3) Much of your music is what people call "sacred music". Do you consider your belief to be your main inspiration?

 

I am the descendent of a long line of theologians in my family, but at the age of fifteen I lost the Christian faith that had, so to speak, been “laid in my cradle”. For a time I was interested in Marxism, but have gradually come – via detours through Zen-Buddhism, Hindu mantra-meditation and finally an intensive study of Islam – back to Christianity. Today I see myself once again as a definite, believing Christian – though more in an overall, spiritual sense and not in terms of traditional church dogma. Now, however, I can write “Christian music” again with real conviction. For some eight years now, due to a growing demand, I have been working almost exclusively on commission. And since most of my commissions are for spiritual works, my oeuvre catalog has become weighted in this direction. Nonetheless, I have composed a large number of pieces without any connection to religious themes.


 

4) Your piano cycle "Reflections" has its unique voice in piano literature. What are the main aspects (characteristics) of the piano as an instrument that you had in mind when writing this work?

 

In 2008 I composed the cycle “Still-Leben” for piano consisting of 16 meditative miniatures. The listener reactions were so good that, a year later, I decided to write another cycle long enough to fill a concert program or a CD – to be exact: 64 miniatures, i.e. 4 x 16. For the work to fit on a CD, each piece had to be very short. So it came down to maximizing compression while maintaining a consistent mood and “entertainment value”. Judging from the positive audience reactions I seem to have succeeded at this.