Violoncello


solo
8304 Dieter Ammann: Piece for Cello (1994 (rev. 1998)) 9'
sFr. 13.00
6203 Heidi Baader-Nobs: Duo pour violoncelle seul (1986) 6'
sFr. 16.00
0207 Walter Baer: Inventio Mercurii (1977) 12'
for violoncello solo
sFr. 16.00
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.

8415 Felix Baumann: Kadenzen für das Violoncello-Konzert in D-Dur von Joseph Haydn, Hob. VII b:2 (cadences for the violoncello concert in D sharp by Joseph Hyden, Job VII b:2) (2000) 2'
for violoncello
sFr. 13.00
1st Movement: 1'10 2nd Movement: 12" 3rd Movement: 10" and 30" An attempt to propagate the compositional perspective of Haydn.

8417 Felix Baumann: Schwebungen (2001) 8'
for violoncello solo
sFr. 13.00
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.

8427 Felix Baumann: ... für und für (2004) 7'
for violoncello solo
sFr. 16.00
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.

13944 Pierre-André Bovey: Prélude (1978) 6'30
for violoncello solo
sFr. 13.00
8511 Thüring Bräm: Streichquartett Nr. 1 (1987/90) 17'
sFr. 42.00
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.

8601 Juan Manuel Chávez: Estudio en dos Dimensiones (1989) 13'
for violoncello solo
sFr. 21.00
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.

1402 Eric Gaudibert: Variations lyriques (1976) 14'30
for violoncello solo
sFr. 18.00
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.

8816 Rico Gubler: offen gefaltet (1999) 6'
for violoncello solo
sFr. 16.00
9227 Michel Hostettler: Prélude (1993) 6'
for violoncello
sFr. 13.00
15013 Martin Imholz: Stück für Violoncello (piece for violoncello) (1999) 3'30
sFr. 13.00
9352 Vladislav Jaros: Musik für drei Kontrabässe (2010) 12'
for 3 concert double basses (or 3 violoncelli)
sFr. 26.00
"Musik für drei Kontrabässe" is a diversified piece of music in four movements, each carrying a programmable title: I Einmarsch, II Schizophrene Spielchen, III Hoffnungslosigkeit, IV Danza sarcastica, This piece musically depicts the invasion of Czechoslovakia by the Soviets (1968) and the years that followed. The music does not necessarily need a programme.

2514 Mischa Käser: 5 bagatellen (1994) 3'30
for violoncello
sFr. 16.00
For humming and singing cellist, contains partly very obsessive passages. Singing partly in quarter-tone, requires a good ear and attention to detail.

Listen: Youtube
2818 Alfred Knüsel: Torso (1992) 4'
for violoncello solo
sFr. 13.00
2805 Alfred Knüsel: Partita (1992) 6'
for cello solo
sFr. 13.00
Seven short interwoven sections expressing various moods.

2816 Alfred Knüsel: Intervention (1992) 3'
for cello solo
sFr. 13.00
2817 Alfred Knüsel: Perforation (1992) 5'
for cello solo
sFr. 16.00
3116 Urban Mäder: Das fette Echo u.a. (1996) 9'
for violincello solo (incl. voice)
sFr. 23.00
7108 Valentin Marti: Sculpture (1997) 8'
for violoncello solo
sFr. 13.00
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.

9739 Hans-Jürg Meier: miracoli (2007) 1'
for violoncello
sFr. 13.00
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.

3806 Thomas David Müller: Gehen. 45 Vorwärts- / Rückwärtsbewegungen (1990) ad lib.
for violin (or violoncello) solo
sFr. 16.00
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.

9904 Maria A. Niederberger: Daedaleum (1984) 5'30
for cello solo
sFr. 16.00
The non-traditional note heads in the notation change with the way of playing (pii, col legno, etc.).

4319 Ernst Pfiffner: Zachäus (1990) 9'
for violoncello solo
sFr. 18.00
Work series A: Music for concerts.

19101 Benedikt Wolfgang Schiefer: Kanon (2006) 7'30
for violoncello solo and live electronics (ambisonic setup, min. 4 loud speakers)
sFr. 21.00
"Kanon" is based on the overtone series of the cello strings C - G - D - A and works with each string's natural flageolets. The cello signal is picked up by the microphone and turned into a canon using an algorithm created expecially for this piece.

10236 Michael Schneider: Järvi (2009) 8'
for violoncello solo
sFr. 18.00
Järvi (Finnish = lake) relates a single cycle of the seasons from January to December based on the average temperatures and precipitation volumes in Punkaharju/Southeast Finland. This piece was created for performance at the Schweizerischen Jugendmusikwettbewerb and offers within ist dramaturgical arc an introduction to various contemporary playing techniques for the violoncello.

16602 Bernhard Sieber: Kleine Sonate für Violoncello solo (small sonata for violoncello) (1959) 12'
sFr. 13.00
16606 Bernhard Sieber: Fantasie für Violoncello solo pizzicato (fantasy for violoncello solo pizzicato) (1965) 7'
sFr. 13.00
16637 Bernhard Sieber: Variations on "Deep River" (2011) 25
for cello solo
sFr. 23.00
4802 Andreas Stahl: ... immer im kreis herum (1986) 12'
for cello solo
sFr. 16.00
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).

