Matthias KrügerComposer


Next date



10/28/2024, 07:30 pm | Auditorium @ Cité Internationale des Arts, Paris (F)
conTemp[s]lations [ Tobias Tobit Hagedorn, org]
fuckin' A! _French Premiere [ Xavier Larsson, sax ]
renk [ Claudia Chan, pn ]
rosebud _World Premiere of the Video Clip [ Victor Virnot, tanz - Zoë Schreckenberg, video - Micha Elias Pichlkastner, vfx ]
06/27/2024, 03:00 pm | Hochschule für Musik und Tanz, Cologne (D)
Visting Composer in the Musicology Seminar of Prof. Dr. Rainer Nonnenmann
06/01/2024, 08:30 pm | HörBar Tage @ Herz Jesu Church (St. Bonifatius parish), Frankfurt am Main (D) >>DETAILS
mens et manus [ fixed media, four-channel ]
05/25/2024, 10 a.m. | IMPULS Minutenkonzerte @ Berber Textil-Fabrik, Graz (A) >>DETAILS
fuckin' A! [ Julia Schneckenleitner, sax ]
05/07/2024, 05:30 pm | Accademia di Belle Arti @ Chiesa di Santa Marta, Venice (I) >>DETAILS
récital pour une femme seule _Italian Premiere [ fixed media, four-channel ]
mens et manus _Italian Premiere [ fixed media, four-channel ]
04/24/2024, 6 pm | Centro Tedesco di Studi Veneziani, Venice (I)
Artist's Talk between Matthias Krüger and Dr. Richard Erkens (Director of the German Center of Venetian Studies)
03/17/2024, 08:30 pm | La Semaine du Neuf/LeViver @ Ascension of Our Lord Church, Montreal (CAN) >>DETAILS
L'être contre le vent _World Premiere [ Adrian Foster, org – Matthias Krüger, elx ]
03/15/2024, 06:00 pm (EST) | CAFÉ @ Radio Ckut FM 90.3, Montreal (CAN) >>DETAILS
Conversation about music and the computer-controlled organ with Esther Bourdages
03/15/2024, 08:00 pm | Tempo Rubato, Melbourne (AUS) >>DETAILS
renk _Australian Premiere [ Claudia Chan, pn ]
02/19/2024, 08:15 pm | Soirée SMPTE (Society of Motion Picture and Television Engineers, Canada) @ Ecole Supérieure des Métiers Artistiques (ancien cinéma Excentris), Montreal (CAN) >>DETAILS
Presentation on hybrid composition [Matthias Krüger, speaker]
01/15-26/2024 | Production Residency @ GMEM, Marseille (F) >>DETAILS
rosebud [ Victor Virnot, dance - Matthias Krüger, elx ]


12/15/2023, 07:30 pm | Pina Bausch Theatre @ Folkwang University of the Arts, Essen (D) >>DETAILS
the incomparable milk of wonder _World Premiere [ Double bassists of Folkwang University of the Arts ]
12/12/2023, 11:00 am | Folkwang University of the Arts, Essen (D)
Visiting Composer in the Analysis Seminar
11/29/2023, 08:30 pm | collectif Radiance @ La Poêle, Montréal/QC (CAN) >>FB
fl*sh _Canadian Premiere [ Etienne Lebel, tbn - Matthias Krüger, elec ]
11/16/2023, 12 pm | Centre for Interdisciplinary Research in Music, Media and Technology (CIRMMT), Montréal/QC (CAN) >>DETAILS
Presentation at the workshop "Tangible and affective interface design for music and sound art with Prof. Karon MacLean" (University of British Columbia)
11/10/2023, 5:30 pm | Goethe-Institut Montréal/QC (CAN) >>DETAILS / >>FB
mens et manus _Canadian Premiere [ Matthias Krüger, sound dir ]
sweep over me them dusty bristles _Canadian Premiere of the concert film by Rikisaburo Sato [ Ensemble Inverspace, chor: Eddie Martinez/Wuppertal, vid: Rikisaburo Sato/Cologne ]
06/11/2023, 05:00 pm | Mahaney Arts Center @ Middlebury College, Middlebury/VT (USA) >>DETAILS
"Composition across borders: Finding a common language between music, dance and continents" (Joint workshop with Prof. Laurel Jenkins)
02/11/2023, 12:30 pm | Ades Performance Space @ Manhattan School of Music, New York City/NY (USA)
Visiting Composer at the Composer's Forum
10/30/2023, 12 pm | Davison Room @ Harvard University, Cambridge/MT (USA) >>DETAILS
Visiting Composer at the Harvard Group for New Music / Composition Colloquium
09/12-09/16/2023 | GRAME Musiques Exploratoires, Lyon (F)
Studio Residency working on rosebud 2.0
09/02/2023, 7 pm | BLAU - Experimentelle Musik im Kirchenraum @ Marktkirche (Church) Paderborn (D)>>DETAILS
mens et manus _World Premiere [ Matthias Krüger, sound dir ]
09/02/2023, 04 pm | BLAU - Experimentelle Musik im Kirchenraum @ Kapuziner Church Paderborn (D) >>DETAILS
conTemp[s]lations [ Dominik Susteck, org ]
07/18/2023, 07 pm | Asia Pacific Saxophone Academy @ Rangsit University/Recital Hall, Bangkok (THAI) >>DETAILS
fuckin' A! [ Xavier Larsson, sax ]
07/12/2023 | University of Music Karlsruhe (D)
Visiting Composer at the musicology seminar of Dr. Carola Bebermeier
Visiting Composer at the composition seminar of Prof. Markus Hechtle
06/17/2023, 08:00 pm | Domicil, Dortmund (D) >>DETAILS
le vide à perdre [ ensemble consord ]
06/16/2023, 08:00 pm | Resonanzraum, Hamburg (D) >>DETAILS
le vide à perdre [ ensemble consord ]
06/15/2023, 08:30 pm | Loft, Cologne (D) >>DETAILS
le vide à perdre _World Premiere of the Revised Version [ ensemble consord ]
05/24/2023, 06 pm | BLAU - Experimentelle Musik im Kirchenraum @ Kapuziner Church Paderborn (D) >>DETAILS
conTemp[s]lations [ Michael Schultheis, org ]
02/22/2023, 8 pm | Harbourfront Theatre, Toronto (CAN) >>DETAILS
Wie ein Stück Fett (Redux) [ ensemble BRuCH ]
02/18/2023, 4 pm | Pontiac Enchanté @ Venturing Hills Concert Studio, Ottawa (CAN) >>DETAILS
Wie ein Stück Fett (Redux) _Canadian Premiere [ ensemble BRuCH ]
02/16/2023, 07:30 pm | Salle Bourgie @ Montréal Museum of Fine Arts, Montréal (CAN) >>DETAILS
Wie ein Stück Fett (Redux) [ ensemble BRuCH ] *CANCELLED*
01/20/2023 | e-Mex Ensemble @ Anneliese-Brost-Musikforum Bochum (D)
fl*sh _World Premiere [ Andreas Roth, tbn - Matthias Krüger, elec ]
01/03/2022 | SRW 2 (D, radio broadcast)
Hier war Blau, hier war Gelb, hier war Grün [ Ensemble Aventure ]


