Laurent Mettraux


Born in Fribourg (Switzerland), Laurent Mettraux studied at the "Conservatoire de Fribourg" (musical theory with René Oberson, piano, violin and singing) and in Geneva (composition with Eric Gaudibert, conducting with Liang-Sheng Chen). He also attended courses in early music and musicology. He was awarded the grant of the Kiefer Hablitzel Foundation (Swiss Association of Musicians). He benefited from the master classes and good avice of Klaus Huber, Luis de Pablo, Arvo Pärt, Paul Méfano et. al.
In 1993 he received the 1st prize and the prize of the public at the first competition for young composers organised by the Lausanne Chamber Orchestra. He was finalist in the Concours Européen de Composition Chorale (Amiens) and laureate of several foundations. In 1998 he was awarded the prize of the prestigious festival "Donaueschinger Musiktage" for his work for orchestra "Ombre", which was chosen from more than 80 competition entries (in the jury were: Wolfgang Rihm, Gérard Grisey, Christian Wolff, Sylvain Cambreling). In 2000 he was honoured with ad personam grant for his "remarkable contribution to the musical life in Switzerland and abroad".
He wrote numerous works and commissions for interpreters, concert associations, festivals, radios and foundations. His compositions are being played increasingly in Switzerland and abroad. His style is appreciated as much by specialists of contemporary music as it is by musicians and the general public. He is one of the youngest composers whose biography has been published in the International Who is Who in Music and Musicians Directory since the publication of the 16th edition in 1998.
His works have been performed in numerous countries all over the world and by a big number of famous interpreters like: the Quatuor Talich, Tibor Varga, Jesus Lopez-Cobos, Sylvain Cambreling, Francisco Araiza, the Zürcher Streichtrio, the New London Chamber Choir. Amongst his more recent works are: an oratorio for the Swiss National Exhibition; "Complainte" for solo violin, comissioned by Shlomo Mintz and to be the compulsory piece at the "Concours International de Violon de Sion"; a choral work, comissioned by winning the award of the Foundation for Universal Sacred Music of New York; "Emergences" for violin and accordion, premiered by Marianne Piketty and Pascal Contet; a double concerto for the violin player Boris Lischvitz and the famous pipa player Yang Jing; a quintet for flute and strings for Alexandre Magnin and the Quatuor Janacek; a concert for organ on the occasion of the inauguration of the new organ at the Lausanne Cathedral, which is to be replayed by the Leipzig "Gewandhaus Orchester" under Riccardo Chailly in 2008.

Laurent Mettraux
Route Principale 160
CH-1791 Courtaman
Fon: +41 (0)26 684 18 65
Fax: +41 (0)26 684 18 65



Sonata (Nachtmusik), M. 451 (1990)
for flute solo
Order No: 9801, sFr. 16.00
The subtitle indicates only an atmosphere without giving any descriptive indications. Contemporary playing techniques (such as multiphonics) alternate with more lyrical passages.

Gethsemané, M. 456 (1990)
for organ
Order No: 9802, sFr. 16.00
Simultaneous evocation of pain and resignition. At least two manuals and pedals are required. Sounds particularly nice on big organs in the romantic style.

Sonate en 1 mouvement, M. 463 (1991)
for piano
Order No: 9803, sFr. 23.00
A tragic and elevated work with a large variety of nuances. Very passionate.

Symphonie pour Orchestre de Chambre, M. 466 (1992)
Order No: 9804, sFr. 49.00
(Parts are available seperately from the composer)
This work received the first prize in the first competition for young composers in 1993. A tragic and passionate work which accentuates the qualities of a chamber orchestra.

Sonata, M. 470 (1993)
for trumpet and organ
Order No: 9805, sFr. 23.00
(Seperate parts: sFr. 10.-; 10.-)
Exploits the expressive possibilities of the trumpet. The organ part is without difficulties.

Adagio, M. 473 (1993)
for violin and piano
Order No: 9806, sFr. 18.00
(Seperate parts: sFr. 10.-; 10.-)
A work of classic appearance with a glowing simplicity. The violin part is very singy.

Quatuor de saxophones, M. 474 (1993)
for four saxophones (satbar)
Order No: 9807, sFr. 65.00
(4 seperate parts: sFr. 42.-; 42.-)
In four movements, the third of which is a scherzo furioso. Well balanced between the four instrumental parts (with solos for all of them) and particularly well adapted to the timbre and the very expressive character of the saxophone family.

Concerto pour 15 cordes solistes, M. 481 (1994)
Order No: 9808, sFr. 91.00
(Parts are available seperately from the composer)
Every instrumentalist is at the same time soloist, chamber musician and member of an orchestra. Three movements: passionate in the first, elegiac in the second, the third is more rhythmical with successive cadenzas for the fifteen soloists.

Fantasia, M. 497 (1994/95)
for violin solo
Order No: 9810, sFr. 18.00
A piece requiring great virtuosity in the middle part ('fantastico'), the beginning and end are very expressive. Contains a fugue on the name BACH.

Thrène, M. 513 (1995)
for alto saxophone solo
Order No: 9812, sFr. 13.00
Uses some particularities of contemporary notation to produce a passionate and dreamlike atmosphere.

Miroir du silence, M. 514 (1995)
for harp
Order No: 9813, sFr. 16.00
Myterious and ruminant work, almost oriental. In the middle, the piece retrogrades back to the beginning.

