By David Sanson

“*I only work on things I do not know yet, otherwise, I have no interest in them.*”
This credo, noted by the German theorist and theatre critic Hans-Thies Lehmann^[1], is one way to sum up the philosophy behind Heiner Goebbels’ work since the 1970s – and one way to illuminate the resolutely singular path he has forged through the art music world, and is still forging today. Singular because this well-rounded musician, multi-instrumentalist, composer, teacher, artistic director, and eloquent author is at least as well-known and celebrated in the theatre world as he is in music. He has been teaching since 1999, but not in a conservatory: he is a professor at the Institute for Applied Theater Studies of the Justus-Liebig University of Gießen, which is renowned for being one of the epicentres of postdramatic theater – as theorized by Lehmann himself, whose way Goebbels paved.

The term “postdramatic,” rather than “post-modern,” is probably better suited, too, to describe the heterogeneity of Goebbels’ music. This heterogeneity is the result of a juxtaposition of and the interactions among disparate elements (sometimes musical influences, sometimes sound objects) – it is a music of “gaps,” to borrow Jean-François Trubert’s description of the “instrumental theater” of Mauricio Kagel. Goebbels’ work is also characterized by metamorphosis: it is self-adapting, and often exists in a plethora of variations (composition, performance, installation, radio drama, etc.). This is “stage music:” off-centered, impure, tracing out a singular horizon in a tradition of Western classical music which it consciously measures while mixing and matching with other traditions, both “non-classical” (free jazz, rock) or “non-Western” (Senegalese, Japanese, etc.). It is “postdramatic,” too, in that Heiner Goebbels is a stage director as well as a composer: music, for him, is a matter of dramaturgy at least as much as it is a matter of composition; or, more precisely, because composition, as he imagines it, is itself a kind of staging^[2].

At any rate, the term musical theatre is not broad enough to define his work, whose key trait is the decisive role assigned to the text, and its richness, which seems to encompass an awareness of the twilight of modernity. It is through this lens that his music explores most of the major aesthetic questions of the post-war period. In the stage arts, the pieces that comprise his catalogue seem to have found the best ways to affirm a certain relationship to time and to listening – while remaining faithful to a collective dynamic that helps to explode the myth of the composer as demiurge. This is a political vision inherited from Hans Eisler – whose credo Goebbels might well adopt for himself: “A person who knows only music knows nothing of music”^[3] .

From the street to the acoustic space of the radio: the birth of a language

Hanns Eisler – about whom Goebbels wrote a thesis in sociology in 1975, on “the progressive dimension of musical material” – was indeed the guiding light behind Heiner Goebbels’ first attempts at public performance. “I thought that the jazz music I liked to play was a private activity that could not become a politically engaged public activity. When I discovered the life and work of Hanns Eisler, I realized that music could also have a political impact^[4]”. Goebbels’ first album, dedicated to Eisler, was produced with the saxophonist Alfred Harth, a key figure of the jazz scene in the broadest and freest sense of that term. Goebbels’ first encounter with Harth, also in 1975, was another pivotal moment for him: the iconoclastic Hommage / Vier Fäuste für Hanns Eisler plays with the contrast between Harth’s explosive performance and Goebbels’ relative compositional rigor. Harth was also a mainspring in the creation of Sogenanntes Linksradikales Blasorchester (the “So-called Radical Left-Wing Wind Orchestra” or SLB), founded that same year. While the orchestra’s main goal was to play for the student protests that were shaking Frankfurt as well as Germany’s other major cities, the group nevertheless recorded two albums, in which several facets of Goebbels’ future compositions are discernible in embryonic form. The album Hört, Hört (1977), for example, features pieces such as Tagesschau and Circa, which, with great spontaneity, juxtapose and build together the most disparate of musical elements, quoting the American and German national anthems and Beethoven’s Fifth Symphony, weaving in notes of jazz, tango, and circus music, noise episodes, etc.

Goebbel’s work with the SLB, as well as with the experimental rock group Cassiber and his work as a stage music composer, an intensive part of his activity for the greater part of the 1980s, were all collective experiences, and, as such, would have a decisive influence on the work that followed. Of these formative years spent in agitprop, group playing, and spontaneous gestures, the most tangible traces remain his albums. In the early 1980s, the Goebbels/Harth albums show a notable evolution, linked to Goebbels’ discovery of electronic musical instruments (synthesizers, drum machines). On the album Der Durchdrungene Mensch / Indianer Für Morgen (1981), the piece Berlin Q-Damm 12.4.81 uses sound documents and concrete sounds, acoustic and electronic instruments, and tape to translate into music an incident that occurred between a plainclothes police officer and a young window-smasher on the Kurfürstendamm in Berlin, and is almost like a miniature radio drama. As in Peking-Oper – on Frankfurt-Peking (1984) – Goebbels’ music, according to Wolgang Sandner, was already losing its “bidimensionality^[5]”.

1984 was another milestone year for Heiner Goebbels, as it marked the beginning of his collaboration with writer and director Heiner Müller, which ended only with Müller’s death in 1995. Goebbels also wrote his first radio play in 1984, Verkommenes Ufer (“Abandoned Shore”), with a text from 1955 worked into the play Abandoned Shore / Medea Material / Landscape with Argonauts, which Müller had premiered the year before. The composer had not yet discovered the radio dramas of John Cage or Mauricio Kagel, but his work still shows a singular inventiveness: the collage art already present in his group recordings features in these, as well, and one hears the combined influences of concrete music, Dada, and popular music, as well as a highly personal approach to the text, which is dismembered, truncated, and then reorganized and reassembled to obtain the most accurate possible acoustic translation of the meaning and the feelings it inspired in Goebbels. He, in turn, entrusts the listener – and here is a constant preoccupation in his work – with an active role to play. In this case, the text was partially spoken by anonymous passers-by in the streets of Berlin, a technique Goebbels would reuse, notably in Boston in 1990 for SHADOW/landscape with Argonauts, based on texts by Edgar Allan Poe and Müller. In the years that followed, Goebbels and Müller collaborated on such works as Die Befreiung des Prometheus, Wolokolamsker Chaussee I-V (1989). For Goebbels, the radio drama seemed to be the best way to strike the “new balance between music and text” that he described seeking^[6]. A balance in which the text acts to structure the musical composition, which must in turn make the linguistic and syntactic structure of the text transparent to the listener: an ode to the musicality of language and at the same time a melancholic, ironic, poetic, and perhaps metaphysical way to grasp literature.

Heiner Goebbels’ encounter with his alter ego in Müller was also foundational in that it encouraged Goebbels in his use of collage and the arrangement of disparate materials in his music. Indeed, Heiner Müller did a very similar thing in his texts, composing them in the myriad footsteps of other authors: “As Heiner Müller did with texts from many places, I am just as likely to work with rock music, African music, or classical music. The material changes but the method is always mine. My understanding of art consists of acknowledging that one cannot systematically invent new works, but that, by working with pieces that already exist, one can transform them to the point that, at times, they are no longer recognizable^[7]”. This “understanding of art”, to which Goebbels has always returned, will be explored more extensively further on.

In addition to Maelstromsüdpol, his first performance installation, created with the stage designer Erich Wonder and presented in 1987 at Documenta VIII in Kassel, Goebbels and Müller collaborated that same year on Der Mann im Fahrstuhl (“The Man in the Elevator”), which was at that point his most significant attempt at stagecraft. This “stage concert,” performed by the writer and a group of jazz musicians including trumpeter Don Cherry – whose concert Goebbels had seen in the early 1970s, and which, along with the Sun Ra Arkestra, had been a revelation to the composer – also marked the beginning of his collaboration – non-exclusive but sustained – with the ECM music label.

The space of the stage: composing in three dimensions

After working on the “acoustic stage^[8]” of radiophonic art, to which Goebbels always returned, and after several collaborative pieces, notably with the director Michael Simon, a natural next step for the composer was the 1993 “musical theatre” piece Ou bien le débarquement désastreux. (Goebbels links his taste for elaborate titles to his desire to spark the curiosity he sees as the audience’s main role.) It was his first attempt at composing on a large scale with the different components of theatrical performance – text (a mix of Conrad, Müller, and Francis Ponge), scenography (by the visual artist Magdalena Jetelova), lighting (Jean Kalman), acting (with Français André Wilms, his preferred actor), costumes (Alexandra Pitz), and, of course, music. As in his radio pieces, Goebbels drew all of these parameters together through a play of contrasts and oppositions, imposing an internal temporality: separation of voice and body (through amplification), colliding scenes and colliding music – the koras of two Senegalese griots dialogue with the score he composed for a quartet of instrumental performers (two electronic keyboardists, a trombonist, and a guitarist playing electric guitar, table guitar, and daxophone). In 2012, the same performers featured again in The Up-River Book, a radio composition for a text by Joseph Conrad.

