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Poppe, Enno

Stage works
Orchestra works
Ensemble works
Chamber music
Vocal music
Solo works



STAGE WORKS

IQ • [2011/12]
Test battery in eight acts; Text: Marcel Beyer
tester (Spr/A). test leader (S). female test person (Ms). male test person(Bar). assistant 1 (Key/Comp). assistant 2 (perc./requisits).
0. 0. 2 (BCl. 2 D.BCl). Sax (Asax. Barsax). 0. / 1 (Twtb). 1. 0. 0. / 2 Perc. Acc (quarter-tone). Key (with technique/computer keyboard). / 1. 1. 1. 1. 1. / live-el. (all vocalists and instrumentalists except the test leader and acc. play guitar)
software on request
World Premiere: Schwetzingen, 27.4.2012
Duration: full length
Sy. 3994

Arbeit Nahrung Wohnung • [2006-2007]
stage music for 14 gentlemen; Text: Marcel Beyer
Robinson (speaker/singer), Freitag (speaker/singer)
Ct. T. Bar. B. / 4 Perc. 4 Key (Pno).
software on request
World Premiere: Munich, 19.4.2008
Duration: full length
Sy. 3695

Interzone • [2003/2004]
songs and pictures for voices, video and ensemble; Text: Marcel Beyer
Spr (Bar). 2 S. A. Ct. B.
1 (Picc. Bfl). 1 (E-Hr). 3 (3 BCl. D.B.Cl. Cl in E flat). 2 Sax (2 Sopsax. Altsax. 2 Barsax). 0. / Acc. 2 Key (Cl). 2 Perc. / 0. 0. 0. 0. 0. / Video on request
Scenic performances require screens for video projections (by Anne Quirynen, contact on request).
software on request
World Premiere: Berlin, 2.9.2004
Duration: 78'
Sy. 3607



ORCHESTRA WORKS

Schnur • [2019]
for violin solo and orchestra
2.2.2.2 - 2.2.0.0 - timp.2perc - 8.7.5.4.2
World Premiere: Bonn, 24.9.2019
Duration: 20'
Sy. 4965

Fett • [2018-2019] 
for orchestra
4.4.4.4 - 4.4.4.0 - 14.12.10.8.6 (min)
World Premiere: Helsinki, 10.5.2019
Duration: 25’
Sy. 4809

Torf
• [2016]
for orchestra
3.3.3.Kbkl.3 4.3.3.1. Akk.2Hfe.3Schl. 14.12.10.8.6.
World premiere: Essen, 30.10.2016
Duration: 20‘
Sy. 4483

Ich kann mich an nichts erinnern • [2005-15]
for choir, organ and orchestra
3.3.2.Bclar.3 – 4.3.3.1 – 3Perc.2Hp – 14.12.10.8.6
World premiere: Munich, 8.5.2015
Duration: 27‘
Sy. 4347

Filz • [2014]
for viola solo and strings
4Cl – strgs (4.4.4.4.2)
World premiere: Vienna, 11.4.2015
Duration: 25‘
Sy. 3715

Welt • [2011/12]
for large string orchestra
16. 12. 12. 12. 8.
at least 4 D.B. 5-string
World Premiere: Munich, 17.2.2012
Duration: 24'
Sy. 3993

Markt • [2008/2009]
for large orchestra
3 (Picc. 2 Afl). 1. Eng.Hn. 3 (Cl in E flat. BCl). Ssax (Tsax). Asax (Barsax). 2 (C.Bn). / 4. 3. 3. 1. / 5 Perc. Hp. Pno (Cel). / 14. 12. 10. 8. 6.
World Premiere: Cologne, 13.9.2009
Duration: 17'
Sy. 3940

Altbau • [2007/2008]
for orchestra
3 (Picc. Afl). 2. Eng.Hn. 2. BCl. 3. / 4. 3. 3. 1. / Hp. 4 Perc. / 14. 12. 10. 12. 6. or 14. 12. 10. 10. 6. or 14. 12. 10. 8. 6.
World Premiere: Donaueschingen, 17.10.2008
Duration: 15'
Sy. 3927

Keilschrift • [2006]
for orchestra
3 (Afl, Bfl). 3 (2 Eng.Hn.). 3 (BCl.). 3 (C.Bn). / 4. 2 TenWtb (2 Hn). 3. Btr. 3. 1. / 6 Perc. Cel. 2 Hp. / 0. 0. 10. 8. 6.
World Premiere: Donaueschingen, 21.10.2007
Duration: 20'
Sy. 3719

