Female voice

0916 Jacques Demierre: La colonne brisée - Frida Kahlo (1996) 58'
for voice solo
sFr. 65.00
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
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
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
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
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
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
Music for the play ‘monologue’ by Simone de Beauvoir (based on a text from ‘The Bundle’ by Edward Bono).

16305 Felix Schüeli: Untertitel (1999) 7'30
for female voice, violoncello and piano
sFr. 29.00
The musicalised texts are original subtitles from the talk show 'Vera am Mittag' (SAT 1). The theme of the show was "You've become so fat and lazy".

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.

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
5219 Balz Trümpy: Anima (2. Fassung) (version 2) (1977/78) 17'
for high voice, clarinet, horn, string quartet and piano
sFr. 68.00
Texts: Anonymus, Heinrich von Morungen, Walter von der Vogelweide This three-part work is based on texts from a minnelied. The vocal line, which uses various sound modulations, is harmonically, melodically and rhythmically interwoven with the accompaniment.

5284 Balz Trümpy: Sicut Cervus Desiderat (2013) 9'
for three female voices a cappella
sFr. 34.00
Uses the tractus 'Sicut cervus desiderat' from the Graduale Triplex. This piece, as with 'Missa', is the compositional adaptation of a Gregorian chant.

7867 Hansruedi Willisegger: Vier geistliche Gesänge (1979) 7'
for twelve solo voices (seven female, five male) and mixed choir
sFr. 31.00
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
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

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automatically generated. last update: 28.08.2015 / 2004 Theo Lustenberger