The way these structural elements are placed in tension with one another differs from the Gesamtkunstwerk so dear to Wagnerian theatre: indeed, in 1997, in one of his (numerous) theoretical essays, Goebbels explicitly distanced himself from this notion of the “total artwork^[9]”. He believed that theatre should not offer “utopian totality,” but rather “a reservoir of questions, a productive incompleteness, a new model of communication, […] a promise,” or, as Hans-Thies Lehmann puts it, “an arrival” (“ein Advent”)^[10]. He was opposed to assigning any hierarchical difference within the arts, and denounced the datedness of theatrical signs, symptomatic of the illustrative drift from which theatre suffered. “All of the arts should be strong on stage and there should be no hierarchy. Content should be opened up, rather than proliferated^[11]”.

Questioning the classical understanding of the aesthetic experience, in which attention is focused on the direct presence of clearly identified protagonists/soloists, Goebbels entrusted the spectator with an active, decisive role. Taking up the notion of “stage writing” forged by theatre critic Bruno Tackels, we might, as mentioned before, qualify Goebbels compositions as “stage music” – co-created with the other elements of the performance, and often the result of numerous collective improvisations. “I am actually incapable of writing a single note if I haven’t improvised with everyone for two weeks,” the composer confided to Franck Ernould in 1997^[12]. A music in which the systematic use of amplification allows the composer not only to practice combining different and unexpected timbres – a clavichord and percussion, for example, in Ou bien le débarquement désastreux – and mixing them with electronic sounds, but also to spatialize the sound as he wishes and to “disorganize conventional dynamic equilibrium^[13]”.

After this, all of Goebbels’ subsequent work, both his “musical theatre” and his “stage concerts,” seeks to push this kind of questioning to the fore. Each time, he chose to deepen a specific preoccupation or dimension, always in search of the unknown and the new, which, as you will recall, are among his core motivations. It is not always easy, in fact, to locate distinctions among these different “musical shows,” to use another one of the artist’s terms. The scenographic scope of I went to the house but did not enter (2008) thus makes it a “stage concert,” but it might just as easily be placed in the category of “musical theatre” – or even of “opera,” since that is the name he chose – a first, for him – for Landschaft Mit Entfernten Verwandten (“Landscape With Distant Relatives), which premiered in Geneva in 2002. Written for the four singers of the Hilliard Ensemble, I went to the house… is a milestone in Goebbels’ career in the sense that it was the first time that Goebbels, who had until then always expressed his mistrust of all standardized or academic forms of singing and diction and always preferred his own unconventional vocal forms, worked with “lyric” singing.

The twenty shows he has premiered since 1993 are generally visually very beautiful, and form a kind of constellation in which certain pieces have been transformed into installations or radio dramas. Standouts among these include Schwarz auf Weiß, a musical theatre piece that premiered in 1996 and is often described as a “requiem for Heiner Müller,” in which Müller’s voice can be heard reciting the beginning of a text by Edgar Allan Poe, titled “Shadow,” on which Goebbels had already based an eponymous radio drama; and Eislermaterial (1998), a stage concert written for the Ensemble Modern, premiered for the centenary of Eisler’s birth – here, again, one also hears a recording of the artist’s voice. InStifters Dinge (2007), a remarkable theatre piece stripped of all human presence, only a few electronically operated pianos, lights, the set, video, and sound bring the stage to life. For Heiner Goebbels, the stage is a means of adding a spatial dimension to the art of time that is music.

Zones of musical autonomy: an apologia for eclecticism

Since 1991 and Red Run – a reprise of a ballet score that marked the beginning of his rich collaboration with the Ensemble Modern – Heiner Goebbels has also composed some twenty pieces that, if not “purely” musical, are at any rate written to be performed in more or less traditional concert form (they are listed on the composer’s information-packed website as “Compositions”). Moving to the two-dimensional universe of the music score does not effect any radical change in Goebbels’ music; the compositions are written in the language that we know as Goebbels’ own, juxtaposing genres, registers, and sounds with undeniable theatrical genius. As always, they leave space for the listener, in which they can exercise their own faculties of association. La Jalousie, for example, a 1992 work inspired by Alain Robbe-Grillet and subtitled “noises excerpted from a novel” can be listened to as a radio play. These pieces, whether or not they employ the human voice – spoken or sung – continue to use text as their central impulse. One of Goebbels’ greatest pieces is no doubt Surrogate Cities, composed in 1994 for the Junge Deutsche Philharmonie. This monumental cycle, which is made up of some 90 minutes of mostly vocal music, comprises five distinct pieces, whose order may be varied, and which have often been performed on their own. The cycle is designed as a “transversal cut” of a city, exploring the different strata of its memory, as in the inaugural Suite for sampler and orchestra, in which the voices of Jewish cantors recorded in the 1920s resonate through the solo instrument. The Horatian, a trilogy of songs with orchestra with the overtones of musical theatre, for poems by Heiner Müller, places Goebbels in the tradition of Kurt Weill in his American period. On a comparable scale, Songs of wars I have seen (2007) combines the early music instruments of the Orchestra of the Age of Enlightenment, the London Sinfonietta, electronics, and voice.

Goebbels’ music stands out not only for its dramaturgic architecture, which breaks with the habitual forms of the Western written tradition (although the Suite described above does follow the structure of a Baroque suite). It is also singular in the way it marries together different timbres and its taste for unexpected sounds, from the contrabass clarinet to the clavichord, as well as electronic and “concrete” sounds – and above all two instruments particularly linked to jazz and rock, the electric guitar and the saxophone. As he recalls in a foundational essay written in 1988 on the question of “novelty^[12]”, it is in the field of rock that some of the most exciting innovations of the preceding decades have taken place. The essay, an eloquent defense of eclecticism and a compelling call to pull down the walls separating different musical worlds, affirms one of the fundamental traits of the music Goebbels began expressing in the context of a street marching band, and then in an experimental rock band. His equal love for popular and “art” music is particularly salient in shows such as Die Wiederholung (1995), a play “based on themes in Kierkegaard, Robbe-Grillet, and Prince,” and in Hashirigaki (2000), which mixes together texts by Gertrude Stein and songs by Brian Wilson and The Beach Boys. This eclecticism extends, as we have mentioned, to all the non-Western traditions, as well – notably to the music of Africa and Asia – see, for example, the Dervish Dance for flute and oriental percussion, which punctures through Landschaft Mit Entfernten Verwandten – and to the singular voices of actors and singers from all schools and all parts of the globe. This “double culture” also explains Goebbels’ enthusiasm for the unjustly obscure composer Harry Partch: in 2013, for the Triennale of the Ruhr, he conducted the European premiere of Partch’s Delusion of the Fury (1965–66). Composed in 1998 and revised in 2008,Walden, an orchestra piece designed as a counterpart to Surrogate Cities and based on the work by Thoreau, as in Partch’s work, uses an ensemble of original instruments created by the American sculptor and musician Bob Rutman.

This eclecticism is all the more necessary, Goebbels writes, given that everything – or nearly everything – has already been written and heard, the myth of “progress” in art has ceased to be credible. It is no longer possible to systematically invent new works, to create ex nihilo. Moreover, what point is there to post-modernity if all it does is restore the aesthetics of the past? From this angle, working with existing materials, transforming them to the point that they are no longer recognizable, and trusting the public is, according to Goebbels, the only possible way to create something new. “Music appears to us above all as a transformation of other, prior musics; it is no longer a medium of individual expression, but an order (Ordnung) that has long been handed down to us by the institutions of our musical socialization. The composer is no longer an inventor, a master of sounds; rather, it is [the sounds] that dominate the composer subject, and always and automatically precede him^[16]”. The recurrent use of samplers, employing citation and sound documents – in this light, this seems at the very least revelatory of the composer’s aesthetic of fragments, of juxtaposition, which convokes the listener’s curiosity and their memory in equal parts.

Portrait of the composer as a utopian architect

Thus is the composer an architect – as Goebbels himself declared in 2002 – or is he a “channel surfer,” as his friend André Wilms likes to describe him? Whatever the answer, the above observation requires us to raise the question of Goebbels’ status, particularly as his career, as we have seen, is deeply intertwined with collective, collaborative work. “For me, in the 20th century, all artistic movements in general, whether we are speaking of painting, literature, or music, depend more on collective memory, collaboration, transmission into the future, than they do on isolated individuals working outside of time^[17]”. This multiple and anti-authoritarian view of creation has allowed the composer to create music inspired by a decorator, an actor, and a lighting designer, as well as by a writer, and offers insight into his close relationship with the Ensemble Modern, a self-managed group of musicians. We also recall that in 1989, Heiner Goebbels shared the rights to Wolokolamsker Chaussee I-V with the performers he had worked with on the project (including the hardcore German group Megalomaniax)^[18].

Above all, let us recall a phrase of Heiner Müller’s that Goebbels likes to quote: “Working on the disappearance of the author is resisting the disappearance of the human^[19]”. If Heiner Goebbels is an architect, he is a utopian one. He does continue to sign his works. And his concert scores, his recordings, and even certain plays (Stifters Dinge is a repertory piece of the Théâtre Vidy-Lausanne, Schwarz auf Weiß, [*Eislermaterial*](/works/work/28679/ and Landschaft mit entfernten Verwandten are all part of the Ensemble Modern’s repertoire) do promise to endure. Nevertheless, given the very nature of his “compositions” – necessarily ephemeral performances, fruits of collaborations among a handful of singular artistic personalities coming together for a project, and theatre performances whose recordings are only a pale restitution of what occurred onstage – it is perfectly legitimate, failing the total evaporation of the author, to wonder what legacy he will ultimately leave behind.

