Violin


solo
6206 Heidi Baader-Nobs: Spires (1993) 8'-10'
for violin solo
sFr. 18.00
6207 Heidi Baader-Nobs: Duo pour Hansheinz (1996) 7'
for violin solo
sFr. 16.00
Listen: Youtube
8426 Felix Baumann: Irritationen (2003) 6'
for violin solo
sFr. 16.00
Compulsary piece for the 2004 Koeckert Competition. 'Irritationen' are amenities or excitors that provoke. Terms such as 'unsicher machen', 'verwirren' and 'berunruhigen' are added to this meaning in the 1800s (through their proximity to the verb 'irren'). In this sense, 'Irritationen' indicate profound connections, where to live with them harmoniously is not an absolute given from the outset.

0526 Nicolas Bolens: D'un Rêve (2001) 8'
for violin solo
sFr. 18.00
8502 Thüring Bräm: Uhrwerk (1976) 6'
for violin solo
sFr. 16.00
A virtuoso piece notated in two systems. It is very difficult to perform and uses twenty-eight different articulations.

17905 Andreas Brenner: Maimelodie (2008) 6'
Study
for violin solo
sFr. 13.00
1045 Jean-Jacques Dünki: Romance pour Violon solo (1995) 6'
sFr. 16.00
6649 Alfred Felder: Mullah Nasrudin (2007) 6'
for violin solo
sFr. 16.00
Mullah Nasrudin is simultaneously a sage, a fool, a master, a beggar, a magistrate, a teacher and a doctor figure in the Arabian tree. He appears in many stories, each of which can be perceived as superficial and funny but also contain a hidden proposition. It is for the latter reason that the stories of Nasrudin are deeply anchored in the tradition of Sufism (Islamic mysticism) where the Sheikhs use them as teaching stories for their dervishes. The first written reference of such a Nasrudin story can be found as far back as the 13th century. The name Nasr ed-Din means "victory of the faith". Nasreddin is always in the Muslim faith! A historical Nasrudin most probably lived between the 13th and 14th centuries in Anatolia or Persia where he worked as a spiritual teacher. Konya in Turkey and Iran are his probable last resting places. As with other people from tradition, the present day Nasrudin is not an authentic historical figure. He is known in all Islamic regions, including Afghanistan, Iran and Tadzhikistan, with many local miracles being ascribed to him.

11910 Claude Ferrier: Quatre études (1996) 10'
for violin solo
sFr. 18.00
8801 Rico Gubler: Streif(f)lichter einer Morgenstunde (1996) 7'
for violin solo
sFr. 18.00
8813 Rico Gubler: Aus reifem Wachs (1998) 2'-3'
for violin solo
sFr. 13.00
14804 Ursula Gut: Arabadus (1996) 10'
for violin solo
sFr. 18.00
14809 Ursula Gut: Mouchoirs (2005) 10'
Six short utility pieces
für Violine solo
sFr. 26.00
1. verschnupft zu spielen 2. körperlos, mit Spitzenrand und Erinnerung 3. mit Vergesslichkeit zu spielen 4. auflauern und entwischen, oder: vorübergehend virtuos 5. halb so lustig zu spielen 6. kindlich verspielt

Listen: Youtube
9062 Edu Haubensak: Vier Saiten (2003) 5'30
for violin solo (scordatura)
sFr. 21.00
2231 Regina Irman: Zehn kurze Stücke nach Motiven von Bach und Biber (ten short pieces after motives by Bach and Biber) (2004) 10'
for (Baroque) violin solo
sFr. 26.00
15126 Rudolf Jaggi: Sonate für Violine allein (sonata for violin solo) (1967/69) 10'
sFr. 23.00
15129 Rudolf Jaggi: Kleines Rondo (1972) 8'
for violin solo
sFr. 13.00
2614 Max E. Keller: Nononono (1996) 7'
for violin solo
sFr. 16.00
Seven elements are developed into a combination according to the pattern A, AB, ABC,... and then once again reduced. This simple process is superposed and counterpointed with other structures in which dynamic and differentiation are of particular importance.

Listen: Youtube
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.

26138 Max E. Keller: Pourquoi (2010) 5'
for speaking violin
sFr. 18.00
This solo piece, based on a text by Anthony Phelps (Haiti/Canada), was composed for the franco-anglais de poésie festival in Paris. The poem broaches the contrast between nature, which is entirely and undoubtedly what it is, and man as a reflective being: Pourquoi. The setting to music of this piece uses this contrast and mirrors it in two structures: long, oblivious sounds and systematically growing structures.

7106 Valentin Marti: ... visión ... (1996) 4'
for violin solo
sFr. 13.00
A volatile, flickering appearance. World premiere: 09.10.96 in Vienna by Patricia Kopachinskaja.

7133 Valentin Marti: Pintxo 1 (2007) 1'
for violin solo
sFr. 13.00
The Baskian variant of tapas was the model for this piece: each a work of art in itself, but designed for consumption. World premiere: 6.5.07 in Vevey by Valérie Bernard.

9810 Laurent Mettraux: Fantasia, M. 497 (1994/95) 10'
for violin solo
sFr. 18.00
A piece requiring great virtuosity in the middle part ('fantastico'), the beginning and end are very expressive. Contains a fugue on the name BACH.

3806 Thomas David Müller: Gehen. 45 Vorwärts- / Rückwärtsbewegungen (1990) ad lib.
for violin (or violoncello) solo
sFr. 16.00
Nine parts divided into forty-five segments, all of which can be combined to any individual formal process. The whole is almost exclusively in the first register whereas the bowing is differentiated. Unusual playing techniques are involved. Can be performed on an intermediate or virtuosic level.

9903 Maria A. Niederberger: Album Pages (1988/89) 6'
for violin solo
sFr. 16.00
9902 Maria A. Niederberger: A Swift Progression (Eine rasche Fortschreitung) (1997) 3'
for violin solo
sFr. 13.00
18602 Azumi Okamura: Je m'éveille la nuit subitement (2010) 3'30
for violin solo
sFr. 13.00
The title was taken from a poem by Fernando Pessoa. First part: playing of different timbres (quarter-tones, sul tasto, flautando, sul ponticello etc.) with regard to the dynamics pp-p-mp. The second part is inspired by the preludes of Louis Couperin and has to be played freely as far as rhythm and combinations are concerned, but must respect the order of the notes. Difficult.

18801 Frédéric Perreten: Piece without title (2008) 5'
for violin solo
sFr. 16.00
10312 Henri Scolari: Monos (1981) 11'
for violin solo
sFr. 21.00
17115 Bruno Stöckli: Orpheus im Avernus-Tal (1996) 7'-8'
for violin solo
sFr. 18.00
5203 Balz Trümpy: Facetten (1976) 12'
for violin solo
sFr. 18.00
This piece lays several musical levels along a single line. It is like an individual conversing simultaneously with various partners.

5234 Balz Trümpy: Modale Studien (1992) 10'
for violin solo
sFr. 21.00
Four characteristic pieces based on modal melody.

5245 Balz Trümpy: Turn around (2001) 1'40
for violin solo
sFr. 13.00
For the 75th birthday of Hansheinz Schneeberger.

5246 Balz Trümpy: Intertwined Paths (2001/02) 16'
Six pieces
for violin solo
sFr. 23.00
1. Interweave 2. Turn around 3. Up and down 4. Spread out 5. Descending 6. Taking turns These six pieces form an associated cycle, each of them represents the idea of a motion sequence in an imaginary sound room. It is about the tensile progression of movement and its form of expression - reaching from forging ahead to tentative exploration, from calmly flowing to clouded volatility. The sound room itself connects the six pieces in a labyrinthine way. ‘Intertwined Paths’ has been written on the request of Hansheinz Schneeberger and is dedicated to him.

