Horn


solo
8322 Dieter Ammann: Eine Minute für zwei Fanfaren (2004) 1'30
for horn in F
sFr. 13.00
1437 Eric Gaudibert: Chant de l'aube (1993) 5'
for horn solo
sFr. 13.00
A piece demanding very high technical skills, composed as a homage to Robert Faller. It is inspired by the music of Robert Schumann. At the end the hornist simultaneously sings one tone and plays.

8834 Rico Gubler: ECO (2005) 5'
In reference to the nocturne K 286 by Mozart
for orchestra (4 string groups and 8 horns)
sFr. 34.00
2864 Alfred Knüsel: Niemandsland. Ort der Einsamkeit (2007) 7'
Music
for horn solo
sFr. 16.00
In four parts.

2865 Alfred Knüsel: Harmonie und Unruhe (2007) 5'
for horn solo
sFr. 16.00
1. Intrada 2. Presto 3. Aria I - Rezitativo - Aria II

2866 Alfred Knüsel: Abweichungen (2007) 5'
3-part series
for horn solo
sFr. 16.00
19104 Benedikt Wolfgang Schiefer: Signal (2009) 12'
for horn in F and live electronics (ambisonic setup)
sFr. 16.00
5261 Balz Trümpy: Vier Stücke (four pieces) (2006) 8'30
for horn
sFr. 18.00
5809 René Wohlhauser: Atemlinie (1988) 8'
Ergon 17
for horn solo (and tam-tam)
sFr. 23.00
In a high range of possible subtleties in the mixing of sounds this piece arranges and deals with breathing in music. The piece is based on fine nuances between cerulean blue and manganese blue, between cadmium red and permanent red, embedded in the grammar of intensity, opacity, pigmentation of a sound colour alphabet. Micro breath-lines of various length bind to macro breath-lines by artificial extension.

Listen: Youtube

piano and instrument
1002 Jean-Jacques Dünki: Tricorno (1980) 5'
for horn and piano
sFr. 23.00
Very virtuosic for the horn. The pianist sings in the second movement (ad libitum).

10211 Michael Schneider: Kailash (1996) 8'
for horn and piano
sFr. 26.00
Drawn-out lines of the horn face gong-beats and dazzling interpolations of a piano prepared with two chains.


Horn with instruments
8303 Dieter Ammann: Developments (1993) 9'30
for 2 trumpets, horn, trombone and tuba
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.

0517 Nicolas Bolens: Suite pour Neuf Instruments (suite for nine instruments) (1999) 11'
for wind quintet and string quartet
sFr. 31.00
8516 Thüring Bräm: Raum und Zeit (1993) 6'30
for 8 horns
sFr. 23.00
A soft spatial piece for eight spatially distributed hornists.

17906 Andreas Brenner: Sinus D (2010) 9'
for brass quintet (horn, 2 trumpets, trombone, tuba)
sFr. 23.00
(Stimmen: sFr. 31.-; € 24.-)
On the formal level, Sinus D generates an arch (lat. sinus) - like a D placed on ist back: the elements of a phrase - chords and their resulting melodic motifs - glide into each other successively to create a core of maximum density and a finish, which, with regard to this density, returns to the begining.

0923 Jacques Demierre: Quelques remarques (1991) 13'
for flute, clarinet, horn, trombone and four-handed piano
sFr. 57.00
(Parties: sFr. 90.-; € 90.-)
1005 Jean-Jacques Dünki: Kammerstück II (1985) 17'
for horn, piano and thirteen instruments (2.(pic,afl).2(obda,ca).2(Ebcl).bcl.asx(ssx).1/1.1.1.1/pf(clavichord))
sFr. 70.00
The solo horn is scored also for an authentic 19th century invention-horn, and the solo piano part (normal tuning) also plays a hammer piano (five octaves F - f4, sounding a quarter tone lower). The second piano in the ensemble is tuned a quarter tone lower. A discourse with Robert Schumann's music.

