Please find a selection of my compositorial work down below.
„hidden threads“
Hidden Threads is an orchestral work built from several distinct sections that are loosely connected to one another. Rather than forming a clear linear development, the piece unfolds as a sequence of related musical situations, each with its own character. The connections between them are subtle and often only become apparent in retrospect.
Rhythm plays an important role throughout the composition. The recurring shifts between 5/4 and 6/4 create a gentle sense of instability, preventing the music from settling into a fixed pulse. Alongside the orchestral writing, beats appear as an additional layer, sometimes merging with the ensemble, sometimes standing apart and introducing a more direct, contemporary energy.
The instrumentation changes from section to section, with different groups of instruments taking the foreground. While the surface of the music is constantly transforming, small rhythmic gestures, harmonic colors, or textural ideas reappear in altered forms. These recurring elements act as the “hidden threads” of the piece, quietly linking its parts together.
Hidden Threads does not aim for clear resolution. Instead, it invites the listener to follow shifting relationships, overlaps, and echoes, experiencing the form as something open, fluid, and in continuous motion.
„crooked continuum“
Crooked continuum is a work for acoustic ensemble and electronic instruments. At its core lies a highly complex foundational rhythm—one that persistently folds back onto itself, forming a circular structure that creates a sense of continuity. Despite this ongoing flow, the underlying rhythmic pattern remains elusive and resistant to straightforward perception; attempting to clap along quickly reveals its instability and internal asymmetry.
The electronic layer plays a crucial role in shaping the sonic identity of the piece. Among other tools, a Mellotron is used to blur the boundaries between acoustic and electronic sound, producing timbres that feel both familiar and subtly displaced. This hybrid sound world reinforces the work’s central tension between organic gesture and constructed rhythm.
Crooked continuum explores the idea that continuity does not necessarily imply smoothness or regularity. Instead, it proposes that continuous processes, when examined closely, may reveal themselves as fragmented, uneven, and internally contradictory—yet still coherently connected over time.
„creation misunderstood“
Creation Misunderstood is a self-generating composition based on a Max/MSP patch and a single, simple sound sample. From this minimal point of departure, the work unfolds autonomously, determining its own duration, structure, and dramaturgical development.
Rather than following a fixed score or predetermined form, the piece continuously negotiates its internal logic. Processes of repetition, transformation, and deviation emerge from the system itself, allowing the composition to evolve in ways that resist precise anticipation or control. In this sense, authorship is partially displaced: the composer defines a set of conditions, while the work assumes responsibility for its own becoming.
Each realization of creation misunderstood is inherently unique. No two performances share the same temporal trajectory or expressive arc. The title reflects this principle directly—creation here is not a transparent act of intention, but a process shaped by misunderstanding, misalignment, and productive ambiguity between rule, sound, and perception.
The work invites listeners to engage with creation as an unfolding process rather than a finished object, foregrounding the fragile boundary between control and autonomy, clarity and obscurity, intention and emergence.
„Hauch“
Hauch is a work for bassoon, live electronics, and wave field synthesis. The composition draws its poetic impulse from Wandrers Nachtlied by Johann Wolfgang von Goethe, a text marked by stillness, suspension, and the fragile threshold between sound and silence.
Rather than treating sound as a stable presence, Hauch approaches it as something fleeting and spatially porous. The bassoon’s breath-based gestures are extended and transformed through live electronics, while wave field synthesis allows sound to be precisely positioned, dispersed, and withdrawn within the performance space. In this way, the piece actively searches for gaps, edges, and interstices of sound—moments where sound seems to dissolve into air, space, or listening itself.
The title Hauch (breath, whisper) reflects the work’s central concern: the subtle tension between emergence and disappearance. Inspired by Goethe’s restrained poetic language, the composition avoids dramatic gestures in favor of quiet shifts, fragile textures, and spatial movements that are often felt more than clearly perceived.
Hauch invites the audience into a heightened mode of listening, where sound is not only heard but encountered as a spatial and physical phenomenon—one that continuously fades, returns, and reshapes the space it inhabits.
fritsch music 