Viola


solo
8513 Thüring Bräm: Streichquartett Nr. 2 (1992) 13'
LITANIA
sFr. 18.00
In one movement. A harmonic work in memory of Carl Phillip Emanuel Bach, with a solo viola part (cadenza), which can be performed as an individual piece.

1454 Eric Gaudibert: Chant de l'aube (1993/95) 5'
for viola solo
sFr. 13.00
An adaptation of the piece for horn solo.

19417 Burkhard Kinzler: Ich & Ich (2015) 12'
Vier kleine Tänze mit sich selber
für singende Bratschistin / bratschende Sängerin
sFr. 23.00
Kann auch von zwei Personen aufgeführt werden.

3408 Thomas K. J. Mejer: Fish and Hips (1993) 4'50
for viola solo
sFr. 18.00
This composition was written for 'The International Viola Book' and is dedicated to Andrew Toovey. In this piece, loosely based on the blues, the viola must alternate (and increasingly during the piece) fulfill all instrumental functions inherent in a jazz combo.

9815 Laurent Mettraux: 5 microludes, M. 525, 479, 550, 558 et 570 (1993/97) 10'
for viola solo
sFr. 18.00
These five pieces can be played separately or in any order. They must accentuate the qualities of the viola.

9828 Laurent Mettraux: Sonate, M. 560 (1997/98) 12'
for viola solo
sFr. 16.00
Three movements: elegiaco, con passione et meditativo

18601 Azumi Okamura: Sonatine (1994/2010) 4'
for viola solo
sFr. 16.00
An early work revised in 2010. It is written in the form of a sonatina and contains some parts of a deformed waltz. Although there is no contemporary writing it is rather difficult because of constant double stops.

4315 Ernst Pfiffner: Miniature d'Umbria IV (Il cantico delle creature) (1996) 8'30
for viola solo
sFr. 21.00
Work series A: Music for concerts.

13301 Marie-Cécile Reber: Twiriwir (2002) 8'
for viola and electronics
sFr. 21.00
(CD bei der Komponistin.)
10228 Michael Schneider: Es werde Licht (2000) 7'
for viola solo
sFr. 16.00
Begining with the tuning of the strings, the soloist throws him/herself into the flow of the music and explores the instrument: it is an absolute theatrical and virtuoso piece about the polarity of "before" and "during" the concert.

18103 Lars Werdenberg: 5 Notturni (2003) 10'
for viola solo
sFr. 29.00
- Notturno I "Aria" My aria material comes from an Italian lullaby, which is actually quoted in this piece. The title "Aria" is also meant literally (aria = air) as the song alternates between being "breathed" and being played on the strings. - Notturno II "Siciliano" A play with the rhythmns of the Baroque dance bearing the same title. Each one is danced from top to bottom. - Notturno III "Labyrinth Musick" The violin strides through a tonal labyrinth of 3 intervals and 5 durations. It finally finds its way out - via the octaves. - Notturno IV "Heaven and Hell" A high (heaven) and a low (hell) sound landscape slowly merges. The begining and the end of the piece, however, is played on the earth. - Notturno V "When the Shantyboy comes down" Zapping through 18 radio stations (all played by the viola) searching for the song which lends its name to the title of this piece. Shortly before the end the composer believes he has found the right station - or is he mistaken?

Listen: Youtube

piano and instrument
15128 Rudolf Jaggi: Duo (1972) 7'30
for viola and piano
sFr. 26.00
(Stimmen: sFr. 12.-; € 8.-)
2513 Mischa Käser: 7 kleine stücke (7 small pieces) (1993) 8'
for viola and piano
sFr. 23.00
10818 Martin Wendel: Musik für Viola und Klavier, op. 56 (music for viola and piano, op. 56) (1991) 17'
sFr. 34.00
The separate tones in this traditional three-movement composition search each other out and feel for worthy connections. Shrill aplenty but not without euphony.


Viola with instruments
6204 Heidi Baader-Nobs: Session (1988) 17'
for two violins, viola, violoncello, double-bass, flute (pic), oboe (ca), clarinet (Ebcl, bcl), bassoon (cbn), piano and marimba
sFr. 47.00
8404 Felix Baumann: Quintett (quintet) (1992) 22'
for oboe, horn and string trio
sFr. 31.00
Opposing elements growing increasingly apart. Rights of performance reserved.

12812 Gary Berger: unter Reibung (2000) 3'
for flute, viola and percussion
sFr. 16.00
12814 Gary Berger: lichtempfindliche Erinnerungen (2000) 6'
for bass flute, viola, alto saxophone, guitar, percussion and live electronics
sFr. 26.00
0517 Nicolas Bolens: Suite pour Neuf Instruments (suite for nine instruments) (1999) 11'
for wind quintet and string quartet
sFr. 31.00
6521 Frédéric Bolli: Pentagramm (1988) 20'
for 5 strings (2vn, va, vc, db) and transverse flute
sFr. 55.00
6533 Frédéric Bolli: Im Anfang war das Wort (1990/91) 15'
for male choir and string quintet (2vn.va.vc.db)
sFr. 55.00
8526 Thüring Bräm: "... dass es nichts Neues gibt unter der Sonne..." (1970) 6'
for soprano, viola and bassoon
sFr. 21.00
Texts: Dieter Fringeli Four songs in the original scoring: Soprano, viola and bassoon. Text by the Basel poet Dieter Fringeli. There are some free passages in addition to the through-composed parts.

8527 Thüring Bräm: Children Songs of the American Indian (1979) 8'
for solo soprano, vocal ensemble (SATB), oboe, viola, violoncello, and marimbaphone
sFr. 34.00
Texts: Indian texts The 'Children Songs' (which received a prize from the University of California in 1973) are a kind of half scenic cantata based on Indian text.

