Appears infrequently, in small and unassuming venues throughout Germany. Performances are intimate by design and not widely advertised. Serious enquiries are welcome.
Baroque manners in modern rooms — harpsichord meeting ambient air.
The project situates itself within classical crossover: the baroque ensemble treated less as an instrument than as a thesis, examined across threshold and architecture.
The catalogue — “Modern Churches”, “Silent Steppes”, “Slavic Tales”, “The Gate” — is best read as a single argument developed record by record.
The method is dull and I'm proud of it — a baroque ensemble, a quiet room, the delete key.
I keep the mistakes that sound like weather and cut the ones that sound like mistakes.
Owed to minimalism, ambient music, folk song. The rest I took by accident.
“Silent Steppes” came from the sound of threshold when no one is listening, and then refused to leave.
Each pass got quieter until only architecture was left.
I hope it meets you somewhere quiet.
There is a single feeling under “Modern Churches”: one image of architecture I couldn't put down.
The baroque ensemble does the thinking here; I only choose what to keep.
Play it low. It was made low.
So much for the intention; the rest is the listener's.
“Slavic Tales” started the way these do — one image of architecture I couldn't put down, at an odd hour.
The baroque ensemble found the shape before I did; I stayed out of the way.
If it slowed you down for forty minutes, it did its job.
So much for the intention; the rest is the listener's.
There are worse things to build a body of work on than threshold.
It is classical crossover, so nothing hurries — the baroque ensemble is allowed to just sit in the room.
Made small, on purpose.
