Piano


solo
0215 Walter Baer: Neun kleine Klavierstücke (nine small piano pieces) (1949/90) 13'
sFr. 23.00
Easy to intermediate level piano pieces, which are also suitable for tuition.

0201 Walter Baer: Threnos, Hymnos (1968) 9'30
Two piano pieces
sFr. 13.00
Both piano pieces point towards two realms of experience. Free rhythmical sequences alternate with metrically fixed ones in the mourning song, whereas the hymn presents bold tremoli followed by fanfare-like unisono sounds. A clearly articulated space/time feeling is achieved by using unusual playing techniques.

Listen: Youtube
0213 Walter Baer: Passagen I (1996) 9'
Three piano pieces
sFr. 18.00
Widmung - Sonnenbild - Epitaph für Anton Webern form the first part of a cycle. The pieces differ in style and assertion. With a short commentary.

Listen: Youtube
0214 Walter Baer: Passagen II (1997) 11'
Three piano pieces
sFr. 18.00
Integraal, The Sunpainter’s Delight and Nachhall begin this series of short piano pieces. With a short commentary.

Listen: Youtube
0230 Walter Baer: Passagen III (1998) 13'30
Three piano pieces
sFr. 21.00
Prélude bien tempéré - Promenade plantée - Souvenir.

Listen: Youtube
0231 Walter Baer: Erscheinungen (1999) 16'20
for piano
sFr. 21.00
Listen: Youtube
0260 Walter Baer: Zwielicht (2011) 12'
for piano
sFr. 18.00
Virtuosic single-part piano piece. The title refers to a lied by Robert Schumann.

8401 Felix Baumann: Was, wenn Verwandlung nicht (1990) 7'
for piano solo
sFr. 16.00
Based on the 'Duineser Elegien' by R.M.Rilke. The radiation of a central motive changes through a process of different aspects.

8434 Felix Baumann: ich und ich (2009) 7'
for piano solo
sFr. 18.00
Dedicated to Siang Wong. Following 'Ich und Du' for two oboes, 'ich und ich' for piano solo is the second part of a cycle in progress tackling the issue of one's own position. 'ich und ich' is a work about the sound of the piano and an exploration of a mediation between expressively charged material and musical facts, which develop of their own accord.

6501 Frédéric Bolli: Sonate in H (1981) 9'
for piano (partly four-handed)
sFr. 29.00
Three movements; third movement four-handed.

6502 Frédéric Bolli: Valse triste (1984) 4'
for piano
sFr. 13.00
6503 Frédéric Bolli: Zwei Inventionen (1985) 3'
for harpsichord or piano
sFr. 13.00
6504 Frédéric Bolli: Vier Klavierstücke (four piano pieces) (1990) 7'
sFr. 18.00
6505 Frédéric Bolli: Die Maus im Haus (1991) 5'
for piano
sFr. 16.00
A three-movement sonatina.

6507 Frédéric Bolli: 13zu2 (2000/02) 10'
13 short piano pieces
sFr. 34.00
13917 Pierre-André Bovey: Ephémérides (1987) 5'30
5 pieces
for piano
sFr. 16.00
8504 Thüring Bräm: Sieben Bagatellen (1979) 13'
for piano
sFr. 21.00
These short, pregnant pieces are cloudy images from Beethoven and Webern. Precisely notated, they require certain technical enhancements such as ‘cluster play’. One piece is graphically notated.

8508 Thüring Bräm: Vier Lamenti (1984/85) 6'
for piano
sFr. 16.00
Four 'character pieces'. The last of which requires (in an ideal situation) grand rubber mutes in the piano but an alternative version can be played on the keys.

8510 Thüring Bräm: 2 Versuche über einen Ikarus (1989) 6'
for piano
sFr. 13.00
Two preliminary studies for the chamber orchestra work 'Plainte d'un Icare' based on a poem by Baudelaire.

1001 Jean-Jacques Dünki: Dartington Exercices (1975/79) 6'
for piano
sFr. 16.00
Created in Dartington (South West England).

1004 Jean-Jacques Dünki: Hommages à L. C. I-IV (1981/86) 9'
for piano
sFr. 18.00
A subtle homage to Louis Couperin (1626-1661) both in content and notation.

1016 Jean-Jacques Dünki: Acht Kinderstücke (1992/95) 7'
for piano
sFr. 18.00
For adults. Seven pieces with e-bow ad libitum.

