Flute


solo
13920 Pierre-André Bovey: 3 Esquisses (1993) 8'
for flute solo
sFr. 16.00
13957 Pierre-André Bovey: Stèle à la mémoire de Charles Koechlin (1995) 6'30
for flute solo
sFr. 13.00
13966 Pierre-André Bovey: Une lueur dans l'infini (1997) 8'
for flute in G solo
sFr. 13.00
Listen: Youtube
17911 Andreas Brenner: Hommage à – Adolf Wölfli (2013) 7'
for flute or alto saxophone or bassoon
sFr. 18.00
(Preis pro Version)
Hommage à – Adolf Wölfli, a piece for soloist, exists in three versions: for flute, for alto saxophone and for bassoon. Because the three versions differ in their musical material (not counting the transposition) they each represent a kind of variation - comparable to a single object under different lighting conditions. When two or even all three versions are performed at the same concert, they should not be performed in immediate succession and always from high to low (that is to say alto saxophone and bassoon always comes after flute, bassoon always after alto saxophone).

6613 Alfred Felder: Fussspur (1998) 7'
Music
for flute solo
sFr. 18.00
"We have found a strange footprint on the shores of the unknown. We have devised profound theories, one after another, to account for its origins. At last we have succeeded in reconstructing the creature that made the footprint. And lo! It is our own." (Sir Arthur Eddington, 1882-1944).

11607 Michael Heisch: 5 Logogramme (1997) var.
for flute solo
sFr. 18.00
2227 Regina Irman: Melodie 2 (1985) 2'
for undertone flute or other instruments with free intonation possibilities
sFr. 13.00
Listen: Youtube
15137 Rudolf Jaggi: Evocation pour flûte (1980) 3'
sFr. 13.00
15141 Rudolf Jaggi: Stimmungen (1987) 4'
for flute solo
sFr. 13.00
9323 Vladislav Jaros: Sonata (2003) 13'
for alto flute
sFr. 18.00
Homage to J.S Bach. Four movements partly poetic, partly restrained and then again virtuosic and frolicsome. A delicacy for any flute virtuoso.

2665 Max E. Keller: Siebensang (1995) 7'
for flute
sFr. 16.00
Seven sections, each one of which places a different musical dimension (e.g. colour, rhythm, duration, dynamics, repetition, pulse) at its centre: intensive fathoming, probing search, insistent depiction.

2679 Max E. Keller: Miniatur (1998) 3'
for flute solo
sFr. 13.00
For Heinrich Keller and the 100th concert of his "Musica Riservata". Virtuosic with numerous sound effects.

7116 Valentin Marti: Re-version of a Verse (1999) 9'30
for flute solo
sFr. 18.00
An extending, slowly accelerating line whose harmonic surrounding constantly rotates around its own axis becomes gradually penetrated and superposed by a defined texture. World premiere: 7.1.00 in Zurich by Vera Fischer.

7118 Valentin Marti: Wurzelholz (2000) 6'20
for tenor recorder or any other woodwind instrument (alto flute, oboe, tenor saxophone...)
sFr. 16.00
For a different woodwind instrument to the recorder, a somewhat smoother effect because the extreme registers of the recorder have a greater influence on the tone than other instruments with a wider range. World Premiere: 04.02.01 in Wädenswil by Rico Gubler (tsx).

9801 Laurent Mettraux: Sonata (Nachtmusik), M. 451 (1990) 9'
for flute solo
sFr. 16.00
The subtitle indicates only an atmosphere without giving any descriptive indications. Contemporary playing techniques (such as multiphonics) alternate with more lyrical passages.

9811 Laurent Mettraux: Invocation, M. 511 (1994/96) 4'
for alto flute solo
sFr. 13.00
Contains quarter-tones. Inspired by the music of the Middle Orient.

3804 Thomas David Müller: Efeu II (1981) 10'
for flute
sFr. 13.00
An approach of three 'Ländler' by Franz Schubert, in which there remains a kind of transfigured hindsight where the false evocation rotates in a circle.

Listen: Youtube
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.

10309 Henri Scolari: Dédicace (1998) 5'
proportional variations
for flute solo
sFr. 16.00
Demanding structural combination of space and time.

4923 Mathias Steinauer: Phantasos - oder "Pavarotti's Traum", op. 16 (1999) 5'
for flute solo (and one microphone stand)
sFr. 18.00
7714 Pierre Thoma: Air - mouvement (1989) 12'
for flute solo
sFr. 18.00
5276 Balz Trümpy: Aeolian Song (2011) 8'
for flute solo
sFr. 16.00
"Aelion Song" ist ein virtuoses Solostück für Flöte, welches in der Anlage der "Ballade" für Gitarre solo und "Introduktion und Aria" für Klarinette solo folgt.

10722 De-Qing Wen: The shepherd boy's flute (1999) 7'
for flute solo
sFr. 16.00
Among the flowers, the music of a shepherd boy is passing.

10812 Martin Wendel: Votum für Flöte allein, op. 39 (votum for flute solo, op. 39) (1981) 3'
sFr. 13.00
The translation of the process of a speech into the musical.

18109 Lars Werdenberg: Las lieungas da glatsch (2010) 2'30
for piccolo solo
sFr. 16.00
These short pieces were written for the marathon concert IMPULS 2011 in Graz, where approximately 10 pieces were performed by the flute class of Eva Furrer. My composition comprises 9 short segments arranged under the following three basic types: Bird-like calls, melodies with partly large jumps and loud morse rhythms. I discover the tonal colour of the piccolo to be white and cold. The Rheto-Romanic title rather fittingly means "ice tongues".

Listen: Youtube
17616 Stefan Werren: Esquisse d'été (1999) 3'30
for flute
sFr. 13.00
5820 René Wohlhauser: Musik für Flöte (2002) 6'
Ergon 29
sFr. 31.00
A sparsely elemental material should gradually develop in such a way that, through an increasingly virtuosic, ever broader striking movement, an illusion of the instrument's threshold being expanded is created.

Listen: Youtube

piano and instrument
0909 Jacques Demierre: Terminus (take two) (1988) 11'
for flute and piano
sFr. 26.00
This piece stages its own silence, even the fragile and dramatic silence that emerges only after the final tone has sounded.

