Eric Gaudibert


Eric Gaudibert was born in Vevey. He studied piano under the tutelage of Denise Bidal and theory of harmony under Hans Haug at the 'Conservatoire de Lausanne' and later at the ' Ecole Normale de Musique à Paris' with piano under Alfred Cortot, and composition under Nadia Boulanger and Henri Dutilleux. He resided in Paris until 1972.
Gaudibert was active both as pianist and composer until 1969. He has worked in collaboration with 'Radio-Télévision Suisse Romande' on the production of electro-acoustic music and the broadcasting of programmes with a musical didactical theme. He was musical director of the 'Maison de la Culture d'Orleans' from 1972 until 1975 after which he settled in Geneva where he taught piano, harmony, musical analysis and composition at the 'Conservatoire Populaire de Musique'. He is also a professor at the conservatory in Neuchâtel. In 1989 the Swiss Association of Musicians awarded him the composer's prize for his life's work. In 1995 he was granted the music prize by the city of Geneva which is awarded once every four years. Eric Gaudibert was director of the class for composition at the 'Conservatoire Supérieur de Musique de Genève' from 1999 until 2004. He has since been appointed Honorary Professor of the above institution.

Eric Gaudibert
36, chemin des Grands-Champs
CH-1232 Confignon
Fon: +41 (0)22 771 16 40



Duo pour flûtes (1959)
Order No: 1467, sFr. 18.00
The three pieces of this duo (Moderate – Slow – Dance) are written in a classical manner. Rather easy level of difficulty.

Mélodies (1966)
pour soprano (ténor) et piano
Order No: 1468, sFr. 34.00
Text: Paul Eluard 2 notebooks each with three melodies. 1st notebook: Dit de l'amour – L'unique – Dit de la force de l'amour. This notebook has also been transposed one tone deeper.

Mélodies (1966)
for soprano (tenor) and piano
Order No: 1469, sFr. 21.00
En 2 cahiers de 3 mélodies chacun. Texte de Paul Eluard. 2e cahier : Dit d’un jour – A côté – Par un baiser. Ces mélodies sont de style français, dans le sillage de Debussy et Messiaen.

Quatuor à cordes «entre se taire et dire» (1971)
Order No: 1471, sFr. 55.00
This is a work of singular immediacy and of a high level of difficulty but without any special experimental notation. It is inspired by the quartet op. 18 n°3 from Beethoven, which is quoted repetitively. The two violins and the viola play standing and move around the scene during the middle of the work. The title is a quotation by Aragon.

Vernescence (1973)
for clarinet (basset horn or bass clarinet), piano and electro-acoustic slide show
Order No: 1472, sFr. 26.00
The title is a neologism evoking spring or birth. The notation is graphic and rules define its interpretation. Accessories for the piano: a glass with a stem, claves, a percussion stick and a screw. The electro-acoustic device consists of 4 or 6 loud speakers divided in the room, two microphones for direct amplification and 2 Revox, the second of which reproduces, with a delay of about 10", that which is recorded by the first.

Solstice (1971-76)
for piano and recorded material
Order No: 1470, sFr. 18.00
(CD on loan)
The pianist plays on the keyboard and the strings on the interior of the piano. The notation is synchronised with the recorded material. Contains aleatoric passages in the notation. The recorded material is composed exclusively of pre-recorded and studio processed piano sounds. The CD that accompanies this piece is delivered with the score.

Variations lyriques (1976)
for violoncello solo
Order No: 1402, sFr. 18.00
A re-working of a 1966 piece. This series of variations runs uninterrupted through twenty-one episodes. Scordatura: h.g.d.a#. The score exists in two versions: a sounding and a fingering. Precise rhythmic notation with standard playing techniques - quarter tones used in the lower register.

Pour main gauche seule (1976)
for piano
Order No: 1473, sFr. 13.00
In two parts: the first is rhythmical, the second slow and soft. Easy to perform.

5 Pièces brèves (5 short pieces) (1976)
for string ensemble
Order No: 1474, sFr. 36.00
The first 4 pieces are orchestrations of the 4 miniatures for piano. The fifth piece was intended for strings. Rather easy.

