Duration: 25 mins.

Commissioned by Concertgebouw Brugge & Frequenz Festival Kiel

First performance: 28/2/2026, Kamermuziekzaal, Concertgebouw Brugge - Florentin Ginot

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Duration: 14 mins.

Commissioned by Concertgebouw Brugge & Nadar Ensemble

First performance: 04/03/2023, De Singel International Arts Center, Antwerpen, Nadar Ensemble

Duration: 16-20 mins.

First performance: 3/11/2021, GAIDA Festival, Vilnius, Lithuania, Nadar Ensemble (Dries Tack)

(Photo by Wim Heirbaut)

The Sixth Mass Extinction, which we are currently experiencing on Earth, is driven by human-induced feedback loops. One is between human activity and its ecological consequences. Another is within the ecosystem itself, where crossing a tipping point has set into motion an uncontrollable series of events that exponentially feed back into each other.

In the series of compositions called Inhibition Space, instruments are augmented electronically with tiny microphones, its amplified sounds fed into loudspeaker placed just besides them, or transducers placed upon them. This creates a similar situation of (acoustic) feedback, which the musicians can manipulate at best, but never fully control. Opening a key of the instrument even slightly, might have dramatic sonic consequences in this fragile equilibirium. With the help of a digital system however, they can find ways to alter their musical behaviour, habits and reflexes sufficiently to create a symbiosis between the human agent and its sonic environment.

Studio Recording by Dries Tack released on

Duration: 16 mins.

First performance: not premiered yet

Duration: 14 mins.

Commissioned by Ultima Festival Oslo & Muziekcentrum deBijloke Gent, coproduced by IMD Darmstadt & ICST Zürich

First performance:  25/3/2017, Muziekcentrum de Bijloke, Gent, Stephane Ginsburgh (keybrd), Florian Bogner (sound) & Stefan Prins (live-electronics)

(Rei Nakamura - keyboard, photo Stefan Prins)

Piano Hero #4 is the final part of the Piano Hero Cycle (60 mins).

Studio recording of Piano Hero #1-4 by Stephane Ginsburgh on KAIROS DVD

Duration: 22 mins.

Commissioned by Ultima Festival Oslo & Muziekcentrum deBijloke Gent, coproduced by IMD Darmstadt & ICST Zürich

First performance: 30/07/2016, Centralstation Darmstadt, Darmstaedter Ferienkurse, Stephane Ginsburgh (piano), Florian Bogner (sound) & Stefan Prins (live-electronics)

(Stephane Ginsburgh, piano, Ultima Festival 2016, photo Andreas Turau)

Piano Hero #3 is part of the Piano Hero Cycle (60 mins).

Studio recording of Piano Hero #1-4 by Stephane Ginsburgh on KAIROS DVD

Duration: 13 mins.

Commissioned by Huddersfield Contemporary Music Festival

First performance: 25/11/2011, St Paul's Hall, Huddersfield, UK, Mark Knoop; revised version: 21/5/2016, Hochschule für Musik Stuttgart, Konzertsaal, Nadar Ensemble (Elisa Medinilla)

(Stephane Ginsburgh, 2019, Photo Kobe Wens)

Piano Hero #2 is the second part of the Piano Hero Cycle (60 mins).

Studio recording of Piano Hero #1-4 by Stephane Ginsburgh on KAIROS DVD:

Duration: 8 mins

Commissioned by Frederik Croene 

First performance: 30/9/2011, DE SINGEL International Arts Centre, Antwerp, Frederik Croene 

(Rei Nakamura, Osaka, 2018,  Photo Stefan Prins)

Piano Hero #1 is the first part of the Piano Hero Cycle (60 mins).

Studio recording of Piano Hero #1-4 by Stephane Ginsburgh on KAIROS DVD

Duration: 14 mins.

Commissioned by Muziekcentrum de Bijloke for Jean-Guihen Queyras

First performance: 23/2/2008, Muziekcentrum de Bijloke, Jean-Guihen Queyras; final revision: 6/4/2013, Paine Hall, Harvard University, Séverine Ballon

A studio recording of the 2010-version of Ensuite, performed by Pieter Matthynssens,  has been released on Sub Rosa:

Duration: 23 mins.

