Sabine Zlotos

 

(c) Foto: privat

located in Berlin

Sabine Zlotos schloss Ihre Ausbildung zur Filmkomponistin an der Hochschule für Film und Fernsehen „Konrad Wolf“ in Potsdam – Babelsberg bei Bernd Wefelmeyer über die Umsetzung verschiedener Schulen der Affektenlehre im orchestralen Einsatz, im Jahr 2011 ab. Zuvor studierte sie mit dem Hauptfach Schlagzeug, Nebenfach Klavier  an der Hochschule für Musik „Hanns Eisler“.

Heute arbeitet Sabine Zlotos überwiegend als Instrumentalpädagogin und hat ihre Leidenschaft für die Filmmusik jedoch nie verloren. Ihre besondere Begabung für die Ensemblearbeit paart sich mit der Fähigkeit zur hoch emotionalisierenden Umsetzung filmthematischer Motive mittels großer Stilsicherheit und tragender rhythmischer Komplexität.  Ihrer Musik durchwirkt eine Ansehung von Schönheit, tragischer Tiefe bei gleichzeitiger Leichtigkeit. Eine besondere Neigung hält Sabine Zlotos zur Ästhetik des Jazz. Dies konnte sie bei dem Berliner Jungend Jazz Orchester und in ihrer eigenen Formation, des „Sabine Zlotos Quartetts“ unter lebendigen Beweis stellen.

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Sabine Zlotos completed her training as a film composer at the Hochschule für Film und Fernsehen „Konrad Wolf“ in Potsdam – Babelsberg with Bernd Wefelmeyer on the implementation of various schools of affect theory in orchestral use in 2011. Before that, she studied percussion as her main subject and piano as a subsidiary subject at the Hanns Eisler Academy of Music.

Today Sabine Zlotos works mainly as an instrumental teacher, but has never lost her passion for film music. Her special talent for ensemble work is paired with the ability to realise film motifs in a highly emotional way by means of great stylistic confidence and supporting rhythmic complexity.  Her music is imbued with a sense of beauty, tragic depth and simultaneous lightness. Sabine Zlotos has a special affinity for the aesthetics of jazz. She has been able to demonstrate this vividly with the Berlin Young Jazz Orchestra and in her own formation, the „Sabine Zlotos Quartet“.

Künstlerwebseite

 

Referenzen (Auswahl)

  • musikalische Mitarbeit an dem Kino – Animationsfilm „Der Mondmann“ (Schesch Filmkreation, 2011)
  • Kompositionen für den Kinofilm „Schlafende Hunde“ (Shakedown Films 2011)
  • Musik zu dem Werbespot der Initiative Jugend denkt Um.Welt „Tod im Nobelrestaurant“ (R: Thomas Frick)
  • Pitchings für Fernsehen und Werbung (2010)
  • Assistenz für Ulrich Reuter bei den Fernsehfilmen „Väter – Alles was Recht ist“ und „Rosanna‘s Tochter“ (2009)
  • Orchesterscore zu dem Psychothriller „Der Doppelgänger“ Regie: Philip Nauck & Christofer Lenke, aufgenommen mit dem Deutschen Filmorchester Babelsberg (2009), Musik nominiert für den Jerry Goldsmith Award 2010
  • Musik für den Kinotrailer des 19. FilmFestival Cottbus 2009, Regie: Banu Kepenek (Filmpoolproductions 2009)
  • Musik für den Imagefilm „Hände weg von den Sünden beim Gründen“ Institut f. Berufsforschung u. Planung Medien (IBF 2009)
  • Musik zum Spielfilm „NORA“ Regie: Banu Kepenek (HFF 2008), lief bei: Berlinale 2009, achtung-berlin 2009, 19. FilmFestival Cottbus 2009, Istanbul Next Wave 2009,…
  • Musik zu den Charakterstudien ENNEAGRAM Regie: Dieter Berner (BFU 2008)
  • Musik zu dem Dokumentarfilm „Bob, Fish and Dog“ Regie: Stepan Altrichter (ARD 2007)

 

 

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Christoph Rinnert

 

Located in: Berlin

Childhood and youth in Turkey, then studied Islamic Studies and Comparative Musicology at the Free University of Berlin. After many band projects and tours, successful work as a studio musician, producer and composer in the context of commissioned compositions for films in the field of documentary and fiction for cinema / TV. Christoph Rinnert’s work is characterised by a high degree of authenticity, and he succeeds in developing musical solutions based on the questions of the respective directors, which contain emphatic fits and always positive surprises. His last film music for „Georgia O’Keeffe“ was nominated for a renowned film music award, the result of which we will soon be able to announce here.