18707 Ruedi Debrunner: LENZ. Am tiefen Blau ein leises Rot (2007) 35'
for male speaker, female speaker, choir and string quartet
sFr. 100.00
(Stimmen: sFr. 73.-; € 56.-)
0917 Jacques Demierre: Max und Moritz (1996) 20'
for speaker, flute, clarinet, violin, viola and violoncello
sFr. 57.00
Texts: Wilhelm Busch Musical version of the adventures of those two lovable rascals…

1012 Jean-Jacques Dünki: Kammerstück VI (1989) 21'
for violin (viola) and ten instruments (1(pic).1(obda,ca).2(Ebcl,bthn).1/1.0.1.1/1perc/pf)
sFr. 62.00
In the first and at the end of the fifth movement the solo violin switches to viola.

Listen: Youtube
14301 Felix Falkner: Solitude (1990) 22'
for string quartet with bass clarinet
sFr. 26.00
(Stimmen: sFr. 14.-; € 9.50)
6618 Alfred Felder: Cercles (1992) 12'
for flute, clarinet, harp, string quartet and double bass
sFr. 26.00
6645 Alfred Felder: ... zu den Rändern ... (2002/03) 20'
Music
for viola, bass clarinet and piano
sFr. 23.00
(Stimmen: sFr. 20.-; € 13.50)
Based on a picture by the Lucerne painter Thyl Eisenmann. Delicate, subtle colour tones possessing an intensive force.

6652 Alfred Felder: 9ten Novemb. 1828 Tagebuch Robert Schumann (2009) 16'
Music
for clarinet, viola, piano and percussion
sFr. 23.00
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.

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.

6765 Hans Eugen Frischknecht: Quartett (2005) 11'
for flute and three strings (vn, va, vc)
sFr. 31.00
This work lives for the most part from the contrast between the flute and the three string instruments. The string players sit during the performance and the flutist stand behind them.

1460 Eric Gaudibert: Fantaisie concertante (1998/99) 16'
for pianoforte and Baroque string quartet
sFr. 49.00
This work in one movement is a homage to Carl Philipp Emanuel Bach. It contains quotates from the Fantaisies and from a Rondo by this composer. The pianoforte part is either in a free style, concert-like or very rhythmic and demands an advanced level of play. The quartet is written in traditional notation. The piano which was used for the world premiere was a copy of an instrument of 1815.

1486 Eric Gaudibert: Message(s) (2000/2004) 8'
for violoncello solo and string quartet
sFr. 26.00
This is an enriched version of 'Message' for violoncello solo. The solo part is exactly the same but divided up into four episodes. The viola also remains in the role it played in the first version. The notation for the strings is relatively easy.

1491 Eric Gaudibert: Images japonaises (2005) 18'
for horn and string quartet
sFr. 31.00
This work quotes a Haiku recited once by the hornist. It is inspired by the acidic sounds of Gagaku (music of the imperial court of Japan) and by the tense melismas of Nô. The string quartet's tempo is generally independent of the horn's. The five instrumentalist need to have a good command of micro intervals. The particular timbre of the quartet derives from researching the "fake" unisons.

1489 Eric Gaudibert: Au delà (2005) 15'
for flute, viola and violoncello
sFr. 26.00
The fourth string of the viola is lowered to G (one octave lower than the third string). The fourth string of the violoncello is lowered a minor third to A. Accessory: a bow for the flutist. At the end of the work the violist and the flutist both play on the strings of the violoncello. A discreet quotation appears in the middle of this trio: the beginning of the 'Gesänge der Frühe', op. 133 by Robert Schumann.

1502 Eliane Frances George: Adventure (1987) 4'
for soprano, viola and lute
sFr. 13.00
Texts: Everyday advertising and media language 'Adventure' is a journey in which joyful anticipation is transformed in a tumult, before man can again reach safe haven. With its sparse instrumentation, the piece requires a very sensitive approach. Sponsored by SME Lucerne.

1507 Eliane Frances George: Mirage (1991/92) 5'25
for soprano, oboe, viola, violoncello and cymbalum (or soprano and piano)
sFr. 21.00
(Parties en vente chez EMS)
A piece dealing with the transparency of life. An adventure into the essence of our elements: The moon - the soul - the sea - the sky - the guardian angel. The perfect man.

1510 Eliane Frances George: Gossamery Dreams (1993) 17'
for electronics, flute, violin, viola percussion, and dance (ad lib.)
sFr. 34.00
(Parties et bande en vente chez EMS)
A combination of live music, recorded material and dance. This piece evokes the inside of archetypal images, images that, throughout time and evolution, have expressed to us the hope of a world of communication that lies beyond our illusory daily lives.

8808 Rico Gubler: taglio (1996) 10'
for violin, violoncello and double bass
sFr. 18.00
8806 Rico Gubler: In Sand gemeisselt (1998) 6'
for viola, violoncello and percussion
sFr. 21.00
8812 Rico Gubler: FAL (1999) 7'
for bass clarinet / Eb clarinet, bassoon, horn, two violins, viola, violoncello and double-bass
sFr. 34.00
(Stimmen bei SME/EMS: sFr. 28.-; € 28.-)
Listen: Youtube Youtube
8817 Rico Gubler: ZIR (2000) 7'
for clarinet, violin, viola and violoncello
sFr. 26.00
8822 Rico Gubler: KOR (2000/01) 9'
for string quartet, tenor saxophone, percussion, bass clarinet and double-bass
sFr. 70.00
(Stimmen beim Komponisten)
8823 Rico Gubler: Ortswechsel, eine Winteroper (2001) 45'
19 songs
for clarinet, bassoon, horn, string quartet and speaker
sFr. 57.00
Text: Gert Loschütz.