1042 Jean-Jacques Dünki: Etude IIIa pour le Clavier (1996) 1'
for clavichord or piano forte
sFr. 13.00
1050 Jean-Jacques Dünki: Trois fragments du "retour de Cythère" (2008) 3'
for piano
sFr. 16.00
1052 Jean-Jacques Dünki: The five senses / In the Vicinity of the 6th Sense / The 6th Sense (1980-1994) 8'
for piano
sFr. 26.00
Seven concise studies dealing with the six human senses.

1054 Jean-Jacques Dünki: Nouveaux contes obliques (2001) 10'
for four-handed piano
sFr. 34.00
6607 Alfred Felder: ==-== (1994) 11'
(music for piano)
sFr. 18.00
-- -- "das Nachgebende", luftige, weiche ----- "das Feste", ostinate, erdige

6642 Alfred Felder: Rhythm (2003) 14'
5 movements
for piano solo
sFr. 34.00
There are five fundamental life rhythms: the chaotic, the flowing, the staccato (detached) the lyrical and the rhythm of silence.

6646 Alfred Felder: Song of the Blue Lizard (2004) 6'
for piano solo
sFr. 16.00
To be played very freely, like an improvisation.

6651 Alfred Felder: this longing (2009) 17'
Fantasy
for piano solo
sFr. 29.00
Over the romantic lyrics by Jelaluddin Rumi.

6768 Hans Eugen Frischknecht: 18 Bilder (1988-2006) 38'
for piano
sFr. 39.00
Short, homogonous pieces. However, great contrasts are present between the pieces. Texts are enclosed to explain the character of each piece.

1470 Eric Gaudibert: Solstice (1971-76) 12'30
for piano and recorded material
sFr. 18.00
(CD leihweise)
The pianist plays on the keyboard and the strings on the interior of the piano. The notation is synchronised with the recorded material. Contains aleatoric passages in the notation. The recorded material is composed exclusively of pre-recorded and studio processed piano sounds. The CD that accompanies this piece is delivered with the score.

1473 Eric Gaudibert: Pour main gauche seule (1976) 4'40
for piano
sFr. 13.00
In two parts: the first is rhythmical, the second slow and soft. Easy to perform.

1511 Eliane Frances George: Ea (1993) 5'40
for prepared piano
sFr. 18.00
'Ea', the God of water and creation from Babylonian culture, creates mankind in the image of God. 'Ea' is a piece dealing with the underworld, the subconscious, emotions and the self. A work concerning the development of the self, from childhood to maturity.

8802 Rico Gubler: Fünf Studien für Klavier in sechs Sätzen (five studies for piano in five movements) (1994/95) 12'
sFr. 23.00
14812 Ursula Gut: Pas de deux du piano... et pour D. (2012) 8'30
for piano
sFr. 23.00
8906 Pius Haefliger: Spiegelungen (1994) 10'
for piano solo
sFr. 26.00
The name refers to the technique used for compiosing the piece. Out of the prologue, five reflections and an epilogue are formed. A very sensual piece allowing great freedom for the interpreter.

9004 Edu Haubensak: Drei Klangbilder (1981) 20'
for piano, recorded material and scenery
sFr. 34.00
9025 Edu Haubensak: Campi Colorati I-III (1989/92) 24'
Composition for piano in a new tuning
for prepared piano (scordatura)
sFr. 49.00
Listen: Youtube
9028 Edu Haubensak: Spazio (1993/94) 14'
2nd tuning
for prepared piano (scordatura)
sFr. 23.00
In this tuning the sound of the concert piano is crucially altered and the first aural impression is that of an alien, unknown instrument. ‘Spazio’ means room or fading speech. Each pitch in the middle and high registers of the piano is ‘spatially’ tuned. The three strings of every individual tone differs by a sixth-tone (33 cents), only the single bass strings remain unaltered. With this scordatura it is possible to play dense clusters, which, through the pressing of ten keys, allows thirty different pitches to sound. To suggest a word: ‘soundcubes’.