17110 Bruno Stöckli: Monodie (2008) 6'
for violoncello
sFr. 16.00
5232 Balz Trümpy: Emphatischer Gesang (1989, rev. 2000) 12'
for violoncello solo
sFr. 18.00
Four expressive areas - combined organically or alternating abruptly - are set against each other.

Listen: Youtube
5282 Balz Trümpy: Aufschwung (2013) 9'
for violoncello solo
sFr. 16.00
A further virtuosic solo piece with the parts 'Introduction', 'Aria', 'Ballad' and 'Aeolian Song'.

17501 Raymond Vauterin: Ballade pour violoncelle (ballad for violoncello) (1993) 5'
sFr. 16.00
17601 Stefan Werren: Hymnus (1989) 3'
for violoncello
sFr. 13.00
17602 Stefan Werren: Nächtliches Zeichen (1989) 3'
for violoncello
sFr. 13.00
17607 Stefan Werren: 6 Epigramme (1994) 11'
for violoncello
sFr. 21.00
17609 Stefan Werren: Memento mori (1998) 4'
fo violoncello
sFr. 16.00
5816 René Wohlhauser: Entropia (1997/98) 11'
Ergon 24
for violoncello solo
sFr. 23.00
'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.

Listen: Youtube

piano and instrument
1008 Jean-Jacques Dünki: Kammerstück V (1987/94) 9'
for violoncello and piano
sFr. 23.00
Highly virtuosic for both instruments.

6610 Alfred Felder: Night Chant (1996) 25'
music
for violoncello and piano
sFr. 29.00
(Cellostimme bei SME: Sfr. 18.-; € 18.-)
An attempt to produce in music the secretive and magic text of the Indian ritual 'Night Chant'.

6640 Alfred Felder: Traviata-Fantasie (2001) 15'
for violoncello and piano
sFr. 31.00
A fantasy about the opera 'La Traviata' by Giuseppe Verdi.

15123 Rudolf Jaggi: Souvenir sentimental (1966) 2'
for violin (or violoncello) and piano
sFr. 13.00
(inkl. Violin-, Violoncello-Stimme)
15132 Rudolf Jaggi: Phase (1975) 2'
for violin (or violoncello) and piano
sFr. 13.00
15140 Rudolf Jaggi: Impression (1987) 4'
for flute (or violoncello) and piano
sFr. 16.00
(inkl. Stimme)
15144 Rudolf Jaggi: 2 Stücke (two pieces) (1996) 6'
for flute (or violoncello) and piano
sFr. 13.00
Based on 'Zwei Lieder' (1957/69). Consolation - Tristesse

15146 Rudolf Jaggi: Kleine Elegie (1997) 3'
for violoncello and piano
sFr. 13.00
(inkl. Stimme)
9825 Laurent Mettraux: Sonate, M. 553 (1997) 16'
for violoncello and piano
sFr. 34.00
(Partie séparée: sFr. 12.-; € 12.-)
An epic and dark work with an elegiac movement in the middle part.

4503 Martin Schlumpf: Les extrèmes se touchent (1975) 14'
for violoncello and piano
sFr. 49.00
Technically difficult; a series of character pieces.

16313 Felix Schüeli: Riffs (2002) 4'30
for violoncello and piano
sFr. 21.00
7713 Pierre Thoma: Strates (1989) 9'
for violoncello and piano
sFr. 26.00
10815 Martin Wendel: Sonate für Violoncello und Klavier, op. 43 (sonata for violoncello and piano, op. 43) (1983) 12'
sFr. 34.00
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.

17625 Stefan Werren: Hölderlinfragmente (1994) 18'
for violoncello and piano
sFr. 34.00
17614 Stefan Werren: In lichten Höhen (1996) 6'
for cello and piano
sFr. 21.00
5813 René Wohlhauser: Gedankenflucht (1995) 11'
Ergon 22
for violoncello and piano
sFr. 23.00
'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.

Listen: Youtube

Violoncello with instruments
8308 Dieter Ammann: The Freedeom of Speech (1995/96) 18'
for flute (also bfl), clarinet (also bcl), violin, violoncello, percussion and piano
sFr. 49.00
(Stimmen: SME sFr. 70.-; € 47.-)
8312 Dieter Ammann: Violation (1999) 15'
for violoncello and ensemble (fl(pic).cl(bcl)/vn.vc/perc/pf)
sFr. 49.00
(Stimmen SME: sFr. 120.-; € 120.-)
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
0203 Walter Baer: Fünf Sätze für Klarinette, Violine und Violoncello (five movements for clarinet, violin and violoncello) (1974) 8'
sFr. 18.00
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.

6405 George Barcos: Homenaje a la Selva (1989) 7'30
for flute, clarinet, violoncello and vibraphone
sFr. 29.00
Diálogo de las flores - Danza de las abejas - Resurección de los árboles.

6423 George Barcos: 4 Pièces (2005) 10'
for mixed voices (SATB), piano, violoncello and bassoon
sFr. 34.00
Texts: Antoine de Saint Exupéry, Alfonsina Storni, Beaucarné, Théophile Gautier Passarelles dans a nuit - Maisons alignées - Une triste boutique - Les batôns.

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.

8414 Felix Baumann: spöttisch leicht (1999/00) 15'
5 songs after poems by Sarah Kirsch
for singing voice (mezzo-soprano), clarinet, violin, violoncello and piano
sFr. 34.00
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.

