Baritone


solo
26103 Max E. Keller: Uf Ärde (2003) 3'
for baritone solo
sFr. 13.00
Composed for the Roaring Hoofs in Mongolia, this short solo piece is an inverted variation on the lied ‘S Vreneli ab em Guggisbärg’, which begins vastly removed from the folksong but gradually approaches it until the original finally sounds.

2809 Alfred Knüsel: andauernde Veränderung fremdartig (1993) 8'
for baritone (alto) solo
sFr. 18.00
Texts: Orhan Veli Kanik Seven songs as a type of vocal theatre.

10002 Kit Powell: Nelson Songs (1986) 10'
for baritone and recorded material
sFr. 26.00
(Tonband auf Anfrage)
Texts by Michael Harlow. Experimental piece using primarily graphic notation.

10231 Michael Schneider: Gand (2005) 5'
for baritone solo
sFr. 31.00
Alpine prayers, ominous forebodings, catharsis: archetypal motives from the mythology of canton Uri, which, in this piece, correspond to sound symbols which range in a dramatic arch from peace to outrage and punishment.

5833 René Wohlhauser: Marakra Code Ø (2011) 2'
Ergon 44/IV, work number 1606
for baritone solo
sFr. 34.00
Based on own onomatopoeic texts. The solo voice forms onomatopoeic language snippets with almost theatrical gestures and expressions into a discourse, thus suggesting an ambiguous subtext.


voice and piano
0511 Nicolas Bolens: 6 Airs de circonstance (1997) 5'
for voice (baritone or mezzo-soprano) and piano
sFr. 18.00
Text: Stéphane Mallarmé.

9357 Vladislav Jaros: Home Is The Sailor (2010) 3'
for mezzo-soprano, baritone and piano
sFr. 16.00
Texts: Vladislav Jaros.

26102 Max E. Keller: Vom Grunde (2003) 4'
for baritone and piano
sFr. 16.00
Texts: Barbara Köhler One can accept or rebel against tradition, for once I have accepted it and, without dislocation, composed a poem. Barbara Köhler wrote texts about the river Elbe - quiet, melancholic and with a pinch of antidote, particularly nice in the poems chosen by me.

15417 Kurt Meier: 5 Lieder nach Fabeln von Rudolf Kirsten (1997) 15'
for baritone and piano
sFr. 34.00
15416 Kurt Meier: 11 Lieder nach Gedichten von Hermann Kükelhaus (1997/99) 30'
for baritone and piano
sFr. 47.00
10015 Kit Powell: Vlaminck's Tie (1985/92) 18'
for baritone and piano
sFr. 57.00
Texts by Michael Harlow. A cycle of movements in mirror form.

5209 Balz Trümpy: Vier Lieder (four songs) (Burkart) (1986/87) 10'
for deep voice (alto or baritone) and piano
sFr. 29.00
The four poems of this short song cycle are the contribution of Erika Burkart to the ‘Waldhandschrift’ (Wood Manuscript) - a collection in which Swiss writers express their grief over the destruction of forests.

5255 Balz Trümpy: La Notte Bella (2004) 7'
Six lieder
for baritone and piano
sFr. 21.00
After poems by Giuseppe Ungaretti. The headline-like length of the texts is reflected in the formal compendiousness of the lieder.

8203 Alfons Karl Zwicker: Pilgerfahrt zu blauen Eisziegeln (1990/93) 8'
for Baritone and piano
sFr. 23.00
Two songs based on the later poems of Josef Kopf. A compromised winter journey: Death - congealment.


Baritone with instruments
11908 Claude Ferrier: Le Chemin sans traces (1996) 16'
for baritone and instrumental quintet (fl.cl/hp/va.vc)
sFr. 52.00
Texts: Henri Gaberel Based on the poem by Henri Gaberel.Version for orchestra (2(pic).2(ca).2(bcl)2(cbn)/4.2.3.1/4perc/hp.cel/str) available from the composer.

9270 Michel Hostettler: Psaume 137 (2012) 8'
for baritone, female choir, violin and organ
sFr. 29.00
(Partie violon: sFr. 13.-)
2507 Mischa Käser: einspruch (1990/91) 13'
for baritone, speaker, accordion, double bass, saxophone, percussion and a dance duo
sFr. 60.00
Texts: Thomas Huonker, Peter Zahl, everyday advertising and media language A piece requiring demanding rehearsals. The speaker should draw on his talent for rhythm. The sung sections can be performed by a tenor with a good lower register. Uses texts by Thomas Huonker, Peter Zahl, and newspaper cuttings.

