From 1998 to 2006 he taught the
new media art at the
Hochschule für Grafik und Buchkunst Leipzig and was head of the electronic studio there.[2] From 2001 to 2002 he was organizer of the concert series Sende(r)musik of the
Mitteldeutscher Rundfunk. (MDR). He was curator of several projects, including Interferences of
Beck & Eggeling International Fine Art [
de], Düsseldorf (1998), the Spinnerei-Festival for contemporary music, Leipzig/Dresden (1999-2001), the Musik-Zeit-Herbstfestival, Leipzig (2001), the Matrix-Herbstfestival for sound art, Leipzig (2003), the Grenzregionen-Festival for Eastern European music, Leipzig (2004), the project ost. etc, Leipzig (2003) and the art festival electric renaissance, Halle (2005).[3] Since 2003 he is artistic director of the
Forum Zeitgenössischer Musik Leipzig (FZML). He organized among others the international art and music project Cage100 (2012/13)[4] and the transmediale project ABENDMAHL – "diminishing horror | increasing love".[5] In the winter semester 2012/13 he was a
lecturer on John Cage and in 2016/17 on musical concepts after 1945[6] at the Institute of Musicology of the
University of Leipzig.[7]
Heyde is chairman of the board of Mosaik Leipzig e.V.[10][failed verification] The institution operates a migration consultancy service among others[11] and a psychosocial centre for refugees.[12]
Sound language
The music journalist Dirk Wieschollek described Heyde as: "equally socialized with 'classical music', 'new music' and 'techno'".[13] In the radio
feuilleton of
Deutschlandfunk Kultur it was said: "He wants to inspire people for New Music who have little contact with high culture. Therefore he also has concerts played in very unusual places."[1]
Streichquartett Nr. 3 (1995) – 1. Version (1996/97) – 2. Version
Charakteristische Studien für Klavier (1995/96)
Drei „Lieder“ (1995/96) for baritone and piano
Streichquartett Nr. 4 (1995/96)
Rhythmica Moblié (1995) for four pianists at two pianos
Appartments II (1995). Chamber music for 9 players
Lamento ? (1996). Requiem for 3 instruments, 2 speakers and voice. Premiere Weimar 1997
NO NAME (1997). A potpourri of awakening for ensemble. Premiere Berlin 1997
mein fremdes Land (1998) for flute solo
ENSEMBLE (1998) for
prepared piano. Premiere Leipzig 1998
vor mir entlang (1998) for four recorder players
Apparitions V (1999) for solo violin
Schwebung (1999) for two-manual harpsichord
für S. (1999). Arie für Bariton und Kammerensemble (after a text by
Jürgen Becker). Premiere Leipzig 1999
rufen? nein, wollen! (1999) for Ensemble
Ansichtennetz (2000) for English horn, bassoon, guitar and viola. First performance Leipzig 2001 (Music-Time-Autumn Festival,
Schaubühne Lindenfels [
de],
Ensemble Sortisatio)
Schwarzfahrer-Marsch I/II (2007) for accordion, triolas and percussion
Bälle und Felle (2008) for accordion and 3 percussionists
With electronics
Apparitionen III (1995/96) for solo violin, 4-channel playback tapes and live electronics.
UA Leipzig 1996
KULTUS (1996/97) for mezzo-soprano, chamber orchestra, chamber choir, live electronics and tape (with texts). First performance Leipzig 2000
Appartments IV (1997/98). Audio pictures for oboe, 4-channel tape and live electronics (based on texts by
Anna Akhmatova and
Jurij Brězan). First performance Leipzig 1998
ARENA (1998) for orchestra
Umgang-Aufstieg-Abgang (1999) for flute, oboe, trumpet, percussion, live electronics and 4-channel tape
Gewässer des Lichts (2000) for mezzo-soprano, small ensemble and tape (after a text by
Johannes Bobrowski)
Piano(s)-Chat (2000) for MIDI piano, computer and live electronics. first performance Leipzig
Fernen (2001) for 3 recorders, 8-channel tape and live electronics. first performance Berlin
Ich-ein Fremder (2001) for voice, chamber orchestra, 7.1 surround tape and live electronics (after texts by
Miguel de Unamuno and Thomas Christoph Heyde). Premiere Dresden (Dresden Centre for Contemporary Music,
Titus Engel (cond.))
Confetti Parade mit Hardcore-Romantik (2002) for flute, electric guitar, video and electronics
Apparitionen VI (2002) for bassoon, 2-channel tape and subwoofer
Apparitionen VI (2002/05) for recorder, 2-channel tape recorder and subwoofer
High-Culture-Motherfuckers (2002/03) for 4 percussionists and tape
3xkurz 3xlang (2005/06) for ensemble, live-electronics and tape
3xkurz 3xlang II (2007/08) for ensemble, live electronics and tape
CH-GS1978 (2005/06) for 3 recorders, mobile video monitors and tape
Frost (2004–07) for violoncello, electronics and video screens
memory-faded (2006/07) for viola, piano and live electronics
Fieldz (2006/07) for piano, 4 percussionists and electronics
Death Is Not the End (2008) for organ, viola and electronics
^Dirk Wieschollek: "HCMF – Works for Instruments and Live Electronics". In Neue Zeitschrift für Musik May 2009, p. 88.
^Johannes Killyen: "Zeitgenössisches Feigenblatt am Rande des Festgeschehens. Preisträgerkonzert des Kompositionswettbewerbs im neuen Theater". In Mitteldeutsche Zeitung, 12 June 2001.