Adrian Koye, born in Berlin in 1971, studied composition at the Berlin University of the Arts under Walter Zimmermann. In several pieces, he has explored microtonality based on the interval relationships of the partial tone spectrum. He is also interested in questions of New Music, which also takes its roots from non-European musical traditions in order to incorporate the music of other cultures and carry it forward into the modern age. In 2014-16, he took part in the "Atlas Academy" of the Amsterdam Conservatory and previously in the ISCM's "Global Interplay" project. In addition to his compositional work, he has published essays and poetry in literary and musicological journals.

For me, music is not a means by which I want to express or represent myself or anything else. Writing a piece (or playing it or even just listening to it) is more like an encounter with another: I seek to experience something of this other and to do it justice in my understanding. Creative work thus has a responsibility, because what the other, which confronts us as music, gives us to understand, must be carefully brought forth in precisely the form that it demands to be accepted out of itself; it is vulnerable to any carelessness; therefore, from its first shadowy appearance, in which it first opens its gaze and invites us to compose it and make it sound, we must listen to it carefully and without any skill during its gradual crystallisation in grades and sounds, we must track it down - the encounter with music is based on a quasi ethical attitude towards an absolute stranger (in the sense of Emmanuel Levinas).

• Aufzeichnungen einer Schneenacht for 7 Chinese and European instruments, January 2021
• Snow piece for piano, 2019
• fading for shakuhachi, shô, pipa, erhu, guqín, harp, violin, viola and violoncello, 2016, Amsterdam
• Schwärze for daegeum, janggu, gayageum, violin, viola and violoncello, 2014, Berlin
• Quartet for two violins, viola and violoncello, 2014, Vienna
• Folding for transverse flute, baroque violin and violoncello, 2013, Berlin
• le camere tacite for koto solo, 2012, Darmstadt, 2018 Berlin
• Im Aufschlagen des Blickes for flute, clarinet, accordion, harp, guitar, violin and violoncello, 2010, reading sample only (Treviso)
• Tre giorni for renaissance flute, 2009, Venice
• le moment de joie for flute, clarinet, slate and glass pieces, piano, violin, viola and violoncello, 2006, Darmstadt
• Schattenspiel for baroque violin, reed sounds and shadow images, 2006, Darmstadt
• sawari for solo violin, 2006, New York, 2014, Vienna
• Glasstück for flute, clarinet, bowed and beaten glasses, piano, violin, viola, violoncello (2004), 2006, Zurich, 2008, Donaueschingen
• Sand for accordion, baroque lute, sand sounds and live electronics, 2004, Darmstadt
• Letter for violin, 2005, Berlin
• Das Gedächtnis der Farben for ensemble and projections, 2003, Zurich