Violoncello
solo
sFr. 12.00 , 8.00
This piece is occupied with the discovery of the sonorous sounds of the string instruments (Hermes resp. Mercury discovered a rich sound, using the shell of a tortoise as a resonance chamber). Beginning with poorly resonating tones, and using appropriate playing techniques, the grand tone of modern instruments gradually develops.
sFr. 10.00 , 6.60
1st Movement: 1'10 2nd Movement: 12" 3rd Movement: 10" and 30" An attempt to propagate the compositional perspective of Haydn.
sFr. 10.00 , 6.60
Dedicated to Martina Schucan. First performed in Menorca, 3rd November, 2001 by Martina Schucan. Harmonic extremeties effect a continual toggeling between tension and relaxation. At the end remains the faint idea of the vicissitude at the beginning, now altered into a persistent and intensified dimension.
sFr. 12.00 , 8.00
In "...für und für" the music leaves the familiar tempering and linear time form. Ostensible impurity can, thereby, suddenly engage in an alien harmony. Rhythmically pulsating music, nice for the duration.
sFr. 10.00 , 6.60
A very diversified and animated work with a large cello solo (Er-Innerung 4 1/2), which can also be played as an individual piece. Commissioned by the International Music Festival, Lucerne.
sFr. 16.00 , 10.50
The basic idea of this piece is to position opposing musical elements side by side, allowing them to be interpreted as contrasting (e.g. tone - noise, cycle - anti-cycle, homophony - polyphony etc ). These various dimensions and their relationship to each other are continuously redefined in the five parts of this piece. It is important, however, that each plays a leading roll in one of the parts.
sFr. 14.00 , 9.50
A re-working of a 1966 piece. This series of variations runs uninterrupted through twenty-one episodes. Scordatura: h.g.d.a#. The score exists in two versions: a sounding and a fingering. Precise rhythmic notation with standard playing techniques - quarter tones used in the lower register.
sFr. 12.00 , 8.00
sFr. 10.00 , 6.60
sFr. 12.00 , 8.00
For humming and singing cellist, contains partly very obsessive passages. Singing partly in quarter-tone, requires a good ear and attention to detail.
sFr. 10.00 , 6.60
sFr. 10.00 , 6.60
Seven short interwoven sections expressing various moods.
sFr. 10.00 , 6.60
sFr. 12.00 , 8.00
sFr. 18.00 , 12.00
sFr. 10.00 , 6.60
Fine tonal shapes are sculpted out of crude blocks. A piece with a high physical intensity (tremolo). World premiere: 28.04.97 in Vienna by Attila Pasztor.
sFr. 10.00 , 6.60
One can twist and turn it as one will, the eye will always read the surface as a spatial object. With reference to the floor pattern of the church of Santa Maria dei Miracoli in Venice.
sFr. 12.00 , 8.00
Nine parts divided into forty-five segments, all of which can be combined to any individual formal process. The whole is almost exclusively in the first register whereas the bowing is differentiated. Unusual playing techniques are involved. Can be performed on an intermediate or virtuosic level.
sFr. 12.00 , 8.00
The non-traditional note heads in the notation change with the way of playing (pii, col legno, etc.).
sFr. 14.00 , 9.50
Work series A: Music for concerts.
sFr. 12.00 , 8.00
A. Virtuoso piece. Caution: strings may break during intensive performance. B. Music film: b/w, 16mm, 11', production: Martin Rengel, cello: Conradin Brotbeck (film available on loan).
sFr. 14.00 , 9.50
Four expressive areas - combined organically or alternating abruptly - are set against each other.
sFr. 10.00 , 6.60
sFr. 10.00 , 6.60
sFr. 16.00 , 10.50
sFr. 12.00 , 8.00
for violoncello solo
sFr. 18.00 , 12.00
'Entropie' (ital. entropia) Is the measure of increasing disorder in a closed system. Entropy increases in any natural concurrent process. Interesting from a compositional point of view is the autodynamic process of the disorganisation of a strict order to growing "disorder", almost immediately creating new legalities of modes of action in the context. The composer becomes the observer of the drift in the piled up energies inherent to the material.
piano and instrument
sFr. 30.00 , 20.00
Fragments II is the creation of a rather contemplative character. The cello writing bears the same characteristics as in Fragments I. On the other hand, here the piano does not always crave dialogue, but is busy colouring the sound field, adding rhythm and structure. It is used in a traditional way, i.e. without preparation and using only the keyboard.
sFr. 18.00 , 12.00
Highly virtuosic for both instruments.
for violoncello and piano
sFr. 22.00 , 14.50
(Cellostimme bei SME: Sfr. 18.-; 12.00)
An attempt to produce in music the secretive and magic text of the Indian ritual 'Night Chant'.
sFr. 24.00 , 16.00
A fantasy about the opera 'La Traviata' by Giuseppe Verdi.