Listen: Youtube
18107 Lars Werdenberg: Mechanische Landschaft (2008) 5'30
for violin solo
sFr. 23.00
Zwanghaft, mechanische Landschaft Albtraumhafte Wolken und Wege auf denen man nie ankommt. Treppen, Leitern und Türen die immer zum Ausgangspunkt hin zurückverweisen. Zunehmende Wut über ausweglose Situation Einmal gar ausser sich geratend einen Tunnel im Himmel graben. Ueber Zahnräder stolpernd daraus entlassen werden.

Listen: Youtube
7831 Hansruedi Willisegger: Wachet auf, ruft uns die Stimme (1992) 5'
for violin solo
sFr. 13.00
5910 Jürg Wyttenbach: Trois chansons violées pour une violoniste chantante (1973/81) 8'
for violin (singing violinist)
sFr. 23.00
Text: François Rabelais, folksong ‘Chanson de la canaille’ (a rag song): French and Swiss Dialect (from the Berne region); The tragedy (anonymous Australian country blues): English; ‘Chanson a la Lanternoy’ (an 'underexposed' chanson): comic-speech and French. The violinist must have a good ear and be able to play and sing simultaneously. She does not need a trained voice but must possess perfect diction and the ability to act. Sponsored by the SME Lucerne.

5926 Jürg Wyttenbach: tell@tarantell@tarantell@... (2001) 5'-6'
for violin
sFr. 18.00
A short instrumental scene for a violinist.


piano and instrument
0218 Walter Baer: Sonatina Nostalgica (1977) 12'
for violin and piano
sFr. 23.00
(Violinstimme: sFr. 12.-; € 8.00)
8505 Thüring Bräm: Album Goodbye Seventies (1979/80) 17'
for clarinet or violin (or any other melodic instrument) and piano
sFr. 26.00
This cycle of seven pieces encompasses mostly notated memories: a (quasi) summary of the seventies. Where one movement requires the courage to improvise, another contains a sung alternative version.

Listen: Youtube
1408 Eric Gaudibert: Songes / songs (1989) 10'
for violin and piano
sFr. 18.00
Traditionally written piece with the exception of certain passages. The parts are independent and notated on separate sheets - this leaves temporal relationships open and allows room for free interpretation. Employs standard playing techniques. Additional items: child-sized violin, and a weight to press down on the lower register of the piano.

9250 Michel Hostettler: Musing (2000) 3'
for violin and piano
sFr. 16.00
15122 Rudolf Jaggi: Sonate für Violine und Klavier (sonata for violin and piano) (1964) 15'
sFr. 36.00
(Violinstimme: sFr. 12.-; € 8.00)
Allegro - Adagio - Rondo (leggiero).

15123 Rudolf Jaggi: Souvenir sentimental (1966) 2'
for violin (or violoncello) and piano
sFr. 13.00
(inkl. Violin-, Violoncello-Stimme)
15131 Rudolf Jaggi: Barcarole (1974) 2'30
for violin (or flute) and piano
sFr. 13.00
(inkl. Violinstimme)
15132 Rudolf Jaggi: Phase (1975) 2'
for violin (or violoncello) and piano
sFr. 13.00
15142 Rudolf Jaggi: Pastorale (1989) 3'
for violin and piano
sFr. 16.00
2815 Alfred Knüsel: Fundstücke (1995) 38'
for violin, piano and percussion ad libitum (2-4 players)
sFr. 62.00
(Auch einzeln erhältlich. Preis auf Anfrage.)
A collection of six non-cyclic works. Piano with sostenuto pedal.

3115 Urban Mäder: ... Ma-non troppo (1995) 4'
for violin and a prepared piano
sFr. 23.00
Aphoristic - in memory of Alban Berg and his violin concerto; with post-serial roots, ...but only just!

3439 Thomas K. J. Mejer: Three Miniature to Morton Feldman (1992/93) 8'30
for violin and piano
sFr. 16.00
9806 Laurent Mettraux: Adagio, M. 473 (1993) 5'
for violin and piano
sFr. 18.00
(Partie séparée: sFr. 10.-; € 10.-)
A work of classic appearance with a glowing simplicity. The violin part is very singy.

16003 Alex Rüedi: En Ufsteller (1996) 3'
for violin (or alto saxophone) and piano
sFr. 16.00
4816 Andreas Stahl: 126 pbm (1998/99) 8'
for violin and piano, with or without amplification
sFr. 29.00
This open-form piece (with three piano and twenty eight violin parts) in techno-tempo, can be assembled in accordance with the performers own preference for bodily movement. Because all the violin parts must not necessarily be played it can, to a certain extent, be adapted to the performers technical skills. In opposition to music at the disco, upon which it is based, the non-amplified version is almost inaudible. This work takes as its central theme time related categories such as duration, pulse, metre, rhythm and coninually questions and changes them.

17504 Raymond Vauterin: Deux danses (two dances) (1974) 6'
for violin and piano
sFr. 23.00
17525 Raymond Vauterin: Seetalhorn (1999) 14'
for violin and piano
sFr. 47.00
17624 Stefan Werren: Nachtstück (1997) 9'
for violin and piano
sFr. 26.00
8209 Alfons Karl Zwicker: Postludien (1995/97) 19'
for violin and piano
sFr. 39.00
Ironic, humorous, partly satirical, character pieces. The title and musical thoughts spring from graphic variations on the violin clef. The drawings are by the composer; the originals are available for inspection from the composer. musikalisch 2’ gemächlich 6’ verschämt 5’ con fuoco 3’ romantisch 3’


Violin 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.-)
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
0203 Walter Baer: Fünf Sätze für Klarinette, Violine und Violoncello (five movements for clarinet, violin and violoncello) (1974) 8'
sFr. 18.00
These five short movements require a very sensitive interpretation - already obvious from the detailed notation. Composed in an atonal style, it features rhythmic and articulatory differentiated structures.

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.

6422 George Barcos: Bochornos (2004) 5'
for voice, violin, bandoneon, piano and double bass
sFr. 21.00
8404 Felix Baumann: Quintett (quintet) (1992) 22'
for oboe, horn and string trio
sFr. 31.00
Opposing elements growing increasingly apart. Rights of performance reserved.

8407 Felix Baumann: Duo (1995) 15'
for violin and double bass
sFr. 18.00
When two unequals do the same the result is a difference, if they do different, a generic third can evolve.

8414 Felix Baumann: spöttisch leicht (1999/00) 15'
5 songs after poems by Sarah Kirsch
for singing voice (mezzo-soprano), clarinet, violin, violoncello and piano
sFr. 34.00
Texts: Sarah Kirsch The line skips by Sarah Kirsch turn the readers into stumblers. Stumblers have to re-read the text if they want to understand its content. They gain, thereby, unexpectedly in time and fall to a deeper level.

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.

8428 Felix Baumann: Intonationen (2004) 8'
3 short pieces
for two (Baroque) violins
sFr. 16.00
Commissioned by and for John Holloway and Monika Baer. Evaporating presences. A work about chracteristic moods, possibly comparable to feelings and their associated paradigmatic tarnishing or colouring of the peceprion of the environment.

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
0519 Nicolas Bolens: A Due (2000) 7'30
for oboe, clarinet, violin and double bass
sFr. 16.00
Composition by Eric Gaudibert / Nicolas Bolens. This work is written by two hands, by two different composers who experimented in equally sharing the single instruments: the oboe and double-bass on the one hand side and the violin and the clarinet on the other. The precisely written violin is the conducting element and the three other instruments are grouped accurately around it. A description of the tempi allows easy playing. This piece has a medium level of difficulty.