11/10/2022, 8 pm | Kunstraum Pillnitz, Dresden (D)
renk [ Claudia Chan, pn ]
11/09/2022, 8 pm | Morgner Archiv, Chemnitz (D)
renk [ Claudia Chan, pn ]
11/08/2022, 8 pm | Municipal Public Library, Leipzig (D)
renk [ Claudia Chan, pn ]
09/24/2022, 8 pm | IRCAM @ Centre Pompidou (Grande Salle), Paris (F)
rosebud (beta) _World Premiere [ Victor Virnot, dance + sensors ]
07/30/2022, 08 pm | Elisabeth Schneider Stiftung, Freiburg im Breisgau (D) >>DETAILS
Hier war Blau, hier war Gelb, hier war Grün [ Ensemble Aventure ]
07/10/2022, 08 pm | w/ Tobias Tobit Hagedorn @ Auditorium de la Cité Internationale des Arts, Paris (F)
conTemp[s]lations _French Premiere [ Tobias Tobit Hagedorn, org ]
récital pour une femme seule _French Premiere [ fixed-media ]
06/24/2022, 09 pm | Kunststation Sankt Peter, Cologne (D)
Himmel floß und Fluß _World Premiere [ Jennifer Seubel, fl - Moritz Schneidewendt, cl - Thibaut Surugue, pn ]
06/22/2022, 12-02 p.m. | University of Music and Performing Arts Vienna (A / online)
Visiting Composer at the musicology seminar of Dr. Carola Bebermeier
06/08/2022 – 07/10/2022 | SRW 2 JetztMusik (D, radio broadcast)
Die freye Lust (Passacaglia on a Theme by Daft Punk [ Ensemble Recherche ]
06/06/2022, 07 pm | Auditori @ Conservatori Liceu, Barcelona (ES) >>DETAILS
fuckin' A! [ Estel Vivó Casanovas, sax ]
05/12/2022, 08:04 pm | WDR 3 Konzert (D, radio broadcast) >>DETAILS
craving your kiss _Live-recording of the German Premiere [ Klangforum Wien, conductor: Baldur Brönnimann ]
04/30/2022, 7 pm | Acht Brücken Festival @ Stadthalle Köln-Mühlheim, Cologne (D) >>DETAILS
craving your kiss _German Premiere [ Klangforum Wien, conductor: Baldur Brönnimann ]
02/03/2022, 07 pm | Salon Blanca @ Casa de Rusia, Barcelona (ES) >>DETAILS
fuckin' A! [ Estel Vivó Casanovas, sax ]

All Dates


Matthias Krüger is a composer for contemporary music. He was born in Ulm and grew up in Brussels and Trier. He studied music composition at Cologne’s Hochschule für Musik und Tanz, at Columbia University in New York City, as well as French language in Cologne and Sorbonne University in Paris. In 2021/22 he participated in the Cursus for Composition and Computer Music at IRCAM in Paris. Currently he is a doctoral candidate at Hamburg's University of Music and Theatre, researching on hybrid composition between music, dance and theatre, as well as, for the Spring of 2024, Artist-in-Residence at the German Center for Venetian Studies in Venice, Italy. His principal composition teachers include Krzysztof Meyer, Fabien Lévy and Johannes Schöllhorn. He attended festivals such as the Darmstadt International Summer Courses for New Music 2010 and impuls Academy 2011 in Graz and drawn inspiration from master classes and personal encounters with composers like Hans Abrahamsen, Mark André, Georges Aperghis, Chaya Czernowin, Georg Friedrich Haas, Pierre Jodlowski, Sarah Nemtsov, José-María Sánchez-Verdú and Vladimir Tarnopolski as well as the Composition Seminar of New York University with Nils Vigeland.

