Several new compo­si­tions from me are published in the Series Modern-Trad (Verlag der Spiel­leute), inclu­ding ”Die grinsende Prinzessin” (Jig) Download, the  ”Katja Walzer” Download and ”Blue Rose” Download.


„Pache­ta­nique – 5er Walzer“ 
Kompo­si­tion: Alexander Loch
Arran­ge­ment: Salut! (2015)

Kompo­si­tion: Unto Mononen
Arran­ge­ment: Salut! (2015)

La Fronde & Poupette — Bourree
Kompo­si­tion: Tapage
Arran­ge­ment: Salut! (2015)

Muzike Mazurka
Kompo­si­tion: ZEF
Arran­ge­ment: Salut! (2015)

Kompo­si­tion: Thomas Kuhn
Arran­ge­ment: Salut! (2015)

Die grinsende Prinzessin
Kompo­si­tion: Alexander Loch
Arran­ge­ment: Salut! (2015)

Rosebud — Bourree mit Tango-Elementen
Kompo­si­tion: Isabel Pignol
Arran­ge­ment: Sylex (2011)

Avalliz­antia — Walz 5temps
Kompo­si­tion: Bruno Letron
Arran­ge­ment Sylex (2011 )

Deser­teur — Walzer
italie­ni­scher Folk
Arran­ge­ment: Sylex (2011)


Mit Unter­stüt­zung des GOETHE Insti­tuts organi­sierten wir einen Weltmusik-Workshop in Osttimor mit anschlie­ßender Tournee von JOSTAL und asiati­schen Künstlern.
Das Projekt ist im FOLKER beschrieben. Polka-unter-Palmen

Die BONNER BOEUF im alten Winzer­haus von Bonn Kesse­nich entwi­ckelte sich im letzten Jahr zu einem stark frequen­tierten Austausch­forum für kontem­po­räre Folkmusik am Rhein. Wer Harfe, Akkor­deon, Bass, Drehleier, Saxophon, Cello, Flöte, Dudel­sack, o.ä. spielt, ist jeder­zeit willkommen! (Eintrag auf die private Einladungsliste)


Beyond the geogra­phi­cally localised culture(s), which are adressed  in training, consul­tancy & research, ”culture” is also created, developed — and changes. In the tropics and in this country. It is fasci­na­ting to observe how young musicians in East Timor redis­cover the old Kore-Metan music or how new dance & music tradi­tions are formed at the Caram­bals in Paris, the TFF in Rudol­stadt or the Boombals in Belgium. This invites to join the global concert.

The contem­po­rary duo Brink­mann & Loch is a joint venture of two Bonn musicians with diffe­rent musical roots: here Klezmer music with its Eastern European sounds and ”talking instru­ments”, there Balfolk with its waltzes, polkas, mazurkas and Breton medita­tive circle dances. The result is something new — a melange of sounds, feeling and impro­vi­sa­tion, often inspired by Tango. Performing in theaters, museums and festivals.

OswaldFirst compo­si­tions and arran­ge­ments by Alexander Loch (1994) can be found on the CD Mein Begehr und Wille by the Cologne medieval ensemble OSWALD (named after the minne­singer ”Oswald von Wolken­stein”). It is distri­buted by Verlag der Spielleute.

With SALUT! modern trian­gu­la­tions between folk, tango & impro­vi­sa­tion are created on piano, hurdy-gurdy, clarinet and violin/cello. Highly danceable. The Demo-CD ”Bewegungs­lust” is available on request.

Sylex & BalbatrucSylex & Balbatruc were two ambitious projects of the Paris phase. The CD ”les trois premiers” is already sold out.

Alexandros von AntiochiaIn the nineties there was an epoch of numerous perfor­mances in castles, palaces and at banquets. the German medieval scene associated the stage name ”Alexan­dros of Antioch” with the crowds of specta­tors, learning the basic steps of the old dance ”Trauben­tritt” …

ARS AUDIENDIARS AUDIENDIARS AUDIENDI produced an intel­li­gently designed CD with the saga of the Richmodis of Aducht — the woman who miracu­lously rose from the dead in the Middle Ages. The last track is th ”Song of the Richmodis” — accom­pa­nied by my hurdy-gurdy and inter­preted by Claudia Immer.

TURLOUGH O'CAROLANIn the studio of Volker Bäcker (”the Satan of strings!”) a homage to the blind Irish harpist, TURLOUGH O’CAROLAN, was created in Cologne. During his lifetime he had written melodies that not only delighted the ears of the 18th century, but that are still perfectly suited for bordun instru­ments today.

SURRADIALIn the 90s, hurdy-gurdy players from all over Germany joined together in the Ensemble SURRADIAL to form a kind of ”hurdy-gurdy national orchestra” in order to take the musical range of the instru­ment to the extreme and combine it with elements of dance theatre. But distance killed the idealism… only occasional concert recor­dings remained.