Invocation, M. 511 (1994/96)
for alto flute solo
Order No: 9811, sFr. 13.00
Contains quarter-tones. Inspired by the music of the Middle Orient.

Trio n. 2, M. 520 (1995/96)
for violin, violoncello and piano
Order No: 9814, sFr. 47.00
(Seperate parts: sFr. 48.-; 48.-)
A tragic work with tense climates, sometimes mysterious in a terrifying sense, with a scherzo furioso and a calmer end.

"Vers le soleil couchant", oratorio, M. 528 (1995/96)
for four soli (SATB), children's choir or girl choir, mixed choir and orchestra (0.0.acl.2bthn.2/
Order No: 9816, sFr. 122.00
(Parts available seperately form the composer; reduction for piano: sFr. 70.-; 70.-)
Texts: Gilgamesh epic, Emily Brontë, Vedas (Indian), Guillaume Apollinaire Numerous, equally overlapping texts regarding the problem of death: from the epic of Gilgamesh to E. Brontë, from the Vedas to Apollinaire. A very impressive work in its expressivity and its musical and philosophical progression, with a multitude of climates and a very serene ending.

Sonate, M. 533 (1996)
for flute and piano
Order No: 9818, sFr. 29.00
(Seperate parts: sFr. 14.-; 14.-)
Three connected parts, amongst them is a scherzo inspired by the music of the Andes and a ruminant final, increase in in intimacy.

Duo, M. 540 (1996)
for violin and alto saxophone
Order No: 9819, sFr. 23.00
The parts are well balanced to ensure that the saxophone doesn't cover the violin. Four movements: appassionato, rêveur, energico and intérieur.

Concerto n. 1, M. 544 (1996)
for violin and orchestra (2(pic).2(ca).2(bcl).2(cbn)/
Order No: 9820, sFr. 34.00
(Seperate parts: sFr. 12.-; 12.-: reduction for violin/piano: sFr. 16.-; 16.-)
In two parts, the first is sad and tragic with a cadenza almost at the beginning; the second ruminant and deep. It disappears in the end towards the high in the solo part, towards the low in the orchestral and towards silence.

Quatuor de flûtes, M. 547 (1996)
for four flutes (first with piccolo, and fourth with flute in G)
Order No: 9821, sFr. 31.00
(Seperate parts: sFr. 12.-; 12.-)
Mysterious sounds and a elegiac atmosphere outside time, accentuatetd by sparkling outbursts of energy. The use of uncommon chords opens intense sonorous landscapes.

5 microludes, M. 525, 479, 550, 558 et 570 (1993/97)
for viola solo
Order No: 9815, sFr. 18.00
These five pieces can be played separately or in any order. They must accentuate the qualities of the viola.

Exils, M. 484 (1994/97)
for violin, violoncello and two percussionists
Order No: 9809, sFr. 31.00
Written in a non-traditional, but easily understandable notation. Mystery, parts of incantation with superposed tempi. The end is lyrical and nostalgic, the violin player leaves the concert hall while continuing to play.

Elégie, M. 529 (1995/97)
for trombone and organ
Order No: 9817, sFr. 21.00
(Seperate parts: sFr. 10.-; 10.-)
A piece of noble temperament, very well suited to the character of the trombone.

Auf die erniedrigende Erhebung und erhebte Niedrigkeit, M. 548 (1997)
for high voice and piano
Order No: 9822, sFr. 16.00
Text: Catharina Regina von Greiffenberg Conflict between mysticism and human torture. Sedation in the coda of the piano solo.

Elògio della Nòtte, M. 549 (1997)
for bass and piano
Order No: 9823, sFr. 26.00
Text: Michelangelo Buonarrotti First dark and tortured, then ruminant and calm. Written especially for the bass voice. The accompaniment is particularly impressive due to its sobriety.

Lied, M. 551 (1997)
for soprano saxophone and piano
Order No: 9824, sFr. 18.00
(Seperate parts: sFr. 10.-; 10.-)
Very song-like piece accentuating the expressive qualities of the saxophone.

Sonate, M. 553 (1997)
for violoncello and piano
Order No: 9825, sFr. 34.00
(Seperate parts: sFr. 12.-; 12.-)
An epic and dark work with an elegiac movement in the middle part.

Duo, M. 554 (1997)
for two violas
Order No: 9826, sFr. 18.00
Accentuates the timbre of the viola. Alternates between passionate, ruminant and energetic passages.

Al cor di zolfo..., M. 559 (1997)
for bass and piano
Order No: 9827, sFr. 16.00
Text: Michelangelo Buonarrotti Between passion and reflection. Based on a sonnet by Michelangelo Buonarrotti.

Sonata, M. 566 (1997)
for pianoforte (can be performed on a modern piano)
Order No: 9829, sFr. 21.00
Accentuates the clearness of the lower registers of historic pianos - can be performed on modern pianos.

Sonate, M. 560 (1997/98)
for viola solo
Order No: 9828, sFr. 16.00
Three movements: elegiaco, con passione et meditativo

Concerto n. 2, M. 579 (1998)
for violin and string orchestra ( or 2)
Order No: 9830, sFr. 62.00
(Reduction for piano: sFr. 36.-; 36.-; violin part: sFr. 18.-; 18.-)
First movement is virtuosic and passionate, the second quiet and ruminant and the third dynamic. The particularly expressive cadenza is at the end of the second movement.

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