Contemporary Music


Once I sat and listened (2017)

for Asian Ensemble

Ins Freie (2016)
commissioned by Sommerlichen Musiktage Hitzacker and Deutscher Musikrat

for large ensemble

Thar (2016)
commissioned by Deutscher Musikrat

for saxophone and piano

Von Windfarben und leisen Geburten (2015/16)
commissioned by Deutschlandfunk

for large ensemble

Fantasia (2015)

for two violins

Intimacy (2014)

for violin and piano

Mon rêve familier - after Paul Verlaine (2014)

for singing cellist or voice and cello

Ghostbird (2014)

for violin, clarinet und piano

Idumea revisited (2012)

for string quartet

...est un fleuve tranquille (2012)

for violin solo

Bagatelles (2012)

for flute, oboe, clarinet, bassoon, horn, trombone and percussion

fever (2012)

for clarinet, viola and cello

through a bell I hear your voice (2012)

for fiddle, violin, clàrsach and harp

they shall have stars at elbow and foot (2011/12)

for large orchestra

Der Abgrund (2010/11)

chamber opera for mezzo soprano with ensemble (piccolo, alto flute, trombone, percussion, harp, 3 violas, 1 cello und 2 double basses), ca. 20 min.

What lies beneath (2010)

for violin, cello and piano

to order sheet music please contact damian: mail[at]


Von Windfarben und leisen Geburten - commisioned by Deutschlandfunk 2016 Deutschlandfunk Logo

performed by ensemble 20/21, conducted by David Smeyers

Idumea revisited

for string quartet This one-movement string quartet is based on a song of the so-called sacred harp. Always sung a capella and in a rough forte, sacred harp songs are part of an American tradition dating back to the first immigrants. The roots of this musical tradition lie in renaissance composing techniques and evolved in the rural south of America. The melody of Damian's favorite sacred harp song, Idumea, forms the foundation of this string quartet. Idumea addresses struggle of finding sense in life in the light of death.
In composing this work, Damian stretched the harmonic structure so that he could walk through the chords as though through a landscape. Following the sacred harp tradition he doubled voices (bass can be sung by treble singers as well...) and wrapped single pitches in additional fifths over and underneath. Since the song’s simple harmonic structure consists of just a few chords Damian was able to dive into them and work out different styles of intonation. The juxtaposition of just intonation, flageoletts and open strings leads to a levitating sound and an authentic sacred harp experience with its unpolished but passionate singing.
Idumea revisited was first performed and recorded by the Formalist Quartet from LA - Andrew Tholl (violin), Mark Menzies (violin), Andrew McIntosh (viola), Ashley Walters (cello).

Once I sat and listened (2017)

for the Asian Youth Ensemble conducted by Peter Veale

Ghostbird - Preis des Deutschlandfunk 2015 Deutschlandfunk Logo

for Violin, Clarinet and Piano

Katharina Giegling (Violin), David Kindt (Clarinet), Helge Aurich (Piano). Ghostbird was awarded the 1st Prize at the composition competition of the Deutscher Musikwettbewerb. This is the recording by Deutschlandfunk of the premiere of the piece.

...est un fleuve tranquille

for violin solo In this piece, Damian meditates on life: to him it is like the flow of water.
While he was composing he imagined himself sitting in a boat that the river carries downstream. The boat sways gently in the glittering water and it drifts around impediments with ease.
As the piece continues the river starts to agitate and the boat is pulled into vortices and rapids. In the end, however, the river grants a moment of inner peace before it releases the boat into the open.
...est un fleuve tranquille was first performed and recorded by the American violinist Sarah Saviet.

the circle of the phoenix

for large orchestra Damian composed this orchestral piece in his first year of University. During this time he was highly fascinated by Isang Yun’s music - after much detailed study of his orchestral works Damian felt compelled to apply his inspiration into an orchestral work of his own. The importance of spirituality in Yun’s music is referred to in the Taoist theme of this piece: the endless circle of the mystic bird that rises from ashes, lives, bursts into flames and is resurrected.
the circle of the phoenix was first performed by Orchester des Nordharzer Städtebundtheaters Halberstadt, conducted by Johannes Rieger.