Eripe me, Domine (Psaume 140) (1978)
for mixed double choir a-cappella
Order No: 1475, sFr. 26.00
Of a rather high level of difficulty.

Contrechamp (1979)
for flute, oboe, violoncello and harpsichord
Order No: 1405, sFr. 31.00
The notation for the ensemble is traditional but in space notation for the harpsichord. The last section is notated on separate sheets with momentary points of reference. Standard playing techniques. The harpsichord needs an 8', 4' and lute stops.

Hommage(s) à... (1985)
Short piece
for orchestra (
Order No: 1476, sFr. 16.00
A piece for the 80th birthday of Paul Sacher. The symbolic 'S' appears in the notation of the wind instruments. Quotations of works commissioned by Sacher can be heard in the strings.

Jetées (1987)
for organ
Order No: 1407, sFr. 21.00
Open score. Seven themes are proposed on twelve separate pages: continuum, chords, arpeggios, fugato, grave, melody and rondo. Any of these themes can be played in conjunction with any of the others. With only one exception, no indications of register are given. The composer proposes eight possible permutations.

Songes / songs (1989)
for violin and piano
Order No: 1408, sFr. 18.00
Traditionally written piece with the exception of certain passages. The parts are independent and notated on separate sheets - this leaves temporal relationships open and allows room for free interpretation. Employs standard playing techniques. Additional items: child-sized violin, and a weight to press down on the lower register of the piano.

Songes, bruissements (1990)
for violin, violoncello and piano
Order No: 1409, sFr. 36.00
Traditionally written piece with the exception of certain passages. The three instruments run their courses more or less independently of each other. Ensemble writing is metrical and performance techniques standard. The cello often plays in extremely high register, and a metal damper is used on the violin.

Zwielicht (1990)
for flute and harp
Order No: 1477, sFr. 26.00
Zwielicht = Twilight Uses the piccolo flute and the alto flute in G. Written almost entirely in space notation. High level of difficulty. Accessories: a bow for the harp.

Mélodie sans fin (1992)
for orchestra (2(2.pic)2.2.2/
Order No: 1478, sFr. 29.00
Homage to Armin Jordan on his 60th birthday, composed with quotations of works from the 19th and 20th centuries.

Sérénade (1992)
pour violon, alto, violoncelle et piano
Order No: 1445, sFr. 26.00
A suite with four pieces: Entrée, Air à danser, Nocturne, Jeu. In the first piece the violin and the viola are independant of the piano and the cello; in a scenic version they move from the concert hall towards the stage while playing. Medium level of difficulty for all parts.

Trois Tableaux (1993)
for 2 pianos
Order No: 1411, sFr. 36.00
A work in three parts inspired by the interior of a church: Voutes - Rais - Travees. Metric notation and standard playing techniques.

Chant de l'aube (1993)
for horn solo
Order No: 1437, sFr. 13.00
A piece demanding very high technical skills, composed as a homage to Robert Faller. It is inspired by the music of Robert Schumann. At the end the hornist simultaneously sings one tone and plays.

Chant de l'aube (1993/95)
for viola solo
Order No: 1454, sFr. 13.00
An adaptation of the piece for horn solo.

Les amours du poète (1994)
for four-handed piano
Order No: 1479, sFr. 13.00
Variation on 'Der Dichter spricht', the last piece of the 'Kinderszenen' by Robert Schumann.

Deux ou trois pas dans le gris (1994)
for double bass and accordion
Order No: 1459, sFr. 26.00
The first part of this work gives the double-bass a virtuoso role. The two instruments are now independent as far as their character and the tempo is concerned. In the second part, the double-bass and accordion merge in a lyrical and poetic way. This work resulted in two solo versions: 'Deux ou trois pas...' for double-bass and 'Deux pas dans le gris' for accordion.