Language: english, turkish, french, spanish

 

Filmographie (Selection)

 

  • Georgia O’Keeffe – Une Artiste au Far West“ (2021 Les Films D’Ici / ARTE France)  Dir: Evelyn Schels 
  • “Body of Truth” (D 2020) Cinema, Dir: Evelyn Schels
  • „Love Time Fools“ (D 2014) Cinema, Dir. Dara Sepheri
  • „Wem gehört die Welt“ (D 2014) TV-Doc,  Dir. Sabine Jainski
  • „Ein Hella Angel unter Brüdern“ ( D.2013 ) Cinema, Dir. Marcel Wehn
  • „Georg Baselitz“ (D 2013) Cinema,  Dir. Evelyn Schels
  • „Wenn Bäume Puppen tragen“ (D. 2012) Cinema, Dir.  Ismail Sahin
  • „Method“ (Türkei 2012)  Cinema, Dir. Ulas Inac
  • „Die Akte Pasolini“  TV Documentary  (2013), Dir.  Andreas Pichler
  • „70°“ (D. 2012) Cinema, Dir. Lothar Berg
  • „Nano Now“ Dok. (2005) / Regie Ilse Biberti

complete Filmographie

Artist Website

 

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Michael Klubertanz

Located near Heidelberg, Germany

Michael Klubertanz is a composer specialising in acoustic and orchestral music with a great stylistic versatility that enables him to find just the right sound for any project he dedicates himself to. His conceptual approach is to focus on the task at hand by finding traces of the film’s substrate, a DNA of the narrative context and then, in exchange, translating it into a musical equivalent.                    Klubertanz conducts film-musical genetic research!

This leads to practical solutions for many tasks, making him a reliable and trustworthy creative partner. The classically trained German musician works professionally as a composer, conductor, arranger and pianist in a wide variety of genres, performing opera, symphonic music and chamber music as well as works from the fields of rock, pop and jazz. In the last 10 years, Klubertanz has increasingly devoted himself to the medium of film music. His range of formats extends from small animated short films to feature films, TV and commercials. His music, which has won several awards, is in demand internationally.

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Michael Klubertanz ist ein auf akustische und orchestrale Musik spezialisierter Komponist mit einer großen stilistischen Vielseitigkeit, die es ihm ermöglicht, für jedes Projekt, dem er sich widmet, genau den richtigen Ton zu finden. Sein konzeptioneller Ansatz liegt vornehmlich darin, sich in in die jeweilige Aufgabe dahingehend einzuarbeiten und zu focussieren, dass er Spuren des Substrats des Filmes auffindet, eine DNA des narrativen Kontextes ermittelt um diese dann im Austausch, in eine musikaliche Entsprechung zu übersetzen.                              Klubertanz betreibt filmmusikalische Genforschung!

Dies führt zu praktischen Lösungen für viele Aufgaben und macht ihn so zu einem zuverlässigen und vertrauenswürdigen kreativen Partner. Der klassisch ausgebildete deutsche Musiker arbeitet professionell als Komponist, Dirigent, Arrangeur und Pianist in den unterschiedlichsten Genres, wobei er sowohl Opern, sinfonische Musik und Kammermusik als auch Werke aus den Bereichen Rock, Pop und Jazz aufführt. In den letzten 10 Jahren hat sich Klubertanz immer mehr dem Medium Filmmusik verschrieben. Seine Bandbreite an Formaten, reicht von kleinen animierten Kurzfilmen bis hin zu Spielfilmen, TV und Werbung. Seine mehrfach ausgezeichnete Musik wird international angefragt.

