for voice and five instruments
1991 | duration: 8'

Commissioned by the city of Schwäbisch Gmünd
Soprano, harp, violin, viola, violoncello, double bass
Premiere: Johanniskirche Schwäbisch Gmünd | 24.08.1991
Sinfonietta Tübingen, Stefan Blunier

The chorale is the epitome of everything religious, sublime, ritualistic and archaic … – My music addresses that which could today perhaps be understood, and/or not understood, as sacred music from various perspectives (history, aura, material, compositional technique). I composed Choral in 1991 for the »Festival of European Church Music« in Schwäbisch Gmünd.

  • CD Musica sacra nova II. SDR SACD 9027-3. 1992.
  • CD Michael Reudenbach. Szenen, Standbilder. Werke 1991–2009. Edition RZ Berlin, Reihe »Parallèle«. 2013.
  • Arpad Dobriban. In aller Stille. 16-mm-Film. 1992.

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for ensemble
1997 | duration: 11'

piccolo, clarinet, xylorimba (with radio), violin, cello, piano
Premiere: Kunsthaus Zürich | 04.12.1997
Ensemble für Neue Musik Zürich, Jürg Henneberger

»At night, especially between 2 and 3, when it's very quiet, the electric meter sings – you can stand in front of it for minutes, with closed mouth, squinted eyes: […].« (Arno Schmidt)

  • Konzertmitschnitte hr 2006 und WDR 2009.
  • CD Michael Reudenbach. Szenen, Standbilder. Werke 1991–2009. Edition RZ Berlin, Reihe »Parallèle«. 2013.

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for six instruments
1999 | duration: 9'

Commissioned by WDR Cologne for the festival »Archipel«
Flute, oboe, clarinet, viola, cello
Premiere: Funkhaus Wallrafplatz Cologne | 29.01.2000
Ensemble Recherche

Notes from my working book: --- … a sequence of musical moments … while enquiring after an internal or external musical connection or coherence --- Bruchstücke [Eng: fragments] = accepting the gap between the moments as a given … a whole piece: perhaps fill up the gap between one or the other moment with apprehensions, surmises and inventions … or join up everything in retrospect --- »If the size or tone of the work should lead readers to assume that the author was striving to create a total sum, point out to them without delay that they are being confronted with the opposite attempt, namely that of a relentless subtraction.« (Julio Cortázar, Rayuela) ---

  • Konzertmitschnitte WDR 2000 und hr 2004.
  • CD 13. und 14. Dresdner Tage der zeitgenössischen Musik 1999/2000. Dokumentations-CD. Hg. Dresdner Zentrum für zeitgenössische Musik (DZzm).
  • CD Musik in Deutschland 1950–2000, Spiel-Kritik-Parodie, Instrumentale Kammermusik. Deutscher Musikrat RCA. 2007.

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for five speakers, 41 instrumentalists and CD
2000-01 | duration: 13'

Commissioned by hr Frankfurt am Main
5 spkrs. - - - 0.3. - hp. pf. - str.:
Premiere: Broadcasting hall at Hessischer Rundfunk Frankfurt am Main | 09.03.2001
Radio-Sinfonie-Orchester Frankfurt, Sian Edwards

The notion behind Abdruck was to write a piece that engaged with both the possibilities and the impossibilities of an orchestral apparatus. In this situation, the contradictory character of the »Abdruck« (Eng.: imprint) becomes apparent: the contact with the source (the foot pressing into the sand) and the loss of the source (the absence of the foot in its imprint). What one hears aspires to both conditions: on the one hand, the concentration on a few single sounds and noises and, on the other, their absence in the ever-increasing level of noise in our environment that swamps everything. During my work on Abdruck, I by chance came across an exhibition catalogue with the »Wandabnahmen« by Dorothee von Windheim.. There, I found her reference to the »wall passage« from Rainer Maria Rilke's diary novel »The Notebooks of Malte Laurid Brigge« that I use in my piece.