Commissioned by music@venture 

First performance: 20/10/2007, Royal Museum of Fine Arts Antwerp (KMSKA), Ben Haemhouts, Bart Geerts (installation), Stefan Prins (electronics)

First performance of "Corona-version" of FITTINGinSIDE: 6/6/2020; online

FITTINGinSIDE was commissioned in 2007 by the now defunct festival music@venture, as a collaboration between visual artist Bart Geerts and myself for a site-specific work for trombone, developed at the Royal Museum of Fine Arts Antwerp. Here's the blurb we wrote for the program book back then: 

"The monumental setting of the Koninklijk Museum voor Schone Kunsten is a shell for the artworks of the museum’s collection.

The building minimizes the influence of things happening on the streets while at the same time it hides what the museum has to offer to the outside world. FITTINGinSIDE attempts to break open this shell: the museum is opened up to the outside world and the outside world is brought into the museum itself. The project is not bound to the dimensions of the exposition or performance space, but tries to create its own environment. Consequently FITTINGinSIDE becomes some sort of space in between, a visual and auditory environment that positions itself independent of architectural boundaries.

FITTINGinSIDE is not only a visual intervention (by Bart Geerts), nor is it merely a musical intervention (by Stefan Prins). It is precisely through the interaction between the two disciplines that a connection is being made between the sealed off world of the museum and the reality of what happens outside."

Bart Geerts created a series of "pipes" that run from inside the museum to the square in front of the museum,  creating a flow between the world outside of the museum and the world inside. I tried to achieve the same by having the audience wear headphones with which, in the first phase of the composition, they hear a soundtrack consisting of sparse trombone sounds, while they walk around/towards the museum from a predefined place. These trombone sounds create a dialogue with the urban sounds that are heard around the listener, outside of the headphones. Once the listener enters the museum, and hears the live trombone player play the second part of the composition, a gradual transition from trombone sounds towards urban sounds is heard on the headphones, effectively creating an inversion of the initial situation where the urban sounds were heard "in the background", and the trombone sounds were heard over the headphones, in the foreground.

In 2020, during the Corona Pandemic and the imposed Lockdowns, the Nadar Ensemble and me revisited this composition and made a "Lockdown" version of it in which the audiences are interconnected through a common "Zoom Call". In the first phase, the audience members, scattered around the globe, tethered to their smart device and the same Zoom Call, make individual walks outside their living spaces, while listening to the initial soundtrack. Then, after a specific time, they walk back to their living space, and turn on another Zoom Call on their computer, connecting to the trombone player who's playing the second part live in his own living room for the remote audience. As in the original version, at that point, a transformation of the trombone sounds into urban sounds can be heard over the headphones.  As a postlude, another moment of connection is created after the performance, where the audience can ask questions and interact with eachother, the trombone player and me, through the same Zoom Call.  

Finally, in 2023, this experience brought the Nadar Ensemble and myself to develop the project "Der Wanderer 2.0". The "original" version of FITTINGinSIDE forms the opening act of this project, and the closing act was a new composition, Mesh, in which the headphones were used in the concert hall. The concert experience consisted of hearing different layers of the music either over the speakers in the hall, performed by the 5 live-musicians, or on the headphones. The audience was invited to interact with the headphones freely, to create their own listening experience (one could take the headphones on/off, or listen to only one side). 

Duration: 18 mins

Commissioned by De Nieuwe Reeks

First performance: 20/12/2007, STUK, Leuven, De Nieuwe Reeks, Matthias Koole (egtr) & Stefan Prins (live-electronics); revision: Yaron Deutsch (egtr) & Stefan Prins, 2018

(Yaron Deutsch, Stefan Prins, photo Stefan Prins)

Live studio recording by Yaron Deutsch & Stefan Prins, 2018:

A studio recording of the 2007-version with Matthias Koole & Stefan Prins has been released on SUB ROSA:

A studio recording owith Yaron Deutsch & Stefan Prins has been released on KAIROS:

Duration: 13 mins.