 

Composers Site

imdb Database Credits

 

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Roman Keller

© privat

located in Hamburg

Born 1975 in Braunschweig, electro-acoustic composer Roman Keller plays flute and piano as a child, later discovering his love for drums and playing in bands. Devoted as much to music production and sound design he discovers a world to combine these interests. Influenced by the films of David Lynch and familiar with the musique concrète of Pierre Schaeffer and Pierre Henry his studies lead to a diploma thesis about analysing film sound as a whole, highlighting the interplay of music and sound.During his studies he also discovers the joy of working interdisciplinary in the field of both theatre and film – soon becoming a longtime member of a free performance group. Works for many theatres in the german speaking world follow.Since 2013 he writes several film-scores for documentary films and international renowned tv-series, still using sound as raw material and integral part of his composition. Wearing different hats all the time, he also has his own boutique recording studio in Hamburg, open to other composers and musicians. 

Composers Site

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Simon Stockhausen

 

Foto:  Alberto Venzago, © Simon Stockhausen

located in: Rösrath [NRW]

Simon Stockhausen was born on the 5th of June 1967 near Cologne. At the age of five he commenced his musical education (piano, saxophone, drums, synthesiser, composition) and began performing in his father’s works at the age of 12. After his final exams 1986 he started touring the world with the Stockhausen ensemble and also co-produced the electronic music for two of the operas by his father Karlheinz Stockhausen.

The successful collaboration with his brother Markus Stockhausen over the last 20 years in the field of jazz and improvised music generated numerous CD-releases on record labels like ECM, EMI, SONY, LARGO and soundtracks for film- and theatre productions.

Since the early 1990s Simon has composed music for various german chamber ensembles, e.g. two works for the Ensemble Modern and in 2012 he staged his first two orchestral works Doktrin der Ruhe and Windschatten, commissioned by the Hamburger Symphoniker orchestra. Since 1998 he has also written and arranged music for many German theatres.

Besides the compositional work he has performed numerous concerts as a keyboard and soprano saxophone player in various constellations, also with the WDR Bigband in Lalo Shifrin‘s suite ESPERANTO (2000) and Australian trumpet player James Morrison, with whom he founded the Band ON THE EDGE in 2003 and toured through Europe and Australia. As a specialist for synthesizers and live-electronics he has also performed contemporary music with the Berlin philharmonic orchestra and other European orchestras.

Since 2003 Simon has composed the film-scores for documentary films and short movies, amongst these soundtracks are the cinema documentaries Trip to Asia (2007) and One and One is Three (2020). In 2008 he wrote the soundtrack for Amos Gitai’s fiction film Disengagement recomposing Gustav Mahlers Das Lied von der Erde.

Since 2008 Simon also produces sound effects and production music for various online sound libraries and designs sounds for major software companies. In 2009 he started his sound design website patchpool.net, where he publishes commercial sound libraries for software synthesisers, effect plug-Ins and samplers as well as sound-files for post production and sound design.

After reuniting with his mother Mary in 2016 Simon wrote several compositions for her exhibition openings and produced video animations of her art work on the website marybauermeister.org

imdb

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J. Peter Schwalm

© Anja Jahn

located in: Frankfurt M.[Hessen]