Listen: Youtube
9037 Edu Haubensak: Veränderte Luft (1998) 11'
3rd tuning
for prepared piano (scordatura)
sFr. 26.00
I. Zehn Kugeln (Prolog) - Ten Spheres (prologue) II. Veränderte Luft - Altered Air III. Achtundachzig Punkte (Epilog) - Eighty-eight Points (Epilogue) Nonequidistant complete retuning (non octave repetitative) This three-part composition is based on a tuning of the piano whereby all of the pitches are altered. The mutations of the frequencies amounts to 1-44 cents higher or deeper (smaller than a quarter tone) and results in a variety of different intervals. The effect of the scordatura is likened to the slight movement of a hand through a regular, organised structure. The main body of the work is occupied with the shifted fifths and octaves which join to produce great harmonic figures before dissolving. The slow prologue and the quick epilogue consist of the 88 pitches of the piano, firstly as ‘harmonic spheres’ and finally as additive rows of points in a quick continuous tempo.

Listen: Youtube
9050 Edu Haubensak: H A L O (2001) 20'
4th tuning
for prepared piano (scordatura)
sFr. 29.00
Equidistant, choral five sixths tone tuning. All tones of the piano (excluding those in the bass register) are chorally modified and tuned at twice 166 cents augmented. A tone (key) results in a ‘triad’ which is somewhat larger than a minor third. This tone is the material for the composition entitled ‘HALO’ which means a circle of light (around the moon) or a hue. Here, as in ‘Spazio’ (there it was chorally twice 33 cents), pitches are explicitly perceivable only in the bass register. In the middle and high registers the melodies are scattered and are only perceivable as a whole. The sounds are by no means intended as purely harmonic, the predominantly soft and gentle sounds are interspersed with percussive, drum-like hard (martellato) beats. In this fourth tuning the multidimensionality of a sound is explored anew and is a further attempt to remove the piano from its idiosyncratic position.

Listen: Youtube
9042 Edu Haubensak: Gefärbte Variationen (2002) 14'
5th tuning
for prepared piano (scordatura)
sFr. 36.00
Non-equidistant, complete retuning (3-89 cents) The symmetrically built, modified tuning of the 88 pitches is related to the scordatura in ‘Veränderte Luft’ - in this case however the degree of modification has doubled and amounts to not more than 89 cents. The possible interval combinations are exceedingly manifold and coloured differently in every octave. The variations have no theme in the classical sense but are rather more rotationally permutable. The consonant intervals, like the octaves, fifths or fourths, are perceived as being subtly altered through the scordatura and acquire a vibrating form. By crossing the voices it is possible for the ear to continually select the melodic ways anew, the sound combinations are arranged symmetrically or additively. The accumulated tones at the end of the composition are gradually lost in the deepest registers and fade away like a dark trail….

Listen: Youtube
9046 Edu Haubensak: Fünf Zusammenhänge (2003) 21'
6th tuning
for prepared piano (scordatura)
sFr. 31.00
Listen: Youtube Youtube
9047 Edu Haubensak: Suite (2003/04) 22'
7th tuning
for prepared piano (scordatura)
sFr. 34.00
I. Ostinato II. Imitation III. Fantasie IV. Abweichung V. Monochrom VI. Einzeller

Listen: Youtube
9048 Edu Haubensak: Coro Nuovo (2004) 18'30
8th tuning
for prepared piano (scordatura)
sFr. 31.00
9049 Edu Haubensak: Pur (2004/05) 10'30
9th tuning
for prepared piano (scordatura)
sFr. 29.00
9052 Edu Haubensak: Collection (2005) 19'
10th tuning
for prepared piano (scordatura)
sFr. 31.00
I Collection II Cercle III Stamp IV Three Planes

9054 Edu Haubensak: Grosse Stimmung (1989-2005)
for piano solo in 10 different tunings
sFr. 240.00
Ten works for piano solo (10 scordaturas). All scordaturas are practicable and do not damage the instruments. The ten compositions can be put together in any order and performed singularly or in groups of works. Four Steinway B's for smaller concert halls or 4 concert pianos (Steinway D) for larger concert halls (more than 200 people) are necessary for the complete performance. Campi Colorati I-III – composition for piano in new tuning Spazio – 2nd tuning Veränderte Luft – 3rd tuning H A L O – 4th tuning Gefärbte Variationen – 5th tuning Fünf Zusammenhänge – 6th tuning Suite – 7th tuning Coro Nuovo – 8th tuning Pur – 6th tuning Collection – 10th tuning

9211 Michel Hostettler: Clairières (1985/88) 8'
Three pieces
for piano
sFr. 21.00
- Sylt - Galinette - La Biche

9246 Michel Hostettler: L'eau mystérieuse (1988) 4'
for piano
sFr. 13.00
9219 Michel Hostettler: Windows (1990) 7'
for piano
sFr. 16.00
15009 Martin Imholz: Klavierstücke (paino pieces) (1989) 6'-8'
sFr. 13.00
Vom Einfachen - Fast ein Nachtstück - Anstelle eines Leeren. Simple and simultaneously complex. Untransposed this piece is only possible on certain grand pianos.