First performance: 22/04/2004, deSingel (Blue Hall), Antwerpen, Stefan Prins, pno; dedonderdagen #4

For inside piano and marbles

Etude Intérieure #1 (perf. Stefan Prins) has been released on Sub Rosa (2012):

Duration: 16-20 mins.

First performance: 18/09/2022, 33,7 Festival, Esch, Luxemburg, United Instruments of Lucilin

The Sixth Mass Extinction, which we are currently experiencing on Earth, is driven by human-induced feedback loops. One is between human activity and its ecological consequences. Another is within the ecosystem itself, where crossing a tipping point has set into motion an uncontrollable series of events that exponentially feed back into each other.

In the series of compositions called Inhibition Space, instruments are augmented electronically with tiny microphones, its amplified sounds fed into loudspeaker placed just besides them, or transducers placed upon them. This creates a similar situation of (acoustic) feedback, which the musicians can manipulate at best, but never fully control. Opening a key of the instrument even slightly, might have dramatic sonic consequences in this fragile equilibirium. With the help of a digital system however, they can find ways to alter their musical behaviour, habits and reflexes sufficiently to create a symbiosis between the human agent and its sonic environment.

Duration: 12-18 mins. 

Commissioned by Ensemble Mosaik

First performance: 1.8.2020 at AckerStadt Palast, Berlin, UpToThree, Ensemble Mosaik & Stefan Prins

(Photo Stefan Prins)

The Sixth Mass Extinction, which we are currently experiencing on Earth, is driven by human-induced feedback loops. One is between human activity and its ecological consequences. Another is within the ecosystem itself, where crossing a tipping point has set into motion an uncontrollable series of events that exponentially feed back into each other.

In the series of compositions called Inhibition Space, instruments are augmented electronically with tiny microphones, its amplified sounds fed into loudspeaker placed just besides them, or transducers placed upon them. This creates a similar situation of (acoustic) feedback, which the musicians can manipulate at best, but never fully control. Opening a key of the instrument even slightly, might have dramatic sonic consequences in this fragile equilibirium. With the help of a digital system however, they can find ways to alter their musical behaviour, habits and reflexes sufficiently to create a symbiosis between the human agent and its sonic environment.

Studio Recording with Ensemble Mosaik released on 

Studio recording by Decoder Ensemble on WERGO

Duration: 23 mins.

Commissioned by Südwestrundfunk, financed by the Ernst von Siemens Musikstiftung for ECLAT

First performance:  6/2/2016, Theaterhaus, Stuttgart, ECLAT, Trio Accanto (Marcus Weiss, sax; Christian Dierstein, perc; Nicolas Hodges, pno) & Stefan Prins (live-electronics)

(Photo by Nic Hodges)

Live-recording of the premiere:

Studio recording by Trio Accanto on WERGO

Duration: 16 mins.

Commissioned by Nikel Ensemble

First performance: 13/08/2014 (#0-2), CentralStation, Darmstädter Ferienkurse, Germany, Nikel Ensemble

Sonically speaking, the posthuman era is not one of disembodiment but the exact reverse: it's a hyperembodiment (Kodwo Eshun, More brilliant than the sun, 1998.)

Flesh+Prosthesis #0-2 are closely related to the 8-channel electronic composition Hybridae (2012). In that composition I used digital sound-processing techniques (based on feedback-principles) on a series of violin samples to generate a hybrid sonic body that constantly occupies different regions in the spectrum between the physical (clearly recognizable violin samples) and the digital (after heavy digital processing). A fragment of Hybridae was then became Flesh+Prosthesis #0, while I envisioned to create a hyper-hybrid body in Flesh+Prosthesis #1 , adding instrumental and electronic layers to a heavily edited and cut up version of Hybridae, in order to create a multi-dimensional hybrid body, somehow similar to the multi-dimensional meta-bodies that we have become ourselves. Flesh+Prosthesis #2 then is what remains from this hybrid body after the imposed force of the technological is taken away and what now is absent became at least as important as what's present.