Le dit d'elle (1995)
for double bass solo
Order No: 1418, sFr. 21.00
Inspired by a rondeaux by G. de Machaut, this piece is constructed of strophes in a parlando style. With comments using basic harmonic sounds. A quotation of a song taken from 'Remède de Fortune' concludes the work.

Deux airs (1995)
for soprano, violoncello (or accordion) and percussion ad libitum
Order No: 1480, sFr. 18.00
Texts: Giambattista Marino, Catharina von Greiffenberg Extracts of the Concerto lirico. 1) " Miro, rimiro… " for soprano and violoncello (or accordion) Lyrical air on a poem by Giambattista Marino. 2) " Schwing dich, meine Seel" for soprano and percussion ad libitum Large dramatic air on a poem by Catharina von Greiffenberg. The percussion comprises a tam tam and six temple blocks.

Canzone (1998)
for flute and violoncello
Order No: 1490, sFr. 31.00
This work is based on melodic elements and rhythms taken from a 12th century chanson and a 14th century estampie. It demands a good technique for the high and muted notes. The flute player also uses the bass flute. At the end the 4th string of the cello is lowered by a fourth.

Concerto grosso (1998)
for strings ( or
Order No: 1458, sFr. 47.00
This work consists of three movements: 'D’alcuna stella adorno', 'Un’estranea dolcezza', 'E fra l’onde agitata' (quotations by Torquato Tasso). Every instrument has a separate part. The whole carries with it the spirit of the baroque concerto grosso. The work is of a medium to advanced level of difficulty but devoid of special effects.

«Ce tremblement, qui est une volupté» (1997-1999)
for two oboes
Order No: 1481, sFr. 21.00
The title is a quote by Victor Hugo extracted from 'Les travailleurs de la mer'. The first oboe doubles English horn and the second doubles a Baroque oboe, if the latter is not available the musician can perform the passage in question on a modern oboe while transposing the text half a note deeper. This piece is of a high level of difficulty.

Fantaisie concertante (1998/99)
for pianoforte and Baroque string quartet
Order No: 1460, sFr. 49.00
This work in one movement is a homage to Carl Philipp Emanuel Bach. It contains quotates from the Fantaisies and from a Rondo by this composer. The pianoforte part is either in a free style, concert-like or very rhythmic and demands an advanced level of play. The quartet is written in traditional notation. The piano which was used for the world premiere was a copy of an instrument of 1815.

Canzone a tre (1998-2000)
for recorder, Baroque violin and Baroque violoncello
Order No: 1482, sFr. 23.00
Can be played with modern instruments. The flute doubles the piccolo. This is a delicate piece inspired by a song from the 12th century and a saltarello from the 14th century. The original canzone was composed for flute and violoncello.

Fantaisie concertante (1999-2000)
for pianoforte
Order No: 1466, sFr. 26.00
This is a solo version of the same work for pianoforte and Baroque string quartet; a homage to Carl Philipp Emanuel Bach.The pianoforte has a range of five and a half octaves.

Wolkenblau (1999-2000)
for alto flute and guitar
Order No: 1483, sFr. 23.00
Texts: Georg-Philipp Harsdörffer The text, which evokes the four seasons, dates back to the 17th century. The title of the work, as well as the titles for each piece, are taken from the poem: Es bläst der sanffte West – Ihr Hertz ist von safran – Der Erden Kelterblut – Die Gäste gehen fort. The melody is present in the flute part in this version for two performers without voice.

Wolkenblau (1999-2000)
for soprano, alrto flute and guitar
Order No: 1484, sFr. 29.00
Texts: Georg-Philipp Harsdörffer The text, which evokes the four seasons, dates back to the 17th century. The title of the work, as well as the titles for each piece, are taken from the poem: Es bläst der sanffte West – Ihr Hertz ist von safran – Der Erden Kelterblut – Die Gäste gehen fort.

A Due (2000)
for oboe, clarinet, violin and double bass
Order No: 1465, sFr. 16.00
Composition by Eric Gaudibert / Nicolas Bolens. This work is written by two hands, by two different composers who experimented in sharing the single instruments equally: the oboe and double bass on the one hand side and the violin and the clarinet on the other. The precisely written violin is the conducting element and the three other instruments are grouped accurately around it. A description of the tempi allows easier playing. This piece has a medium level of difficulty.

