (2013)Similar compositions:
→ Toggle (2014)→ Farewell (2013)
→ Nice Dream (2012)
Tags:Double bass Drumset Electric bass Jazz band Piano
String Quartet No. 3
„Zeitreise“
audio and video
My String Quartet No. 3 is based on the assumption that harmony and rhythm are based on the same principle. From a „clatter“ of plucked notes, time signatures or keys can be perceived again and again, but they also dissolve then again just as quickly. In 2013, this composition was awarded at the Newcomer Composition Competition of the Musik 21 Festival Niedersachsen 2013 and also premiered in the course of that.
Duration: about 1-2 minutes
Published on 26 June 2013
String Quartet No. 3 „Zeitreise“
String Quartet No. 3 „Zeitreise“ (sample version)
Performances:
→ Musik 21 Festival 2013: Nomos Quartett (Aug 2013)Released on:
→ Resonance (2013)Similar compositions:
→ Der Leierkastenmann (2012)Tags:Cello String ensemble Viola Violin
Sarabande
for cello solo
Deutsche Kammerphilharmonie Bremen: Kammermusik +21
Performances of „Continuo“
As part of the chamber music concerts of the Deutsche Kammerphilharmonie Bremen, my composition Continuo will be performed three times:
3rd Chamber Concert - “Poesie und Pastorale“
Deutsche Kammerphilharmonie Bremen
Marc Froncoux (cello), Clemens Rave (piano)
01/06/2013 at 17:00
Kreismusikschule
Am Schlosspark 22, 26789 Leer
02/06/2013 at 19:30
Kapitelsaal Siftsabtei
Stift 1, 27211 Bassum
03/06/2013 at 20:00
Kammer-Philharmonie, Gesamtschule Ost
Walliser Straße 125, Bremen
Presse:
„Zum guten Ton der Konzertreihe gehört das sogenannte Überraschungsstück, das die Musiker in diesem Fall dem Werk eines Schülers von Cellist Marc Froncoux entliehen haben. Der gerade mal 17 Jahre alte Aljoscha Ristow war zugegen, als sein Lehrer zusammen mit Pianist Clemens Rave seine Komposition “Continuo“ intonierte.
Ein sehr experimentelles Werk, das den konstanten Zustand der Veränderung im Sinne des Philosophen Heraklit als das einzig Dauerhafte in Klänge malte. Tonale und atonale Passagen im Schwebezustand zwischen Klang- und Geräuschkulisse. Ein imaginärer Sekundentakt auf das Holz der Instrumente geklopft.
Es war gewagt und gleichsam beeindruckend, was der Nachwuchskomponist dem Publikum präsentierte. Laut aufbrandender Applaus vermeldete deutlich, dass der von ihm eingeschlagene künstlerische Weg in die richtige Richtung führt. Ohne Frage, mit diesem Konzert ist dem Bassumer Kulturforum ein Glücksgriff gelungen.“
04.06.2013, Diepholzer Kreisblatt (kreiszeitung.de) über die Aufführung von „Continuo“ in Bassum
Performed compositions:
→ Continuo (2013)Tags:Cello Piano
Podium für junge Talente
Performances of „Continuo“
As part of the young talents' podium of the Hochschule für Künste Bremen, my composition Continuo will be performed twice:
31/05/2013 at 20:00
Konzertsaal, Hochschule für Künste
Dechanatstraße 13-15, Bremen
02/06/2013 at 11:00
Schloss Schönebeck
Im Dorfe 3, Bremen-Nord
Colin Ames (cello), Han Saem Chang (piano)
Presse:
„Ein Highlight besonderer Art war die Vorstellung eines vor gerade einmal drei Monaten entstandenen Werkes des 17-jährigen Aljoscha Ristow, das beim diesjährigen Festival „Jeunesses musicales-Bundeswettbewerb Komposition“ preisgekrönt worden war.
[...] nach eigener Aussage des jungen Komponisten sollte [...] durch die ständige Veränderung aller musikalischen Parameter verdeutlicht werden, dass allein der Wandel das einzig Kontinuierliche in dieser Welt sei.