15131 Rudolf Jaggi: Barcarole (1974) 2'30
for violin (or flute) and piano
sFr. 13.00
(inkl. Violinstimme)
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

151134 Rudolf Jaggi: Petite Suite (2013) 9'30
Duos
for flute and piano
sFr. 23.00
9818 Laurent Mettraux: Sonate, M. 533 (1996) 14'
for flute and piano
sFr. 29.00
(Partie séparée: sFr. 14.-; € 14.-)
Three connected parts, amongst them is a scherzo inspired by the music of the Andes and a ruminant final, increase in in intimacy.

5283 Balz Trümpy: Verstreute Blumen (2013) 11'
Four Pieces
for flute and piano
sFr. 29.00
Eisblumen - Zephir - Winterblume - Windgesang are based indirectly on Schubert's well-known variations over 'Trockene Blumen' (dried flowers). Two fragments of this song are quoted.

10817 Martin Wendel: Musik für Flöte und Klavier, op. 46 (music for flute and piano, op. 46) (1985) 12'
sFr. 42.00
A sonata-like formation which forms a congruent statement by bringing together two very oppositional instruments which are hardly capable of a tonal unity: the flute associated rather with the quiet and intimate and the expansive, differentiating modern grand piano.

5824 René Wohlhauser: Studie über Zustände und Zeitprozesse (2007) 11'
Ergon 35
for flute and piano
sFr. 34.00
Extreme radicalness in the work with exactly measured time structures in relation to reduced yet obsessively used material.


Flute 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.-)
8319 Dieter Ammann: A (tenir) tension (2002/03) 11'30
Trio
for flute, marimbaphone, vibraphone and percussion instruments
sFr. 21.00
The completely dissimilar sound generation of flute and percussion, for example with regard to the acquisition and decay times, formed an important compositional aspect while working on this new ouvre. This dissimilitude, by analogy, is also transferred to the temporal configuration insofar as the rhythmical form of extremely tight motorical passages ("moltoritmico") ranges over diverse intermediate stages to flexible handling parts ("tempo fluido") producing, thereby, tightly packed episodes with highly differentiated timbral play alongside processes where virtuosity in the traditional sense is central. It is so that the trio produces in quick succession various states, which are highly demanding for the interpreters, with regards interaction and playing technique.

Listen: Youtube
8328 Dieter Ammann: Cute (2011) 11'
for flute and clarinet
sFr. 18.00
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
13408 Leo Bachmann: Tropfenspiel (1997) 8'
for contrabass flute, contrabass saxophone and tuba
sFr. 13.00
Repetitive layered samples increase resp. decrease in tempo.

0202 Walter Baer: From Unreality to Unreality (1972) 10'
for soprano, three flutes and three clarinets
sFr. 34.00
Texts: Jorge Manrique, Paul Eluard, Georg Philipp Harsdörffer, T.S. Eliot In this composition, four texts from different authors, languages and historical origin have been used, but all bear on the same theme: the fragility of existence, the problem of the concept of reality. A work of meditation, floating and fragile, it hints at the irrational in both ist vocal and instrumental sounds. The Soprano sings in Spanish, French, German and English.

0248 Walter Baer: Das Symposion des Xenophanes (2003) 38'
Cantata
for soli (AB from the choir) two choirs, flute, oboe, harp percussion and organ
sFr. 60.00
Texts: Xenophanes von Kolophon, Marie Luise Kaschnitz The two choirs are situated as far apart as possible. The vocal parts are demanding both for the soloists and the choir.

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.

6416 George Barcos: Cinco Piezas Recreativas (1996) 12'30
for flute, violin, clarinet and piano
sFr. 31.00
(Stimmen bei SME sFr. 32.-, € 32.-)
Danza Idilica - Ikebana - Caja de recuerdos - Nieve - El Ángel de la Guardia Civil.

6420 George Barcos: Piezas Íntimas (1999) 9'30
for flute, bassoon and harp
sFr. 31.00
Nocturnal - Danzón - Poema Místico.

6425 George Barcos: Cita para Ocho (2007) 8'
for 4 flutes, 2 alto flutes and 2 bass flutes
sFr. 18.00
8411 Felix Baumann: Ins Offene (1998) 15'
for alto flute, English horn and soprano saxophone
sFr. 18.00
A piece about roughing up the unsisono, which is displaced from a static into a liquid state.

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.

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.

12812 Gary Berger: unter Reibung (2000) 3'
for flute, viola and percussion
sFr. 16.00
12814 Gary Berger: lichtempfindliche Erinnerungen (2000) 6'
for bass flute, viola, alto saxophone, guitar, percussion and live electronics
sFr. 26.00
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
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
13927 Pierre-André Bovey: Méandres (1979) 4'
for 2 flutes
sFr. 13.00
13918 Pierre-André Bovey: 3 Epigrammes d'André Chénier (1980) 4'
for flute (also flute in G) and voice
sFr. 13.00
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
13949 Pierre-André Bovey: Ricercare sur le nom de BACH (1994) 7'
for flute and organ
sFr. 18.00
(Partie de flûte: sFr. 10.-; € 10.-)
13919 Pierre-André Bovey: 2 Episodes (1996) 7'
for flute in G and organ
sFr. 23.00
(Partie de flûte: sFr. 12.-; € 12.-)
8503 Thüring Bräm: Au temps perdu (1976) 14'
for flute and string trio
sFr. 21.00
The title plays with Proust's ‘A la recherche du temps perdu’. This through-composed piece requires flexibility due to improvisation-like parts. Satisfying for the flutist, who plays on the background of an often noise-like sliding sound carpet.

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.

8509 Thüring Bräm: For the Birds (1987) 8'
for flute and bass clarinet
sFr. 21.00
Requires an interest in experimentation and practice.

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.

17902 Andreas Brenner: Figures de Rêve (2004) 15'
for soprano, flute and piano
sFr. 18.00
Original text: Giacinto Scelsi, 'L'Archipel Nocturne'.

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
0906 Jacques Demierre: Outward (hommage à Eric Dolphy) (1988) 15'
for flute and clarinet
sFr. 39.00
"Rhythm, is in fact, the only art or system in which the various energies can be ordered and sustained. The basis of a vital and psychological dynamic is rhythm." (G. Bachelard).

0923 Jacques Demierre: Quelques remarques (1991) 13'
for flute, clarinet, horn, trombone and four-handed piano
sFr. 57.00
(Parties: sFr. 90.-; € 90.-)
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…

1040 Jean-Jacques Dünki: Eiland Stadt Ebene (1995) 11'
for flute and guitar
sFr. 21.00
14314 Felix Falkner: Ich kehre in mich selbst zurück und finde eine Welt (2002) 12'
Intérieur
for speaking voice, two flutes, two clarinets and accordion
sFr. 31.00
(Stimmen: sFr. 24.-; € 16.00)
Texts: Johann Wolfgang von Goethe Text from ‘Die leiden des jungen Werthers’ (The sufferings of young Werther) by J.W. Goethe.