8830 Rico Gubler: variationen für viktor, fiori per luigi (2003) 18'
for clarinet, bassoon, horn, violin, viola, violoncello and double-bass
sFr. 18.00
(Stimmen: sFr. 54.-; € 36.00)
Including the fourth movement of the septet op. 20 by Ludwig van Beethoven.

8832 Rico Gubler: IR (2003) 7'
for clarinet, viola and piano
sFr. 36.00
Alpsegen - Choral and Waltz - Choral and New Year's Song - Choral, Scottish and Choral.

8833 Rico Gubler: Turnaround (2005) 12'
for wind and string quintet (fl.ob.cl.bn/hn/2.1.1.1)
sFr. 60.00
Evening News - Summertime - Today Special - Meteo - Sonntag 03.17 Uhr MEZ - Breaking News.

14805 Ursula Gut: Postludium (1998) 17'
for violin, viola, violoncello and percussion
sFr. 23.00
14806 Ursula Gut: Klagegesang (1999) 15'
for alto, viola, bass clarinet and didgeridoo
sFr. 23.00
18005 Sarah Haessig: Die Geister am Mummelsee (2008) 9'
Melodrama
for voice, string quartet, flute and harp
sFr. 34.00
Over a poem by Eduard Mörike.

9009 Edu Haubensak: Tiefer & Tiefer (1983) 20'
for quintet (fl/vn.vc/pf)
sFr. 47.00
9030 Edu Haubensak: Schöner Wolf (1995) 8'
Duo
for alto saxophone and viola (scordatura)
sFr. 16.00
9041 Edu Haubensak: Locomozione (2000) 16'30
for violin, viola and percussion
sFr. 31.00
9248 Michel Hostettler: Khourounk Deghere (2000) 8'
Psalm 130 (129) in Armenian
for soprano solo, English horn and four strings
sFr. 23.00
(Voix chez EMS: sFr. 20.-; € 13.50)
Psalm 130 (129) in Armenian.

9274 Michel Hostettler: Trio (2009-2012) 17'
for violin, viola and violoncello
sFr. 36.00
Janus — Oiseau-lune — Petite pomme rouge.

15007 Martin Imholz: Potenz (Oratorium) (1989) 10'-15'
for clarinet, string quartet, speaker and scenery
sFr. 13.00
Four strophes with extremely differentiated parts, based on the principles of homoeopathy. For Joseph Beuys.

15008 Martin Imholz: Potenz II (1994) 10'-15'
for clarinet and string quartet
sFr. 16.00
Version for clarinet quartet

2202 Regina Irman: Hügel bei Céret (1983) 10'
for two violas and double-bass (other score for strings possible)
sFr. 34.00
A structure derived from a chain of pure intervals with no fixed pitch, but beginning low with a foundation tone, and later running freely. Intonation and listening carefully to each other is paramount in this piece. Graphic notation. Sponsored by SME Lucerne.

Listen: Youtube Youtube
15135 Rudolf Jaggi: Consolation (1978) 3'
for clarinet and string quartet
sFr. 13.00
(Stimmen: sFr. 10.-; € 6.60)
151136 Rudolf Jaggi: Urkalabulie (2013) 1'10
Instrumental trio
for two flutes and viola
sFr. 13.00
9306 Vladislav Jaros: Cum grano salis (1992) 14'
for wind quintet and strings
sFr. 26.00
A polyphonic tonal meshwork - fluctuations between chromatic and polypentatonic - irridescent sound surfaces. For chamber musical performances: wind quintet and string quartet.

9309 Vladislav Jaros: Lapis Miraculum (1993) 6'
for English horn (violin, viola, violoncello) and guitar
sFr. 13.00
A relatively easy to play, slow, transparent and colourful piece.

2502 Mischa Käser: tombeau (1985) 2'
for female voice, clarinet and viola
sFr. 13.00
A piece dealing with failure.

2653 Max E. Keller: Kreisen in den Tiefen (1988) 13'
for viola, violoncello and double bass
sFr. 18.00
Composed after the idea of monophonic lines with nuances in colour such as rotary movement and superimposition of rhythmical and melodic sequences.

2682 Max E. Keller: Rotondo (1999) 50'
for nonet (oboe, bassoon, trumpet, trombone, viola, double bass, accordion, piano and percussion)
sFr. 122.00
A composition in cooperation with Werner Bärtschi, Ulrich Gasser, Max Eugen Keller, Martin Sigrist and Peter Wettstein ('Komponistensekretariat' Zurich) with sixty segments, each fifty seconds long. Cyclic composition.

2692 Max E. Keller: Sans cesse (2001) 9'
for oboe, bassoon, horn, trombone, violin, viola, violoncello and double bass
sFr. 18.00
2697 Max E. Keller: Schnitt-Muster (2002) 7'
for flute, clarinet, piano, percussion and string trio
sFr. 18.00
Sometimes completely different musical types or structural samples are set aside each other in a similar way to the effect achieved while zapping through television channels, sharp cuts which seem at first random are intentional. Even the other meaning of ‘cut-sample’, the prefabrication of something based on a template or the stereotypical also receives acknowledgement through the mimicry of musical styles. In this manner, various fields of popular music are touched upon - even contemporary music cannot escape.

2698 Max E. Keller: Unione e tremolo (2002) 5'
for violin and viola
sFr. 16.00
Conceived for a world premiere in the Gobi desert, this piece must be extremely desert-proof. Unisono and octavel sound doubling forms the initial starting point. This, on the one hand side, turns a contemporary music taboo into material and brings the sound and the drifting apart of the duo into play on the other.

Listen: Youtube
2699 Max E. Keller: Inseln (2002) 7'
for viola and violoncello
sFr. 16.00
World premiere: October 2002 in Reutlingen.