He has received numerous awards and scholarships, including from DAAD, the German National Academic Foundation, Berlin’s Mendelssohn competition in 2013, Cologne's B.A. Zimmermann award in 2015, the Chevillion-Bonnaud composition prize of the 12th Orléans International Piano Competition in 2016 as well as a nomination for the 2018 Gaudeamus Award (Utrecht, NL) and repeated nominations for the Young Artists' Promotion Award of Northrhine-Westphalia (D). Supported by the Arts Foundation of Northrhine-Westphalia he spent the Fall of 2015 as an Artist-in-Residence in Istanbul/Turkey and travelled to Aotearoa-New Zealand in 2018 on a two-month research grant to gain a deeper insight into kaupapa Māori, kapa haka and taonga puoro. Between 2014 and 2018 he worked part-time at the Institute of Musicology of Bonn University (D). Among other residencies, he spent the summer of 2020 at a three-months residency at the Cité Internationale des Arts in Paris, and, most recently, four months in Montreal (Canada) where he was composer-in-residence at the Goethe-Institut and Le Vivier as well as a Graduate Researcher at McGill University Montreal/CIRMMT.

His musical interests revolve primarily around the in-between of the abstract magic of sonic structures and the concrete confrontation with one’s own body, yearnings and obsessions; it focuses on the musician as a human being who is confronted with their personal limits and uncertainties, working their way through them in constant, not least physical agitation in an ever-lasting quest for identity and redemption.

He received commissions from WDR (Musik der Zeit), Westfalen Classics 2017, NewTalents Biennale Cologne 2014, and Young Euro Classic Berlin 2013, among others, as well as from soloists Xavier Larsson Paez (saxophone), Claudia Chan (piano) and Krisztián Palágyi (accordion). Matthias' music has been performed by the Klangforum Wien, the WDR Symphony Orchestra, ensemble Recherche, ensemble Aventure (Freiburg both), ensemble ascolta (Stuttgart), ensemble inverspace (Basel, CH), Ma'alot wind quintet, ensemble hand werk, mam.manufaktur für aktuelle musik, Ensemble BRuCH , Fukio Ensemble (all Cologne), IEMA ensemble (Frankfurt), Slagwerk Den Haag and Oerknal (both The Hague), PluralEnsemble (Madrid), and Meitar Ensemble (Tel Aviv), as well as soloists like Werner Dickel, Neus Estarellas Calderón, Patrick Stadler and Imri Talgam, among others, in Austria, France, Germany, Israel, Italy, the Netherlands, Poland, Spain, Sweden, Switzerland, the US, Canada, China and Japan, as part of festivals such as ECLAT Stuttgart, Donaueschinger Musiktage, Warsaw Autumn, Gaudeamus Muziekweek (Utrecht), Festival de Royaumont, Nuova Consonanza (Rome), Shanghai New Music Week, Kasseler Musiktage, Northwestern University New Music Conference, and Mallorca Saxophone Festival, and in venues such as Konzerthaus Berlin, WDR Funkhaus Cologne, Palau de la Música Catalana Barcelona, Centre Pompidou Paris and Carnegie Hall New York.

His music has been featured on German radio stations such as Deutschlandfunk, Deutschlandradio Kultur, Deutschlandradio Kultur, HR 2, SWR 2, WDR 3 and KölnCampus. In June 2018 as well as March 2022 Deutschlandfunk has dedicated portrait features about his music.
In January 2017 his composition LAL (First Draft) has been released on ensemble hand werk's first album "Kurzwelle".
In October 2021 the CD label WERGO released his portrait CD ᴀɪɴ·ᴛ ɴᴜᴛʜɪɴ· ʙᴜᴛ ғᴀɪʀʏ ᴅᴜsᴛ as part of the series "Edition Zeitgenössische Musik/Podium Gegenwart". The CD was longlisted in January 2022 for the German Record Critics' Award.

Furthermore, he has a regular practice of holding lectures on his music at international institutions such as Harvard University, Manhattan School of Music, CIRMMT Montreal, CRR de Paris, CNSMD de Lyon, Accademia di Belle Arti di Venezia, Conservatorio de Palma de Mallorca, Istanbul Teknik Üniversitesi, Bilkent Üniversitesi Ankara, Vienna University of Music, or German music academies such as Freiburg, Essen or Karlsruhe.

His scores are available through Babelscores Paris.

He is currently based between Cologne and Paris where he works as a composer.