  • Konzertmitschnitte hr 2001 und SWR 2006.
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for ensemble
2005-06 | duration: 14'

Commissioned by the Wissenschaftsstadt Darmstadt
Soprano, bass flute, baritone oboe, contrabass clarinet, bass drum, piano, violin, viola, cello
Premiere: Orangerie Darmstadt | 06.08.2006
Petra Hoffmann, Ensemble recherche

In general, it could be said that the act of listening to music is always an act of permanent remembering, as music being played is transience itself and the past and the future combine as the present while it is sounding. While working on Madrigal, however, I looked for musical, compositional possibilities that can trigger memories going beyond the fundamental act of remembrance involved in listening to music. My piece refers to and draws on Antonio Tabucchi's catalogue text »Messaggio dalla penombra« (»Message from the Half-Light«) about pictures by his painter friend Davide Benati. In this text, Tabucchi addresses the barely communicable transition between »eye open/eye closed«, that short moment on the brink of disappearance and the shadowy memory associated with it.

  • Konzertmitschnitt SWR 2006.

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for various intrumental combinations

Commissioned by the Kunststiftung NRW
Trumpet, trombone, percussion (2), guitar, piano and cello (as of 2019)

Note f: perc. (2 players)
Note i: trp. trmb. - perc. (2 players) – gtr. pf. - vc.
Note m: trp. trmb. - perc. (2 players) – gtr. pf. - vc.
Note s: trp. trmb. - perc. (2 players) – gtr. pf. - vc.
Note y: perc. (2 players) – pf. - vc.

Note i and s: Sporthalle am Böllenfalltor Darmstadt | 14 August 2006 | Ensemble Ascolta
Note m: Theaterhaus Stuttgart | 28 July 2007 | Ensemble Ascolta
Note y: E-Werk Freiburg im Breisgau | 28 February 2010 | Ensemble SurPlus Freiburg
Note f: Theaterhaus Stuttgart | 17 July 2010 | Boris Müller and Martin Homann, percussion

Stück=Werk is a musical notebook bringing together ideas from various times that formed or still form the focus of my musical work. From time to time, new impulses and quotes, ruminations on the musical craft and comments on things I have encountered have been added to the existing notebook entries. Stück=Werk (the word »Stückwerk« means »patchwork« in English) has an open form, meaning that the individual entries (notes) can each be played in any number and order as wished and that the letters preceding the notes do not specify the order for a performance.

  • Konzertmitschnitte hr 2006 und SWR 2007.

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ahto. Musik für 8 Instrumente

2008 | duration: 12'

Flute, cor anglais, clarinet, bassoon, horn, trumpet, trombone, double bass
Premiere: Zehntscheuer Rottweil | 19.04.2008
Ensemble Aventure

Composing a piece for four woodwinds, three brass instruments and double bass is a double challenge. First, there is the fascinating »Octandre« (1923) by the musical visionary Edgard Varèse. Additionally, this unusual combination of eight instruments initially seems recalcitrant and does not of itself appear to suggest any particular structures. It was only when I engaged with it at a deeper level, only during the process of composition, that it developed its own dynamic in me. The title ahto, which seems almost like a magical incantation, is mainly just a description of the number of the instrumentalists involved: eight (in Old High German).

  • Konzertmitschnitt SWR 2008.
  • CD Michael Reudenbach. Szenen, Standbilder. Werke 1991–2009. Edition RZ Berlin, Reihe »Parallèle«. 2013.

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for ensemble
2009 | duration: 12'

Commissioned by WDR Köln
Flute, clarinet, bassoon, trombone, percussion, piano, viola, double bass
Premiere: Funkhaus Wallrafplatz Cologne | 28.03.2009
Ensemble Aventure, Bernhard Wulff

At the 3rd International Congress of Psychology in Munich in 1896, George M. Stratton reported on a days-long self-experiment with a system of lenses that flipped the position of the retinal image in the fundus of the eye by 180°. Stratton was investigating whether the retinal image, inverted in comparison with the external world, was a necessary condition for seeing things in an upright position. He negated this but left open the question of whether the world was on its head when upside-down goggles were used or whether his brain remembered how the world had looked previously. Stratton for ensemble is a first compositional experiment looking at (inverted?) perception and the interpretation of perception.