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
6533 Frédéric Bolli: Im Anfang war das Wort (1990/91) 15'
for male choir and string quintet (2vn.va.vc.db)
sFr. 55.00
8525 Thüring Bräm: Sechs Haikai (1969) 8'
for solo soprano, chamber choir, string trio and vibraphone
sFr. 44.00
Texts: Japanese texts Six short Japanese three-liners. The choir part is advanced but can be performed by good amateurs.

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.

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.

17910 Andreas Brenner: Duo (Bodhisattvas) (2013) 12'
for 2 violins
sFr. 23.00
The duo was created in reference to Isang Yun's ensemble piece 'Distances' where the different groups of instruments represent shapes from Buddhist mythology. The two violins represent bodhisattvas (enlightened beings). As there, the two players of the duo are spaced far apart on the edges of the podium, possibly even behind the audience in the gallery, etc. Notwithstanding this particualar concrete reference, the duo is a completely independent unit: it is written in its own musical language and in terms of compositional technique quite uninfluenced by Isang Yun.

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
18707 Ruedi Debrunner: LENZ. Am tiefen Blau ein leises Rot (2007) 35'
for male speaker, female speaker, choir and string quartet
sFr. 100.00
(Stimmen: sFr. 73.-; € 56.-)
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…

1012 Jean-Jacques Dünki: Kammerstück VI (1989) 21'
for violin (viola) and ten instruments (1(pic).1(obda,ca).2(Ebcl,bthn).1/1.0.1.1/1perc/pf)
sFr. 62.00
In the first and at the end of the fifth movement the solo violin switches to viola.

Listen: Youtube
1043 Jean-Jacques Dünki: Jumelles (1998) 5'
for violin and organ
sFr. 16.00
(Violinstimme: SME sFr. 10.-; € 6.60)
14301 Felix Falkner: Solitude (1990) 22'
for string quartet with bass clarinet
sFr. 26.00
(Stimmen: sFr. 14.-; € 9.50)
6618 Alfred Felder: Cercles (1992) 12'
for flute, clarinet, harp, string quartet and double bass
sFr. 26.00
6609 Alfred Felder: Song of the Sky (1996) 23'-25'
for violin, guitar and double bass
sFr. 31.00
On searching for ones own identity, one finds ones own songs.

11920 Claude Ferrier: 4 petites pièces (1999) 6'
for eight instrumentalists (fl.cl.bn/perc/hp/2vn.vc)
sFr. 26.00
6718 Hans Eugen Frischknecht: Fantasia für Violine, Schlagzeug und Orgel (fantasia for violin, percussion and organ) (1980) 10'
sFr. 23.00
Three instruments initially appear unfitting but never the less create a homogenous alliance or compliment each other well in contrast.

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.

6764 Hans Eugen Frischknecht: 4 Stücke (4 pieces) (2002) 9'
for violin and piano
sFr. 18.00
The two instruments face each other as equals, once the violin dominates, then the piano. These pieces can also be performed seperately.

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.

1460 Eric Gaudibert: Fantaisie concertante (1998/99) 16'
for pianoforte and Baroque string quartet
sFr. 49.00
This work in one movement is a homage to Carl Philipp Emanuel Bach. It contains quotates from the Fantaisies and from a Rondo by this composer. The pianoforte part is either in a free style, concert-like or very rhythmic and demands an advanced level of play. The quartet is written in traditional notation. The piano which was used for the world premiere was a copy of an instrument of 1815.

1482 Eric Gaudibert: Canzone a tre (1998-2000) 10'
for recorder, Baroque violin and Baroque violoncello
sFr. 23.00
Can be played with modern instruments. The flute doubles the piccolo. This is a delicate piece inspired by a song from the 12th century and a saltarello from the 14th century. The original canzone was composed for flute and violoncello.

1465 Eric Gaudibert: A Due (2000) 7'30
for oboe, clarinet, violin and double bass
sFr. 16.00
Composition by Eric Gaudibert / Nicolas Bolens. This work is written by two hands, by two different composers who experimented in sharing the single instruments equally: the oboe and double bass on the one hand side and the violin and the clarinet on the other. The precisely written violin is the conducting element and the three other instruments are grouped accurately around it. A description of the tempi allows easier playing. This piece has a medium level of difficulty.

1486 Eric Gaudibert: Message(s) (2000/2004) 8'
for violoncello solo and string quartet
sFr. 26.00
This is an enriched version of 'Message' for violoncello solo. The solo part is exactly the same but divided up into four episodes. The viola also remains in the role it played in the first version. The notation for the strings is relatively easy.

1491 Eric Gaudibert: Images japonaises (2005) 18'
for horn and string quartet
sFr. 31.00
This work quotes a Haiku recited once by the hornist. It is inspired by the acidic sounds of Gagaku (music of the imperial court of Japan) and by the tense melismas of Nô. The string quartet's tempo is generally independent of the horn's. The five instrumentalist need to have a good command of micro intervals. The particular timbre of the quartet derives from researching the "fake" unisons.

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.

8808 Rico Gubler: taglio (1996) 10'
for violin, violoncello and double bass
sFr. 18.00
8812 Rico Gubler: FAL (1999) 7'
for bass clarinet / Eb clarinet, bassoon, horn, two violins, viola, violoncello and double-bass
sFr. 34.00
(Stimmen bei SME/EMS: sFr. 28.-; € 28.-)
Listen: Youtube Youtube
8817 Rico Gubler: ZIR (2000) 7'
for clarinet, violin, viola and violoncello
sFr. 26.00
8818 Rico Gubler: 1. Suite für Viktor (first siute for viktor) (2000) 14'
for clarinet, saxophone, violin, violoncello and piano
sFr. 49.00
(4 Suiten für Viktor: sFr. 150.-; € 120.-)
Quartet for bass clarinet, violin, violoncello, and piano [vetro] (3') Quintet [incontro] (2') Quartet for clarinet, baritone saxophone, violin and violoncello [with bundled energy] (1'45) Solo violin with accompaniment [like eternally broken glass] (4') Quintet II [Melody granulated] (2'30)

Listen: Youtube
8819 Rico Gubler: 2. Suite für Viktor (2nd suite for Viktor) (2000) 13'
for clarinet, saxophone, violin, violoncello, and piano
sFr. 47.00
(4 Suiten für Viktor: sFr. 150.-; € 120.-)
Duo for violin and violoncello [battuto – roughly a dance] (2’) Trio for clarinet, soprano saxophone and violin [approximately] (2’15) Duo for clarinet and violoncello [mute ballet from billiard balls] (2’) Solo for clarinet (with additional instrumentation) [uneasy, murky] (2’) Trio for violin, violoncello and piano [inside pulsating] (2’) Quartet for bass clarinet, baritone saxophone, violoncello, and piano with poco solo violin [conspicuously quiet] (2’)

Listen: Youtube
8820 Rico Gubler: 3. Suite für Viktor (3rd suite for Viktor) (2000) 13'
for clarinet, saxophone, violin, violoncello and piano
sFr. 49.00
(4 Suiten für Viktor: sFr. 150.-; € 120.-)
Trio for clarinet, tenor saxophone, and violoncello [too coarsely assembled, rupturing] (2') Quartet for clarinet, tenor saxophone, violin and piano [inert, of stone and columns] (2') Quintet [somewhat course, in the interstice] (1'45) Duo for violoncello and piano [reserved, singing I] (2') Duo for clarinet and tenor saxophone [linear, with defiance] (2'30) Duo violin and piano [reserved, singing II] (2')

