Electronics / Tape


solo
12803 Gary Berger: Transition (1995) 7'
for recorded material
(CD leihweise bei SME/EMS)
12804 Gary Berger: Elastische Studie (1996) 8'
for recorded material
(CD leihweise bei SME/EMS)
12805 Gary Berger: im selben raum (1997) 5'
for recorded material
(CD leihweise bei SME/EMS)
12807 Gary Berger: Link (1998) 5'
for alto saxophone and live electronics
sFr. 18.00
12810 Gary Berger: Langsam (1999) 6'
for percussion and live electronics
sFr. 23.00
12816 Gary Berger: X-ation (2001) 6'
for oboe and live electronics
sFr. 18.00
12817 Gary Berger: mâts (2001) 13'
for baritone saxophone and live electronics
sFr. 18.00
Listen: Youtube
12822 Gary Berger: spins (2003) 7'
for percussion and live electronics
sFr. 34.00
12823 Gary Berger: Dauerwelle (2004) 9'
for guitar, tape recorders and electronics
sFr. 23.00
8707 Xavier Dayer: Cantique dans la fournaise (1997) 9'
for soprano and electronics
sFr. 39.00
Texts: Bibel The singing can be meditative, joyful or even agitated, it changes from one to the other in the rhythm of thinking - as in an inner monologue. The electronic part consists of the sounds of spoken voice, cymbals, organ and computer generated parts.

1470 Eric Gaudibert: Solstice (1971-76) 12'30
for piano and recorded material
sFr. 18.00
(CD leihweise)
The pianist plays on the keyboard and the strings on the interior of the piano. The notation is synchronised with the recorded material. Contains aleatoric passages in the notation. The recorded material is composed exclusively of pre-recorded and studio processed piano sounds. The CD that accompanies this piece is delivered with the score.

9004 Edu Haubensak: Drei Klangbilder (1981) 20'
for piano, recorded material and scenery
sFr. 34.00
9027 Edu Haubensak: Idiorhythmische Studie (1993) var.
Installation
(wooden chair, electronics)
sFr. 13.00
The ‘Idiorhythmische Studie’ is a solitary search for rhythms produced by ones own body while sitting upon a stool. When one (the audience) sits upon a wooden stool and, while wearing the headphones, moves slowly one begins to perceive ones own positional changes. The study is a closed system in which each individual visiting the installation is the interpreter and listener of their own concert. A study of oneself.

9055 Edu Haubensak: Echte Zeit (2008) 45'
Three-part composition
for soprano saxophone and light projection (video) with audio aparatus (1 player)
sFr. 26.00
2680 Max E. Keller: agieren und reagieren (1999) 14'
for piano and electronic sound alteration (Boss SE-70)
sFr. 23.00
The player of the popular sound modulator reacts not only passively to the piano sounds but acts also actively like the piano itself.

Listen: Youtube
26111 Max E. Keller: Selbstgespräche (2006) 12'
for piano and live electronics
sFr. 23.00
These days, a machine is increasingly the conversational partner of humans and so it is in "Selbstgespräche". A small digital apparatus is positioned directly onto the piano and is operated predominantly by the pianist using two foot pedals. The apparatus changes, morphs or repeats that which is played by the pianist, who in turn reintervenes in this transformed sound.

26125 Max E. Keller: hasten und warten (2008) 7'
for violin and live electronics
sFr. 16.00
The volatile and varying movements of everyday life, a little like the "stop and go" of traffic, provides the basic feeling of tempo for modern times. Irregular rhythms in music are a reflection of this. In "Hasten und Warten", this is taken as the model for the form. The change between stop and go is regular, however, the duration of each section is irregular, ranging from 1 second to 83 seconds. The violin and electronics do not always ride parallel but also in opposition: the violin remains static and the electronics give the impulse or vice versa. The movement contrast does not appear thus in succession but also contrapuntal in simultaneity.

26126 Max E. Keller: Dialogues (2008) 7'-8'
for guitar and live electronics
sFr. 16.00
Both partners are handled equally. The electronics do not only remain passive but also take the initiative. Sometimes the guitar remains on a percussive sample and the electronics answer with increasingly hectic movements, at other times both partners move with varying pulse, as though on two levels, at other times still, the guitar gives the impulse, occasionally there is an intensive improvised interaction with rapid and spontaneous role changes.

3111 Urban Mäder: lieber ein Saxophon (1994) 9'
for contrabass saxophone (also baritone saxophone) and recorded material
sFr. 36.00
(Inkl. CD)
Text: Ernst Jandl A theatrical attempt by a saxophonist to articulate the self-ironic text by Ernst Jandl through the mouthpiece of his instrument while the recorded material plays.