Obst • [2006]
for orchestra
3 (Picc. Bfl). 3 (Eng.Hn.). 2. BCl. 3 (C.Bn). / 4. 3. 3. 1. / Pk. 4 Perc. Cel. Hp. / 14. 12. 10. 8. 6.
World Premiere: Munich, 23.2.2007
Duration: 17'
Sy. 3718



ENSEMBLE WORKS (6 instruments and more)

Teppich • [2020] 
for ensemble and soprano
World Premiere: 
Duration: 8' 
Sy. 5723

 Prozession • [2020]

for ensemble
1.1.2(2=sax).0 - 1.2.1.1 - 4perc.2synth.e-gtr - 1.1.1.1.1 - dir
World Premiere: Tallin, 24.10.2020
Duration: 45'
Sy. 4987

Rundfunk •[2018]
for nine synthesizers
World Premiere: Donaueschingen, 20.10.2018
Duration: 60'
Sy. 4414

Schrauben • [2017] 
for 13 precussionists
13perc
World Premiere: 05.05.2018 Hamburg
Duration: 17'
Sy. 4807

Fleisch 
• [2017] 
for saxophone, electric guitar and drumset
sax, e-git, key, drumset
World Premiere: Bludenz, 16.11.2017
Duration: 12‘
Sy. 4764

Stoff • [2015] 
nonet 
Fl.Ob.Kl. Hr.Tp.Ps. Vl.Va.Vc.
World Premiere: Cologne, 27.02.2016 
Duration: 20' 
Sy. 4457 

Speicher • [2008-2013]
for large ensemble
2 (Picc. Afl. 2 BFl). 1 (Eng.Hn.). 2 (2 BCl). Asax (Ssax). 1 (C.Bn. or preferably contra forte). / 1. 1 (Picctr. Sps). 1. 0. / 2 Perc. Hp. Cl (Cel). Acc. / 1. 1. 2. 2. 1.
World Premiere: Donaueschingen, 20.10.2013
Duration: 76'
Sy. 4016

consists of:

 

Speicher I • [2009/10]
for large ensemble
2 (Picc. Afl.). 1 (Eng.Hn.). 2 (BCl.). Asax. 1. / 1. 1. 1. 0. / 2 Perc. Pno. Acc. / 1. 1. 2. 2. 1.
World Premiere: Witten, 25.4.2010
Duration: 16'
Sy. 4018

Speicher II • [2013]
for ensemble
0. 1. 2. Asax. 1. / 1. 1. 0. 0. / Hp. Pno. Acc.
World Premiere: Donaueschingen, 20.10.2013
Duration: 3'
Sy. 4083

Speicher III • [2012]
for ensemble
2 (Picc. Afl. 2 Bfl). 0. 0. 0. / 0. 0. 0. 0. / 2 Perc. Hp. / 1. 1. 2. 2. 1.
World Premiere: Leuven, 28.10.2012
Duration: 9'
Sy. 4084

Speicher IV • [2008-12]
for ensemble
0. Eng.Hn. 1. BCl. C.Bn (preferably contra forte). / 1. 1. 1. 0. / 2 Perc. / 1. 1. 2. 2. 1.
revised version 2012.
World Premiere: Frankfurt am Main, 11.3.2011
Duration: 14'
Sy. 4102

Speicher V • [2012/13]
for large ensemble
2 (Picc. 2 Bfl). 1 (Eng.Hn.). 2 (2 BCl). Asax. 1. / 1. 1 (Picctr). 1. 0. / 2 Perc. Hp. Pno. Acc. / 1. 1. 2. 2. 1.
World Premiere: Donaueschingen, 20.10.2013
Duration: 10'
Sy. 4086

Speicher VI • [2013]
for large ensemble
2 (Picc. Afl. 2 Bfl). 1 (Eng.Hn.). 2 (2 BCl). Asax (Ssax). 1 (C.Bn. or preferably contra forte). / 1. 1 (Sps). 1. 0. / Cel. Acc. Hp. 2 Perc. / 1. 1. 2. 2. 1.
World Premiere: Donaueschingen, 20.10.2013
Duration: 19'
Sy. 4087