«Pierrot, à table !» ou le souper du poète (2003)
for percussion, accordion, saxophone, horn and piano
Order No: 1485, sFr. 26.00
The percussionist plays both a principal and theatrical role performing on a table. The remaining instruments are, for the most, independent of one another; the piano is placed at the far-end of the scene. The sounds produced on the table are amplified.

Message(s) (2000/2004)
for violoncello solo and string quartet
Order No: 1486, sFr. 26.00
This is an enriched version of 'Message' for violoncello solo. The solo part is exactly the same but divided up into four episodes. The viola also remains in the role it played in the first version. The notation for the strings is relatively easy.

Ciel d’ombre (2004)
3 pieces
for theorbo
Order No: 1487, sFr. 18.00
for theorbo Theorbo with 14 strings (6 of which are in the lower register). The three pieces are: Paroles - Vers la nuit - Ciel d'ombre.

Images japonaises (2005)
for horn and string quartet
Order No: 1491, sFr. 31.00
This work quotes a Haiku recited once by the hornist. It is inspired by the acidic sounds of Gagaku (music of the imperial court of Japan) and by the tense melismas of Nô. The string quartet's tempo is generally independent of the horn's. The five instrumentalist need to have a good command of micro intervals. The particular timbre of the quartet derives from researching the "fake" unisons.

Intermezzo (2005)
for a vocal ensemble and female voice
Order No: 1488, sFr. 36.00
Texts: Gianbattista Guarini, Angelus Silesius, Eduard Mörike, G.M.Hopkins New a-cappella version of the work composed in 1996. For a minimum of 8 voices.

Au delà (2005)
for flute, viola and violoncello
Order No: 1489, sFr. 26.00
The fourth string of the viola is lowered to G (one octave lower than the third string). The fourth string of the violoncello is lowered a minor third to A. Accessory: a bow for the flutist. At the end of the work the violist and the flutist both play on the strings of the violoncello. A discreet quotation appears in the middle of this trio: the beginning of the 'Gesänge der Frühe', op. 133 by Robert Schumann.

"La" (2006)
for guitar
Order No: 1493, sFr. 13.00
An acrobatic piece of 15 chords to be played on the empty chords, which change their scordatura every 4 seconds until every chord is tuned to the note a.

Praeludium (2007)
for string ensemble (
Order No: 1494, sFr. 18.00
(Parts: 16.-)
This very short piece of medium difficulty was composed for the Camerata Zurich to celebrate their 50th anniversary. At the end of the piece the violin quotes the theme of Alban Bergs violin concerto.

2'35" (2007)
for bassoon solo, bass flute, bass clarinet and trumpet
Order No: 1495, sFr. 26.00
This piece was composed for the 30th anniversary of the ensemble Contrechamps. The title corresponds to the timing which Bartók set for his Allgero Barbaro. The trio (flute, clarinet, trumpet) play some extracts of this work with breathing sounds only, while the solo bassoon "sings" the beginning of the Music for Strings, Percussion and Celesta, also by Bartók. It is possible to use other wind instruments than the ones chosen here.

Passages intérieurs (2007)
for 3 flutists
Order No: 1497, sFr. 21.00
Each interpreter plays 2 instruments: the flute in C + piccolo or alto flute or bass flute. The writing attempts to merge the timbres. Average level of difficulty.

Trivium (2008-2009)

for recorder, pipa and percussion
Order No: 1498, sFr. 36.00
This is an encounter between 3 instruments originating in different worlds: the Baroque recorder, the pipa (Chinese lute with 4 strings) and modern percussion instruments. The various timbres of the flute (soprano, alto and bass) and percussion instruments (vibraphone, triangle, cymbals, crotales, tam, snare drum, bass drum) merge with those of the pipa.
Listen: Youtube Youtube

Warum? (2009)
for flute, oboe and clarinet
Order No: 1499, sFr. 18.00
This work is inspired by a piano piece with the same title by Schumann (Phantasiestücke op.12). It is a slow and tender piece of music which demands a great deal of concentration to master the contrapuntal lines.