8416 Felix Baumann: "nah / hautnah" (2000/01) 45'
"Radio play"
for orator, solo soprano, violoncello and ensemble (fl.cl/perc/pf/vn.vc)
sFr. 70.00
(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.

8418 Felix Baumann: anhaltend (2001/02) 9'
for 2 violoncelli
sFr. 21.00
(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.

8431 Felix Baumann: Übergang (2005) 10'
for bass clarinet (in B), bassoon and violoncello
sFr. 26.00
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.

12820 Gary Berger: zah (2002) 8'
for baritone saxophone, violoncello and electronics
sFr. 29.00
12827 Gary Berger: Encode (2012/13) 9'
for ensemble (fl, bcl, tsx, pf, perc I and II, vn, vc) and live electronics
sFr. 57.00
0510 Nicolas Bolens: Il Croco (1997) 5'
for voice (bass), piano and violoncello
sFr. 16.00
Based on a poem by Giovanni Pascoli.

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
6526 Frédéric Bolli: Je suis ravi de vous revoir, Monsieur Ravel! (1990) 10'
for flute, violin, violoncello and four-handed organ (or piano)
sFr. 26.00
6533 Frédéric Bolli: Im Anfang war das Wort (1990/91) 15'
for male choir and string quintet (2vn.va.vc.db)
sFr. 55.00
13916 Pierre-André Bovey: 5 Echappées (1985) 7'
for flute (also flute in G), violoncello and piano
sFr. 23.00
(Parties: sFr. 12.-; € 12.-)
For the 'Trio Coriolan'.

13948 Pierre-André Bovey: Réparties (1987) 7'
for flute and violoncello
sFr. 18.00
8525 Thüring Bräm: Sechs Haikai (1969) 8'
for solo soprano, chamber choir, string trio and vibraphone
sFr. 44.00
Texts: Japanese texts Six short Japanese three-liners. The choir part is advanced but can be performed by good amateurs.

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.

8506 Thüring Bräm: Quiet Music I-III (1980/81) 8'
for piano, flute, clarinet, oboe, violin and violoncello
sFr. 29.00
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.

8507 Thüring Bräm: Zeitlupenstücke (1983) 17'
for clarinet, violoncello and piano
sFr. 26.00
A single musical idea or gesture is explored in quasi slow motion.

8533 Thüring Bräm: Piccoli Stagioni (1997) 7'
for piano trio, flute and voice
sFr. 31.00
Texts: Anna Maria Bacher Four-seasons poems by the poet Anna Maria Bacher from Pomatt in the Italian version; short, transparent pieces.

8705 Xavier Dayer: "In hellem stillem Zimmer..." (1996) 11'
for mezzo-soprano, bass, flute with piccolo, violin, violoncello and accordion, based on poems by Robert Walser
sFr. 42.00
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.

Listen: Youtube
18704 Ruedi Debrunner: IM PULS (1999) 7'
for cello and piano
sFr. 34.00
(Stimme: sFr. 18.-; € 14.-)
Listen: Youtube
18706 Ruedi Debrunner: Cello & Cello (2005) 14'
Piece work
for 2 celli
sFr. 31.00
Listen: Youtube
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.-)
0903 Jacques Demierre: Expinnocence (1986) 45'
for voice, 2 pianos and violoncello
sFr. 68.00
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.

0913 Jacques Demierre: Nous ici (1993) 13'
for voice, flute, clarinet, violin, violoncello and piano
sFr. 70.00
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.

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…

1015 Jean-Jacques Dünki: Pessoa - Moment (1992) 48'
for soprano, clarinet (also Ebcl, bcl), violoncello (also viola), piano (also clavichord) and DAT play-back
sFr. 65.00
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.

1049 Jean-Jacques Dünki: Vers (1997) 3'
for two celli
sFr. 13.00
14301 Felix Falkner: Solitude (1990) 22'
for string quartet with bass clarinet
sFr. 26.00
(Stimmen: sFr. 14.-; € 9.50)
14306 Felix Falkner: Gere Curam Mei Finis (1995/96) 25'
Memento
for soprano, violoncello and organ
sFr. 31.00
Texts: Bibel / Liturgie, Johann Wolfgang von Goethe, W.A. Mozart, Richard Scheid

6618 Alfred Felder: Cercles (1992) 12'
for flute, clarinet, harp, string quartet and double bass
sFr. 26.00
6606 Alfred Felder: 4 Collagen über Texte von Mani Matter (1993) 17'
for six violoncelli and one orator (German in Berne dialect)
sFr. 39.00
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.-)

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.

11920 Claude Ferrier: 4 petites pièces (1999) 6'
for eight instrumentalists (fl.cl.bn/perc/hp/2vn.vc)
sFr. 26.00
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.

1117 Jürg Frey: Aufzählung. Licht. Tänzerin am Rand (1995/96) 20'
for actor, female dancer, three instruments (flute, violoncello and accordion)
sFr. 23.00
6712 Hans Eugen Frischknecht: Wettspiele (1971) 7'
for 2 young cellists
sFr. 13.00
Composed for amateurs. Very short parts allow for different playing techniques. These parts can be 'self-assembled' based on certain rules of play.