Listen: Youtube
9755 Hans-Jürg Meier: gierseil (2013) 10'
for electric guitar and live electronics
Musically crafted work about the 'crab'; inspired by "Ma fin est mon commencement" by Guillaume de Machaut.

10002 Kit Powell: Nelson Songs (1986) 10'
for baritone and recorded material
sFr. 26.00
(Tonband auf Anfrage)
Texts by Michael Harlow. Experimental piece using primarily graphic notation.

10004 Kit Powell: Flötenspieler und Fledermäuse (1987) 6'
for transverse flute (c' - g) and recorded material
sFr. 29.00
(Tonband auf Anfrage)
A piece with various modern playing methods based on a picture by Kokoschka bearing the same name.

10006 Kit Powell: Chinese Songs (1988) 16'
for high soprano and recorded material
sFr. 34.00
(Tonband auf Anfrage)
Text from 'Tao Te Ching' and 'I Ching'. A confrontation of two contrasting philosophies.

13302 Marie-Cécile Reber: SRUN (2004) 10'15
for double bass and electronics
sFr. 23.00
13301 Marie-Cécile Reber: Twiriwir (2002) 8'
for viola and electronics
sFr. 21.00
(CD bei der Komponistin.)
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.

19104 Benedikt Wolfgang Schiefer: Signal (2009) 12'
for horn in F and live electronics (ambisonic setup)
sFr. 16.00

piano and instrument
1472 Eric Gaudibert: Vernescence (1973) 18'
for clarinet (basset horn or bass clarinet), piano and electro-acoustic slide show
sFr. 26.00
The title is a neologism evoking spring or birth. The notation is graphic and rules define its interpretation. Accessories for the piano: a glass with a stem, claves, a percussion stick and a screw. The electro-acoustic device consists of 4 or 6 loud speakers divided in the room, two microphones for direct amplification and 2 Revox, the second of which reproduces, with a delay of about 10", that which is recorded by the first.


Electronics / Tape with instruments
13407 Leo Bachmann: Shuffle and Repeat (1996) 10'
Concept for improvisation
for 3-8 musicians (any instruments) and recording device
sFr. 13.00
Requires a recording device (MD, CD) with ‘shuffle’ and ‘repeat’ functions, and a playback device.

13410 Leo Bachmann: Multiplex (1999) 10'-15'
for one wind and/or any size string ensemble plus play-back tape
sFr. 13.00
Play-back is appropriated to each ensemble using their own created sounds.

Listen: Youtube
12814 Gary Berger: lichtempfindliche Erinnerungen (2000) 6'
for bass flute, viola, alto saxophone, guitar, percussion and live electronics
sFr. 26.00
12815 Gary Berger: doppelte Wendung (2000) 6'
for voice, percussion and live electronics
sFr. 18.00
12819 Gary Berger: bitmap (2001) 6'
for saxophone quartet and live electronics
sFr. 26.00
12820 Gary Berger: zah (2002) 8'
for baritone saxophone, violoncello and electronics
sFr. 29.00
12821 Gary Berger: scri (2002) 8'
for voice, britone saxophone, percussion and live electronics
sFr. 42.00
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
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.

6728 Hans Eugen Frischknecht: Komposition für Flöte, Klarinette und Tonband (composition for flute, clarinet and recorded material) (1971) 9'
sFr. 16.00
A two-channel tape plays recordings of a variety of diversely processed piano sounds as a background to the live instruments (flute and clarinet (bass clarinet)).

Listen: Youtube
1505 Eliane Frances George: Etats d'Ame (1990) 12'
for string quartet and electronic (ad libitum)
sFr. 21.00
(Parties en vente chez EMS)
This piece expounds on the life development of the soul. The acoustics of the strings resonate in balance with our own heartstrings, while electronic sounds reflect our environment and its influence over us.

1509 Eliane Frances George: La Mariposa (1993) 4'10
for two violins with electronic effects
sFr. 26.00
(Parties en vente chez EMS)
'La Mariposa' (the butterfly) - symbol of change - looks at the uncharted realm of death and rebirth. A world of sensual delights and passionate struggle, finally magnifying all the forces of life.

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

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.

2212 Regina Irman: "... wie eine Heuschrecke über die Meere..." (1995/96) 20'
for large mixed choir and play-back tapes
sFr. 55.00
(Stimmen bei SME/EMS: sFr. 40.-; € 40.-)
Text: Meret Oppenheim Based on text, images and an object by Meret Oppenheim. The very large sounding body is set like a sculpture in the room. Commissioned by the Fifth Swiss Women’s Congress in Berne.