Koffer • [2012]
for large ensemble
0. 0. 2 (BCl. 2 D.BCl). Asax. 0. / 1 (Wtb). 2 (also Guit), 2 (also Guit). 0. / Key. Acc (quarter-tone). 2 Perc. / 1. 1. 1. 1. 1.
software on request
World Premiere: 7.5.2013, Cologne
Duration: 30'
Sy. 3995

Wald • [2010]
for four string quartets
4. 4. 4. 4. 0.
World Premiere: Munich, 11.11.2010
Duration: 24'
Sy. 3973

Salz • [2005]
for ensemble
Fl. Ob (Eng.Hn.). Cl (BCl). Ssax (Asax). Perc. Key (Sam). Vl. Vla. Vc.
software on request
World Premiere: Salzburg, 21.8.2005
Duration: 15'
Sy. 3677

Öl • [2001-2004]
for ensemble
2 (2 Bfl). 1 (Eng.Hn.). 2 (2 BCl). Sax. 0. / 2 (2 Wtb). 1. 1. 0. / 2 Perc. 2 Pno. Acc. / 1. 1. 2. 1. 1.
"Öl" consists of "Öl 1" and "Wand (Öl 2)". These movements can be performed independently.
World Premiere: Darmstadt, 7.8.2004
Duration: 35'
Sy. 3589

Scherben (Zurich Version) • [2000/2008]
for ensemble
Fl. Ob (Eng.Hn.). Cl (BCl). Fg (C.Bn). Hn. Tp. Tbn. Tb. Pno. 2 Perc.
World Premiere: Bern, 20.9.2008
Duration: 12'
Sy. 3781

Scherben • [2000/2004]
for ensemble
1 (Picc. Bfl). 1 (E-Hn). 3 (2 BCl. D.BCl). 2 Sax (Altsax. Sopsax/Barsax). 0. / Acc. Pno. 2 Perc. / 0. 0. 0. 0. 0.
World Premiere: Berlin, 2.9.2004
Duration: 12'
Sy. 3432

Knochen • [1999/2000]
for ensemble
0. 1 (Eng.Hn.). 3 (2 BCl). 0. / 2. 1 (Picctr). 1. 0. / 2 Perc. Hpe. Pno (Cel). / 1. 1. 1. 2. 1.
World Premiere: Vienna, 13.4.2000
Duration: 23'
Sy. 3531

Holz • [1999/2000]
for clarinet and small ensemble
Cl.
Fl. Sax. Perc. Sam (Key). Vl. Vla. Vc.
software on request
World Premiere: Vienna, 28.9.2000
Duration: 10'
Sy. 3530

Knabenträume • [1995]
for chamber ensemble
Ob. Cl. Tr. 3 Perc. Vl. Vla. Vc. D.B.
World Premiere: Frankfurt am Main, 27.1.1996
Duration: 22'
Sy. 4100



CHAMBER MUSIC

Quintett • [2016/2019] 
for 2 violines, viola and 2 cellos
World Premiere: Colmar, 23.05.2020 
Duration: 20’ 
Sy. 4986

Feld 
• [2016] 
for 2 pianos and 2 percussionists
World Premiere: Troy (NY), 22.09.2017 
Duration: 25’ 
Sy. 4491

Freizeit • [2016] 
for string quartet 
World Premiere: Hannover, 30.11.2016 
Duration: 5' 
Sy. 4489 

Buch • [2013/16]
for string quartet
World Premiere: Witten, 22.04.2016
Duration: 27'
Sy. 4345

Schlaf • [2011/15]
for two bass clarinets
World Premiere: Berlin, 05.09.2015
Duration: 8'
Sy. 4426

Brot • [2007/13]
for five instrumentalists
Tr. Hr. Ps. Pno. Perc.
World Premiere: 11.4.2013, Moscow
Duration: 10'
Sy. 4334

Schweiß • [2010]
First version for violoncello and keyboard
software on request
World Premiere: Paris, 9.11.2009
Duration: 4'
Sy. 4266

Schweiß • [2010]
Second version for violoncello and four instrumentalists (BFl. BCl. Vl. Va.)
World Premiere: 12.06.2010, Freiburg
Duration: 4'
Sy. 4265

Fingernagel • [2009]
for violin and viola
World Premiere: 2009
Duration: 2'
Sy. 4267

Schrank • [1989-2009]
for nine musicians
Fl (AFl). Ob (Eng.Hn.). Cl (BCl). Sax. Pno (Key). Perc. Vl. Vla. Vc.
It is intended that "Salz" (2005) is performed immediately after "Schrank" without interruption.
software on request
World Premiere: Paris, 9.11.2009
Duration: 24'
Sy. 3974

