Guitar


solo
6408 George Barcos: Canciones Tropicales (1991) 11'
for guitar solo
sFr. 18.00
Preludio Azul - Conción Amarga - Bambuco Negro - El Jardín Encantado - La Ciudad de los Milagros.

12823 Gary Berger: Dauerwelle (2004) 9'
for guitar, tape recorders and electronics
sFr. 23.00
0523 Nicolas Bolens: D'un Rêve II (1997) 8'
for guitar
sFr. 18.00
1493 Eric Gaudibert: "La" (2006) 1
for guitar
sFr. 13.00
An acrobatic piece of 15 chords to be played on the empty chords, which change their scordatura every 4 seconds until every chord is tuned to the note a.

9001 Edu Haubensak: Refugium (1988) 8'
for guitar solo
sFr. 16.00
2222 Regina Irman: Melodie 1 (1985) 2'
for quarter-tone guitar or other instruments with free intonation possibilities
sFr. 13.00
Listen: Youtube
15138 Rudolf Jaggi: Ordre pour guitare (1983) 23'
sFr. 23.00
Prélude - Allemande - Courante - Sarabande - Gavotte I / II - Gigue.

151115 Rudolf Jaggi: Une Soirée en Provence (2007) 2'
for guitar
sFr. 13.00
151135 Rudolf Jaggi: Sexaginta (2013) 2'40
Solo piece
for guitar
sFr. 16.00
9301 Vladislav Jaros: Seven Preludes for Guitar (1981) 16'
sFr. 21.00
Humorous intermediate/difficult pieces with interesting effects. Relatively comprehensible for both player and listener.

9325 Vladislav Jaros: Herbstsonate (1996) 15'
for guitar
sFr. 23.00
Four movements in a post-modern manner, transparent like a sunny September day, bursting with subtle melancholy. An intermediate tonal piece written in conventional notation.

9317 Vladislav Jaros: Präludium und Fuge (prelude and fuge) (1999) 12'
for guitar
sFr. 18.00
A demanding, deeply heartfelt piece of music with numerous harmonic and musical surprises, a real challenge for any guitarist.

9321 Vladislav Jaros: Variationen über "Vreneli ab em Guggisberg" (2002) 15'
for guitar
sFr. 23.00
A conventionally notated, easy to understand and very effective piece for guitar solo. A theme with eight variations using extended tonality, colourful with typical guitarish nuances - an absolute delicacy for any guitarist. Intermediate to difficult.

9322 Vladislav Jaros: Deux Nocturnes (2002) 15'
for guitar
sFr. 18.00
This poetic piece in a post modern style has echoes of impressionism and jazz, dreamy slow rubarto passages contrast with rhythmical ones, a conventionally notated piece. Intermediate.

9342 Vladislav Jaros: Cinq Nocturnes (five nocturnes) (2007) 20'
for guitar
sFr. 34.00
Five charming, atmospherically dense and playful pieces for guitar. The techniques and tone possibilities of the guitar are presented here in an exemplary manner.

9345 Vladislav Jaros: Cinq nocturnes (Volume II) (2009) 20'
for guitar
sFr. 29.00
A continuation of the first cycle. An intermediate / difficult solo piece for guitar full of poetry and colours. Extended tonality.

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

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

16315 Felix Schüeli: Stück für Gitarre (piece for guitar) (2003/04) 5'
sFr. 18.00
5260 Balz Trümpy: Ballade (2005) 17'
for guitar
sFr. 23.00
Listen: Youtube

Guitar with instruments
8310 Dieter Ammann: Musica Empirica (1997/98) 9'
for soprano saxophone and guitar
sFr. 21.00
6418 George Barcos: El Circulo de la Nostalgia (1990) 5'
for two guitars
sFr. 18.00
La Ciudad sin ti - Recuerdos de la Sierra - Conferencia de los Enamorados.

6417 George Barcos: Cuentos Peregrinos (1997) 10'
for guitar and double bass
sFr. 29.00
La Ciudad perdida - Burundanga - Raices.

6419 George Barcos: Poemas de Esperanza (1998/99) 12'30
for female choir, two guitars and double bass
sFr. 42.00
Texts: Juana de Ibarbourou, Gabriela Mistral, Delmira Agustini La nueva esperanza - Hímno al árbol - Explosión.