Listen: Youtube
8821 Rico Gubler: 4. Suite für Viktor (4th suite for Viktor) (2000) 13'
for clarinet, saxophone, violin, violoncello and piano
sFr. 47.00
(4 Suiten für Viktor: sFr. 150.-; € 120.-)
Quintet [Impulse, a choice] (2') Solo for violoncello [circling the resistance] (2'45) Quartet for clarinet, tenor saxophone, violoncello and piano [muted screaming] (2') Duo for baritone saxophone and violoncello [deep ground] (2') Duo for clarinet and piano [... and a waltz] (1'45) Duo for violin and soprano saxophone [exercise for the death of agogics] (2'30)

Listen: Youtube
8822 Rico Gubler: KOR (2000/01) 9'
for string quartet, tenor saxophone, percussion, bass clarinet and double-bass
sFr. 70.00
(Stimmen beim Komponisten)
8823 Rico Gubler: Ortswechsel, eine Winteroper (2001) 45'
19 songs
for clarinet, bassoon, horn, string quartet and speaker
sFr. 57.00
Text: Gert Loschütz.

8825 Rico Gubler: En bref (2002) 10'
for violin, clarinet, saxophone and piano
sFr. 55.00
8830 Rico Gubler: variationen für viktor, fiori per luigi (2003) 18'
for clarinet, bassoon, horn, violin, viola, violoncello and double-bass
sFr. 18.00
(Stimmen: sFr. 54.-; € 36.00)
Including the fourth movement of the septet op. 20 by Ludwig van Beethoven.

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.

8837 Rico Gubler: RIT (2007) 9'
for horn in F, violin and piano
sFr. 73.00
(inkl. Stimmen)
Listen: Youtube
14801 Ursula Gut: Aquamarin (1992) 10'
for 2 violins, 2 clarinets, double bass and harpsichord
sFr. 26.00
Listen: Youtube
14802 Ursula Gut: Teddybear's Dream (1993) 10'
for violin, violoncello, bassoon, harp, percussion and celesta
sFr. 18.00
14805 Ursula Gut: Postludium (1998) 17'
for violin, viola, violoncello and percussion
sFr. 23.00
18004 Sarah Haessig: D'ailleurs (2007) 10'
for alto saxophone, violin and piano
sFr. 21.00
Quite demanding for the saxophone.

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
9033 Edu Haubensak: Sechs Walserminiaturen (1996) 8'
for soprano and violin
sFr. 18.00
The aphorisms of Robert Walser (he calls them phrases) unexpectedly caught my attention during nightly readings of his prose. The resulting compositional sketches, all of which were produced in one day, were graphically and verbally fixed (drawn), later interpreted (crystallised) and then precisely notated. The melodic steps of the female voice are often microtonal and are to be performed in the tiniest of intervals in accordance with the interpretation of the texts. In the sixth miniature the violin is retuned resulting in new, profound harmonic situations as well as creating friction between the strings and the voice. To set the texts of Walser to music, to elevate them and endure their depths filled me with an “incredibly intense joy”.

Listen: Youtube
9045 Edu Haubensak: Vertikale Horizonte (1998) 8'
Quartet
for flute (bfl), clarinet (cl-A), violin and violoncello
sFr. 23.00
9041 Edu Haubensak: Locomozione (2000) 16'30
for violin, viola and percussion
sFr. 31.00
9059 Edu Haubensak: Octaves for Two (2011) 20'
for violin (scordatura) and piano
sFr. 34.00
9217 Michel Hostettler: Digitales (1990/94) 14'
5 pièces
for 2 violins
sFr. 23.00
9230 Michel Hostettler: Prologue, Eglogue, Epilogue (1996) 9'
for clarinet and violin
sFr. 18.00
9248 Michel Hostettler: Khourounk Deghere (2000) 8'
Psalm 130 (129) in Armenian
for soprano solo, English horn and four strings
sFr. 23.00
(Voix chez EMS: sFr. 20.-; € 13.50)
Psalm 130 (129) in Armenian.

9268 Michel Hostettler: Trio (2006) 9'
for violin, violoncello and marimba
sFr. 34.00
(Voix chez EMS: sFr. 26.-; € 17.-)
9270 Michel Hostettler: Psaume 137 (2012) 8'
for baritone, female choir, violin and organ
sFr. 29.00
(Partie violon: sFr. 13.-)
9274 Michel Hostettler: Trio (2009-2012) 17'
for violin, viola and violoncello
sFr. 36.00
Janus — Oiseau-lune — Petite pomme rouge.

15007 Martin Imholz: Potenz (Oratorium) (1989) 10'-15'
for clarinet, string quartet, speaker and scenery
sFr. 13.00
Four strophes with extremely differentiated parts, based on the principles of homoeopathy. For Joseph Beuys.

15008 Martin Imholz: Potenz II (1994) 10'-15'
for clarinet and string quartet
sFr. 16.00
Version for clarinet quartet

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.

2219 Regina Irman: boden(los) (1985) 2'
for three violins
sFr. 13.00
15125 Rudolf Jaggi: Fantasia canonica (1967) 7'30
for violin and organ
sFr. 31.00
(Inklusive Stimmen)
15127 Rudolf Jaggi: Alla francese (1968) 4'
for 2 violins or violin and violoncello
sFr. 13.00
15133 Rudolf Jaggi: 6 Bagatellen (1977) 10'30
for flute, violin and violoncello
sFr. 21.00
15135 Rudolf Jaggi: Consolation (1978) 3'
for clarinet and string quartet
sFr. 13.00
(Stimmen: sFr. 10.-; € 6.60)
15139 Rudolf Jaggi: 6 Intermezzi (1984) 8'
for 2 violins, violoncello and clarinet
sFr. 23.00
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.

9309 Vladislav Jaros: Lapis Miraculum (1993) 6'
for English horn (violin, viola, violoncello) and guitar
sFr. 13.00
A relatively easy to play, slow, transparent and colourful piece.

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

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.

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.

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…

2674 Max E. Keller: weniger und mehr (1996) 14'
for violin, accordion and piano
sFr. 18.00
This composition rotates around the thought that less on one level allows for more on another and vice versa - and this not only in music.

2692 Max E. Keller: Sans cesse (2001) 9'
for oboe, bassoon, horn, trombone, violin, viola, violoncello and double bass
sFr. 18.00
2693 Max E. Keller: Fern(seh) - Mitleid (2001) 4'
for soprano and violin
sFr. 16.00
Text: Max E. Keller A contribution to the 'Zepernicker Liederbuch', 2001.

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.

2698 Max E. Keller: Unione e tremolo (2002) 5'
for violin and viola
sFr. 16.00
Conceived for a world premiere in the Gobi desert, this piece must be extremely desert-proof. Unisono and octavel sound doubling forms the initial starting point. This, on the one hand side, turns a contemporary music taboo into material and brings the sound and the drifting apart of the duo into play on the other.

Listen: Youtube
26108 Max E. Keller: Kalkül und Emotion (2004) 4'
for saxophone quartet (satbar) and string quartet
sFr. 18.00
This work forms the intertwining, togetherness and conflict of the two quartets with calculated emotional intention. The security net provided by the rational prearrangements allows greater freedom and confidence in the emotional decisions made regarding concrete sounds, instruments, complexity and developments.