[1]. Heiner Goebbels, “Daß es Verwandlungen gibt”, unpublished interview with Hans-Thies Lehmann, August 1996, in http://www.heinergoebbels.com (lien : https://www.heinergoebbels.com/en/archive/texts/interviews/read/88) 

[2]. Komposition als Inszenierung is also the title of an anthology on Goebbels’ work edited by Wolfgang Sandner (2002).

[3]. Quoted by Heiner Goebbels in “Gegen das Gesamtkunstwerk: Zur Differenz der Künste,” in Wolfgang Sandner (ed.), Heiner Goebbels. Komposition als Inszenierung, Henschel Verlag, Berlin, 2002, p. 138.

[4]. Heiner Goebbels, interview with Jean-François Perrier, February 2008, in http://www.festival-avignon.com. .

[5]. Wolfgang Sandner, “Heiner Goebbels, Komponist im 21. Jahrhundert” in Wolfgang Sandner (ed.), op. cit, p. 19.

[6]. Heiner Goebbels, interview with Jean-François Perrier, op. cit.

[7]. Ibid.

[8]. Ibid.

[9]. Heiner Goebbels, “Gegen das Gesamtkunstwerk: Zur Differenz der Künste,” op. cit., pp. 135-141. This text is available on Goebbels’ website, as are many interviews with and essays by the composer.

[10]. Ibid., pp. 138-139.

[11]. Heiner Goebbels, interview with Jean-François Perrier, op. cit.

[12]. Heiner Goebbels, interview with Franck Ernould, August 1997, in http://www.ernould.com (lien : http://www.ernould.com/Artigrou/goebbels.html)

[13]. Ibid.

[14]. On Goebbels’ use of audio records, see in particular Pierre-Yves Macé, Musique et document sonore – Enquête sur la phonographie documentaire dans les pratiques musicales contemporaines, Dijon, Les Presses du Réel, 2012.

[15]. Heiner Goebbels, “Prince and the revolution: Über das Neue”, in Wolfgang Sandner (ed.), op. cit, pp. 204-208.

[16]. Heiner Goebbels, “L’échantillon comme signe”, translated by Jean Lauxerois and Peter Szendy, in De la différence des arts, Paris, Ircam : L’Harmattan, 1997, p. 199.

[17]. Heiner Goebbels, interview with Franck Ernould, op. cit.

[18]. For more on this question, see Heiner Goebbels, “Soll ich von mir reden? Kollektive Copyrights” (1992), in Wolfgang Sandner (ed.), op. cit, pp. 190-198.

[19]. Quoted by Pierre-Yves Macé, op. cit., p. 267.