26108 Max E. Keller: Kalkül und Emotion (2004) 4'
for saxophone quartet (satbar) and string quartet
sFr. 18.00
This work forms the intertwining, togetherness and conflict of the two quartets with calculated emotional intention. The security net provided by the rational prearrangements allows greater freedom and confidence in the emotional decisions made regarding concrete sounds, instruments, complexity and developments.

26112 Max E. Keller: nel pomeriggio (2006) 7'
for baritone saxophone and string quartet
sFr. 23.00
(Stimmen beim Komponisten)
A comfortable afternoon in a dusty café: As in times past, a string quartet plays a waltz that nobody listens to, a never-ending, continuously repetitive violin melody and an almost imperceptibly shifting accompaniment. Added to this is a completely inappropriate baritone saxophone - sometimes blending in, sometimes detached and sometimes obstinately defiant. Suddenly a bang! And everything collapses into shadowy ruins.

26113 Max E. Keller: Eingriffe (2006) 12'
for flute, clarinet, piano, violin, viola and violoncello
sFr. 34.00
(Stimmen beim Komponisten)
The initial material consists of two melodies and two rhythmical sequences; these can be varied causing their superpositions to result in a countless number of related musical forms. The recurring formal idea is the "undampered clew": a dense, wide mesh that thins out then squeezes itself into the centre of the sound space. In this clear, goal-orientated process, diversity is encroached upon: three instruments temporarily break out of the process, colourful accents engage with the continuous mezzo forte, the process stops momentarily, the residual viola tips over into the realms of noise etc.

26117 Max E. Keller: 12-06-07 (2007) 10'
for soprano, oboe, alto saxophone, horn and viola
sFr. 34.00
A text about statistically the most frequent causes of death in Switzerland takes its course and is interspersed by ten extremely varied newsflashes from real life, all of them objets trouvés from two daily newspaper of 12th June, 2007. The statistical information is set to music in a recitative manner with very few, primarily sustained notes. This is in contrast to the ten newsflashes whose music is composed with lively movements and a tangible pulse in various structures. The somewhat macabre text montage reflects the apparent phenomenon of the sometimes-grotesque contrast of various themes and texts, which seems to magically attract humans.

26118 Max E. Keller: concertare e improvvisare (2007) 14'
for flute, oboe, clarinet (bcl), violin, viola, violoncello and improvising piano
sFr. 26.00
This work contrasts notated music with improvised music. The sextet is extensively notated; the piano merely has several verbal suggestions. There are, however, also moments of improvisation in the sextet where, for example, each instrument initially and independently of the others repeats a phrase, which gradually changes following verbal instructions. Each begins this process with great intensity, playing as loud and as quickly as possible – very much in the style of early free jazz.

26120 Max E. Keller: Wie Kraut und Rüben (2008) 6'30
After the picture bearing the same title by Paul Klee
for oboe, bassoon, guitar and viola
sFr. 16.00
In the painting "Wie Kraut und Rüben" by Paul Klee transparent white dots are spread over a red background in irregular rows and create thereby a subtle pulsation within a regular grid. By painting over the dots with the brush, these dots turn into lines, spots and signs. This technique, which Klee called "pointillate", has been transposed to dots of sound, arranged in rows, superimposed in irregular, free rhythms by the four instruments.

26124 Max E. Keller: accent - figure - layer (2008) 58'
A project between improvisation and composition
for bass clarinet/tenor saxophone, percussion, piano, violin, viola and double bass
sFr. 26.00
The wide scope between improvisation and composition is calibrated. There are, however, no long notated passages but form sequences, short notated phrases as starting points, verbal instructions and graphics - right through to improvisation as one extreme. The musical material is based on the archetypal elements 'accent', 'figure' and 'layer' as mentioned in the title. The through-composed parts "unione e tremolo" for violin and viola (movement II) and the violin solo "NONONONO" (movement VII) are inserted between the six movements as the other extreme.

Listen: Youtube
26128 Max E. Keller: Wendepunkte (2009) 13'
for piano, percussion and string quartet
sFr. 34.00
For advanced amatuers. This piece was composed for the music Matura. The education of young people is the same for all until the Matura stage. Here, at the first major turning point in their lives, individuals must decide which direction they wish to take. Thus the 'turning point' became one fundamental concept behind this work, walking together and walking alone became another. They are processed on various levels - both on the quasi-motif and the formal.

26133 Max E. Keller: Peanuts (2009) 3'
for flute, clarinet, violin, viola and violoncello
sFr. 18.00
Peanuts are trivialities, in this case a 3-minute scherzo for the 30th birthday of the Theater am Gleis. The well-known bebop piece "Salt Peanuts" is quoted in this work.

26139 Max E. Keller: Gravuren (2010) 7'
for string quartet and percussion
sFr. 26.00
This composition is based on a process or a figurative concept: one or several lines are engraved into a surface, derived from the opposing string surface and percussion line. Surfaces and lines exist in the most varied of forms, colours, intensities and mutations thereof, and the contrast traverses various grades and forms. By utilising three cardboard boxes, the percussion section is also able to play flat rubbing noises that create an approximation of everyday sounds. The spectrum expands at various points throughout the work when totally different elements are suddenly introduced.