Bei der Ausführung des komplexen, dennoch gut zugänglichen Werks durch Colin Ames (Violoncello) und Han-Saem Chang am Klavier wurden pointilistische Fragmente unterschiedlichster und teils ungewohnter Spieltechniken auf beiden Instrumenten gekonnt zu einer spannungsreichen Klangcollage zusammengefügt.“
03.06.2013, Weser Kurier über das Jungstudentenkonzert der HfK Bremen
Performed compositions:
→ Continuo (2013)Tags:Cello Piano
Getting Quieter
for jazz trio
A jazz song based on the Brahms Lied Immer leiser wird mein Schlummer op. 105 No. 2.
Published on 26 May 2013
Tags:Double bass Drumset Electric bass Jazz band Piano
Farewell
for jazz trio
audio
Farewell is a composition that I wrote for my jazz formation Trio 003.
Published on 21 May 2013
Performances:
→ Trio 003: Jazz at Treffpunkt Arche (Sep 2013)Released on:
→ Farewell (2013)Similar compositions:
→ Toggle (2014)→ Travel to the Garden (2013)
→ Nice Dream (2012)
Tags:Double bass Drumset Electric bass Electric piano Jazz band Piano
Jugend komponiert 2013
National award winner with „Continuo“
audio
Awardee concert of the 28th national competition Jugend komponiert
06/04/2013 at 19.00
Schloss Weikersheim
Marktplatz 12, 97990 Weikersheim
Simone Drescher (Cello), Stanislav Boianov (Piano)
www.jugend-komponiert.org
With my composition Continuo, I was awarded at the national competition Jugend komponiert 2013 (Youth composes 2013). During the composition workshop week at Schloss Weikersheim (30 March – 07 April), to which the winners of the competition are invited, my composition will be performed by awardees and scholarschip holders of the Deutscher Musikwetbewerb (German music competition).
Tags:Cello Piano
Continuo
for cello and piano
audio
My composition Continuo was awarded with the national prize at the competition Jugend komponiert in 2013.
Duration: ca. 6–7 minutes
„Ein sehr experimentelles Werk, das den konstanten Zustand der Veränderung im Sinne des Philosophen Heraklit als das einzig Dauerhafte in Klänge malte. Tonale und atonale Passagen im Schwebezustand zwischen Klang- und Geräuschkulisse. Ein imaginärer Sekundentakt auf das Holz der Instrumente geklopft.
Es war gewagt und gleichsam beeindruckend, was der Nachwuchskomponist dem Publikum präsentierte. Laut aufbrandender Applaus vermeldete deutlich, dass der von ihm eingeschlagene künstlerische Weg in die richtige Richtung führt. Ohne Frage, mit diesem Konzert ist dem Bassumer Kulturforum ein Glücksgriff gelungen.“
04. Juni 2013, Diepholzer Kreisblatt (kreiszeitung.de) about the performance in Bassum
Published on 02 January 2013
Performances:
→ Deutsche Kammerphilharmonie Bremen: Kammermusik +21 (Jun 2013)→ Podium für junge Talente (Jun 2013)
→ Jugend komponiert 2013 (Apr 2013)
Released on:
→ Resonance (2013)Tags:Cello Piano
2012
Three Inventions
for piano
audio
With my Three Inventions, I have investigated overtone spectra (I. Reflections) and rhythmical shifts (II. Feel). In the third invention (III. Fusion) both aspects are combined.
Duration: about 5-6 minutes
Published on 09 December 2012
Tags:Piano
Jugend jazzt Bremen 2012
Successful participation with the AMT Trio
08/11/2012 at 18:00
Schwankhalle Bremen
Buntentorsteinweg 112, Bremen
With the jazz formation AMT Trio we reached the first place at the competition Jugend jazzt Bremen 2012.
Tags:Drumset Electric bass Jazz band Piano
Bremer Komponistenkonzerte
First performance of „Die sechs Schwäne“
07/11/2012 at 20:00
Casa della Musica
Hamburger Straße 15, Bremen
Bremer Komponistenkonzerte is a concert series that was initiated to provide a forum for music creators of all kinds. The premiere of my melodrama Die sechs Schwäne will take place as part of this concert series.
Tags:Narrator Piano
Nice Dream
for jazz trio
audio
Nice Dream is a composition that I wrote for my jazz formation Trio 003.
