Artist and overtone-singer, he was born 1968 in Dresden. He began his musical career 1979 at the child choir of the state opera Dresden and changed 1985 to the saxophone. Apart from the occupation with overtone singing and ethnic instruments he studied jazz saxophone at the HfM Dresden. First simple sound objects developed around 1990. A musical meeting with Bob Rutman in the middle of the 90’s gave impact to more complex own developments, to those 1999 the establishment of the ensembles “Stahlquartett” and “Steelharmonie” followed. He was member of the “ensemble creative” (2001) as well as in the Festival Ensemble of the TFF Rudolstadt (2003) and started the overtone festival “Lausch-Rausch” in Dresden (2003). He received the advancement award of the city Dresden 2008. For more informations click on:
For me he was a great surprise, by his sounds I feel a lot of sadness and melancholy, but it is only a my opinion. He shows me a sounds-world playing with vocal and instrumental overtones, with a great technique.
I suggest for you three tracks:
Der garten der steine – for overtone singing and stahlcello
Orpheo’s angel – overtone singing
Example – for overtone singing and stahlcello
The Stahlcello is a form of a string instrument. The iron-made constructions were designed for the realization of complex compositions and harmonies.
The development of the Stahlcello stands in the tradition of the nail violins of the late 18th century, Ernst Chladnis’ experiments with vibrating plates around 1800, various instruments with mechanically bowed rods of Romanticism and the Bow Chimes built in the 1960s by Bob Rutman.
26 steel rods of different lengths are fixed on two iron rails. These are connected to a steel plate, which amplifies the sound and creates resonances and delays.
Especially deep tones evolve slowly with a long delay. If played faster the tones interfere with each other in the resonator plate and create subharmonic and combination tones. These overlays are a musical medium as well as an upper speed limit for counterpoint structures.
When playing, the rods are bowed on both sides of the rails. Therefore each instrument has a range of four octaves. There is a version for each of the bass, tenor, alto and soprano sections. The combined range of the four instruments is greater than the range of a classical string quartet.
With four further instruments the range can be extended to tones close to the limits a human ear can hear.
By this video you can see and listen to the Stahlcello in action:
I see glacial landscapes.