6618 Alfred Felder: Cercles (1992) 12'
for flute, clarinet, harp, string quartet and double bass
sFr. 26.00
6648 Alfred Felder: all songs are good (2004) 30'
Trio
for flute (afl), clarinet (bcl) and piano
sFr. 42.00
(Flöten- und Klarinettenstimme: sFr. 30.-; € 30.00)
This piece is concerned with the journey into another reality, a reality where one can encounter various magical animals.

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.

11919 Claude Ferrier: Condensations (1998) 9'
for sextet (fl.hn.asx/hp.cel/gtr)
sFr. 42.00
11920 Claude Ferrier: 4 petites pièces (1999) 6'
for eight instrumentalists (fl.cl.bn/perc/hp/2vn.vc)
sFr. 26.00
11923 Claude Ferrier: In Anno Jubilaei (2000) 5'
for 2pic.2cbn and twelve-part mixed choir
sFr. 29.00
1117 Jürg Frey: Aufzählung. Licht. Tänzerin am Rand (1995/96) 20'
for actor, female dancer, three instruments (flute, violoncello and accordion)
sFr. 23.00
6717 Hans Eugen Frischknecht: 5 Stücke für Flöte und Orgel (5 pieces for flute and organ) (1965) 8'
sFr. 16.00
Five single pieces of various character, from superficially structured to atmospherically cautious.

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
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.

6714 Hans Eugen Frischknecht: Stereophonie (1991) 5'
for 5 transverse flutes
sFr. 21.00
Composed for five good amateurs. They are to be arranged on a stage as far apart from each other as possible in order to produce a stereophonic effect.

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.

19002 Elvira Garifzyanova: Phönix (2006)
for flute, clarinet and bassoon
sFr. 29.00
Listen: Youtube
1467 Eric Gaudibert: Duo pour flûtes (1959) 10'30
sFr. 18.00
The three pieces of this duo (Moderate – Slow – Dance) are written in a classical manner. Rather easy level of difficulty.

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.

1477 Eric Gaudibert: Zwielicht (1990) 11'30
for flute and harp
sFr. 26.00
Zwielicht = Twilight Uses the piccolo flute and the alto flute in G. Written almost entirely in space notation. High level of difficulty. Accessories: a bow for the harp.

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.

1483 Eric Gaudibert: Wolkenblau (1999-2000) 10'
for alto flute and guitar
sFr. 23.00
Texts: Georg-Philipp Harsdörffer The text, which evokes the four seasons, dates back to the 17th century. The title of the work, as well as the titles for each piece, are taken from the poem: Es bläst der sanffte West – Ihr Hertz ist von safran – Der Erden Kelterblut – Die Gäste gehen fort. The melody is present in the flute part in this version for two performers without voice.

1484 Eric Gaudibert: Wolkenblau (1999-2000) 11'30
for soprano, alrto flute and guitar
sFr. 29.00
Texts: Georg-Philipp Harsdörffer The text, which evokes the four seasons, dates back to the 17th century. The title of the work, as well as the titles for each piece, are taken from the poem: Es bläst der sanffte West – Ihr Hertz ist von safran – Der Erden Kelterblut – Die Gäste gehen fort.

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.

1495 Eric Gaudibert: 2'35" (2007) 3'40
for bassoon solo, bass flute, bass clarinet and trumpet
sFr. 26.00
This piece was composed for the 30th anniversary of the ensemble Contrechamps. The title corresponds to the timing which Bartók set for his Allgero Barbaro. The trio (flute, clarinet, trumpet) play some extracts of this work with breathing sounds only, while the solo bassoon "sings" the beginning of the Music for Strings, Percussion and Celesta, also by Bartók. It is possible to use other wind instruments than the ones chosen here.

1497 Eric Gaudibert: Passages intérieurs (2007) 9'
for 3 flutists
sFr. 21.00
Each interpreter plays 2 instruments: the flute in C + piccolo or alto flute or bass flute. The writing attempts to merge the timbres. Average level of difficulty.

1499 Eric Gaudibert: Warum? (2009) 6'
for flute, oboe and clarinet
sFr. 18.00
This work is inspired by a piano piece with the same title by Schumann (Phantasiestücke op.12). It is a slow and tender piece of music which demands a great deal of concentration to master the contrapuntal lines.

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

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

8810 Rico Gubler: erschöpfen - als kleines (1995/96) 10'
for solo speaker, four screamers/whisperers, two chamber speaking choirs and bass flute
sFr. 60.00
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.

8835 Rico Gubler: Kubla Khan's Love Song (2005/06) 4'
for piccolo and soprano saophone
sFr. 16.00
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
9201 Michel Hostettler: Agar (1973) 10'
for two flutes and one flute-G
sFr. 13.00
(Voix: sFr. 12.-; € 8.00)
9202 Michel Hostettler: Intermède (1977) 6'
for flute, oboe and organ (or strings)
sFr. 18.00
(Parties pour les cordes en vente chez EMS)
9203 Michel Hostettler: Five o'clock (1979) 2'30
for 2 flutes
sFr. 13.00
9245 Michel Hostettler: Intermède no. 3 (1981) 4'
for flute and organ
sFr. 16.00
9207 Michel Hostettler: Béatitude pascale (1984) 3'30
for 2 flutes
sFr. 13.00
9212 Michel Hostettler: Fantaisie épidermique (1988) 7'
for flute, oboe and bassoon
sFr. 18.00
(Parties chez EMS: Sfr. 14.-; € 14.-)
9213 Michel Hostettler: Rêve (1988) 3'30
pour 2 flûtes
sFr. 13.00
9215 Michel Hostettler: Phylactères (1989) 10'
for flute (piccolo, flute-G), bassoon, harpsichord and crotales
sFr. 31.00
(Parties chez EMS: Sfr. 22.-; € 22.-)
9261 Michel Hostettler: Cantilène (1989) 3'
for flute and piano
sFr. 16.00
(avec voix flûte)
9232 Michel Hostettler: Le Renard et la Rose (1997) 4'30
for flute and harp
sFr. 18.00
(Avec partie pour flûte)
9251 Michel Hostettler: Bucolique (2000) 8'
for flute trio
sFr. 18.00
9265 Michel Hostettler: Prélude et Danse (2001) 5'
for flute and two clarinets
sFr. 18.00
(Voix chez EMS: sFR. 14.-; € 9.50)
9252 Michel Hostettler: Ysende (2003) 6'
for flute and harpsichord
sFr. 18.00
(avec partie de flûte)
9269 Michel Hostettler: Méditation (2012) 6'
for flute and organ
sFr. 18.00
For Irène Gaudibert.