15014 Martin Imholz: 5 Stücke für 16tel Ton Klavier (2001) 6'
sFr. 26.00
2206 Regina Irman: Schwarzes Glück (1988/89) 25'
for partly prepared piano
sFr. 49.00
A rhythmic piece based on the poems bearing the same name by Hans Arp. Twenty-three pitches of the piano are highly altered. Commissioned by the City of Zurich.

15103 Rudolf Jaggi: Sonatine '58 (1958) 6'
for piano
sFr. 18.00
15101 Rudolf Jaggi: Temps Perdu (1956/57) 9'
for piano
sFr. 18.00
Tristan - Elle - Révolte - Bonheur à Deux - Pétulance - Mélancolie.

15104 Rudolf Jaggi: Klaviersuite 2 (1958) 8'
sFr. 18.00
Praeludium - Paraphrase - Tanz - An C.R. - Harlekin - Aus alten Zeiten.

15105 Rudolf Jaggi: Elégie (Suite 3) (1958/59) 6'30
for piano
sFr. 16.00
Moja bieda - Quand même - Chant des chiens morts - Prière.

15102 Rudolf Jaggi: Suite provençale (1957/62) 14'
for piano
sFr. 23.00
Orange - Les Saintes-Maries-de-la-Mer - Arles I - Marseille I - Arles II - Marseille II.

15106 Rudolf Jaggi: Struktur (1962) 6'
for piano
sFr. 13.00
15107 Rudolf Jaggi: Kleine Suite über alte Weihnachtslieder (1963) 11'
for piano
sFr. 18.00
O Heiland, reiss die Himmel auf - Es kommt ein Schiff - Kommet, ihr Hirten - Vom Himmel hoch.

15108 Rudolf Jaggi: Sonatine in D (1964) 9'
for piano
sFr. 18.00
Commodo - Sostenuto - Vivace.

15110 Rudolf Jaggi: Herbst '66 (1966) 3'
for piano
sFr. 13.00
15113 Rudolf Jaggi: Drei Klavierstücke (three piano pieces) (1975) 5'
sFr. 13.00
15114 Rudolf Jaggi: Kleine Elegie (1981) 3'
for piano
sFr. 13.00
15117 Rudolf Jaggi: Umbria (1994) 1'
for piano
sFr. 13.00
15118 Rudolf Jaggi: Miniatures pour Piano (miniatures for piano) (1998) 6'30
sFr. 18.00
Jeu - Berceuse - Ostinato - Meditation.

15119 Rudolf Jaggi: Quinquaginta (1998) 1'20
for piano (or organ)
sFr. 13.00
15120 Rudolf Jaggi: 4 pièces romantiques pour piano (4 romantic pieces for piano) (1999) 8'
sFr. 21.00
Prélude - Barcarole - Méditation - Toccate.

15196 Rudolf Jaggi: Albumblatt (2005) 1'
for piano
sFr. 13.00
151113 Rudolf Jaggi: stille unruhe (2006) 1'
a commentary
for piano
sFr. 13.00
151124 Rudolf Jaggi: Huit Préludes (2010) 11'
Piano suite
sFr. 29.00
151130 Rudolf Jaggi: Sieben kleine Klavierstücke (2012) 20'
sFr. 26.00
1. Aufbruch 2. Im Schlendern 3. Kahnfahrt 4. Siesta 5. Wettlauf 6. Abendstimmung 7. Zwiegespräch (zu vier Handen)

9318 Vladislav Jaros: Quaerendo invenietis (1999) 12'-20'
for piano (only possible on a grand with three pedals)
sFr. 21.00
A rewarding, virtuoso piece with numerous special effects, partly graphic but mostly conventionally notated. Lyrical episodes are set against turbulent, rhythmical and eruptive parts. Together they search for and find the composition's equilibrium, the outcome being the musical landscape and form of the piece. To be devoured by every pianist who, not only likes to play music, but also searches for a challenge therein.