6421 George Barcos: Humores (2001/02) 12'
for four guitars
sFr. 39.00
Caprichoso - Indeciso - Enamorado.

12814 Gary Berger: lichtempfindliche Erinnerungen (2000) 6'
for bass flute, viola, alto saxophone, guitar, percussion and live electronics
sFr. 26.00
0524 Nicolas Bolens: En mi Cielo (1998) 4'
for tenor and guitar
sFr. 16.00
Texts: Pablo Neruda

1040 Jean-Jacques Dünki: Eiland Stadt Ebene (1995) 11'
for flute and guitar
sFr. 21.00
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.

11919 Claude Ferrier: Condensations (1998) 9'
for sextet (fl.hn.asx/hp.cel/gtr)
sFr. 42.00
1483 Eric Gaudibert: Wolkenblau (1999-2000) 10'
for alto flute and guitar
sFr. 23.00
Texts: Georg-Philipp Harsdörffer The text, which evokes the four seasons, dates back to the 17th century. The title of the work, as well as the titles for each piece, are taken from the poem: Es bläst der sanffte West – Ihr Hertz ist von safran – Der Erden Kelterblut – Die Gäste gehen fort. The melody is present in the flute part in this version for two performers without voice.

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

8840 Rico Gubler: nel blu (2006) 7'
13 marches for decimated plucked-instrument orchestra
for mandolin, guitar and harp
sFr. 39.00
18003 Sarah Haessig: Don Belianis de Grecia a Don Quijote de la Mancha (2007)
for speaking voice, guitar and double bass
sFr. 16.00
Listen: Youtube
15183 Rudolf Jaggi: Phasen (1974/75) 15'
for medium voice, flute and guitar
sFr. 31.00
Texts: Giuseppe Ungaretti (Ingeborg Bachmann). 1. Ich bin eine Kreatur 2. Freude der Schiffbrüche 3. Morgen 4. Phase I 5. Phase II 6. Finale

15184 Rudolf Jaggi: Roserich (1977) 15'
for medium voice and guitar
sFr. 18.00
Texts: Emanuel Geibel. 1. Beim letzten Erntefeste 2. Intermezzo 1 3. Lass mir die Knaben vom Feste 4. Intermezzo 2 5. …und horch!

15185 Rudolf Jaggi: Drei Miniaturen (1978) 7'
for soprano and guitar
sFr. 16.00
Text: Tan Tsien (4th century). 1. Elegie 2. Invention 3. Pastorale

15186 Rudolf Jaggi: O Westen, öffne mir deine Arme (1991) 16'
for high voice, flute and guitar
sFr. 34.00
Ancient Egyptian texts. 1. Lobpreis sei dir, Re 2. O Re, komm zu mir 3. Betrachtet mich doch

15145 Rudolf Jaggi: 3 Romances (1997) 11'
for 3 guitars
sFr. 26.00
151106 Rudolf Jaggi: Five Ayres (2006) 9'
for medium voice and guitar
sFr. 23.00
After anonymous texts from the 15th and 16th centuries. I. Come let us all amaying go II. Weep, o mine eyes III. If it be love to sit and mourn IV. O yes! Has any found a lad? V. Though Philomel

151123 Rudolf Jaggi: Die grosse Gondel (2009) 24'
15 Songs
for high voice and piano
sFr. 36.00
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.

9302 Vladislav Jaros: Das Kastanienmännchen (1984/06) 35'
A musical fairytale
for wind quintet, guitar and story-teller
sFr. 39.00
(Stimmen: sFR. 30.-: € 20.00)
for wind quintet, guitar and story-teller (there is also a version for wind quintet and speaker) Colourful dreamy music, not always easy to perform. Duration: uncut 35', cut 26'.

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

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.

9310 Vladislav Jaros: Musik für zwei Gitarren (music for two guitars) (1994) 5'
sFr. 16.00
A quick, lively piece - demanding for both guitarists.

9320 Vladislav Jaros: Liederzyklus nach Gedichten von Joachim Ringelnatz (song cycle after poems by Joachim Ringelnatz) (2002) 25'
for mezzo-soprano and guitar
sFr. 31.00
Text: Joachim Ringelnatz Comical songs with surprising harmony and delightful rhythm. This cycle is composed partly in graphic notation and partly in traditional notation. Some special effects are required by the voices and the guitar accompaniment. The harmony of the songs wanders between tonality, polytonality and atonality. Relatively easy to understand and easy to perform post modern bawdy songs.

