Territorial Refrains for flute, clarinet, melodica, percussion (glockenspiel, wood blocks), violin, viola and cello (100’) (2022) 61 p.

Two Scrolls from Western Australia for alto saxophone, guitar and field recordings (48’) (2021) 14 p.

The Lost Ones (Incidental Music) for flute, horn, viola, viola da gamba and two violoncelli (6’) (2020) 9 p.

三字 (three characters) for flute, horn, viola and two violoncelli (11’) (2020) 11 p.

one year (changes) for clarinet, trombone, electric guitar, cello, double bass and sine tones (24’) (2019) 14 p.

Grain Canons for flute, cello, percussion and piano, all playing grain percussion (12’) (2016) 11 p.

Grounded Cloud for percussion, guitar and electronics (20’) (2015-16) 11 p.

Extinguished for piano (four hands), violin, clarinet, bass clarinet, concertina, electronics (2014) (30’) 20 p.

The clock doesn’t chime for trombone, two guitars (one player) and electronics (30’) (2014) 20 p.

Concentric Rings in Magnetic Levitation for three musicians (58’40”) (2010-11) 12 p.

Different Weather (5 Skies) for flute, violin, viola, violoncello, performer and electronics (27’) (2010) 10 p.

asleep, forest, melody, path for musicians and field recordings (60’) (2013) 8 p

asleep, stone, clarinet, change for clarinet, flute, guitar, trombone, violoncello and performer (12’) (2013) 4 p

asleep, street, pipes, tones ­– (e-guitar, bass clarinet, electronics) (65’) (2009) 7 p.

asleep, street, pipes, tones ­– (bass clarinet, cello, e-guitar, keyboard, percussion) (65’) (2009/17)

fields have ears (5) (vapor) for flute, bass clarinet, percussion, violoncello and piano (33’30”) (2010) 3 p.

fields have ears (3b) for piano, violin, contrabass, electronics and objects (30’) (2010) 7 p.

fields have ears (3a) for piano, contrabass, electronics, objects, field recordings (30’) (2009) 7 p.

E lá fora (electric guitar, harmonium) (12’ minimum) (2008) 5 p.

Chords, Partially Obscured (cl., vla, cello, harmonium, e-guitar, electronics) (15’) (2008) 6 p.

Ascending Series 7 (evaporation) (for strings, percussion and electronics) (33’30”) (2010) 5 p.

Ascending Series 6 (for trombone, electric guitar and sine tones) (ca. 38’30”) (2009) 4 p.

Ascending Series 2.3 (for flute, clarinet, trombone, cello and two guitars) (10’) (2010)

Ascending Series 2.2 (for flute, violin, viola, violoncello, percussion) (10’) (2009) 4 p.

Ascending Series 2.1 (for flute, clarinet, electric guitar, trombone, violoncello) (10’) (2008) 5 p.

silently on the forest path for viola and violoncello (14’) (2007) 1 p.

pianos in the field (4 pianos, 6 loudspeakers) (53’) (2007) 9 p.

The Decomposition of the Real (II) viola and piano (20’), (2006) 5 p.

The Decomposition of the Real (I) (three to six violins (10’), (2005/6) 22 p.

for Bill Karlins violin and piano (6’) (2006) 2 p.

five pieces on texts by francis ponge (all for speaker, two woodwinds, piano and vibraphone), 35’ each (2004) (5x9 p.) 

rain (pluie), the crate (le cageot), bread (le pain), moss (la mousse), oyster (l’huître)

interference (2), speaker, woodwind, chord instr., electronics (20’) (2002/05) 4 p.

figment light for fl, cl, marimba, vln, vc, harm., (54’30”) (2004) 50 p.

interference (1) for violoncello, e-guitar, electronics, record player (54’) (2004) 5 p.

ruines vrai refuges (composed silence) for fl, cl, vln, harm (15’) (2003) 4 p.

rapport abstrait for two electric guitars (ca. 40’) (2003/4) 7 p.

80 flowers  for flute, viola and performance (80 x 2’40”) (2003) 83 p.

Tranquility for flute, clarinet, percussion, piano, violin, viola, violoncello (24’) (2002) 8 p.

Transparence for flute, clarinet, trombone, percussion, piano, violin (60’) (2002) 20 p.

averér local for clarinet and percussion (43’) (2002/2009) 7 p.

eyelet (2) for two speakers, violoncello, sine tone, clarinet, marimba, gtr/pno, radio and noises (88’) (2002) 45 p.

void atween for clarinet, violin and two celli (62’30”) (2001) 10 p.

The edges, the center for flute, violin and piano (30’)(2002) 3 p.

with Pim, for violin and violoncello (3 x 30” or 10’) (2001) 2 p.

Turning for clarinet and percussion (15’) (2001) 4 p.

avant, avec, après for flute and percussion (60’–90’) (2001) 5 p.

A Sea of Ptyx for marimba and guitar (with texts by Oswald Egger) (25’) (2001) 13 p.

Boswell for flute, clarinet, piano and guitar (48’) (2001) 12 p.

A moment for one percussionist (variable duration) (2000) 2 p.

Exchange for two violins (84’–169’) (2000) 8 p.

Unvoiced for two violoncellos (55’) (2000) 10 p.

Unsicher, sanft und ohne ungeduld for trombone and violoncello (54’) (2000) 10 p.

Salamander, chrysalis, fire for oboe, violin, viola and violoncello (18’) (2000) 14 p.

encounter (2) for flute, percussion, piano, string quartet (60’)(1998) 7 p.

zwischen for two violins (20’) (1998) 6 p.

this and that for two oboes (20’) (1997) 6 p.

here (5) for wind quintet (40’) (1997) 15 p.

here (4/1) for string quartet (18’–180’) (1996-7) 44 p.

here (3) for oboe, violin and violoncello (27’30” or 58’50”) (1996/2001) 20 p.

here (2/1) for flute and accordion (18’) (1996) 8 p.

distance (III) for wind quartet (10’) (1997) 20 p.

distance (II) for string quartet (10’–80’)(1997) 32 p.

bow for three violins (variable) (1994-5) 42 p.

The Line for 2 euphoniums, F and C tubas (10’) (1995) 12 p.

page for string quartet (27’) (1994) 34 p.

leaves for violin and guitar (36’– 43’) (1993/1994) 48 p.