Everything audible may be sampled ("computerized"). And in my composition there are exclusively sampled sounds to be heard. From minimal particles of every-day's sounds - from the motorbike to Mozart - I try to set up complex musical images. In this context I am specially interested in the possibility of having well-known casts of instrumentations in their original sounds play with or against each other in hitherto unknown formations with the help of the computer. (M. Fischer-Dieskau)

Technical background:

All three works were realized with an EMAX-Digital-Sampling-Keyboard FOSTEX A 8/FOSTEX 450 and software by EMU-Systems Inc.

Mathias Fischer-Dieskau, born 1951 in Berlin, stage designer, musician and composer. At the age of 6, Mathias Fischer-Dieskau started taking piano lessons with his grandmother, at the age of 11 percussion lessons upon his own wish. When he received a tape recorder at the age of 12, he started making his first sound collages, noise edits and loops. Towards the end of the 60ies he became drummer in a beat band and pianist in a jazz trio. Realization of sound collages for a New Wave group.
He started his career as stage designer for plays, opera and films. Some of his most important works: “Jakob Lenz” at the Deutsche Oper in Berlin; “La Finta” in Saarbrucken; “Titus” in Heidelberg; “Totenfloß” in Stuttgart; “Extremities” at the Residence Theatre in Munich; “Linie 1”, a film by Reinhard Hauff. Furthermore numerous stage settings at the Grips-Theatre in Berlin.
His most important works as musician: “Nicht Fisch, nicht F1eisch”, Theatre music in Heidelberg; “Erbe um Erbe”, Theatre Music in Cologne, as well as production of a LP.
Since 1983 his solo-works are made in his 8-channel home recording studio. He has been working with the computer only since early 1988. With his participation at Prix Ars Electronica '88 he makes his first public appearance with a computer music opus.