0205 Walter Baer: Desolatio Marsyae (1975) 6'30
for three recorders (one player)
sFr. 13.00
The 'Desolation of Marsyas' relates to the Greek saga. The simultaneous playing of two recorders is evocative of the Aulos with its double reed. It is possible to achieve a feeling of the desperate, tricky, competition between the aulete and the Apollon citharode by using various unconventional playing techniques.

7117 Valentin Marti: Wurzelholz (2000) 6'20
for alto recorder
sFr. 16.00
A continuous expansion of a central sound field, riddled with incursions; knaggy, meditative, continuosly quarter tonal. World premiere: 25.03.00 in Dägerlen by Christine Fringeli.

7118 Valentin Marti: Wurzelholz (2000) 6'20
for tenor recorder or any other woodwind instrument (alto flute, oboe, tenor saxophone...)
sFr. 16.00
For a different woodwind instrument to the recorder, a somewhat smoother effect because the extreme registers of the recorder have a greater influence on the tone than other instruments with a wider range. World Premiere: 04.02.01 in Wädenswil by Rico Gubler (tsx).

3413 Thomas K. J. Mejer: O rubor sanguinis (1995) 31'
for alto recorder solo
sFr. 29.00
An antiphon by Hildegard von Bingen is used as the basis of these 'contemplative' works. The composition is notated in 147 breaths. A recorder (440 Hz) and a Baroque flute (415 Hz) play in succession and simultaneously.

17007 Raphael Staubli: M(en)uet mit Trio (1987) 7'
for alto recorder solo
sFr. 18.00
5007 Peter Streiff: Movimento e cadenza (1980) 10'
for tenor recorder
sFr. 16.00
A virtuosic piece, asymmetrical in form. Dedicated to Regula and Conrad Steinmann.

7724 Pierre Thoma: Solo (1995) 14'
for alto recorder solo
sFr. 18.00
5273 Balz Trümpy: Sechs archaische Melodien (2009) 12'
for recorder solo
sFr. 31.00
Die Blockflöte repräsentiert für mich eine grundlegende Schicht der Musik, da sie einerseits mit meiner frühesten musikalischen Betätigung verbunden ist und andrerseits in ihrer raffinierten klanglichen Einfachheit das Melodieinstrument schlechthin ist. Dementsprechend habe ich in meinen "Sechs archaischen Melodien" prototypische Melodiebildungen im Sinne innerer Energieabläufe realisiert, wie sie mir als Grundlage meiner harmonischen Modalität vorschweben. Die Stücke können je nach Wahl auf verschiedenen Instrumenten gespielt werden, und zwar so, dass eine Gesamtaufführung mit der Sopranblockflöte allein oder mit verschiedenen Instrumenten (Sopranino, Sopran, Alt, Tenor) möglich ist.

Recorder with instruments
8422 Felix Baumann: aussprechen (2002) 15'
for recorder(s), viola da gamba and harpsichord
sFr. 34.00
'aussprechen' has something installative about it: in apparently endlessly excessive lengths almost nothing happens, which causes inflexibility to appear with quiet humour.

1112 Jürg Frey: Der Mensch gleicht einem Hauche (1993/94) 5'
for counter-tenor, recorder, viola, violoncello, double-bass and organ
sFr. 16.00
Text: Bible / Liturgy Text: Psalms 144,4.At the heart, danger, desolation, and fragility are what most characterise this piece. The choice of notes is limited, and only collectively can their meaning be known.

1482 Eric Gaudibert: Canzone a tre (1998-2000) 10'
for recorder, Baroque violin and Baroque violoncello
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.

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
9056 Edu Haubensak: Chroma 24 (2009) 14'30
for Renaissance recorders (8) and gamba consort (5) in meantone tuning
sFr. 23.00
2201 Regina Irman: Spiegeltanz (1993) 4'
for two recorders and one drum
sFr. 18.00
In cooperation with Dieter Jordi. Commissioned by Conrad Steinmann for the International Recorder Festival in Basel.

26106 Max E. Keller: Verschmelzungen (2003) 12'
for recorder (alto and bass) and piano
sFr. 26.00
There is rarely a greater difference noted between two instruments regarding sound generation, volume, appearance and aura than between the piano and the recorder. To compose fusions of these two instruments was a challenge, which is relayed to the performers who must reach out to the very limits of playability.

26116 Max E. Keller: Les sons perdus (2007) 8'
for three recorders (alto + sopranino, alto + soprano, alto + bass(f))
sFr. 21.00
Since the emancipation of dissonance and the break with tonal music, the third has largely become a taboo, a lost sound. For centuries the foundation of harmony and even today a primary component of popular music, it has been dismissed in art music as the symbol of a pseudo-ideal world. "les sons perdus" attempts to encounter and thematise this impoverishing constraint of sound by using a major third together with a variable additional interval to establish the structure of six formal components.