6758 Hans Eugen Frischknecht: Trio für Klarinette, Violoncello und Klavier (trio for clarinet, violoncello and piano) (1993) 11'
sFr. 29.00
Chamber music in fine sound shades. Space notation.

6760 Hans Eugen Frischknecht: Quintett (quintet) (1999) 16'
for flute, clarinet, violin, violoncello and piano
sFr. 39.00
A multi-part composition with contrasting parts.

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.

1405 Eric Gaudibert: Contrechamp (1979) 9'30
for flute, oboe, violoncello and harpsichord
sFr. 31.00
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.

1480 Eric Gaudibert: Deux airs (1995) 12'30
for soprano, violoncello (or accordion) and percussion ad libitum
sFr. 18.00
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.

1490 Eric Gaudibert: Canzone (1998) 12'30
for flute and violoncello
sFr. 31.00
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.

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.

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.

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.

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.

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
8818 Rico Gubler: 1. Suite für Viktor (first siute for viktor) (2000) 14'
for clarinet, saxophone, violin, violoncello and piano
sFr. 49.00
(4 Suiten für Viktor: sFr. 150.-; € 120.-)
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)

Listen: Youtube
8819 Rico Gubler: 2. Suite für Viktor (2nd suite for Viktor) (2000) 13'
for clarinet, saxophone, violin, violoncello, and piano
sFr. 47.00
(4 Suiten für Viktor: sFr. 150.-; € 120.-)
Duo for violin and violoncello [battuto – roughly a dance] (2’) Trio for clarinet, soprano saxophone and violin [approximately] (2’15) 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’)

Listen: Youtube
8820 Rico Gubler: 3. Suite für Viktor (3rd suite for Viktor) (2000) 13'
for clarinet, saxophone, violin, violoncello and piano
sFr. 49.00
(4 Suiten für Viktor: sFr. 150.-; € 120.-)
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')

Listen: Youtube
8821 Rico Gubler: 4. Suite für Viktor (4th suite for Viktor) (2000) 13'
for clarinet, saxophone, violin, violoncello and piano
sFr. 47.00
(4 Suiten für Viktor: sFr. 150.-; € 120.-)
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)

Listen: Youtube
8822 Rico Gubler: KOR (2000/01) 9'
for string quartet, tenor saxophone, percussion, bass clarinet and double-bass
sFr. 70.00
(Stimmen beim Komponisten)
8829 Rico Gubler: KAL (2001) 8'
for soprano, oboe, violoncello and piano
sFr. 52.00
(Spielpartitur)
Listen: Youtube
8823 Rico Gubler: Ortswechsel, eine Winteroper (2001) 45'
19 songs
for clarinet, bassoon, horn, string quartet and speaker
sFr. 57.00
Text: Gert Loschütz.

8824 Rico Gubler: Roundabout - Zu Offenbachs op. 34 (2001/02) 30'
for 2 Violoncelli
sFr. 36.00
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.

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.

14802 Ursula Gut: Teddybear's Dream (1993) 10'
for violin, violoncello, bassoon, harp, percussion and celesta
sFr. 18.00
14805 Ursula Gut: Postludium (1998) 17'
for violin, viola, violoncello and percussion
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
9045 Edu Haubensak: Vertikale Horizonte (1998) 8'
Quartet
for flute (bfl), clarinet (cl-A), violin and violoncello
sFr. 23.00
9051 Edu Haubensak: Mon silence discontinue! (2005) 24'
for soprano, oboe (English horn), violoncello and piano
sFr. 42.00
9210 Michel Hostettler: Deux Mélodies (1987) 6'
for alto, marimba and violoncello
sFr. 13.00
Sonnets by Louise Labé. - Baise m'encore - Je vis, je meurs

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.

9268 Michel Hostettler: Trio (2006) 9'
for violin, violoncello and marimba
sFr. 34.00
(Voix chez EMS: sFr. 26.-; € 17.-)
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

15011 Martin Imholz: Duo (1992) 10'-12'
for violin and violoncello with electronic amplification
sFr. 16.00
A process from a fixed-pitch grid off into unexplored parts of intonation.

15127 Rudolf Jaggi: Alla francese (1968) 4'
for 2 violins or violin and violoncello
sFr. 13.00
15133 Rudolf Jaggi: 6 Bagatellen (1977) 10'30
for flute, violin and violoncello
sFr. 21.00
15135 Rudolf Jaggi: Consolation (1978) 3'
for clarinet and string quartet
sFr. 13.00
(Stimmen: sFr. 10.-; € 6.60)
15139 Rudolf Jaggi: 6 Intermezzi (1984) 8'
for 2 violins, violoncello and clarinet
sFr. 23.00
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.

9334 Vladislav Jaros: Ungarische Rhapsodie (2006) 12'
for flute (or violin), bassoon (or bass clarinet or violin) and piano (or harp)
sFr. 36.00
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

9347 Vladislav Jaros: Capriccio d'estate (2009) 11'30
for violoncello and piano
sFr. 34.00
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.

2501 Mischa Käser: 5 stücke (5 pieces) (1985/91) 13'
for clarinet and violoncello
sFr. 18.00
A humming cellist with large lung capacity is required here. Very demanding piece. Clarinets in Bb, A and bass clarinet.

2652 Max E. Keller: Ausharren im Grauen (1988) 11'
for oboe, violoncello and piano
sFr. 21.00
"A trio-piece of coagulate sound, quasi-captivated nerviness with bursts of desperate fury" (Frank Schneider on the world premiere).