Starting in 1998, German electro-acoustic composer J. Peter Schwalm worked continuously with Brian Eno for six years; together they released the album Drawn From Life, wrote the soundtrack to Nicolas Winding Refn‘s feature film Fear X, gave celebrated concerts in Europe and Japan.
Since 2006 Schwalm has been a regular guest at the Punktfestival in Kristiansand, Norway, where he distinguished himself as one of the few experienced live remixers, among others for members of the widely acclaimed Ensemble Modern.
In spring 2016 Schwalm’s first RareNoise album, The Beauty Of Disaster was released. Artistically, it revolved around a duality that shapes the visual arts and music as well as life itself: a certain melancholy that is always inherent in hope.
In the autumn of that year Schwalm went through a life experience that profoundly affected him and has been reverberating through his art since: diagnosed with brain cancer, the artist elected to have the growth removed. The operation turned out to be unsuccessful. Schwalm nevertheless set to work on a new release, even if partly weakened by the inevitably following chemotherapy.
Over the course of the following year, pieces were created that reflect feelings such as restlessness, fear, despair and anger, but artistically process these emotions into abstract sounds, reflecting the artist’s willingness to style and design that characterised Schwalm’s earlier productions.
This process coalesced into How We Fall, released on RareNoise in 2018, wherein the artist created sound sculptures that transcend common categories. Their structures can take on rough or gently curved forms, unfold associative or contemplative effects, and may even make the listener shiver. Schwalm’s feel for nuances, tension arcs and individual sounds is based on talent and many years of experience, as well as the processing of personal trauma.
Schwalm’s artistic trajectory can also be witnessed in his recent multiple collaborations on RareNoise, specifically:
J.Peter Schwalm and Chat Noir:
Shortly after that, he collaborated with electro-jazz trio Chat Noir on
Nine Thoughts For One Word, facilitating their transition to fully fledged electronic unit, as can be now witnessed on Hyperuranion.
J.Peter Schwalm and Arve Henriksen
Now, on „Neuzeit“, his collaboration with norwegian trumpeter and sound sculptor Arve Henriksen, he takes his conceptualisations further: The term Neuzeit, is generally taken to refer to the modern era that began in the 16th century and witnessed the rise of Western civilization. Schwalm chooses to take the term on its face, however; the fusion of “new” and “time” he defines as a period marked by sudden and drastic change. To borrow another word from the German, it ably yet dauntingly captures the Zeitgeist of our tumultuous moment, one in which political upheaval, global pandemic and catastrophic climate change seem poised to usher in an uncertain new existence.
J.Peter Schwalm and Markus Reuter
„Aufbruch“, the title of his debut collaboration with guitarist and composer Markus Reuter, translates as “departure” or “emergence.” Either definition offers an evocative interpretation of the powerfully immersive sound-world they conjured together, but even more suggestive is the ambiguity between the two meanings. For the music of „Aufbruch“ feels like both an awe-inspiring journey of discovery and a welling up from the murkiest depths of the subconscious.
Reuter instigated the music on his self-developed Touch Guitar, digitally processed and manipulated in real time. Schwalm added his own colours via newly-devised synth sounds and later edited the improvisations into their final forms. On two tracks the duo is joined by the remarkable Belgian-born, Berlin-based vocalist Sophie Tassignon, whose „Mysteries Unfold“ was released on RareNoise in 2020 and whose late appearance returns a trace of the human to the stirring machine-made environments.

Further informations:

Music for Films:
  •  Nach der Arbeit (2021)
  • Campus (BR 2016)
  • Hey Uni (BR 2015)
  • Geschenk der Sprachen (2005)
  • Fear X (2002)
Live Projects:
  •  Local Listener (mit Gregor Praml, Mousonturm Frankfurt (2018)
  • Mein Lieblingsstück, Alte Oper Frankfurt (2016)
  • Frankfurter Kunstverein mit Sophie Clements (2016)
  • Skrjabin (with Michael Wollny, NDR Kultur Neo Klubkonzert Mojo Club Hamburg, 2015)
  • Kraftwerk Uncovered: A Future Past (mit Icebreaker and with Sophie Clements, Science Museum, London, 2014)
  • Das Neue Werk (mit Sophie Clements NDR Kultur, 2010)
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Jasmin Reuter

© Foto

 

located in Berlin

Jasmin Reuter wurde 1981 in der Nähe von Würzburg geboren. Sie folgte früh ihren Leidenschaften Musik, Film und Fotografie und studierte von 2002-2007 an der Hochschule der Medien in Stuttgart ‚audiovisuelle Medien‘. Dort begann sie mit dem Komponieren von Filmmusik. 2008/2009 verbrachte sie dank eines Fulbright Stipendiums am renommierten Berklee College of Music in Boston, um das Studium der Filmmusik zu vertiefen. 2010 kehrte sie nach Deutschland an die Filmakademie Baden-Württemberg zurück und absolvierte dort bis Anfang 2013 das Aufbaustudium ‚Filmmusik und Sounddesign‘. Im Februar 2013 erhielt sie eine Einladung, an der Filmmusik Masterclass ‚Berlinale Talents 2013‘ teilzunehmen.

Sie schrieb zahlreiche Musiktitel im Bereich Werbung und TV (u.a. für ARD, ZDF, Arte, Pro7 und SWR) und komponierte Musik für preisgekrönte kurz- und mittellange Filme wie z.B. ‚Sunny‘ (deutscher Kurzfilmpreis 2013) und ‚Zwei Mütter‘ (Berlinale Perspektive deutsches Kino: DFJW – Preis Dialogue en Perspective2013).  Sie komponierte die Musik zum Drama ’24Wochen‘, das als einziger deutscher Beitrag für den Wettbewerb der 66.Berlinale ausgewählt wurde. Außerdem schrieb sie Filmmusik für das Krimiformat ‚Tatort‘ und zuletzt für die 1. Staffel der neuen Kinderserie ‚Petzi‘. Aktuell arbeitet sie an der internationalen Koproduktion “Kiss me before it blows up”.