sFr. 10.00 , 6.60
(inkl. Violin-, Violoncello-Stimme)
sFr. 10.00 , 6.60
sFr. 12.00 , 8.00
(inkl. Stimme)
sFr. 10.00 , 6.60
Based on 'Zwei Lieder' (1957/69). Consolation - Tristesse
sFr. 10.00 , 6.60
(inkl. Stimme)
sFr. 26.00 , 17.00
(Partie séparée: sFr. 12.-; 8.00)
An epic and dark work with an elegiac movement in the middle part.
sFr. 38.00 , 25.00
Technically difficult; a series of character pieces.
sFr. 16.00 , 10.50
sFr. 20.00 , 13.00
In a lyrically soft manner this music copes almost completely without the typical violoncello cantilenas. Instead combinations of intervals full of tension are used in order to accentuate the active gestures in all three aspects of a whole.
sFr. 26.00 , 17.00
sFr. 16.00 , 10.50
for violoncello and piano
sFr. 18.00 , 12.00
'Flight of thought' is a term used in psychiatry and means a mad, neurotic drifting of thoughts. The procedure of the slowed intuitive improvisation which declines all planable construction (like the crisis of analytical rationality), should lead to the formal categories of order dissolving into a flow and allow space for a new audio-experience.
Violoncello with instruments
sFr. 38.00 , 25.00
(Stimmen: SME sFr. 70.-; 47.-)
sFr. 38.00 , 25.00
(Stimmen SME: sFr. 120.-; 80.00)
sFr. 36.00 , 24.00
These five short movements require a very sensitive interpretation - already obvious from the detailed notation. Composed in an atonal style, it features rhythmic and articulatory differentiated structures.
sFr. 22.00 , 14.50
Diálogo de las flores - Danza de las abejas - Resurección de los árboles.
sFr. 26.00 , 17.00
Texts: Antoine de Saint Exupéry, Alfonsina Storni, Beaucarné, Théophile Gautier Passarelles dans a nuit - Maisons alignées - Une triste boutique - Les batôns.
sFr. 24.00 , 16.00
Opposing elements growing increasingly apart. Rights of performance reserved.
for singing voice (mezzo-soprano), clarinet, violin, violoncello and piano
sFr. 26.00 , 17.00
Texts: Sarah Kirsch The line skips by Sarah Kirsch turn the readers into stumblers. Stumblers have to re-read the text if they want to understand its content. They gain, thereby, unexpectedly in time and fall to a deeper level.
for orator, solo soprano, violoncello and ensemble (fl.cl/perc/pf/vn.vc)
sFr. 54.00 , 35.50
(Stimmen beim Komponisten)
Texts: Sarah Kirsch, Sappho, Michel Serres, Stefan Buri, Hans Magnus Enzensberger Commissioned by and with the support of 'Pro Helvetia', (the Swiss culture foundation) for the 50th anniversary of the Zurich Chamber Voice Choir. First performed in Zurich on the 20th November, 2001 by the Chamber Voice Choir Zurich, Martina Fausch, Martina Schucan and the Ensemble for New Music Zurich (Bernhard Erne). A piece dealing with the proximity of music and speech, the border area between commutation and murmuring, exactly there where the word is weak and the music has already begun.
sFr. 16.00 , 10.50
(Stimmen: sFr. 18.-; 12.00)
Music based on the duo op. 54, Lettre F 2e livre by Jacques Offenbach. First performed in St Gallen, 8th April, 2002 by Martina Schucan and Imke Frank. Anhaltend can be played independently or as the third movement of the duo op. 54, Lettre F 2e livre von Jacques Offenbach, whereby the original third movement is replaced or played as the fourth. Music sounds exactly there where we least expect it and always different to how we expect it.
sFr. 20.00 , 13.00
Through the elongation of time in the deeper and darker register, the music (or rather the perceiving ear) nestles in an intermediate area between process and static, as if observed through a magnifying glass. From the abundance of innumerable possibilities emerges the presence of a singular transition.
sFr. 22.00 , 14.50
sFr. 12.00 , 8.00
Based on a poem by Giovanni Pascoli.
sFr. 24.00 , 16.00
sFr. 42.00 , 28.00
sFr. 20.00 , 13.00
sFr. 42.00 , 28.00
sFr. 18.00 , 12.00
(Parties: sFr. 12.-; 8.00)
For the 'Trio Coriolan'.
sFr. 14.00 , 9.50
sFr. 34.00 , 22.50
Texts: Japanese texts Six short Japanese three-liners. The choir part is advanced but can be performed by good amateurs.
sFr. 26.00 , 17.00
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.
sFr. 22.00 , 14.50
No. III is a markedly beautiful piece to commemorate Berio's 'O King'. No. I and II are confined to the piano and a melodic instrument of choice.
sFr. 20.00 , 13.00
A single musical idea or gesture is explored in quasi slow motion.
sFr. 24.00 , 16.00
Texts: Anna Maria Bacher Four-seasons poems by the poet Anna Maria Bacher from Pomatt in the Italian version; short, transparent pieces.