15183 Rudolf Jaggi: Phasen (1974/75) 15'
for medium voice, flute and guitar
sFr. 31.00
Texts: Giuseppe Ungaretti (Ingeborg Bachmann). 1. Ich bin eine Kreatur 2. Freude der Schiffbrüche 3. Morgen 4. Phase I 5. Phase II 6. Finale

15133 Rudolf Jaggi: 6 Bagatellen (1977) 10'30
for flute, violin and violoncello
sFr. 21.00
15134 Rudolf Jaggi: Studie für 3 Flöten (study for 3 flutes) (1978) 3'
sFr. 13.00
15186 Rudolf Jaggi: O Westen, öffne mir deine Arme (1991) 16'
for high voice, flute and guitar
sFr. 34.00
Ancient Egyptian texts. 1. Lobpreis sei dir, Re 2. O Re, komm zu mir 3. Betrachtet mich doch

151109 Rudolf Jaggi: Escapades (2006) 9'
for flute and piano
sFr. 26.00
(incl. Flötenstimme)
I. Allegro preciso II. Tranquillo III. Giocoso IV. Lento rubato V. Agitato

151116 Rudolf Jaggi: Automne Gadagne (2007) 2'
for alto recorder (or flute or violin) and piano
sFr. 13.00
151136 Rudolf Jaggi: Urkalabulie (2013) 1'10
Instrumental trio
for two flutes and viola
sFr. 13.00
9305 Vladislav Jaros: Chinesisches Märchen (1983) 3'
for flute (or oboe or violin) and guitar
sFr. 13.00
An easily approachable piece in which equal demands are made on both interpreters. It is not a difficult piece to interpret and is well suited to an advanced student.

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.

9308 Vladislav Jaros: Divertimento (1992) 12'
for flute, clarinet and guitar
sFr. 23.00
A melodic and lyrical piece with appealing rhythms and harmonies and rewarding solo cadenzas. This piece is demanding for all three instruments.

9311 Vladislav Jaros: Flötenquartett (flute quartet) (1995) 24'
(2 flutes, alto flute, bass flute)
sFr. 29.00
A playful piece with merry polyrhythmic shenanigans, a real challenge for any flute quartet.

9314 Vladislav Jaros: Fugit irreparabile tempus (1997) 18'
for contrabass flute and flute orchestra (5fl(3pic).3afl-g.3bfl)
sFr. 68.00
9333 Vladislav Jaros: Das Burgfest (2005) 16'
Flute quartet
for 2 flutes, alto flute and bass flute
sFr. 39.00
A suite consisting of amusing character pieces. Simple to play.

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

9340 Vladislav Jaros: Terzett (terzet) (2007) 12'
for panflutes (or flutes), taragot (or oboe) and organ (or flute, clarinet and organ)
sFr. 21.00
In memoriam Sándor Veress. A piece with two themes from Hungarian folk music, slow lyrical parts alternate with lively, quick and very rhythmical parts. Extended tonality.

2505 Mischa Käser: 7 lieder zu volkstexten (1990) 18'
for soprano, flute (or pic or bfl), clarinet (or cbcl or Ebcl) and string trio
sFr. 47.00
Text from the book 'knaben wunderhorn'.

2511 Mischa Käser: abenteuer in sachen haut (1993) 24'
for ten strings (5.2.2.1) and flute
sFr. 55.00
15 micro-chromatic variations over a diatonic melody. Independent playing techniques required. Needs lots of rehearsing but is technically quite simple.

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.

2657 Max E. Keller: Konfigurationen III - January 1991 (1991) 8'
for oboe (or flute), bassoon, guitar and piano
sFr. 18.00
The musicians also perform scenic actions and speak a couple of sentences.

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.

2609 Max E. Keller: zerblasen (1992/93) 11'
for instrumental ensemble (fl.ob.cl(bcl).bn/hn.tpt.tbn/db)
sFr. 26.00
An obsessive, pulsating sequence is stopped down again and again and shortened whenever some sound fields establish themselves in the interstitial. A new multifaceted music replaces the worn down rhythm.

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.

2661 Max E. Keller: Walk-Music (1994) 11'
for flute, violin, guitar and percussion
sFr. 16.00
Each of the musicians follows his/her own course, whereby each independently repeats and varies a single sequence: Isolation, without contact, narcissism - sign of the times…

2613 Max E. Keller: Solitario (1996) 14'
for flute, guitar and percussion
sFr. 16.00
Each instrument builds its own world using eight elementary figures; each goes its own way yet parallels are shown to exist. Relationships form and the dialectic of the controlled ‘own way’ and random combination begin to play.

2677 Max E. Keller: Deformationen (1998) 14'
for soprano, flute and guitar
sFr. 23.00
Text: Max E. Keller, E. Galeano The setting to music of four of my own texts: Globalisation as worldwide exploitation of people and nature; freedon as unlimited and uninhibited profit maximisation; Education as manipulative conformation. The 5th text comes from Eduardo Galeano from Uruguay: repress how the rich countries accumulate their riches.

Listen: Youtube
2685 Max E. Keller: Skizzen (1999) 9'
for flute and guitar
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.

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.

26115 Max E. Keller: gebündelt und ausfasernd (2007) 10'
for flute, clarinet (bcl), violin and piano
sFr. 26.00
"gebündelt" (clustered) initially means the bringing together of different chords of varying duration, which then either die out, collapse or very quietly drift ("ausfasern"), that is to say dissolve in short, soft movements. The chords are in the forte range and vary throughout the composition with respect to dynamics and internal movement, repeating rhythms and timbral changes. The drifting ("ausfasern"), is also formed in a multifarious manner, but always remains in the quiet range.

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.

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.

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.

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.

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.

19407 Burkhard Kinzler: round about Haydn (2012) 6'
a roundabout
für 2 Flöten, 2 Oboen (beide auch Engl-Hn), 2 Fagotte, 2 Naturhörner und 2 Naturtrompeten
sFr. 29.00
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.