26145 Max E. Keller: Mutter Natur (2011) 9'
for soprano, flute, oboe, clarinet in B (basscl), percussion, piano, violin, viola, violoncello
sFr. 34.00
Texts: Friedrich Gottlieb Klopstock, Max E. Keller As disseminated throughout the Enlightenment, F. G. Klopstock also saw the beauty of nature as the work of God and exalted the creator with hymns of praise. When this is quasi secularised, we end up not a million miles away from today's 'green' understanding of nature being a force to be respected and preserved as the foundation of life. In this sense, a text montage of fragments from "Die Frühlingsfeier" and "Der Zürchersee" is set against current traffic reports - a conspicuous symbol of the modern destruction of nature. This conflict is played out as extremely contrasting base structures, which form the starting point of the musical process. Two of these structures initially undergo a block-like exposition, whereby a spoken traffic jam report is installed into a quiet and distant underlying sound highlighted by a noise surface. Transitions between one structure and another then take place to represent the process of degradation or destruction. The extremes are, however, never resolved as this would merely serve as an aesthetic reconciliation of what in reality remains oppositional.

26150 Max E. Keller: Das Tattoo blickt böse (2012) 10'
for soprano and string quartet
sFr. 29.00
Der Text ist von Rock-Lyrik inspiriert: direkt, realitätsbezogen und doch sprunghaft assoziativ. Er stellt die Frage, ob sich das Rebellisch-Unangepasste - wie es ein Tattoo ursprünglich manifestiert - sich nicht längst verschliffen und mit der Konsumwelt verbrüdert hat, deren Leerformeln in den Text einmontiert sind. Spielerisch-kritisch geht auch die Vertonung mit Elementen des Rock um, indem hinter der komplexen Welt zeitgenössischer Musik immer wieder ein Pulsieren und der rocktypische Backbeat wahrgenommen werden können, was gelegentlich die ganze Struktur erfasst, aber auch in dichten Klangfeldern versickert.

26151 Max E. Keller: Der Rutengänger (2012) 6'
for oboe, bassoon, guitar and viola
sFr. 23.00
Nach dem Gemälde "Landschaft mit dem Rutengänger"(1923) von Paul Klee im Kunstmuseum Winterthur (Auftrag musica aperta Winterthur). Paul Klee lässt einen stoppelhaarigen Rutengänger mit merkwürdig grossen, blauen Augen durch eine bizzar-kindliche Landschaft gehen. Über seinem Kopf ein riesiges, spiralförmiges Gebilde, in seinem Rücken ein fünfstöckiges Haus, ...... Die Komposition lässt soz. den Blick frei über das Bild schweifen, heftet sich an die eine und dann an die andere Form und übersetzt sie ziemlich direkt in musikalische Figuren und Prozesse. Diese werden dann neu, nach musikalischen Gesichtspunkten in einen Formablauf gebracht.

26155 Max E. Keller: mit Pfiff (2012) 2'
for flute, bass clarinet, piano, violin, viola and violoncello
sFr. 13.00
The leitmotif of this piece is indeed, as the title suggests (Pfiff = whistle), an instrumental whistle by the whole ensemble, which is followed in each case by a kind of echo - be it hard and loud accents or soft chords. (Trans.: mit Piff also translates as 'with flair' or 'with zing'). Dedicated to the Ensemble Theater am Gleis Winterthur for it's 20th anniversary.

26152 Max E. Keller: Keim - con sorpresa (2013) 12'
for flute clarinet (bcl), piano, violin, viola, violoncello
sFr. 34.00
This work develops from a simple kernel on the one hand, and displays surprising aspects on the other. And so the kernel grows exuberantly, quasi-uncontrolled, in unpredictable directions, notes remain surprising - like mistakes - enduring to form a surface of contrasts. Suggestions expand into preludes, after beats into codas; the surfaces become noise-like. These surfaces dominate from the middle part onwards, and the kernal fragments and repeats, simultaneously rising up as a pulse. In addition to the little surprises, four structures are spliced in, none of which have anything to do with the kernel: sorpresa.

9405 Marc Kilchenmann: Manie - oder von der Tröstlichkeit eines Volksliedes (1993/95) 3'
for 22 string instruments
sFr. 26.00
9408 Marc Kilchenmann: Divertimento barbaro (1995) 8'
for violin, viola and electronic recorded material
sFr. 31.00
19406 Burkhard Kinzler: Fragment & Entrückung (2011) 25'
für gemischten Chor, Traversflöte 2 Oboen, Fagott, 2 Violinen, Viola, Cello, Violone
sFr. 86.00
Text: Antonia Bertschinger. "Fragment" ist eingewoben in die Bachkantate "Herr, deine Augen sehen nach dem Glauben" BWV 102. "Entrückung" ist als Einzelsatz unter dem Titel "Paradies" aufführbar (10'). Besetzung von Entrückung: gemischter Chor, Traversflöte.

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.

2843 Alfred Knüsel: Sechs Miniaturen als Tafelmusik (1994) 10'
for recorder quartet, string quartet, harpsichord and voice
sFr. 34.00
2838 Alfred Knüsel: gezogene Klänge (2000) 20'
Six-part work block
for double bass solo and chamber ensemble (1(pic).1.1.1(cbn)/1.0.0.0/perc/pf/2vn.va.vc)
sFr. 65.00
2909 Josef Kost: Cinq Poèmes (1985/95) 11'
for flute, clarinet, bass clarinet, violin, viola and violoncello
sFr. 34.00
The sextet musicalises five poems through various means e.g. the metre offers a background of incessant rhythmic variation, the rhyming scheme dictates the form, even aspects of the content form the base of the instrumentation. Medium level of difficulty. Requires a conductor.

2915 Josef Kost: Un Quatuor d'airs dialogués (1999) 14'
for flute, violin, viola and violoncello
sFr. 34.00
This very difficult piece is based on the flute quartet by W.A. Mozart.

15201 Stephan Lauffer: Drei Quartettsätze (1995/96) 6'30
for flute, violin, viola and violoncello
sFr. 18.00
(Stimmen: sFr. 20.-; € 13.50)
Pastorale - Ballade - Tanz.