Published on 25 October 2012
Performances:
→ Trio 003: Jazz at Treffpunkt Arche (Sep 2013)Released on:
→ Farewell (2013)Similar compositions:
→ Toggle (2014)→ Travel to the Garden (2013)
→ Farewell (2013)
Tags:Double bass Drumset Electric bass Jazz band
In Memoriam
for piano
audio
Duration: about 1–2 minutes
Published on 06 October 2012
Tags:Piano
100 Cellists in Hamburg
Performance of „Träume einer Robbe“
video
23/09/2012 at 17:00
Miralles Hall
Mittelweg 42, Hamburg
100 Cellists in Hamburg
At this concert my composition Träume einer Robbe was performed by 100 Cellists in Hamburg.
„If you close your eyes and open your ears really wide, you really have the impression of being on a North Sea island. You hear gentle wind on the beach, you hear a salon orchestra playing in the music pavilion and rushing waves.“ Sven Holger Philippsen, Artistic Director of Cellotage Hamburg and Lecturer at the Musikhochschule Hannover.
„Impression was made with the composition Träume einer Robbe by Aljoscha Ristow, who was also present in the audience. The piece was written in 2009, when he was 14 years old.“ Arbeitskreis Musik in der Jugend, 23/09/2012
Performed compositions:
→ Träume einer Robbe (2009)Similar concerts:
→ Orchestra concert (Aug 2009)Tags:Cello Cello ensemble
Storm in the Borderlands
for jazz trio
My composition Storm in the Borderlands was written for the participation in the competition Jugend jazzt Bremen 2012 with the jazz formation AMT Trio. To my great pleasure, we achieved the first place in that competition.
Published on 31 July 2012
Tags:Double bass Drumset Electric bass Jazz band Piano
Shall I Compare Thee
for mixed choir
Shall I Compare Thee To A Summer's Day is a madrigal to the sonnet of the same name by W. Shakespeare.
It contains two contrasting fugati which textually refer to the respective merits of summer and the beloved.
Duration: about 3-4 minutes
Published on 01 July 2012
Text:
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date;
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm'd,
And every fair from fair sometime declines,
By chance or nature's changing course untrimm'd:
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow'st,
Nor shall Death brag thou wand'rest in his shade,
When in eternal lines to time thou grow'st.
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.
William Shakespeare, Sonnet 18 (1609)
Tags:Choir Voice
Der Leierkastenmann
String quartet No. 2
audio and video
The string quartet Der Leierkastenmann begins with a simple melody that could be played on a barrel organ (Leierkasten). Subsequently, it can be observed how this melody gradually transforms into a complex twelve-tone field. Der Leierkastenmann was awarded at the Newcomer Composition Competition of the Musik 21 Festival Niedersachsen 2013 and also premiered in the course of that.
Duration: about 2-3 minutes
Published on 26 May 2012
Performances:
→ Musik 21 Festival 2013: Nomos Quartett (Aug 2013)Released on:
→ Resonance (2013)Similar compositions:
→ String Quartet No. 3 (2013)Tags:Cello String ensemble Viola Violin
2011
Christmas concert St. Stephani Bremen
Performance of the „Four Christmas motets“
German description text:
Begegnungen - Musik zu Advent und Weihnachten
16.12.2011 um 20:00 Uhr
Kulturkirche St. Stephani
Stephanikirchhof 8, Bremen
Zum zweiten Mal bringt die Kantorei St. Stephani Bremen unter der Leitung von Tim Günther meine Vier Weihnachtsmotetten zur Aufführung.
Performed compositions:
→ Four Christmas Motets (2010)Similar concerts:
→ Choir concert St. Stephani Bremen (Oct 2011)→ Christmas concert St. Stephani Bremen (Dec 2010)
Tags:Choir Voice
Die sechs Schwäne
Melodrama on a fairy tail by the Grimm brothers
Die sechs Schwäne is a melodrama based on the corresponding fairy tale by the Grimm Brothers.
Duration: about 15 minutes
Instrumentation: piano and narrator
Cover picture: Jan Asselijn – De bedreigde zwaan (ca. 1650)
Published on 03 December 2011
Handlung:
Ein König verirrt sich im Wald. Da trifft er auf eine Hexe, die ihm den Weg zeigt. Als Gegenleistung muss er die Tochter der Hexe heiraten. Um seine Kinder - sechs Knaben und ein Mädchen - vor der Hexentochter zu schützen, versteckt er sie in einem fernen Land. Doch die Hexentochter findet die Kinder und verwandelt die sechs Knaben in Schwäne.