26142 Max E. Keller: Ruh' (2011/12) 5'
for soprano and violoncello (or soprano and baritone)
sFr. 18.00
Texts: Max E. Keller As with many of my compositions, Ruh' (calmness) is based on a richly varied yet simple and easy-to-follow model. Soprano and violoncello continuously find calmness on a quiet unisono, an octave or double octave paraphrased on tonal, rhythmical or sound colour levels. This is followed by a "solo" or "a due" break out into turbulent fields - sometimes also indicated in the lyrics - and the return to a resting tone. Almost like in real life.

2804 Alfred Knüsel: AbArt (1992) 9'
for alto, baritone and instrumental ensemble (rec[=pic].fl/hpd.org/vadg[=va]/perc)
sFr. 47.00
Text: Ernst Jandl Absurd text set to absurd music in conventional notation.

2906 Josef Kost: Vesper (1994) 31'
for amateur choir, youth choir (both also speaking choirs), congregation, mezzo-soprano, baritone, liturgist, harp, organ and two percussion
sFr. 55.00
Texts: Bible / Liturgy A composition in various instrumental formations based on texts from Psalms and paraphrases on the subject of creation. Both the youth and amateur choirs are accompanied by the organ or percussion instruments; the singing congregation is accompanied by harp and drums, and the female and male cantor are accompanied by marimbaphone. Intermediate to difficult level. Liturgical duration: 60'

3707 Roland Moser: Lebenslauf (1980/85) 17'
Five movements over Hölderlin
for baritone and twelve instruments (4 violas, 4 double bass and 4 percussionists)
sFr. 49.00
Text: Friedrich Hölderlin Instrumental introduction and sequence of four songs: Curriculum Vitae - To Edward - Age - Mankind.

3715 Roland Moser: Brentanophantasien (1988/95) 60'
After 'Den Zeiten' by Philipp Otto Runge
for soprano (with a strong lower register), baritone and piano
sFr. 88.00
Der Morgen (fantasy for piano solo); Der Tag (scherzo for vocals and piano); Der Abend (song cycle); intermezzo; Der Nacht (fragments for voices and piano). Text by C. Brentano and others.

4301 Ernst Pfiffner: "... et aperuit oculos.." (1973/74) 15'
for bass, baritone, three tenors and instrumental ensemble (0.0.2.2/4.2.3.0/4perc)
sFr. 44.00
Text: Bible / Liturgy In this piece, the Latinate poetry of the blind born from the gospel according to John is set to music. In the first part, the wonderment of the event, in the second the interrogation and in the third the words of Jesus to the healed are set forth. The disciples in the first part and the Pharisees in the second are written for a group of three tenors (traditionally called ‘Turba’) who, according to the dramatical situation, speak, whisper or scream. Work series A: Music for concerts.

10310 Henri Scolari: Le Christ voilé (1948) 19'
Cantata
for baritone and instruments (1(pic).1(ca).1(bcl).1/hn/hp/vn.va.vc(db ad lib.))
sFr. 86.00
(Réduction chez SME/EMS: sFr. 34.-; € 34.-)
Based on a poem by Patrice de la Tour du Pin. Fusion of a series of twelve tones with a constant reference to tonality. Very expressive French poetry.

16613 Bernhard Sieber: Psalm 4 (1967) 4'
for baritone and violin (or alto and bass gamba)
sFr. 13.00
4908 Mathias Steinauer: Speculum sibyllinum, op. 9 (1992) 16'
for 6 voices (mezzo-soprano, altus, 2 tenors, baritone, bass), 5 recorder-players (div. instr.), 6 viola da gambas (2 disc, A, 2 T/B, violone in D) and two percussion instruments
sFr. 44.00
An adaptation of newly found manuscripts written by an anonymous twelfth-century composer in the Vatican, within which aspects of the whole of musical history are anticipated. Spatial music.

4919 Mathias Steinauer: Koren-Fantasien, op. 15 (1997) 45'
27 imaginations - studies on Greek antiquity (approaches to stone)
for double-reed quartet (double-reed instruments, heckelephone, bassoon), orator/singer (bass/baritone) and one percussion
sFr. 70.00
Texts: Aristoteles, Hippokrates, Ch. Mullack, Xenophon, Aristophanes, Hans Saner, Platon, Leonides von Tarent, Epikur

5228 Balz Trümpy: Dionysos-Hymnen (2. Fassung) (version 2) (1986/88) 17'
for baritone, violoncello and percussion
sFr. 52.00
Based on ancient Greek texts from the hymns of Orpheus.

