Andreas Stahl


Andreas Stahl was born in Frauenfeld and grew up in the canton of Zurich. He studied composition under Hans Ulrich Lehmann at Zurich Conservatory and later studied theory and composition under Mathias Spalinger, Peter Foertig and Cornelius Schwehr at Freiburg im Breisgau Music School. He has produced various works for film and theatre and teaches music theory at Bern Conservatory. In 1995 he was awarded a grant by the Stuttgart ‘Schloss Solitude’ Academy.

Andreas Stahl
Staffelstrasse 18
CH-8045 Zürich
Fon: +41 (0)44 291 63 33


schneller werdender blues (1983/84)
for flute, clarinet, violin, double bass, marimba, percussion and speaker
Order No: 4801, sFr. 47.00
Quasi-accompanied readings of texts by Robert Peterhans. Mini-overture; country life; city life (the eventful 80's); love; music.

as a kind of echo (1985)
for flute and viola
Order No: 4819, sFr. 13.00
Albumleaf based on a bar from the Concord Sonata by Charles Ives.

... immer im kreis herum (1986)
for cello solo
Order No: 4802, sFr. 16.00
A. Virtuoso piece. Caution: strings may break during intensive performance. B. Music film: b/w, 16mm, 11', production: Martin Rengel, cello: Conradin Brotbeck (film available on loan).

im selben raum (1989)
for tenor and piano
Order No: 4803, sFr. 34.00
Text: Konstantin Kavafis The tenor sings the text of a Greek concerning his love of the male to the generally steady and soft sounds of the piano part (very resonant, many fermata, a few rough edges, a lot of time).

aufstieg / abstieg (1989)
two movements
for string quartet
Order No: 4804, sFr. 26.00
First movement intensive, passionate as an "... ever turning circle", but with some clearly defined cuts. The second movement is very slow and steady, utmost strain in the ppp.

sonette VIII und LXIV von shakespeare (1990)
for altus, three recorders and percussion
Order No: 4805, sFr. 23.00

... questa ... condanna (1991)
for male choir (min. 16 singers)
Order No: 4806, sFr. 26.00
The condemnation to life with all its difficult-to-digest contradictions is the topic of Roberto Succo's poems and the basis of this piece. Its coordination without a conductor and its demand for the highest and deepest tones and plucky soli parts make it a demanding piece for the choir. Dedicated to the Zurich Gay Male Choir and supported by the SME Lucerne.

brudermord (1992)
for piccolo trumpet, Eb-trumpet, horn and three percussionists
Order No: 4807, sFr. 29.00
Short, fierce (also complex) cry out against equality in its handling of various aspects such as mankind, musical instruments, parameters, etc..

steinstück (1992)
for three percussion and 12/11/10 stones
Order No: 4808, sFr. 21.00
Two versions: one is based on a sculpture by Heinz Häberli; it consists of twelve stone pillars (roughly life-size), amongst which the percussionists shuffle about while playing. The other version is played in any combination on any twelve stones, slabs, pipes, bricks etc.. With each performance of a series, one of the stones is destroyed, in this way a variety of interpretations is achieved.

"aso muesch entschuldige da ischte schlüssel" (szene VI) (1992/93)
for three orchestral groups, altus and electronic amplification (
Order No: 4810, sFr. 39.00
One of the seven planned musical scenes from the musical theatre project ‘la mort de chevrolet’, based on a book bearing the same title by Martin Frank. Spatial distribution can be realised on a normal stage. Scene VI a permanent ritardando with augmentation from all in all directions.

"zie di ap" (szene V) (1993)
for three orchestral groups, altus, tenor, and electronic amplification. (
Order No: 4809, sFr. 29.00
One of the seven planned musical scenes from the musical theatre project ‘la mort de chevrolet’, based on a book bearing the same title by Martin Frank. Spatial distribution can be realised on a normal stage. Scene V an impossible unisono.

sextett (1993/94)
for soprano, violin, violoncello, trombone, percussion, piano, electronic tape and a piece of mechanical equipment
Order No: 4811, sFr. 31.00
A half-scenic attempt to look at the common ground between musical and theatrical operation and the resulting relationship between movement and sound.

