Max Knoth writes for orchestra, small and large ensembles and solo instruments, . He has composed for feature films (AUF DER ANDEREN SEITE IST DAS GRAS VIEL GRÜNER by Pepe Danquart, MISS SIXTY by Sigrid Hoerner, KLEINER DODO by Thilo von Rothkirch, FRÄULEIN PHYLLIS by Clemens Schönborn) and award-winning short films (ESTERHAZY by Izabela Plucinska, […]
mehrComposition
Max Knoth writes for orchestra, small and large ensembles and solo instruments, .
He has composed for feature films (AUF DER ANDEREN SEITE IST DAS GRAS VIEL GRÜNER by Pepe Danquart, MISS SIXTY by Sigrid Hoerner, KLEINER DODO by Thilo von Rothkirch, FRÄULEIN PHYLLIS by Clemens Schönborn) and award-winning short films (ESTERHAZY by Izabela Plucinska, APOLLO by Felix Gönnert and FORST by Ulu Braun).
Max Knoth has also composed for theatre (Christoph Schlingensief, She She Pop), radio plays (Beate Andres, Thomas Pigor) and TV Spots (Fanta, IKEA).
Arranging
Max Knoth has made orchestral arrangements for movies, concerts and recordings.
He arranged for Lou Reed, Irmin Schmidt (CAN), Matthew Herbert, Deutsche Grammophon, SONY, Lyambiko, Calexico, Nada Surf, Dear Reader and Frank Popp Ensemble.
His arrangements are played by Staatskapelle Berlin, Konzerthausorchester Berlin, Deutsches Filmorchester Babelsberg, Deutsches Kammerorchester Berlin, WDR Funkhausorchester, ORF Symphonieorchester, Beethoven Orchester Bonn, Sinfonieorchester Wuppertal and the Vienna Film Orchestra.
Notation
Max Knoth made notation and orchestration for filmscores, classical and contemporary orchestral music.
He worked together with Ryuichi Sakamoto and Carsten Nicolai | Alva Noto on their piece utp_ and on Sakamoto’s Concerto for Koto and Orchestra and also with Felix Kubin.
utp_ by Noto / Sakamoto:
Chromdioxidgedächtnis by Kubin:
