Chamber ensemble


solo
0204 Walter Baer: Meeting (1974) 9'30
for four instrumental groups (0.2.2.0/1.1.1.0/4-5perc/hp.pf/2vc.db)
sFr. 34.00
This piece features differing instrumental groups manifesting three timbres. Together they form a connection with, and at the same symbolise, the various aspects of human behaviour. A fourth, less homogeneous group, gradually prevails.

8602 Juan Manuel Chávez: Folklore Planétaire I (1989/90) 15'
for solo ensemble (nineteen instruments): (fl(pic,afl).ob(ca).cl(Ebcl).bcl.bn(cbn)/hn.tpt.tbn.tba/2perc/cel.hp.pf/2vn.va.vc.db)
sFr. 60.00
The nineteen instruments in this piece are split twice into five groups. The first is grouped traditionally (woodwind, brass, keyboard instruments / harp, percussion and strings) and are known in this instance as homogenous groups.During the course of the piece, new instrumental groups are gradually formed. Each of these new groups contains one instrument from each of the above mentioned categories and are known in this instance as heterogenic groups. Both the homogenous and heterogenic groups have their own expressive repertoire, bound together by a specific number of tones and a specific rhythm.

8603 Juan Manuel Chávez: Folklore Planétaire II (1990/91) 10'
for nine instruments (fl(pic,afl,woodblock).ob(ca,claves).cl(bcl,claves)/perc/hp.pf (or two wood blocks)/vn.vc.db)
sFr. 52.00
The instruments are split into three groups: woodwind, harp/piano/percussion and strings.

1105 Jürg Frey: Zwei langsame Sätze (two slow movements) (1984/90) 7'
for instrumental ensemble (cl.bn/hn/vn.va.vc.db)
sFr. 21.00
First movement: a wide-reaching arch. Second movement: small-scale, two-voice experiments.

26101 Max E. Keller: Le Croce (2002) 3'
for ensemble (1.1.1.1/1.1.1.0/pf.mar/2.1.1.1)
sFr. 21.00
Created as a commission for the Swiss Expo 02, this piece takes the Swiss cross, apparent as pitch structures in the form of crosses, and places it at the centre of the composition. Initially as an interval-cross in quasi-negative form, it later appears manifold and differentiated in positive form.

2802 Alfred Knüsel: Idioma (1990) 8'
for instrumental ensemble (pic.fl.ob.Bbcl/hn-f.Bbtbn.tbn-c/2perc/pf/vn.va.vc)
sFr. 39.00
An experiment in using various procedures but avoiding the stylistic lapses of postmodernism.

2905 Josef Kost: Begegnungen (1989/90) 35'
Seven small pieces (three trios, three sextets, one nonet)
for instrumental ensemble (fl.cl/hn.tpt.tbn/hp/3str)
sFr. 21.00
After the trios finish playing their piece, a meeting is brought about whereby three sextets and a nonet are formed - their parts are then played simultaneously. In this way, the musical character of the individual parts is heard in relation each other. Only moderately difficult to play but does require the help of a conductor.

3112 Urban Mäder: vom Nesselweg her (1994) 9'
for instrumental ensemble (fl.cl/pf/perc/vn.vc)
sFr. 47.00
(Stimmen: SME/EMS sFr. 30.-; € 26.50)
Alternating solos for the wind and strings are concurrent with the transparent, fragile playing of the ensemble. Based on the ‘Stimmen’ - texts by Paul Celan.

Listen: Youtube
3113 Urban Mäder: Stimmenfragmente (1994) 7'
for instrumental ensemble (fl.ob.cl(bcl).bn/perc/pf/2.1.1.1)
sFr. 47.00
Bright and dark sounds in numerous forms are set in motion in a fragmentary way. This piece was inspired by the 'Stimmen' texts by Paul Celan.

Listen: Youtube
3401 Thomas K. J. Mejer: The Minstrel is Entering Virtual Reality (1989) 8'
for instrumental ensemble (fl.ob.bcl/hn/hp/vn.va.vc)
sFr. 47.00
Inconclusive, trembling and weighed down with emotion, the minstrel attempts to enter through the gate of virtual reality. He fulfils his aim in the second movement; his physical trembling becomes a psychological one.

19102 Benedikt Wolfgang Schiefer: TON (2007) 10'
for ensemble (1.1.1.1/1.1.1.0/2perc/hp.pf/2.1.1.1)
sFr. 47.00
"TON" is actually a passacaglia within which the bass can not initially be heard ... E - Eb - D - C# are the key notes in this piece, modulating within their partial tones throughout the different voices while the progression is defined by the upward trend of the voices (partial tones). When looking at the intervals' overtone structure up to the 16th partial tone and then putting the overtones into an order from low to high frequencies, a series evolves which is very much like an overtone series itself - though having smaller intervals towards the heighs. From the 12th partial onwards the key notes modulate chromatically to the low: E - Eb - D - C#. While the high voices continue to go higher, ever searching for the next tone pitch, the bass (being the fundament) stays within the realm of the chromatic world. Within the world of micro tones, the spectrum glides upwards like a filter independently of the 12 tone system, but remains connected to its origin. An investigation of the phenomenon "sound". Something continuously changing and at the same time persisting because of these changes. Laozi, Tao The King, 11: Therefore, what has a (positive) existence serves for profitable adaptation, and what has not that for (actual) usefulness.

17109 Bruno Stöckli: Dekaphonie (2006) 15'
for ensemble (1.0.1.0/1.0.1.1/pf.vib/str trio)
sFr. 68.00
Uses the quarter-tone system.

5014 Peter Streiff: Über Granit gebeugt (1991/92) 12'
Seven traces through spaces
for instrumental ensemble (fl.ob.cl.bn.asx/hn.tbn/perc/va.vc.db)
sFr. 34.00
A delicate piece which touches, crisscrosses, repulses and ignores on different levels. Commissioned by 'Moments Musicaux Aarau'.


Chamber ensemble with instruments
8433 Felix Baumann: Heiligenetude (Bidott und Padott) (2008) 5'
for small ensemble (fl, ob, cl-B, bn, hn-F, vn, va, vc)
sFr. 34.00
(Stimmen: sFr. 40.-; € 26.50)
Attempting to describe the sacred or the holy is captious and can easily miss that which is actually meant. The sacred is not easily articulated. Maybe the sacred simply arises through musical means like an uncontrolled accordance of interior and exterior, conscious and preconscious facts? Maybe Bidott and Padott are two Patron Saints yet to be discovered.

0911 Jacques Demierre: L'archer, l'arc, la flèche et le blanc, ou l'Eloge de l'irritation (1990) 12'
for flute, clarinet, violin, viola, vioncello, two marimbas and imrovised piano
sFr. 57.00
(Stimmen: sFr. 50.-; € 33.00)
Dialectic between the pianist and ensemble involving the discovery of the unanticipated improvised moment within the notated musical gestures.

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
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
1504 Eliane Frances George: Darkness (1988) 11'
for choir, soprano, alto and chamber ensemble (fl(picc).ob.cl.bcl.bn/timp/perc/vibr.synth)
sFr. 49.00
Based on a poem by Lord Byron.

Listen: Youtube
2508 Mischa Käser: 15 liedl nach Jandl (1991) 22'
for soprano and instrumental ensemble (1.1.1.1/1.1.0.0/man.gtr/1.1.1.1)
sFr. 60.00
2509 Mischa Käser: the hard core of beauty (1992) 28'
for soprano and instrumental ensemble (fl/perc/acn/man/2vn.2va.2vc.db)
sFr. 86.00
(Stimmen beim Komponisten)
A cycle of songs based on texts by W. C. Williams.

2512 Mischa Käser: musik zu Alexander (1993/94) 36'
for soprano and instrumental ensemble (flute/melodica, clarinet, piano/melodica, accordion, mandolin, violin/viola, violoncello)
sFr. 52.00
Text: Ernst Herbeck 27 songs and four intermezzi based on the schizophrenic lyrics contained in the poems of Ernst Herbeck (Alexander). Relatively simple for the instrumentalists. In some sections, the musicians have to sing and whistle as well.

2655 Max E. Keller: senza e con (1989) 10'
for ensemble (fl.ssx.tsx.barsx/hn.3tpt.3tbn/pf/db)
sFr. 18.00
2804 Alfred Knüsel: AbArt (1992) 9'
for alto, baritone and instrumental ensemble (rec[=pic].fl/hpd.org/vadg[=va]/perc)
sFr. 47.00
Text: Ernst Jandl Absurd text set to absurd music in conventional notation.

2833 Alfred Knüsel: Splitterfolge (1999) 9'
for four female voices (speakerSMezA) and ensemble (fl.ob.cl/perc/pf.cel/vn.va.vc)
sFr. 31.00
A short musical theatre in three parts to be handled as a non-stop performance.

3122 Urban Mäder: Tauber (1986) 60'
for speaker, alto, tenor and ensemble (1.1.1.0/1.1.1.0/2perc/2.1.1.1)
sFr. 75.00
Text: Heinz Zimmermann A melodrama based on a text by Heinz Zimmermann. The theme of this piece concerns outer and inner captivity.

3106 Urban Mäder: Mit Nacht beladen (1990) 25'
for alto, clarinet and chamber orchestra (flute, horn and strings)
sFr. 78.00
Text: Max Bolliger Based on a text by Max Bolliger from the collection of poems ‘Schweigen, vermehrt um den Schnee‘, on the theme of nature and death.

Listen: Youtube
3120 Urban Mäder: tut kreuz und quer zur Neige blasen (1996) 10'
for twelve wind (fl(pic).ob.ca.cl.bcl.2bn.cbn/hn.tpt.tbn.tba) 2 percussionists and conductors
sFr. 42.00
Musical theatrical play from the entrance to the bow. DVD available from the composer.

3139 Urban Mäder: Über Stock und Stein (2010) 15'
Encounters in the alps in 6 movements
for blfl, 2bfl, dulcimer, Swiss acc, acc, pf, vn and fl, cl, pf, vn, vc
sFr. 60.00
Listen: Youtube
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
7138 Valentin Marti: White Screen (2009) 13'
for ensemble (fl, cl, bcl, tsx, tbn, 2 perc, pf, vn, va, vc, db)
sFr. 52.00
"White Screen" is the music to a film playing on an empty screen, that is to say, a series of images, colours or movements that takes place solely in the imagination of the listener. The initial starting point of this composition was a tale that (for me) still haunts music, a tale I would rather not tell… World premiere: 5.11.09, Zurich, Ensemble Laboratorium, Pierre-André Valade

9746 Hans-Jürg Meier: goldiger Gupfhupf (2008) 6'
for 5 instrumental groups (piano and alto sax; alto sax and violoncello; violoncello and trombone; trombone and piano; e-bass and large drum) and 3 soloists (alphorn, violin and voice)
sFr. 23.00
(Stimmen beim Autor)
Several ups and downs in a hilly area. Enjoying the view on each occasion with a musical solo. For students.

9749 Hans-Jürg Meier: annunciazione / ánemos - vom wehen des windes im vorhang (2008/09) 58'
for soprano, altus and 9 instruments (recorder (or aulos), flute, clarinet, saxophone, violin, viola, violoncello, bandoneon, percussion)
sFr. 148.00
(Stimmen beim Autor)
Texts: Hans-Jürg Meier, Rainer Maria Rilke, Hilde Domin, Virginia Woolf, William Butler Yeats, Mona van Duyn, Dante Alighieri, antique authors and the Bible Profane consideration of the Annunciation scene. Sacred music in a double proscenium and a three-part main piece.

3707 Roland Moser: Lebenslauf (1980/85) 17'
Five movements over Hölderlin
for baritone and twelve instruments (4 violas, 4 double bass and 4 percussionists)
sFr. 49.00
Text: Friedrich Hölderlin Instrumental introduction and sequence of four songs: Curriculum Vitae - To Edward - Age - Mankind.