Listen: Youtube
5252 Balz Trümpy: Carmen Sibyllae (2003) 12'
for baritone and percussion
sFr. 31.00
After texts from the Sibylina Oracle. The simultaneously forboding yet salvational Sibylline Oracle in alternation between noise and exstatic song.

Listen: Youtube
5291 Balz Trümpy: Oracula Sibyllae (2008) 24'
for soprano, baritone, flute and percussion
sFr. 47.00
Nach Texten aus den "Oracula Sibyllina" und aus Vergils "Aeneis" (Bearbeitung von CARMEN SIBYLLAE und ORATIO SIBYLLAE). "Oracula Sibyllae" ist die Verbindung von zwei Werken, die sich mit den Sibyllen beschäftigen: Carmen Sibyllae für Bariton und Schlagzeug sowie Oratio Sibyllae für Sopran und Flöte. Die antiken Bücher "Oracula Sibyllina" enthalten die Weissagungen der von göttlichen Kräften überwältigten Seherin Sibylle, die meist unerwünschte und unheilvolle Prophezeiungen hervorstösst.

5266 Balz Trümpy: The Bonds of Heaven are Dissolved (2011) 18'
for soprano, tenor, 2 baritones, speaker and instrumental ensemble (1.1.1.1/1.1.1.0/perc/2.2.1.1)
sFr. 83.00
After a scene from Shakespeare's "Troilus and Cressida". The psychological complexity of the scene is realised musically in polyphonic layers.

5836 René Wohlhauser: Iguur - Blay - Luup (2009) 16'
Ergon 40
for soprano solo, soprano and baritone duo, and soprano with small ensemble (bass flute, bass clarinet and violoncello)
sFr. 62.00
Based on own onomatopoeic text. In the emblematics of the virtual language Sulavedic the word "iguur" stands as a metaphor, which has been mystified into "blay" through an unexpected resonance in order to resurrect in "luup" in a changed, purified and contextually different form.

Listen: Youtube
5831 René Wohlhauser: Charyptin (2010) 13'
Ergon 42
for soprano, baritone, flute, clarinet, violin and violoncello
sFr. 65.00
Texts: René Wohlhauser Based on own onomatopoeic texts. This piece deals with the possibilities and impossibilities of interaction, the mixing and exchanging of roles between vowels and instrumental sounds.

Listen: Youtube
5832 René Wohlhauser: Charyptin-Fragmente (2010) 5'
Ergon 42/Iia
for two voices: preferably soprano and baritone or soprano and alt or tenor and baritone
sFr. 36.00
Based on own onomatopoeic texts. This piece fathoms the various intermediary areas between the whispered, spoken and sung. Versions for high or deep baritone (alt).

5834 René Wohlhauser: Marakra Code 1 (2011) 7'
Ergon 44/1, work number 1603
for soprano, baritone and piano, with percussion
sFr. 47.00
Texts: René Wohlhauser Two voices on their path through various fields of expression in dialogue with scarcely breaking out piano fragments, their performance shaded by some gentle input from the percussion.

5835 René Wohlhauser: Marakra Code 2 (2011) 15'
Ergon 44/II, work number 1604
for soprano, baritone, flute, clarinet, violoncello and piano, with percussion
sFr. 60.00
Texts: René Wohlhauser Following a double turning point (in bar 110) the onomatopoeic series of syllables at the beginning turn into semi-semantic text fragments, while reversely the instrumentalist's style of play moves from a quasi-traditional technique to sounding fragmented and noise-like.

5843 René Wohlhauser: Mera gor nit (2013) 8'
Ergon 48, Musikwerknummer 1657
for soprano and baritone
sFr. 42.00
If any text appears too profane to be set to music, all that remains is the complete absence of the text. The complete absence of a semantic text leads to a pure vocal music.

8207 Alfons Karl Zwicker: Tropfen auf Stein (1995) 30'
Cycle based on poems by Elisabeth Heck
for baritone, flute (pic, afl, bfl), harp, piano, one percussion and viola
sFr. 62.00
Very introspective and contemplative song cycle with an increasingly ruminant character. A very subtle and diversified sound world whose centre is the metaphor of stone in all its varieties.