© Ircam-Centre Pompidou, 2018

• Solo (excluding voice)
  • elec stage Les Lieux De Là ballet music (1999), 35 mn
  • elec Nachtstück II for trumpet and tape with sounds of trumpet alphorn and euphonium (2002)
  • elec Bagatellen for violin and sampler (and clarinet ad. lib) (1989-2006), 16 mn, Ricordi
• Chamber music
  • Die Ballade vom zerrissenen Rock improvisations on themes by Hanns Eisler, for piano and tenor saxophone (1976), 7 mn 15 s
  • Die Ballade von der haltbaren Graugans improvisations on themes by Hanns Eisler, for piano, bass and clarinet (1976), 7 mn 30 s
  • Die Wirtshausszene for accordion and tenor saxophone (1976), 2 mn 10 s
  • Fugato Spontini for piano and soprano saxophone (1976), 1 mn 17 s
  • Grossvater Stoeffel improvisations on themes by Hanns Eisler, for piano and clarinet in mi b (1976), 4 mn 30 s
  • Lange Weile for piano and soprano saxophone, composed with Alfred Harth (1976), 1 mn 46 s
  • Sieg im Volkslied for accordion and tenor saxophone, composed with Alfred Harth (1976), 3 mn 20 s
  • Spui ma wieda oan, dass d'Zeit vergeht for accordion and tenor saxophone, composed with Alfred Harth (1976), 1 mn 32 s
  • Vorwärts improvisations on themes by Hanns Eisler, for piano and tenor saxophone, composed with Alfred Harth (1976), 5 mn 51 s
  • Zur Überwindung von Schwierigkeiten for piano and tenor saxophone, composed with Alfred Harth (1976), 6 mn 40 s
  • Almelo for piano and clarinet (1980), 5 mn 30 s
  • Bis bald, Kalypso for piano and saxophone (1980)
  • Der Ruf der Vögel for piano and saxophone (1980)
  • Krähenmusik for piano and saxophone (1980)
  • Los Campesinos for piano and saxophone (1980)
  • Rezitativ for piano and tenor saxophone, composed with Alfred Harth (1980)
  • Rock gegen Rechts for piano and tenor saxophone (1980), 4 mn 17 s
  • Vom Sprengen des Gartens Improvisations on themes by Hanns Eisler, for piano and saxophone (1980)
  • Vom Sprengen des Gartens III for piano and tenor saxophone (1980)
  • Wenn der Pförtner kommt for piano and tenor saxophone (1980), 3 mn 5 s
  • Schwächen for piano and saxophone (1981)
  • Sonett for piano and saxophone (1981)
  • Tagesanbruch for piano and saxophone (1981)
  • Wer zuhause bleibt, wenn der Kampf beginnt for piano and saxophone (1981)
  • Zyklus über den modernen Menschen for piano and saxophone (1981)
  • Chor der Gefangenen Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1982), 4 mn 51 s
  • Die Verunreinigung des Flusses ist gerade noch ertraeglich Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1982), 6 mn 38 s
  • Django vergibt Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1982), 3 mn 10 s
  • Man or Monkey Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1982), 16 mn 39 s
  • Not Me Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1982), 3 mn 38 s
  • O Cure Me Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1982), 5 mn 54 s
  • Our Colourful Culture Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1982), 3 mn 5 s
  • Red Shadow Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1982), 3 mn 50 s
  • Sag mir wo die Blumen sind Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1982), 2 mn 40 s
  • This Core Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1982), 4 mn 20 s
  • Ach, heile mich Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1985), 6 mn 35 s
  • At Last I Am Free Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1985), 3 mn 45 s
  • Haruspices Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1985), 2 mn
  • In einer Minute Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1985), 4 mn 30 s
  • Last call Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1985), 3 mn
  • Prendre La Lune Avec Les Dents Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1985), 4 mn 15 s
  • Robert Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1985), 5 mn
  • Six rays Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1985), 4 mn 10 s
  • Stell dir vor du bist ein Delphin for piano and tenor saxophone, composed with Alfred Harth (1985), 4 mn 52 s
  • Time Running Out by Cassiber: Heiner Goebbels, Christoph Anders, Chris Cutler and Alfred Harth (1985), 5 mn 30 s
  • Und ich werde nicht mehr sehen by Cassiber: Heiner Goebbels, Christoph Anders, Chris Cutler and Alfred Harth (1985), 3 mn
  • Under New Management by Cassiber: Heiner Goebbels, Christoph Anders, Chris Cutler and Alfred Harth (1985), 5 mn 30 s
  • Vengeance is Dancing by Cassiber (Heiner Goebbels, Christoph Anders, Chris Cutler, Alfred Harth) (1985), 2 mn 20 s
  • Crusoe's Landing Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1986), 4 mn 30 s
  • Dust and Ashes Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1986), 2 mn
  • I tried to reach you Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1986), 2 mn
  • In a Room Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1986), 5 mn
  • Miracolo Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1986), 5 mn
  • Orphee's Mirror Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1986), 5 mn
  • Prometheus Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1986), 4 mn 50 s
  • Sleep Armed Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1986), 2 mn 15 s
  • Todo dia Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1986), 2 mn 35 s
  • 2 'o clock in the morning Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1989), 2 mn 40 s
  • A screaming comes across the sky Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1989), 3 mn 10 s
  • A screaming holds Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1989), 2 mn
  • Gut Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1989), 3 mn 45 s
  • I was old Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1989), 4 mn
  • It's never quiet Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1989), 2 mn 25 s
  • Old Gods Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1989), 30 s
  • Philosophy (1) Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1989), 7 s
  • Philosophy (2) Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1989), 5 s
  • Philosophy (3) Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1989), 30 s
  • Remember Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1989), 2 mn 50 s
  • Start the show Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1989), 3 mn
  • The way it was Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1989), 5 mn
  • They go in under archways Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1989), 4 mn 10 s
  • They have begun to move Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1989), 3 mn 33 s
  • This was the way it was Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1989), 52 s
  • Time gets faster Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1989), 30 s
  • To move Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth (1989), 3 mn
  • elec Red Run nine songs for eleven instruments (1988-1991), 18 mn, Ricordi
  • elec Herakles 2 for brass quintet, percussion and sampler (1992), 15 mn, Ricordi [program note]
  • elec In the Basement from Schwarz auf Weiß, for clarinet, violin, cymbalum and CD (1995-1996), 2 mn, Ricordi
  • elec stage ...même soir.- (...am selben Abend.-) compositional and staging concept for six musicians, mainly percussionists (2000), 50 mn, Ricordi
  • Scutigeras Adaptions for Piano Circus, for keyboard sextet (2001)
  • Stadt Land Fluss for saxophone quartet (2001)
  • And we said goodbye for flute and clarinet (2002)
• Instrumental ensemble music
  • Circa for wind orchestra (1976)
  • Lied von der Gedankenfreiheit after a melody by Walter Mossmann, for wind orchestra, Sogenanntes Linksradikales Blasorchester (1976)
  • Rote Sonne for wind orchestra, Sogenanntes Linksradikales Blasorchester (1976)
  • Tagesschau for wind orchestra, Sogenanntes Linksradikales Blasorchester (1976)
  • Poltergeist for wind orchestra (1978), 2 mn 34 s
  • Hälfte des Lebens for string orchestra (1980), 2 mn 30 s
  • Trotz alledem for wind orchestra (1980), 3 mn 42 s
  • elec Blitze über Moskau for various instruments and tape, composed with Alfred Harth (1985), 4 mn 40 s
  • Chaconne / Kantorloops for ensemble (1994)
  • elec D&C from Surrogate Cities, for orchestra (1993-1994), 11 mn, Ricordi
  • elec Die Städte und die Toten 4 / Argia for orchestra, taken from Surrogate Cities, on a motif by Italo Calvino (1993-1994), 4 mn, Ricordi
  • elec Samplersuite from Surrogate Cities, for ensemble (1994), 30 mn, Ricordi
  • elec Suite für Sampler und Orchester from Surrogate Cities (1994), 30 mn, Ricordi
  • elec Harrypatari from Schwartz auf Weiß for zither, marimba, cymbalum, clavichord and electric bass (1995-1996), 2 mn, Ricordi
  • elec Industry and Idleness Popular Print for orchestra (1996), 19 mn, Ricordi
  • elec Nichts weiter for orchestra (with the voice of Gustav Gründgens) (1996), 12 mn, Ricordi
  • Schwarz auf Weiss musical theater for eighteen musicians (1995-1996), 1 h 30 mn, Ricordi
  • Tutti Writing for ensemble (1996)
  • Walden for extended orchestra and narrator (1998), 50 mn, Ricordi
  • elec Zorn und Gedächtnis for orchestra (1999)
  • Berlin Q-damm 12.4.81 ensemble version (1981-2002), 6 mn, Ricordi
  • elec Industry and Idleness Popular Print for ensemble (1996-2002), 16 mn, Ricordi
  • elec Aus einem Tagebuch for orchestra (2002-2003), 22 mn, Ricordi
  • Notiz einer Fanfare for large orchestra (2003), 4 mn, Ricordi
  • elec stage Songs of Wars I Have Seen suite for modern and historical instrument ensemble (2002-2007), 50 mn, Ricordi
  • elec stage Industry and Idleness scenic concert for ensemble (2010), 16 mn, Ricordi
• Concertant music
  • Toccata for Teapot & Piccolo from Schwarz auf Weiß for piccolo flute and teapot (with whistle tuned in C major) and ensemble (1995-1996), 4 mn, Ricordi
• Vocal music and instrument(s)
  • stage Verstandsaufnahme for narrator and wind orchestra (1978), 3 mn
  • Ohne dass ich sagen würde, ich bin der neue Führer for voice and wind orchestra (1980), 7 mn 46 s