Das Mädchen aber kann fliehen und beschließt, ihre Brüder zu erlösen. Dafür muss sie innerhalb von sechs Jahren sechs Hemden aus Sternblumen nähen und darf dabei nicht sprechen. Während sie sich also an die Arbeit macht, verliebt sich der König dieses fernen Landes in sie und heiratet sie, obwohl sie ja kein Wort sprechen darf. Dass sie auch noch von der Mutter ihres neuen Gatten als Menschenfresserin verleumdet wird, vereinfacht die Sache nicht gerade.
Performances:
→ Bremer Komponistenkonzerte (Nov 2012)Tags:Narrator Piano
Choir concert St. Stephani Bremen
First performance of „Ubi Caritas“
German description text:
Der Geist weht, wie er will
08.10.2011 um 20:00 Uhr
Kulturkirche St. Stephani
Stephanikirchhof 8, Bremen
Bei diesem Konzert werden meine Vier Weihnachtsmotetten durch die Kantorei St. Stephani unter der Leitung von Tim Günther uraufgeführt.
„Die zweite Überraschung des heutigen Abends ist die Uraufführung einer Komposition - einer Bremer Komposition - und zwar einer Komposition eines anwesenden Komponisten. Er ist 16 Jahre alt.“ Tim Günther, Leiter der Kantorei St. Stephani Bremen
Performed compositions:
→ Ubi Caritas (2011)Similar concerts:
→ Christmas concert St. Stephani Bremen (Dec 2011)→ Christmas concert St. Stephani Bremen (Dec 2010)
Tags:Choir Voice
Vesper of the Knabenchor Bremen
First performance of „Agnus Dei“
audio
German description text:
24.09.2011
Evangelisch-Reformierte Kirche
Kirchstraße 18, Aurich
In einer Männerstimmenvesper des Bremer Knabenchores in Aurich erklingt unter der Leitung von Ansgar Müller-Nanninga mein Agnus Dei, das ich eigens für diesen Anlass komponiert habe.
Tags:Choir Voice
Agnus Dei
for male choir
audio
A composition for male choir, written for the Knabenchor Unser Lieben Frauen Bremen.
Duration: about 2–3 minutes
Published on 13 September 2011
Text:
Agnus Dei, qui tollis peccata mundi, miserere nobis.
Agnus Dei, qui tollis peccata mundi, miserere nobis.
Agnus Dei, qui tollis peccata mundi, dona nobis pacem.
Performances:
→ Vesper of the Knabenchor Bremen (Sep 2011)Tags:Choir Voice
Widerstille
for viola and 2 cellos
Widerstille is a composition for viola and 2 cellos.
Duration: about 4–5 minutes
Published on 12 August 2011
Tags:Cello Viola
Meinungsfragen
for oboe and piano
audio
A composition for oboe and piano.
Duration: about 2–3 minutes
Published on 13 July 2011
Tags:Oboe Piano
La Sauterelle
for string quartet
La Sauterelle (French for „The Grasshopper“) is a short, rhythmical piece for string quartet.
Duration: about 1 minute
Published on 19 February 2011
Tags:Cello String ensemble Viola Violin
Ubi Caritas
for mixed choir
Ubi Caritas is a composition for choir that was premiered by the Kantorei St. Stephani Bremen.
„In the motet, which is based on Palestrina's principles, Ristow unfolds the entire text in a motivic and imitative way.“ Tim Günther, conductor of the Kantorei St. Stephani Bremen
Duration: about 3-4 minutes
Published on 09 February 2011
Text:
Ubi caritas et amor, Deus ibi est.
Congregavit nos in unum Christi amor.
Exultemus et in ipso iucundemur.
Timeamus et amemus Deum vivum.
Et ex corde diligamus nos sincero.
Simul ergo cum in unum congregamur:
Ne nos mente dividamur caveamus.
Cessent iurgia maligna, cessent lites.
Et in medio nostri sit Christus Deus.
Simul quoque cum beatis videamus
Glorianter vultum tuum Christe Deus,
Gaudium, quod est immensum atque probum
Saecula per infinita saeculorum.
Amen.
Performances:
→ Choir concert St. Stephani Bremen (Oct 2011)Similar compositions:
→ Four Christmas Motets (2010)Tags:Choir Voice
String Quartet in G minor
First string quartet
A string quartet in three movements.