sFr. 32.00 , 21.00
Texts: Robert Walser The instrumental and vocal parts are, for the most part, written independently of each other. Aspires to echo the poems and life of Robert Walser.
sFr. 52.00 , 34.50
Texts: William Blake Written for an improviser/reader, these pieces attempt to recreate a fantasy world in honour of some of William Blake's poems.
sFr. 54.00 , 35.50
Texts: Jacques Roman Three main 'characters'. A text by Jacques Roman based on African rhythm organisation and inspired by the solo fragments of jazz saxophonist Charlie Parker.
sFr. 44.00 , 29.00
Texts: Wilhelm Busch Musical version of the adventures of those two lovable rascals
sFr. 50.00 , 33.00
Texts: Fernando Pessoa Eight scenes from the poems of Portuguese writer Fernando Pessoa (1888-1935). The Soprano sings and recites in Portuguese, German and French. Very demanding for all performers.
sFr. 10.00 , 6.60
sFr. 20.00 , 13.00
(Stimmen: sFr. 14.-; 9.50)
for soprano, violoncello and organ
sFr. 24.00 , 16.00
Texts: Bibel / Liturgie, Johann Wolfgang von Goethe, W.A. Mozart, Richard Scheid
sFr. 20.00 , 13.00
sFr. 30.00 , 20.00
Texts: Mani Matter 1. "wenn doch nume die..." (4) 2. "oberi und underi" (3) 3. Ballade vom Nationalrat Hugo Sanders (5) 4. us emene lääre Gygechaste (5) Four of Mani Matters timeless texts, this time a little different. Can be performed and ordered singularly (sFr. 14.-, 10.-, 12.-, 14.-)
sFr. 40.00 , 26.50
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.
sFr. 20.00 , 13.00
sFr. 12.00 , 8.00
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.
sFr. 18.00 , 12.00
sFr. 10.00 , 6.60
Composed for amateurs. Very short parts allow for different playing techniques. These parts can be 'self-assembled' based on certain rules of play.
Chamber music in fine sound shades. Space notation.
sFr. 30.00 , 20.00
A multi-part composition with contrasting parts.
sFr. 24.00 , 16.00
The notation for the ensemble is traditional but in space notation for the harpsichord. The last section is notated on separate sheets with momentary points of reference. Standard playing techniques. The harpsichord needs an 8', 4' and lute stops.
sFr. 14.00 , 9.50
Texts: Giambattista Marino, Catharina von Greiffenberg Extracts of the Concerto lirico. 1) " Miro, rimiro " for soprano and violoncello (or accordion) Lyrical air on a poem by Giambattista Marino. 2) " Schwing dich, meine Seel" for soprano and percussion ad libitum Large dramatic air on a poem by Catharina von Greiffenberg. The percussion comprises a tam tam and six temple blocks.
sFr. 24.00 , 16.00
This work is based on melodic elements and rhythms taken from a 12th century chanson and a 14th century estampie. It demands a good technique for the high and muted notes. The flute player also uses the bass flute. At the end the 4th string of the cello is lowered by a fourth.
sFr. 38.00 , 25.00
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.
sFr. 18.00 , 12.00
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.
sFr. 20.00 , 13.00
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.
sFr. 24.00 , 16.00
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.
sFr. 20.00 , 13.00
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.
sFr. 16.00 , 10.50
(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.
for violin, celoo and two clarinets
sFr. 24.00 , 16.00
sFr. 14.00 , 9.50
sFr. 16.00 , 10.50
sFr. 26.00 , 17.00
(Stimmen bei SME/EMS: sFr. 28.-; 18.50)
sFr. 20.00 , 13.00
sFr. 38.00 , 25.00
(4 Suiten für Viktor: sFr. 94.-; 63.00)
Quartet for bass clarinet, violin, violoncello, and piano [vetro] (3') Quintet [incontro] (2') Quartet for clarinet, baritone saxophone, violin and violoncello [with bundled energy] (1'45) Solo violin with accompaniment [like eternally broken glass] (4') Quintet II [Melody granulated] (2'30)
sFr. 36.00 , 24.00
(4 Suiten für Viktor: sFr. 94.-; 63.00)
Duo for violin and violoncello [battuto roughly a dance] (2) Trio for clarinet, soprano saxophone and violin [approximately] (215) Duo for clarinet and violoncello [mute ballet from billiard balls] (2) Solo for clarinet (with additional instrumentation) [uneasy, murky] (2) Trio for violin, violoncello and piano [inside pulsating] (2) Quartet for bass clarinet, baritone saxophone, violoncello, and piano with poco solo violin [conspicuously quiet] (2)
sFr. 38.00 , 25.00
(4 Suiten für Viktor: sFr. 94.-; 63.00)
Trio for clarinet, tenor saxophone, and violoncello [too coarsely assembled, rupturing] (2') Quartet for clarinet, tenor saxophone, violin and piano [inert, of stone and columns] (2') Quintet [somewhat course, in the interstice] (1'45) Duo for violoncello and piano [reserved, singing I] (2') Duo for clarinet and tenor saxophone [linear, with defiance] (2'30) Duo violin and piano [reserved, singing II] (2')
sFr. 36.00 , 24.00
(4 Suiten für Viktor: sFr. 94.-; 63.00)
Quintet [Impulse, a choice] (2') Solo for violoncello [circling the resistance] (2'45) Quartet for clarinet, tenor saxophone, violoncello and piano [muted screaming] (2') Duo for baritone saxophone and violoncello [deep ground] (2') Duo for clarinet and piano [... and a waltz] (1'45) Duo for violin and soprano saxophone [exercise for the death of agogics] (2'30)
sFr. 54.00 , 35.50
(Stimmen beim Komponisten)
sFr. 40.00 , 26.50
(Spielpartitur)
for clarinet, bassoon, horn, string quartet and speaker
sFr. 44.00 , 29.00
Text: Gert Loschütz.