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Jasmin Reuter was born in 1981 in a town by Würzburg. Early on she developed a passion for music, film and photography. From 2002-2007 she studied ‚audiovisual media‘ at the University of Applied Science in Stuttgart, where she began to write her first film scores. After her diploma she won a Fulbright scholarship to attend the film scoring program at renowned Berklee College of Music in Boston, which she attended from 2008-2009. She went back to Germany in 2010 to additionally complete the postgraduate film scoring course ‚Film music and Sounddesign‘ at Filmakademie Baden-Württemberg. In February 2013 she was invited to attend the film scoring masterclass ‚Berlinale Talents 2013‘.

She wrote music for commercials and TV-openers (e.g. for ARD, ZDF, Arte, Pro7 and SWR) and composed for award-winning movies like ‚Sunny‘ (Germany short film award 2013) and ‚Two Mothers‘ (Berlinale Perspektive German Cinema: DFJW – Preis Dialogue en Perspective2013). She composed the score for the movie ’24weeks‘, which was selected for the competition of the 66th Berlin International Film Festival as the sole German entry. In addition to that she wrote music for Germany’s biggest crime TV show ‚Tatort‘ and just finished her work on the first season of the new children’s TV series ‚Petzi‘. Right now she is working on the international coproduction movie “Kiss me before it blows up”.

 

Music to listen:

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Jürgen Spiegel

© Foto Steven Haberland

located in Hamburg

Jürgen Spiegel was born in 1972 in Bremen and studied at the age of 17 as a young student at the Music Academy in Bremen first drums (1989-92) and then (1992-93) jazz as a student of Charly Antolini. From 1993-98 he studied in The Netherlands at the Hanzehogeschool, the conservatory in Groningen. In 1997, Spiegel completed the contact study program „Popular Music“ at the University of Music and Performing Arts in Hamburg. A year later, he received a scholarship from the VSB Fund Foundation and studied at the Manhattan School of Music, New York.

With the Tingvall Trio he has received three ECHO Jazz, 6 Jazz Awards in Gold and the Hamburg Music Award HANS for Best Production of the Year 2011.

Spiegel played as a drummer with bands of various genres such as Kurt Elling, Yari Carissi, Dominic Miller, Nneka, Michael Kiske (Helloween) and the NDR Big Band on almost all major German (Hurricane, Rock am Ring) and numerous European festivals.

 In 2008 he composed and produced the first German theme music for the Broadcaster Aljazeera and thereby gained attention in the United Emirates. 2009 was the production of the CD Dubai Nights (Virgin) with compositions of Arab Bedouins. In addition, Jürgen Spiegel works successfully as a producer and composer.

In terms of creating compositions for films his talent to emphasize narrative and hidden structures is one of a kind to benefit each film with a marvelous drum oriented soundtrack. For more info just feel free to get in touch with us.

Listen to Jürgen Spiegel

Artist Page

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Matthieu Brismontier

located in Paris and Berlin
Working during the day as a Composer & Producer, during the night as a DJ, and the next day as an band frontman, Matthieu Brismontier likes to wear many hats. But most of all, the franco-german composer likes to cross borders…between the electronic and the organic worlds, the german heritage of electronic dance culture and the french realm of psychedelic pop, the soaring cosmic synthesizer leads and the more earthly rhythm grooves, without forgetting to mention his numerous travels around the world.
After growing up in St Brieuc (Brittany, France), where he learns the guitar & the piano at a young age, spending some time honing his musical skills in the USA, and studying in Angers, he settles in Paris, where he forms the Indie Dance Pop band Parlez-vous anglais ?, with whom he played many shows across Europe. A few years later, he moves to his current beloved city of Berlin, where he builds his production studio MOWD. His attention to detail, his love for groove, dynamism and energy, and his passion for creating unique soundscapes brought him to compose and produce music for many different clients such as ARTE, Warner, Universal, Kellogg’s, Lexus and Tracks & Fields…
Along with his DJ alias FRANZ MATTHEWS and his Psychedelic Pop duo LANGUAGES, he also released music on imprints such as Eskimo Recordings, Days of Being Wild, Rockets & Ponies and his own imprint HIFI/LOFI. Did we already say he likes to wear many hats ?
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Listen to Mathieus music:
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References:
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Christopher Colaço & Philipp Schaeper

