14 Konzert Etüden

These etudee were created not only to be practised and played at home, but also to be heard by people in concert. The technique is not extremly difficult for pianists, but highly musical, with an emphasis on the musical aspect.

All the other pieces came into being by my requesting them as if by a kind of "order to the top" (see "about the music"). But only the 24 concert etudes (14 etudes in volume 1 and 10 etudes in volume 2) came by themselves, with great speed. I wrote one etude per week without a break.

Actually, I was working on another piece I wanted to do. (A piano solo about Lake Constance). As usual, I ordered it, but it didn't come, no matter how long I waited. That could only mean that something was wrong. But I didn't understand it. I waited for a long time, but nothing came. I thought: "Then this is not this piano piece!", and then I heard: "Etude! I thought, "What? Etude?" At the very moment I asked that, I became a feeling of openness,, a great excitement and immediately a lot of ideas flying around my head.

When I started composing the studies, I had no idea how many studies would be created. The intensity of the energy and the amount of ideas flying around the top right side of my head made me feel like I could make as many as I wanted. I love odd numbers, so when the fourteenth study was finished, I wanted to do another one to make it fifteen. But no matter how hard I tried, the energy was gone and I couldn't make it. The space that was so open became like a block of stone. So I gave up.

In the studies there are slow pieces with few notes, but I think that's where real musicality is needed. In a concert, a fast and intense piece with many notes and difficult technique often moves the audience, but I think that music with few notes played in silence by a person with high musicality touches people's hearts differently, maybe even more than the other.