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

2858 Alfred Knüsel: Katharsis I - III (1997)
for 5 flutists and percussion
sFr. 18.00
2824 Alfred Knüsel: Frühling gestehen (1997) 23'
for singing voice, strings (1.1.1.1.1), flute and percussion
sFr. 47.00
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
2868 Alfred Knüsel: inmitten der Fülle das Verschwinden als verbindendes Element (2008) 8'40
for wind instruments (pic, fl, bcl, bn), string instruments (vn, db, hp) and percussion
sFr. 49.00
Listen: Youtube
2904 Josef Kost: Intermezzo (1989) 6'30
for 8 flutes
sFr. 23.00
In these compositions, all flutes, from piccolo to bass flute, receive a variety of treatment being set both soloistic and chorally (two piccolo, eight flutes in C, five alto flutes in G, three bass flutes in C, one bass flute in G). Moderate level of difficulty, without any special playing techniques.

Listen: Youtube
2908 Josef Kost: Soliloquio roteante (1994) 9'
for two flutes, trombone and four-handed piano
sFr. 23.00
A virtuosic chamber musical piece designed for advanced amateurs.

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.

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.

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.

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."

15205 Stephan Lauffer: Sinfonietta (1999) 4'
for two flutes, clarinet and piano
sFr. 18.00
Präludium - Scherzo - Tanz - Burleske.

15211 Stephan Lauffer: Tibetische Weisheit (2005) 3'
for four-part choir and flute
sFr. 16.00
17804 Luigi Laveglia: Code of Light (2007/08) 23'
for flute, bass clarinet, violin and piano
sFr. 34.00
(Stimmen bei SME: sFr. 48.-; € 48.-)
Two movements (part one, part two) My occupation with light and its spectrum of colours (in a poetic rather than scientific sense) formed the starting point of this composition. It lead to extraordinary answers on a formal and associative level. Intense and diversified at the same time.

3108 Urban Mäder: L'absence de vent (1992) 55'
for speaker, soprano, alto, countertenor, flute, guitar and bass clarinet
sFr. 47.00
Text: Samuel Backett An audio play after a quote from Samuel Beckett's “Mal vu mal dit” (badly seen badly said).

3117 Urban Mäder: en suite (1997) 12'
for flute and harpsichord
sFr. 42.00
3127 Urban Mäder: Windstriche II (1999) 14'
for shakuhachi and seven flute players (instrumentarium: pic.fl-f.4fl-c.afl-g.bfl-c.bfl-f.cbfl-c)
sFr. 47.00
Four movements. Four differing attempts to combine the soloistic Japanese Zen flute, the shakuhachi, with the european transverse flute.

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

3140 Urban Mäder: Kulm (2013) 14'
for flute, oboe, clarinet, horn, bassoon and string quintet
sFr. 57.00
After a radio protocol on Pilatus. Commissioned by the Ensemble Montaigne, Lucerne.

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.

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).

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).

7109 Valentin Marti: Floating (1997) 7'
for piccolo / alto flute, oboe and soprano saxophone
sFr. 21.00
Fragile transitions between noise and tone, fluctuating chromatic modulations and a metre that masks the rhythm are characteristics of this trio. World premiere: 28.9.97 in Wädenswil by theTrio Lepic.

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.).

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

15421 Kurt Meier: Phantasie für Flöte und Orgel (fantasy for flute and organ) (1998) 10'
sFr. 26.00
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.

9721 Hans-Jürg Meier: colours de la rose (1999/01) 30'
for alto flute (flute) oboe (english horn) and soprano saxophone (alto saxophone)
sFr. 49.00
A nine-part piece - a confrontation between the music of Guillaume de Machaut and Hans-Jürg Meier.

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.

9729 Hans-Jürg Meier: nie setzt es ein (2002) 12'
for flute, (bfl, cbfl), horn, two trumpets, trombone and tuba
sFr. 26.00
Helical searching for osculation points.

9737 Hans-Jürg Meier: durante il giorno iI sole oscura le stelle (2006) 15'
for mixed choir (SSATB) and contrabass flute (also flute)
sFr. 60.00
Texts: Ottavio Rinuccini, Catullus, Ovid, Hans-Jürg Meier Ariadne's experiences with Theseus and Bacchus are related from the perspective of the Corona Borealis constellation: 1. Theseus and Ariadne: promise of marriage on the island of Nexus 2. Theseus: called upon by an aide to leave 3. Ariadne: abandonment and delusion 4. Ariadne and Bacchus: heavenly wedding and the casting of the crown into the sky, which remained in the form of the constellation

9738 Hans-Jürg Meier: criptoportico (2006) 10'
for transverse flute, natural horn, double bass
sFr. 18.00
Formal references lead to the grotesque paintings of the Domus Aurea rooms in Rome. As regards content, the sirens have their grand appearance.

9744 Hans-Jürg Meier: Schwärme von Lichtfischen (2008) 8'30
for 6 pianos and 8 pairs of high instruments (flutes, clarinets, trumpets, cornets, harps and violins)
sFr. 21.00
(Stimmen beim Autor)
Spatial composition based on a text by Elisabeth Binder (from "Orfeo"). For students. For students.

9747 Hans-Jürg Meier: les mots jaunes (plötzlich diese Ganzheit) (2008) 9'
for voice (mezzo-soprano) and flute
sFr. 18.00
Text by Marianne Schuppe (staging: Hans-Jürg Meier) "Between two languages lies a room. Between language and music lies a room. And between reading, resp. listening and writing lies time. Translating is the setting of one's own words resp. signs into relation." (Marianne Schuppe)

9752 Hans-Jürg Meier: das dasein ist nicht das wesentliche (sestiere - prima lettura) (2010) 16'
for panpipes, transverse flutes, recorders, clarinets, saxophone, horns, trombones, trumpets
sFr. 60.00
9753 Hans-Jürg Meier: wingert in der frühe (2011/12) 17'
für Sopran, 4 Renaissancetraversflöten, Laute
sFr. 57.00
(Stimmen beim Komponisten)
Texte aus dem "Canticum Canticorum". Musik in sechs Teilen über die Kirche "Santa Maria Formosa" von Mauro Codussi (Venezia): I ort und zeit (gondola); II er besingt sie (caminada); III sie besingt ihn (caminada); IV minne (hortus conclusus); V wein (cielo); VI siegel (fuoco).

