On Epimetheus, an inner satellite of Saturn, a group of female separatists has come to believe that the male gender is inherently destructive and needs to be controlled at an institutional level. The men are kept for breeding purposes, while the women of the matriarchy eagerly await the emergence of the "chosen one," known as the prime breeder, who will reach sexual maturity. During the longest day of the year, this prime breeder is expected to pass on their highly regarded genes in a grand ritual ceremony.

However, a significant issue arises: the prime breeder is not drawn to women but instead holds affection for the pig child – a forbidden and degenerate child who exists as a musical slave for the women. This pig child has managed to attend the prime breeder's fertility rite while in disguise. The bond between the prime breeder and the pig child poses a threat to the procreation of future generations and the stability of the matriarchal dictatorship.

In order to survive, they must escape to the moon Janus, the central axis around which their aspirations and desires revolve. This is the point at which the dramatic action unfolds in Lasse Schwanenflügel Piasecki's operetta film "Come with Me to Janus?" This film employs a combination of passion and satirical absurdity to challenge stereotypical gender perceptions and power dynamics in the world.

Piasecki employs what he terms dialectical stylistic pluralism: he actively utilizes music's manipulative capacity to disorient the audience's moral compass and compel them to engage in critical thinking. On Epimetheus, where the events of "Come with Me to Janus?" transpire, communication occurs solely through song. The music holds a seductively naive quality – an illusory children's choir accompanies discontented, conservative, and totalitarian adults with an air of innocent curiosity. The manipulative pathos of the songs effectively maintains normative control over the population.

To establish a new world, the Children's Orchestra must cease playing according to the adults' tune.

Premiere in The Royal Danish Theatre, Dec 2022. Medvirkende: Paulína Šmatláková, Mikkel Alexander Tøttrup, og CRAS Ensemble (Peter Oldrup, Mikkel Egelund, Jacob Nørrelund, Søren Eriksen, Uffe Carl Hansen, Henrik Bay Hansen). Koncept, instruktion, musik: Lasse Schwanenflügel Piasecki Koreografi: Marie Brolin-Tani. Dukkemager: Astrid Kjær Jensen. Kostumer: Julie Amalie Svensson. Lys, og teknik: Hans-Olof Tani, Jesper Hansen, Seppi Nielsen, Svend Bergstrand. Scenebyg: Elverholm, Karsten Mori Hansen, Ole Kloth-Jørgensen, Jesper Hansen. Producenter: Hearmyeyes v. Karsten Krogh Andersen, CRAS Ensemble, Holstebro Dansekompagni v. David Cornelius Price. Samarbejdspartnere: Den irske ambassade i København, James Joyce Centre, Dublin. Med tak til: Det Danske James Joyce Selskab, Winnie Sophia Nielsen, Karsten Krogh Andersen, Seppi Nielsen.

(2013-17), opera

Falling Awake won the Music Theatre NOW competition in 2018.
The prize winners were selected from 436 premiere productions from all over the world, focusing on works which are aesthetically innovative and reflect new developments in this genre.

The jury’s statement about Lasse Schwanenflügel Piasecki’s opera reads:
"In the first place, FALLING AWAKE makes the spectator indeed completely fall for it and willingly surrender to the melodic and visual beauty woven into a seemingly trivial narrative. Eventually, it shakes us awake to face the cruel exploitation of a young girl in the opera that we’ve been uncritically following. Lasse Schwanenflügel Piasecki’s artistic strategy controls and transgresses spectators’ perception in order to reveal the mechanics of manipulation and social exploitation in a most tangible manner. A pertinent reminder and a plea for a more critical approach to the stories we are part of in our life."

Music, Libretto, Director: Lasse Schwanenflügel Piasecki
Scenography: Jannie Rask de Vitt
Choreography: Marie Broling-Tani
Puppeteer: Astrid Kjær
Ensemble: Lydenskab
Conductor: Jakob Hultberg
Cast: Morten Grove Frandsen, Sara Fusager, Ellen Kristiansen and Zhang Xin

Opera. (2016)

Singer: Annemette Pødenphandt
Puppeteer: Astrid Krag
Scenography: Astrid Krag
Music, Libretto, Director: Lasse Schwanenflügel Piasecki

(2018), concert/film

Commissioned and premiered by
Frederik Munk Larsen and Karin Hellqvist

Programme:
I. Serenade (I miss you)
II. Proposal (tell me something)
III. Curtain! (only illusions excites you)

The musicians make live images appear from the music: A man inclines for a pair of silent lady hands in the window frame. The violin speaks his voice.
Reconstructed musical instruments simultaneously create music, words and images.
But some of the reality is always left out of the picture frame, since deselection is always til invisible twin of composition. Both children are born out of a betrayed world, that always cuts off the unintended, because it can’t be tamed or made up.
Pleasure is never found in clarity but in intoxication, in passion, in exaltation, in illusion.

The piece includes extracts from the poem “Serenade" by Edgar Allen Poe.
WARNING: The piece uses strobe lights.

Clarinet Concerto, (2014)

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.

"Gemmer mig for Rosetta" was premiered by the Athelas Sinfonietta in 2014 at the KLANG Festival in Copenhagen.

The piece was rewarded with a price in 2014 by The Danish Art Council.

Flute solo, (2009)

Duet for one cello (2014)

CELLO :

My Hellgren
Emelie Molander

SPOR 2014

FESTIVAL FOR CONTEMPORARY MUSIC AND SOUND ART

String quartet, (2006)

(excerpts from the piece)

Arditti Quartet

Louisianna Museum of Modern Art

december 2006

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.