Female voice


solo
0916 Jacques Demierre: La colonne brisée - Frida Kahlo (1996) 58'
for voice solo
sFr. 65.00 , € 50.00
Texts: Subcommandante Marcos, Frida Kahlo A female voice appears alone on stage. It speaks of the journey from the personal to the universal, a journey brimming with sense and dramatic tension, a journey which connects the singularity of the body with the multitude of a myth dependent on the humanity of a mysticised being - simply our world.

voice and piano
0525 Nicolas Bolens: La Rosa Enflorece (2000) 6'
for three female voices (or female choir) and piano
sFr. 18.00 , € 14.00
After a Sephardi song. Extracted from "Terres".
9822 Laurent Mettraux: Auf die erniedrigende Erhebung und erhebte Niedrigkeit, M. 548 (1997) 5'
for high voice and piano
sFr. 16.00 , € 12.00
Text: Catharina Regina von Greiffenberg Conflict between mysticism and human torture. Sedation in the coda of the piano solo.

Female voice with instruments
0912 Jacques Demierre: Portrait de ça en cale sèche (1991) 70'
for speaker, three female voices, tuba, accordion, two pianos and choir
sFr. 230.00 , € 188.00
Texts: Jacques Roman The content of the piece has a diffused feeling, a difficult to describe situation summed up excellently with a short sentence by B. Requichot: "je ne sais pas c'qui m'quoi."
2502 Mischa Käser: tombeau (1985) 2'
for female voice, clarinet and viola
sFr. 13.00 , € 10.00
A piece dealing with failure.
9503 Louisa Lasdun: There and Back Again (1993) 34'
for piano trio, counter tenor, girl's voice (should sound like a 12-16 year-old)
sFr. 60.00 , € 46.00
Text: James Lasdun This work (inspired by Paula Regos’ etchings based on English nursery rhymes) was originally conceived as a dance piece, but can also be performed as a concert piece. The text by James Lasdun was adapted from traditional children’s rhymes. There are four movements: Dramatis Personae - Questions - Requiem for Cock Robin and Journey Dance. This piece received an award at the ‘Ballet Gulbenkian’, Lisbon in November 1998.
4004 Daniel Ott: mutterseelenallein (1990) 20'
for deep female voice, tenor saxophone and accordion
sFr. 16.00 , € 12.00
Music for the play ‘monologue’ by Simone de Beauvoir (based on a text from ‘The Bundle’ by Edward Bono).
4515 Martin Schlumpf: ... aufflattern mit dunklen Gesichtern die Fledermäuse... (1995) 16'
Autumn music
for four female voices
sFr. 42.00 , € 32.00
Chiefly gentle parting music based on the poem 'Septemberabend' by Georg Trakl. For warm lyrical voices.
16305 Felix Schüeli: Untertitel (1999) 7'30
Trio
for female voice, violoncello and piano
sFr. 29.00 , € 22.00
The musicalised texts are original subtitles from the talk show 'Vera am Mittag' (SAT 1). The theme of the show was "You've become so fat and lazy".
4835 Andreas Stahl: erinnern - an sich (2001) 18'
for female voice, flute, oboe, violin, violoncello and piano
sFr. 47.00 , € 36.00
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.
5219 Balz Trümpy: Anima (2. Fassung) (version 2) (1977/78) 17'
for high voice, clarinet, horn, string quartet and piano
sFr. 68.00 , € 52.00
Texts: Anonymus, Heinrich von Morungen, Walter von der Vogelweide This three-part work is based on texts from a minnelied. The vocal line, which uses various sound modulations, is harmonically, melodically and rhythmically interwoven with the accompaniment.
7867 Hansruedi Willisegger: Vier geistliche Gesänge (1979) 7'
for twelve solo voices (seven female, five male) and mixed choir
sFr. 31.00 , € 24.00
Texts: Bible / Liturgy 1. Lob und Herrlichkeit 2. Heilig ist Gott in Herrlichkeit 3. Christe, Du Lamm Gottes 4. Gloria
8214 Alfons Karl Zwicker: Erinnerung an Nelly Sachs (1999) 17'
for two flutes, harpsichord and female voice
sFr. 39.00 , € 30.00
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.

Female voice with orchestra
7835 Hansruedi Willisegger: In canticis humoris causa (13 Texts by Christian Morgenstern) (1965) 15'
for female voice, flute, oboe, clarinet, bass clarinet, bassoon, percussion and strings
sFr. 42.00 , € 32.00

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automatically generated. last update: 20.04.2012 / 2004 Theo Lustenberger