The three parts of this series can be played back-to-back (attacca), or can be spread out over one evening, with other pieces being played in between them. In the first case there are supplementary electronic intermezzi that function as hinges between the different parts.

Flesh+Prosthesis #0-2 is written and dedicated to my dear friends of the Nikel Ensemble.

Live-recording at Darmstädter Ferienkurse 2016 by Nikel Ensemble:

Studio recording by Nikel Ensemble:

Duration: 22 mins.

First performance: 24/10/2012, Kesselhaus, Kulturbrauerei, Berlin, Ensemble Mosaik

Generation Kill - Offspring #1 is based on the composition Generation Kill.

Live-performance by Nadar Ensemble, at reMUSIK International New Music Festival, St.Petersburg, Russia, 24/5/2015, Erarta, Museum and Galleries of Contemporary Art:

Duration: 11 mins

Commissioned by Internationales Musikinstitut Darmstadt & the Staubach Honorarium 2009 for Nikel Ensemble

First performance: 25/7/2010, Orangerie, Darmstadt, Germany, Nikel Ensemble

(Yaron Deutsch, photo Markus Sepperer)

Studio recording by Nikel Ensemble:

Duration: 12 mins.

Commissioned by Jeugd en Muziek Vlaanderen

First performance: 9/12/2008, Logos Foundation Gent, Nadar Ensemble, cond. Daan Janssens, together with "Entartung" animation video by Joachim Devillé

A studio recording of Fremdkörper #1 with Nadar Ensemble, cond. Daan Janssens has been released on Sub Rosa:

The live-recording of the Darmstadt performance in 2010 has been released on:

and, in a remastering by Stefano Bechini (2025) on:

Duration: 16 mins.

Commissioned by Agartha & Koen Deprez

First performance: 16/11/2006, Muziekcentrum de Bijloke Gent, Agartha (An Raskin, bayan & Bram Bossier, va)

When we own a clock of which the strike is activated every half hour, nothing seems to happen with the strike in the time that the big hand moves from the whole hour to the half hour. But in reality, for instance, in that time a lever in the mechanism is slowly being lifted, which once it reached a specific point, unlocks the strike.

Willem Frederik Hermans, in his doctoral thesis on the geographic phenomenon "Erosion".

A studio recording of Ventriloquium with Agartha (An Raskin, Bram Bossier) has been released on Sub Rosa:

Duration: 55 mins.

Commissioned by the Arditti Quartet, Wien Modern & Rainy Days Festival, for the 50th Anniversary of the Arditti Quartet.

First performance: 31/10/2025, Mozartsaal, Konzerthaus Wien, Wien Modern - Arditti Quartet, Yaron Deutsch (electric guitar), Stefan Prins (live-electronics), Fredi Reiter (sound)

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Duration: 22 mins.

Commissioned by Festival NOW! Essen & Ensemble Ascolta with funding from the Ministeriums für Wissenschaft, Forschung und Kunst, Baden-Württenberg

First performance: 29/10/2023, Philharmonie Essen - Sarah Defrise (Sopran), Ensemble Ascolta, Niklas Werani (sound), WARPED TYPE (Visuals)

Duration: 32 mins.

First performance: 04/03/2023, De Singel International Arts Center, Antwerpen, Nadar Ensemble

In Mesh, everything is interconnected and in constant flux. What you hear in the foreground triggers a chain reaction that reverberates further away and vice versa. What seems to be the beats of a nightclub may be a tropical thunderstorm. What appears to be electromagnetic noise may come from the euphonium. Or are those cicadas in a rainforest in Borneo? 

Man, nature, and technology fight for dominance and create a wild four-dimensional dance that the listener can help shape by putting on, half-putting on, or taking off your headphones at will, thus changing your relationship with the instrumental and electronic sounds on stage.

[a version of this composition without the headphones for the audience can also be performed]

Studio recording with Nadar Ensemble released on

Duration: 23 mins.