Tonband • [2008/13]
composed with Wolfgang Heiniger
for two percussionists, two keyboards and live-electronic
2 Key. 2 perc. (with ca. 25 contact microphones). live-el.
World Premiere: Cologne, 9.1.2009 / New York, 24.2.2013
Duration: 30'
Sy. 3807

Zug • [2008]
for seven brasses
2 Hr. 2 Tr. 2 Tbn. Tb.
World Premiere: Paris, 19.11.2008
Duration: 14'
Sy. 3768

Trauben • [2004/2005]
for piano trio
V. Vc. Pno.
World Premiere: Brussels, 9.3.2005
Duration: 12'
Sy. 3666

Rad • [2003]
for two keyboards
2 E-Pianos with 88 keys (or 2 master keyboards with piano sound expander), 2 Macintosh Laptops. Amplification: local, small mixer and 2 to 4 speaker. Recommended MIDI-instrument: Kawai MP95000 (new Modell: MP 8)
software on request
World Premiere: Donaueschingen, 18.10.2003
Duration: 22'
Sy. 3575

Tier • [2002]
for string quartet
2 Vl. Vla. Vc.
World Premiere: Berlin, 17.03.2003
Duration: 13'
Sy. 3220

Gelöschte Lieder • [1996-99]
for flute, clarinet, violin, violoncello and piano
Fl (Picc). Cl. Vl. Vc. Pno.
World Premiere: Boswil, 27.11.1999
Duration: 20'
Sy. 3346



VOCAL MUSIC

Glas • [2016]
for 6 voices
World Premiere: Stuttgart, 05.02.2017
Duration: 10'
Sy. 4490

Abend • [2007]
for four male voices and four trombones
Text: Marcel Beyer
Ct. T. Bar. B. / 4 Pos.
World Premiere: Berlin, 30.11.2007
Duration: 9'
Sy. 3819

Drei Arbeiten • [2007]
for baritone, horn, piano and percussion
Text: Marcel Beyer
Bar. Hr. Pno. Perc.
World Premiere: Berlin, 12.5.2007
Duration: 10'
Sy. 3766

Gold • [2006/13]
for mixed choir
I. Moderne Walpurgisnacht (16-voices choir); II. Silber (2 soprano voices, soloist or choral); III. Notturno (16 solo voices, 8-voices choir)
Text: Arno Holz
World Premiere: Stuttgart, 1.2.2007
Duration: 20'
Sy. 3720

Wespe • [2005] voice solo; Text: Marcel Beyer
for voice solo
Text: Marcel Beyer
St.
World Premiere: Berlin, 23.6.2005
Duration: 6'
Sy. 3676



SOLO WORKS

Schmalz • [2019]
for violin
vl
World Premiere: Hitzacker, 31.07.2019
Duration: 5'
Sy. 4973

Filz solo 
• [2013 - 2017]
for viola
World Premiere: Berlin, 10.09.2017
Duration: 14’
Sy. 4762

Fell • [2016]
for drum set
World premiere: Cologne, 18.10.2016
Duration: 10’
Sy. 3992

Zwölf • [2014]
for violoncello
Vc.
World premiere: Paris, 22.03.2015
Duration: 3’
Sy. 4406

Haare • [2013-14] 
for violine solo
Vl.
World premiere: Strasbourg, 01.10.2014
Duration: 9’
Sy. 3991

Arbeit • [2006/07]
for virtual hammond-organ
weighted master keyboard with 88 keys, sustain pedal, faderbox with (at least) 9 faders, Mac-Computer (preferably laptop); tube amplifier; software: B 4 II by native instruments (or a comparable hammond-organ plugin), MaxMSP-patch "Ernstorgel" (available from publisher)
Material on request
World Premiere: Witten, 20.4.2007
Duration: 16'

Herz • [2002]
for violoncello
Vc.
World Premiere: Berlin, 9.11.2002
Duration: 13'
Sy. 3563

Holz solo • [1999/2005]
for bassoon
Bn.
World Premiere: Frankfurt/Main, 11.12.2005
Duration: 11'
Sy. 3675

Holz solo • [1999/2004]
for clarinet
Cl.
World Premiere: Munich, 6.5.2004
Duration: 11'
Sy. 3612 // *Score