Listen: Youtube
1051 Jean-Jacques Dünki: Cas obliques I, II, III (1993-2004) 6'
for oboe, bass clarinet, bassoon, horn and piano
sFr. 34.00
14311 Felix Falkner: De Profundis (1999) 20'
Lament
for soprano, clarinet and horn
sFr. 29.00
Texts: Wilhelm Felix Swoboda, Georg von der Vring

Listen: Youtube
14426 Stefan Feingold: Tantal (1997/99) 40'
"Planet Music"
for brass quintet (1.2.1.1) and piano
sFr. 57.00
This work is in three movements, parts of which are in aleatoric notation.

1485 Eric Gaudibert: «Pierrot, à table !» ou le souper du poète (2003) 10'
for percussion, accordion, saxophone, horn and piano
sFr. 26.00
The percussionist plays both a principal and theatrical role performing on a table. The remaining instruments are, for the most, independent of one another; the piano is placed at the far-end of the scene. The sounds produced on the table are amplified.

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.

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
8823 Rico Gubler: Ortswechsel, eine Winteroper (2001) 45'
19 songs
for clarinet, bassoon, horn, string quartet and speaker
sFr. 57.00
Text: Gert Loschütz.

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
9061 Edu Haubensak: Schnee (A Ritual) (2013) 21'
for horn, voice and percussion
sFr. 31.00
9254 Michel Hostettler: Ballade (2002) 9'
for horn and percussion
sFr. 39.00
(2 partitions et partie de cor)
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.

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

2692 Max E. Keller: Sans cesse (2001) 9'
for oboe, bassoon, horn, trombone, violin, viola, violoncello and double bass
sFr. 18.00
26117 Max E. Keller: 12-06-07 (2007) 10'
for soprano, oboe, alto saxophone, horn and viola
sFr. 34.00
A text about statistically the most frequent causes of death in Switzerland takes its course and is interspersed by ten extremely varied newsflashes from real life, all of them objets trouvés from two daily newspaper of 12th June, 2007. The statistical information is set to music in a recitative manner with very few, primarily sustained notes. This is in contrast to the ten newsflashes whose music is composed with lively movements and a tangible pulse in various structures. The somewhat macabre text montage reflects the apparent phenomenon of the sometimes-grotesque contrast of various themes and texts, which seems to magically attract humans.

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.

26134 Max E. Keller: Grillen (2009) 6'
for trumpet 1 in B, trumpet 2 in B, horn (F), trombone and tuba
sFr. 26.00
The chirping of crickets is generally considered to be soft and quiet, it can, however, become truly clamorous when when many crickets are heard at close quarters - just as one can experience it in the copses or groves of Greece. What is apparently weak can, en mass and under specific circumstances, develop unimagined power. In German the word for cricket is 'Grillen' and carries with it another maeaning: fantastical or dull thoughts.

19407 Burkhard Kinzler: round about Haydn (2012) 6'
a roundabout
für 2 Flöten, 2 Oboen (beide auch Engl-Hn), 2 Fagotte, 2 Naturhörner und 2 Naturtrompeten
sFr. 29.00
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
2902 Josef Kost: Reflexionen (1988) 9'30
Paraphrase of the horn solos from 'Des Canyons aux Etoiles' by Olivier Messiaen
8 horns
sFr. 31.00
As this is a kind of spatial music, the eight horns are positioned in a circle around the audience. A conductor is essential. Standard playing techniques, but the part of the first horn is difficult.

3119 Urban Mäder: Annäherung an Dorfmusik (1991) 13'
for clarinet and brass instruments (cn.bugle[=2tpt]/hn.tbn.tb)
sFr. 31.00
Adaptation of folk musical elements.

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

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.

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

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

9752 Hans-Jürg Meier: das dasein ist nicht das wesentliche (sestiere - prima lettura) (2010) 16'
for panpipes, transverse flutes, recorders, clarinets, saxophone, horns, trombones, trumpets
sFr. 60.00
7209 Mela Meierhans: Sec''ondes (1995) 12'
for wind quintet (fl.ob.cl.hn.bn), viola and piano
sFr. 31.00
7211 Mela Meierhans: RéSONANCE?! (1996/97) 21'
for bass clarinet, horn (Alphorn), violoncello and electronic (CD/DAT or MD)
sFr. 21.00
After texts by Hannah Arendt. This piece uses a half conventional score with 'cell' improvisation. All instruments are to be amplified where possible.

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.

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.