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

7209 Mela Meierhans: Sec''ondes (1995) 12'
for wind quintet (fl.ob.cl.hn.bn), viola and piano
sFr. 31.00
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

3443 Thomas K. J. Mejer: Pøshalsta!! (2006) 12'
for flute and double bass
sFr. 21.00
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

9821 Laurent Mettraux: Quatuor de flûtes, M. 547 (1996) 9'
for four flutes (first with piccolo, and fourth with flute in G)
sFr. 31.00
(Parties séparées: sFr. 12.-; € 12.-)
Mysterious sounds and a elegiac atmosphere outside time, accentuatetd by sparkling outbursts of energy. The use of uncommon chords opens intense sonorous landscapes.

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.

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
3816 Thomas David Müller: Letzte Zeichen von Geschwindigkeit (Chartres I) (1998) 11'
for flute, oboe and soprano saxophone
sFr. 21.00
Traditional interplay with some dodgy rhythmics. Partly over-the-top high register. Reduced but colourful harmony.

Listen: Youtube
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.

9914 Maria A. Niederberger: "Oh grosses Wunder" (1995) 4'
A Christmas carol (first version)
for choir and organ for choir with flute, triangle and string quartet (string ensemble)
sFr. 13.00
(Version mit Instrumenten: sFr. 14.-, € 9.50)
Choir is 1-2-part, four strophes; music in a traditional tonal style. German text by M. Niederberger.

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.

9911 Maria A. Niederberger: Images (1997) 20'
for flute, oboe, clarinet, bassoon, horn, trumpet, trombone, double-bass, piano and percussion
sFr. 57.00
I. Fluid Shapes, II. Light and Shadow, III. Symmetries - Broken Symmetries. Piano and trumpet accentuated.

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.

4002 Daniel Ott: im museum (1987) 45'
Musical theatre piece
for a group of children and piccolo, bass clarinet, tuba, accordion, mandolin (guitar), violin and four percussion instruments
sFr. 31.00
Texts: Folksong Can be played individually: ‘kinderspiele’ for 2 percussionists (glock.vib.cym) [2'] ‘le ranz des vaches’ for 6 tuned cow bells (f#+2,g2,d2,g#+3,a3,e4), one player [2']

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.

4311 Ernst Pfiffner: Trio pasquale (1993) 14'
for flute, oboe and English horn
sFr. 34.00
Da der Tod - ...ahnten sie nicht - Trio pasquale: A variety of settings: the whole ensemble in the first part; in the second the choir and the speaker are omitted whilst the third part features flute, oboe, and English horn. The three pieces are a religious triptych, but they can be performed separately. The first two cycles set texts by the Graz writer Karl Mittlinger to music. In the first part, death is objectified in its many aspects whilst the last part sees the speaker narrate sentences from Mozart's letters to his father, in which he describes his attitude towards death. The middle piece is concerned with form, life and the mission of Jesus and closes with death and resurrection. The ‘Trio Pasquale’ is deals with Easter, as seen by Maria Magdalena. Work series A: Music for concerts.

10026 Kit Powell: Koauau (1998) 10'
for transverse flute ensemble (eight players with sixteen flutes ranging from piccolo to contrabass flute)
sFr. 31.00
A commissioned work for 'les joueurs de flûte'.

19302 Katharina Rosenberger: le miroir (2007) 3
for flute and soprano sax
sFr. 29.00
Listen: Youtube
19306 Katharina Rosenberger: aPhasis (2002) 6'30
for soprano, alto flute, bass clarinet
sFr. 23.00
The title stems from the Greek words "Aphasia" and "Apheresis". The original meaning of Aphasia is "speechlessness", this is often translated into English as "loss of language". The leaving out of a vowel or syllable at the beginning of a word, either for causes pertaining to language history or because of metric or articulation reasons, is referred to as "Apheresis". The dealing of language in aPhasis reflects these processes with the explosive, blurting out of word clusters, which are deconstructed as the piece progresses. This process is musically embedded by the voice in a sharply contrasting sound image comprising wordless, archaic sounding 'vocalese' passages, which are hummed or interpreted with a half-open mouth. The accompanying instruments - written here in a new version for bass clarinet and violoncello - negotiate the tonal space between these two dynamics. The libretto comes from the pen of British poet Rob Holloway.

16006 Alex Rüedi: Mättju (1996) 4'30
Trio
for flute, alto saxophone (or clarinet/soprano saxhophone) and piano
sFr. 21.00
(Stimmen: sFr. 12.-; € 8.00)
16022 Alex Rüedi: Flautetto (2007) 14'
for 2 flutes, alto flute, bass flute (or 2fl, 2afl)
sFr. 44.00
(Stimmen SME: sFr. 38.-; € 38.-)
4534 Martin Schlumpf: Cumuli III (3-4-1-5-2 - Kapitel II im Buch der Proportionen) (1999) 20'
for flute, clarinet, soprano saxophone, trombone, electric piano (or piano), electric bass (or double bass) and percussion
sFr. 34.00
10205 Michael Schneider: Licht über Schatten (1993) 7'
for two flutes
sFr. 18.00
Filigree, poetic sound study; simultaneously a piece based on a motto by Ossip Mandelstam that sets the hope of powerlessness against violence.

10235 Michael Schneider: Die chemischen Elemente (2008) 6'
for flute, saxophone and vibraphone
sFr. 26.00
The structure and course of this piece is based on the periodic table of chemical elements. The three instruments represent specific groups of elements within the seven periods of the periodic system (metals, transition metals, non-metals, noble gasses). Small variations in playing technique and "plasticity" represent the chemical properties of each single element in one-bar 5/4 "portraits", which are linked to form a suspended tonal stream.

10240 Michael Schneider: Gran Partita (2011) 13'
for wind septet (fl, ob, cl, bh, bcl, bn, hn)
sFr. 42.00
"The seagull continues to play. But she is no longer alone. They came one after the other, against the wind. A bassoon is here, a long, thin lament; an oboe, guttural; a horn, horns, various colours, dry in the brass; a deep voice, a sonorous bass draws long, thick threads through the sound carpet. Above me on the craggy ledge sit thirteen seagulls, each with a tone of its own. Highs and lows, warmth and coolness, a mystical choir, a serenade from within the wind." The number of seagulls in this excerpt from a short story by the Swiss author Andreas Neeser makes reference to the number of instruments in Mozart's famous wind serenade 'Gran Partitia', which also lends its name to Neeser's short story. Published in a volume of stories entitled 'Unsicherer Grund' or 'Unsafe Ground' (Haymon, 2010), Neeser's 'Gran Partita' pays homage to nature and the legends of Bretagne: An observation made at the westernmost side of Bretagne and a metaphor within which man and his emotions are mirrored. Commissioned by the Bläsersolisten Aargau, my 'Gran Partita' reflects the music in Neeser's text and the nature it evokes - the structural elements of the short story and also the geology and fauna of Bretagne. The instrument's scales symbolise granite, the predominant stone in this area, and the vegetation and topos of the sea and the call of the seagulls. Non-musical parameters define the musical material, the form of which offers absolute priority to the melodic line. This leads to an autonomous sound metaphor comprising lines and colours, that makes the underlying substance as an explanation no longer necessary.