sFr. 28.00 , 18.50
sFr. 14.00 , 9.50
(Stimmen: sFr. 54.-; 36.00)
Including the fourth movement of the septet op. 20 by Ludwig van Beethoven.
sFr. 46.00 , 30.50
Evening News - Summertime - Today Special - Meteo - Sonntag 03.17 Uhr MEZ - Breaking News.
sFr. 14.00 , 9.50
sFr. 18.00 , 12.00
for voice, string quartet, flute and harp
sFr. 26.00 , 17.00
(Stimmen bei SME: sFr. 44.-; 30.-)
Over a poem by Eduard Mörike.
sFr. 36.00 , 24.00
for flute (bfl), clarinet (cl-A), violin and violoncello
sFr. 18.00 , 12.00
sFr. 32.00 , 21.00
sFr. 10.00 , 6.60
Sonnets by Louise Labé. - Baise m'encore - Je vis, je meurs
for soprano solo, English horn and four strings
sFr. 18.00 , 12.00
(Voix chez EMS: sFr. 20.-; 13.50)
Psalm 130 (129) in Armenian.
sFr. 26.00 , 17.00
(Voix chez EMS: sFr. 26.-; 17.-)
sFr. 10.00 , 6.60
Four strophes with extremely differentiated parts, based on the principles of homoeopathy. For Joseph Beuys.
sFr. 12.00 , 8.00
Version for clarinet quartet
sFr. 12.00 , 8.00
A process from a fixed-pitch grid off into unexplored parts of intonation.
sFr. 10.00 , 6.60
sFr. 16.00 , 10.50
sFr. 10.00 , 6.60
(Stimmen: sFr. 10.-; 6.60)
sFr. 18.00 , 12.00
sFr. 20.00 , 13.00
A polyphonic tonal meshwork - fluctuations between chromatic and polypentatonic - irridescent sound surfaces. For chamber musical performances: wind quintet and string quartet.
sFr. 10.00 , 6.60
A relatively easy to play, slow, transparent and colourful piece.
sFr. 28.00 , 18.50
A varied music full of life with an Hungarian rhythm. Instrumentation: 1 - fl.bn.hp 2 - fl.bn.pf 3 - fl.bcl.pf 4 - v.vc.pf
sFr. 26.00 , 17.00
A spirited, rhythmical first part leads to a calm, poetic middle part broken only by motives from the first part. The sultry reprise and coda finish this piece - rousing in every aspect.
sFr. 14.00 , 9.50
A humming cellist with large lung capacity is required here. Very demanding piece. Clarinets in Bb, A and bass clarinet.
sFr. 16.00 , 10.50
"A trio-piece of coagulate sound, quasi-captivated nerviness with bursts of desperate fury" (Frank Schneider on the world premiere).
sFr. 14.00 , 9.50
Composed after the idea of monophonic lines with nuances in colour such as rotary movement and superimposition of rhythmical and melodic sequences.
sFr. 30.00 , 20.00
Texts: Franz Hohler, Hansjörg Schneider, Jürg Schmied, Sascha Anderson, Max E. Keller Eight texts, different in kind ranging from poetry to excerpts from military regulations. Theme: order fetishism as a contrast to a chaotic, self-destructive world. Authors: Franz Hohler, Hansjorg Schneider, Jürg Schmied, Sascha Anderson, Max E. Keller.
sFr. 18.00 , 12.00
Text: Kurt Marti The poems are taken from different collections to form a cycle, the inner and outer components of which convey particularly Swiss characteristics: weighty burden, efficiency, precision as a substitute for happiness and indifference. The soprano's phraseology encompasses both recitative and flamboyant melodies.
sFr. 16.00 , 10.50
A dense, permanently shifting net of relations between instruments: one instrument acts equal similar, contrary or concomitant to another.