  • Konzertmitschnitt WDR 2009.
  • CD Michael Reudenbach. Szenen, Standbilder. Werke 1991–2009. Edition RZ Berlin, Reihe »Parallèle«. 2013.

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white radiation. LichtKlang-Abtastungen

for robot, objects and 16 strings
2013-14 | duration: 53'

Commissioned by the Philharmonie Luxembourg and the Orchestre Philharmonique du Luxembourg
7 violins, 4 violas, 3 cellos, 2 double basses
Premiere: Philharmonie Luxembourg | 20.11.2014
Solistenensemble Kaleidoskop Berlin

white radiation. Lichtklang-Abtastungen was a joint production by the Stuttgart light artist Joachim Fleischer and me for the Luxembourg festival »rainy days 2014«, which had the theme »switch the light on«. The Berlin Solistenensemble Kaleidoskop also played a large role in the creation and realisation of the music.

  • Michael Reudenbach. white radiation. LichtKlang-Abtastungen – Werkstatttext über eine Gemeinschaftsarbeit. In: MusikTexte. Heft 151. Köln 2016, S. 55–59.

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Fragmente ohne Titel

for 2 x 3 instruments
2016 | duration: variable, at least 9'

Commissioned by the Ensemble Aventure with kind support from the Kunststiftung NRW
piano, percussion, bass clarinet – viola, cello, double bass
Premiere: Elisabeth-Schneider-Stiftung Freiburg im Breisgau | 02.07.2016
Ensemble Aventure Freiburg

Fragmente ohne Titel is a compositional examination of interactive relationships between disappearance and appearance, bringing into existence and removing from existence, construction and deconstruction, securing and deleting. I wrote this music for 2 x 3 instruments for the festival »30 Jahre Ensemble Aventure« (»30 Years of Ensemble Aventure«).

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Hossdorfs Laboratorium

5 model experiments for ensemble in a 360° concert hall
2016-17 | duration: 26'

Commissioned by ZeitRäume Basel – Biennale für neue Musik & Architektur
Flute, cor anglais, (bass) clarinet, 2 pianos, violin, viola, cello
Premiere: Maurerhalle Basel | 21.09.2017
Solistes de l’Ensemble Contrechamps Genève

Hossdorfs Laboratorium was, in the first place, a new challenge for me: learning to musically and compositionally exploit a 360° concert hal. The first musical step towards Hossdorfs Laboratorium was made with the decision to have the »Gitter Projekt« (360° concert hall with central listening positions) take place in the Maurerhalle at the Allgemeine Gewerbesschule Basel as part of the 2017 Biennale für neue Musik und Architektur. With its almost 10-metre-high glass walls and spectacular folded concrete walls and ceilings, the Mauerhalle (Masonry Hall) is an imposing presence amid the seven buildings making up the school campus (1956–61) designed by Hermann Baur. The architect Quintus Miller, while showing me around, drew my attention to Heinz Hossdorf (1925–2006), the construction engineer who was responsible for it.

In 1957, at the age of 32, Hossdorf had set up a private laboratory for model experiments in which he, together with other engineers and physicists, investigated various materials such as concrete, steel, wood and plastic, as well as carrying out elaborate load tests, using scale models, to research complex shell structures. In my piece, the physiognomy of the performance and listening space – a room inserted into the Maurerhalle – plays just as great a role as the exploration of the historical contexts that loom behind the building, as it were. Further, my musical investigation looks at the conditions under which music can be made at all in this unusual system of musical-architectural coordinates.

Hossdorfs Laboratorium is a conceptual work that consists partly of instructions guiding performance and communication. Different listening and performance configurations are tried out in five model experiments in this special 360° space in Basel. Inspired by Hossdorf's love of experimentation, I, as a non-expert in the engineering field, probe some of his ideas and thoughts in relation to music. Everything that can be heard is possible examples of my probing.

  • Anna Katharina Scheidegger. Gitter-Bau Film. 2018

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für Orchester
2017 -...

Commissioned by musica viva Munich