Grammont Sélection 1. Uraufführungen aus dem Jahr 2007
Martin Jaggi: Trieb
Bettina Skrzypczak: Initial
Alfred Zimmerlin: Cuellis par la mémoire des voûtes
Eric Gaudibert: A... In Wonderland
Rico Gubler: RIT
Ulrich Gasser: Zeit/Züge II
William Blank: Dans l'instant
Xavier Dayer: D'un amour lancé
Mischa Käser: Drei Sätze für Streichquartett
Klaus Huber: Vida y muerte non son mundos contrarios

Musiques Suisses Grammont Porträt MGB CTS-M 115
SME/EMS Order Nr.: 209
Price CHF: 39.- (2 CDs)

International Competition for Musical Performers Geneva CIEM 1994
Geneviève Calame: Sur la margelle du monde
Fritz Voegelin: Ecstatic Prelude
Eric Gaudibert: Jardins d'est
Renzo Rota: Colour-Frame
Balz Trümpy: Nachtgesang
William Blank: Nachtmusik
Jost Meier: A l'origine
(Bieler Sinfonieorchester)
Rudolf Kelterborn: Canto appassionato
(Orchestre de la Suisse Romande)

Musica Helvetica MH CD 84.2
SME/EMS Order Nr.: 143
Price CHF: 15.-

Eric Gaudibert
Eric Gaudibert:
(Ensemble du Centre International de Percussion Genève)
Songes, Bruissements
(Trio Musiviva)
Concerto pour hautbois et orchestre
(Zoboli; Orchestre des Rencontres musicales Lausanne; Cuendet)

Perspective Records PER 9302
SME/EMS Order Nr.: 140
Price CHF: 30.-

Hansheinz Schneeberger
Rolf Looser: Rezitativ und Hymnus
Kolja Lessing: Metaphysische Muse in einer von der Abendsonne beleuchteten Strasse
Friedemann Treiber: Prélude
Balz Trümpy: Intertwined Paths
Eric Gaudibert: Capriccio
Heidi Baader-Nobs: Duo pour Hansheinz
Elliott Carter: 4 Lauds
(Hansheinz Schneeberger)

Musiques Suisses MGB CTS-M 101
SME/EMS Order Nr.: 123
Price CHF: 30.-

Gaudibert. Meier. Mieg: Konzerte
Jost Meier: Konzert für Horn und Orchester
(Bruno Schneider; Orchestre de Chambre de Neuchâtel; Jan Schultsz)
Eric Gaudibert: Albumblätter
(Felix Renggli; Orchestre de Chambre de Neuchâtel; Jan Schultsz)
Peter Mieg: Konzert für zwei Klaviere und Orchester
(Adrienne Soós; Ivo Haag; Orchestre de Chambre de Neuchâtel; Jan Schultsz)

Musiques Suisses MGB 6234
SME/EMS Order Nr.: 40
Price CHF: 30.-

Eric Gaudibert
Eric Gaudibert:
(Orchestre de Chambre de Lausanne; Jean-Marc Auberson)
(Alexandre Magnin; Eric Gaudibert)

Grammont CTS-P 8-2
SME/EMS Order Nr.: 32
Price CHF: 30.-

Eric Gaudibert: Feuillages
(Ensemble du CIP, Genève)
Gérard Zinsstag: Diffractions
(Basler Schlagzeugtrio)
Daniel Ott: zampugn
(Ensemble du CIP, Genève)
Michael Jarrell: Assonance VII
(Marc Sapin)
Pierre Favre: Sound Tales
(Basler Schlagzeugtrio)
Sergio Menozzi: Quand les Ténèbres viendront...
(Ensemble du CIP, Genève)

Jecklin szene sCHweiz JS 304-2
SME/EMS Order Nr.: 6
Price CHF: 30.-

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automatically generated. last update: 28.08.2015 / 2004 Theo Lustenberger