— Recordings and scores for the pieces are available following the icons underneath the respective paragraph. In some instances, scores can be obtained from the composer. —

  • mens et manus. For four-channel electronics (fixed media). (10')
    Commissioned by Dominik Susteck. Premiered by Matthias Krüger (sound direction) on September 2nd, 2023, at Marktkirche Paderborn (Germany), funded by the Archdiocese of Paderborn.
    auf Soundcloud
  • fl*sh. Fragment for trombone, flesh and live-electronics. (5')
    Commissioned by the e-mex ensemble (Essen). Premiered by Andreas Roth (trombone) and Matthias Krüger (sound direction) on January 20th, 2023, at Kleiner Saal/Anneliese Brost Musikforum Bochum (Germany), funded by the Deutscher Musikrat.
    auf YouTube
  • rosebud (beta). For dancer, sensors and live-electronics. (15')
    Written for the Final Concert of Cursus for Composition and Computer Music at Institut de Recherche et Coordination Acoustique/Musique (IRCAM) Paris. Premiered by Victor Virnot (dance) and Matthias Krüger (sound direction) on September 24, 2022, at Grande Salle/Centre Pompidou Paris, funded by the Deutscher Akademischer Austauschdienst (DAAD).
  • Die freye Lust (Passacaglia on a theme by Daft Punk). For oboe, clarinet, percussion, synthesizer and electropneumatically operated quartertone melodicas and round conduits (6 players).
    Commissioned and premiered by Ensemble Recherche November 4th, 2021 at Kasseler Musiktage, funded by the Ernst-von-Siemens-Musikstiftung.
    auf Soundcloud
  • The incomparable milk of wonder. For double bass octet. (20')
    Commissioned by the Oldenburg State Theatre. Premiere by the double bass section of the Oldenburg State Orchestra in the planning.
  • sweep over me them dusty bristles(Revised version of Komm her, Sternschnuppe [2018, rev. 2020])
    A musical situation inspired by texts und music by Friedrich Nietzsche, Sigmund Freud, Lil Hardin Armstrong, Fats Waller, Parov Stelar, Daft Punk and other. For five players with prepared flute, to be prepared baritone saxophone (doubling tenor), Synthesizer (doubl. piano), two drumsets, analogue-digital live-electronics (including Revox Tape Recorder) as well as body, voice and face.
    Premiered by Ensemble Inverspace on October 13th, 2020 at Alte Feuerwache, Cologne. Choreography: Eddie Martinez.
    auf Vimeo auf YouTube
  • craving your kiss. For large versatile ensemble (20 players). (20')
    Commissioned by the German Music Council (Deutscher Musikrat) and Acht Brücken festival Cologne. Premiered by the European Workshop Ensemble conducted by Rüdiger Bohn on September 24th, 2021 at Warsaw Autumn music festival at F. Chopin University of Music in Warsaw, PL.
    auf Soundcloud auf YouTube
  • Ce n'est qu'en nageant nu. For solo piano. (4')
    To be premiered by Hugues Leclère on November 20th, 2020 at Philharmonie de Paris/Cité de la Musique (F).
  • le vide à perdre. Revised Version (2016, rev. 2019). For prepared trumpet, prepared trombone, bass drum, drum set, synthesizer, electric guitar, electric cello and live-electronics. (19')
    auf YouTube auf Vimeo
  • Bellygoat Boom.For orchestra. (24')
    Commissioned by Westdeutscher Rundfunk (WDR). World premiere performed by WDR Symphony Orchestra (Elena Schwarz, con) on October 5, 2019 at WDR Funkhaus (Klaus-von-Bismarck-Saal) in Cologne (D).
    auf YouTube
  • nun schauervoll einmalig blickt es mich an. Revised Version (2015/17/19). For viola und accordion. (17')
    on Babel
  • Dance of the Dream Men.For Percussion Quartett.
    Commissioned by Gaudeamus Muziekweek. World premiere by Slagwerk Den Haag on September 7, 2018 in Utrecht (NL).
    auf Soundcloud auf YouTube auf Babel
  • Komm her, Sternschnuppe. For prepared flute, to-be-prepared baritone saxophone, synthesizer (doubl. piano), drumset and analogue live-electronics.
    Commissioned by Ensemble Inverspace. World premiere scheduled for 06/24/2018 at WABE, Berlin (D).
  • K.P. and his angel. For accordion.
    Commissioned by Krisztián Palágyi. Premiered on 01/30/2018 at LABOR Projektgalerie (Cologne, D).
  • Patterns, patterns, oh, to break those chains. For wind quintet. (20')
    Commissioned by Ma'alot wind quintet. Premiered on 05/28/2017 at Rittergut Störmede (Geseke, D) as part of WestfalenClassics music festival.)
    on Soundcloud
  • le vide à perdre. For prepared trumpet, prepared trombone, bass drum, drum set, synthesizer, electric guitar, electric cello and live-electronics.
    Commissioned by ensemble ascolta. Premiered by the same under the baton of Nicolas Kok 02/05/2017 at Theaterhaus Stuttgart as part of ECLAT festival.)
    !--RETRACTED VERSION--! auf Soundcloud auf YouTube
  • Wie ein Stück Fett (Redux). For soprano, alto flute (doubling piccolo), prepared cello and prepared piano.
    Commissioned by the ensemble BRuCH. Premiered on 10/06/2016 at Stadtgarten Cologne as part of the concert series Tripclubbing.)
    auf Soundcloud auf Soundcloud auf YouTube auf YouTube on Babel
  • Hier war Blau, hier war Gelb, hier war Grün. For flute, clarinet and grand piano.
