The piano is a comfortable instrument - at least if you compose for it, since you don't have to constantly consider whether what you compose can also be realized on the instrument. You don't have to care about problems like finger positions on the guitar or violin.

But the greatest advantage is that the piano is spread all over the world!

I can't say much about the pieces, but maybe I have to explain a few things about  "ODEM" :

  • Ten fingers - ten tones, that's my philosophy for the piece.
  • The tones are strictly correlated to the fingers.
  • Due to the limited number of basic tones the piece in a way makes the players and the listeners imagine additional voices if necessary.
  • Thus "ODEM" stands not only for breath but rather for "Orchestral-Denkende-Ergänzungs-Musik" (=orchestrally deviced supplementary music).

"ODEM" was written by me for the 6th A*devantgarde Festival , where it was performed in an Internet concert.
 Moritz Eggert and Andreas Heck worked out a concept of John Cage's  variations IV. , and more than 20 composers and ensembles from all over the world took part in it - live and online.