  • Der Pflaumenbaum for voice, tenor saxophone, synthesizer and harpsichord (1981), 1 mn 38 s
  • Die Vögel warten im Winter vor dem Fenster for voice, saxophone and piano (1981), 3 mn
  • Es lebt eine Gräfin in schwedischem Land for voice, bass clarinet and harpsichord (1981), 2 mn
  • Legende von der Entstehung des Buches Tao Te King [...] for voice, accordion and tenor saxophone (1981), 5 mn 25 s
  • Morgens und abends zu lesen music for the piece by Bertolt Brecht, for voice and ensemble (1981), 48 mn
  • stage Der Mann im Fahrstuhl musical theater (1987), 1 h 15 mn
  • elec Befreiung scène concertante, for narrator and ensemble (1989), 14 mn, Ricordi
  • elec Shadow/Landscape with Argonauts audio play, for female voice, guitar, drums, clarinet and keyboard (1989), 1 h 25 mn
  • La Jalousie noises from a novel, for narrator and ensemble (1991), 18 mn, Ricordi [program note]
  • stage Die Befreiung des Prometheus musical theater (1985-1993), 50 mn
  • elec Die Faust im Wappen for improvising male voice and orchestra, taken from Surrogate Cities, on a motif by Franz Kafka (1993-1994), 7 mn, Ricordi
  • elec Drei Horatier-Songs for mezzo-soprano and orchestra, taken from Surrogate Cities (1993-1994), 15 mn, Ricordi
  • elec In the Country of Last Things for mezzo-soprano, narrator and small orchestra, from Surrogate Cities (1993-1994), 5 mn, Ricordi
  • elec In the Country of Last Things 2 for mezzo-soprano, narrator and ensemble, from Surrogate Cities (1993-1994), 5 mn, Ricordi
  • elec stage Ou bien le débarquement désastreux music by Boubaker Djebate and Heiner Goebbels (1994)
  • elec stage Surrogate for narrator and ensemble, taken from Surrogate Cities (1994), 7 mn, Ricordi
  • elec stage Surrogate for narrator and orchestra, taken from Surrogate Cities (1993-1994), 7 mn, Ricordi
  • elec stage Surrogate Cities for mezzo-soprano, narrator, sampler and orchestra (1993-1994), 1 h 25 mn, Ricordi
  • elec stage Die Wiederholung live radio play (1995), 1 h 25 mn
  • elec stage Schliemann's Scaffolding musical theater, collaboration with Diplous Eros (1997)
  • stage Eislermaterial musical theater (1998)
  • elec The Horatian - Three songs version for mezzo-soprano and ensemble, taken from Surrogate Cities (1994-1999), 15 mn, Ricordi
  • Oder die glücklose Landung live radio play (2000)
  • stage Landschaft mit entfernten Verwandten opera, for ensemble, choir and soloists (2002), Ricordi
  • Schlachtenbeschreibung for baritone and ensemble (2002)
  • Bildbeschreibungen suite from Landschaft mit entfernten Verwandten, for reciters, baritone and ensemble (2002-2003), 35 mn, Ricordi
  • elec stage Eraritjaritjaka museum of phrases, musical theater (2004)
  • elec Ou bien Sunyatta for griot singer, kora and orchestra (2004), 15 mn, Ricordi
  • elec The Up-river book (2012), Inédit
  • Surrogate for piano, voice and percussion (2015), 12 mn, Inédit
• A cappella vocal music
  • stage I went to the house but did not enter scenic concert in two tableaux for four male voices (2007-2008), 1 h 35 mn, Ricordi
  • The Love Song of J.Alfred Prufrock for vocal ensemble (2008)
  • Worstward Ho for vocal ensemble (2008), Ricordi
  • elec stage When the Mountain changed its clothing musical theater (2012), Ricordi
• Electronic music / fixed media / mechanical musical instruments
  • stage Was heißt hier Liebe music for the film by Bertram Verhaag (1978)
  • Schahmatt movie soundtrack (1980)
  • elec Apfelboeck oder die Lilie auf dem Felde for tape (1981)
  • elec Autobahn for tape (1981)
  • elec Berlin Q-damm 12.4.81 for tape (1981)
  • Der subjektive Faktor movie soundtrack (1981)
  • elec Mahlzeit for tape (1981)
  • elec Wertkauf for tape (1981)
  • elec Das Packeis Syndrom movie soundtrack (1982)
  • elec Die letzte Buche for tape (1982)
  • elec Schauplatz Indien movie soundtrack (1982)
  • elec So wird der Schrecken ohne Ende langsam normales Leben for tape (1982)
  • elec Alles Vergessene schreit im Traum um Hilfe movie soundtrack (1983)
  • elec Heinrich Penthesilea von Kleist movie soundtrack (1983)
  • elec Unruhiges Requiem for tape (1983)
  • stage Der Beginn aller Schrecken ist die Liebe movie soundtrack (1984)
  • stage Die Familie oder Schroffenstein movie soundtrack (1984)
  • stage Schwärmer music for the film by Hans Neuenfels (1984)
  • stage Verkommenes Ufer radio play, music for the play by Heiner Müller (1984), 19 mn
  • elec Die Hamletmaschine movie soundtrack (1985)
  • elec Die Hermannschlacht movie soundtrack (1985)
  • elec Scratch music for a film by Heiner Goebbels and Erich Wonder (1985)
  • elec Sound of freedom movie soundtrack (1985)
  • elec Das Verschwinden des Ettore Majorana movie soundtrack (1986)
  • elec Edvige Scimitt movie soundtrack (1986)
  • elec Maelstromsüdpol movie soundtrack (1987)
  • elec Die Befreiung des Prometheus radio play in nine scenes (1989, 2002), 50 mn
  • elec Pfingsten movie soundtrack (1989)
  • elec Wolokolamsker Chaussee I-V audio play, radio piece (1989), 1 h 15 mn
  • elec Bauhaus 1 lottery installation, with Mischa Kuball (1990)
  • elec Schliemanns Radio 12 Protokolle (1992), 1 h 15 mn
  • elec Ludwig 1881 music for the film by Gebrüder Dubini (1993)
  • elec J.K. - Erfahrungen im Umgang mit dem Eigenen Ich music for a film by Gebrüder Dubini (1994)
  • elec Der Horatier radio play (1995), between 30 mn and 40 mn
  • elec Ecstazoo music for the animated video by Gil Alkabetz (1996)
  • elec stage Landscape with man being killed by a snake musical theater (1997)
  • elec stage Max Black musical theater (1998)
  • elec Nachtstück I for tape, composed with David Moss (1998)
  • elec stage Remix ballet music (1998)
  • elec ircam Fin de Soleil / Das Ende der Sonne sound installation (2000), Inédit
  • elec ircam Le Temps, vite sound installation for the exhibition "Le Temps, vite" produced at the Center Pompidou (2000), 20 mn, Inédit [program note]
  • elec ircam Timeios ein Bild, das wir Zeit nennen, sound installation (2000)
  • elec Eraritjaritjaka sounds of a string quartet, for tape (2004)
  • elec Fields of Fire soundtrack for a video installation by Michal Rovner (2005)
  • elec Aus drei alten Bändern radio piece for tape (2007)
  • elec Genko-An 12353 for tape (2008), 15 mn
  • elec Gruß vom Band radio piece for tape (2008)
  • elec out of a pearl river delta experience, for electronics (2009), 20 mn, Ricordi
  • elec With a little help of wet electric textperformance and composition, for tape (2009), 15 mn
  • elec Genko-An 64287 sound and video installation (2012)
  • elec Stifters Dinge - The Unguided Tour (2012)
  • Genko-An 69006 sound and video installation (2014)
  • elec Toledo sound creation for Michal Rovner (2014)
  • Landscape 3 / Duisburg-Nord movie, sound (2016), 15 mn
  • elec THE HUMAN PROVINCE / DIE PROVINZ DES MENSCHEN (54/27) video and sound sculpture (2016), 21 mn
  • elec Genko-An 107031 installation (2017)
• Unspecified instrumentation
  • stage Die Ausnahme und die Regel music for the play by Bertolt Brecht (1977)
  • stage Was heißt hier Liebe theater music (1977)
  • stage Kleinbürgerhochzeit music for the play by Bertolt Brecht (1978)
  • stage Oidipus music for the play by Sophocles (1978)
  • stage Othello music for Shakespeare's play (1978)
  • stage Trommeln in der Nacht music for the play by Bertolt Brecht (1978)
  • stage Antigone music for the theater (1979)
  • stage Das wirkliche Leben des Jakob Geherda music for the play by Bertolt Brecht (1979)
  • stage Dreigroschenoper music for the play by Bertolt Brecht (1979)
  • stage In den Haenden seiner Erben music for the play by Bertolt Brecht (1979)
  • stage Iphigénie music for Goethe's play (1979)
  • stage Kasimir und Karoline music for the play by Ödön von Horváth (1979)
  • stage Kiebich und Dutz music for the theater (1979)
  • stage Leben Grundlings Friedrich von Preussen Lessings Schlaf Traum Schrei, music for the play by Heiner Müller (1979)
  • stage Späte Liebe music for the theater (1979)
  • stage Zufaelliger Tod eines Anarchisten music for the play by Dario Fo (1979)
  • stage Absahnierung music for the theater (1980)
  • stage Märchen von einem der auszog das Fürchten zu lernen music for the theater (1980)
  • stage Marie Woyzeck music for the theater (1980)
  • 1940 (Ich befinde mich auf dem Inselchen Lidingoe) (1981)
  • Abbau des Schiffes Oskawa durch die Mannschaft (1981)
  • An die Nachgeborenen Address of sterbenden Dichters an die Jugend (1981)
  • Borrough's Haiku (1981), 2 mn 17 s
  • Deutsches Lied (1981)
  • stage Die Abrazzo-Oper music for the theater (1981)
  • Dunkle Wolk (1981)
  • Ich, Bertolt Brecht (1981)
  • Indianer for Morgn (1981)
  • Kein Kriegsspielzeug für Jonathan (1981)
  • Liebeslied (1981)
  • Liedchen aus alter Zeit (1981)
  • stage Penthesilea music for the play by Heinrich von Kleist (1981)
  • stage Die Hermannschlacht music for the play by Heinrich von Kleist (1982), 30 mn
  • stage Klaus Störtebeker music for the theater (1982)
  • stage Der Balkon music for the theater (1983)
  • stage Die Reise nach Aschenfeld music for the theater (1984)
  • stage Die Sintflut music for the theater (1984)
  • Watch out (1985)
  • stage Thränen des Vaterlands concert for dancers (1986), 2 h
  • stage Newton's Casino musical theater (1990)
  • stage Penthesilea music for the play by Heinrich von Kleist (1990), 1 h 10 mn
  • stage Reaching beyond ballet music (1990)
  • stage Römische Hunde musical theater (1991), 1 h 15 mn
  • stage Medeamaterial musical theater, composed with Maestro Neguinho de Samba (OLODUM) (1993), 12 mn
  • stage De val von de goden musical theater (1999)
  • elec stage Hashirigaki musical theater (2000)
  • stage No Arrival No Parking navigation part three, musical theater (2001)
  • elec stage Stifters Dinge a performative Installation, musical theater (2007)
  • elec Current sound creation for Michal Rovner, Essen Zollverein, Ruhrtriennale (2012)

