After the premiere (from l. - r. : Me, Jie Wang ( Violin) , Leon Sundermeyer (Piano) ,  Miguel Jiménez (Viola), Hans Schröck (Cello))
After the premiere (from l. - r. : Me, Jie Wang ( Violin) , Leon Sundermeyer (Piano) , Miguel Jiménez (Viola), Hans Schröck (Cello))

The two premieres of my recently composed Piano quartets "Is It 5?" and "From a Place of Gloom" were a success!


Before I get into the details and the circumstances of the concert, let me use this opportunity to thank the parties involved in making these premieres happen in the first place:


Thank you Jie Wang, Leon Sundermeyer, Miguel Jiménez and Hans Schröck for embracing the challenge and performing the two works on stage!

Thank goes out to Saule Tatubaeva who has been supporting me for the last months and making this concert a possibility!

Thanks to the Förderverein für Kunst, Medien und Wissenschaft e.V. and their members for supporting both artists and science and also offering them a platform to demonstrate their chosen skills. I’m very humbled by the given, and ongoing, support.

During the premiere
During the premiere

This particular premiere was a little bit different compared to what the usual pre-premiere procedure is – means I’m physically at the rehearsals and can take part in them. In all my previous premieres I had the chance (or maybe the luxury?) of being able to visit the rehearsals in person. Due to time constraints this was sadly not feasible and we had to improvise and made a recording during one of the rehearsals and see where we can go from there. In retrospect it was a pretty exciting experiment since it basically meant that my music and notation alone has to communicate what the character of the pieces will be. It’s a rather educational experience since you get a good glimpse at what your score communicates with the performers and also what not. Looking at the final performance I’m happy to say that it sounded pretty much the way I envisioned it during the creative process.


Since most of my recent work was focused around symphonic orchestra, having a premiere of a small ensemble was a breath of fresh air. I was somewhat nervous because I hadn’t worked with this specific ensemble before and didn’t really know what I was getting myself into, but it worked quite well. The quartet played the pieces very passionately considering the fact that they are quite tricky to get into because they aren’t really “classical” in a traditional sense - more so on the jazzy side I would argue. I wish Leon, Jie, Miguel and Hans all the best for their future endeavors and hopefully our paths will meet again and some shape or form.


The concert was also the first time that members of the Förderverein had a chance to listen to my work and I’m quite happy that they enjoyed it. Many people came to me past premiere and we had good talks about music and many more things. Thank you to everyone who showed up!


I'm happy to finally announce the date for the upcoming premieres of my two piano quartets "From a Place of Gloom" and "Is It 5?".


Both works will be performed as part of the concert series called "Junge Talente - Wissenschaft und Musik" which usually features upcoming talents from the area of Karlsruhe. The quartet performing the concert will consist of Leon Sundermeyer (Piano), Jie Wan (Violin), Miguel Jiménez (Viola) und Hans Schröck (Violoncello). The series is a cooperation between the Karlsruher Institut für Technologie and the Förderverein für Kunst, Medien und Wissenschaft and is usually happening in one of the many possible concert venues the KIT campus offers. The aim of this concert series is to build a bridge between music and science which also means that the concert won't just be about music, it will also feature a presentation about one of the many different research areas the KIT is investigating.


The concert will take place on the 5th of Juli in KIT Nord at 17:30:


KIT, Campus Nord

Geb. 101, AULA FTU

Hermann-von-Helmholtz-Platz 1

76344 Eggenstein-Leopoldshafen


More Information


The premiere of my new work “Der Hirschsprung“ came to a very successful conclusion amidst the opening concerts of the Schwarzwald Musikfestival with Philharmonie Baden-Baden and Mark Mast conducting. 

Right before rehearsals in Baden-Baden
Right before rehearsals in Baden-Baden



In pretty much all cases, the days before the rehearsal are a true terror for me. Images of failure zip through my brain and I prepare myself for an upcoming total disaster during rehearsals – anything can and will go wrong. No matter how often I’m facing this situation, it’s hard to not get affected by it mentally. On the flipside, this unnerving feeling will disappear as soon as the first seconds of a new work have been played by the orchestra and the situation at hand becomes much less abstract in my mind. “Der Hirschsprung” is not an easy piece to perform and has some unique challenges, both for the musicians individually and the orchestra collectively, to overcome. Especially the first part is rhythmically challenging and keeps all the musicians on their toes because it’s nearly 5 minutes of tutti orchestra banging on the door and introducing the first image of the work, the knight.
One of the coolest things to experience as a composer that with each rehearsal, even each play through, the face of a new work becomes more on more clear and nuanced. The musicians start to get a feel for their parts, the conductor feels the tempi by sheer musicality, everyone listens to each other and understands the inner workings of the new piece, the sound of it, the energy in it. Rehearsals went great! Mark Mast really embraced the challenge and it was very apparent that he enjoyed the piece and wanted it to be the best it can be at our first concert stop in Freudenstadt. With its duration of ~16-17 minutes it took us pretty much all of our rehearsal time (~6 hours) to get it to a proper and presentable stage.