 

© Foto: privat

located in Berlin

Christopher Colaço and Philipp Schaeper know each other since they moved from their southern german hometowns to Berlin.  Beside that fact of a similarity both  studied Jazz piano/drums at the Berlin University of Arts. While doing this Colaço|Schaeper dived into the vibrant Jazz scene of the german metropole – playing and working together this helps building their enormous musical team spirit. But their proof of content as being a smart composer team was in 2013. As Christopher and Philipp had the opportunity to score their first movie (Oh Boy! – A coffee in Berlin) and therefore formed an old school sounding Jazz band..

After winning the German Academy Award for best original score of: „OH BOY“ , they continued to develop their collaborative project as a duo writing and scoring music. By the end of last year Colaço and Schaeper gather the classical musicians from the Mahler Chamber Orchestra and creates some marvelous atmospheric soundscapes and  piano pieces. The album will be released in Spring 2019.

listen to Colaço|Schaeper

Artist Website

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Christian Meyer

 

Located in Berlin

 

Christian Meyer writes and designs modern soundtracks for film, television, advertising and dance theatre and has received important awards for his compositions: Best Film Score from the Association of German Film Critics, ADC, VDW, Die Klappe, New York Festival, Finalist Cannes Lions.

listen to Christians Music

 

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Stan Koch & Maarten Maximé Buning

Located in Amsterdam and Berlin

Driven by a mutual passion for exploring new sound textures with electronics and acoustic instruments, we are constantly in motion to develop a characteristic sound in our compositions.
With over 10 years of experience in the international film industry and Oscar-nominated composing, our music has been sustaining the stories of films such as Prisoners of the Sun, Rampage, Sicario, the Mercy and commercials such as BMW, Mediamarkt and Need for Speed.

I have always had a big imagination. When I played the piano as an eight year old I noticed that each note-interval had it’s own unique character. So instead of playing songs, I gave each person in my life their own unique interval that suited their character. Over the years I have transitioned from playing on my first keyboard to working with live orchestras, but in a way I am still doing the same thing.

– Stan Koch composer, orchestrator and producer

Sometimes the best way to come up with new ideas is to simply go outside and explore. There’s always a rhythmical pattern to discover when you listen to the sounds of the streets, the subway, the beach, the countryside and so on. It’s a method I have structurally been using to create something different with an unpredictable outcome, especially when I combine them with my guitars, vocals or analog synthesizers.

– Maarten Maximé Buning composer multi-instrumentalist and producer

 

listen to KochBuning

Composers Site

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Eike Hosenfeld & Moritz Denis

© Foto: Hans Grunert

located in Berlin

Eike Hosenfeld began his studies at the Konrad Wolf Academy of Film and Television in 1996 and graduated as a sound engineer. Together with fellow student Christian Riegel and composer Moritz Denis, he then founded the Tonbüro as a joint studio. Since then, he has composed the music for documentaries, television and cinema films.

Moritz Denis, born 1977, is a Berlin-based film composer working in a collaborative team with Eike Hosenfeld since 2001. Among their more renowned projects are the documentary Projections of America, the Finnish movie Hulluna Saraan and the documentary Art War – as well as over one hundred German documentaries and feature films (e.g. Tatort – die fette Hoppe & Loewenzahn). For the work on Sonita, it was important to Denis to avoid clichés, leave space for the story and – most important – the girl’s music. He loves recording himself or his composer colleagues for their compositions and mixing the music on the big screen with his friends from Tonbuero. Denis plays the guitar and the trumpet.