26141 Max E. Keller: 1968 - und heute? (2010) 14'
for tenor/countertenor and recorder
sFr. 26.00
Texts: Max E. Keller Three aspects of the 1968 movement in three sections: The USA War against Northern Vietnam caused worldwide protestation, which led in 1975 to the beaten withdrawal of the Americans. Today's united Vietnam is a thriving country and a rich source of mineral deposits. The Shah's visit to Berlin in June 1967 and the shooting of a protesting student by police triggered a further youth revolt in 1968. The Shah was soon forced to stand down and the Islamists picked up the sceptre in a dubious success. In ist widest sense, the then ideal of a self-determined yet solidly life gave way to a new conformism and apathy and a bureaucratically regulated society. This setting does not make use of today's ready-made pop idiom, but explores a rather more independent, colourful and diversified musical implementation of this unconventional instrumentation. Voice and recorder often move on different levels by reacting to different textual dimensions. This sound world thus reflects the spontaneity, fantasy and abandon of 68 without the superficial duplication of the textual content.

19409 Burkhard Kinzler: In nomine (2012) 25'
für vier Stimmen (SATB), drei Blockflöten, Akkordeon und vier Streicher (Vl, Vla, Vc, Kb))
sFr. 70.00
Instrumentierungen altenglischer In-Nomine-Vertonungen (Taverner, Picforth, Bull) samt einem Prolog über den cantus firmus.

2823 Alfred Knüsel: Grundzüge eines Themas (1994) 8'
for four recorders (SATB), for two players
sFr. 21.00
2843 Alfred Knüsel: Sechs Miniaturen als Tafelmusik (1994) 10'
for recorder quartet, string quartet, harpsichord and voice
sFr. 34.00
3128 Urban Mäder: orten (2000) 17'
for tenor recorder, viola, violoncello and percussion
sFr. 29.00
These three studies of intermediate difficulty are composed for a small yet highly resonant room.

3129 Urban Mäder: anhaltend (2000) 8'
for a Baroque ensemble (altus, tenor recorder, Baroque violin, viola da gamba, harpsichord)
sFr. 23.00
Text: Thomas Locher Based on text clippings from ‘Das Eine. Das Selbe. Das Gleiche’ by Thomas Locher. Introduction and dance that allow the Baroque elements to shine through. Tonally subtle and transparent music. Typical Baroque performance technique combined with a variety of contemporary experimental (noisy, brittle) playing methods.

3132 Urban Mäder: Das Eine. Das Selbe. Das Gleiche (202) 50'
for voice (altus), recorder(s), violin, gamba and double bass
sFr. 31.00
(CD und Video beim Komponisten)
This project is a collaboration between video art and a musically open play disposition in the room. Based on a text by Thomas Locher, with the Scappatella Ensemble and the video artist Judith Albert. CD and video available from the composer.

3136 Urban Mäder: Scurriculum (2007) 10'
for recorder(s) and harpsichord
sFr. 29.00
Eight fragments for recorder(s) and harpsichord. For Andel Strube and Verena Habel.

7127 Valentin Marti: Tempio in tre impressioni (2004) 8'30
for Rennaissance alto recorder and percussion
sFr. 21.00
'Tempio in tre impressioni' associates three imaginary encounters with the remains of the portico of a Doric temple, each from a different temporal perspective. The percussion consists of a 'Ching' (a Korean gong) or similar instrument, 2 templeblocks, a very high tambourine and a large framedrum. World premiere: 24.9.04 in Malans by opera strumental.

Listen: Youtube
7129 Valentin Marti: Aus der Ferne (2006) 15'
for Renaissance recorder, viola da gamba and harpsichord/organ
sFr. 39.00
In 6 movements. The 6th movement is a modest hommage to György Ligeti: "Clarity".

Listen: Youtube
7131 Valentin Marti: im Wind geschliffen (Segesta II) (2006) 12'
for two recorders, violin, violoncello and harpsichord
sFr. 34.00
Various positions or points of origin lead to different perceptions, to different truths about an object or event. Minimally displaced observation points lead to a drifting apart and drifting together of individual lines, to individual stickings on a single tone or form of articulation.

9704 Hans-Jürg Meier: etwas quintlastig (1993) 6'
for recorder, bass clarinet, viola, violoncello and two percussionists
sFr. 13.00
The melody is expanded in a tower of quints. A row of variations in three parts where the melody sounds as a whole only in the second part. Conductor is of use.