Baritone with orchestra
0513 Nicolas Bolens: Once Asleep (1997) 8'
for choir, soloists (Soprano, Baritone) and orchestra (0.0.2.2/0.2.0.0/str)
sFr. 26.00
Based the sonnet 154 by William Shakespeare.

15178 Rudolf Jaggi: Petrus (Oratorium) (1989) 75'
for soprano, baritone, bass, choir (SATB), organ, flute, oboe, bassoon and strings
sFr. 130.00
I Jünger II Apostel III Märtyrer

9359 Vladislav Jaros: Why (2010) 7'
Song
for mezzo-soprano and orchestra (2fl, 2ob, 2cl, 2hn, 2tpt, tbn. drm, drmset, bassgtr, str)
sFr. 36.00
Tonally composed in the Musical style.

9360 Vladislav Jaros: Why (short version) (2010) 5'
Song
for mezzo-soprano and orchestra (2fl, 2ob, 2cl(bcl), 2hn, 2tpt, tbn. drm, drmset, pf, bassgtr, str) or mezzo, baritone and pf
sFr. 34.00
Tonally composed in the Musical style.

19408 Burkhard Kinzler: Rückert-Säulen zu Pergolesi (2012) 16'
für Streicher, Generalbassgruppe und Bariton solo
sFr. 44.00
Text: Friedrich Rückert. Besetzung des "Stabat mater" von Pergolesi.

15408 Kurt Meier: Also hat Gott die Welt geliebt (1995) 20'
Ecclesiastical concert
for tenor, baritone, choir and string orchestra
sFr. 49.00
(Stimmen: sFr. 44.-; € 29.00)
15413 Kurt Meier: Im Anfang war das Wort (1995) 5'
Ecclesiastical concert
for baritone and string orchestra
sFr. 26.00
(Stimmen: sFr. 14.-; € 9.50)
4316 Ernst Pfiffner: Osterbuch (1994/96) 45'
for soli (MezATBarB), choir and orchestra (2.2(2ca).2.2/4.2.2.0/perc/str)
sFr. 88.00
Texts: Euripides, Karl Jaspers, Blaise Pascal, William Shakespeare, Bible / Liturgy Work series A: Music for concerts.

4320 Ernst Pfiffner: Pfingstbuch (1996/97) 35'
for six solo voices (SMezATBarB), speaking voice and chamber orchestra (1(pic,fl-g).1(ca).1.1/2.1.2.0/2perc/hp/str)
sFr. 148.00
(Aufführungsmaterial bei Akademie für Schul- und Kirchenmusik Luzern)
Texts from the Bible and eastern Liturgy; twelve single verses from Martin Gutl, Huub Oosterhujs, Nelly Sachs, Rabindranath Tagore; quotes from Helder Camara, Ernesto Cardenal, Johannes XXIII., Josef Quadflieg und J.M. Sailer. Wie? Pfingsten? die Gott verschlafen Verheissungen Als Pfingsten gekommen "Licht wird aus Sand" Geist - Heiliger GeistSchenk uns neue Begeisterung Work series A: Music for concerts.

5292 Balz Trümpy: Dionysos-Hymnen (3. Fassung) (1985-2013) 17'
für Bariton und Orchester (4,4,4,4 - 4,4,3,1 - Schlgz(4), Pk - Str)
sFr. 70.00
Nach Texten aus den Hymnen des Orpheus. Die dritte Version meiner DIONYSOS-HYMNEN beruht auf der Urfassung für Bariton und acht Violoncelli auf dem Jahre 1985. Ausgangspunkt meines Werkes bilden die "Hymnen des Orpheus", eine Sammlung von 88 Gedichten aus dem griechischen Altertum. Diese kurzen Lieder, von denen jedes einem Gott gewidmet ist, bildeten die liturgischen Texte in der Art eines "Gesangbuches" für die religiöse Bewegung der Orphiker, eines Mysterienvereins, in dessen Zentrum der Gott Dionysos stand. Für die DIONYSOS-HYMNEN verwende ich drei der acht zentralen Hymnen, die Dionysos gewidmet sind. Sie beschreiben in vielfältigen, einander zum Teil widersprechenden Attributen die Hauptzüge dieser chthonischen Gottheit. Nach der Überlieferung der Griechen leben in den Menschen Teile des von den Titanen zerstückelten und aufgefressenen Dionysos weiter und manifestieren sich in ihren dunklen, irdischen und triebhaften Seiten. Andererseits bietet Dionysos in der heiligen Ekstase seiner Tänze auch das Heilmittel zur Überwindung der Erdenschwere. Das Geheimnis der Kraft des Gottes ist sehr schön im 53. Hymnus gezeigt, wo der schlafende Dionysos als Potential von Kräften geschildert wird, die jederzeit ausbrechen und die Menschen mit Zerstörung oder Befreiung überfallen können. Meine Musik verwendet die Texte im griechischen Original. Sie ist nicht eine direkte Übertragung der Worte in Klänge, sondern vielmehr ein Ausdruck der Bilder und Assoziationen, welche die Texte und das zu ihnen gehörende Umfeld in mir auslösten.

