First modular
photo © Bernd Blome

This is bitter news: Luise needs to quit the Lyhrus Ensemble due to scheduling problems. She could not manage to join most of the upcoming rehearsals.
We shared three intensive years together with rehearsals, recordings, and concerts. Who now will sing the 'Birdsong'??
It is really sad, we will miss you!
Maybe we will find some other paths we can share in the future ... The door remains open.
All the best to you, Luise, and many heartfelt thanks for a lot of joyful moments.


lyhrus cover reveries


In spring 2018 I founded NOYA Chorus in Berlin, a non-professional choir to perform some of my vocal works and delevelop a new kind of choral concerts.
Petra Koerdt, a professional mezzo-soprano singer, joined that choir as she wanted to be along for the ride hoping "for a relaxed singing with some pleasant people". One day she asked me wether we could sing my music with some professional singers as well. I agreed as I had planned the same. We imagined a small group of 8 to 10 voices, a little family. I should be called The NOYA Ensemble.
Well, it took almost one year to get a mounting stable constellation of singers and voices: Dorota Bronikowska and Luise Bestehorn (sopranos), Petra Koerdt (mezzo) and Isabel Felgenhauer (alto) on the women's side. Four men joined us to complete the octet: Thomas Kalka and Mathias Eger (tenors), Caspar James and Alexander Lust (basses).

After six concerts in Berlin and Potsdam and given an increasing audience we decided to rehearse more intensely on a regulary basis. But in just that moment the Corona virus occurred and spread and forced us to a complete standstill.

Fortunately we had recorded some little pieces as a demo some weeks ago, so that I decided to collect them for an EP to have a little star on heaven for all of us guiding us through these times of distance.

If you want to read something about the content of the EP or want to listen to some of the tracks, click on the cover to get to the album's page. Enjoy the beautiful voices of The NOYA Ensemble!


lyhrus cover dialogueatnight


When it came to my piano exam at the academy of music in 1995, I decided to play an own composition. This piece started with three slow and soft figures, not really diatonic but with a certain feeling of a subdominant - dominant - tonic-relation (which can explained to non-musicians as a principle of breathing-in, breathing stronger in, and releasing the breath). This is what I call my triadic principle. Then a repetition of a single tone set in like coming from a distant piano (I imagined an old nocturnal mansion with two pianos responding to each other from different rooms). My composition at that time proceeded differently but recalled that first bars from time to time.
The profs graded my playing quite high but they were honest and admitted that this was due to my composition in particular – which they liked.

I assume the score of that piece is lying somewhere in a drawer but I actually forgot most parts of that student work ... apart from those three melodious figures at the beginning of the piece. They calmed me deeply whenever I played or heard them and I liked the idea of the two corresponding pianos in different parts of an old house or castle.

So I decided to extend the piece admittedly by using other three-figure-groups but holding on the principle of breathing in and releasing. An eight minute version came into being at first, but it always should have become a long meditation during about 45 minutes or even an hour. I completed that long version in winter 2012 and recorded it in a final version in 2020.

In contrast to the ›Melophilia‹ album with its catchy tunes beloved by many people I always knew that this piece would be rather a music for myself. It had to be recorded for no further reason than just – to be there!

But on the other hand I'm sure that there will be listeners who fall in love to this long triadic meditation as well as me.


lyhrus cover reveries


This album has a long history, as I wrote some of the tunes already in schooltime, others as a student. In autumn 2006 my brother became father of his first daughter, and I decided to record some of those tunes as lullabies using a software piano. I gifted them to the parents as well as to other family members.
Though they all liked the music and its atmosphere and ordered a lot of copies to gift them to their friends in turn, I disliked the sound of the recording somehow. I found it too clean; gentil, but unbroken in a way. A record label in Cologne offered me to publish the album, but in the end I bottled it up.

About 12 years later I began to play some of the tunes in concerts and noticed that the music touched me in the same way it did then and the audience loved the pieces as well. In the meantime I had found new ways of arranging my recordings as I tried to get as close to the instruments and the surrounding atmosphere as possible to get the most intimate sound out of it, a noisy sound coming from the material and the mechanics of the instruments and the rooms I played them in.

So I decided to record all the melodies again playing them in my studio on my prepared acoustic piano. I tried to play them as simple as possible to let only the tunes speak for themselves. Sometimes the piano stool cracked, you can hear my scrooping clothes and I think once even my swallowing...



lyhrus cover reveries
lyhrus cover dialogueatnight
lyhrus cover melophilia

Right at the outset I would like to spread a bit more material before you to let you fossick around my music. Clicking on the covers will lead you to the pages of the albums, where you may learn more about their story, listen to some of their tracks, and if you consider buying them you'll find the links to do so.  

In Japan's culture exists an aesthetic value called Wabi-Sabi, which refers to a certain loneliness in nature, a sadness about the impermanence of things (Wabi) and to their minor details, their imperfection and incompleteness (Sabi).

It's about being surrounded by rooms with rough walls, with just a few objects in it. Those objects are not new, not polished, not symmetric to please the guest's eyes. On the contrary they are simple, earthy, irregular, withered.

Wabi-Sabi is about intimacy, it's about coming very close to things to perceive how they look, how they feel, how they smell – and how they sound.

I'm attracted by this philosophy which is also an artistic path for me. I need to dive into sound, being enveloped by the sound of the instruments, of the room. I don't want to feel distracted, I want to become focussed. Some of my music I publish as part of an edition I call ›The Contemplative Records‹.
As perfection is not a value here, that philosophy is a way of letting things come into being. And a way of letting them pass away again. It's a path of melancholy, of hope, and of activity.

I would be glad if you would like to join me on this path. Let me invite you with my music.

lyhrus table


Dear visitor, welcome to my new website. I hope you enjoy the music und find all informations here you're looking for. Please get in touch for further details if needed.

Always yours, Lyhrus.

lyhrus cover reveries



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