The structures of improvisation are different from the ones of composition – even though the borderlines may be indistinct in specific cases. The main difference derives from the fact, that the improviser can influence, change the meaning and react on everything, that has already been played before, at any stage of the performance. This again means that the improviser is in charge of the structure of the piece till the very last tone, can totally change its architecture at any stage of the performance and thus totally holds responsibility for the piece as musician.
As improvisation and composition are sort of two different kinds of “life-concepts” – such as to be and to have – they come along with different kinds of audiences as well. One party might be more interested in processes, communication and development, the other one in analysing, comprehending, possessing and in abstract structures – and of course both “concepts” exist in all varieties of complexity, banality, high art and fake. Thus it would make sense to comprehend improvisation not as an article of ware, but as a concept, a kind of philosophy, sometimes also as a kind of lust for life, as utopia of freedom, equality and brother-/sisterhood.
There is no (musical) culture without and without the practise of both. And there is also many kinds and aesthetics of improvisation, such as free improvisation, that I would like to refer to. Free improv – specially in concern of sound – again is related to composition in its use of sound material, that includes all frequences up to noise and also shares the concept of time as continuum with it. Compositions, experiments as well as discoveries of composers like Stockhausen, Feldman, Cage, Ligeti, Lachenmann amongst others and the electronic scene of the last decades are well received by now and we can start to “play” with them, to improvise …

For all, who feel an urge to actively deal with improvisation within the impuls Academy: welcome to join any time – there will be a daily offer (if you want and have time you can come every single day, if not you are also welcome to join from time to time), and most likely different groups as well as collective phases of the „impuls-band“, depending on your participation. (Manon-Liu Winter)

Shifting focus to contemporary music and free improvisation led to a period of intense experimentation with the instrument for expanding the piano's sound and technical capabilities – various preparations, string piano, the inside/outside of the corpus, ways of amplifying.
Frequent participation at important festivals for contemporary music, e.g. “Oesterreich Heute/ Hoergaenge“, “WIEN MODERN“ Konzerthaus Wien, V:NM-Festival Graz, “Ensemble of the 20th Century“ at the Salzburg Festival, “TON:ART“ Bern, Ulrichsberg Kalleidophon, Studio akustische Kunst Köln, Germany, Kulturschutzgebiet Tirol, Dampffabrik Bern, Warsaw turning sounds 2005,“The wild bunch“ , Festival Konfrontationen 2006, NOWnow Festival Sydney 2007, Sound Convention Invention, Auckland NZ 2007,...
In the field of improvisation collaboration with the musicians Jon Rose, Veryan Weston, Christian Wolff, John Tilbury, Otomo Yoshihide, Peter Herbert, Franz Hautzinger, Gene Coleman, Andrea Neumann, Robin Hayward, and many others.
Career as soloist and chamber musician, specializing both in music of the classical (age of the Enlightenment) and modern periods and being in contact with composers such as Luca Lombardi, Christian Ofenbauer, Mayako Kubo and John Cage, Gerhard E. Winkler, Recitals in France, Germany, Great Britain, Hungary, Italy, Lettland, Norway, Poland, Slovenia, Spain, Switzerland, China, NSW Australia, Newzealand, USA and throughout Austria.
Since many years professor for piano performance, piano pedagogy, specialist class “Improvisation & New Developments in Contemporary Music“ at the University of Music and Performing Arts in Vienna, Austria.