2666 Max E. Keller: les pompiers (souvenir de Berlin) (1996) 6'
for four trombones, piano, electric guitar and electronic sound expansion
sFr. 16.00
Contains a large improvised portion - works humorously with the fire brigade-fourth. Simple pitch shifting and echoplex (quasi belt sander with a duration of 20 seconds).

26105 Max E. Keller: Changements (2003) 11'
for tuba, percussion, piano and live electronics (BOSS SE-70)
sFr. 21.00
Changements - between various instrumental groups, between natural and transformed sound, between calm and hectic, between cut and transition, between air and tone, between pulse and free rhythm, between repetition and progress, between sound and noise, between…

9408 Marc Kilchenmann: Divertimento barbaro (1995) 8'
for violin, viola and electronic recorded material
sFr. 31.00
3123 Urban Mäder: Die Morgenröte (1987/91) 15'
for choir (SATB) wind music (clarinet, cornet, bugle, horn, trombone, tuba) and recorded material
sFr. 47.00
Text: Folksong Satirical adaptation of the Swiss National Anthem in a collage like combination with other existing folk songs. The wind passage (score flexible) requires a professional player. The choral passage can be performed by a good amateur choir.

3126 Urban Mäder: hornamental (1999) 8'
for five alphorns and simple electronics (ad libitum)
sFr. 21.00
Solo voice (with freedom to improvise) to a rhythmically flowing alphorn quartet movement. Required: five horns in F, three horns in F#, and one horn in E. Recorded transformed alphorn figures on CD can be used freely as a counterpart to the solo alphorn.

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

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
3708 Roland Moser: Heinelieder. Für Stimmen mit Begleitung (1970 ff) 40'
Version 1985
for Soprano, piano, actor, small amplification equipment and a small wooden table
sFr. 52.00
Text: Heinrich Heine Twelve pieces of music (songs and a piano piece) with texts by Heine throughout, representing a biography in five stages. The Soprano needs a strong low register.

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.

10008 Kit Powell: Father's Telescope (1989) 15'
Music theatre piece
for singer, speaker and recorded material
sFr. 34.00
Texts by Michael Harlow. Playful work dealing with power and submission.

19107 Benedikt Wolfgang Schiefer: TRUO (2009) 10'
for e-guitar, baritone saxophone, percussion and live electronics
sFr. 18.00
4535 Martin Schlumpf: Rattaplasma 2 (Kapitel III im Buch der Proportionen) (2001) 11'45
for clarinet/bass clarinet and computer generated multi-channel ambisonic tape
sFr. 26.00
Listen: Youtube
10216 Michael Schneider: 67 pas sur la nappe de l'étang glacé (1997) 4'
for oboe and a frozen lake (play-back)
sFr. 13.00
(DAT vom Komponisten zur Verfügung gestellt.)
In memory of Edison Denissow. A relatively simple oboe piece with glistening, breathing sounds provided by the play-back (DAT).

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!"

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.

4915 Mathias Steinauer: AnDante, op. 1.2 (1985) 10'
for percussion trio and large electronic tape loop
sFr. 23.00
(Tonbandschlaufe leihweise)
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.

5837 René Wohlhauser: Lemuria (1977) 17'
Ergon 1
for two flutes and playback
sFr. 49.00
A secret revelation by the oneirocritic Cayce about 'Lemuria', the continent lost under the pacific ocean - as told by Plato and here translated into acousic images.

8206 Alfons Karl Zwicker: Rituale für Fada (1994) 54'
for string quartet
sFr. 65.00
Large-scale string quartet that opens a discourse on the African way of making music, be it vocally or instrumentally. This piece is based on rituals still alive in Togo today. ‘Fada’ is Togolian and means ‘Father’. Fada is clergyman Karl Rohrbach, who has offered his exemplary services for development aid in Togo for more than twenty years. The strings also play pedal drums, rattles and blow a whistle. The third passage is to be performed with live electronic.

Listen: Youtube

Electronics / Tape with orchestra
7204 Mela Meierhans: Vagabundinnen (1992/98) 13'
for recorded material (CD/DAT or MD) and orchestra (1.2(ca).2(bcl).2(cbn)/2.2.1.1/hp/str)
sFr. 73.00
Text: Christina Thürmer-Rohr A version for chamber orchestra (wind quintet, strings, piano and recorded material) is also available (1994).


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automatically generated. last update: 28.08.2015 / 2004 Theo Lustenberger