15202 Stephan Lauffer: Chinesisches Sprichwort (1997) 2'
for choir (SATB), flute, clarinet, three violins viola and violoncello
sFr. 21.00
(Stimmen: sFr. 16.-; € 10.50)
Text: Chinese "It is better to light a candle than to complain about the darkness."

15203 Stephan Lauffer: Drei Bicinien (1997) 10'
for violin and viola
sFr. 21.00
Allegro marcato - Tempo di Valse - Thema con variazioni.

15208 Stephan Lauffer: Tränen... Für die unschuldigen Opfer eines sinnlosen Krieges (2003) 4'
for viola and organ (possibly piano)
sFr. 18.00
15209 Stephan Lauffer: en dankopfergsang - dä hundertschti psalm (2003) 7'
for choir (SATB), oboe, viola, xylophone, percussion, organ and double bass
sFr. 29.00
(Instrumentalstimmen sFr. 20.-, € 20.-; Chorpartitur sFr. 16.-, € 16.-)
Texts: Bible / Liturgy Musical setting of the 100th Psalm.

15214 Stephan Lauffer: Choralphantasie "O Traurigkeit, o Herzeleid" (2007) 3'30
for viola and organ
sFr. 16.00
(inkl. Stimme)
15213 Stephan Lauffer: Niobes Klage (2006/09) 7'
for oboe, viola I and II, violoncello and double bass
sFr. 18.00
(Stimmen: sFr. 14.-; € 9.50)
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.

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.

18202 Cécile Marti: Streifen (2007) 9'
for quartet (vn, va, vib, pf)
sFr. 44.00
"Klänge streifen, Rhythmen streifen, Melodien streifen, Streifen schichten, Streifen verweben, Streifen verdichten. Streifend durch Klanglandschaften ziehen, streifend Klangfarben berühren,streifend Streifen streifen......." Two string instruments stand face on with two percussion instruments whereby the "percussion's" primary objective is to attempt tonal alignment with the strings. The vibraphone plays a coupling role between the two parties. Polar oscillating movements, stratifying and sometimes recolouring, flowing sound bands and flitting pulsations alternate throughout the piece.

7105 Valentin Marti: Euphotic Circles (1996) 12'
for soprano saxophone solo and ensemble (fl.cl/tpt/perc/pf/vn.va.vc.db)
sFr. 49.00
"The fascinating colours, the successful combination of the three wind players and their perfect connection with the string players are very well mastered from a formal point of view, they let arise an ensemble piece in the truest sense of the word." (S. Palm) World premiere: 31.7.97 in Klagenfurt by Janus-Ensemble Wien Robert HP Platz (conductor).

18205 Cécile Marti: Oktogon (2008) 12'30
for string quartet and horn quartet
sFr. 65.00
Four horns stand face on with a string quartet. These two close and self-contained sounding groups are led into a kind of duet. It begins with the construction of two sounds before developing into a back and forth oscillation between the two sounding groups. There follows a mutual attempt at tonal alignment and then fine variations where the groups enter an area of wavering tones. Re-colouring moments of the horizontal figurations or a hocket-like interplay between the two parties arises. The themetization of the instrument-specific base elements, the fifths tuning of the strings and the natural spectrum of the horn become the harmonic culture medium for the whole piece.

7120 Valentin Marti: Passages (2000) 12'30
for viola, piccolo/bass flute, baritone saxophone, guitar and percussion
sFr. 31.00
‘Passages’ is determined by a hugely formal changing process, beginning with block-like, vertical melodies of the solo viola, leading to a linear, horizontal notation with five equal instrumental parts. Quarter tonal. World premiere: 28..8.00 in St.Moritz by the Ensemble Cattrall under the direction of Marc Kissoczy.

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.

9713 Hans-Jürg Meier: at (1998) 14'
for alto flute, trombone, violin, viola and violoncello
sFr. 26.00
In the middle of the players sits a tub of water into which small pebbles are thrown. This triggers musical actions from the players.

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.

9727 Hans-Jürg Meier: die ganze übrige spanne ist nicht leben, sondern zeit (2001/02) 17'
for voice (alto), flute (pic, afl)bassoon, trumpet, vioal, violoncello and piano
sFr. 49.00
Text: Johann Peter Hebel, Hans-Jürg Meier Music to the story 'Unverhoffte Wiederbegegnung' by Johann Peter Hebel. Composed rhythmically open in parts.

9754 Hans-Jürg Meier: locus (2012) 14'
for melodica and objects, saxophone (bar, a) trombone, violin, viola, double bass and voice (soprano)
sFr. 52.00
A trip to and into the Pantheon in Rome in four parts: Tympanon, Pronaos, Innenraum, Opaion. The performance places the Endless Column in Targo Jiu by Constantin Brancusi into the Pantheon.

7202 Mela Meierhans: Abscheu vor dem Paradies (1991) 20'
for soprano, alto and viola
sFr. 49.00
Texts: Karoline von Günderrode, Christina Thürmer-Rohr

7203 Mela Meierhans: Vagabundinnen (1992) 13'
for flute, string trio, harp (or bass), piano and electronic recorded material (CD/DAT or MD)
sFr. 39.00
After a text by Christina Thürmer-Rohr.

7209 Mela Meierhans: Sec''ondes (1995) 12'
for wind quintet (fl.ob.cl.hn.bn), viola and piano
sFr. 31.00
9826 Laurent Mettraux: Duo, M. 554 (1997) 12'
for two violas
sFr. 18.00
Accentuates the timbre of the viola. Alternates between passionate, ruminant and energetic passages.