First performance: 23/5/2019, Ensemble Mosaik, cond. Enno Poppe. Kesselhaus, Kulturbrauerei, Berlin

Duration: 42 mins.

First performance: 4/6/2018, Klangforum Wien, cond. Bas Wiegers, HIATUS Dance Company (chor. Daniel Linehan), Florian Bogner & Peter Böhm (sound), Gasteig, Carl-Orff-Saal, München; first performance of instrumental version: 25/10/2024, Orkiestry Muzyki Nowej, cond. Filip Huget, NeoArte Festival, Gdansk  

(Photo by Danny Willems)

This is a stand-alone concert version of the music I had written for Third Space, the project I developed together with choreographer Daniel Linehan for the Münchener Biennale für Neues Musiktheater 2018.   

Studio recording of instrumental version by Klangforum Wien, cond. Bas Wiegers, on KAIROS

Duration: 20-24 mins.

Commissioned by Blindman String Quartet

First performance: 17/3/2016, DE SINGEL International Arts Centre, Antwerp, Blindman String Quartet, Chris Delacourt & Johannes Westendorp (FX pedals), Stefan Prins (live-electronics), Dries Dhondt (sound)

In Infiltrationen 3.0 there are three layers of musical material that infiltrate eachother continuously: the actions performed by the string players, the prerecorded 4-channel tape (generated using analogue mixing-table feedback-techniques in which several signals infiltrate eachother) and a live-electronics part performed on a homemade digital instrument by another musician.

Infiltrations are even more present on another level: the infiltrations of technology and technology-based decisionmaking on human (inter)action and vice versa – a subject that is very important to me, not only in a musical context. In Infiltrationen the “score” is being generated in real-time on computerscreens – every performer has a laptop in front of him. Whenever a performer wants a new playing-instruction he hits the spacebar of his laptop, and since the computers are connected to eachother through a network, the change made on one computer immediately has consequences for the playing instructions on all the other computers. Although a clear musical evolution has been preprogrammed in these playing-instructions on a macro-temporal level, the performers (almost) never know in advance what will be the next instruction. This makes the musicians masters and servants of the technology at the same time.

This composition is based on the composition Infiltrationen (Memory Space #4) for 4 electric guitars and live-electronics from 2009.

Studio recording of Infiltrationen 3.0 by Nadar Ensemble on KAIROS

Duration: 24 mins.

Commissioned by Südwestrundfunk for the Donaueschinger Musiktage 2012

First performance: 20/10/2012, Bartoksaal, Donauhallen, Donaueschingen, Germany, Nadar Ensemble

(Nadar Ensemble at Gaudeamus Festival 2015, photo Anna van Kooij)

Live performance at Gaudeamus Festival 2015 by Nadar Ensemble:

Studio recording by Nadar Ensemble on KAIROS DVD:

Live-recording of the first performance in Donaueschingen by Nadar Ensemble on Neos (audio only):

Duration: 11 mins 

Commissioned by Impuls - International Ensemble- and Composers-Academy for Contemporary Music, Graz, Austria

First Performance: 5/2/2011, Klangforum Wien, cond. Enno Poppe, Florian Bogner, Peter Böhm (sound), 

(Photo collage by Stefan Prins)

Live-recording of first performance by Klangforum Wien, cond. Enno Poppe, 2011:

A remastering of this recording is released on Sub Rosa:

Duration: 20-25 mins

Commissioned by Concertgebouw Brugge, with the support of the Flemish Government

First performance: 27/10/2009, Concertgebouw, Brugge, ZWERM electric guitar quartet & Stefan Prins (live-electronics)

(Zwerm Electric Guitar Quartet & Stefan Prins during the first performance at Concertgebouw Brugge)

Live-recording Zwerm Electric Guitar Quartet & Stefan Prins, at MuHKA Antwerp, 2011,

A studio recording of Infiltrationen with Zwerm Electric Guitar Quartet & Stefan Prins has been released on Sub Rosa:

Duration: 13 mins.