9329 Vladislav Jaros: Drei Fugen (three fugues) (2005) 10'
for piano
sFr. 18.00
A free adapatation of the version for string orchestra.

9332 Vladislav Jaros: Weihnachtsgeschichten (2005) 24'
for piano
sFr. 36.00
Character pieces ranging from easy to difficult. 10 pictures (the dreams of a boy centred around Christmas). Accessible, full of humour and colours. Postmodern - surprising harmonies and rhythms.

2503 Mischa Käser: albumblätter (1988) 15'
for piano
sFr. 34.00
Pieces varying widely in character and difficulty.

2611 Max E. Keller: Vier Klavierstücke (four piano pieces) (1993) 18'
sFr. 39.00
Each piece (which can also be performed separately) starts with a simple, spontaneous idea, developed more extensively in an improvised manner and then contrasted. No. 1 and 2 are easy, No. 3 more difficult, while No. 4 contains quickly repeating and rapidly changing chords.

2680 Max E. Keller: agieren und reagieren (1999) 14'
for piano and electronic sound alteration (Boss SE-70)
sFr. 23.00
The player of the popular sound modulator reacts not only passively to the piano sounds but acts also actively like the piano itself.

Listen: Youtube
2683 Max E. Keller: Three lines (2000) 4'
for piano
sFr. 16.00
A composition created in cooperation with Werner Bärtschi and Martin Sigrist. A homage to J.S. Bach. Three very different strata combine to form surprising sounds.

26111 Max E. Keller: Selbstgespräche (2006) 12'
for piano and live electronics
sFr. 23.00
These days, a machine is increasingly the conversational partner of humans and so it is in "Selbstgespräche". A small digital apparatus is positioned directly onto the piano and is operated predominantly by the pianist using two foot pedals. The apparatus changes, morphs or repeats that which is played by the pianist, who in turn reintervenes in this transformed sound.

26135 Max E. Keller: Movements (2009) 4'
for piano
sFr. 16.00
This work was created for the World New Music Days 2010 in Australia, where short piano pieces created in a day were invited to participate. This piece is thus a quasi written improvisation. The repetition of an open chord that is widely varied, yet remains in the middle part of each hand, led to the idea of alternating a weak, gradual, so to say 'inner movement' with sudden, stronger changes.

26154 Max E. Keller: mi ricordo (2014) 6'
for piano solo
sFr. 18.00
The title 'mi ricordo' translates as 'I remember'. It refers to the 'theme', which I composed almost 50 years ago, being a starting point for improvisation. A contrasting element was introduced in 2014: a sequence of between four and eight-note chords with fixed, disparate dynamics. The chord sequence becomes a rhythmical model with longer values or pauses close to the end. Short motives can be heard between the chords, including ones that are derived from the theme: mi ricordo. Dedicated to Satoko Inoue.

2701 Rudolf Kelterborn: Kleines Klavierstück für Sara (small piano piece for Sarah) (2002) 1'
sFr. 13.00
9402 Marc Kilchenmann: Depression oder vom Absinken unter einen Normalwert (1993) 3'
for piano solo
sFr. 13.00
Urs Peter Schneider produced this piece for a composed programme bearing the same title. It offers the interpreter numerous opportunities to develop freely.

9406 Marc Kilchenmann: Angebetete Bergwelt (1994) 4'
for a kitted-out pianist (piano, large drum and voice)
sFr. 18.00
19404 Burkhard Kinzler: circles & commas (2010) 9'
Variationen über See Siang Wong
for piano
sFr. 16.00
2807 Alfred Knüsel: Sammlung von 7 Klavierstücken (collection of 7 piano pieces) (1992) 17'
for an instrument with a sostenuto pedal.
sFr. 31.00
Einsichtnahme - Klangzeichen für Sprache - Laut-Folge zu einer Klangfigur - Antwortsuche - Klangbrücke - Vorsprachliches - Fortschreitende Erfahrung.

2907 Josef Kost: Non plus - pas encore (1994) 8'30
for piano
sFr. 18.00
Characterised by stark contrasts with regard to range, tempo and movement density. Virtuosic chordal passages are followed by extremely slow, soft monophonic passages. Very low register alternating with very high.

6801 Yehoshua Lakner: Corner Stones (1946) 10'
for piano
sFr. 36.00
Nineteen simple contrapuntal studies; two-part, between Bach and Bartok.

6802 Yehoshua Lakner: 3 Klavierstücke (3 piano pieces) (1947) 7'
sFr. 21.00
Pieces of ‘temperately’ modern music. Tanz - Legende - Finale.

6803 Yehoshua Lakner: Notturno für Klavier (1949) 4'
sFr. 13.00
Short introduction and melody: elements of these two forms are developed further during the course of this piece.

6805 Yehoshua Lakner: Mouvement in F (movement in F) (1950) 15'
for piano
sFr. 26.00
Energetic key beating, toccata-like segments alternate with a Middle Eastern influenced melody.

6808 Yehoshua Lakner: Alef - Beth - Gimmel (1991/92) 12'
for piano
sFr. 18.00
The whole piece is derived from three chords (Alef, Beth, Gimmel). The beginning already gives the speech rhythm of the first three letters of the Hebrew alphabet.

17801 Luigi Laveglia: silence into cool whispered (2007) 11'
for two pianos
sFr. 34.00
(Set mit 2 partituren)
Virtuosic chamber music. Full of energy with a narrative character. The title refers to the special ending.

17803 Luigi Laveglia: Dinge, dange, donge... (2008) 13'
for piano
sFr. 31.00
17805 Luigi Laveglia: An obsession, a prayer & something else (2008) 25'
for piano
sFr. 36.00
Three very different, quite difficult pieces for piano, which have been combined to form a trilogy but also function very well as individual pieces.

17808 Luigi Laveglia: Black Mirror (2008) 4'
for piano
sFr. 16.00
Two thoughts (not my own), mirrored in a black mirror …

3109 Urban Mäder: der und die (1993) 9'
for piano
sFr. 31.00
Inspired by a text bearing the same name by Ernst Jandl. Comical tension between formal severity and dramatised allusions.

3121 Urban Mäder: Drei Sätze für Klavier (three movements for piano) (1993) 6'
sFr. 18.00
Three miniatures. Volatile figural play requiring agile manoeuvrability.

3114 Urban Mäder: s'ébranler (1994) 10'
for piano
sFr. 31.00
Preoccupation with motion, with its origins in dance.

18206 Cécile Marti: changing five (2010) 6'30
for piano solo
sFr. 29.00
9803 Laurent Mettraux: Sonate en 1 mouvement, M. 463 (1991) 8'
for piano
sFr. 23.00
A tragic and elevated work with a large variety of nuances. Very passionate.

9829 Laurent Mettraux: Sonata, M. 566 (1997) 8'
for pianoforte (can be performed on a modern piano)
sFr. 21.00
Accentuates the clearness of the lower registers of historic pianos - can be performed on modern pianos.

15624 Martin Metzger: Kleine HipHop-Romanze (2000) 8'
for piano
sFr. 21.00
3803 Thomas David Müller: Efeu I (1980) 12'
for piano
sFr. 18.00
3826 Thomas David Müller: Wiegenlied (1983) 2'
for piano
sFr. 13.00
Crossing whole-tone series; third intervals. Traditional playing techniques. Easy but not school music.

3808 Thomas David Müller: Gehen. 31 Vorwärts- / Rückwärtsbewegungen (1991) ad lib.
for piano
sFr. 13.00
Concerning the solo pieces: The (as much as possible) playful creation of a comprehensible entity from precisely notated fragments is left entirely to the interpreter and to the moment of play. It is hoped that the transitional merging 'moments' will behave as a reflection of the whole.

Listen: Youtube
3815 Thomas David Müller: Rast (1998) 7'
for piano solo
sFr. 16.00
An informal reference to Schubert’s version in the ‘Winterreise’. Action notation. Once read, the performance is of a medium level of difficulty. Tools: steel slide for guitar and a lead bar of app. 3 x 15 cm.

9901 Maria A. Niederberger: Vernissage (1998) 10'30
Musikalische Gedanken und Skizzen für Klavier
sFr. 31.00
I. Antezendenz, II. Blautöne, III. Stilleben, IV. Szene, V. Wellen und Vektoren, VI. Finale.

10040 Kit Powell: Kapiti (2005) 4'30
for piano
sFr. 31.00
Sound picture of the New Zealand island Kapiti and it's many bird-inhabitants.

10122 Marc-André Rappaz: Solitude (Une femme chaque nuit voyage en grand secret) (1999) 3'
for piano
sFr. 13.00
Based on the poem 'L'univers-solitude' from 'La Vie immédiate' by Paul Eluard.

18502 Barbara Rettagliati: Seirios (2005) 5'
for piano
sFr. 16.00
19301 Katharina Rosenberger: ahom (2003) 4'30
for piano
sFr. 18.00
19303 Katharina Rosenberger: torsion (2008) 9'30
for piano
sFr. 31.00
Listen: Youtube
19106 Benedikt Wolfgang Schiefer: Grave (2009) 6'20
for piano
sFr. 16.00
10219 Michael Schneider: Mandorla (1998) 3'
for piano
sFr. 16.00
A relatively simple piano piece with numerous ecclesiastical references.

10234 Michael Schneider: Fussball (2008)
4 Etüden
for piano solo
sFr. 21.00
16301 Felix Schüeli: 3 Klavierstücke (3 piano pieces) (1997) 3'30
sFr. 16.00
10314 Henri Scolari: Suite pour piano (suite for piano) (1949, rév. 1999) 7'
sFr. 26.00
10311 Henri Scolari: Eoliennes (1974/75) 16'
Four pieces
for piano
sFr. 39.00
17005 Raphael Staubli: Klavierstück (piano piece) (1985) 4'30
sFr. 18.00
17103 Bruno Stöckli: (et) nunc et (1995) 6'
for piano
sFr. 16.00
7706 Pierre Thoma: Densités (1985) 12'
for piano solo
sFr. 26.00
7711 Pierre Thoma: Hérag (1988) 2'
for young pianist solo
sFr. 13.00
5201 Balz Trümpy: Gesten, Figuren (1974/75) 8'
for piano solo
sFr. 16.00
Two contrasting piano expressions are set against each other: The brilliant, technically orientated figure and the emotional writing finally transeunt the instrument's scope.

5230 Balz Trümpy: Drei kleine Stücke für Klavier (three small pieces for piano) (1986) 7'
sFr. 18.00
1. Wie eine Improvisation 2. Trio 3. Perpetuum mobile (published by: HBS Nepomuk, Aarau)

5208 Balz Trümpy: Drei Klavierstücke (three piano pieces) (1989) 14'
sFr. 26.00
The secondary titles of these three pieces are: ‘Eingang und Kanon’ (Entrance and Canon), ‘Lied’ (Song), ‘Kanon und Ausgang’ (Canon and Exit). Both of the outer movements symmetrically encapsulate a central movement, the whole of which utilises the full dynamic range of the piano and is developed from a paraphrase taken from a short passage from the second movement of Schubert's G Major sonata.

5243 Balz Trümpy: Im Labyrinth (2002) 30'
21 pieces
for piano
sFr. 47.00
'Im Labyrinth' is a loose collection of 21 pieces for piano and are comparable to the 'Album für die Jugend' by Schumann. Various play and notation techniques of varying difficulty are used throughout.

Listen: Youtube
5269 Balz Trümpy: Arcadia (2007/09) 25'
for piano solo
sFr. 47.00
Der Titel meines Klavierstücks spiegelt die Vorstellung einer Landschaft, die in freiem Herumschweifen musikalisch erkundet wird und dabei einer von Moment zu Moment erzeugten Spur folgt. Formal entsteht ein am ehesten Schumanns C-Dur-Fantasie vergleichbares Labyrinth. Freilich ist der Bezug zur antiken Landschaft nicht im Sinne der vergilischen Schäferidylle zu verstehen: Mein Arkadien ist eine wild zerklüftete, durch Stürme geformte Felsenlandschaft, in der Pan den Nymphen nachjagt und dionysische Kräfte die schwül-schwangere Luft erfüllen.

5294 Balz Trümpy: Zwei Präludien (2014) 9'
for piano solo
sFr. 21.00
10701 De-Qing Wen: Ji I et Ji II (1992/93) 8'
for piano
sFr. 16.00
'Ji' means stratagem, guiding principle or calculation. I was inspired by the sound of the 'qin', the ancient Chinese zither, and paid particular attention to textures in this piece. Piano strings, when pressed with a finger in several places, produce different levels of sound, harmonics, glissando and pizzicato effects that evoke the sound of the 'qin'.

