photo © Miriam Klingl

About me

The spirit of contemplation: my artistic roots

I spent my youth in a monastery school in Southern Germany, where I began to write and perform music. After school I studied and earned degrees in music (Freiburg) and audio engineering (Berlin). 

As a composer, my music is nourished by many roots, but each delves into another soil. I love the chants of the european high culture. As well as the hook lines of excellent pop songs or the electronic soundscapes of ambient music. I find my material in the melancholy of the Portuguese Fado and likewise in the catchy tunes of the German Volkslied. The neo-classical cool of the Scandinavian north is in my music just as the whirling rush born from the Viennese Waltz.
Since schooltime I arranged my music for different line-ups. On one hand there is a more classical approach such as music for choirs, solo singers, instrumental groups, or just for my pianos and other keyed instruments. – On the other hand I always loved to work on electronic music and spatial radio plays. This part of my work ranges from creating songs and soundscapes in my studios and for bands on stage up to large 24-channel surround sound setups in staged concert performances.
Often, I don’t understand why this or that musical material comes into my mind, demanding to be used. As a composer I want to be not in the way but give a form to what flows up from the roots, edging towards the light. My task is to let it all blossom. 

These blossoms have many hues, many shapes. But they all are nourished by the spirit of melody and contemplation – and by the hope to get touched and to touch others.
photo © Miriam Klingl

My artist's name and its monastic roots

When I was fifteen, I played one of my songs in a concert at the monastery school. The other day the latin teacher came in and said before the class that he liked my music since it was "so lyrical". A classmate hearing that subsequently called me "Lyhrus" (with a looong 'y') . And that spread immediately. 
I disliked the nickname because it most notably was used by other students to provoke me. But I could not get rid of it until the end of my schooltime.
Years later I wanted to publish some new musical projects by using an artist's name. I remembered that nickname from school and decided to use it, as I regarded the name as short and appropriate and having a history that would remind me to my roots as a composer as well as to the monastic way of living a life out of silence and contemplation.

– Lyhrus, 19th July 2020
photo © Bernd Blome
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