9708 Hans-Jürg Meier: zeitsand (1995) 14'
for two recorders, zink, trombone, violin and two violoncelli
sFr. 26.00
The 'Harmonies' by Erik Satie are the basis for several parts. Conductor of use.

9709 Hans-Jürg Meier: d'une autre vie (1996) 14'
for tenor recorder, violoncello and vibraphone
sFr. 29.00
Three parts: véhément / paralysé / -. The recorder requires amplification in parts.

9712 Hans-Jürg Meier: fast (1997) 11'
for tenor recorder and violoncello
sFr. 18.00
Annäherungen - Abstossungen - fast ein Zusammentreffen

9711 Hans-Jürg Meier: par le murmure déchiré (1997/98) 16'
for soprano, three Renaissance recorders, percussion and recorded material
sFr. 34.00
Texts: Samuel Beckett Seven poems from the 'Mirlitonnades' by Samuel Beckett form the textual base of this piece.

9725 Hans-Jürg Meier: raum (1999/00) 18'
for percussion, tenor recorder, viola and violoncello
sFr. 47.00
A music that evolves in extended development, for a performance location with a lot of reverberation. An additional tone installation can sound simultaneously.

9726 Hans-Jürg Meier: abermals (2000) 10'
for tenor recorder, oboe, soprano saxophone and bassoon
sFr. 34.00
Four conversational partners embroil, increasingly dramatically and then calm down in a multi-sounding room.

9740 Hans-Jürg Meier: volta bianca (2007) 25'
for recorder quintet (Renaissance instruments)
sFr. 49.00
(inkl. Stimmen)
A fictive walk around the Palazzo Ducale di Urbino, where concerts with early music can also be found.

9752 Hans-Jürg Meier: das dasein ist nicht das wesentliche (sestiere - prima lettura) (2010) 16'
for panpipes, transverse flutes, recorders, clarinets, saxophone, horns, trombones, trumpets
sFr. 60.00
9750 Hans-Jürg Meier: herbst (abtasten) (2010/11) 7'
for 4 alto recorders, guitar, tromba marina, percussion
sFr. 21.00
A tentative musical exploration of the 1907 painting "Herbst (Schule)" by Marianne Werefkin.

3440 Thomas K. J. Mejer: Barockengel im Schuss (2001) 8'
for counter tenor, recorder, violin and viola da gamba
sFr. 31.00
3822 Thomas David Müller: Erste Etappe in Richtung farbiger Eindrücke (1999) 14'
for three bass recorders
sFr. 18.00
Part I: Partly very simple rhythm, but rich in blowing and fingering techniques. Concept notation. Part II: In space notation based on ‘piangete, ochi miei lassi’ by Sigismondo d’India. Intermediate level of difficulty. Circular breathing ad lbitum.

16302 Felix Schüeli: 7 leichte Miniaturen (1998) 3'30
for two recorders guitar and piano
sFr. 18.00
Composed for a school ensemble with circa 1-2 years of musical education.

4805 Andreas Stahl: sonette VIII und LXIV von shakespeare (1990) 18'
for altus, three recorders and percussion
sFr. 23.00
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.

17523 Raymond Vauterin: Printemps (1997) 15'
for recorder quartet
sFr. 49.00
10740 De-Qing Wen: A New legend of Yang Zongbao and Mu Guiying (2008) 12'
for voice and recorder
sFr. 39.00
The hero Yang Zhongbao and his wife Mu Guiying were two of the impressive warriors from the famous historical story in China, Heroic Legend of the Yang's Family, which was set in the Northern Song Dynasty (960-1127). Although as time goes, the social value has been changed and people today easily find incredible and ridiculous what was cherished in the time of Yang Zhongbao and Mu Guiying, they still love the story. That is where the charm of traditional culture lies. This piece makes the two ancient characters live in today's setting by traveling through time and do what they did in their own time, which is full of humor and wit. Besides, it combines factors of contemporary music with the Chinese traditional form of talking and singing, the arrangement of the tenor and soprano part sung by one male and the artistic appeal of Xi'an dialect and Qin Opera of China.

18901 Andreas Zurbriggen: Mondrose Rosenmond (2007)
for tenor recorder and countertenor
sFr. 18.00
Text: Pierre Imhasly.

Listen: Youtube

Recorder with orchestra
5237 Balz Trümpy: Tahesha (1995) 12'
for flute or recorder (sopranino and alto recorder), violoncello and strings (
sFr. 70.00
A preliminary instrumental study for the second movement of 'Helios'.

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