Holz Solo • [1999/2004/2015]
for bass clarinet
Bcl.
World Premiere: Darmstadt, 27.01.2016
Duration: 11'
Sy. 4019

Theme with 840 variations • [1993/1997]
for piano
Pno.
World Premiere: Berlin, 2.10.1997
Duration: 7'
Sy. 3556

17 etudes for violin, 2. booklet • [1993]
Vl.
World Premiere: Berlin, Oct. 1993
Duration: 4'
Sy. 3555 // *Score

17 etudes for flute, 3. booklet • [1993/2009]
Fl.
World Premiere: Paris, 9.11.2009
Duration: 4'
Sy. 4077
Enno Poppe was born on December 30, 1969, in Hemer, Germany. He studied conducting and composition at the Hochschule der Künste Berlin with Friedrich Goldmann and Gösta Neuwirth, among others. Additionally, he studied sound synthesis and algorithmic composition at the Technische Universität Berlin and at the ZKM Karlsruhe. As a conductor, Enno Poppe regularly performs with Klangforum Wien, Ensemble Musikfabrik and Ensemble Resonanz. Since 1998 he also is the chief conductor of ensemble mosaik. Enno Poppe taught composition at Hochschule für Musik Hanns Eisler in Berlin, at Darmstädter Ferienkursen für Neue Musik and at Impuls Akademie (Graz).

Commissions
Enno Poppe received commissions from Salzburger Festspiele, Ensemble intercontemporain, Berliner Festspiele, Musée du Louvre and festivals such as Donaueschinger Musiktage, Musikbiennale (München), musica viva (München), Ultraschall (Berlin), MaerzMusik (Berlin), Èclat (Stuttgart) and Wittener Tagen für Neue Kammermusik.

Performers
Enno Poppe’s has been performed by, among others, quartets such as Arditti Quartet and Kairos Quartet, conductors such as Pierre Boulez, Susanna Mälkki, Emilio Pomárico and Peter Rundel and orchestras such as SWR Sinfonieorchester, Los Angeles Philharmonic Orchestra, BBC Scottish Symphony Orchestra, Symphonieorchester des Bayerischen Rundfunks, Deutsche Symphonie-Orchester Berlin, hr-Sinfonieorchester Frankfurt and Junge Deutsche Philharmonie. Among the ensembles that regularly perform his music are Ensemble intercontemporain, Ensemble Modern, London Sinfonietta, Ensemble Resonanz, Klangforum Wien, ensemble mosaik, Ensemble Contrechamps, Musikfabrik, Ensemble 2e2m, SWR Vokalensemble and Neue Vokalsolisten Stuttgart.

Scholarships and awards
In 1992, 1995, and 1998 Enno Poppe received a scholarship for composition by the Berlin senat and in 1994 a music scholarship from the Märkische Kulturkonferenz. In 1998 he won the Boris-Blacher-Preis for his Gelöschte Lieder. In 1999 he was invited to the Boswil composers seminar; in 2001 he received a scholarship from the Wilfried-Steinbrenner-Stiftung. In the same year he was awarded the composition prize of the city of Stuttgart for his work Knochen. Enno Poppe also received the Busoni-Kompositionspreis of the Akademie der Künste in Berlin (2002) and scholarships from Akademie Schloss Solitude and Villa Serpentara in Olevano Romano. Other awards are the Förderpreis of the Ernst-von-Siemens-Musikstiftung, the Schneider-Schott-Musikpreis (2005), the supporting award of the Akademie der Künste in Berlin (2006) and the Christoph- und Stephan-Kaske-Preis (2009). Enno Poppe also received the Kaske prize of the Christoph-und-Stephan-Kaske-Stiftung (2009) the HappyNewEars prize of the Hans¬-und-Gertrud-Zender-Stiftung (2011) and the Hans-Werner-Henze prize (2013). Enno Poppe is a member of the Akademie der Künste Berlin (since 2008), the Nordrhein-Westfälische Akademie der Wissenschaften und der Künste (since 2009) and the Bayerische Akademie der Schönen Künste (since 2010).