9353 Vladislav Jaros: Hommage à Francisco Tàrrega (2010) 10'
3 songs
for mezzo-soprano and orchestra (1.1.1.0/gtr/str)
sFr. 62.00
Texts: Vladislav Jaros Instrumentation: 1. Dreams: fl, ob, mezzo, gtr, str 2. Recuerdos de la Alhambra: mezzo, gtr, str 3. Tears: fl, ob, kl, mezzo, gtr, str The composer has written an English text and a melodie to the well-known pieces by Francisco Tàrrega and intrumented the pieces for chamber orchestra. In he orchestral version, the music of Francisco Tàrrega sounds in an unknown colour, intensity and musical quality that must be heard.

9356 Vladislav Jaros: Nocturne (2010) 6'
for guitar and strings
sFr. 21.00
2657 Max E. Keller: Konfigurationen III - January 1991 (1991) 8'
for oboe (or flute), bassoon, guitar and piano
sFr. 18.00
The musicians also perform scenic actions and speak a couple of sentences.

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

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

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

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

Listen: Youtube
2685 Max E. Keller: Skizzen (1999) 9'
for flute and guitar
sFr. 18.00
26120 Max E. Keller: Wie Kraut und Rüben (2008) 6'30
After the picture bearing the same title by Paul Klee
for oboe, bassoon, guitar and viola
sFr. 16.00
In the painting "Wie Kraut und Rüben" by Paul Klee transparent white dots are spread over a red background in irregular rows and create thereby a subtle pulsation within a regular grid. By painting over the dots with the brush, these dots turn into lines, spots and signs. This technique, which Klee called "pointillate", has been transposed to dots of sound, arranged in rows, superimposed in irregular, free rhythms by the four instruments.

26151 Max E. Keller: Der Rutengänger (2012) 6'
for oboe, bassoon, guitar and viola
sFr. 23.00
Nach dem Gemälde "Landschaft mit dem Rutengänger"(1923) von Paul Klee im Kunstmuseum Winterthur (Auftrag musica aperta Winterthur). Paul Klee lässt einen stoppelhaarigen Rutengänger mit merkwürdig grossen, blauen Augen durch eine bizzar-kindliche Landschaft gehen. Über seinem Kopf ein riesiges, spiralförmiges Gebilde, in seinem Rücken ein fünfstöckiges Haus, ...... Die Komposition lässt soz. den Blick frei über das Bild schweifen, heftet sich an die eine und dann an die andere Form und übersetzt sie ziemlich direkt in musikalische Figuren und Prozesse. Diese werden dann neu, nach musikalischen Gesichtspunkten in einen Formablauf gebracht.

26153 Max E. Keller: Les Fleurs du Mal (2012) 14'
Four poems by Charles Baudelaire
for soprano and guitar
sFr. 23.00
Baudelaire's worldview is characterised by ambivalence: light is at the same time dark; flowers are 'the evil'. On the one hand is the search for beauty, on the other is the experience of spleen, the never-ending ennui. Transposed into music, the deep, bell-like tones of the guitar are broken by hard, dissonant accents - or dissonant chords slide into consonants and vice versa. The singing voice is characterised by a model that, following a rapid ascent, moves slowly downwards, often quasi-disintegrates or ossifies in ennui.

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

3131 Urban Mäder: mit Mass - Zählzeit - Schlagsaiten (2001) 12'
Three pieces
for guitar duo
sFr. 26.00
For the guitar, this an unconventional yet guitar-like piece sounding meticulously fine and transparent. Intermediate level of difficulty.

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

7125 Valentin Marti: Notizen und Gravur (2003) 10'
for mandolin, guitar and harp
sFr. 36.00
Jede Aktion während der Arbeit an Skizzen eines Werkes löst einen Gedanken aus, in welcher Form diese Notizen in die Ausarbeitung einfliessen, wie sie konkretisiert, gewichtet, beleuchtet werden können. Diese Überlegung läuft zeitgleich mit der Skizzierung ab, geht aber mit der nächsten Aktion vordergründig verloren, versinkt in eine unbewusste Ebene, weil die Arbeit an den folgenden Notizen die Offenheit verlangt, auf den Moment spontan und intuitiv eingehen zu können. Vor und während der Gravur - der Umsetzung der Notizen - kommen einige Gedanken geschärft und klar zurück. Andere vermochten sich nicht zu festigen und bleiben in der Festlegung des Werkes unberücksichtigt. Die beiden Sätze von "Notizen und Gravur" können getrennt oder ineinanderfliessend aufgeführt werden. UA: 14.6.03, Zürich. mille cord

9736 Hans-Jürg Meier: volgere lo sguardo al cielo (2005) 11'30
for oboe, trumpet in B (ossia soprano saxophone or clarinet in B), guitar
sFr. 23.00
"Rather a cloud of birds in the sky than one in the hand." (Eduardo Chillida)

9750 Hans-Jürg Meier: herbst (abtasten) (2010/11) 7'
for 4 alto recorders, guitar, tromba marina, percussion
sFr. 21.00
A tentative musical exploration of the 1907 painting "Herbst (Schule)" by Marianne Werefkin.