just different (1994/95)
for two identical saxophones (a, t, bar)
Order No: 4812, sFr. 23.00
The sounds and differences in articulation result from the use of different mouthpieces or reeds. Through the further use of a variety of playing techniques (tooth tone, high register, ff in the low register, different slaps etc.) they become the central focus of the piece itself.

bei den dingen (1995/96)
for orchestra (
Order No: 4813, sFr. 52.00
A spatially distributed orchestra, with ever changing group assemblage, which (independent of the conductor) moves between individual solo and various tutti-attempts. Critical questions of identity, individuality, coherence and unity are central in this composition.

rufen wir charon? - und wenn er nicht kommt? (1997/98)
for altus, bass clarinet, double bass and piano
Order No: 4815, sFr. 26.00
This piece, without text, was written for the altus Luiz Alves da Silva. It works primarily with oscillating, non transition forming elements such as register change, upbow - downbow, to and fro movements etc. Continually changing parameters such as dynamics and tempo transitions are to be avoided in so far as they are not induced by the instrument or the human being itself.

again, sam! (1998)
for violoncello, double-bass, baritone saxophone, bass clarinet, two tenor-bass trombones and two percussion instruments
Order No: 4814, sFr. 47.00
An initial piece based on repetition presented in such a way that the repeated elements, located on many different levels, are not always immediately recognizable. This gives the impression of a loosely fabricated form. It is sonorously very soft with lots of sounds and lots of interlocking rhythms. Requires a conductor.

126 pbm (1998/99)
for violin and piano, with or without amplification
Order No: 4816, sFr. 29.00
This open-form piece (with three piano and twenty eight violin parts) in techno-tempo, can be assembled in accordance with the performers own preference for bodily movement. Because all the violin parts must not necessarily be played it can, to a certain extent, be adapted to the performers technical skills. In opposition to music at the disco, upon which it is based, the non-amplified version is almost inaudible. This work takes as its central theme time related categories such as duration, pulse, metre, rhythm and coninually questions and changes them.

o vento voa (1999/00)
for altus and violin
Order No: 4832, sFr. 18.00
A soft, short duet based on a text by Cecilia Meireles. Also for female voice possible.

aussagen über einen realen gegenstand (2000)
for orchestra (
Order No: 4833, sFr. 29.00
Initially planned as a constituent piece of a ballet, this piece accentuates the rhythmical arrangement of time and highlights the first violin and the percussion line as soloists.

gebunden. an anima und dich (2000/01)
for guitar quartet
Order No: 4834, sFr. 34.00
Not only the musicians are connected in a very tight, quasi-breathless time structure and intimately interwoven quartet movement, but also the musical form, which, with its ever-changing background also looses its unique identity. For the ‘Aleph Guitar Quartet’.

erinnern - an sich (2001)
for female voice, flute, oboe, violin, violoncello and piano
Order No: 4835, sFr. 47.00
Written for the ensemble ‘pre-art’ for the 1700th anniversary of the Christianisation of Armenia. Text (mostly spoken) and music both refer to the processes of memory and remembrance (resp. forgetting). Formally, it is a triple duet (fl/vn, ob/vc, voc/pno) and is, as usual, situated on the rather extreme sector of sound production.

grauzone (2002/03)
for flute, oboe, clarinet and accordion
Order No: 4836, sFr. 29.00
A piece about pitch, almost about melody. But certainly so that the borders between identical, similar and different dissolve to leave one hearing melodies where no melodies exist (?).

zeit.druck (4 skins) (2003)
for four large drums with auxillary instruments (4 players)
Order No: 4837, sFr. 49.00
A permanent accellerando, an initial eight-bar metre is compressed into 2 1/4 notes at the end. Rather quiet - the membranes should be stroked rather than beaten. For the percussion art ensemble, Berne.


Luiz Alves da Silva
Hans Ulrich Lehmann: Sprich...
Andreas Stahl: rufen wir charon? Und wenn er nicht kommt?
Mischa Käser: Musik zu Dufay
Jürg Frey: Der Mensch gleicht einem Hauche
Pelayo Arrizabalaga: Bolero para el fin del Milenio
Balz Trümpy: Indianisches Lied
Conrad Steinmann: Fünf Monodien
(Luiz Alves da Silva; Urs Hänggli; Mischa Käser; Anne Piguet; Jan Schacher; u.a.)

Musiques Suisses MGB CTS-M 68
SME/EMS Order Nr.: 112
Price CHF: 30.-

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