An optional double bass part is available for string orchestra performances.
Duration: about 4-5 minutes
Published on 29 January 2011
Tags:Cello Double bass String ensemble Viola Violin
2010
Christmas concert St. Stephani Bremen
First performance of the „Four Christmas motets“
German description text:
Lieder vom MorGEnSTERN und HEUTE
17.12.2010 um 20:00 Uhr
Kulturkirche St. Stephani
Stephanikirchhof 8, Bremen
Bei diesem Konzert werden meine Vier Weihnachtsmotetten durch die Kantorei St. Stephani unter der Leitung von Tim Günther uraufgeführt.
„Der nächste Programmpunkt ist uns eine besondere Freude. Es ist etwas Besonderes, wenn man in Anwesenheit eines Komponisten ein Werk aufführen kann. Es ist etwas besonderes, wenn ein Werk uraufgeführt wird. Und es ist noch viel besonderer, wenn der Komponist 15 Jahre alt ist.“ Tim Günther, Leiter der Kantorei St. Stephani Bremen
Performed compositions:
→ Four Christmas Motets (2010)Similar concerts:
→ Christmas concert St. Stephani Bremen (Dec 2011)→ Choir concert St. Stephani Bremen (Oct 2011)
Tags:Choir Voice
Four Christmas Motets
for mixed choir
The Four Christmas Motets are composed in the style of traditional choir music. They have already been performed twice by the Kantorei St. Stephani Bremen.
Duration: about 5-6 minutes
Published on 05 November 2010
Text:
I. O magnum mysterium, et admirabile sacramentum, ut animalia viderent Dominum natum, jacentem in praesepio! Beata Virgo, cujus viscera meruerunt portare Dominum Christum.
II. Quem vidistis, pastores, dicite, et annuntiate nobis; in terris quis apparuit? Natum vidimus, et choros angelorum, collaudantes Dominum. Dicite, quidnam vidistis et annuntiate Christi nativitatem.
III. Videntes stellam magi gavisi sunt gaudio magno: et intrantes domum obtulerunt Domino aurum, thus et myrrham.
IV. Hodie Christus natus est, hodie Salvator apparuit, hodie in terra canunt Angeli, laetantur Archangeli, hodie exsultant justi, dicentes: Gloria in excelsis Deo. Alleluia.
Performances:
→ Christmas concert St. Stephani Bremen (Dec 2011)→ Christmas concert St. Stephani Bremen (Dec 2010)
Similar compositions:
→ Ubi Caritas (2011)Tags:Choir Voice
Harmonic Factors
for cello ensemble and live electronics
audio
A musical representation of numbers in shape of a pulsating overtone spectrum.
Published on 02 September 2010
Tags:Cello Cello ensemble Live electronics
Silent movie concert
Live accompaniment of „The Musketeers of Pig Alley“
Klassiker des frühen Films
25.06.2010 um 20:30 Uhr
Kino 46
Waller Heerstraße 46, Bremen
Aljoscha Ristow (Klavier)
Live accompaniment of the silent movie „The Musketeers of Pig Alley“
D.W: Griffith, USA 1912, 17 min.
Tags:Piano Video
The Seven Minute Training Program
Music for an Alexander technique training program
audio
The Seven Minute Training Program is a sequence of movements based on the principles of Alexander Technique. For this, I have composed an accompanying music, recorded it and produced it on CD and DVD.
„Das Siebenminütige Training ist eine Bewegungsfolge, die auf den Prinzipien der F.-M.-Alexander-Technik beruht. Jeder Bewegungsschritt wird in geistiger und körperlicher Losgelassenheit ausgeführt. Balance, Leichtigkeit, natürliche Aufrichtung und fließende Bewegungen sind die Kennzeichen dieser Einstellung.“ Walter Tschaikowski, developer of the training program
Order the DVD at:
www.das-siebenminuetige-training.jimdo.com
Published on 23 May 2010
Tags:Cello Flute Piano String ensemble Viola Violin
2009
Atmosphère Nocturne
for violin and piano
Atmosphère Nocturne is a composition for violin students with piano accompaniment. An optional cello part is included as well.