5247 Balz Trümpy: EIS EROTA (2002) 12'
for soprano, baritone, horn, two trumpets, trombone, percussion and strings
sFr. 62.00
Sappho and Alkaios from the isle of Lesbos are amongst the most prestigious representatives of Greek lyrics strongly connected with the Orpheus saga. After the heavenly singer has lost his beloved Eurydice to the underworld and, spurned by his endless mourning, he seeks the love of other women. Bacchante tear him to pieces in an angry rage and cast his head into the sea. The tide washes it onto the shores of Lesbos - here his mouth is once again brought to speech by the lyric of the island. Mythological notions merge with personal experience and sufferance in connection with the erotic. Eros is the ‘weirdest God’ (Alkaois) whose effect is to rip open the abyss between the highest fulfilment and the degeneration towards death. The elemental force with which he encompasses man awakes in him an orpheic longing for immortality and the desire to overcome the underworld; simultaneously bringing even more painfully the forlornness of his wish to consciousness. While Alkaios attempts to forget in wild drunkenness and sexual indulgence, we eavesdrop on Sappho, and the dark tones of a wish for love in which pain resonates with the transient. EIS EROTA combines fragments from both poets to produce a dialogue on the subject of love and death.

5293 Balz Trümpy: EIS EROTA (2. Version) (2002-14) 12'
für Sopran, Bariton und Orchester (4,4,4,4 - 4,4,3,1 - Schlgz(4), Pk - Str)
sFr. 60.00
Die griechische Lyrik, zu deren grossen Vertretern Sappho und Alkaios von der Insel Lesbos gehören, steht in engem Zusammenhang mit der Orpheus-Sage. Nachdem der göttliche Sänger durch eigenes Verschulden Eurydike endgültig an die Unterwelt verloren hatte, verschmähte er in seiner unendlichen Trauer die Liebe anderer Frauen. In rasender Wut darüber rissen ihn Bacchantinnen in Stücke und warfen sein Haupt ins Meer. Von der Strömung wurde es zur Insel Lesbos getrieben, wo sein Mund in der Lyrik wieder zu sprechen begann. In dieser Lyrik verschmelzen mythologische Vorstellungen mit dem persönlichen Erleben und Erleiden des Erotischen. Eros ist der "unheimlichste Gott" (Alkaios), dessen Wirkung die Kluft zwischen höchster Erfüllung und dem Verfallensein an den Tod aufreisst. Die Urgewalt, mit der er den Menschen erfasst, erweckt in ihm die orphische Sehnsucht nach Unsterblichkeit und nach Überwindung der Unterwelt; gleichzeitig bringt sie ihm um so schmerzlicher das Vergebliche seiner Wünsche zum Bewusstsein. Während Alkaios im wilden Trunk und im Liebesgenuss das Vergessen sucht, lauschen wir bei Sappho den dunkleren Tönen der Liebessehnsucht, in denen der Schmerz über die Vergänglichkeit mitschwingt. EIS EROTA verbindet Fragmente der beiden Dichter zu einem Zwiegespräch über Liebe und Tod.

5262 Balz Trümpy: Daimon (2009) 16'
Socrates' speech in Plato's "Symposium"
for 14 baritones and 14 strings
sFr. 78.00
78103 Hansruedi Willisegger: Lazarus: Musik für einen Gottesdienst (1969) 29'
for baritone solo, congregation, flute, trumpet, percussion and strings
sFr. 39.00

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automatically generated. last update: 28.08.2015 / 2004 Theo Lustenberger