Commissioned by TRANSIT Festival 

First performance: 27/10/2006, Soetezaal, STUK, Leuven, Champ d'Action & collectief reFLEXible

(collectief reFLEXible: Joachim Devillé, tpt; Thomas Olbrechts, alto sax; Stefan Prins, live-electr, Champdaction: Matthias Koole, egtr; Pieter Matthynssens, vc; Matt Jenkins, perc; cond. Jaan Bossier, 2009)

It's not easy to improvise. It's the most difficult thing to do. Even

when one improvises in front of a camera or a microphone one

ventriloquizes or leaves another to speak in one's place the schemas

and languages that are already there. There are already a great number

of prescriptions that are prescribed in our memory and in our culture.

All the names are already preprogrammed. It's already the names that

inhibit our ability to ever really improvise. One can't say whatever

one wants. One is obliged, more or less, to reproduce the stereotypical

discourse. And so I believe in improvisation. And I fight for

improvisation. But always with the belief that it's impossible. And

there, where there is improvisation I am not able to see myself. I am

blind to myself and it's what I will see, no I won't see it, it's for

others to see. The one who is improvised here, no, I won't ever see him.

[Jacques Derrida, Screenplay and Essays on the Film Derrida  by Kirby Dick and Amy Ziering Kofman, Routledge, New York 2005]

A live recording of Ventriloquium with collectief reFLEXible & Champdaction, cond. Jaan Bossier (2009) has been released on Sub Rosa:

Duration: 10:45 mins

Commissioned by Champdaction 

First performance: 20/2/2006, Orpheus Institute Gent, Champdaction & Tomma Wessel (rec), cond. Jaan Bossier

The title, MEMORY SPACE # 2, refers to the installation of visual artists Narcisse Tordoir and Koen De Decker, called NO MEMORY SPACE. In this installation, two “spaces” are seperated from eachother by a horizontal aluminium panel. The space below this panel, which is positioned very close to the floor, is filled with objects that can only be seen if one almost lies on the floor.

Duration: 14 mins.

First performance: 04/12/04, Museum of Photography, Antwerp, Champ d'Action

(Next Mushroom Promotion Ensemble, Tokyo, 2018, photo Stefan Prins)

"No habra una sola cosa que no sea una nube", written in 2003, is one of the oldest pieces that I kept in my catalogue. The title is the first line of the homonymous poem by Jorge Luis Borges.
Rather than describing this poem, the composition takes its idea of the constant transformation and ephemerality of life, that Borges so beautifully evokes, and tries to bring it into the realm of sounds.

No habra una sola cosa que no sea
una nube. Lo son las catedrales de vasta piedra y biblicos cristales
Lo es la Odisea, que cambia como el mar
hay algo distinto cada vez que la abrimos
El reflejo de tu cara ya es otro en el espejo
y el dia es un dudoso laberinto
Somos los que se van. La numerosa nube que se deshace
en el poniente es nuestra imagen
Incesantemente la rosa se convierte en otra rosa
Eres nube, eres mar, eres olvido
eres tambien aquello que has perdido. 

Jorge Luis Borges

Duration: 50 mins 

Commissioned by AMMODO, Muziekgebouw aan 't Ij & Ernst von Siemens Stiftung

First Performance: 24/2/2022, Muziekgebouw aan 't IJ, Amsterdam, Ensemblekollektiv Berlin & ASKO|Schönberg Ensemble, cond. Baldur Brönnimann, Florian Bogner (sound), Stefan Prins (electronics)

(Photo Marieke Wijntjes)

inhabit_inhibit is a large-scale, immersive, spatialized composition for 4 mixed quartets, 6 feedback-enhanced soloists and live-electronics.