• 2017
  • elec Genko-An 107031 installation
• 2016
  • Landscape 3 / Duisburg-Nord movie, sound, 15 mn
  • elec THE HUMAN PROVINCE / DIE PROVINZ DES MENSCHEN (54/27) video and sound sculpture, 21 mn
• 2015
  • Surrogate for piano, voice and percussion, 12 mn, Inédit
• 2014
  • Genko-An 69006 sound and video installation
  • elec Toledo sound creation for Michal Rovner
• 2012
  • elec Current sound creation for Michal Rovner, Essen Zollverein, Ruhrtriennale
  • elec Genko-An 64287 sound and video installation
  • elec Stifters Dinge - The Unguided Tour
  • elec The Up-river book, Inédit
  • elec stage When the Mountain changed its clothing musical theater, Ricordi
• 2010
  • elec stage Industry and Idleness scenic concert for ensemble, 16 mn, Ricordi
• 2009
  • elec With a little help of wet electric textperformance and composition, for tape, 15 mn
  • elec out of a pearl river delta experience, for electronics, 20 mn, Ricordi
• 2008
  • elec Genko-An 12353 for tape, 15 mn
  • elec Gruß vom Band radio piece for tape
  • stage I went to the house but did not enter scenic concert in two tableaux for four male voices, 1 h 35 mn, Ricordi
  • The Love Song of J.Alfred Prufrock for vocal ensemble
  • Worstward Ho for vocal ensemble, Ricordi
• 2007
  • elec Aus drei alten Bändern radio piece for tape
  • elec stage Songs of Wars I Have Seen suite for modern and historical instrument ensemble, 50 mn, Ricordi
  • elec stage Stifters Dinge a performative Installation, musical theater
• 2006
  • elec Bagatellen for violin and sampler (and clarinet ad. lib), 16 mn, Ricordi
• 2005
  • elec Fields of Fire soundtrack for a video installation by Michal Rovner
• 2004
  • elec stage Eraritjaritjaka museum of phrases, musical theater
  • elec Eraritjaritjaka sounds of a string quartet, for tape
  • elec Ou bien Sunyatta for griot singer, kora and orchestra, 15 mn, Ricordi
• 2003
  • elec Aus einem Tagebuch for orchestra, 22 mn, Ricordi
  • Bildbeschreibungen suite from Landschaft mit entfernten Verwandten, for reciters, baritone and ensemble, 35 mn, Ricordi
  • Notiz einer Fanfare for large orchestra, 4 mn, Ricordi
• 2002
  • And we said goodbye for flute and clarinet
  • Berlin Q-damm 12.4.81 ensemble version, 6 mn, Ricordi
  • elec Industry and Idleness Popular Print for ensemble, 16 mn, Ricordi
  • stage Landschaft mit entfernten Verwandten opera, for ensemble, choir and soloists, Ricordi
  • elec Nachtstück II for trumpet and tape with sounds of trumpet alphorn and euphonium
  • Schlachtenbeschreibung for baritone and ensemble
• 2001
  • stage No Arrival No Parking navigation part three, musical theater
  • Scutigeras Adaptions for Piano Circus, for keyboard sextet
  • Stadt Land Fluss for saxophone quartet
• 2000
  • elec stage ...même soir.- (...am selben Abend.-) compositional and staging concept for six musicians, mainly percussionists, 50 mn, Ricordi
  • elec ircam Fin de Soleil / Das Ende der Sonne sound installation, Inédit
  • elec stage Hashirigaki musical theater
  • elec ircam Le Temps, vite sound installation for the exhibition "Le Temps, vite" produced at the Center Pompidou, 20 mn, Inédit [program note]
  • Oder die glücklose Landung live radio play
  • elec ircam Timeios ein Bild, das wir Zeit nennen, sound installation
• 1999
  • stage De val von de goden musical theater
  • elec stage Les Lieux De Là ballet music, 35 mn
  • elec The Horatian - Three songs version for mezzo-soprano and ensemble, taken from Surrogate Cities, 15 mn, Ricordi
  • elec Zorn und Gedächtnis for orchestra
• 1998
  • stage Eislermaterial musical theater
  • elec stage Max Black musical theater
  • elec Nachtstück I for tape, composed with David Moss
  • elec stage Remix ballet music
  • Walden for extended orchestra and narrator, 50 mn, Ricordi
• 1997
  • elec stage Landscape with man being killed by a snake musical theater
  • elec stage Schliemann's Scaffolding musical theater, collaboration with Diplous Eros
• 1996
  • elec Ecstazoo music for the animated video by Gil Alkabetz
  • elec Harrypatari from Schwartz auf Weiß for zither, marimba, cymbalum, clavichord and electric bass, 2 mn, Ricordi
  • elec In the Basement from Schwarz auf Weiß, for clarinet, violin, cymbalum and CD, 2 mn, Ricordi
  • elec Industry and Idleness Popular Print for orchestra, 19 mn, Ricordi
  • elec Nichts weiter for orchestra (with the voice of Gustav Gründgens), 12 mn, Ricordi
  • Schwarz auf Weiss musical theater for eighteen musicians, 1 h 30 mn, Ricordi
  • Toccata for Teapot & Piccolo from Schwarz auf Weiß for piccolo flute and teapot (with whistle tuned in C major) and ensemble, 4 mn, Ricordi
  • Tutti Writing for ensemble
• 1995
  • elec Der Horatier radio play, between 30 mn and 40 mn
  • elec stage Die Wiederholung live radio play, 1 h 25 mn
• 1994
  • Chaconne / Kantorloops for ensemble
  • elec D&C from Surrogate Cities, for orchestra, 11 mn, Ricordi
  • elec Die Faust im Wappen for improvising male voice and orchestra, taken from Surrogate Cities, on a motif by Franz Kafka, 7 mn, Ricordi
  • elec Die Städte und die Toten 4 / Argia for orchestra, taken from Surrogate Cities, on a motif by Italo Calvino, 4 mn, Ricordi
  • elec Drei Horatier-Songs for mezzo-soprano and orchestra, taken from Surrogate Cities, 15 mn, Ricordi
  • elec In the Country of Last Things for mezzo-soprano, narrator and small orchestra, from Surrogate Cities, 5 mn, Ricordi
  • elec In the Country of Last Things 2 for mezzo-soprano, narrator and ensemble, from Surrogate Cities, 5 mn, Ricordi
  • elec J.K. - Erfahrungen im Umgang mit dem Eigenen Ich music for a film by Gebrüder Dubini
  • elec stage Ou bien le débarquement désastreux music by Boubaker Djebate and Heiner Goebbels
  • elec Samplersuite from Surrogate Cities, for ensemble, 30 mn, Ricordi
  • elec Suite für Sampler und Orchester from Surrogate Cities, 30 mn, Ricordi
  • elec stage Surrogate for narrator and ensemble, taken from Surrogate Cities, 7 mn, Ricordi
  • elec stage Surrogate for narrator and orchestra, taken from Surrogate Cities, 7 mn, Ricordi
  • elec stage Surrogate Cities for mezzo-soprano, narrator, sampler and orchestra, 1 h 25 mn, Ricordi
• 1993
  • stage Die Befreiung des Prometheus musical theater, 50 mn
  • elec Ludwig 1881 music for the film by Gebrüder Dubini
  • stage Medeamaterial musical theater, composed with Maestro Neguinho de Samba (OLODUM), 12 mn
• 1992
  • elec Herakles 2 for brass quintet, percussion and sampler, 15 mn, Ricordi [program note]
  • elec Schliemanns Radio 12 Protokolle, 1 h 15 mn
• 1991
  • La Jalousie noises from a novel, for narrator and ensemble, 18 mn, Ricordi [program note]
  • elec Red Run nine songs for eleven instruments, 18 mn, Ricordi
  • stage Römische Hunde musical theater, 1 h 15 mn
• 1990
  • elec Bauhaus 1 lottery installation, with Mischa Kuball
  • stage Newton's Casino musical theater
  • stage Penthesilea music for the play by Heinrich von Kleist, 1 h 10 mn
  • stage Reaching beyond ballet music
• 1989
  • 2 'o clock in the morning Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 2 mn 40 s
  • A screaming comes across the sky Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 3 mn 10 s
  • A screaming holds Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 2 mn
  • elec Befreiung scène concertante, for narrator and ensemble, 14 mn, Ricordi
  • elec Die Befreiung des Prometheus radio play in nine scenes, 50 mn
  • Gut Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 3 mn 45 s
  • I was old Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 4 mn
  • It's never quiet Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 2 mn 25 s
  • Old Gods Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 30 s
  • elec Pfingsten movie soundtrack
  • Philosophy (1) Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 7 s
  • Philosophy (2) Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 5 s
  • Philosophy (3) Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 30 s
  • Remember Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 2 mn 50 s
  • elec Shadow/Landscape with Argonauts audio play, for female voice, guitar, drums, clarinet and keyboard, 1 h 25 mn
  • Start the show Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 3 mn
  • The way it was Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 5 mn
  • They go in under archways Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 4 mn 10 s
  • They have begun to move Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 3 mn 33 s
  • This was the way it was Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 52 s
  • Time gets faster Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 30 s
  • To move Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 3 mn
  • elec Wolokolamsker Chaussee I-V audio play, radio piece, 1 h 15 mn
• 1987
  • stage Der Mann im Fahrstuhl musical theater, 1 h 15 mn
  • elec Maelstromsüdpol movie soundtrack
• 1986
  • Crusoe's Landing Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 4 mn 30 s