    Written for Meitar Ensemble. Premiered on 07/14/2016 at Felicja Blumental Music Center Tel Aviv at part of the Tzlil Meudcan Summer Academy and Festival.)
    !--RETRACTED VERSION--! on Soundcloud
  • LAL (First Draft). For flute (doubling piccolo), bass clarinet, tulum, percussion, amateur accordionist, violin and microtonal melodicas (six players). (9')
    Commissioned by ON.Neue Musik Köln. Premiered by ensemble hand werk on 01/18/2016 at the studio of the ensemble Musikfabrik Cologne.
    auf Soundcloud auf Soundcloud auf YouTube
  • renk. For slightly prepared grand piano. (9')
    Commissioned by pianist Claudia Chan. Premiered on 01/15/2016 at Loft Cologne.
    on Soundcloud on YouTube auf YouTube auf YouTube auf Babel
  • Wie ein Stück Fett. For voice and prepared piano. (5')
  • nun schauervoll einmalig blickt es mich an. For viola and accordion. (17')
    Premiere of the Second Part on 06/20/2015 at Salone di Palazzo Ricci in Montepulciano (I) performed by Marina Eichberg (va) and Krisztián Palágyi (acc); premiere of the complete and revised piece on 10/28/2015 at Kunststation St. Peter Cologne performed by Werner Dickel (va) and Krisztián Palágyi (acc).
    !--RETRACTED VERSION--! auf Soundcloud auf YouTube
  • rast. Revised version for 8 (prepared) trombones and museum interior. (16')
    Premiered by the trombone ensemble of Cologne University of Music on 11/18/2014 at Siegburger Stadtmuseum as part of the laureats' concert of Siegburg Composition Competition 2014.
    on Soundcloud
  • WIMP. For six players and prepared solo double-bell trumpet doubling alphorn. (22')
    Commissioned by New Talents Biennale Cologne 2014. Premiered by mam.manufaktur für aktuelle musik (Paul Hübner, tr) conducted by Susanne Blumenthal on 05/23/2014 at Kunststation St. Peter Cologne.
    on Soundcloud on YouTube
  • fuckin' A! For alto saxophone. (11')
    Commissioned by saxophonist Xavier Larsson. Premiered by himself on 06/23/2014 at the Concert Hall of Cologne University of Music.
    auf Soundcloud auf Soundcloud auf YouTube auf YouTube auf YouTube auf YouTube on Babel
  • wisp. For thundersheet and jazz-brushes. (11')
    Commissioned by YoungEuroClassics. Premiered by Se-Mi Hwang on 07/28/2013 at Werner-Otto-Saal of Konzerthaus Berlin.
    on YouTube
  • rast. For 7 (prepared) trombones and church interior. (12')
    Commissioned by Romanischer Sommer Köln. Premiered by the trombone ensemble of Cologne University of Music on 07/07/2013 at St. Pantaleon Köln.
  • torque. For 14 instruments. (24')
    Premiered by Ensemble Sinfonietta (University of Music Trossingen) conducted by Sven Thomas Kiebler on 10/18/2013 at Erich-Kästner-Halle Donaueschingen as part of Donaueschinger Musiktage.
    on Soundcloud
  • the machinery I have made. For bass carinet, violoncello, grand piano and an agency of another kind. (15')
    Premiered by the ensemble of the International Ensemble Modern Academy conducted by Vimbayi Kaziboni on 01/19/2013 at Joseph-Joachim-Saal of Berlin University of the Arts as part of the laureats' concert of Felix-Mendelssohn-Bartholdy competition 2013.
    on Soundcloud
  • Festinger's Færce. For baritone saxophone and live-electronics. (11')
    Premiered by Philippe Bouveret (Matthias Krüger/Hans Tutschku, sound dir) on 03/23/2012 at Miller Theatre New York as part of the festival Ghost in the Instrument at Columbia University.
  • récital pour une femme seule. For 4-channel tape, talkbox and female. (11')
    Premiered by Marlene Zilias (Matthias Krüger/Marcel Schmidt, sound dir) on 05/09/2011 at Alter Wartesaal Köln as part of Acht Brücken. Musik für Köln festival. Electronic sounds produced at the former Electronic Music studio of WDR under the technical supervision of Volker Müller.
    on Soundcloud
  • à portée de souffle. For saxophone quartet. (16')
    Premiered by Fukio Ensemble on 03/26/2013 at Auditori del Conservatori de les Illes Baleras, Palma de Mallorca (E) as part of 5th Mallorca Saxophone Festival.
    auf Soundcloud auf Babel
  • conTemp[s]lations. For organ (with mechanical stop actions). (16')
    Premiered by Nikolai Bogdanovskiy on 05/25/2010 at Tyska Kirkan Stockholm (SE) as part of Ljudoljud festival.
    on Soundcloud auf Babel
  • Tiraillements. For 8 instruments. (9')
    Premiered by a students' ensemble conducted by the composer on 07/11/2011 at Cologne University of Music (Concert Hall).
  • Voûte déborde le gaz. For solo piano. (9')
    Premiered by Nuno Pereira (pn) on 11/24/2010 at Cologne University of Music (Chamber Music Hall).
  • εx•isto•ire. For orchestra. (14')
    Premiered by a students' orchestra conducted by Thomas Jung on 02/03/2010 at Cologne University of Music (Concert Hall).
  • Le Dormeur du Val. Song for soprano, violoncello and piano based upon the sonnet by Arthur Rimbaud. (9')
    Premiered by Manon Blanc-Delsalle (sop), Dorukhan Doruk (vc) and the composer (pn) on 11/24/2010 at Cologne University of Music (Chamber Music Hall).
  • 4 Epigramme. For solo piano. (7')
    Premiered by the composer on 01/07/2008 at Cologne University of Music (Chamber Music Hall).