sFr. 14.00 , 9.50
This work is based on the interactions of the instruments in such a manner that the very close combination of twos (twins) are at the centre and with which one, two or no free instruments can consort. The musical process is born of a dialectic between the above mentioned network and its realisation through three almost archetypal musical base models.
sFr. 14.00 , 9.50
sFr. 14.00 , 9.50
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.
sFr. 12.00 , 8.00
World premiere: October 2002 in Reutlingen.
sFr. 14.00 , 9.50
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.
sFr. 18.00 , 12.00
(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.
sFr. 26.00 , 17.00
(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.
sFr. 20.00 , 13.00
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.
sFr. 16.00 , 10.50
The improvisational models "Kartenspiel", "Zündschnur", "Sonntagnachmittag", "Wasserfall" and "Gewitter" are first and foremost to be understood as individual concepts. Duration and instrumentation remain open. The pieces can be realised using normal instruments or everyday objects (plastic bags, paper, pan lids, table tops, pieces of wood, pieces of metal, cutlery, crockery etc.). "Wasserfall" and "Kartenspiel" are possible exceptions as the graphics require pitch and pitch modulation, but even this can be realised using carnival market instruments, lotus flutes or the voice as well as conventional instruments. "Gewitter" can also be the framework of a whole form: One of the other concepts can be played during a stop under a balcony etc.. "In Regen, Blitz und Donner" is ultimately a through-composed version of the preceding possibility where three further instruments are added.
sFr. 20.00 , 13.00
sFr. 34.00 , 22.50
Text: Spanish (Christof Jung) A seven-part cycle based on anonymous Spanish verse, translated by Christof Jung.
sFr. 30.00 , 20.00
Text: Henriette Hardenberg Cycle of three songs.
sFr. 26.00 , 18.00
for double bass solo and chamber ensemble (1(pic).1.1.1(cbn)/1.0.0.0/perc/pf/2vn.va.vc)
sFr. 50.00 , 33.00
for violoncello, double bass and trombone
sFr. 20.00 , 13.00
1. RetroSehnsucht 2. Assoziationsfelder 3. Environment, komplementär
sFr. 26.00 , 17.00
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.
sFr. 26.00 , 17.00
This very difficult piece is based on the flute quartet by W.A. Mozart.
sFr. 26.00 , 18.00
A single movement in eleven parts with play-back sound commissioned by the 'Luzerner Kammermusiker'. The recorded material is comprised of text fragments from Paul Celans prose 'Gespräch im Gebirg', read by the author; fragments of a prayer-call from canton Uri, an English nineteenth century hymn and Hebrew lyrics from Bialik. This piece takes Jewish identity in German speaking areas as ist theme.
sFr. 14.00 , 9.50
(Stimmen: sFr. 20.-; 13.50)
Pastorale - Ballade - Tanz.
sFr. 16.00 , 10.50
(Stimmen: sFr. 16.-; 10.50)
Text: Chinese "It is better to light a candle than to complain about the darkness."
sFr. 14.00 , 9.50
(Stimmen: sFr. 14.-; 9.50)
sFr. 16.00 , 10.50
(Stimmen bei SME: sFr. 30.-; 20.00)
This is actually a prelude for Messiaen's "Quatuor pour la fin du temps" and written for the same instrumentation. It does, however, stand just as well performed on its own. The music is very colourful, partly abrupt with a very intimate middle part
sFr. 44.00 , 29.00
Fine, transparent sound piece using the Japanese Zen flute, the shakuhachi. An attempt to converge.
sFr. 22.00 , 14.50
These three studies of intermediate difficulty are composed for a small yet highly resonant room.
sFr. 38.00 , 25.00
"My form is created entirely out of straight lines and flat surfaces ordered at symmetrical right-angles. Every side, every line is the same as every other. Intersection facing intersection. This is me at peace with myself. I can begin rotating at the slightest movement, yet it is not always possible to forsee my path of motion, for the possibility of changing direction at any moment I leave open. My way is found along my edges or my corners. If I am not resting on a surface then I am moving in this linear fashion." A square's eye view - its inherent form is the lead for musical transformation. The ensemble follows characteristic figurations as a compact motional unit. The way leads from a description of the object through to the mechanisms of its motion and on to playfully gestural formulations. Circular motions, rotation around a fixed axis, gradual advancement over sound layers, using pulses to create structure, fragmentary phases and moments of dancy movement are but a few aspects which infuse throughout this piece.
sFr. 36.00 , 24.00
Paths leading nowhere, a search leading to nothingness; subsurface there is a trace that, in its lack of direction, actually depicts the way. In three parts. World premiere: 23.5.1997 in Zurich by the Ensemble for New Music (Zurich) under the direction of Johannes Harneit.
sFr. 38.00 , 25.00
"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).
sFr. 50.00 , 33.00
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.
sFr. 32.00 , 21.00
Shadowy diffused sounds are generated below the sound spectrum of the rainstick. Sounds which, the stronger and more corporeal they appear, the more fragile they really are. Requires three rainsticks. World premiere: 25.02.00 in Baden by the 'Ensemble Avance'.
