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Film score for 'Die Story' 'Goldene Zeiten – Das heuchlerische Geschäft mit dem Gold'

Probably most people who possess gold don’t think about where it comes from and how it has been produced. That’s why they don’t know that most of the gold gets mined highly industrialized in open-pit mines and beside destroying the landscape thereby, the environment, employees and people living near by that mines come in contact with Cyanide, a highly toxic chemical, which is used in great quantities for gold mining.

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Music for TV-commercial of Deutsche Fußball Liga (DFL)

If you have seen so far German soccer pros wearing a fencing suite and holding an épée in their hand or a pentathlete who gets trained by a soccer coach, then it’s a matter of a serious poor eyesight or – far more likely – the joint campaign „Sportler für Sportler“ from Deutsche Fußball Liga (DFL) and Bundesliga-foundation for Deutsche Sporthilfe.

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Final mix for orchestral performance und documentary of 'La Valse'

1919/20 Maurice Ravel composed “La Valse”, which is a waltz that came doubtless influenced into being by the impressions of the First World War, which Ravel was exposed to as a soldier. In fact this waltz has been commissioned as ballet music, but the piece with a length of 13 minutes consciously breaks the mould and does not describe the ideal vienna-waltz-world, but is rather constantly increasing up to a brute finish – “a fantastic twirl, which nobody is able to escape”, as Ravel writes himself. As a consequence the waltz has been rejected on the grounds not to be danceable and after its world premiere as an orchestral piece, it had to pass by nine years until the waltz had its first performance with ballet.

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Music für Socialspot 'Agapedia'

If one asks children about their career aspiration – and if every dream came true – there would be masses of astronauts, veterinaries, engine drivers and digger operators. But if children grow up in a miserable setting, this could be shattered dreams and reality could be entirely different. Fortunately children are not aware of that yet.

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Music for TV-commercial of R+V-Versicherungen

If one should describe the future with the help of a picture, what would it look like? Like a park bench populated with city pigeons or rather like a beach chair with a seagull shambling by in front? And how about flexibility? Similar to a forward bend, where the finger tips hardly reach the ankles or rather like setting the palm of the hand easily to the floor?

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Music for TV-commercial 'Opel - Signs'

There are a lot of possibilities to give hints. And there are a lot of possibilities to read those signs. Some are e.g. rather subtle and others a broad hint. Directly after standing up the family man in the Opel-Spot “Signs” has to handle some hints of that second category and director Marc Hartmann accompanies our protagonist, when he swinging starts his day, keeping some messages for him.

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Film score for documentary '08/15 – Leben am Rand von Köln'

In Cologne’s subway station „Köln-Chorweiler“ are big black and white portraits of several people. Although these persons obviously have been pictured in their home, presenting a part of their private life, there’s nothing else told about them. Director Sandra Jakisch wanted to know, which individuals and destinies are behind those pictures and what happened to that persons until today.

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Film score for short film 'Adam in VR' for documenta 11

For most of us Adam and Eve are firmly connected with the biblical beginning of mankind and thus automatically related with the past. In the movie „Adam in VR“ from Angelique Kommer we meet them nevertheless in the future, making their experiences with virtual realities. Adam gets emotional deeply touched by watching going-ons on reproduced realities but he also blunts quickly. Only the real touch in terms of Eve’s hug, gets him touched emotional again.

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Film score for short film 'Wie man einem toten Hasen die documenta erklärt' for documenta 11

The long-known story of Hare and Tortoise takes place in a totally new setting, namely documenta 11. Refering to Joseph Beuys’ campain, in which he explains pictures of an exibition to a dead bunny, the rabbit of our movie comes back to life and bounces from the 2D-animated world into the reality of documenta 11. Thus the race runs its course and the viewer undergoes documenta from a rabbit’s point-of-view – in a speed, which the competition with the hedgehog brings along.

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