Eliah is a German contemporary classical music composer, musician and conductor. He received his first instrumental lessons on drumset at the age of 6. Later on he received lessons for piano, percussion and conducting. His compositions have a mix of minimal and ambient music and so should get the listener in a more meditative and present state.
He also wants that the performers have more choice and freedom in their performance, which leads to that they can also concentrate and focus more on their surroundings and be more present.
He has collaborated with esteemed international ensembles for example Esbjerg Ensemble and Aarhus Chamber Orchestra.
Eliah also makes solo works, which he records himself. These tracks are mostly a mix of piano and synthesizer.
You can check out his compositions and solo works here.
Compositional Language
Eliah Böhm’s compositional practice is characterised by a sustained engagement with process, resonance, and spatial perception, rather than with goal-oriented musical form. Across instrumental, vocal, electronic, and spatial works, his music consistently prioritises conditions for sound to emerge.
At the core of his language lies a preference for restricted material subjected to extended attention. Rather than proliferating themes or harmonic progressions, his works often rely on a single motive, a limited pitch field, or a narrow timbral palette. Musical form unfolds through gradual transformation, accumulation, and dissipation, aligning his work with process-based and ecological approaches to composition.
Form as Emergent Process
Böhm’s formal thinking avoids teleological structures such as tension–release, climax, or resolution. Instead, form is articulated through changes in density, resonance, and perceptual saturation. Sections are frequently defined not by metric markers or cadential gestures, but by shifts in sonic behaviour: the appearance of pitch from noise, the thickening of overlapping layers, or the gradual withdrawal of sound into silence.
Musical time is experienced as an evolving field, in which sounds coexist, overlap, and decay, rather than as a sequence of directed events. Endings in Böhm’s works often function as entropic dissolutions, where coherence fades rather than resolves.
Harmony as Climate Rather Than Function
When harmonic material is present, it is rarely employed in a functional or developmental sense. Böhm favours static or overlapping harmonic regions, often constructed from limited pitch collections or stacked tonal areas. These harmonic fields function less as progressions than as sonic climates, within which performers operate.
Tension arises not through harmonic motion, but through coexistence and friction: close intervals, registral overlap, or the superposition of distinct tonal areas. Harmony is thus experienced spatially and spectrally, contributing to an overall sense of suspended time.
Performer Agency and Psychological Notation
A defining feature of Böhm’s compositional language is the integration of performer agency as a structural element. His scores frequently employ open durations, approximate time indications, flexible repetition, and instruction-based notation. However, this indeterminacy is carefully bounded. Performers are not asked to generate new material, but to shape the pacing, density, and articulation of existing material through listening and situational awareness.
Textual instructions—often framed as “mindsets” or behavioural cues—function as a form of psychological notation, guiding interpretative decisions that would otherwise require extensive prescriptive detail. This approach foregrounds collective listening and discourages overtly soloistic behaviour, reinforcing an ensemble-oriented, ecological conception of music-making.
Vocal Writing and Semantic Dissolution
In vocal works, Böhm applies similar principles to text. Language is treated both as semantic content and as sonic material. Through repetition, fragmentation, and rhythmic layering, words gradually lose narrative clarity and become carriers of breath, pulse, and texture. Meaning is not discarded but eroded, allowing sound and sense to coexist ambiguously.
This process mirrors his instrumental practice, where pitch often dissolves into noise and resonance, reinforcing a broader aesthetic of impermanence and transformation.
Aesthetic Orientation
Taken together, Böhm’s compositional language reflects an aesthetic concerned with listening as a temporal and spatial act. His music resists spectacle and dramatic assertion, instead cultivating attentiveness, patience, and sensitivity to subtle change. By foregrounding emergence, resonance, and decay, his work invites listeners to experience sound as a living process rather than a fixed object.
In this sense, Böhm’s compositions operate less as statements and more as environments for perception—spaces in which sound unfolds according to its own internal logic, shaped by time, space, and collective presence.