sFr. 38.00 , 25.00
Combined polymerized growth, a sudden break and darkening decolouration. A subtle coordinated sound balance is essential for this piece. World premiere: 13.7.98 in Klagenfurt by the Austrian Art Ensemble.
sFr. 22.00 , 14.50
World premiere: 27.11.1999 in Boswil by 'Klangforum Vienna' under the direction of V. Kiradjiew.
sFr. 22.00 , 14.50
A further independent version of Re-version of a Verse which was left open for harmonic and formal additions. Intertwining structured sound surfaces; timbral changes. World premiere: 12.5.00 in Zumikon by I.Bende (fl), V.Wandeler (bhn), B.Göttert (vc), I.-L. Stettler-Jansen (hp), Philipp Hefti (cond.).
sFr. 28.00 , 18.50
Text: Everyday advertising and media language The basis of the text for Fernruf J 12 is the the list of the Bolshevist musicians from the Berlin department for art preservation from 1935: it is the list of musicians which had to be displaced from the music scene. The piece works, from a musical point of view, with different levels of understanding i.e. repression and forgetting. World premiere: 22.05.02 in Basel by the aequator ensemble.
sFr. 28.00 , 18.50
A tone is coloured and set in motion, fragments of this tone develop their own life, fan out and become tonally coloured. World premiere: 04.06.02 in Basel by the Avalon Trio.
sFr. 26.00 , 17.00
Minimally displaced observation points lead to a drifting apart and re-converging of single sound lines and to the individuals becoming lodged on one note or form of articulation. World premiere: 8.10.06 in Chur by Opera strumentale.
sFr. 20.00 , 13.00
sFr. 10.00 , 6.60
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.
sFr. 14.00 , 9.50
Two separated but simultaneously played voices (one from Markus Wettstein, and the other from Hans-Jürg Meier) with only one obligation: both voices are of identical duration.
sFr. 20.00 , 13.00
The 'Harmonies' by Erik Satie are the basis for several parts. Conductor of use.
sFr. 22.00 , 14.50
Three parts: véhément / paralysé / -. The recorder requires amplification in parts.
sFr. 14.00 , 9.50
Annäherungen - Abstossungen - fast ein Zusammentreffen
sFr. 20.00 , 13.00
In the middle of the players sits a tub of water into which small pebbles are thrown. This triggers musical actions from the players.
sFr. 22.00 , 14.50
Text: John Cage (Ernst Jandl) A five-part piece where the first (chaste) parts are based on an identical time structure, the later parts are much less restricted.
sFr. 36.00 , 24.00
A music that evolves in extended development, for a performance location with a lot of reverberation. An additional tone installation can sound simultaneously.
sFr. 38.00 , 25.00
(Stimmen beim Autor)
Text: Johann Peter Hebel, Hans-Jürg Meier Music to the story 'Unverhoffte Wiederbegegnung' by Johann Peter Hebel. Composed rhythmically open in parts.
sFr. 30.00 , 20.00
After a text by Christina Thürmer-Rohr.
sFr. 16.00 , 10.50
After texts by Hannah Arendt. This piece uses a half conventional score with 'cell' improvisation. All instruments are to be amplified where possible.
sFr. 12.00 , 8.00
sFr. 14.00 , 9.50
A horn line is sweet-talked with high intensity by perfect fourths and fifths, only on a low dynamic level.
sFr. 158.00 , 104.00
Texts: Hermann Berger, André Gide, Marisa Holder, Elfriede Jelinek, Milan Kundera, Irmgard Morgner, Karin Struck A stage work, somewhere between performance and installation.
for flute (afl, pic), clarinet (bcl) and piano trio
sFr. 40.00 , 26.50
N° 1: Elegische Ballade N° 5: Sterbenswort N° 10: Sexuelle Panik
sFr. 24.00 , 16.00
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.
for soprano, flute, clarinet, violin, viola and violoncello
sFr. 26.00 , 17.00
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.
sFr. 20.00 , 13.00
The first in a series of instrumental cycles where variations in the interplay and the resulting formal processes are subjects of the composition. Unusual playing techniques.
sFr. 32.00 , 21.00
Both sequences are attempts at reaching emptiness and consequently to liberate space through non-speech and anti-speech methods respectively. The performers perform and, as it were, 'speak' on scrap metal taken from Thomas Bernhard's 'Gehen'.
sFr. 18.00 , 12.00
Elementary rhythm and sonority; little bass - uses Schuberts Ave Maria as its structural reservoir. Very little instrumental alienation but it does alienate the usual techniques. Simple music, not particularly simple to play. The interplay (with conductor) is traditional.
sFr. 26.00 , 17.00
Text: Allen Ginsberg Alternating score and part notation. The solo voice is simple to intermediate. The interplay is not time-bound throughout.
sFr. 32.00 , 21.00
Accentuated piano part.
