scoring for videos and multimedia animations, my composing skills comprise
strong melodies, memorable soundtrack scores and effective
orchestrations in a variety of styles ranging from
New Age and chamber music right up to
and symphonic scores.
I work with
high-end sequencer software for multitrack MIDI
and digital audio recording, and utilize manifold sound libraries (e.g.,
East West Quantum Logic, Vienna Instruments, Galaxy, Ivory, Garritan,
Yellow Tools, ProjectSAM, xsample).
Symphonic Piece for Large Orchestra (3:09)
Employing a large
string Hollywood-endowed orchestra and loads of brass and percussion going
blockbuster crazy, the main tune gets varied a number of times in this
both solemn and joyful soundtrack-style overture.
MUSIC SAMPLE: Cartoon Soundtrack
"Felix the Cat
in Two-Lip Time" (1926)
Soundtrack for Felix the Cat Cartoon (8:27)
I have composed a soundtrack for "Felix the Cat in
Two-Lip Time", a black and white animated cartoon from
Originally a silent movie, it now features music
performed by a jazz combo and an orchestra. This is a
somewhat unique approach in that the music has been not been
written in the traditional piano accompaniment style so
typical for the era of silent movies back in the 1920's and
30's. So rather rather than re-create what was actually
played at the time of the original screening, I chose to
compose a jazzy score, in parts perhaps similar in style to
Vince Guaraldi's legendary music for The Peanuts
animated television series from the 60's and 70's.
I have deliberately not used any sound effects for the score
but have instead tried to emulate a real orchestra using
traditional instruments. This applies also to the final
scene where the orchestra gets crazy using a whole arsenal
of percussion instruments like the marimba, the
celesta, timpani, cymbals, chimes, bells, wood blocks, and a wind
"Two-Lip Time", which is believed to be in the public domain,
is the story of Felix' adventures in the Netherlands. While
abundant with cheesy clichées, it's a great deal of fun to
watch. There is
a unique both anarchistic and whimsical charm in the crude
hand-drawn images from Pat Sullivan Productions that is hard
to find these days, I feel. Created by Otto Messmer in the
early 1920's, Felix the Cat was a popular cartoon character
at the time. For more information go to
Wald mit dir zu liegen (Piano & Cello)
Chamber Piece for
Piano and Cello (2:47)
This piece was originally planned as a bariton rendition of German
romantic poet Christian Morgenstern's poem, "Hier im Wald
mit dir zu liegen" ("Lying in the woods with you"). Lacking
a singer, I have chosen to use a cello to carry the tune.
HIER IM WALD MIT DIR ZU LIEGEN
Hier im Wald
mit dir zu liegen,
in das Flüstern, in das Rauschen
leise liebe Worte mischend,
öfter aber noch dem Schweigen
lange Küsse zugesellend,
unerschöpflich - unersättlich,
Hier im Wald mit dir zu liegen,
~Christian Morgenstern (1871-1914)
Symphonic Piece for Choir and Orchestra
A mixed choir and string orchestra in the
lead, the symphonic score celebrates the event with a strong
melody (G-D-E-D-C-H-A) which carries through the suite.
After the main theme in the style of a movie soundtrack intro is repeated many times over, with instruments such as
oboe and trumpets taking turns in the lead, the piece
culminates in a John-Williams-style brass band percussion
This four-minute orchestral suite was developed from scratch. The individual tracks were played and edited with sequencer
and audio software. The virtual orchestra of roughly 30
musicians basically consists of a brass band, strings, choir, piano,
organ, flute, oboe, trumpets, tubular bells, harp and
percussion. A boy's choir has also been included.
String Quartet Playing a Fugue (3:10)
This Bach-style upbeat intervention piece is played by a string quartet consisting of violin,
viola, cello and counter bass. All instruments take turns in
leading the five-beat principal melody which is varied
The piece includes rhythmically aggressive Steve-Reich-style
variations of the main theme.
Solo Playing a Fugue (2:35)
A joyful Baroque-style rendering, this contrapuntal
fugue introduces a number of brief but memorable themes
which are then developed through successive polyphonic imitations.
Vertical (Piano & Bassoon)
Chamber Piece for
Piano & Bassoon (4:17)
This piece is a rendition of American poet Silvia Plath's
poem, "I am Vertical." Following the poem's
energetic verve, the score seeks to emulate this by using a
piano and a bassoon to counteract the tune. The overall mood
is, shall we say, defiant.
Gain (Two Pianos)
Two Pianos (3:18)
This jazzy piece involves two Jazz Steinway pianos, catching each
other's tunes, and intermingling counter melodies into a
The music has actually been written to accompany Henry
Wadsworth Longfellow's poem, Loss and Gain. Other
than what this suggests, the piece itself is quite upbeat
LOSS AND GAIN
When I compare
What I have lost with what I have gained,
What I have missed with what attained,
Little room do I find for pride.
I am aware
How many days have been idly spent;
How like an arrow the good intent
Has fallen short or been turned aside.
But who shall dare
To measure loss and gain in this wise?
Defeat may be victory in disguise;
The lowest ebb is the turn of the tide.
~Henry Wadsworth Longfellow
(New Age Piano Solo)
Solo in New Age Style (3:00)
piano, of all instruments, offers perhaps the best voice for
emotional release. Other than the title might suggest, the
overall mood of this three-minute all-piano piece is bright
and calmly joyful. The memorable melody is warm, crystal
clear and simple, with a passionate lyricism.
(New Age Piano Solo)
Solo in New Age Style (1:47)
This one-and-a-half minute piece is an as-is reflection
of past and present, of good times and bad times. The main
theme (H-A-G-D8) shares both joyful and melancholy
ingredients. Repeated vigorously several times over in
various octaves, it ends on a happy note, but with a touch
of sadness over the fact that, no matter if good or bad,
time is, after all, fading away.