Non-european Instruments

7130 Valentin Marti: Flügelschläge (2006) 3'
for pipa solo
sFr. 16.00
3 character pieces. WP: 21.1.08, Lausanne, Lingling Yu

Non-european Instruments with instruments
1498 Eric Gaudibert: Trivium (2008-2009)
for recorder, pipa and percussion
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
3124 Urban Mäder: Windstriche I (1998) 18'
for shakuhachi, string trio and percussion
sFr. 57.00
Fine, transparent sound piece using the Japanese Zen flute, the shakuhachi. An attempt to converge.

3127 Urban Mäder: Windstriche II (1999) 14'
for shakuhachi and seven flute players (instrumentarium:
sFr. 47.00
Four movements. Four differing attempts to combine the soloistic Japanese Zen flute, the shakuhachi, with the european transverse flute.

7132 Valentin Marti: In der Kälte des tauenden Eises (2007/09) 12'
for pipa, violoncello and clarinet
sFr. 26.00
A work for two European instruments (clarinet and violoncello) and one Chinese instrument (pipa). The title describes a non-stable state out of which various musical and cultural developments are possible.

7139 Valentin Marti: Desert Winds (2010) 8'
for Erhu, Pipa and Guzheng
sFr. 26.00
(Stimmen: sFr. 18.-; € 12.-)
10710 De-Qing Wen: Petit Chou (1997) 13'
for Er hu (Chinese violin) and string quartet
sFr. 39.00
‘Petit Chou’ is a Chinese folk song telling the sad history of a little girl who carries this name. This song is composed of six bars with each one forming the object of a variation. The complete theme is only apparent at the end of the piece.

10713 De-Qing Wen: Ballade (1998) 10'
for pipa (Chinese lute) and string quartet
sFr. 31.00
The musical material is based primarily on the superposition of the intervals of fourths, second major and fifth, like the tuning of the pipa in A, D, E, A. The string quartet imitates the pipa in its play and thus creates an ambiance that intermingles two types of instruments.

10727 De-Qing Wen: Wind and Snow in the Night (2002) 8'
for pipa (Chinese lute) and string quartet
sFr. 23.00
10728 De-Qing Wen: Les saules ne se plaignent pas aux sons de la flûte (2002) 6'
for xiao (chinese flute) (or flute), bottles, crystal glasses and percussion (14 players)
sFr. 31.00
10735 De-Qing Wen: Moving Ants (2006) 9'
for four pipas
sFr. 34.00
The theme is derived from a children's song sung in my hometown of Shuiji, which I sang over and over again when I was a little child and had so much fun watching the ants busily moving around. The four different layers constitute a complex texture, moving at four different speeds. The sound of the music is endowed with sound density and tension, great vibrancy and exuberant feelings in the tightened harmony of the 1/6 tones, an endless flowing of rhythms and variety of forces.

10742 De-Qing Wen: The Sound Shining (2009/10) 12'
for erhu and ensemble (erhu, fl, cl, ob, tbn, perc, pf, 2v, va, vc)
sFr. 83.00
Sun Wenming (1928-1962) was a blind but great Chinese folk erhu player and Avant-garde composer, whose playing techniques and cutting edge ideas in timber can hardly be matched even in the modern times and whose composition based on the harmonic series was fully 20 years earlier than the Spectral Music in France. His erhu Solo The Double Erhu Sounding is quoted in this piece as ist second theme while ist pitch materials derive from ist erhu tuning tones of G and D and their harmonic series and distortions.

10745 De-Qing Wen: The Tender Language of Wu (2011) 10'
for guqin, pre-recorded tape and string quartet
sFr. 26.00
Commissioned by the Guqin player Ms. Dai Xiaolian, I composed "The Tender Language of Wu" for guqin, pre-recorded tape and string quartet. The tape recording was completed with the help from Suzhou native students Li Mingyue, Zhou Heqing, Lu Wenyi and Gu Yunyu from the Musicology Department of Shanghai Conservatory of Music and Zhang Shichao from the Composition Department of the same school. Suzhou dialect is often considered to be soft, light, and flowing, therefore given a good name Wu nong ruan yu , which literally means "The Tender Language of Wu". Guqin and western string instruments are both characteristic of gentleness and elegance. I had intended to create a dialogue between these different factors by integrating the ancient Chinese and western string instruments with the tender language of Wu and modern digital audio technology.

Non-european Instruments with orchestra
10730 De-Qing Wen: Traces IV (2004) 16'
for suo-na, calligraphy and large orchestra (
sFr. 70.00
10731 De-Qing Wen: Traces V (2005) 22'
for erhu and traditional Chinese orchestra
sFr. 78.00
10733 De-Qing Wen: Spring, River and Flowers on a Moonlit Night (2006) 18'
for pipa (Chinese lute) and chamber orchestra (
sFr. 78.00

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