Photo: Hans-Michael Greiss­
Photo: Hans-Michael Greiss­



The premiere of “Der Hirschsprung” has been performed in 3 different cities across the black forest. Every single concert had its very unique vibe and it was quite interesting to see how the different locations changed how the music feels on the receiving end. We gave concerts in Freudenstadt, Grafenhausen and Bad-Wildbad – especially Grafenhausen was unique since the stage was set up in the warehouse of a huge German brewery.

Our small tour started in Freudenstadt in the Stadtkirche, an interesting church to say the least since it’s not your basic one long room but rather a room that is spaced in a 90° angle. The energy in the crowd was exstatic, it felt like people really wanted to enjoy a proper concert again, after Corona things are still quite wonky and uncertain, but at this evening nothing of that was perceivable. My work opened the evening so I had like no time to prepare myself mentally for what is bound to happen in the next 20 Minutes. And it went super well, the orchestra delivered their best performance yet and with the help of the room the orchestra sounded massive. The sound literally ensnared you and made you feel like you are sitting inside the orchestra. Once the piece ended the crowd erupted in applause and continued that for what felt like 10 minutes, I was on stage too – that felt really good.

Me and Mark Mast in Grafenhausen Rothaus
Me and Mark Mast in Grafenhausen Rothaus

Next stop: Grafenhausen. As I mentioned before, the location for today was basically a warehouse and I was worried about the acoustics in such a unique space. Maybe it has too much reverb, maybe the room eats all the reverb? I couldn’t know before we had our concert there and to my surprise the room actually sounded quite well for what is usually considered something very different than a concert location. The second performance of “Der Hirschsprung” was very well embraced again, the orchestra stepped up again and it was noticeable that they got more comfortable with playing it.

Last stop: Bad Wildbad. The week of the concerts was quite draining, we had lots of rehearsal time, lots of travel time mix that with a lot of emotions and I started to feel it. There was still a lot of reason to be enthusiastic since we had a recording engineer booked for today's concert. Werner Grabinger already made a recording of the premiere of my “Fantasy for Violin and Orchestra” and I was excited to have him on duty again. The orchestra delivered another great performance of the piece and the recording sounds great and is luckily something I’ll be listening to several more times over the coming days.


Looking back


I didn’t really grasp what I was expecting from this premiere but I can safely say that I didn’t expect “that”. The feedback from all parties involved may it be the crowd, the musicians, the conductor or the press, all of it was overwhelmingly positive and really helped in staying motivated since the last 2 years of Corona where quite the challenged and draining. I feel very lucky to have been part of this series of concerts and my deepest gratitude goes towards Mark Mast who, without an inkling of hesitation, trusted me to create something worthy of presenting. I also wanted to thank the whole team from Schwarzwald Musikfestival, notably Julia, Julius, Simon! Thank you for having me and thank you for making this a memory I’ll treasure for a long time! And a special thank you to Yasushi Ideue, concert master of the Baden-Baden Philharmonics who, yet again, played an incredibly touching Solo in the second part of the piece!




Yasushi Ideue , Me , Pavel Baleff and Baden-Baden Philharmonics
Yasushi Ideue , Me , Pavel Baleff and Baden-Baden Philharmonics

Some very intense days of music are behind me and with that, and a 2 year Corona delay, the premiere of my “Fantasy for Violin and orchestra” is done.  It’s fair to say, that my expectations of the concert have been exceeded, exceeded to an extend that I wouldn’t have dreamt of beforehand. I feel deep gratitude to all the people who participated in this process and made it a memory that I’ll hold on dearly for a long time.

My thank goes to Yasushi Ideue, who played the solo part and also was the initial spark for the mere existence of this work in asking me, and trusting me, to write this piece with and for him. I can’t think of any other person who would have made this process more joyful, respectful and inspiring. His contribution to this work is hardly put into words, his artistry is and was my driving force when composing it back in 2017.