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.

2605 Max E. Keller: Konfigurationen II (1989) 16'
for alto and instrumental ensemble (flute, clarinet (bass clarinet), violin, violoncello, percussion and piano
sFr. 39.00
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.

2608 Max E. Keller: Gesänge IV - 10 Gedichte von Kurt Marti (1992) 16'
for soprano and instrumental ensemble (flute, clarinet (bass clarinet), violin, violoncello and piano)
sFr. 23.00
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.

2660 Max E. Keller: Konstellationen (1993/94) 11'
for flute, violoncello and piano
sFr. 21.00
A dense, permanently shifting net of relations between instruments: one instrument acts ‘equal’ ‘similar’, ‘contrary’ or ‘concomitant’ to another.

2688 Max E. Keller: Zwillinge (2001) 10'
for clarinet (bcl), trombone, violoncello and piano
sFr. 18.00
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.

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.

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.

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.

26123 Max E. Keller: "Fünf Improvisationsmodelle für Jugendliche" sowie "In Regen, Blitz und Donner" (2008) ad libitum
for youths with any instruments (including everyday objects and carnival market instruments) + 2 saxophones and violoncello
sFr. 21.00
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.

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.

26136 Max E. Keller: ich, du, wir (2010) 1'
for flute, clarinet, percussion, piano, violin, violoncello
sFr. 16.00
Composed for the 25th anniversary of the 'ensemble für neue musik zürich', this short piece attempts to trace the path to togetherness (ensemble), from I to we. A unity is drawn twice from a dense fabric of independent lines, initially on a trill surface and then in unison at the end.

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.

26140 Max E. Keller: Où est le roi? (2010) 7'
for flute, violin, violoncello and organ
sFr. 23.00
1747: King Friedrich II challenged J.S. Bach to create a 3-part fugue over his own fugue theme, which resulted in 'The Musical Offering'. 2010: The Schweizer Kammerensemble challenged five very different composers to work with the same fugue theme. I transformed it with a contemporary edge into a theme consisting of 2 x 12 different tones - in the sense of 12-tone music but with a slight irregularity. The relation to Bach is initially almost imperceptible, a connection can only be drawn from the rhythm and the fluctuation in colour of the noise-like string sounds. The theme undergoes the normal transformations until it finally emerges in quasi purity.

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.

26157 Max E. Keller: wanawizzi II (2011) 8'
for flute, clarinet, violin and violoncello
sFr. 26.00
In unserer Welt finden sich zahlreiche wahnwitzige Widersprüche: Regierungen von Ländern mit reichen Rohstoffvorkommen lassen ihre Bevölkerung im Elend versinken... "wanawizzi" (althochdeutsch für Wahnwitz) transformiert solche Antagonismen in musikalische Prozesse. Jedes der vier Instrumente repetiert permanent eine eigene rhythmische Sequenz, deren Länge sich von den anderen leicht unterscheidet, so dass ein dichtes Gewebe entsteht. Die vier rhythmischen Sequenzen werden von einer 12-Tonreihe überlagert. Sukzessive verkürzt sich die Tonreihe, so dass ein Instrument nach dem anderen auf einer Tonwiederholung endet, wobei diese vier Schlusstöne einen Dominantseptakkord bilden.

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

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.

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
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.

19416 Burkhard Kinzler: Nürnberger Choräle (2012) 16'30
für Flöte, Klarinette, Saxophon, Posaune, Cello, Kontrabass, Percussion
sFr. 44.00
Zum 3. Teil der Clavierübung von Bach, alternierend aufzuführen; Luthers Katechismuslieder in modernen Bearbeitungen für Instrumentalensemble. - Kyrie Gott Vater (2') - Christe aller Welt Trost (3') - Kyrie Gott Heiliger Geist (2') - Allein Gott in der Höh sei Ehr (1'30'') - Dies sind die Heilgen zehn Gebot (1'30'') - Wir gläuben all an einen Gott (1'15'') - Vater unser im Himmelreich (1'30'') - Christ unser Herr zum Jordan kam (2'30'') - Aus tiefer Not (2') - Jesus Christus unser Heiland (1'15'') Separat (auch einzelne Choräle) aufführbar.

2837 Alfred Knüsel: Coplas (1987) 21'
for soprano, double-bass (or violoncello) and piano
sFr. 44.00
Text: Spanish (Christof Jung) A seven-part cycle based on anonymous Spanish verse, translated by Christof Jung.

2808 Alfred Knüsel: de profundis (1992) 7'
for soprano, flute, violoncello, harpsichord, and percussion
sFr. 39.00
Text: Henriette Hardenberg Cycle of three songs.

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
2859 Alfred Knüsel: eine Art Klangvorstellung - unbekannt - als wohltemperierte Gegenwelt zu durchtechnisierter Information (2005) 14'
Trio
for violoncello, double bass and trombone
sFr. 26.00
1. RetroSehnsucht 2. Assoziationsfelder 3. Environment, komplementär

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.

9508 Louisa Lasdun: Gespräch(e) im Gebirg (2002) 16'45
for seven players (fl[=pic].bcl.Ebcl/2vn.vc.db) and sound technician
sFr. 34.00
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.