about rosebud (beta) (2022)

„The title rosebud by German composer Matthias Krüger says nothing of the power that emanates from Victor Virnot's gestural work in this piece for dancer, sensors and electronics. Magnificent in his performance on the floor, Victor Virnot is both dancer and instrumentalist, generating, via the sensors, a sound dramaturgy concomitant to his choreography, "even if the gestural tension remains linked to the compositional tension", as the composer states. In the last minutes of rosebud, the processed voice heard in the loudspeakers provokes a sonic joust with the dancer/performer, a final spectacular twist between gesture and sound." (Michèle Tosi on September 26, 2022 – for the French original, please click here. Translated with (free version))

about the portrait disc ain't nuthin' but fairy dust

"Krüger declares that he is most concerned with the search for truth. In fact, most of the compositions of the artist, endowed with a rich imagination, are quite literal.
Cologne-based composer Matthias Krüger uses the world and his travels. From the latter he brings back inspiration for his compositions. He is a keen observer, who presents the cultures he finds in a language that is not easy, but which clearly appeals to the imagination. Usually stories about other people's journeys bore me very quickly, but I listened to this one with interest and... I could listen to more.
Krüger declares that what he cares about most is the search for truth. In fact, most of the compositions by this imaginative artist are quite literal. He writes in such a way that the network of associations he creates transforms into a realistic image. I would venture to say, that the title "fairy dust" is sprinkled on his individual sound ideas rather than the works as a whole. The stories collected on the album are firmly rooted in the realities of Prague, Istanbul and New Zealand. Explicit connections between them are in vain; fortunately, each one is engaging in its own way.
I liked le vide à perdre best. Here the composer invites us to a nightclub in Istanbul. It is hard to recognize the style of the place - it may be a jazz club, a techno club, or a trash club, with a room reserved for ambient lovers. Strands of sounds overlap and collide with each other, only to hang in space and time a moment later. The head seems to be cut off from external stimuli and the mind falls into ecstasy. Among the confusion one can find references to the classics and pop culture (the ‘Orchestra Hit’ effect, which has not been heard for a long time).
A percussion solo emerges among the prepared instruments and electronics of Ensemble Ascolta, announcing a solution, but the author leaves us without a detailed ending to the night.
The Prague part of the album is Wie ein Stück Fett, a piece based on Gustav Meyrink's novel The Golem. The monodrama of the soprano, at times playing catch-up, at times giving way to instruments, and at times taking on the role of percussion, is presented in many shades. Here, darkness and mystery mingle with invigorating soundtracking. The story is ably supported by the BRuCH ensemble, but the verbal content will only be understandable to those who know German. More accessible is Bellygoat Boom, based on observations from fieldwork in New Zealand. Here, the pictorial murmurs and chirps are punctuated by unusual instrumental dialogues and ritualistic bursts of percussion by the WDR orchestra. Taking a journey through music may be for the best in such uncertain times." (Piotr Mika on Ruch Muzyczny 05/15/2022 – for the original Polish version, please click here; translated with

"Scan the QR code, watch the video or text panel, and play the CD. Is this CD an interactive work of art or has new music, which can be quite cumbersome, simply been enhanced with visual gimmicks? Haven't composers for a long time been prefacing their works with quotations from literature or references to imagery?
In the Beginning was the Sound, therefore first of, the CD itself: Already after a few minutes one gets sucked into the sometimes abrupt, sometimes peaceful, but always superbly executed sonorities without excessive knick-knacks. Even without explanations and additional video or text panels, Le vide à perdre (for prepared trumpet, prepared trombone, drum set, bass drum, electric guitar, e-cello and live electronics) has a lot to offer. Time flies - the Ensemble Ascolta under the direction of Nicholas Kok pulls it off with ease.
Weird musical ecstasy, the brilliantly howling e-guitar, very precise wind instruments and lush drums give a whack on the ears, beyond all genres and labels, full of playfulness and displaying outstanding musical craftsmanship. The electronics enhance the acoustic hustle and bustle and elevate themselves in a solo in the middle of the work, only to be almost humorously carried back into the ensemble by the acoustic colleagues. The drum set wraps up the piece, evoking a fictional academic version of a sober Keith Moon.
Wie ein Stück Fett begins with a recitation of a text from Gustav Meyrink's novel The Golem. Gradually, words are replaced by sound as they are read. Marie Heeschen’s voice dominates the entire excitingly colorful activity. Once again, it’s a real treat for the ears with soprano, flutes, violoncello and piano. Composer Krüger seems to be bursting with musical ideas and he knows how to stage sound.
Starting from an opening note, with the help of the WDR Symphony Orchestra under the direction of Elena Schwarz, an endless network of sounds, structures, hidden quotations unfolds. The references to Jack Kerouac, Allen Ginsberg and William Blake are pointed out in the booklet. If one is not fond of these three authors, the music becomes nevertheless accessible, because it is gripping, dazzling, full of suspense and very well recorded.
A fourth piece, Sweep over me them dusty Bristles, played by the ensemble Inverspace (with flute, saxophone, piano/synthesizer, percussion, live electronics, tape), is also packed with musical quotations and is just as exciting and accomplished as the rest. You won't find it on the CD, though, but exclusively online via the QR code (p. 32 of the booklet). It is great fun with musical depth to look and listen to, excellently recorded and crafted. With the additional QR codes of the booklet, this CD becomes even more colorful, the listener is more actively involved in the listening process - but even without, the CD is also meaningful and worth listening to." (Heike Eickoff in Das Orchester 05/2022; translated with and by M.K.))

