Born as the son of the composer Bernhard Rövenstrunck and his wife Mathilde.
First interests in music, especially composition. First lessons from father.
Violinlessons from Dora Straube-von Möllendorf in Stuttgart.
The piano became the main instrument. Lessons from Jaime Padrós
Studied composition (with my father) and piano (with Jaime Padrós) at the "Staatl. Hochschule für Musik" in Trossingen.
Change to Staatl. University of Music in what was then West Berlin. Composition with Prof. Günther. The award for special achievements twice during the course.
The course had to be interrupted due to illness and finally terminated for that reason
For several years working as jazz-composer/pianist.
Moving to the Netherlands. Marriage with Janine Zijdel.
Resumption of composition work. In the following years, in addition to the 1st piano sonata as a self-study in melodic composition, about 900 short piano pieces were created, from which the 1st version of the "Miniatures" was put together.
Divorce from Janine Zijdel. Since then best friends.
Final decision for the composition.
first performances by i.a. Rene Berman, cello and Kees Wieringa, piano. Return to Germany.
This year was mainly the year of revisions, the thorough revision of the "miniatures" to their final form, the new orchestration of the 1st piano concerto and the revision of the writings "Die Zauberlehrlinge" (the libretto for the satirical music theater op.50) and " The dodecatonic music ", a material investigation with regard to free composition with the twelve tones. However, some new compositions saw the light of day: two new preludes for op.39, the 3rd sonata for cello and piano and the double concerto for cello, piano and orchestra, the latter two using Catalan folk songs as musical material.
Numerous larger new compositions: Poems No. 3 and 4 for piano solo, the third piano concerto and the score for the satirical music theater "Die Zauberlehrlinge" are to be mentioned here. The 1st Catalan Songbook for piano was also created.
Due to the intensive occupation with Catalan folk music, the Catalan songbooks 2-7 for piano and the Sinfonia Catalana for orchestra as ballet were created in the months from January to April.
Beginning of the setting of 154 Shakespeare sonnets in Karl Kraus' adaptation for alto, orchestra and ballet.
Moving to Karlsruhe.
The year of the completion of the cycle of poems. Numerous new recordings of my works (see
Other recordings. Composition of "The Vanished Poetry" op.79 (Piano Concerto #4) "For the Ukrainian people" and a.o. "Diary Entries" op.80 (for various instrumentations).