Duration: about 2-3 minutes
Published on 21 November 2009
Tags:Cello Piano Violin
Orchestra concert
First performance of „Träume einer Robbe“
02/08/2009 at 18:00
Kulturkirche St. Stephani
Stephanikirchhof 8, Bremen
At this concert my composition Träume einer Robbe will be premiered by the Youth Symphony Orchestra Bremen-Nord and the Middlands-Youth-Orchestra of Ireland, conducted by Christine Schwarz and Vincent Hunt.
Performed compositions:
→ Träume einer Robbe (2009)Similar concerts:
→ 100 Cellists in Hamburg (Sep 2012)Tags:Cello Cello ensemble
Suite for violoncello quartet
for cello ensemble
Nine compositions for cello quartet, written on the island Hallig Hooge (Northern Sea) when I was 14 years old.
Published on 18 July 2009
Tags:Cello Cello ensemble
Träume einer Robbe
for cello quartet
audio and video
„If you close your eyes and open your ears really wide, you really have the impression of being on a North Sea island. You hear gentle wind on the beach, you hear a salon orchestra playing in the music pavilion and rushing waves.“ Sven Holger Philippsen, Artistic Director of Cellotage Hamburg and Lecturer at the Musikhochschule Hannover
Duration: about 8-9 minutes
Published on 02 February 2009
Performances:
→ 100 Cellists in Hamburg (Sep 2012)→ Orchestra concert (Aug 2009)
Similar compositions:
→ Suite for violoncello quartet (2009)Tags:Cello Cello ensemble
2007
Sonata brevis
for violin and cello
Composition for violin and cello.
Duration: about 2-3 minutes
Published on 24 September 2007
Tags:Cello Violin
2006
Eine kleine Tagmusik
for cello and piano
At the age of eleven I published the score of my first composition.
There is also a version for viola and piano available.
Duration: about 4–5 minutes
Published on 21 December 2006
Tags:Cello Piano Viola
2019
Intensio
22 Jun 2019
Go to: Composition | Concert
2017
Des Frühlings Wiederkehr – I. Uns hât der winter geschât über al
18 Feb 2017
Go to: Composition | Concert
Des Frühlings Wiederkehr – II. Cedit, hiems, tua durities
18 Feb 2017
Go to: Composition | Concert
Des Frühlings Wiederkehr – III. Der starke winder hât uns verlân
18 Feb 2017
Go to: Composition | Concert
2016
Ich steh' an deiner Krippen hier
21 Dec 2016
Go to: Composition | Concert
Generatio et Corruptio
08 Dec 2016
Go to: Composition | Concert
Méditation I
08 May 2016
Go to: Composition | Concert
2015
Concerto Grosso in D major
07 Dec 2015
Go to: Composition | Concert
Händel: Concerto Grosso op. 6,4 for wind ensemble
10 Jun 2015
Go to: Composition | Concert
2014
Baumstämme im Schnee (with scores)
22 Dec 2014
Go to: Composition | Concert
Miniatures Tonales (with scores)
18 Dec 2014
Go to: Composition | Concert
Toggle (with scores)
18 Dec 2014
Go to: Composition
Der Fischer
09 Dec 2014
Go to: Composition | Concert
2013
Three Inventions: I. Reflections
09 Dec 2013
Go to: Composition | Album
Three Inventions: II. Feel
09 Dec 2013
Go to: Composition | Album
Three Inventions: III. Fusion
09 Dec 2013
Go to: Composition | Album
Farewell
14 Sep 2013
Go to: Composition | Album
Jaanipäeva Paiku
14 Sep 2013
Go to: Album
Lakkamatu Jutuvada
14 Sep 2013
Go to: Album
Nice Dream
14 Sep 2013
Go to: Composition | Album
Travel To The Garden
14 Sep 2013
Go to: Composition | Album
Trio 003: Farewell (album playlist)
14 Sep 2013
Go to: Album
Der Leierkastenmann
18 Aug 2013
Go to: Composition | Concert
Der Leierkastenmann
18 Aug 2013
Go to: Composition | Concert | Album
String Quartet No. 3 „Zeitreise“
18 Aug 2013
Go to: Composition | Concert
String Quartet No. 3 „Zeitreise“
18 Aug 2013
Go to: Composition | Concert | Album
String Quartet No. 3 „Zeitreise“ (sample version)
29 Jun 2013
Go to: Composition
Harmonic Factors
19 May 2013
Go to: Composition | Album
Continuo (studio recording)
06 Apr 2013
Go to: Composition | Concert | Album
In Memoriam