„A CD for the adventurous listener. These recent electroacoustic works by Matthias Kruger are very absorbing. Drawing on a range of techniques, traditions and technology there is great crossover between styles and genres, signifying the great freedom and wealth of experience that today’s composers enjoy.“ (Lark Reviews, November 23, 2021)

"Matthias Krüger's exuberant music for ensemble: A night in the legendary nightclub "Vida Pera" on an Istanbul roof top terrace, 2015, one year before the military coup. A fragment from Gustav Mahler's 4th Symphony, a childhood memory. Nietzsche's "birth of tragedy from the spirit of music". Herder's considerations on the primacy of the sense of hearing and Schiller's "Aesthetic Education of Man". In addition, songs by U2 and Moby and the heralds of the Beat Generation Allen Ginsberg and Jack Kerouac. This selection of materials that Matthias Krüger draws on in his compositions is strictly subjective and anything but random. It is an attempt to make sense of an increasingly multilayered reality with musical means: to reveal its subtexts and references to tradition without getting lost in them. To this end, a technically sophisticated set-up is deployed, in which voices and analog instruments, digital and electro-acoustic sound generators as well as live electronics interact. The analytical precision, however, is always counterbalanced by a Dionysian unleashing that also seeks to cross borders into the realm of the theatrical. All of this can be found on the new portrait CD of the Edition zeitgenössische Musik of the German Music Council, whose ensemble works were recently created in the Deutschlandfunk Chamber Music Hall." (Ingo Dorfmüller on Deutschlandfunk, 03/05/2022)

" 'Contains material from the following pieces' - this is a note that sticks out when studying the booklet of this release, and it is indicative of Matthias Krüger's work as a whole. Explicit references as well as implicit ones are ubiquitous in his works, but the long-established category of quotation does not do justice to his way of working. Reminiscent of the Zimmermannian spherical shape of time, Krüger not only incorporates musical and philosophical influences into his work, but outright utilizes them as a springboard for his compositional work.
Le vide à perdre, written for the ensemble Ascolta, is to be understood in the context of a club in Istanbul that was closed under political pressure, as Bastian Zimmermann explains in the booklet. Sonically dominant are a multitude of high, piercing tones as well as an impressive amount of different degrees of distortion. After a while one realizes that this is an impression-like memory of a night at the club: booming music, ringing ears. The ensemble Ascolta delivers these instrumentational amalgamations with great brilliance.
As an acoustic work, Wie ein Stück Fett (Like a Lump of Fat) dives into a different sound world and initially seems like a piece for speaking voice with accompanying music. Just like in a game, the words of a sentence are gradually substituted with sounds, thus shifting from a semantic level to a sonically complex one surprisingly quickly. Marie Heeschen excels with subtle nuances in the speaking voice as well, and the ensemble as a whole, gradually emerging from the blunt accompaniment, displays a great energy and richness in sound
In sweep over me them dusty bristles, the musical references seem to literally steer the course of the piece, and not infrequently the reviewer catches himself smiling incredulously as he is drawn into a new world of references, that’s how naturally the music spills over into a completely different section. In the video (Rikisaburo Sato), which goes far beyond mere documentation, digital artefacts, color distortions and text slides are interweaved in a multi-layered and rapid manner as to create an evocative homage to the beginnings of video art. In addition to instrumental virtuosity, the ensemble Inverspace has also mastered theatrical aspects such as gestures and exclamations.
Now, is it a political message to have David Guetta alongside Albert Camus as a material reference? No! Instead, it is "plainspoken" autobiography. In his way of composing with references, Matthias Krüger creates a new compositional technique that one could well imagine as a subject in an academic syllabus. The interweaving of the explicit with composed impressions, which become all the more tangible to the listener precisely because the influences are exposed, is unique, and makes Krüger a kind of impressionist of the 21st century." (Jakob Böttcher in Neue Zeitschrift für Musik, 04/2021; Transl.: M.K.)

„[Matthias Krüger] combines electronics and instrumental composition into a pleasantly undomesticated mix in which material from pop, art, literature, and new music come together in fruitful ways. A true powerhouse of energy is le vide à perdre (2016/19), a propulsive sound space in glaring colors, impressively realized by Ensemble Ascolta. The instrumentation is distinctive: prepared trumpet and trombone, drumset, bass drum, synthesizer, electric guitar, electric violoncello and live-electronics. The piece draws on Kruger's techno experiences, but you'll look in vain for a beat, despite the incorporation of various club tracks. Instead, the total dissolution and pixelization of sonic and textural identities prevail. His orchestral piece Bellygoat Boom (substrate), commissioned by the WDR in 2019, is even more bombastically sized and features set pieces from Mahler's 4th Symphony as well as by U2 and Moby. It begins with the sluggish groaning and grinding of a few sound monoliths and ends in a catastrophic Mahlerian frenzy.“ (Dirk Wieschollek in Neuen Musikzeitung 02/2022, transl. by M.K.))

about Die freye Lust (Passacaglia on a theme by Daft Punk) (2021)