  • elec Das Verschwinden des Ettore Majorana movie soundtrack
  • Dust and Ashes Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 2 mn
  • elec Edvige Scimitt movie soundtrack
  • I tried to reach you Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 2 mn
  • In a Room Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 5 mn
  • Miracolo Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 5 mn
  • Orphee's Mirror Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 5 mn
  • Prometheus Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 4 mn 50 s
  • Sleep Armed Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 2 mn 15 s
  • stage Thränen des Vaterlands concert for dancers, 2 h
  • Todo dia Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 2 mn 35 s
• 1985
  • Ach, heile mich Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 6 mn 35 s
  • At Last I Am Free Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 3 mn 45 s
  • elec Blitze über Moskau for various instruments and tape, composed with Alfred Harth, 4 mn 40 s
  • elec Die Hamletmaschine movie soundtrack
  • elec Die Hermannschlacht movie soundtrack
  • Haruspices Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 2 mn
  • In einer Minute Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 4 mn 30 s
  • Last call Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 3 mn
  • Prendre La Lune Avec Les Dents Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 4 mn 15 s
  • Robert Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 5 mn
  • elec Scratch music for a film by Heiner Goebbels and Erich Wonder
  • Six rays Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 4 mn 10 s
  • elec Sound of freedom movie soundtrack
  • Stell dir vor du bist ein Delphin for piano and tenor saxophone, composed with Alfred Harth, 4 mn 52 s
  • Time Running Out by Cassiber: Heiner Goebbels, Christoph Anders, Chris Cutler and Alfred Harth, 5 mn 30 s
  • Und ich werde nicht mehr sehen by Cassiber: Heiner Goebbels, Christoph Anders, Chris Cutler and Alfred Harth, 3 mn
  • Under New Management by Cassiber: Heiner Goebbels, Christoph Anders, Chris Cutler and Alfred Harth, 5 mn 30 s
  • Vengeance is Dancing by Cassiber (Heiner Goebbels, Christoph Anders, Chris Cutler, Alfred Harth), 2 mn 20 s
  • Watch out
• 1984
  • stage Der Beginn aller Schrecken ist die Liebe movie soundtrack
  • stage Die Familie oder Schroffenstein movie soundtrack
  • stage Die Reise nach Aschenfeld music for the theater
  • stage Die Sintflut music for the theater
  • stage Schwärmer music for the film by Hans Neuenfels
  • stage Verkommenes Ufer radio play, music for the play by Heiner Müller, 19 mn
• 1983
  • elec Alles Vergessene schreit im Traum um Hilfe movie soundtrack
  • stage Der Balkon music for the theater
  • elec Heinrich Penthesilea von Kleist movie soundtrack
  • elec Unruhiges Requiem for tape
• 1982
  • Chor der Gefangenen Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 4 mn 51 s
  • elec Das Packeis Syndrom movie soundtrack
  • stage Die Hermannschlacht music for the play by Heinrich von Kleist, 30 mn
  • Die Verunreinigung des Flusses ist gerade noch ertraeglich Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 6 mn 38 s
  • elec Die letzte Buche for tape
  • Django vergibt Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 3 mn 10 s
  • stage Klaus Störtebeker music for the theater
  • Man or Monkey Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 16 mn 39 s
  • Not Me Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 3 mn 38 s
  • O Cure Me Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 5 mn 54 s
  • Our Colourful Culture Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 3 mn 5 s
  • Red Shadow Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 3 mn 50 s
  • Sag mir wo die Blumen sind Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 2 mn 40 s
  • elec Schauplatz Indien movie soundtrack
  • elec So wird der Schrecken ohne Ende langsam normales Leben for tape
  • This Core Cassiber: with Christoph Anders, Chris Cutler, Alfred Harth, 4 mn 20 s
• 1981
  • 1940 (Ich befinde mich auf dem Inselchen Lidingoe)
  • Abbau des Schiffes Oskawa durch die Mannschaft
  • An die Nachgeborenen Address of sterbenden Dichters an die Jugend
  • elec Apfelboeck oder die Lilie auf dem Felde for tape
  • elec Autobahn for tape
  • elec Berlin Q-damm 12.4.81 for tape
  • Borrough's Haiku, 2 mn 17 s
  • Der Pflaumenbaum for voice, tenor saxophone, synthesizer and harpsichord, 1 mn 38 s
  • Der subjektive Faktor movie soundtrack
  • Deutsches Lied
  • stage Die Abrazzo-Oper music for the theater
  • Die Vögel warten im Winter vor dem Fenster for voice, saxophone and piano, 3 mn
  • Dunkle Wolk
  • Es lebt eine Gräfin in schwedischem Land for voice, bass clarinet and harpsichord, 2 mn
  • Ich, Bertolt Brecht
  • Indianer for Morgn
  • Kein Kriegsspielzeug für Jonathan
  • Legende von der Entstehung des Buches Tao Te King [...] for voice, accordion and tenor saxophone, 5 mn 25 s
  • Liebeslied
  • Liedchen aus alter Zeit
  • elec Mahlzeit for tape
  • Morgens und abends zu lesen music for the piece by Bertolt Brecht, for voice and ensemble, 48 mn
  • stage Penthesilea music for the play by Heinrich von Kleist
  • Schwächen for piano and saxophone
  • Sonett for piano and saxophone
  • Tagesanbruch for piano and saxophone
  • Wer zuhause bleibt, wenn der Kampf beginnt for piano and saxophone
  • elec Wertkauf for tape
  • Zyklus über den modernen Menschen for piano and saxophone
• 1980
  • stage Absahnierung music for the theater
  • Almelo for piano and clarinet, 5 mn 30 s
  • Bis bald, Kalypso for piano and saxophone
  • Der Ruf der Vögel for piano and saxophone
  • Hälfte des Lebens for string orchestra, 2 mn 30 s
  • Krähenmusik for piano and saxophone
  • Los Campesinos for piano and saxophone
  • stage Marie Woyzeck music for the theater
  • stage Märchen von einem der auszog das Fürchten zu lernen music for the theater
  • Ohne dass ich sagen würde, ich bin der neue Führer for voice and wind orchestra, 7 mn 46 s
  • Rezitativ for piano and tenor saxophone, composed with Alfred Harth
  • Rock gegen Rechts for piano and tenor saxophone, 4 mn 17 s
  • Schahmatt movie soundtrack
  • Trotz alledem for wind orchestra, 3 mn 42 s
  • Vom Sprengen des Gartens Improvisations on themes by Hanns Eisler, for piano and saxophone
  • Vom Sprengen des Gartens III for piano and tenor saxophone
  • Wenn der Pförtner kommt for piano and tenor saxophone, 3 mn 5 s
• 1979
  • stage Antigone music for the theater
  • stage Das wirkliche Leben des Jakob Geherda music for the play by Bertolt Brecht
  • stage Dreigroschenoper music for the play by Bertolt Brecht
  • stage In den Haenden seiner Erben music for the play by Bertolt Brecht
  • stage Iphigénie music for Goethe's play
  • stage Kasimir und Karoline music for the play by Ödön von Horváth
  • stage Kiebich und Dutz music for the theater
  • stage Leben Grundlings Friedrich von Preussen Lessings Schlaf Traum Schrei, music for the play by Heiner Müller
  • stage Späte Liebe music for the theater
  • stage Zufaelliger Tod eines Anarchisten music for the play by Dario Fo
• 1978
  • stage Kleinbürgerhochzeit music for the play by Bertolt Brecht
  • stage Oidipus music for the play by Sophocles
  • stage Othello music for Shakespeare's play
  • Poltergeist for wind orchestra, 2 mn 34 s
  • stage Trommeln in der Nacht music for the play by Bertolt Brecht
  • stage Verstandsaufnahme for narrator and wind orchestra, 3 mn
  • stage Was heißt hier Liebe music for the film by Bertram Verhaag
• 1977
  • stage Die Ausnahme und die Regel music for the play by Bertolt Brecht
  • stage Was heißt hier Liebe theater music
• 1976
  • Circa for wind orchestra
  • Die Ballade vom zerrissenen Rock improvisations on themes by Hanns Eisler, for piano and tenor saxophone, 7 mn 15 s
  • Die Ballade von der haltbaren Graugans improvisations on themes by Hanns Eisler, for piano, bass and clarinet, 7 mn 30 s
  • Die Wirtshausszene for accordion and tenor saxophone, 2 mn 10 s
  • Fugato Spontini for piano and soprano saxophone, 1 mn 17 s
  • Grossvater Stoeffel improvisations on themes by Hanns Eisler, for piano and clarinet in mi b, 4 mn 30 s
  • Lange Weile for piano and soprano saxophone, composed with Alfred Harth, 1 mn 46 s
  • Lied von der Gedankenfreiheit after a melody by Walter Mossmann, for wind orchestra, Sogenanntes Linksradikales Blasorchester
  • Rote Sonne for wind orchestra, Sogenanntes Linksradikales Blasorchester
  • Sieg im Volkslied for accordion and tenor saxophone, composed with Alfred Harth, 3 mn 20 s
  • Spui ma wieda oan, dass d'Zeit vergeht for accordion and tenor saxophone, composed with Alfred Harth, 1 mn 32 s
  • Tagesschau for wind orchestra, Sogenanntes Linksradikales Blasorchester
  • Vorwärts improvisations on themes by Hanns Eisler, for piano and tenor saxophone, composed with Alfred Harth, 5 mn 51 s
  • Zur Überwindung von Schwierigkeiten for piano and tenor saxophone, composed with Alfred Harth, 6 mn 40 s