4301 Ernst Pfiffner: "... et aperuit oculos.." (1973/74) 15'
for bass, baritone, three tenors and instrumental ensemble (0.0.2.2/4.2.3.0/4perc)
sFr. 44.00
Text: Bible / Liturgy In this piece, the Latinate poetry of the blind born from the gospel according to John is set to music. In the first part, the wonderment of the event, in the second the interrogation and in the third the words of Jesus to the healed are set forth. The disciples in the first part and the Pharisees in the second are written for a group of three tenors (traditionally called ‘Turba’) who, according to the dramatical situation, speak, whisper or scream. Work series A: Music for concerts.

4615 Urs Peter Schneider: Robert Walser Trilogie I,2: Tobold (1987-88) variabel
Scenes of humility
for choir voices and orchestral groups
sFr. 29.00
A cycle based on savage and partly lost writings; "Die schöne Frau von Thun" uses six instruments, which can be relatively freely chosen; "Tobold" is a compositional concept, formal and extremely variable in its instrumentation (the composer has arranged one version); "Das Mädchen mit den schönen Augen" is the last work before the composer's non-composing phase, maliciously simple, supposedly humorous - it is dedicated to the performer Marion Leyh.

4618 Urs Peter Schneider: Robert Walser Trilogie III,2: Kanal (2003-04) variabel
Scenes of Grace
for speaking voice and chamber ensemble
sFr. 23.00
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.

4906 Mathias Steinauer: Blütenlese, op. 8 (1990/91) 50'
Eighteen prints, still lives and grotesques
for solo soprano, mixed choir, chamber choir, childrens voice and instrumental ensemble (cl(bcl)/amphpd.org/egtr/2perc/vn.va) and a couple of easy to play additional instruments
sFr. 62.00
Texts: Giuseppe Ungaretti, Hans Saner, Rudolf Rechsteiner, E.M. Cioran, R. Heinzelmann, M. Buselmeier, Elias Canetti, Hermann Burger, G. Bachmann, Ph. Luidl, B. Oleschinski, Erich Fried A disruptive, conflicting cycle with a tendency to decline (from blinding light to ferocious darkness). To be played exclusively in a church and utilising the whole room.

5266 Balz Trümpy: The Bonds of Heaven are Dissolved (2011) 18'
for soprano, tenor, 2 baritones, speaker and instrumental ensemble (1.1.1.1/1.1.1.0/perc/2.2.1.1)
sFr. 83.00
After a scene from Shakespeare's "Troilus and Cressida". The psychological complexity of the scene is realised musically in polyphonic layers.

10736 De-Qing Wen: Ink Splashing I (2007) 13'
for nine instruments (fl.ca.bcl/tbn/perc/pf/v.va.vc)
sFr. 60.00
(Stimmen: sFr. 60.-)
Diese Musik zeigt im Licht der traditionellen Chinesischen Malerei atemberaubende Aufträge von Tusche in unterschiedlichen Schattierungen: von Verdichtung (mittels Verstärkung der Struktur und Crescendo) über Verdünnung (Verminderung der Struktur und Diminuendo), Verflechtung und Durchdringung von trockener und lavierter Tusche (opulente Klangfarben und minimale Variationen), satte und kräftige Striche (Tutti und multiphone Klänge), leichte und ausgehöhlte Striche (harmonische Glissandi) und schliesslich das Auslaufen und die Auflösung in ein verzaubertes Märchenland (ein Gewebe aus Nachklängen).

10742 De-Qing Wen: The Sound Shining (2009/10) 12'
for erhu and ensemble (erhu, fl, cl, ob, tbn, perc, pf, 2v, va, vc)
sFr. 83.00
Sun Wenming (1928-1962) was a blind but great Chinese folk erhu player and Avant-garde composer, whose playing techniques and cutting edge ideas in timber can hardly be matched even in the modern times and whose composition based on the harmonic series was fully 20 years earlier than the Spectral Music in France. His erhu Solo The Double Erhu Sounding is quoted in this piece as ist second theme while ist pitch materials derive from ist erhu tuning tones of G and D and their harmonic series and distortions.


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automatically generated. last update: 28.08.2015 / 2004 Theo Lustenberger