My thank goes to Pavel Baleff, current chief conductor of the Baden-Baden Philharmonics and conductor of the premiere, for giving me and Yasushi the opportunity to have this premiere being played on the same stage with giants of the classical realm like Strauss or Bruckner. It felt very good to see and hear this piece come together during rehearsals, I felt very understood and well represented with my musical ideas.


My thank goes to the Baden-Baden Philharmonics for, over the years, helping me to grow as an artist, taking part in my development and offering me a musical home. I’m so happy that I was able to have this premiere in Baden-Baden and with this orchestra, the piece is more or less dedicated to this very city and no other orchestra could have performed and given it the meaning it is supposed to have other than them.


And another big thank goes out to the audience for taking part in the premiere and showing me and Yasushi that it was worth the wait and troubles, the positive energy at the end of the premiere was infectious and heart-balm, showering us in applause for 3 minutes straight. After a rough couple years it was a joy to finally being able to feel the feedback from a crowd again, something I missed dearly during the worst parts of the pandemic.


Lets hope for several more performances in the future!


Am 12.03.22 wurde "Nachtlied" im Rahmen des "Unter Sternen" Passionskonzert in der Lutherkirche Baden-Baden durch das Collegium Musicum Baden-Baden, unter Leitung von Fabian Kühn, uraufgeführt. Es war die erste Zusammenarbeit mit dem Baden-Badener Chor, der das Werk bei mir in Auftrag gegeben hat. Umso mehr freut es mich, dass diese Kooperation etwas so außergewöhnliches geworden ist. Das Konzert war ein audiovisuelles Erlebnis, das viele unterschiedliche Kunstformen, wie z.B. Rezitation, Improvisation oder Lichtshow auf der Bühne zu einem einzigen großen, durchlaufenden Konzept verband.


Die Uraufführung meiner Komposition für Chor fand zum krönenden Abschluss des Konzerts statt. Das Werk selbst basiert auf dem gleichnamigen Gedicht "Nachtlied" von Friedrich Hebbel. Es war eine besondere Aufführung, nicht nur weil es eine Uraufführung war, sondern auch weil der letzte Teil der Komposition durch das Spiel von Zimbeln, Glocken und Chimes durch den Chor nochmals eine Klangqualität in das Konzert gebracht hat die vorher nicht zu fühlen war. Nachdem der letzte Ton verklang gab es fast 10 Sekunden Stille, eines der größten Komplimente in meinen Augen, danach brach es aber heraus und der Applaus war kaum zu stoppen.


Am Konzert nahm unter anderem auch Max Langer(Klavier), Antje Keil(Rezitation) sowie Jens-Peter Kühn, der die Lichtinstallation entwickelte hatte, teil.

Vielen Dank an Fabian, dem Chor und den anderen Akteuren für die schöne Erfahrung und die spannende Zusammenarbeit!

Erschienen in: BT 14-03/2022 , Nr.143
[...] erklang zum Schluss des Programms noch eine bemerkenswerte Uraufführung aus der Feder des 1990 geborenen Baden-Badener Komponisten Fabian Joosten: Das „Nachtlied“ auf ein Gedicht von Friedrich Hebbel brachte mit seinen durchaus modernen, aber tonalen und keineswegs sperrigen Klängen auch versöhnliche, hoffnungsvolle Aspekte des Themas Passion, Trauer, Nacht und Verzweiflung ins Spiel. [...] (Karl-Heinz Fischer)


Ich freue mich sehr über die Zusage für ein Stipendium und somit eine Förderung für mein eingereichtes Projekt "Der Hirschsprung" vom Land Baden-Württemberg. 


Das Projekt wird gefördert durch ein Stipendium des Ministeriums für Wissenschaft, Forschung und Kunst Baden-Württemberg.


Die Idee zu diesem musikalischen Projekt basiert auf der Sage des Hirschsprungs über das Höllental, eine der zahllosen bedeutsamen Erzählungen aus dem Schwarzwald: 


"Ein Ritter der Burg Falkenstein soll auf einer Jagd einen prachtvollen Hirsch durch den Wald gehetzt haben. Schließlich gelangte das erschöpfte Tier zur schmalsten Stelle hoch über dem langen und tiefen Höllental. In seiner Not setzte der Hirsch zu einem gewaltigen, unvorstellbar weiten Sprung über die Schlucht an und entkam so seinem tödlichen Schicksal."


Die Sage hat bis heute Bedeutung in der Region um die Gemeinde Falkensteig, so erinnert ein Denkmal an den Hirsch und seinen Sprung über das Tal. Eine Fahrt durch die Schlucht ermöglicht einen Blick auf die Statue, majestätisch stehend auf einem Felsvorsprung, sie gehört zu einer der großen Attraktionen einer Durchquerung des Tals.