„In Matthias Krüger's "Die freye Lust" [Léo Maurel's instrument] indeed becomes an aggressive noise-making machine, along with the rumbling of timpani and electronic beats. If one sticks to the association of outer space, it is now rather a war of the stars arising in front of the inner eye: planets collide, spaceships explode, black holes implode. In addition, the air-powered melodica: it sounds like an old harmonium at a funeral. At some point, the air is switched off, and it exhales its last note.“ (Elke Kamprad in Badische Zeitung, 12/01/2021; Transl.: M.K.)

about craving your kiss (2020)

„[…] Matthias Krüger's extroverted craving your kiss. The German composer does not take resources for granted. The gaze was caught by lassoes made out of PVC tubes and spun in the air, and the ear by sophisticated constructions shimmering with microtones, from which more and more distinct consonances, more and more peculiar samples emerged, until the music became overabundant. (Karolina Dabek on, 10/16/2021 – for the original Polish version, please click here; translated with

about the nomination for the 2018 Gaudeamus Award

„Matthias Krüger is a committed risktaker. Extremely imaginative and curious. Not afraid to go the distance with an idea that “may or may not work”. This willingness to explore is convincing and draws the listener in.“ (Jury: Mayke Nas, Nicole Lizée and Richard Ayres, September 2018)

about Patterns, patterns, oh, to break those chains (2017)

„The intense physical energy of Matthias Krüger's quintet, fueled by its insistent pitches, amplitudes, repetitions, and high-speed dramaturgies, also challenged its listeners. Habits have thus not only the ability to make life more manageable and comfortable, but can also be the entry to hell.“ (Sylvia Systermans on Deutschlandfunk [German public broadcasting], 05/28/2017; Transl.: M.K./Thierry Tidrow)

about le vide à perdre (2016)

" least as freaky as Matthias Kruger's finale "Le vide à perdre" for electronics, surround sound, prepared wind instruments, and a whole lot of percussion: like the “Grand Wazoo" of the 21st century, it borders on the threshold of pain and crawls with life. With almost feverish eyes and visibly happy to finally be able to hear his composition the way (Ensemble ascolta performing dedicatedly under the baton of Nicholas Kok) he had once imagined it, Krüger cranked the controls at the mixing desk all the way up to the max. Eclat is a festival that lives and thrives on such moments. It enables the proximity between the artists and the audience. There are no trenches." (Mirko Weber, Stuttgarter Zeitung, 02/06/017; Transl.: M.K./Thierry Tidrow)

"... like a sound massacre: a shrill and distorted electro inferno." (Otto Paul Burkhard in Südwest Presse, 02/07/2017, Transl.: M.K./Thierry Tidrow)

about Wie ein Stück Fett (Redux) (2015/16)

"... a sometimes almost paradoxical listening experience. A new sound space opens up and, very surprisingly, is immediately drawn into the increasingly obsessive soundscape. The same happens in the vocal part, which also features overtone singing. However, Krüger's musical actions do not carry their meaning within themselves; rather, the musical discourse is characterized by a compulsive obsessiveness which blusters into extreme panic. It is inherently inspired by the text, the opening chapter of Gustav Meyrink's novel The Golem, published in 1913, a classic of fantastic literature." (Ingo Dorfmüller on Deutschlandfunk [German public broadcasting], 07/22/2017; Transl.: M.K./Thierry Tidrow)

about renk (2015)

"Thus the recital opened with Matthias Krüger’s renk, a work that is rather a visual than a sonic performance, judging from how much the pianist’s body—in this case Claudia Chan—is being solicited in a such an unusual way: fingernails, palm of the hand, wrist, forearm; all are deployed on the keyboard, as well as underneath and even on top of the instrument without necessarily always pressing the keys all the way down. The effect is spectacular, and invites us to consider the piano through all of its constituents, beyond the traditional keyboard." (Isabelle Stibbe in La Terrasse, 03/22/2017, Transl.: M.K./Thierry Tidrow)

about LAL (First Draft) (2015)

"Matthias Krüger came up with the idea for this composition in Istanbul. There, he had observed street musicians and was inspired by the foreign sounds and the constant interplay between musicians. The sound fields in his music therefore change accordingly. Krüger starts out with an impulsive drum solo. This is followed by a section in which the flute dominates. The music acquires an exotic character through microtonal variations, as they occur in oriental music, and through the use of the tulum, a Turkish form of bagpipes. Krüger challenges the musicians' sound sensitivity. The instrumentalists capture the fragile microtonal fluctuations with subtlety, easily intoning the melodic motifs’ filigree ornamentations. They play Kruger's composition with an improvisational fashion that makes the piece seem very much alive." (Hanno Ehrler on Deutschlandfunk [German public broadcasting], 07/31/2017; Transl.: M.K./Thierry Tidrow)

"... oriental sound patterns with an anarchistic and theatrical attitude." (Bastian Tebarth in StadtRevue, 07/2017)

about WIMP (2014)

"At the Kunststation St. Peter, Matthias Krüger conjured up tender soundscapes. A wild and impressively contrasting Alphorn solo roared and screeched like both a ship's horn and a free jazz trumpet. The watch hands of music history are still ticking onwards." (Rainer Nonnenmann in Kölner Stadt-Anzeiger, 05/26/2014; Transl.: M.K./Thierry Tidrow)