Paul Dill and I composed music for the Deutscher Kindertheaterpreis 2020 (German Children’s Theatre Prize).
I produced the recordings,
Irene Cortina created video, Lydia Dimitrow acted as dramaturg and Charlotte Birkenhauer played Vibraphone.
The pieces shortlisted for the prizes were:
– „Rishi“ by Kees Roorda
– „Freie Wahl“ by Esther Rölz
– „Absprung“ by Rabiah Hussain
– „Liebe Grüße … oder Wohin das Leben fällt“ by Theo Fransz
– „Wer nicht träumt, ist selbst ein Traum“ by Jens Raschke
– „Wutschweiger“ by Jan Sobrie und Raven Ruëll
Additionally „Bis sie verschwinden im reifen Weizen“ by Katharina Kern, „Kill Baby“ by Ivana Sokola and „Aschewolken“ by Lisa Wentz were given special mention.
This prizes were awarded by the
Kinder- und Jugendtheaterzentrum in der Bundesrepublik Deutschland (KJTZ) and the deutsche Vertretung der Internationalen Vereinigung des Theaters für Kinder und Jugendliche (ASSITEJ e.V. Deutschland).
I worked on original music for the second season of
It’s a “Comedy-Webisode” created by
Reinaldo Almeida and a lot friends from the Berlin-expat Comedy Scene. Also my brother Jolyon Auri worked on props, designed the sets, and created a bunch of artworks that appear throughout!
The season was released on 3/10/2018 and is currently available via
Vimeo On Demand and Pantaflix.
I made music/sound for the beautiful Michael Ende piece Der satanarchäolügenialkohöllische Wunschpunsch, directed by Ivana Sajevic and premiering on 28th November 2015 at
The piece mixed
3D animation & multimedia elements, human actors, and puppets, and was played by Franziska Rattay, Sylvia Werner, Nico Parisius and Christian Sengewald.
I’ve made an “album” of the music I made for this piece:
There’s some more information on the
Puppentheater Halle website.
Black Milk Impulses:
Engineered by Lars Kirchbach
Mixed by Leo Auri
Photo by Kaori Matsuyama
Released 11 July 2015
Released by METARECORDS
The music is presented as the accidental rumblings of a musical virus. The tracks tumble out of the speakers like an intoxicated businessman, but a close listen reveals that each piece is anything but inebriated…………..The joy of Manifesto is the sounds between the notes, sampled crowds, static and these interlude tracks of less than two minutes that contain the seeds of extended improvisations.
Mark Corroto – All About Jazz
At any moment, any of the three players seems entirely free to do as they wish, whether that be to inject a melody, a solo or a burst of rhythm; by some alchemy, that does not lead to a free-for-all or a cacophony but music that is focused, coherent and fluid.
John Eyles – All About Jazz
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