"Der Hirschsprung" ist eine 3-teilige Komposition(in Form einer Symphonischen Dichtung), die die wesentlichen Elemente der Sage musikalisch erzählt:

  I. Der Ritter
  II. Der Hirsch
  III. Die Jagd und der Sprung

Die Uraufführung des Stücks findet im Rahmen des Schwarzwald Musikfestival im Mai 2022 statt. Die 3 Konzerte werden unter der Leitung von Mark Mast, Intendanten des Musikfestivals und der Bayerischen Philharmonie, zusammen mit der Philharmonie Baden-Baden stattfinden, die Daten sind wie folgt:

  20. Mai Freudenstadt - Stadtkirche 19:30 Tickets
  21. Mai Grafenhausen - Brauerei Rothaus 19:30 Tickets
  22. Mai Bad Wildbad - Kulturzentrum Trinkhalle 19:30 Tickets

Ich freue mich sehr darauf mit euch zusammen den Hirschsprung das erste mal live zu erleben. 


Mein herzlichster Dank geht an das Land Baden-Württemberg, für das in mich gesetzte Vertrauen und die finanzielle Förderung des Projekts. Ich bedanke mich ebenfalls bei Mark Mast, der unter anderem auch die Uraufführung von Kheer Tal  dirigierte, und zuletzt dem Schwarzwald Musikfestival für das Interesse an dieser spannenden Kooperation.

Foto des Hirschdenkmals im Höllenpass - © Tourismus Dreisamtal e.V.
Foto des Hirschdenkmals im Höllenpass - © Tourismus Dreisamtal e.V.


Ich freue mich sehr über die Zusage eines Stipendiums des Fördervereins für Kunst, Medien und Wissenschaft e.V. .


Der Karlsruher Verein, der mittlerweile über 300 Mitglieder hat, widmet sich seit 20 Jahren der Förderung junger Talente im Bereich der Wissenschaft und Musik, außerdem organisiert der Verein mehrmals im Jahr Konzerte aus der Reihe "Junge Talente - Wissenschaft und Musik". Die Konzertreihe soll den Dialog zwischen den Naturwissenschaften und der Musik fördern und die Gemeinsamkeiten der Beiden, eigentlich fremden, Sphären herausstellen. Der Verein arbeitet eng mit dem Karlsruher Institut für Technologie, welches zu den forschungsstärksten deutschen Instituten im Bereich der Ingenieur- und Naturwissenschaften gilt, zusammen, so finden viele der organisierten Konzerte in den Räumlichkeiten des KIT statt.


Saule Tatubaeva, künstlerische Leiterin des Vereins und Professorin für Klavierkammermusik an der Hochschule für Musik Karlsruhe, begründete Ihre Entscheidung wie folgt:


Ihre Kompositionskunst hat uns - immerhin sind alle Professoren der Karlsruher Musikhochschule in unseren Reihen - in besonderer Form beeindruckt. Ich selber muss sagen, dass ich weder in meiner Zeit am Tschaikowski-Konservatorium noch an der Musikhochschule Karlsruhe einem Komponisten begegnet bin, dessen Werke mich ähnlich intensiv berührt und bereichert haben.

In Ihrer Musik begegne ich - fernab technischer Kriterien wie Instrumentierung, Tonsatz etc., die sind übrigens auf höchstem Niveau - grenzenloser Energie des Kinderspiels ebenso wie stillem Frieden und starker Emotion. Alles durchwurzelt von einer umwerfend positiven Energie. Wie lange habe ich drauf gewartet, wieder solche Klänge entstehen zu sehen. Musik als Balsam für die Seele. In unserer emotional so verarmten Zeit ist das der Schlüssel in das Paradies des tief empfundenen Glücks.


Im Rahmen des Stipendiums habe ich mich der Komposition eines Werks für Klaviertrio gewidmet, das neue Werk, "From a Place of Gloom" soll dann zu einer der vielen Veranstaltung aus der oben genannten Konzertreihe, in Kooperation mit weiteren jungen Talenten aus dem Raum Karlsruhe, seine Uraufführung finden.


Ich möchte mich ganz herzlich bei Frau Dr. Saule Tatubaeva, der künstlerischen Leiterin des Vereins und Professorin für Klavierkammermusik an der Hochschule für Musik Karlsruhe, für das Vertrauen und die finanzielle Unterstützung meiner Arbeit bedanken. Ich bin sehr gespannt auf die anstehende Uraufführung und freue mich sehr auf die mir bevorstehende kreative Arbeit.