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

9919 Maria A. Niederberger: Concerto for Oboe and Instrumental Ensemble (1999/00) 20'
for oboe solo, flute (piccolo), clarinet, horn, harp, two violins, viola, violoncello and double bass
sFr. 57.00
This piece is suitable for oboe and ensemble, but oboe and a small orchestra is preferable. The oboe is very demanding but the harp and horn also play important parts.

4317 Ernst Pfiffner: Sestetto d'Isissa (1995/96) 11'
for oboe, clarinet, bassoon, horn, trombone and percussion
sFr. 31.00
Work series A: Music for concerts.

10027 Kit Powell: Salmagundi (1998) 10'
for brass ensemble (four trumpets, two horns, tuba and four trombones)
sFr. 60.00
An entertainment piece using German and English folksongs.

10042 Kit Powell: Wedding Fanfare (2006) 3'30
for horn and organ
sFr. 23.00
(Hornstimme: sFr. 13; € 10.-)
16023 Alex Rüedi: Blechtett (2009) 15'
for 2 trumpets, horn, trombone and tuba
sFr. 47.00
(Stimmen SME: sFr. 46.-; € 46.-)
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.

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

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.

4807 Andreas Stahl: brudermord (1992) 7'20
for piccolo trumpet, Eb-trumpet, horn and three percussionists
sFr. 29.00
Short, fierce (also complex) cry out against equality in its handling of various aspects such as mankind, musical instruments, parameters, etc..

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
4926 Mathias Steinauer: Sott'acqua, op. 17.3 (1999) 10'
for soprano saxophone, horn, trombone, percussion and piano
sFr. 29.00
Partly with an improvised second piano (ad libitum).

Listen: Youtube
5204 Balz Trümpy: Code (1976) 10'
for four horns
sFr. 23.00
This piece deals with the deciphering of rules, making possible a joint language for the four instruments.

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.

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

17515 Raymond Vauterin: Intrada (1996) 6'
for brass (2.3.3.2.btba) and 2 timpani
sFr. 42.00
7826 Hansruedi Willisegger: Impressionen (1967) 15'
for eight instruments (fl.cl/hn/cel/hp.pf/2perc)
sFr. 47.00

Horn with orchestra
0225 Walter Baer: Elegie (1988) 12'
for horn quartet and string orchestra
sFr. 31.00
8521 Thüring Bräm: Torrenieri (1992) 6'15
for horn solo and string orchestra
sFr. 18.00
This piece, written for the Lucerne Festival Strings, can be easily introduced into a 'normal' string orchestra programme. It does, however, require great solo skills from the horn player.

19412 Burkhard Kinzler: Müthel-Brücken (2013) 20'
für Chor, Solisten, Streicher, Horn, Alphorn und Fagott
sFr. 62.00
Für ein komponiertes Programm mit Werken von Johann Gottfried Müthel.

5247 Balz Trümpy: EIS EROTA (2002) 12'
for soprano, baritone, horn, two trumpets, trombone, percussion and strings
sFr. 62.00
Sappho and Alkaios from the isle of Lesbos are amongst the most prestigious representatives of Greek lyrics strongly connected with the Orpheus saga. After the heavenly singer has lost his beloved Eurydice to the underworld and, spurned by his endless mourning, he seeks the love of other women. Bacchante tear him to pieces in an angry rage and cast his head into the sea. The tide washes it onto the shores of Lesbos - here his mouth is once again brought to speech by the lyric of the island. Mythological notions merge with personal experience and sufferance in connection with the erotic. Eros is the ‘weirdest God’ (Alkaois) whose effect is to rip open the abyss between the highest fulfilment and the degeneration towards death. The elemental force with which he encompasses man awakes in him an orpheic longing for immortality and the desire to overcome the underworld; simultaneously bringing even more painfully the forlornness of his wish to consciousness. While Alkaios attempts to forget in wild drunkenness and sexual indulgence, we eavesdrop on Sappho, and the dark tones of a wish for love in which pain resonates with the transient. EIS EROTA combines fragments from both poets to produce a dialogue on the subject of love and death.

7818 Hansruedi Willisegger: Suite über "Wenn alle Brünnlein fliessen" (1960) 23'
for piano, trumpet, horn, percussion and string orchestra
sFr. 39.00

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