26109 Max E. Keller: Löwen Löwen (2004) 11'
for soprano and violin
sFr. 21.00
Text: Klaus Merz In laconic, melancholic and simultaneously playfully poetic miniatures Klaus Merz mirrors in ‘Löwen Löwen’ surprising facets of the much praised lagunal city of Venice. Profound ambiguity is the point of departure for this musicalisation which partly proceeds as if on two levels before reuniting unawares.

26112 Max E. Keller: nel pomeriggio (2006) 7'
for baritone saxophone and string quartet
sFr. 23.00
(Stimmen beim Komponisten)
A comfortable afternoon in a dusty café: As in times past, a string quartet plays a waltz that nobody listens to, a never-ending, continuously repetitive violin melody and an almost imperceptibly shifting accompaniment. Added to this is a completely inappropriate baritone saxophone - sometimes blending in, sometimes detached and sometimes obstinately defiant. Suddenly a bang! And everything collapses into shadowy ruins.

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.

26124 Max E. Keller: accent - figure - layer (2008) 58'
A project between improvisation and composition
for bass clarinet/tenor saxophone, percussion, piano, violin, viola and double bass
sFr. 26.00
The wide scope between improvisation and composition is calibrated. There are, however, no long notated passages but form sequences, short notated phrases as starting points, verbal instructions and graphics - right through to improvisation as one extreme. The musical material is based on the archetypal elements 'accent', 'figure' and 'layer' as mentioned in the title. The through-composed parts "unione e tremolo" for violin and viola (movement II) and the violin solo "NONONONO" (movement VII) are inserted between the six movements as the other extreme.

Listen: Youtube
26128 Max E. Keller: Wendepunkte (2009) 13'
for piano, percussion and string quartet
sFr. 34.00
For advanced amatuers. This piece was composed for the music Matura. The education of young people is the same for all until the Matura stage. Here, at the first major turning point in their lives, individuals must decide which direction they wish to take. Thus the 'turning point' became one fundamental concept behind this work, walking together and walking alone became another. They are processed on various levels - both on the quasi-motif and the formal.

26129 Max E. Keller: Il filo (2009) 5'
for violin and horn
sFr. 18.00
Il filo (the thread) is the name of the underlying theme: the sustained note, from which other things slowly emerge, split off or even oppose. The two instruments start unisono while the sustained tone soon gets rhythmized and played around by a second tone. They veer away from the unisono to find themselves reunited on the same note after various phases. In the final part both spin together or alternately on the same thread, leave it, play around it and give it individual colours.

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.

26139 Max E. Keller: Gravuren (2010) 7'
for string quartet and percussion
sFr. 26.00
This composition is based on a process or a figurative concept: one or several lines are engraved into a surface, derived from the opposing string surface and percussion line. Surfaces and lines exist in the most varied of forms, colours, intensities and mutations thereof, and the contrast traverses various grades and forms. By utilising three cardboard boxes, the percussion section is also able to play flat rubbing noises that create an approximation of everyday sounds. The spectrum expands at various points throughout the work when totally different elements are suddenly introduced.

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.

26150 Max E. Keller: Das Tattoo blickt böse (2012) 10'
for soprano and string quartet
sFr. 29.00
Der Text ist von Rock-Lyrik inspiriert: direkt, realitätsbezogen und doch sprunghaft assoziativ. Er stellt die Frage, ob sich das Rebellisch-Unangepasste - wie es ein Tattoo ursprünglich manifestiert - sich nicht längst verschliffen und mit der Konsumwelt verbrüdert hat, deren Leerformeln in den Text einmontiert sind. Spielerisch-kritisch geht auch die Vertonung mit Elementen des Rock um, indem hinter der komplexen Welt zeitgenössischer Musik immer wieder ein Pulsieren und der rocktypische Backbeat wahrgenommen werden können, was gelegentlich die ganze Struktur erfasst, aber auch in dichten Klangfeldern versickert.

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.

26149 Max E. Keller: Al borde del abismo (2013) 9'
for violin and piano
sFr. 18.00
That literature has more to do with the author than they wish to think is rarely disputed. But music too can be directly linked to a person's situation. Following a medical examination, I was left teetering on the edge of an inner abyss. This led to the creation of four excerpts, the sounds of which hang as if lost in tonal space and wither into noise. Two contrasting parts were then inserted: Emergent, quick, repetitively varied movements, which ultimately solidify again without consequence. From this, the music is twice again liberated in different ways before wild accelerando results in the instruments terminating abruptly.

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.

9405 Marc Kilchenmann: Manie - oder von der Tröstlichkeit eines Volksliedes (1993/95) 3'
for 22 string instruments
sFr. 26.00
9408 Marc Kilchenmann: Divertimento barbaro (1995) 8'
for violin, viola and electronic recorded material
sFr. 31.00
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.

19409 Burkhard Kinzler: In nomine (2012) 25'
für vier Stimmen (SATB), drei Blockflöten, Akkordeon und vier Streicher (Vl, Vla, Vc, Kb))
sFr. 70.00
Instrumentierungen altenglischer In-Nomine-Vertonungen (Taverner, Picforth, Bull) samt einem Prolog über den cantus firmus.

2846 Alfred Knüsel: Messe (1976) 18'
for vocal quartet, speaker, mixed choir, violin and organ
sFr. 68.00
(Violin-Stimme: sFr. 12.-; € 8.00)
2814 Alfred Knüsel: specularis (1993/94) 15'
for soprano, violin, two organs, and percussion (2-3 players)
sFr. 52.00
Texts: Clara of Assisi, Francis of Assisi, Bible / Liturgy Homage to Clara of Assisi. The soprano is expected to use her voice in a widely colourful manner.

2843 Alfred Knüsel: Sechs Miniaturen als Tafelmusik (1994) 10'
for recorder quartet, string quartet, harpsichord and voice
sFr. 34.00
2831 Alfred Knüsel: Mitte wird Bewegung (1995) 16'
for speaking choir, violin, clarinet and keyboard instrument
sFr. 34.00
Text: Alfred Knüsel 'Peinture naïve' in music.

2821 Alfred Knüsel: Zeit zum Spielen - Zeit drängt (1996) 12'
for soprano and violin
sFr. 21.00
Texts: Bible / Liturgy, folksong

Listen: Youtube Youtube
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
2861 Alfred Knüsel: fünf Extreme eines dynamischen Moments (2006) 17'
Trio
for trumpet and two violins
sFr. 29.00
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
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.

2913 Josef Kost: "Ohne Titel" (1996) 11'
for violin, guitar, double bass and strings (4.4.2.2.0)
sFr. 29.00
A major, a minor, an augmented and a diminished triad, giving all twelve tones of an octave, are woven together harmonically and melodically (serial). Predominantly modal rhythm, determinate sound room, differentiated dynamic. Three short expressionistic pieces. Difficult.

Listen: Youtube
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.

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."

15203 Stephan Lauffer: Drei Bicinien (1997) 10'
for violin and viola
sFr. 21.00
Allegro marcato - Tempo di Valse - Thema con variazioni.

15216 Stephan Lauffer: Fantasie für zwei Violinen und zwölf Töne (fantasy for two violins and twelve tones) (2009) 4'
sFr. 16.00
17802 Luigi Laveglia: Black Bird (2008) 11'
for clarinet, violin, violoncello and piano
sFr. 21.00
(Stimmen bei SME: sFr. 30.-; € 30.-)
This is actually a prelude for Messiaen's "Quatuor pour la fin du temps" and written for the same instrumentation. It does, however, stand just as well performed on its own. The music is very colourful, partly abrupt with a very intimate middle part …

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.