19 Feb 2013
Go to: Composition | Album
2012
Träume einer Robbe (100 Cellists in Hamburg)
23 Sep 2012
Go to: Composition | Concert
Meinungsfragen (sample version)
01 Sep 2012
Go to: Composition
Träume einer Robbe: First movement
25 Apr 2012
Go to: Composition
2011
Agnus Dei
24 Sep 2011
Go to: Composition | Concert
2010
Music for the Seven Minute Training Program (excerpt)
08 May 2010
Go to: Composition
List of Compositions:
(In the) Air (2014)
for cello solo
Agnus Dei (2011)
for male choir
Atmosphère Nocturne (2009)
for violin and piano
Baumstämme im Schnee (2014)
for tenor and piano
Benedictus (2017)
Two proportion canons
Concerto Grosso in D major (2015)
for 2 solo violins, strings, and basso continuo
Continuo (2013)
for cello and piano
Danzón del Mundo (2015)
for piano
Der Fischer (2014)
for voice, piano, and drumset
Der Leierkastenmann (2012)
String quartet No. 2
Des Frühlings Wiederkehr (2016)
for mixed choir
Die sechs Schwäne (2011)
Melodrama on a fairy tail by the Grimm brothers
Eine kleine Tagmusik (2006)
for cello and piano
Farewell (2013)
for jazz trio
Four Christmas Motets (2010)
for mixed choir
Fugue in B minor (2014)
for piano
Generatio et Corruptio (2016)
for violin solo
Getting Quieter (2013)
for jazz trio
Handel: Concerto Grosso in A minor op. 6,4 (2015)
Arrangement for wind ensemble
Harmonic Factors (2010)
for cello ensemble and live electronics
Ich steh' an deiner Krippen hier (2016)
Arrangement for male choir
In Memoriam (2012)
for piano
Intensio (2019)
for string trio
Kein Frühling mehr (2021)
for voice and piano
La Sauterelle (2011)
for string quartet
Lamentation (2017)
for cello solo
Liri und der Blauvogel (2019)
Intercultural music theatre with children's choir
Méditation I (2015)
for string quartet
Méditation II (2018)
for string ensemble
Meinungsfragen (2011)
for oboe and piano
Miniatures Tonales (2014)
for viola and cello
Morgenstern-Gesänge (2024)
for mixed choir
Nice Dream (2012)
for jazz trio
Nun komm, der Heiden Heiland (2019)
Chorale prelude for organ
Overture: Ariadna and Theseus (2018)
for symphonic orchestra
Piano Trio in D minor (2021)
for violin, cello, and piano
Quam pulchra es (2017)
Motet for mixed choir
Sarabande (2013)
for cello solo
Shall I Compare Thee (2012)
for mixed choir
Sicut lilium inter spinas (2020)
Motet for mixed choir
Sonata brevis (2007)
for violin and cello
Sonate in C-Dur (2016)
for piano
Storm in the Borderlands (2012)
for jazz trio
String Quartet in G minor (2011)
First string quartet
String Quartet No. 3 (2013)
„Zeitreise“
String Trio in D minor (2015)
for 2 violins and viola
Suite for violoncello quartet (2009)
for cello ensemble
Symphony in F major (fragment) (2016)
Orchestration after Mozart's Sonata K. 547a
The Seven Minute Training Program (2010)
Music for an Alexander technique training program
Three Inventions (2012)
for piano
Toggle (2014)
for jazz band
Träume einer Robbe (2009)
for cello quartet
Travel to the Garden (2013)
for jazz trio
Trio Sonata in D major (2015)
for 2 violins and basso continuo
Trio Sonata in D minor (2020)
for 2 violins and basso continuo
Ubi Caritas (2011)
for mixed choir
Weise aus der Ferne (2016)
for string quartet
Widerstille (2011)
for viola and 2 cellos
Zweite Heimat (2015)
Soundtrack
Total: 59 entries
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The responsible entity is the natural or legal person who decides alone or together with others upon the purposes and the methods of processing personal data (e.g. names, email addresses or the like).
Contact form
If you send us requests by contact form, the details you have entered into the request form, including the contact details you have entered there, are saved with us in order to handle your request and for the case of follow-up questions. These data will not be passed on without your consent.