Bibliographie

• Heiner GOEBBELS, Ästhetik der Abwesenheit: Texte zum Theater, Berlin, Theater der Zeit, 2012.
• Heiner GOEBBELS, « L’échantillon comme signe » et « Le texte comme paysage », traduction Jean Lauxerois et Peter Szendy, in De la différence des arts, Paris, Ircam : L’Harmattan, 1997.
• Wolfgang SANDNER (éd.), *Heiner Goebbels. Komposition als Inszenierung,*Henschel Verlag, Berlin, 2002.

Discographie

• Heiner GOEBBELS, ensemble Klang dirigé par Keir Neuringer, Walden, 2013, EKR06.
• Heiner GOEBBELS, Stifters Dinge, ECM, New Series, 2012, n°2216.
• Heiner GOEBBELS, « The Italian Concerto » : The Italian Concerto/Writing II 19.27 ; Ou bien Sunyatta ; Die Faust im Wappen ; So That Blood Dropped to the Earth, Heiner Goebbels : piano, percussion, Chris Cutler : batterie, Sira Djebate : voix, Boubacar Djebate : kora, Johannes Bauer : trombone, Jocelyn B. Smith : mezzo-soprano, Tiziano Popoli : clavier, sampler, Orchestra del Teatro Comunale di Bologna, direction : Franck Ollu, Ensemble Icarus, direction : Yoichi Sugiyama, 1 cd ReR IDA, 2009, n° 024.
• Heiner GOEBBELS, Landschaft mit entfernten Verwandten, David Bennent : récitant, Georg Nigl : baryton, Ensemble Modern, Deutscher Kammerchor, direction : Franck Ollu, enregistrement live, festival d’automne Paris, octobre 2004, 1 cd ECM New Series 1811.
• Heiner GOEBBELS, Eislermaterial, Josef Bierbichler : acteur, Ensemble Modern, direction : Heiner Goebbels [enregistrement live Hebbel-Theater, Berlin], 1 cd ECM New Series, 2002, n° 1779.
• Heiner GOEBBELS, Surrogate Cities, Jocelyn B. Smith, David Moss : voix, Junge Deutsche Philharmonie, direction : Peter Rundel, 1 cd ECM New Series, 2000, n° 1688.
• Heiner GOEBBELS, « Sogenanntes Linksradikales Blasorchester 1976-1981 », réédition des diques LPs Hört, hört! (1977) et Mit gelben Birnen (1980), cd 1 : Hört, hört : 1. Vorspiel und “Gedanken über die Rote Fahne” ; 2. Begleitung ; 3. Tagesschau ; 4. Ich bin halt die Kotze aus deiner Glotze ; 5. Chickmatch Blues ; 6. Die Fabriken und Stück ; 7. Circa ; 8. Rote Sonne ; 9. Der Anwalt des Schreckens; 10. Ya no somos Nosotros ; 11. La Resistenca se organisa ; 12. Homesick Blues ; 13. Lied von der Gedankenfreiheit ; 14. Tschüs, cd 2 : Mit gelben Birnen : 1. Trotzalledem ; 2*. Die Hügel von Ca’n Geroni* ; 3. Hälfte des Lebens ; 4. Poema para el despertar de un nino ; 5. Ohne daß ich sagen würde, ich bin der neue Führer ; 6. Präludium ; 7. Einzugsmarsch ; 8. Zirkus ; 9. Baderkatalog; 10. Großvater Stöffel ; 11. Trauermarsch ; 12. O’Guarracino ; 13. Maschine ; 14. Kommet Ihr Hirten ; Bonustracks :15*. Verstandsaufnahme* ; 16. Poltergeist, Thomas Jahn, Gudrun Stocker, Cora Stephan: flûtes, Volker Haas, Reinhard Bussmann, Herwig Heise, Walter Ybema: clarinettes, Klaus Becker, Johannes Eisenberg, Gunther Lohr: trompettes, Barbara Müller-Rendtorff, Rolf Riehm, Henning Wiese: saxophones alto, Christoph Anders, Heiner Goebbels, Alfred Harth: saxophones ténor, Michael Hoehler, Peter Lieser: trombones, Uwe Schriefer, Jörn Stückrath, tubas, Ernst Stötzner: voix, 2 cd Trikont, 1999, n° 0258-2.
• Heiner GOEBBELS, Black on White, basé sur la pièce de théâtre musical Schwarz auf Weiss, Ensemble Modern, direction : Heiner Goebbels, avec : Eva Boecker, Lila Brown, Uwe Dierksen, Roland Diry, Thomas Fichter, William Forman, Freya Kirby, Hermann Kretzschmar, Catherine Milliken, Jagdish Mistry, Rumi Ogawa-Helferich, Franck Ollu, Rainer Roemer, Peter Rundel, Noriko Shimada, Wolfgang Stryi, Dietmar Wiesner, Ueli wiget et la voix d’Heiner Müller, 1cd BMG Classics, 1997, n° 09026 68870 2.
• Heiner GOEBBELS, Alfred 23 HARTH, « Goebbels Heart », 1. Berlin, Q-Damm 12.4.81 ; 2. Indianer für Morgen ; 3. Dunkle Wolk ; 4. Kein Kriegsspielzeug für Jonathan ;  5. Über den Selbstmord ; 6. Tagesanbruch ; 7. Ich, Bertolt Brecht ; 8. Abbau des Schiffes Oskawa durch die Mannschaft ; 9. Es lebt eine Gräfin in schwedischem Land ; 10. Die Vögel warten im Winter vor dem Fenster; 11. Apfelböck oder die Lilie auf dem Felde; 12. Der Pflaumenbaum ; 13 Liedchen aus alter Zeit ; 14. Sonett ; 15. Deutsches Lied ; 16. 1940 (Ich befinde mich auf dem Inselchen Lidingoe) ; 17. Die Reise nach Aschenfeld ; 18. Paradies und Hoelle können, avec Ernst Stoetzner et Dagmar Krause, 1 cd WAVE Tokyo, 1995, n° wwcx 20 42.
• Heiner GOEBBELS, Ou bien le débarquement désastreux, André Wilms, Sira Djebate : voix, Boubakar Djebate : voix, kora, Yves Robert : trombone, Alexandre Meyer : guitare électrique, table-guitar, daxophone, Xavier Garcia et Heiner Goebbels : claviers, sampling et programmation, Moussa Sissoko : djembe, enregistré en juin 1994, 1 cd ECM, 1995, New Series n° 1552.
• Heiner GOEBBELS, Schliemanns Radio, 12 Protokolle, basé sur la pièce de théâtre musicalNewton’s Casino, avec Sven Ake Johansson, Areti Georgiadou, Ralph-Daniel Mangelsdorff, 1 cd Hoerverlag Audiobooks, 1995.
• Heiner GOEBBELS, « Hörstücke », Die Befreiung des Prometheus ; Maelstromsüdpol ; Wolokolamsker Chaussee I-V, avec Peter Broetzmann, David Bennent, Alexander Kluge, Ernst Stoetzner, Rene Lussier, Otto Sander, Megalomaniacs, We Wear The Crown, e.a., 3 cds ECM 1994, [ enregistrements de 1984-1990], n° 1452.
• Heiner GOEBBELS, La Jalousie ; Red Run ; Herakles 2 ; Befreiung, Ensemble Modern, direction : Peter Rundel, avec les voix de Franck Ollu (La Jalousie) et Christoph Anders (Befreiung), 1 cd ECM New Series, 1992, n° 1483.
• Heiner GOEBBELS, Alfred 23 HARTH, « Live à Victoriaville », 1. The Ballad of the Rotten Jacket ; 2. Los Campesinos ; 3. The Ballade of the Durable Grey Goose ; 4. The Laughing and the Crying Man ; 5. Lightning over Moscow ; 6. Imagine you’re a Dolphin ; 7. On Suicide ; 8. Le Rappel des Oiseaux ; 9. The Peking Opera ; 10. At Last I Am Free ; Heiner Goebbels : clavier, Alfred Harth : saxophone, 1 cd Les Disques VICTO, n° victo CD 04.
• CASSIBER, « A face we all know » : 1. This was the way it was ; 2. Remember ; 3. Old Gods ; 4. 2 ‘o clock in the morning ; 5. Philosophy (1) ; 6. Gut ; 7. Start the show ; 8. A screaming comes across the sky ; 9. They go in under archways ; 10. They have begun to move ; 11. Time gets faster ; 12. It’s never quiet ; 13. Philosophy (2) ; 14. A screaming holds ; 15. Philosophy (3) ; 16. I was old ; 17. The way it was ; 18. To move, avec Heiner Goebbels, Christoph Anders, Chris Cutler et Alfred Harth, 1 cd ReR, 1989.
• Heiner GOEBBELS, Der Mann im Fahrstuhl, sur un texte d’Heiner Müller, avec Arto Lindsay : voix, guitare, Ernst Stötzner : voix, Don Cherry : voix, trompette, doussn’gouni, Fred Frith : guitare, basse, Charles Hayward : batterie, George Lewis : trombone, Ned Rothenberg : saxophones, clarinette basse, Heiner Goebbels : piano, synthésiseur, programmation, 1 cd ECM, 1988, n°1369.
• Heiner GOEBBELS, Alfred HARTH, Hommage/Vier Fäuste für Hanns Eisler ; Vom Sprengen des Gartens, 1 cd ReRMegacorps+.
• CASSIBER, « Perfect Worlds » : 1. Dust and Ashes ; 2. Crusoe’s Landing ; 3. Miracolo ; 4. Prometheus ; 5. Sleep Armed ; 6. In a Room ; 7. Todo dia ; 8. Orphee’s Mirror ; 9. I tried to reach you, avec Heiner Goebbels, Christoph Anders, Chris Cutler et Alfred Harth, 1 cd ReR, 1986.
• CASSIBER, « Beauty and the Beast » : 1. Six Rays; 2. Robert ; 3. Last Call; 4. Ach, heile mich ; 5. Haruspices ; 6. Under New Management; 7. Vengeance is Dancing ; 8. In einer Minute; 9. Und ich werde nicht mehr sehen ; 10. Prendre La Lune Avec Les Dents; 11. At Last I Am Free ; 12. Time Running Out, avec Heiner Goebbels, Christoph Anders, Chris Cutler et Alfred Harth, 1 cd ReR, 1985.

DVDs

• Heiner GOEBBELS, Landschaft mit entfernten Verwandten, Ensemble Modern, David Bennent, Georg Nigl, Deutscher Kammerchor, direction : Franck Ollu, 1 dvd Berlin, 2010, 55 minutes.
• Heiner GOEBBELS, Walden, Ensemble Klang, Keir Neuringer, 1 dvd Ricordi, Amsterdam, 2008.
• Heiner GOEBBELS, Peider A. DEFILLA(vidéaste), Schwarz auf Weiss ; …meme soir, Ensemble Modern et Les Percussions de Strasbourg, 2 dvds Schott Music, musica viva, Wergo, Munich, 2007.
• Heiner GOEBBELS, Eislermaterial (enregistrement de toutes les versions), Ensemble Modern, Josef Bierbichler, direction : Heiner Goebbels et Barry Gavin, 1 dvd, 1999.
• Heiner GOEBBELS, Schwarz auf Weiss, Ensemble Modern, direction : Heiner Goebbels et Manfred Waffender, 1 dvd BMG Classics Video, 1997.
• Heiner GOEBBELS, Die Befreiung des Prometheus [version scénique complète, version allemande], 1 dvd ReR Megacorp, 1993, 46 minutes.
• Heiner GOEBBELS, La libération de Prométhée [version scénique complète, version française], 1 dvd ReR Megacorp, 1993, 46 minutes.
• Heiner GOEBBELS, Ou bien le débarquement désastreux [extraits de la pièce de théâtre musical, en français], 1 dvd ReR Megacorp, 1993, 30 minutes.

Liens Internet

• Site personnel du compositeur http://www.heinergoebbels.com (lien vérifié en mai 2018).