17806 Luigi Laveglia: Alalume (2008) 9'
for violin and piano
sFr. 34.00
(inkl. Violinstimme)
After the poem bearing the same title by E. A. Poe. Very dark and foreboding music …

3110 Urban Mäder: der und die (1993) 11'
for alto and violin
sFr. 31.00
Text: Ernst Jandl Formal severity (alto) and virtuoso intoxicated play (vn) with a conformably direct relationship to the speech form and content of a text bearing the same name by Ernst Jandl.

3124 Urban Mäder: Windstriche I (1998) 18'
for shakuhachi, string trio and percussion
sFr. 57.00
Fine, transparent sound piece using the Japanese Zen flute, the shakuhachi. An attempt to converge.

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

3132 Urban Mäder: Das Eine. Das Selbe. Das Gleiche (202) 50'
for voice (altus), recorder(s), violin, gamba and double bass
sFr. 31.00
(CD und Video beim Komponisten)
This project is a collaboration between video art and a musically open play disposition in the room. Based on a text by Thomas Locher, with the Scappatella Ensemble and the video artist Judith Albert. CD and video available from the composer.

3134 Urban Mäder: Gesten - Nichts (2004) 14'
Concert piece
for choir (SATB), violin, double bass and organ
sFr. 23.00
Commissioned by the Cantorin Contenti Zug. Even though the starting point for this composition is texts from Bach's "Jesu, meine Freude", "Gesten - Nichts" still remains a rudimentary music of sound and noise.

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

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.

18202 Cécile Marti: Streifen (2007) 9'
for quartet (vn, va, vib, pf)
sFr. 44.00
"Klänge streifen, Rhythmen streifen, Melodien streifen, Streifen schichten, Streifen verweben, Streifen verdichten. Streifend durch Klanglandschaften ziehen, streifend Klangfarben berühren,streifend Streifen streifen......." Two string instruments stand face on with two percussion instruments whereby the "percussion's" primary objective is to attempt tonal alignment with the strings. The vibraphone plays a coupling role between the two parties. Polar oscillating movements, stratifying and sometimes recolouring, flowing sound bands and flitting pulsations alternate throughout the 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.

18205 Cécile Marti: Oktogon (2008) 12'30
for string quartet and horn quartet
sFr. 65.00
Four horns stand face on with a string quartet. These two close and self-contained sounding groups are led into a kind of duet. It begins with the construction of two sounds before developing into a back and forth oscillation between the two sounding groups. There follows a mutual attempt at tonal alignment and then fine variations where the groups enter an area of wavering tones. Re-colouring moments of the horizontal figurations or a hocket-like interplay between the two parties arises. The themetization of the instrument-specific base elements, the fifths tuning of the strings and the natural spectrum of the horn become the harmonic culture medium for the whole piece.

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).

18207 Cécile Marti: AdoRatio (2009/10) 20'
for solo violin and ensemble (1.1.1.1/1.1.0.0/pf/3.1.1.1)
sFr. 73.00
I have shared a deep emotional passion for the violin concert since childhood. I was initially swept away by the multifaceted 'classics' repertoire until, with breath-taking surprise, I discovered new creations, the dynamics of which repeatedly nourished my creative side. Bettina Boller, my violin teacher at the time, led me like a guide to this precious resource. A balanced synthesis between strong emotions and structural thought processes is necessary to express this veneration. The soloist-tutti phenomenon, as a mirroring of the real-life situation individuum-collective, is of great interest to me: the transition phase from the solo into the multiplicity of the tutti movements and vice versa. This can, for example, be expressed over a single tone, which is gradually compressed until it disappears into the thicket of a neighbouring tone. Or the other way round: a compact sound structure becomes more and more refined until it dissolves into a single tone. The solo violin is understood as the impulse carrier of various such compression and refining processes. It is apparent throughout the piece, with which instrumental partner the violin enters into dialogue. This piece is based on a spectrally aligned central tone, which expands, contracts, changes colour, swells up or resigns...

Listen: Youtube
18208 Cécile Marti: hidden (2011) 13'
Duo
for violin and cello
sFr. 21.00
This piece was commissioned by Gare du Nord Basel. The commission was to write a musical 'work commentary' on Nikolai Rimski-Korsakow's Scheherazade. The piece focusses on the two protagonists from the 1001 Nights saga, namely the Scheherazade and the Sultan Scharyar, which Korsakow mirrors with two main themes. The duo follow these themes with the minutest intervals. A duality gradually develops from a supposed unity without actually ever leaving the combined sound corporeality.

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.

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

9703 Hans-Jürg Meier: das licht um einen schatten heller machen (1993/95) 8'
for violin and trombone
sFr. 16.00
Three-part piece: grosse Entfernung - Nähe - Entfernung, ohne die innere Beziehung zu verlieren.

9708 Hans-Jürg Meier: zeitsand (1995) 14'
for two recorders, zink, trombone, violin and two violoncelli
sFr. 26.00
The 'Harmonies' by Erik Satie are the basis for several parts. Conductor of use.

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.

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.

9754 Hans-Jürg Meier: locus (2012) 14'
for melodica and objects, saxophone (bar, a) trombone, violin, viola, double bass and voice (soprano)
sFr. 52.00
A trip to and into the Pantheon in Rome in four parts: Tympanon, Pronaos, Innenraum, Opaion. The performance places the Endless Column in Targo Jiu by Constantin Brancusi into the Pantheon.

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.

3426 Thomas K. J. Mejer: Winterlicht (1990) 6'
for alto saxophone and violin
sFr. 13.00
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.

3440 Thomas K. J. Mejer: Barockengel im Schuss (2001) 8'
for counter tenor, recorder, violin and viola da gamba
sFr. 31.00
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

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

9819 Laurent Mettraux: Duo, M. 540 (1996) 11'
for violin and alto saxophone
sFr. 23.00
The parts are well balanced to ensure that the saxophone doesn't cover the violin. Four movements: appassionato, rêveur, energico and intérieur.

9809 Laurent Mettraux: Exils, M. 484 (1994/97) 9'
for violin, violoncello and two percussionists
sFr. 31.00
Written in a non-traditional, but easily understandable notation. Mystery, parts of incantation with superposed tempi. The end is lyrical and nostalgic, the violin player leaves the concert hall while continuing to play.

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.

3805 Thomas David Müller: Gehen, Fragment (1989) 9'
for violin, violoncello and clarinet
sFr. 26.00
The first in a series of instrumental cycles where variations in the interplay and the resulting formal processes are subjects of the composition. Unusual playing techniques.

Listen: Youtube Youtube
3811 Thomas David Müller: Zwei Sequenzen: Stehstelle / Gehstelle (1993) 13'
for violin, violoncello, clarinet, three trombones and piano
sFr. 42.00
Both sequences are attempts at reaching emptiness and consequently to liberate space through non-speech and anti-speech methods respectively. The performers perform and, as it were, 'speak' on scrap metal taken from Thomas Bernhard's 'Gehen'.

Listen: Youtube
3813 Thomas David Müller: "Duetti" und "Ansfelder Skizze" (1994/95) 17'
for two violins and piano
sFr. 13.00
From very easy to easy/intermediate on to intermediate and back again. The piano piece is to be freely interpolated (solo and / or colla parte) also when repeated. ‘Ansfelder Skizze’ refers to Bruckner’s theme in the VII. Symphony, first movement.

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
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.

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.

9905 Maria A. Niederberger: On Winter's Margin (Am Rande des Winters) (1997) 12'
for marimba and violin
sFr. 39.00
I. First Reflection, Interlude 1, II. Second Reflection, III. Princess of Crumbs, Interlude 2: A Hymn, IV. Ice Flowers. A loose connection to a poem by Mary Oliver.

