Harpsichord


solo
6503 Frédéric Bolli: Zwei Inventionen (1985) 3'
for harpsichord or piano
sFr. 13.00
13924 Pierre-André Bovey: 7 Interstices (1996/97) 10'
for harpsichord
sFr. 23.00
13933 Pierre-André Bovey: Novelette (2000) 5'
for harpsichord
sFr. 16.00
8517 Thüring Bräm: Nerval's Lobster (1994) 8'
for harpsichord solo
sFr. 21.00
A serious and not particularly easy piece based on many intellectual absurdities, e.g. Wagners Tristan Chord.

6708 Hans Eugen Frischknecht: 3 Stücke für Kleincembalo (3 pieces for small harpsichord) (1963) 4'
sFr. 13.00
Three short characteristic pieces with wild cascading, bubbly tone-chains or echo stop cantilena.

9204 Michel Hostettler: Tre Pezzi (1977/80) 8'
for harpsichord
sFr. 18.00
15112 Rudolf Jaggi: Suite pour Clavecin (1974) 8'
sFr. 26.00
Prélude - Pastourelle I - Blues - Pastourelle II - Toccate.


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

8429 Felix Baumann: ...nachfragend (2002/03) 2'30
for flute and harpsichord
sFr. 16.00
Between reception and perception. This short piece allows the opportunity to meditate over the difference between the recording of foreign content and sensual perception as a level of knowledge.

6713 Hans Eugen Frischknecht: Labikiel (1990) 7'
for flute and harpsichord
sFr. 21.00
In a transverse flute sound is generated using a labium, in a harpsichord it is produced using a quill. In this piece various tones are set in contrast against each other.

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.

14801 Ursula Gut: Aquamarin (1992) 10'
for 2 violins, 2 clarinets, double bass and harpsichord
sFr. 26.00
Listen: Youtube
9215 Michel Hostettler: Phylactères (1989) 10'
for flute (piccolo, flute-G), bassoon, harpsichord and crotales
sFr. 31.00
(Parties chez EMS: Sfr. 22.-; € 22.-)
9221 Michel Hostettler: Géodes (1992) 7'
for marimba and harpsichord
sFr. 26.00
9252 Michel Hostettler: Ysende (2003) 6'
for flute and harpsichord
sFr. 18.00
(avec partie de flûte)
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
9501 Louisa Lasdun: "Jabberwocky" (1978) 10'
for orator (most suitable would be a voice from the media known by children), piccolo, 2 bassoons, contrabassoon, amplified harpsichord (or synthesizer), piano, four percussion, mixed choir (4.4.4.4 also possible 2.2.2.2)
sFr. 34.00
Text: Lewis Carroll Entertainment for anybody between the ages of four and ninety-nine. Suitable for a children's programme. The text is from ‘Alice Through the Looking Glass’ by Lewis Carroll, also available in French and German. The original is in English gibberish but is easily transferable to German or French gibberish.

3117 Urban Mäder: en suite (1997) 12'
for flute and harpsichord
sFr. 42.00
3129 Urban Mäder: anhaltend (2000) 8'
for a Baroque ensemble (altus, tenor recorder, Baroque violin, viola da gamba, harpsichord)
sFr. 23.00
Text: Thomas Locher Based on text clippings from ‘Das Eine. Das Selbe. Das Gleiche’ by Thomas Locher. Introduction and dance that allow the Baroque elements to shine through. Tonally subtle and transparent music. Typical Baroque performance technique combined with a variety of contemporary experimental (noisy, brittle) playing methods.

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

7104 Valentin Marti: Arachne (1995/96) 8'
for flute (piccolo) and harpsichord
sFr. 31.00
Two instruments which never meet tonally, but produce ‘knots’ which carry the whole fabric. Double manual harpsichord. World premiere: 17.01.97 in Prague by Monika Körner (Fl) and Sandra Lechner (hpd).

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

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

10313 Henri Scolari: Jeux (1981/82) 6'
for flute and harpsichord
sFr. 29.00
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.

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").

8214 Alfons Karl Zwicker: Erinnerung an Nelly Sachs (1999) 17'
for two flutes, harpsichord and female voice
sFr. 39.00
Text: Nelly Sachs Tracing the characters in sand. Dismantled word sounds emerge and disappear - only guessing remains. The text particles are in strict rhythmic notation and are spoken as “speechsound”, only at the end is the voice recognised as a singing voice.


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

4505 Martin Schlumpf: Ostinato I (1980) 31'
for three improvising musicians (any instruments), string orchestra and harpsichord
sFr. 34.00
The improvised part is composed for wind instruments, double bass and drums but can just as easily be realised using other instruments.


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automatically generated. last update: 28.08.2015 / 2004 Theo Lustenberger