Consequently, the processing of the data entered into the contact form takes place exclusively on the basis of your consent (art. 6 par. 1 lit. a GDPR). You can withdraw your consent at any time. This can be done by an informal message via email to us. The legitimacy of the data processing operations up to the point of the withdrawal is not affected by the withdrawal.
Server log files
The provider of the pages automatically collects and saves informations in so-called server log files, which your browser automatically transmits to us. These are:
browser type and version
used operating system
referrer URL
host name of the accessing computer
time of the server request
IP address
These data will not be merged with other data sources.
The basis for the data processing is art. 6 par. 1 lit. b GDPR, which allows the processing of data for the performance of a contract or in order to take steps prior to entering into a contract.
Erasure of the data
The personal data are only stored as long as necessary for the purposes stated here or according to the various statutory storage periods. After the respective purpose ceases to apply or after those storage periods expire, the corresponding data will be locked or deleted routinely and in accordance with the statutory provisions.
Rights of the data subject
In the context of existing legal regulations, you have the right to be provided with information free of charge relating to your stored personal data, their origin and recipient and the purpose of the data processing at any time, as well as potentially the right to correct, lock or delete these data. Likewise, you have the right to receive the personal data we process automatically on the basis of your consent or in the course of the fulfilment of a contract in a commonly used format or to have them transmitted to a third party. Assigned consents can be withdrawn at any time with effect for the future.
Feel free to contact us about this or about further questions concerning the topic of personal data at any time using the address given above. Beyond that, you have the right to lodge a complaint with the responsible supervisory authority.
Cookies
These pages partially use so-called cookies. Cookies are small text files which are placed by your browser on your computer. The cookies we use are so-called “session cookies“. They will be deleted automatically after your visit has ended.
You may set up your browser configuration in such a way that you will be informed about the placement of cookies and that cookies can be accepted on a case by case basis, the storage of cookies can be denied in certain cases or generally, or you can activate the automatic deletion of cookies when closing the browser. In the case of a deactivation of cookies, the functionality of this website might be restricted.
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© Aljoscha P.J. Ristow 2024
22/06/2019, Cologne.
Junger Kammerchor Köln. 18/02/2017, Church St. Hildegard in der Au, Köln-Nippes.
Junger Kammerchor Köln. 18/02/2017, Church St. Hildegard in der Au, Köln-Nippes.
Junger Kammerchor Köln. 18/02/2017, Kirche St. Hildegard in der Au, Köln-Nippes.
Ensemble miXtur. 21/12/2016, St. Georg's Church Happurg (Middle Franconia, Germany).
08/05/2016, Cologne.
Aljoscha Ristow (piano). 09/12/2013, Bremen.
Aljoscha Ristow (piano). 09/12/2013, Bremen.
Aljoscha Ristow (piano). 09/12/2013, Bremen.
Trio 003: Aljoscha Ristow (piano), Liisi Salumaa (bass), Nick Zacharias (drums). 14/09/2013, Bremen.
Trio 003: Aljoscha Ristow (piano), Liisi Salumaa (bass), Nick Zacharias (drums). 14/09/2013, Bremen.
Trio 003: Aljoscha Ristow (piano), Liisi Salumaa (bass), Nick Zacharias (drums). 14/09/2013, Bremen.
Trio 003: Aljoscha Ristow (piano), Liisi Salumaa (bass), Nick Zacharias (drums). 14/09/2013, Bremen.
Trio 003: Aljoscha Ristow (piano), Liisi Salumaa (bass), Nick Zacharias (drums). 14/09/2013, Bremen.
Nomos Quartett. 18/08/2013, Musik 21 Festival Hannover.
Nomos Quartett. 18/08/2013, Musik 21 Festival Hannover.
Aljoscha Ristow (cello). 19/05/2013, Bremen.
Simone Drescher (cello), Stanislav Boianov (piano). 30/03/2013 – 07/04/2013, Jugend komponiert, Weikersheim. Piotr Furmanczyk (audio engineer).
Aljoscha Ristow (piano). 19.02.2013, Bremen.
25/04/2012, Students of Sven Holger Philippsen, Hannover.
Knabenchor Unser Lieben Frauen Bremen, Ansgar Müller-Nanninga (conductor). 24/09/2011, Evangelisch-Reformierte Kirche Aurich.
Walter Stoiber (flute), Daniel Thieme (violin, viola), Aljoscha Ristow (cello). 08/05/2010, Bremen.