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']

4323 Ernst Pfiffner: 8 Gesänge nach Gedichten von Bettina Ruchti (2010) 11'
for soprano and violin
sFr. 23.00
Texts: Bettina Ruchti

10031 Kit Powell: Sextett (2000) 11'
for clarinet, bass clarinet and string quartet
sFr. 39.00
(Stimmen bei SME/EMS: sFr. 38.-; € 38.-)
10113 Marc-André Rappaz: Stances sur "La mort de Marie" (1992/93 (rev. 2000)) 8'
for two percussion and violin
sFr. 21.00
Based on 'Jamais la mort ne délira / Le noeud dont ta beauté me lie' by Ronsard. The second part is an improvisation over a group of short cells.

19105 Benedikt Wolfgang Schiefer: Stern (2004) 10'30
for violin and piano
sFr. 26.00
10202 Michael Schneider: Evokation (1991) 5'
for violin, clarinet and piano
sFr. 18.00
Impulsive, feverish movements with lyrical bright spells.

10207 Michael Schneider: Über verwunschenen Ebenen (1994/95) 7'
for chamber ensemble (0.1.1.1/1.0.0.0/1perc/2.1.1.1)
sFr. 34.00
This piece evokes, magical, mystical (sound) landscapes - mostly in space notation.

4617 Urs Peter Schneider: Robert Walser Trilogie III,1: Die Liebe in den leichten Worten (2003) 5'
Two Album leaves
for fidle and gamba (or two slightly differeing instruments)
sFr. 16.00
This last cycle, which mirrors the first in many ways, is based closely on restructured texts by the poet. "Die Liebe in den leichten Worten" continues semantic distraction in unsophisticated seconds, deceptive and beautiful; "Kanal" is a conceptual composition, creating artificial folklore and sentences of a piece of prosa, quasi idyllic continuation (the composer himself has created one version); "Das leichte End in Bern" is to be scored in a monochrome fashion with six identical instruments. It tells of disappearance into anonymity, of poltergeists and much more; it is dedicated to the performer Eva Fuhrer.

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!"

16308 Felix Schüeli: Septett (2001) 7'
for trumpet, alto saxophone, tenor saxophone, trombone, violin, violoncello and double bass
sFr. 26.00
(Stimmen: sFr. 18.-; € 12.00)
"I dealt with the subject of the four-part fugue in g minor from the WTK (Vol.I) as a model for this piece. I used these parts continually in various appendages and confronted them with a groovy theme." (composer).

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.

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.

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.

4832 Andreas Stahl: o vento voa (1999/00) 5'
for altus and violin
sFr. 18.00
A soft, short duet based on a text by Cecilia Meireles. Also for female voice possible.

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.

17006 Raphael Staubli: Trio (1986/87)
for clarinet, violin and piano
sFr. 26.00
4909 Mathias Steinauer: Omaggio ad Italo Calvino, op. 10 (1993/94) 14'
for clarinet (horn), violin (violoncello) and partly prepared piano
sFr. 31.00
Version I: cl.hn.vn.pf (op. 10a) Version II: cl.vn.vc.pf (op. 10b) After three fantastical poems about the origin of the world.

Listen: Youtube
4907 Mathias Steinauer: Undici duettini, op. 11.1 (1991) 18'
for violin and viola
sFr. 23.00
Very intimate music. Individual duets can be performed in any combination. Varying degrees of difficulty.

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
7721 Pierre Thoma: Ton sur ton 3 (1992) 5'30
for violin and clarinet
sFr. 18.00
5224 Balz Trümpy: Luzifer (1973, rev. 1975) 18'
for string quartet and double bass
sFr. 34.00
The musical development of the string quartet is in conflict with the 'hecklings' of the double bass.

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.

5242 Balz Trümpy: Passacaglia und Walzer (1997) 7'
for tuba, string quartet and piano
sFr. 23.00
A series of variations over a bass result in a cathartic waltz.

5256 Balz Trümpy: Duetti Concertanti (2004/05) 22'
for violin and violoncello
sFr. 44.00
The reference to old forms and techniques stands in dialectical tension to the expressive complexity of the four pieces.

5280 Balz Trümpy: Komm, o Tod, du Schlafes Bruder (2012) 6'
for mixed choir, violin and 4 tom toms
sFr. 29.00
After a choral melody by Johannes Crüger and a Teton Sioux melody. A Baroque longing for death vis-a-vis the Teton Sioux's unconditional will to live.

17518 Raymond Vauterin: Les petits palmiers (1973) 10'
for violin, clarinet in A and piano
sFr. 29.00
17509 Raymond Vauterin: Fantaisie (2000) 17'
for violin and synthesizer
sFr. 91.00
17541 Raymond Vauterin: Connivence (2005) 14'
for violin and guitar
sFr. 31.00
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.

10719 De-Qing Wen: Chant d'une devinette chinoise (2000) 3'
Trio
for violin, oboe and Bb clarinet
sFr. 18.00
Comissioned by the ‘Conservatoir de Musique de Genève’ for the students of the second classes. The theme of this piece is borrowed from the folkloristic Chinese song ‘Cai diao’.

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.

10727 De-Qing Wen: Wind and Snow in the Night (2002) 8'
for pipa (Chinese lute) and string quartet
sFr. 23.00
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.

10807 Martin Wendel: Quartettino für Oboe, Violine, Viola und Violoncello, op. 10 (quartetino for oboe, vioolin, viola and violoncello, op. 10) (1957/80) 8'
sFr. 29.00
Three movements as steps in a metamorphosis of a melodic material which stays strongly connected on the level of intervals.

10816 Martin Wendel: Duo für Violine und Gitarre in drei Sätzen, op. 44 (duo for violin and guitar in three movements, op. 44) (1984) 7'
sFr. 23.00
The sound character of this piece is balanced and aligned with the gentle tone of the guitar.

18108 Lars Werdenberg: Capriccio (2000) 6'
for 2 violins
sFr. 21.00
At the outset of my studies in composition and influenced by the music of Morton Feldman I wrote a number of pieces for several of the same instrument, e.g. for 4 clarinets, for 6 sopranos and 6 percussionists or for 5 trumpets etc. This series was concluded by the composition "Capriccio" in the no-longer so exquisite violin duo formation. While the tonal unity of a "super instrument" was at the forefront of my thoughts for the older pieces, "Capricco" is defined more by the element of dialogue, which can lead to musical competitiveness between the two musicians. This piece often plays in the "lofty heights" of the instrument. It gains more and more "traction" via "furious" double stops.

Listen: Youtube
17647 Stefan Werren: 3 Gesänge (1988) 3'
for soprano, 2 violins and cello
sFr. 16.00
Text: Paul Celan

17615 Stefan Werren: Moment musical (1996) 5'
for violin and violoncello
sFr. 23.00
17622 Stefan Werren: Nachklang (2002) 4'
for violin and violoncello
sFr. 16.00
7823 Hansruedi Willisegger: Choralvariationen (choral variations) (1964) 6'30
for violin and organ
sFr. 16.00
7825 Hansruedi Willisegger: Quartett (1966/67) 20'
for flute, clarinet, violin and violoncello
sFr. 34.00
7830 Hansruedi Willisegger: Passionierte Violinistin (1989, rev. 92) 9'-15'
for coloratura Soprano, violin, oboe (musette) and percussion
sFr. 18.00
After a picture by Hans Erni.

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.

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
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").

8213 Alfons Karl Zwicker: Konstellation mit Mondtransit (1998/99) 16'
for soprano, violin, trombone, violoncello, clarinet and piano
sFr. 55.00
A piece with aperspective performance practice. The ever-changing aspects on the radix planets (instrumentalists) by the transitory moon (soprano) are made audible.