9510 Louisa Lasdun: Smile (2008)
für Oboe, Cello und Klavier
sFr. 29.00
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."

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)
17802 Luigi Laveglia: Black Bird (2008) 11'
for clarinet, violin, violoncello and piano
sFr. 21.00
(Stimmen bei SME: sFr. 30.-; € 30.-)
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 …

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.

3137 Urban Mäder: Ballast (2009) 12'
for flute, clarinet, violin, violoncello, piano and percussion
sFr. 42.00
Three movements: gestaut, dickflüssig, überschwappend.

18201 Cécile Marti: im Würfel (2005) 8'30
for sextet (fl, cl, vn, vc, mar, pf)
sFr. 49.00
"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.

7103 Valentin Marti: Tres sendas espinosas (1995) 15'
for flute (alto flute) clarinet (bass clarinet), violin, violoncello, percussion and piano
sFr. 47.00
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.

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.

7107 Valentin Marti: Rainshadows (1996/99) 10'30
for bass clarinet, trombone, violoncello and percussion
sFr. 42.00
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'.

18208 Cécile Marti: hidden (2011) 13'
Duo
for violin and cello
sFr. 21.00
This piece was commissioned by Gare du Nord Basel. The commission was to write a musical 'work commentary' on Nikolai Rimski-Korsakow's Scheherazade. The piece focusses on the two protagonists from the 1001 Nights saga, namely the Scheherazade and the Sultan Scharyar, which Korsakow mirrors with two main themes. The duo follow these themes with the minutest intervals. A duality gradually develops from a supposed unity without actually ever leaving the combined sound corporeality.

7112 Valentin Marti: On a Darkling Plain (1998) 13'
for accordion, violoncello and four-handed piano
sFr. 49.00
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.

7124 Valentin Marti: Den Schatten der Rose entdecken (1999, rev. 2003) 13
for flute, clarinet, violin, violoncello and piano
sFr. 29.00
World premiere: 27.11.1999 in Boswil by 'Klangforum Vienna' under the direction of V. Kiradjiew.

7119 Valentin Marti: Expansion of a Verse (2000) 9'45
for alto flute, basset horn, violoncello and harp
sFr. 29.00
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.).

7115 Valentin Marti: Fernruf J 12 (2001) 13'
for soprano, oboe, violoncello and piano
sFr. 36.00
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.

Listen: Youtube
7123 Valentin Marti: splitting (2002) 12'
for clarinet, violoncello and piano
sFr. 36.00
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.

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.

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

7137 Valentin Marti: Out Of Chinatown (2008) 9'30
for clarinet and violoncello
sFr. 18.00
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.

9706 Hans-Jürg Meier: duo di due per due (1994) 7'
for 2 violoncelli
sFr. 18.00
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.

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

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.

9715 Hans-Jürg Meier: gar vorgang hat (1998) 12'
for bassoon, violoncello, mezzo-soprano and everyday objects
sFr. 29.00
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.

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.

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.

7211 Mela Meierhans: RéSONANCE?! (1996/97) 21'
for bass clarinet, horn (Alphorn), violoncello and electronic (CD/DAT or MD)
sFr. 21.00
After texts by Hannah Arendt. This piece uses a half conventional score with 'cell' improvisation. All instruments are to be amplified where possible.

7212 Mela Meierhans: 4instruments2 (1997/98) 17'
for dance, double bass (or violoncello), thunder board and recorded material (CD/DAT or MD)
sFr. 16.00
3410 Thomas K. J. Mejer: Sex Crystals (1994) 6'30
for flute, clarinet, horn, violin, violoncello and double bass
sFr. 18.00
A horn line is sweet-talked with high intensity by perfect fourths and fifths, only on a low dynamic level.

3415 Thomas K. J. Mejer: Macula Matris (1995/96) 72'
for seven musicians (fl(pic,bfl,cbfl).cl(bcl,cbcl).bn(cbn)/tbn/hp/perc/vc), seven speakers and seven dancers.
sFr. 200.00
Texts: Hermann Berger, André Gide, Marisa Holder, Elfriede Jelinek, Milan Kundera, Irmgard Morgner, Karin Struck A stage work, somewhere between performance and installation.

3441 Thomas K. J. Mejer: Einmal ich und du: Die Bombe im Herzen (1995/99/2005) 10'
Cycle of "songs" after poems by Ludwig Fels
for flute (afl, pic), clarinet (bcl) and piano trio
sFr. 52.00
N° 1: Elegische Ballade N° 5: Sterbenswort N° 10: Sexuelle Panik

3444 Thomas K. J. Mejer: Princes' balls (2013) 13'
Dance Suite in 5 Movements
for contrabass flute, contrabass saxophone, tuba and sextet (fl, cl, pf, perc, vn, vc)
sFr. 55.00
Written for the "Kontra-Trio" Lucerne and the "Moscow Contemporary Music Ensemble", created for the project "Stravinskij Revisited". Suite in five movements: Wickedly Obscured Beautiful Insisting Seductive Concealed

9809 Laurent Mettraux: Exils, M. 484 (1994/97) 9'
for violin, violoncello and two percussionists
sFr. 31.00
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.

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.

3805 Thomas David Müller: Gehen, Fragment (1989) 9'
for violin, violoncello and clarinet
sFr. 26.00
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.