Philosopher Timothy Morton refuses to talk about climate change, but insists on calling the times we are living in the period of the sixth mass extinction. Cause for this new mass extinction is the “run-away effect” in which several human-caused ecological changes feed back into eachother until they spin out of control. In inhabit_inhibit this feedback effect and the related loss-of-control is being transposed into the sonic realm, and informs the conceptual, sonic, spatial and dramaturgical dimensions of the composition.

inhabit_inhibit makes use of 6 instruments (bass flute, bass oboe, bass clarinet & baritone saxophone + the piano and harp), which are able to create feedback through the interaction between a speaker standing next to them and a microphone connected to them/inserted into them. These soloists thus are expanded sonically and the function of the performer is changed drastically. Through the feedback - which is never entirely under the performer's control - the wind players can now also produce sound without using their breath, the piano and harp can create sound without effectively activating the strings. They have become hybrid, augmented instruments, in similar ways that today’s reality has become a hybrid and augmented one, and that our bodies are more and more becoming hybrid. Furthermore, since the distance between microphone and speaker defines the feedback, their position in the performative space will influence their sound production, as well as how the sound of one instrument leaks into the microphone of the other. This creates an only partially controllable network of connections, a true mesh, to use the words of Morton, between technology, the performers, their live-instruments and the space they inhabit together with the four acoustic quartets and the audience. The result is an immersive sonic environment from which it is impossible to escape. "There is no outside", as Morton writes.

Remastered live-recording by EnsembleKollektiv Berlin, cond. Max Murray, Florian Bogner (sound), Stefan Prins (live-electronics) on

Duration: 13 mins 

Commissioned by Westdeutsche Rundfunk (WDR) for the Wittener Tage für Neue Kammermusik

First performance:  9/5/2014, Klangforum Wien, cond. Emilio Pomarico, Florian Bogner & Peter Böhm (sound), Witten

'Sonically speaking, the posthuman era is not one of disembodiment but the exact reverse: it's a hyperembodiment' Kodwo Eshun, More brilliant than the sun, 1998.

I'm your body is closely related to Flesh+Prosthesis #1 (2013) for quartet and soundtrack (written for the Nikel Ensemble, premiered at Wien Modern Festival 2013), which in a similar way is related to the 8-channel electronic composition Hybridae (2012).

In Hybridae I used digital sound-processing techniques (based on feedback-principles) on a series of violin samples to generate a hybrid sonic body that constantly occupies different regions in the spectrum between the physical (clearly recognizable violin samples) and the digital (after heavy digital processing). This composition was then taken as a point of departure for Flesh+Prosthesis #1 in which I envisioned to create a hyper-hybrid body, adding instrumental and electronic layers to an edited, cut up version of Hybridae. For I'm your body this hybridization-procedure is then taken one step further: Flesh+Prosthesis #1 is subjected to similar procedures as Hybridae was previously, adding a second instrumental body, in order to create a multi-dimensional hybrid body, somehow similar to the multi-dimensional meta-bodies that we have become ourselves.

The body and its digital avatars. The flesh and the prosthesis. The mechanics of the flesh. The utterances of the body, the portal to the inexplicable.

Live-recording by WDR of the premiere at the Wittener Tage für Neue Kammermusik:

Duration: 38 mins.

Commissioned by Sudwestrundfunk, Philharmonie Luxembourg, Orchestre Philharmonique de Luxembourg & DE SINGEL International Arts Campus

First performance: 15/10/2021, Mozartsaal, Donauhallen, Donaueschinger Musiktage, Orchestre Philharmonique de Luxembourg, Yaron Deutsch (e-gtr), cond. Ilan Volkov

(Photo by Stefan Prins)

Studio Recording by BBC Scottish Symphony Orchestra,

Yaron Deutsch (e-gtr) & Ilan Volkov released on

Duration: 10 mins

Commissioned by DE SINGEL International Arts Centre for the project "Amateurs meet Professional"

First performance: 15/5/2010, DE SINGEL, Blue Hall, Antwerpen, SJOW, cond. Erwin Robbens, Stefan Prins (live-electronics) 

This commission was part of a diversity project in which composers would write music for non-professional ensembles. In my case I composed for the youth "concert band" SJOW, under the direction of Erwin Robbens. A lovely experience!

Live-recording of the first performance by SJOW, cond. Erwin Robbens & Stefan Prins (live-electronics):

Duration: 80 mins.