3712 Roland Moser: Nach deutschen Volksliedern (1984/90) 13'
Strophes from the 'Knaben Wunderhorn'
for soprano, flute, clarinet, violin, viola and violoncello
sFr. 34.00
Also in a version for mezzo-soprano and the same instrumentation. Mutations in the same edition. Seven songs: ABC-Schützen - Papiers Natur ist Rauschen - Ein Musikant wollt fröhlich sein - Ich sass auf einem Birnenbaum - Das Vöglein Butschli Butschli Bu (Brentano) - Letzter Zweck aller Krüppelei - Ich hört ein Sichlein rauschen.

3802 Thomas David Müller: Trauerarbeit (1978) 7'
for viola, double-bass, harp, piano and percussion (6 players in total)
sFr. 18.00
Quite quiet music, easy to perform.

3823 Thomas David Müller: Howl (2000) 16'
for viola, violoncello, clarinet, piano counter tenor (or alto) CD player and short wave radio (possibly 1 actor)
sFr. 34.00
Text: Allen Ginsberg Alternating score and part notation. The solo voice is simple to intermediate. The interplay is not time-bound throughout.

9908 Maria A. Niederberger: Inferences (Rückschlüsse) (1985) 8'
for fl(afl).cl(bcl)bn/2perc/pf/vn.va.vc
sFr. 42.00
Accentuated piano part.

9909 Maria A. Niederberger: Tandem Points (1993) 9'
for flute, oboe, bass clarinet, horn, two percussion, violin, viola, violoncello and double bass
sFr. 60.00
Accentuated horn and percussion.

9910 Maria A. Niederberger: Sonnenspur: Tonbilder aus Kalifornien (1996/97) 11'
for flute, oboe, clarinet, bassoon, two percussion, piano, string quartet and double bass
sFr. 83.00
Fantasy, prelude, I. Nächtlicher Kojotentanz, II. Morgensonn’ das Meer enthüllet, III. Purple Horses, IV. Yosemite. Accentuated percussion.

9919 Maria A. Niederberger: Concerto for Oboe and Instrumental Ensemble (1999/00) 20'
for oboe solo, flute (piccolo), clarinet, horn, harp, two violins, viola, violoncello and double bass
sFr. 57.00
This piece is suitable for oboe and ensemble, but oboe and a small orchestra is preferable. The oboe is very demanding but the harp and horn also play important parts.

4009 Daniel Ott: 17 1/2 (1995) 25'
Scenic composition
for 4 guitars, 2 mandolins, dulcimer, viola, 2 double bass, saxophone, trombone, tuba, accordeon and three percussion instruments
sFr. 55.00
Spatial composition based on the sound memories of the musicians/singers.

4309 Ernst Pfiffner: "... da der Tod..." (1991/93) 25'
for monophonic choir, alto, orator, flute, English horn, viola, violoncello and small percussion
sFr. 55.00
Text: Karl Mittlinger and W.A. Mozart Work series A: Music for concerts.

4310 Ernst Pfiffner: "... ahnten sie nicht" (1992) 16'
for alto, flute, English horn, viola, violoncello, small percussion
sFr. 49.00
Text: Karl Mittlinger Work series A: Music for concerts.

10031 Kit Powell: Sextett (2000) 11'
for clarinet, bass clarinet and string quartet
sFr. 39.00
(Stimmen bei SME/EMS: sFr. 38.-; € 38.-)
10207 Michael Schneider: Über verwunschenen Ebenen (1994/95) 7'
for chamber ensemble (0.1.1.1/1.0.0.0/1perc/2.1.1.1)
sFr. 34.00
This piece evokes, magical, mystical (sound) landscapes - mostly in space notation.

10221 Michael Schneider: Shark Turtle Ray (1998/99) 7'
for oboe, viola and guitar
sFr. 21.00
Three imaginary images after Paul Klee. As far as interpretation is concerned (multiphonics, quarter tones), the passages are demanding and alternate between rugged and meditative sound gestures.

16306 Felix Schüeli: Sieben Geheimnisse (2000/01) 8'
for mixed choir, orator, CD playback and ensemble (piano quartet and one percussionist: marimbaphone, vibraphone, large drum, small drum, flexatone, whip, cipher)
sFr. 34.00
(Chorstimmen: sFr. 14.-; € 14.-; Instrumentalstimmen: sFr. 20.-; € 20.-)
Text: Commentary from the French national football team winning the world championships: "Aux larmes citoyens!", "La victoire est en eux!", "Ils iront tous aux paradis!"

16318 Felix Schüeli: Prélude, Scherzo, Choral und Fuge (2006) 11'
for flute, violin, viola and violoncello
sFr. 42.00
(Stimmen: sFR. 30.-; € 20.-)
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.

4819 Andreas Stahl: as a kind of echo (1985) 28"
for flute and viola
sFr. 13.00
Albumleaf based on a bar from the Concord Sonata by Charles Ives.

17008 Raphael Staubli: Dionysos und Apollon (1995)
for viola, lyre, overtone singing and eurythmics
sFr. 16.00
4907 Mathias Steinauer: Undici duettini, op. 11.1 (1991) 18'
for violin and viola
sFr. 23.00
Very intimate music. Individual duets can be performed in any combination. Varying degrees of difficulty.

17107 Bruno Stöckli: Bribes (2001) 10'
for viola, violoncello, trombone, tuba and piano
sFr. 34.00
17111 Bruno Stöckli: Kikakokú (2009) 14'
2 recitatives + arias
for soprano, mezzo-soprano, flute, clarinet, violin, violoncello and piano
sFr. 55.00
Texts: Paul Scheerbart, Oskar Pastior, Bruno Stöckli Uses the quarter-tone system.

5224 Balz Trümpy: Luzifer (1973, rev. 1975) 18'
for string quartet and double bass
sFr. 34.00
The musical development of the string quartet is in conflict with the 'hecklings' of the double bass.