Listen: Youtube Youtube
3811 Thomas David Müller: Zwei Sequenzen: Stehstelle / Gehstelle (1993) 13'
for violin, violoncello, clarinet, three trombones and piano
sFr. 42.00
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'.

Listen: Youtube
3814 Thomas David Müller: Quintett (J'en ai perdu le souvenir) (1997) 9'
for flute, clarinet, violin, violoncello and piano
sFr. 23.00
Elementary rhythm and sonority; little bass - uses Schubert’s ‘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.

Listen: Youtube
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.

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.

4308 Ernst Pfiffner: Eine Kantilene vom Menschen (1992) 4'
for choir, oboe, violoncello and percussion
sFr. 36.00
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.

10031 Kit Powell: Sextett (2000) 11'
for clarinet, bass clarinet and string quartet
sFr. 39.00
(Stimmen bei SME/EMS: sFr. 38.-; € 38.-)
19103 Benedikt Wolfgang Schiefer: Kadenz (2007) 9'
for 2 celli, double bass and harp
sFr. 26.00
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.

16305 Felix Schüeli: Untertitel (1999) 7'30
Trio
for female voice, violoncello and piano
sFr. 29.00
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".

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!"

16308 Felix Schüeli: Septett (2001) 7'
for trumpet, alto saxophone, tenor saxophone, trombone, violin, violoncello and double bass
sFr. 26.00
(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).

16311 Felix Schüeli: Dreitonal (2002) 5'30
Trio
for oboe, violoncello and piano
sFr. 23.00
16312 Felix Schüeli: Threetonality (2002) 5'30
Trio
for flute, violoncello and piano
sFr. 26.00
(Stimmen: sFr. 14.-; € 9.50)
16318 Felix Schüeli: Prélude, Scherzo, Choral und Fuge (2006) 11'
for flute, violin, viola and violoncello
sFr. 42.00
(Stimmen: sFR. 30.-; € 20.-)
16316 Felix Schüeli: Fürchtet Euch nicht (2007) 8'
Three pieces for the church
for soprano and violoncello
sFr. 18.00
1. Einzug: Blasius-Segen (2'30) 2. Fürchtet Euch nicht - Folget mir nach (3'30) 3. Gabenbereitung: Nimm, o Herr! (2')

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.

16607 Bernhard Sieber: Meditation für Violoncello und Kontrabass (meditation for violonceloo and double bass) (1965) 6'
sFr. 18.00
(Preis inkl. Stimmen)
4811 Andreas Stahl: sextett (1993/94) 20'
for soprano, violin, violoncello, trombone, percussion, piano, electronic tape and a piece of mechanical equipment
sFr. 31.00
A half-scenic attempt to look at the common ground between musical and theatrical operation and the resulting relationship between movement and sound.

4814 Andreas Stahl: again, sam! (1998) 20'
for violoncello, double-bass, baritone saxophone, bass clarinet, two tenor-bass trombones and two percussion instruments
sFr. 47.00
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.

4835 Andreas Stahl: erinnern - an sich (2001) 18'
for female voice, flute, oboe, violin, violoncello and piano
sFr. 47.00
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.

4916 Mathias Steinauer: Musik in 5 Teilen, op. 2 (1986) 3'
for three violoncelli and two percussionists
sFr. 42.00
(Aufführungsmaterial leihweise)
A play with formal superimpositions.

4918 Mathias Steinauer: Aussch(l)uss, op. 7.1 / EinSchluss, op. 11.5 (1988/98) 5'30
for alto flute, violoncello and harpsichord plus recitation ad libitum
sFr. 21.00
'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.

4909 Mathias Steinauer: Omaggio ad Italo Calvino, op. 10 (1993/94) 14'
for clarinet (horn), violin (violoncello) and partly prepared piano
sFr. 31.00
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.

Listen: Youtube
4913 Mathias Steinauer: Rumori cardiaci, op. 13 (1996) 5'
for flute, clarinet, violin, violoncello and piano
sFr. 18.00
A short nocturne for the first heart beat of the ensemble 'Oggimusica'.

Listen: Youtube
17106 Bruno Stöckli: Rest (1999) 10'
for flute, clarinet, violin, violoncello and piano
sFr. 49.00
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.

17112 Bruno Stöckli: Melodie in d (2010) 1'
for piano (with flute, clarinet, violin and violoncello ad lib.)
sFr. 16.00
17114 Bruno Stöckli: Dal peso di un piccolo uccel (1991) 15'
Seven pieces
for female voice and instrumental ensemble (fl.cl/pf.hp/perc/vn.vc.db)
sFr. 57.00
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.

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

Listen: Youtube
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.

5256 Balz Trümpy: Duetti Concertanti (2004/05) 22'
for violin and violoncello
sFr. 44.00
The reference to old forms and techniques stands in dialectical tension to the expressive complexity of the four pieces.

5288 Balz Trümpy: Der Geist des Tals (2013) 17'
for soprano, trombone, cello, percussion and piano
sFr. 75.00
The Ensemble Eunoia's suggestion that I write a piece dealing with the letter 'U' set off in me a chain of associations relating to this vowel. The starting point was the tonal character of the phoneme U: For me its dark, earthy, warm timbre equated to the symbolic image of the Mother ("uterus", "ursprung" (=origin)...). My text selection combines the following excerpts taken from literature and lore that evoke different aspects of the Mother symbol: In the 3rd hymn of the legendary poet and Dionysus priest Orpheus, night is celebrated as the Mother of gods and men. In the second part of Goethe's "Faust", Mephistopheles describes the nocturnal and sinister descent into the obscure realm of the Mothers ("No way! Into the untrodden ..."), where Faust wants to lead Helena back to life. A mother grieving for her son and creation forms the basis of the liturgical "Stabat Mater". And finally, the text of "Tao te Ching" to the "valley spirit" elevates the image of the Mother as the origin of heaven and earth to the spiritual.