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.-)
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.

10313 Henri Scolari: Jeux (1981/82) 6'
for flute and harpsichord
sFr. 29.00
4801 Andreas Stahl: schneller werdender blues (1983/84) 30'
for flute, clarinet, violin, double bass, marimba, percussion and speaker
sFr. 47.00
Quasi-accompanied readings of texts by Robert Peterhans. Mini-overture; country life; city life (the eventful 80's); love; music.

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

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.

4836 Andreas Stahl: grauzone (2002/03) 19'
for flute, oboe, clarinet and accordion
sFr. 29.00
A piece about pitch, almost about melody. But certainly so that the borders between identical, similar and different dissolve to leave one hearing melodies where no melodies exist (?).

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.

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
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
7704 Pierre Thoma: Musiques pour fifres et tambours (1984) 2'30
sFr. 16.00
7722 Pierre Thoma: Déchirure (Alinnik) (1993) 6'
for flute and 2 percussion instruments
sFr. 42.00
5222 Balz Trümpy: Erleuchtetes Dunkel (1970, rev. 2006) 8'
for mezzo-soprano, alto flute and clarinet
sFr. 16.00
Based on poems by Wolfgang Borchert and Max Bolliger.

5229 Balz Trümpy: Pas de deux (1986, rev. 2001) 12'
for flute (afl) and clarinet (bcl)
sFr. 34.00
5211 Balz Trümpy: Nacht (1988) 18'
Cycle
for mixed choir, flute, two clarinets and horn
sFr. 55.00
Night has probably never been praised higher and in so many facets by anyone other than Joseph von Eichendorff. For myself, his poems are equivalent to the music of Schubert and Schumann. A possible discovery of reality on the edge of the concrete, proceeding to point out another reality.

5267 Balz Trümpy: Oratio Sibyllae (2007) 10'
for soprano and flute
sFr. 21.00
Das sechste Buch der "Aeneis" von Vergil beschreibt den Abstieg des Aeneas zur Unterwelt und seinen Wiederaufstieg aus dem Reiche Plutos. Auf der gefährlichen Reise begleitet ihn die Seherin Sibylle. Einige ihrer Ermahnungen und Verkündigungen bilden die Textvorlage zum Stück Oratio Sibyllae für Sopran und Flöte. Die Flöte, welche schon den Gluckschen Orpheus zur Unterwelt geleitete und auch in der Zauberflöte die Rolle der Beschützerin vor den Gefahren der "anderen Welt" spielt, schwebt sozusagen über und neben der Singstimme und verschmilz mit ihr zur Einheit.

5287 Balz Trümpy: Canti elegiaci (2007) 22'
for soprano, flute and piano
sFr. 57.00
Two poems by the Italian romantic poet Giacomo Leopardi flank a lament on the effects of aging carved in stone by Michelangelo. In spite of all despair over the vanishing powers and the insight not to have ended one's life successfully on its climax Michelangelo's work still emanates an unbroken will for life fighting against one's faith. Leopardi's deep melancholy however appears in a tender and ambiguous light giving space to a slight glimmer of hope. The different works were set into music accordingly: the music for Michelangelo's poem is rhythmically firm while Leopardi's is rhythmically and metrically free and floating.

5291 Balz Trümpy: Oracula Sibyllae (2008) 24'
for soprano, baritone, flute and percussion
sFr. 47.00
Nach Texten aus den "Oracula Sibyllina" und aus Vergils "Aeneis" (Bearbeitung von CARMEN SIBYLLAE und ORATIO SIBYLLAE). "Oracula Sibyllae" ist die Verbindung von zwei Werken, die sich mit den Sibyllen beschäftigen: Carmen Sibyllae für Bariton und Schlagzeug sowie Oratio Sibyllae für Sopran und Flöte. Die antiken Bücher "Oracula Sibyllina" enthalten die Weissagungen der von göttlichen Kräften überwältigten Seherin Sibylle, die meist unerwünschte und unheilvolle Prophezeiungen hervorstösst.

5270 Balz Trümpy: Flötenbuch (2008-2009) 24'
11 Stücke
for flute ensemble (12 fl, 6 afl, 2 bfl)
sFr. 75.00
Mein Flötenbuch besteht aus elf Charakterstücken für Flötenensemble. Die Besetzung reicht von vier bis 20 Flöten, wobei neben Querflöten in C fallweise auch bis zu sechs Alt- und zwei Bassflöten verwendet werden. Die Stimmen können teilweise auch chorisch besetzt werden. Die Stücke können in beliebiger Auswahl und Reihenfolge gespielt werden.

17506 Raymond Vauterin: Deux pièces brèves (two short pieces) (1984) 9'
for flute and organ
sFr. 34.00
Prélude - Méditation.

5404 Daniel Weissberg: DUO ? (1985) 11'
for flute clarinet and…
sFr. 34.00
A cicerone piece full of surprises, illusions, and some acrobatics. Requires a Bb clarinet, bass clarinet and contrabass clarinet.

5417 Daniel Weissberg: Oh mi! (1998) 10'
for flute, oboe and guitar
sFr. 29.00
Jocular, virtuoso piece.

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.

10717 De-Qing Wen: Piping and Drumming (2000) 12'
for wind and percussion instruments (fl.ob.cl.asx.bn/tpt.tbn/3perc/pf)
sFr. 62.00
(Matériel SME/EMS: sFr. 62.-; € 20.-)
'Piping and Drumming' is a traditional Chinese musical form that uses only wind instruments and percussion. It is often played at ceremonies.

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.

10810 Martin Wendel: Musik für Oboe / Klarinette und Flöte / Klavier, op. 29 (music for oboe/clarinet and flute, op. 29) (1975) 12'
sFr. 29.00
Two sounding pairs become isolated and re-converge in a quartet relationship. A multi-faceted composition in five parts.

