for oboe solo (1986)
played by Bernhard Spychalski (1991)

Rhapsodie

String Trio No 1: shadows … traces … splinters … — …
(1987)
played by Ulrike Xander (vln), Astrid Bögle (va), Hartmut Kasper (vc) (1987)

… für Träumerohren
… unendlich leise hörbar, und in der braunen Geige rührten sich mit summendem Gedränge die gefangenen Töne. In den entfernten Ecken … saß lauschend die Finsternis. (Hermann Hesse, Wenkenhof)

on the eve of his 24th birthday, 10 February 1987,  my co-tenant Kay doused himself with gasoline and set himself on fire in the garden behind our house

Aber was uns an jedem Hügel quält, das ist der Gedanke: „Ach, wie wollt ich dich gutes Herz geliebet haben, hätt’ ich dein Versinken vorausgewusst.“ (Jean Paul, Siebenkäs)

Streichtrio Nr.1: schatten … spuren … splitter … — …

fragwürdig | questionable
Episode for violin, trumpet and string orchestra
(1989)
played by Aram Badalian (vln), Andrei Kavalinski (trp), Ensemble Sorpresa; conductor: Norbert Krupp
(2016)

Sonderbar schön und seltsam war die Welt, sehr farbig, etwas fragwürdig, etwas unwahrscheinlich, jedoch wunderschön. (Hermann Hesse, Klingsors letzter Sommer)
Strangely beautiful and odd was the world, very colourful, a bit questionable, a bit unlikely, but most beautiful. (Hermann Hesse, Klingsor's Last Summer)

fragwürdig

for flute solo (1985/88)
played by Carsten Hustedt (1991)
The two-layer motif mi-chae-la was derived from the name of a flutist then a friend of mine: mi and la are solmization syllables as used in Romance languages, and c, h(=b), a, e are German tone letters.  These two layers are constantly recombined with each other (mi-la also transposed, while c-h-a-e always remains the same), and in fact every tone of the piece comes from one of these two layers.
Published in the anthology "Lyrische Fantasien", Zimmermann-Verlag, ZM 32300

Andreas Grün, Komponist