Filmographie (Selection)

  • „Neben der Spur ist auch ein Weg“ – 2022, Deutschland, TV, R.: Anna Justice, Ed Herzog
  • „Freundschaft auf dem zweiten Blick“ – 2021, Deutschland, TV, R.: Holger Haase
  • „Max und die wilde 7“ – 2020, Deutschland, Kino, R.: Winfried Oelsner
  • „Der Krieg und ich“ – 2019, Deutschland, ARD, R.: Div.
  • „Vorwärts Immer“ – 2017, Deutschland, Kino, R.: Franziska Meletzky
  • „Stadlandliebe“ – 2016, Deutschland, Kino, R.: Marco Kreuzpaintner
  • “Hördur – Zwischen den Welten”, 2015, Deutschland, Kino, R.: Ekrem Ergün
  • “Tatort – Die Fette Hoppe”, 2013, Deutschland, ARD, R.: Franziska Meletzky
  • „Love and other troubles“, 2012, Finnland, Kino, R.: Samuli Valkana
  • “Kennzeichen Kohl”, 2009, Deutschland, Kino, R.: Jean Boué

 

listen to Eikes und Moritzs music

IMDb – Eike Hosenfeld

IMDb – Moritz Denis

Artist Site

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Bertram Denzel

 

located in Berlin

Bertram Denzel, geboren 1969 in Freiburg i.Br., aufgewachsen u.a. in Spanien und Frankreich, lebt seit 1988 als DJ und Musiker in Berlin. Neben zahlreichen Bandbeteiligungen komponiert er seit Mitte der 90er-Jahre Filmmusik. Gleich der erste Langfilm, Hendrik Handloegtens Debütfilm „Paul is Dead“, wird 2001 mit dem Adolf- Grimme-Preis geehrt, seitdem sind 6 Filme mit Musik aus seiner Feder für den Grimme- Preis nominiert worden. 

Mit der Musik zu „Alaska Johansson“ erfolgt eine Nominierung zum Rolf-Hans-Müller-Preis für Filmmusik 2015.

Filmographie (Auswahl)

 

  • Tatort: Die Ferien des Monsieur Murot, Regie: Grzegorz Muskala, Produktion: HR, 2020
  • Einsturz des Kölner Stadtarchivs, Doku, Regie: Ingolf Gritschneider, Wolfgang Minder, Produktion: WDR, 2019
  • Toulouse, Fernsehfilm, Regie: Michael Sturminger, Produktion: HR, 2018
  • Ich, Frauke Petry, Doku, Regie: Wolfgang Minder, Produktion: WDR, phoenix, 2018
  • Größer als im Fernsehen, Fernsehfilm, Regie: Christoph Schnee, Produktion: HR, arte, 2018
  • Tatort: Wendehammer, Regie: Markus Imboden, Produktion: HR, 2016
  • Mordkommission Istanbul: Im Zeichen des Taurus Teil 1+2, Regie: Bruno Grass, Produktion: Ziegler Film, Degeto, 2016
  • Tatort: Wer bin ich ? Regie: Bastian Günther, Produktion: HR, 2015
  • Alaska Johansson, Fernsehfilm, Regie: Achim von Borries, Produktion: HR. 2013
  • Sechzehneichen, Fernsehfilm, Regie: Hendrik Handloegten, Produktion: HR, 2012
  • Polizeiruf 110: Fieber, Regie: Hendrik Handloegten, Produktion: BR, die film GmbH, 2012
  • Tatort: Wie einst Lilly, Regie: Achim von Borries, Produktion: HR, 2011
  • Verhältnisse, Fernsehfilm, Regie: Stefan Kornatz, Produktion: HR, 2009
  • Tatort: Der tote Chinese, Regie: Hendrik Handloegten, Produktion: HR, 2008
  • Ein spätes Mädchen, Fernsehfilm, Regie: Hendrik Handloegten, Produktion: HR, 2007
  • Der letzte macht das Licht aus ! Kinofilm, Regie: Clemens Schönborn, Produktion: Kaminski.Stiehn.Film.GmbH, 2007

 

listen to Bertrams music

Showreel

Artist Page

 

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Gregor Schwellenbach

 

Located in Cologne and London

Gregor Schwellenbach crosses subversive conceptuality with the courage of catchy melody, plays with the listening habits of different worlds and mixes them into warm-hearted compositions with depth and character.

„I do play the piano, but I don’t really see myself as a pianist. Nor am I a particularly virtuoso pianist. My piano playing comes from the need to make music. I also play the piano more like a composer or an arranger who has a certain melody in mind and wants to realise it. What the pencil sketch is for a painter, the piano is for me. I create a sketch of the music I have in my head on the piano and can have it produced and recorded there.“ (taken from the interview in >Keyboards< of 6 January 2021. Complete interview (in German) 

listen to Gregors music

Artist Website

The Can Project (Co-Writing of CAN SUITE)

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