sFr. 46.00 , 30.50
Accentuated horn and percussion.
sFr. 64.00 , 42.00
Fantasy, prelude, I. Nächtlicher Kojotentanz, II. Morgensonn das Meer enthüllet, III. Purple Horses, IV. Yosemite. Accentuated percussion.
sFr. 44.00 , 29.00
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.
sFr. 36.00 , 24.00
This piece consists of nine interdependent movements of contrasting character in which the first (for clarinet and cello) and last are repeated in a trio version. Three of the parts: Doble (clarinet solo), Espiral (harp solo) and Ostinato (violoncello solo) can be played separately.
sFr. 50.00 , 33.00
Metamorphosis is cyclic. The unifying theme of the pieces is the will, a focusing of limited materials using permanent variation to facilitate maximum development. Each has its own individual material and its own inner logic, and each is independent of the other.
sFr. 62.00 , 41.00
This work is the result of the juxtaposition of Metamorphosis III and Metamorphosis IV. These two pieces are entirely independent and can be played separately. Through this annex, one becomes the sequel to the other as the basic material of both is the same.
sFr. 42.00 , 28.00
Text: Karl Mittlinger and W.A. Mozart Work series A: Music for concerts.
sFr. 38.00 , 25.00
Text: Karl Mittlinger Work series A: Music for concerts.
sFr. 28.00 , 18.50
This piece is based on the poem 'Empfangen und genähret' (Received and Nourished) by Matthias Claudius together with extracts from the book Kohelet (300 BC). Despite being scored for three vocal and three instrumental parts, the fascinating phenomenon of monophony is kept throughout. Work series A: Music for concerts.
sFr. 30.00 , 20.00
(Stimmen bei SME/EMS: sFr. 38.-; 25.00)
Full of with rhythm, this polymetric piece requires very demanding interplay.
sFr. 26.00 , 17.00
This piece evokes, magical, mystical (sound) landscapes - mostly in space notation.
for female voice, violoncello and piano
sFr. 22.00 , 14.50
The musicalised texts are original subtitles from the talk show 'Vera am Mittag' (SAT 1). The theme of the show was "You've become so fat and lazy".
sFr. 26.00 , 17.00
(Chorstimmen: sFr. 14.-; 9.50; Instrumentalstimmen: sFr. 20.-; 13.50)
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!"
sFr. 20.00 , 13.00
(Stimmen: sFr. 18.-; 12.00)
"I dealt with the subject of the four-part fugue in g minor from the WTK (Vol.I) as a model for this piece. I used these parts continually in various appendages and confronted them with a groovy theme." (composer).
for oboe, violoncello and piano
sFr. 18.00 , 12.00
for flute, violoncello and piano
sFr. 20.00 , 13.00
(Stimmen: sFr. 14.-; 9.50)
sFr. 32.00 , 21.00
(Stimmen: sFR. 30.-; 20.-)
for soprano and violoncello
sFr. 14.00 , 9.50
1. Einzug: Blasius-Segen (2'30) 2. Fürchtet Euch nicht - Folget mir nach (3'30) 3. Gabenbereitung: Nimm, o Herr! (2')
for baritone and instruments (1(pic).1(ca).1(bcl).1/hn/hp/vn.va.vc(db ad lib.))
sFr. 66.00 , 43.50
(Réduction chez SME/EMS: sFr. 34.-; 22.60)
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.
(Preis inkl. Stimmen)
sFr. 24.00 , 16.00
A half-scenic attempt to look at the common ground between musical and theatrical operation and the resulting relationship between movement and sound.
sFr. 36.00 , 24.00
An initial piece based on repetition presented in such a way that the repeated elements, located on many different levels, are not always immediately recognizable. This gives the impression of a loosely fabricated form. It is sonorously very soft with lots of sounds and lots of interlocking rhythms. Requires a conductor.
sFr. 36.00 , 24.00
Written for the ensemble pre-art for the 1700th anniversary of the Christianisation of Armenia. Text (mostly spoken) and music both refer to the processes of memory and remembrance (resp. forgetting). Formally, it is a triple duet (fl/vn, ob/vc, voc/pno) and is, as usual, situated on the rather extreme sector of sound production.
sFr. 32.00 , 21.00
(Aufführungsmaterial leihweise)
A play with formal superimpositions.
sFr. 16.00 , 10.50
'Aussch(l)uss' for alto flute, violoncello and harpsichord (1988/98) (2'30) 'EinSchluss' for violoncello, harpsichord and recitation ad lib. (1998) (3') Text (ad lib.) by Christian Uetz.
sFr. 24.00 , 16.00
Version I: cl.hn.vn.pf (op. 10a) Version II: cl.vn.vc.pf (op. 10b) After three fantastical poems about the origin of the world.
sFr. 14.00 , 9.50
A short nocturne for the first heart beat of the ensemble 'Oggimusica'.