18110 Lars Werdenberg: Manoeuvers (2011) 6'
for flute, piano and percussion
sFr. 23.00
17641 Stefan Werren: Sternenworte - 7 Lieder (1989) 5'
for mezzo-soprano and flute
sFr. 18.00
Text: Rose Ausländer

17645 Stefan Werren: Atemzeichen - 7 Lieder (1991) 8'
for mezzo-soprano and flute
sFr. 21.00
Text: Rose Ausländer

7833 Hansruedi Willisegger: O Heiland reiss die Himmel auf (1960) 16'
Doric choral cantata
for soprano, choir, flute and organ
sFr. 34.00
7825 Hansruedi Willisegger: Quartett (1966/67) 20'
for flute, clarinet, violin and violoncello
sFr. 34.00
7826 Hansruedi Willisegger: Impressionen (1967) 15'
for eight instruments (fl.cl/hn/cel/hp.pf/2perc)
sFr. 47.00
7828 Hansruedi Willisegger: Choral (1972) 6'
for alphorn, piccolo and organ
sFr. 18.00
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
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.

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

Listen: Youtube
5805 René Wohlhauser: Duometrie (1985/86) 5'
Ergon 12
for flute and bass clarinet
sFr. 23.00
External time levels (as has been described by Stephen Hawking, with linear time comes an additional vertical imaginary time base out of which there exists a dependent area with no oppositional beginning and end and which is conceived as instantaneous) stands in relation to the piece's inner nature, its complex dramatic time organisation, which amongst other things is one of its products, and in which, for both players, time is not continuous - often with different tempi having to be played simultaneously. An expression of incompatible contradiction, so-called antimony, reminiscent of Kant's 'Transcendental Dialectic'.

Listen: Youtube
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
5822 René Wohlhauser: mira schinak (2006) 12'
Ergon 33
trio for soprano, flute and piano
sFr. 47.00
Moment forms, contrasting structures and characters between complexity and simplicity combined with a particular kind of lyricism leads to changes in the perception of tempo. Parallel to the conflict with various forms of perception, there develops a grammar of constructive congruity, which should allow the beaten path to emerge as conclusive.

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.

18907 Andreas Zurbriggen: Hiroshima ist auch ein Schnee (2011/12) 9'
für Klavier, Querflöte und 1 Perk (Vib + 1 Crotales in es/dis)
sFr. 31.00
8202 Alfons Karl Zwicker: Nachtduett (1989/90) 20'
Cycle with poems by Georg Trakl
for mezzo-soprano, bass, flute, harpsichord, four violins, viola, violoncello and double bass
sFr. 83.00
An erotic, sticky piece that takes the incestuous relationship between Trakls and his sister as its theme. 'Nachtduett' is a series of scenic poems predestined for the stage.

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

8207 Alfons Karl Zwicker: Tropfen auf Stein (1995) 30'
Cycle based on poems by Elisabeth Heck
for baritone, flute (pic, afl, bfl), harp, piano, one percussion and viola
sFr. 62.00
Very introspective and contemplative song cycle with an increasingly ruminant character. A very subtle and diversified sound world whose centre is the metaphor of stone in all its varieties.

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.


Flute with orchestra
0249 Walter Baer: La joie de vivre (1992 / 2004) 13'
Three musical perspectives
for flute and string orchestra
sFr. 34.00
Three different perspectives of a single picture bearing the same title by Picasso. Préludes pour Antipolis - La danse des animaux - La danseuse nue. String orchestra: 1.1.1.1.1 (all voices excluding the db are also divided).

6115 Josef Haselbach: Leporellos Traum (1989) 24'
for string orchestra, flute, clarinet, saxophone, trumpet and piano
sFr. 109.00
"A rhythmically moved, gesture-full, richly chromatic music." (Th. Gartmann) Second part of the trilogy based on Mozart's 'Don Giovanni'.

9257 Michel Hostettler: Concertino (2005) 17'
for flute and string orchestra
sFr. 49.00
15149 Rudolf Jaggi: Concertino (1970) 8'
for solo flute, solo oboe, solo violin and strings
sFr. 42.00
15178 Rudolf Jaggi: Petrus (Oratorium) (1989) 75'
for soprano, baritone, bass, choir (SATB), organ, flute, oboe, bassoon and strings
sFr. 130.00
I Jünger II Apostel III Märtyrer

15194 Rudolf Jaggi: Je sais, Vièrge Marie (2004) 4'
for choir (SAB), soloists (SATB), panpipes and/or alto flute and small orchestra (perc/str)
sFr. 18.00
(Stimmen: sFr. 18.-; € 12.-)
15195 Rudolf Jaggi: Zwei Paraphrasen über bolivianische Weiihnachtslieder (2004) 16'30
for choir (SAB), soloists (SATB), panpipes and/or altoflute and orchestra (1.2.0.1/0.0.0.0/perc/str)
sFr. 62.00
(Stimmen: sFr. 44.-; € 30.-)
1. Hoch steht am Himmel uns der Stern 2. Flieg, mein Vogel

10302 Henri Scolari: Concerto pour flûte et orchestre (concert for flute and orchestra) (1976/77) 21'
(2.2.2.2/2.2.0.0/timp/hp/str)
sFr. 88.00
(Avec partie de flûte)
Demands an exceptional level of virtuosity for the solo flute. Written for Aurèle Nicolet.

4905 Mathias Steinauer: ... wie Risse im Schatten..., op. 7 (1988/89) 26'
Concert
for flute and orchestra (Solo: pic.fl-c.fl-g.bfl/ 2(pic:fl-g).1(ca).2(bcl).1(cbn)/1.0.0.btbn.0/3-5perc/hp.pf/6.0.4.4.2)
sFr. 49.00
Based on Jean Gebser's idea of the five-phase conscience changes of humanity (archaic, magic, mythic, mental, integral), the soloist personifies the individual changing in its environment.

Listen: Youtube
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'.

17516 Raymond Vauterin: Lamento (2000) 7'
for flute and string orchestra
sFr. 23.00
10803 Martin Wendel: Konzert für Flöte und Kammerorchester, op. 5 (concert for flute and chamber orchestra. op. 5) (1949) 15'
(1solo.1.1.1/0.1.0.0/str)
sFr. 52.00
A chamber music set, traditional dance-like, concise, virtuosic piece in three movements.

78103 Hansruedi Willisegger: Lazarus: Musik für einen Gottesdienst (1969) 29'
for baritone solo, congregation, flute, trumpet, percussion and strings
sFr. 39.00

Schweizer Musik - Home
Musique Suisse - Home
Swiss Music - Home

automatically generated. last update: 28.08.2015 / 2004 Theo Lustenberger