4009 Daniel Ott: 17 1/2 (1995) 25'
Scenic composition
for 4 guitars, 2 mandolins, dulcimer, viola, 2 double bass, saxophone, trombone, tuba, accordeon and three percussion instruments
sFr. 55.00
Spatial composition based on the sound memories of the musicians/singers.

10118 Marc-André Rappaz: "de Dschember Schamblin" (1997) 10'
for soprano and guitar
sFr. 21.00
A piece based on a cycle of poems in Romansch, taken from the cycle ‘Dschember Schamblin’ by Denise Mützenberg.

17702 Peter Schärli: Ballade pour une pierre (1985) 6'30
for voice, trumpet (with muffler), piano (or guitar), double bass
sFr. 13.00
Text: Sandy Patton.

19107 Benedikt Wolfgang Schiefer: TRUO (2009) 10'
for e-guitar, baritone saxophone, percussion and live electronics
sFr. 18.00
4510 Martin Schlumpf: Sommerbogen (1992) 15'
for guitar quartet
sFr. 34.00
A time/content scheme based on a woodcarving by A. Athanassoglou: A basic tonal motif forms a doubled arch-form development, with the influence of minimal music in the first part, and a more harmonic and dramatic treatment of sound in the second.

10221 Michael Schneider: Shark Turtle Ray (1998/99) 7'
for oboe, viola and guitar
sFr. 21.00
Three imaginary images after Paul Klee. As far as interpretation is concerned (multiphonics, quarter tones), the passages are demanding and alternate between rugged and meditative sound gestures.

10224 Michael Schneider: Im innersten Winter (requiem) (1999) 14'
for speaker, bass clarinet and guitar
sFr. 31.00
Text: Andreas Neeser Economically used filigree sounds and gestures by both instruments accentuate eight poems on death and transience.

16302 Felix Schüeli: 7 leichte Miniaturen (1998) 3'30
for two recorders guitar and piano
sFr. 18.00
Composed for a school ensemble with circa 1-2 years of musical education.

4834 Andreas Stahl: gebunden. an anima und dich (2000/01) 13'
for guitar quartet
sFr. 34.00
Not only the musicians are connected in a very tight, quasi-breathless time structure and intimately interwoven quartet movement, but also the musical form, which, with its ever-changing background also looses its unique identity. For the ‘Aleph Guitar Quartet’.

5263 Balz Trümpy: Vier Duette (2009) 16'
for marimbaphone and guitar
sFr. 35.00
Each of the four duets originates in a basic constellation of musical dialogue, which develops in the interplay between the two instruments. The marimba-guitar combination offers a myriad of colour and expressive shades, which are not possible with each instrument alone. Vier Duette is dedicated to the duo Christina Schorn and Ivan Mancinelli.

17541 Raymond Vauterin: Connivence (2005) 14'
for violin and guitar
sFr. 31.00
17545 Raymond Vauterin: Au fil des saisons (2008) 15'
for 2 guitars
sFr. 36.00
(Parties: sFr. 26.-; € 26.-)
Estivale - Automnale - Hivernale - Printanière

Listen: Youtube Youtube Youtube Youtube
17546 Raymond Vauterin: Trois danses de nulle part (2009) 9'
for 2 guitars
sFr. 23.00
(Voix: sFr. 22.-; € 15.-)
17547 Raymond Vauterin: Printanière (2007) 5'
for 2 guitars
sFr. 29.00
5417 Daniel Weissberg: Oh mi! (1998) 10'
for flute, oboe and guitar
sFr. 29.00
Jocular, virtuoso piece.

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.

5823 René Wohlhauser: mikka resna (2006) 5'
Ergon 34
for tenor and guitar
sFr. 31.00
The self-written onomatopoeic texts are semantically charged by the exaggerated gesture of the music and become thereby a farce.


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