First performance: 4/6/2018, Klangforum Wien, cond. Bas Wiegers, HIATUS Dance Company (chor. Daniel Linehan), Florian Bogner & Peter Böhm (sound), Gasteig, Carl-Orff-Saal, München

(Photo by Danny Willems)

Live video recording of version with dance by Klangforum Wien, cond. Bas Wiegers & HIATUS (chor. Daniel Linehan) on KAIROS DVD

Duration: 43 mins.

First performance: 17/7/2012, Darmstadt Summercourses, Frankfurt LAB, Frankfurt, Shila Anaraki, Zwerm Electric Guitar Quartet, Stefan Prins 

By Shila Anaraki, based on "Infiltrationen" by Stefan Prins, developed in dialogue with Adva Zakai. Realised and performed in collaboration with Zwerm Electric Guitar Quartet, Stefan Prins and Shila Anaraki. Scenography and light: Simon Siegmann. Dramaturgical advice: Lars Kwakkenbos. Sound: Roel Das (Champdaction). 

Think of a body in stand-by, a short-circuited thought, a human brain processing at a frequency of 5 GHz...

In PARK, six computers form a communication network that provides six performers with real-time instructions. PARK confronts the human body with a digital logic. It plays with the border of the human's presence and absence in technology and embodies a puzzle in which they outline each other. With playful precision we investigate strategies of embracing, resisting, adapting, disrupting or short-circuiting these technical surroundings. Who infiltrates what, and what infiltrates whom? PARK inhabits a peculiar network, which sputters in a much outmoded way.

For PARK, Stefan Prins asked Shila Anaraki to create a performance based on his composition 'Infiltrationen',  for 4 electric guitars and a live-electronics performer.  Central to this composition is the notion of technology infiltrating the conditio humana on several levels.    

Live-recording of premiere at Darmstadt Summercourses, 17/7/2012, Frankfurt LAB, Frankfurt:

Duration: 35 mins.

Commissioned by Südwestrundfunk for the Donaueschinger Musiktage 2015

First performance: 17/10/2015, Mozartsaal, Donauhallen, Donaueschinger Musiktage, Nadar Ensemble

(Nadar Ensemble, Muziekcentrum De Bijloke, 2018, Photo Kobe Wens)

Studio recording of Mirror Box Extensions by Nadar Ensemble on KAIROS DVD

The first performance at the Donaueschinger Musiktage has been released on NEOS (audio only):

Duration: 6:21 mins.

Commissioned by Florentin Ginot, with the support of the French Ministry for Culture, Ernst von Siemens Music Foundation & La Muse En Circuit

First showing: 2022, Acht Brücken Festival Köln

Collaborative project with Florentin Ginot (double bass), Stefan Prins (live-electronics) & Janet Sinica (video).

Duration: 8:30 mins

Commissioned by Nadar Ensemble for their 10th Anniversary Vinyl

Composed for the 10th Anniversary of the Nadar Ensemble

First performance: 11/12/2014, Paine Hall, Music Department, Harvard University (spatialised over Hydra's 50-loudspeakers orchestra)

Sonically speaking, the posthuman era is not one of disembodiment but the exact reverse: it's a hyperembodiment' (Kodwo Eshun, More brilliant than the sun, 1998)

Study for a Mirror Box is a 2-channel, electronic study for Mirror Box (Flesh+Prosthesis #3). Mirror Box is for amplified sax, percussion, piano and electronics. Almost all sounds in the Study are based on samples of saxophone and percussion (recorded respectively with Marcus Weiss & Christian Dierstein at the Experimental Studio Freiburg), piano (Stefan Prins), and sax+drums (Patrick Stadler and Brian Archinal).

Duration: 13 mins.

First performance: 26/04/2012, Paine Hall, Harvard University, Cambridge, Mass., USA

Hybrids (Hybridae, lat.) are mythological creatures combining body parts of more than one real species. They can be classified as partly human hybrids and non-human hybrids combining two or more animal species.

Duration: 4:45 min

This track has been released on Sub Rosa: