2016 “Den du fodrer” 
Puppet theater (lyrics, music and concept)

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2016 “Lost in you” 
For conjoined Clarinet and Soprano Saxophone

2016 “For kun balloner når himlen”
Flute, Harp, String Trio and Video

2013-2017 “Falling Awake”                                      Opera: Sop, KontraTen, Young girl, FL, Cl, Perc, Pno, Vl, Vla, Vlc, Cb, Guit

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2014 “Flight of the Sigh”
Violin and Guitar 
Commisioned by Duo Hellqvist/Munk

2014 "Cover Me"
Guitar solo or guitar ensemble
Commisioned by Mikkel Egelund Nielsen 

2014 "Gemmer mig for Rosetta”     
Clarinet concertino, commisioned by Athelas Sinfonietta. The piece explores the beauty of the insecurity that comes with doing something for the first time. It does so by letting the bassoonist play the solo clarinet - an instrument she dreamed of playing as a child.

2014 "Duet for one" 
Cello duo, commissioned by SPOR festival 

2014 "Piece of glass"     
Glass harp, commissioed by Matias Seibæk

2012 "Romance for conjoined musicians"                 Fl, Cl, Perc, Pno, Vl, Vlc, commissioned by Ensemble Intercontemporain

Excerpt from the piece


2012 "Leopold von Loppenskjolds              Forunderlige Fantasterier"                                Theater

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2011 "Following Rosetta"                                                                   Reed Quartet, commissioned by Ensemble 4Reeds

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Excerpt from the piece

2011 "Jeg er Nissefar"                                              Tv-series


2009 “Let Me Wither In Your Sight”                             2 Percussion players: Glass Harp

Excerpt from the piece

2009 "On The Brink Of A Nervous Breakthrough" Theater: Actor, Piano and Clarinet

2009 "Lilla-be"                                   
Flute (also longer version with string trio and video)

2008 “And Then There Were None”                    Theater/Video

Excerpt from the piece

2007 Tidsrum  for sinfonietta and 12 clicktracks
Timespace is an integrated space / sound experience, and a result of a cooperation with the architect Anna Aslaug Lund. The installation is an investigation of reflections and borderlines between music and architecture, time and space. Our goal is to combine space and time out from the theory of time as a fourth dimension of space. The sound, which express the time, and the space are to be experienced as each other's shadows and blend into each other.
This is done by giving the audiences the opportunity to interact with the installation, through their movement and direction in space. The room is covered with a soundcarpet consisting of 12 different simultaneous sounding pieces of music spread over 12 instruments. The audience can visit each event and understand it as a single phenomenon(a solopiece), get really close to the musician and hear all the tiny fragile sounds, but in the same time experience the instrument in duet with the other instrument besides, you can even listen to the whole room of sounds. The audience path through space defines their perception of time and the composition, this is entirely based on their couriosity. So we free the audience, and give them a choice, letting them choose their own path. If there are infinitely many paths from A to B, there will be infinitely many equivalent versions of the story of the journey through the installation. From ancient times, music and architecture have been symbiotic and often shared the same ideals of proportion and harmony. The dutch trecento composer, Johannes Ciconia's motet to the opening-ceremony of the cathedral in Perugia, Umbria, contains in its structure, the church's architectural proportions, representing a fusion of time and space. For this piece I have selected 4 trecento composers and incoperated selected pieces as tone tissue. Each composer is dedicated to one quarter of the piece. I can in this way open up to a period in history, and as an archaeologist; study theses forgotten magnificent structures.

2006 Dreaming she was Madeleine"                                                            
String quartet, premiered by the Arditti Quartet

Excerpt from the piece

The piece consists alternately of two notation methods: individual exponential acc. and rit. in each voice, easily notated but controlled by clicktracks, opposite similar developments required complex notation due to the fixed common pulse.

The title: Even though she has changed, I hope she sometimes dreams of being the one I used to know.

2005 “Scene 4”                                                                                             (The Opera “Han, Den, Det”), Sop, Ten, 2Sax, 2Pno, 2Perc, 2Vl, 2Vlc               Premiered at the Royal Danish Opera House

Excerpt from the piece

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2004 “Dracula”                                                        Operette: 9 singers, Chamber orchestra, Rocktrio, Choir

Excerpts from the piece   

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2003 “Le ray au soleyl”                                            Four handed Piano and two Clicktracks

Excerpt from the piece

2002 “The Paint Has Come Off In The Rain”                2 Pianists

2001 “The Final Stanza”                                            Piano

1999-2003 “Barock”                                                Progressive Rockband, composer and keyboards

1999 “Brothers Of The Same Earth”                          Music theater for children

© Schwanenflügel Piasecki 2013