10703 De-Qing Wen: Le Souffle (1994) 8'
for six instruments (flute, clarinet, violin, violoncello, piano and percussion)
sFr. 18.00
(Matériel: sFr. 18.-; € 18.-)
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.

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.

10712 De-Qing Wen: Divination (1997) 19'
for six instruments (flute, clarinet, violin, violoncello, piano and percussion)
sFr. 62.00
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.

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
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.

18105 Lars Werdenberg: Trio (2006) 12'
for clarinet, violoncello and piano
sFr. 34.00
(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.

Listen: Youtube
17647 Stefan Werren: 3 Gesänge (1988) 3'
for soprano, 2 violins and cello
sFr. 16.00
Text: Paul Celan

17604 Stefan Werren: Cantus (1991) 8'
for 2 celli
sFr. 18.00
17615 Stefan Werren: Moment musical (1996) 5'
for violin and violoncello
sFr. 23.00
17613 Stefan Werren: 7 Stücke (7 pieces) (1998) 15'
for clarinet, cello and piano
sFr. 31.00
17619 Stefan Werren: Cantus 2 (2001) 9'
for clarinet in A and violoncello
sFr. 26.00
17622 Stefan Werren: Nachklang (2002) 4'
for violin and violoncello
sFr. 16.00
7825 Hansruedi Willisegger: Quartett (1966/67) 20'
for flute, clarinet, violin and violoncello
sFr. 34.00
78106 Hansruedi Willisegger: Bitte, Lob und Dank (1973) 12'
for cantor, three sopranos, mixed choir, congregation, three speakers, three flutes, violoncello, double bass and bongos
sFr. 18.00
5812 René Wohlhauser: vocis imago (1993/95) 19'
Ergon 20
for flute, clarinet, percussion, piano, violin and violoncello
sFr. 47.00
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.

5815 René Wohlhauser: Quantenströmung (1996/97) 10'
Ergon 23b
for flute, cello and piano
sFr. 57.00
'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.

Listen: Youtube
5829 René Wohlhauser: Die Auflösung der Zeit in Raum (2000-2001/11) 15'
Ergon 26f, work number 1607
for clarinet (bass clarinet), violoncello and piano
sFr. 57.00
A piece dealing with the volatility of temporal experience in the infinitude of room.

5825 René Wohlhauser: 'Srang (2007) 10'
Ergon 36
for soprano, flute, clarinet and violoncello
sFr. 31.00
Based on an onomatopoeic text by the composer. The development of an aesthetic of fragments as a metaphor for fragmentary perception.

Listen: Youtube
5828 René Wohlhauser: Sokrak (2008) 10'
Ergon 39
for soprano, flute, clarinet, violoncello and piano
sFr. 55.00
Based on an onomatopoeic text by the composer. Sounds change from instrumental noises to sound frictions and from virtuousic buzzing to vocal noises.

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

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

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

18904 Andreas Zurbriggen: ... Mond Traum ... ich hör Sand und Steine weinen… (2009)
for soprano, violoncello and percussion (vibraphone / percussion - 1 player)
sFr. 21.00
Texts: Rose Ausländer

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").

8213 Alfons Karl Zwicker: Konstellation mit Mondtransit (1998/99) 16'
for soprano, violin, trombone, violoncello, clarinet and piano
sFr. 55.00
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
6205 Heidi Baader-Nobs: Contrevenant (1990) 16'-17'
for violoncello solo and 9 strings (2.2.2.2.1)
sFr. 49.00
(Solostimme: sFr. 18.-; € 18.-)
8522 Thüring Bräm: Krajiny Snu (1992) 17'
for piano trio, chamber orchestra (2.2.2.2/2.2.0.0/str) and one crotale
sFr. 55.00
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.

6604 Alfred Felder: Im See ist Feuer (1990/97) 30'
Music
for violin, viooloncello and orchestra
sFr. 49.00
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.

3133 Urban Mäder: Treibgut (202) 11'
for violoncello and string orchestra (5.4.2.2.1)
sFr. 39.00
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.

18802 Frédéric Perreten: Gris (2009) 9'
for cello and orchestra (2,2,2,2 - 4,2,2,1 - perc(2) - strings)
sFr. 21.00
5237 Balz Trümpy: Tahesha (1995) 12'
for flute or recorder (sopranino and alto recorder), violoncello and strings (4.4.2.2.1)
sFr. 70.00
A preliminary instrumental study for the second movement of 'Helios'.

17507 Raymond Vauterin: Dialogue (1992) 20'
for violoncello and string orchestra
sFr. 62.00
17521 Raymond Vauterin: Petite Suite (2000) 12'
for violoncello and string orchestra
sFr. 52.00
17654 Stefan Werren: Mantra (2002) 11'
for cello solo, strings and percussion (2 players)
sFr. 34.00

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