sFr. 18.00 , 12.00
sFr. 20.00 , 13.00
sFr. 24.00 , 16.00
sFr. 26.00 , 17.00
sFr. 26.00 , 17.00
The musical development of the string quartet is in conflict with the 'hecklings' of the double bass.
sFr. 52.00 , 34.50
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.
sFr. 40.00 , 26.50
Based on ancient Greek texts from the hymns of Orpheus.
sFr. 18.00 , 12.00
A series of variations over a bass result in a cathartic waltz.
sFr. 34.00 , 22.50
The reference to old forms and techniques stands in dialectical tension to the expressive complexity of the four pieces.
sFr. 14.00 , 9.50
(Matériel: sFr. 18.-; 12.00)
For the Chinese, the Yin and the Yang were in the universe from the beginning and all creatures are animated by the Qi, the breath of life. Inspired by the order of the 64 hexagrams of the Book of Mutations and their composition in six masculine or feminine symbols, I divided this piece into six registers and wrote the music of the 64 hexagrams consecutively for six musicians.
sFr. 30.00 , 20.00
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.
sFr. 48.00 , 32.00
The ideal for ancient Chinese civilization is that nature and man are one. Although this piece seems to describe a divination ceremony and the natural elements, it mainly expresses the human feelings.
sFr. 36.00 , 24.00
(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.
sFr. 18.00 , 12.00
Three movements as steps in a metamorphosis of a melodic material which stays strongly connected on the level of intervals.
sFr. 26.00 , 17.00
(Stimmen: sFr. 26.-; 17.50)
Drei gehen über Stock und Stein jeder seines Wegs suchen sich einen Partner DAS ALTE LIED I gehen zuweilen Hand in Hand verlieren den Boden unter den Füssen finden sich schliessllich ganz oben fallen einander ins Wort DAS ALTE LIED II zwei gegen einen? einer gegen alle? GLOCKEN. This trio is dedicated to Elliott Carter who celebrated his 100th birthday in 2008.
sFr. 12.00 , 8.00
Text: Paul Celan
sFr. 14.00 , 9.50
sFr. 18.00 , 12.00
sFr. 24.00 , 16.00
sFr. 20.00 , 13.00
sFr. 12.00 , 8.00
sFr. 26.00 , 17.00
sFr. 14.00 , 9.50
for flute, clarinet, percussion, piano, violin and violoncello
sFr. 36.00 , 24.00
Conception of a dialectic tension between textual narrative and formal architectonically composite parts (inspired by literary narrative forms) integrated into a system of metric modulations.
for flute, cello and piano
sFr. 18.00 , 12.00
'Quantum streaming' is defined by Gilles Deleuze as the transition of one energy state to another. In this piece I am mainly interested in the different energy forms, primarily potential energy and kinetic energy: What is the nature of the positional condition and the positional orientation, resp. energy density and energy transformation capabilities which charge a potential energy and set a process in motion.
for soprano, flute, clarinet and violoncello
sFr. 24.00 , 16.00
Based on an onomatopoeic text by the composer. The development of an aesthetic of fragments as a metaphor for fragmentary perception.
for soprano, flute, clarinet, violoncello and piano
sFr. 42.00 , 28.00
Based on an onomatopoeic text by the composer. Sounds change from instrumental noises to sound frictions and from virtuousic buzzing to vocal noises.
for mezzo-soprano, bass, flute, harpsichord, four violins, viola, violoncello and double bass
sFr. 64.00 , 42.00
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.
for mezzo-soprano and ensemble (fl(pic).cl(bcl)/hp.pf.hpd/2vn.va.vc.db)
sFr. 60.00 , 40.00
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").
sFr. 42.00 , 28.00
A piece with aperspective performance practice. The ever-changing aspects on the radix planets (instrumentalists) by the transitory moon (soprano) are made audible.
Violoncello with orchestra
sFr. 38.00 , 25.00
(Solostimme: sFr. 18.-; 12.00)
sFr. 42.00 , 28.00
The title 'Krajiny Snu' means 'dreamlandscape' and represents shreds of the composer's associations with his work as a conductor from 1985 to 1995 in Pardubice. This work, originally dedicated to the 'Guarnieri Trio', Prague and the Pardubice Chamber Phillharmonic, enriches the concert for piano and orchestra genre.
for violin, viooloncello and orchestra
sFr. 38.00 , 25.00
Double concert; scored for orchestra: strings and two percussionists. "The fire below and the sea above battle and defeat one another " from the symbol GO out of the Chinese oracle book I Ging.
sFr. 30.00 , 20.00
Commissioned by the Festival Stings Lucerne with the soloist Patrick Demenga. It is the renewed attempt to convey the movement of nature in non-imitative musical outlines.
for solo cello, obligatory trumpet, string orchestra and electronics
sFr. 35.00 , 24.00
sFr. 54.00 , 35.50
A preliminary instrumental study for the second movement of 'Helios'.
sFr. 48.00 , 32.00
sFr. 40.00 , 26.50
sFr. 26.00 , 17.00
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