Violin with orchestra
0209 Walter Baer: Konzert für Violine und Orchester (concert for violin and orchestra) (1987) 17'40
(2.2.2.2/2.2.1.0/hp/timp/str)
sFr. 62.00
(Violinstimme bei SME: Sfr. 12.-; € 8.00)
The violin concerto succeeds thanks to its sonorous and atmospheric sound world, and without a need to rely on traditional forms and structures.

0253 Walter Baer: Cantus Gemellus (2005) 10'
Concert
for two solo violins and chamber orchestra (1.1.2.1/2.0.0.0/glock/str)
sFr. 29.00
Listen: Youtube
0507 Nicolas Bolens: "... Et derrière moi marchent les étoiles." (1996) 20'
for violin and symphony orchestra (3(2 pic).3(ca).3(bcl).3(cbn)/4.3.3.1/3perc/hp.pf/10.8.6.5.4)
sFr. 57.00
A work in three movements, written for the Tibor Varga Competition in 1996. Notation is traditional. The soloist's part contains a few cadenzas, which are written without bar lines.

8522 Thüring Bräm: Krajiny Snu (1992) 17'
for piano trio, chamber orchestra (2.2.2.2/2.2.0.0/str) and one crotale
sFr. 55.00
The title 'Krajiny Snu' means 'dreamlandscape' and represents shreds of the composer's associations with his work as a conductor from 1985 to 1995 in Pardubice. This work, originally dedicated to the 'Guarnieri Trio', Prague and the Pardubice Chamber Phillharmonic, enriches the concert for piano and orchestra genre.

6604 Alfred Felder: Im See ist Feuer (1990/97) 30'
Music
for violin, viooloncello and orchestra
sFr. 49.00
Double concert; scored for orchestra: strings and two percussionists. "The fire below and the sea above battle and defeat one another…" from the symbol GO out of the Chinese oracle book I Ging.

11924 Claude Ferrier: La Croix du Sud (2000) 11'
for violin and orchestra (2(pic).1.ca.2(cbl).2(cbn)/1.1.1.0/timp.2perc/cel.hp/str)
sFr. 52.00
(Réduction pour violon et piano: sFr. 20.-; € 20.-)
9220 Michel Hostettler: Diptyque (1991) 17'
for violin and orchestra
sFr. 60.00
(Parties en vente chez EMS)
15149 Rudolf Jaggi: Concertino (1970) 8'
for solo flute, solo oboe, solo violin and strings
sFr. 42.00
2839 Alfred Knüsel: Drei Konzertante Stücke: 1. Spielplan (three concertante pieces: 1. Spielplan) (1997) 6'
for violin solo, strings and percussion
sFr. 34.00
(3 konzertante Stücke: sFr. 48.-; € 48.-)
It is possible to perform the ‘three concertante pieces’ separately but they are also meant as a cycle with the following order: ‘Spielplan’ - ‘Schwebende Zentren’ - ‘Wendepunkt’ where a movement from J.H.F. Bibers ‘Mysterien-Sonaten’ or J.S. Bach's ‘Sonaten und Partite’ is interposed between ‘Spielplan’ and ‘Schwebende Zentren’ and ‘Schwebende Zentren’ and ‘Wendepunkt’.

Listen: Youtube
2840 Alfred Knüsel: Drei Konzertante Stücke: 2. Schwebende Zentren (three concertante pieces: 2. Schwebende Zentren) (1997) 6'
for violin solo, strings and percussion
sFr. 21.00
(3 konzertante Stücke: sFr. 48.-; € 48.-)
It is possible to perform the ‘three concertante pieces’ separately but they are also meant as a cycle with the following order: ‘Spielplan’ - ‘Schwebende Zentren’ - ‘Wendepunkt’ where a movement from J.H.F. Bibers ‘Mysterien-Sonaten’ or J.S. Bach's ‘Sonaten und Partite’ is interposed between ‘Spielplan’ and ‘Schwebende Zentren’ and ‘Schwebende Zentren’ and ‘Wendepunkt’.

Listen: Youtube
2841 Alfred Knüsel: Drei Konzertante Stücke: 3. Wendepunkt (three concertante pieces: 3. Wendepunkt) (1997) 6'
for violin solo, strings and percussion
sFr. 29.00
(3 konzertante Stücke: sFr. 48.-; € 48.-)
It is possible to perform the ‘three concertante pieces’ separately but they are also meant as a cycle with the following order: ‘Spielplan’ - ‘Schwebende Zentren’ - ‘Wendepunkt’ where a movement from J.H.F. Bibers ‘Mysterien-Sonaten’ or J.S. Bach's ‘Sonaten und Partite’ is interposed between ‘Spielplan’ and ‘Schwebende Zentren’ and ‘Schwebende Zentren’ and ‘Wendepunkt’.

Listen: Youtube Youtube
2910 Josef Kost: Concerto for Violin and String Orchestra ( (1995) 16'
"Lot's Wife"
for solo violin and twelve strings (3.3.3.2.1)
sFr. 36.00
From the scene in the Old Testament where Lot's wife transgresses while fleeing Sodom, she looks back and ossifies. The violin concerto addresses the inner mental activity. The perception of the self can be a defensive, rigid death of feeling, or it can lead to a new life. Demanding for both soloist and ensemble.

9820 Laurent Mettraux: Concerto n. 1, M. 544 (1996) 13'
for violin and orchestra (2(pic).2(ca).2(bcl).2(cbn)/2.0.0.0/str)
sFr. 34.00
(Partie séparée: sFr. 12.-; € 12.-: réduction violon/piano: sFr. 16.-; € 16.-)
In two parts, the first is sad and tragic with a cadenza almost at the beginning; the second ruminant and deep. It disappears in the end towards the high in the solo part, towards the low in the orchestral and towards silence.

9830 Laurent Mettraux: Concerto n. 2, M. 579 (1998) 19'
for violin and string orchestra (6.6.4.4.1 or 2)
sFr. 62.00
(Réduction avec piano: sFr. 36.-; € 36.-; partie de violon: sFr. 18.-; € 18.-)
First movement is virtuosic and passionate, the second quiet and ruminant and the third dynamic. The particularly expressive cadenza is at the end of the second movement.

10007 Kit Powell: Concerto for 2 Violins and String Orchestra (1989) 25'
sFr. 57.00
Demanding solo parts with amateur orchestra.

5240 Balz Trümpy: Konzert (concert) (1997/98) 27'
for violin and orchestra (3.3.3.3/4.3.3.1/hp/10.8.6.8.4)
sFr. 91.00
Listen: Youtube
10720 De-Qing Wen: De la Neige en Eté (1992) 16'
Concerto
for violin and large orchestra (3.3.3.3/4.3.3.1/3perc/hp/30.12.10.8)
sFr. 57.00
(Partition et partie de soliste)
This piece is inspired by a Chinese drama of the 12th century. A woman is unjustly exectued, nature testifies her innocence: her blood doesn't drop to the ground but flies away on a white blanket; a heavy snow falls in the middle of summer and the winds begin to howl. The rhythm is influenced by the poetic form of the Song dynasty (960-1279). The organisation of the musical material is inspired by certain codes which allow one to understand the taoistic texts.

7820 Hansruedi Willisegger: Meeting (1961) 5'
for solo- violin, two flutes, two clarinets, bass clarinet, two horns, percussion and string orchestra
sFr. 21.00

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

automatically generated. last update: 28.08.2015 / 2004 Theo Lustenberger