Photo: Harald Hoffmann



Dented Nature. On Enno Poppe’s Sonic Language

The start is simple, clear and transparent. Enno Poppe’s works often begin with a single building brick. Starting from one distinct motivic cell - ‘short/long’ or ‘high/low’, for example – the works grow and proliferate like a plant that gains shape and complexity bit by bit. "I have been looking at mathematical models that describe simulations of how plants grow", Poppe explains. "How do things branch out? How does a new shoot come about?" For example, the theme of his piano variations is just one bar long, and consists of two intervals: seconds. What follows are 840 variations in which Poppe twists this motive in every conceivable way – in terms of interval structure, direction, durations and pitches. The same applies to the four-note ‘up-and-down’ motive that begins Holz, and gradually fan out to form a veritable thicket of sounds.

Poppe, born in 1969 in Hemer (in Saarland), often works with the L-branching familiar from biology, in the sense that he spreads, splits, stretches and compresses motives. In that respect, he engages with sound with the critical detachment of a scientific observer. In his hands, the material breeds, grows and proliferates like a living, dynamic biological culture. There’s a particular kind of calculation underlying the working-out of motives: numerical relationships play a significant role in Poppe’s scores. He believes in mathematical or scientifically orientated logics that give music consistency. But he is wary of those presumptions about consistency that all too often lead to mere musical tautologies. Looking at the form of a tree, one sees that in nature there are forces at work which the symmetry and regularity of mathematical logics can only formulate in general terms. Accordingly, Poppe enriches the physiognomy of the musical shapes with irregularities. And it is the deviations, mistakes and contradictions within the system, that is, its alleged pathologies, that endow the otherwise rigid organism with its liveliness and particularity. Whatever his reservations about systems, Poppe also finds sheer spontaneity suspect. So as not to become, on the one hand, "one’s own slave", dominated by systematic logic, nor subject to arbitrary factors on the other, Poppe is concerned to "act subversively against my own prescriptions, without damaging the posited rules – an interplay of technique and freedom." For him, it’s "not a matter of control, but of magnifying one’s own world."

Poppe’s works not only deal with the growth of organic materials, but also with their basic nature. This aspect is of central significance to the cycle Holz – Knochen – Öl (Wood – Bone – Oil) composed between 1999 and 2004. The titles address what is consistent in the works: the pliable stability of the fibrous voice-leading in in Holz, the hard ‘martellatissimo’ and dry ‘secco’ in Knochen, and the sticky but energetic stream of interflowing lines in Öl. "Titles", says Poppe, "open up associative spaces for the listener." He is certainly not the programmatic, illustrative kind of composer. But for all the rationality with which he drafts and develops music shapes, one shouldn’t forget that there are also poetic considerations at the base of these works. The wild, "almost extravagant" (Poppe’s phrase) ensemble piece Scherben (Shards) confronts the listener with a piling up of fragmentary materials. Rad (Wheel) for two synthesizers thrives on circling figures and motives, the rattling of sonic machinery. And in his music theatre work Interzone, based on texts by Marcel Beyer (inspired in turn by William S. Burroughs), he evokes the futuristic sound-world of science fiction scenarios, delineating the insectoid existence central to the narration through whirring groups of notes.

Along with these kinds of poetic ideas, and models derived from natural sciences, one thing that marks Poppe’s work is a critical historical awareness. Time after time, he takes up concepts that were hastily discarded in a spirit of revolution, and ponders their contemporary relevance. In Öl he revises and rehabilitates the concept of melody. Can one write a work based on melodic, linear material without submitting to the rhetorical gravity of melodic logic? One can, if one subsumes the leading voice within a context of timbre, harmony and contrary motion. Can one imagine a work that imitates the cyclic circling of lieder, but doesn’t become rigidly schematic? In his quintet Gelöschte Lieder Poppe solves this problem by having two levels of material constantly interpenetrating, creating constant ambivalence in relation to the sections’ formal functions. Even an idea which is central to Poppe’s concept of sound, namely the technique of sum- and difference-tones, refers back to the electroacoustic technique of ring-modulation, is now regarded as ‘historic’: by adding and subtracting two frequencies he gets new, non-tempered intervals that give his music its palely luminous coloration, intervals that shimmer, but don’t clash. "Perhaps one could describe my chords as distorted spectral chords", Poppe summarises, "or as dented nature".

For all this, Poppe has never renounced dramatic, even magical moments. The blurred cantilena that sometimes comes to the surface in the Gelöschte Lieder, the sombre morendo with which Öl fades away, or the narrow tenth-tone piano clusters at the end of Rad, as if the music had suffered an electric shock – these are moments where both sensuality and emphatic expression assert their rights.

Björn Gottstein, 2006-2007 
Translation by Richard Toop