5219 Balz Trümpy: Anima (2. Fassung) (version 2) (1977/78) 17'
for high voice, clarinet, horn, string quartet and piano
sFr. 68.00
Texts: Anonymus, Heinrich von Morungen, Walter von der Vogelweide This three-part work is based on texts from a minnelied. The vocal line, which uses various sound modulations, is harmonically, melodically and rhythmically interwoven with the accompaniment.

5242 Balz Trümpy: Passacaglia und Walzer (1997) 7'
for tuba, string quartet and piano
sFr. 23.00
A series of variations over a bass result in a cathartic waltz.

5257 Balz Trümpy: Wendungen (2005) 15'
Seven duos
for two violas
sFr. 31.00
Gespräch (1') Uneins (1'40) Vexierspiegel (0'50) Wechselgesang (2') Schatten (1'20) Fantasie (5'30) Kreisel (2')

Listen: Youtube
5289 Balz Trümpy: Lieder der Ferne (2007) 16'
Vier Gesänge
für Tenor, Bratsche und Klavier
sFr. 52.00
Eduard Mörikes Poesie fasziniert mich durch ihre Doppelbödigkeit und ihre schillernde Stimmungslage, die sich zwischen romantischer Verklärung, verinnerlichter Gemütlichkeit und dämonischer Abgründigkeit bewegt. Sie kommt der klanglichen Erweiterung des Klavierliedes durch die Bratsche dadurch entgegen, dass dieses wunderbare Instrument eine "Vertiefung" des Geigenregisters im Sinne der Hinwendung zum Schattigen, Erdigen und Sinnlich-Körperhaften darstellt.

5413 Daniel Weissberg: Duett (1992/97) 5'
for clarinet and viola
sFr. 13.00
Tonally sensitive, soft concert piece.

10709 De-Qing Wen: Traces II (1996) 12'
for nine instruments (fl.cl/2perc/pf/vn.va.vc.db)
sFr. 39.00
Chinese calligraphy is the essence of Chinese art. For me personally, it stands as an original score. From written characters, sounds emerge. With the words, music is created.

10721 De-Qing Wen: Silk Bamboo (2001) 10'
for flute and string quartet
sFr. 47.00
(Matériel chez le compositeur)
This piece is inspired by ‘Sizhu’ (silk and bamboo). ‘Sizhu’ is a traditional Chinese musical form used popularly in Central-East and Southern China. The silk bamboo ensemble consists of "soft" instruments with si silk strings (pipa, erhu, zheng) and zhu bamboo instruments (bamboo flutes, dizi). In this work the composer tries to integrate the ideas of traditional Chinese music with modern Western composition techniques. The silk is soft - ‘Yin’ (feminine): pianissimo and lento. The bamboo is hard - ‘Yang’ (masculine): fortissimo and allegro. Although the instruments, the musicians, the way of composing and time have all been transformed the spirit of the music and the Chinese emphasis of the musical language remains unchanged.

10727 De-Qing Wen: Wind and Snow in the Night (2002) 8'
for pipa (Chinese lute) and string quartet
sFr. 23.00
10741 De-Qing Wen: Sound Gone to The Heaven (2009) 8'
for viola solo and six violas
sFr. 44.00
This piece is dedicated to my beloved elder uncle. My elder uncle had been offering the five children in my family with parental care and financial help since my father died early when I was young. Now he has gone to the heaven but his figure seems even greater and clearer just as sound is while rising high up the earth, revealed by the Buddha. In this piece, harmonic series sequence based on the note of C serves as a symbol of death and heaven, and subharmonicity series sequence based on the note of E as a symbol of life and the earth. Interpolation is also used to make additions, blending and transition. Added to this, the spectrum music technique and the music-making software Open Music help me discover a fresh way to express my emotions.

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.

10807 Martin Wendel: Quartettino für Oboe, Violine, Viola und Violoncello, op. 10 (quartetino for oboe, vioolin, viola and violoncello, op. 10) (1957/80) 8'
sFr. 29.00
Three movements as steps in a metamorphosis of a melodic material which stays strongly connected on the level of intervals.

10811 Martin Wendel: Railways, op. 30 (1975/82) 14'
Trio
for clarinet, viola and piano
sFr. 42.00
Bits of this four-movement chamber music piece were drawn-up on train journeys, hence the title.

5804 René Wohlhauser: CI - IC (1985) 2'
Ergon 11
for flute and viola
sFr. 13.00
A miniature with an extremely dense timing and concentrated structural complexity, meant as a metaphor for the fury of the disappearance of short and intensive listening experiences.

Listen: Youtube
8202 Alfons Karl Zwicker: Nachtduett (1989/90) 20'
Cycle with poems by Georg Trakl
for mezzo-soprano, bass, flute, harpsichord, four violins, viola, violoncello and double bass
sFr. 83.00
An erotic, sticky piece that takes the incestuous relationship between Trakls and his sister as its theme. 'Nachtduett' is a series of scenic poems predestined for the stage.

8204 Alfons Karl Zwicker: Erfrorene Träume (1990/92) 29'
Cycle based on poems by Josef Kopf
for mezzo-soprano and ensemble (fl(pic).cl(bcl)/hp.pf.hpd/2vn.va.vc.db)
sFr. 78.00
Large-scale song cycle in which the metaphors of ice, cold and freezing are centralised. The leading part for the mezzo-soprano is extremely demanding in the emotional and technical areas. (Vocal range e# - b").

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.


Viola with orchestra
10804 Martin Wendel: Konzert für Viola und kleines Orchester, op. 11 (concert for viola and small orchestra, op. 11) (1958/78) 16'
(va solo; pic.1.ca.0.0/1.1.0.0/xyl/str)
sFr. 55.00
Especially written for the dominating solo instrument.


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