10732 De-Qing Wen: Love Song and River Chant (2006) 8'
for piano solo
sFr. 26.00
Pentatonic music is a yoke for a Chinese composer. I want to shake it off, but at the same time I want to keep some trace of this "yoke". My goal with this piece is to demand virtuosity and to obtain a new sound for the piano. The first song is based on the folk song "Small Road". The original song contains a deep helplessness. The melody is continually descending, perfectly expressing the sense of the lyrics. In China, love between the young was taboo in the past. My composition's melody continually rises, and the whistling of the pianist in the coda may be considered a kind of rebellion. I composed the second song myself - it imitates the style of a river chant. The song conjures up the image of the incredible manpower required for this task.

10823 Martin Wendel: Fünf Flugblätter für Klavier, op. 34 (1978) 12'
sFr. 29.00
This confession-like cycle of five short parts is merged with a motive of seven notes that constantly reappears in different versions.

10824 Martin Wendel: Entwürfe, op. 53 (1988) 12'
Cycle
for piano
sFr. 23.00
The dramaturgy of the composition (structured in seven segments) is developed and rounded, beginning with a quiet cluster-like sound. A very challenging work to interpret, with sighs, exhalations and silences - but not without ist more riotous moments!

18111 Lars Werdenberg: Manœuvers (2009/10) 6'
for the piano
sFr. 21.00
Two hands maneuver on the keyboard - going apart from each other, coming together. They have to cover long distances - need to rest sometimes. They rotate, they run, they depart. Some keyboard areas have their own solo parts. From time to time, a strange type of polyphony occurs. "Unusual" intervals preferred.

17629 Stefan Werren: Schatten-Risse (1992) 6'30
for piano
sFr. 18.00
17631 Stefan Werren: Ahnendes Spiel (1996) 8'
for piano
sFr. 23.00
17633 Stefan Werren: Splitter (1998) 5'
for piano
sFr. 16.00
17635 Stefan Werren: Akróasis 2 (1999) 5'
for piano
sFr. 18.00
7802 Hansruedi Willisegger: 14 Variationen über ein eigenes dorisches Thema (1961) 17'
for piano
sFr. 36.00
7804 Hansruedi Willisegger: Sakura (1996) 14'
for piano
sFr. 29.00
5838 René Wohlhauser: Nesut (1977) 8'
Ergon 2
for piano solo
sFr. 42.00
'Nesut' is a transliteration of a hieroglyph which stands as a symbol of power and repression; a relic from the study of the middle Egyptian language.

5819 René Wohlhauser: Manía (2001/02) 10'
Ergon 28
for piano
sFr. 52.00
This piece is concerned with a compulsive obsession which should be chisselled so relentlessly and radically into the artistic expression such that it appears transformed into a completely different, transcended form.

5841 René Wohlhauser: Naschra (2013) 10'
Ergon 47, Musikwerknummer 1652
for 16th tone piano
sFr. 62.00
Die Beschränkung des Umfangs auf eine Oktave und die extreme Ausdifferenzierung der Intervalle innerhalb dieser Oktave sind charakteristisch für diese Komposition, geschrieben für ein Sechzehnteltonklavier, und führen zu einer anderen musikalischen Wahrnehmung.

5842 René Wohlhauser: Mikosch … lost in the Ultra Deep Field (2013) 10'
Ergon 46, Musikwerknummer 1646
for piano
sFr. 55.00
The music attempts to trace the relationship between human consciousness and the universe. It endeavors to look deep into the universe with its matter and energy organised according to physical laws.

5925 Jürg Wyttenbach: Sonatine (über räto-romanische Volkslieder) (1952, rev. 2001) 8'
for piano
sFr. 23.00
I. 'Lauda quella gloriusa' II. Scherzino - Rondino. Composed in Arosa (1952), revised in July 2001 for Davos.

18301 Margrit Zimmermann: Bianchi-Neri, op. 36 (1984) 18'
für Klavier
sFr. 34.00
6 excercises for piano, booklet 1: Eléments; Jeux; Berceuse; Capricieux; Ombre; Arléquin.

18302 Margrit Zimmermann: Cloccachorda, op. 40 (1987) 12'
for piano
sFr. 26.00
18303 Margrit Zimmermann: Piano Time, op. 46 (1987) 3'
Toccata
for piano solo
sFr. 21.00
Listen: Youtube
18304 Margrit Zimmermann: Quadriga, op. 51 (1987) 15'
for piano
sFr. 34.00
18902 Andreas Zurbriggen: … sonance… (2008)
for piano
sFr. 18.00
Listen: Youtube
8211 Alfons Karl Zwicker: Kosmogramm I (1998/99) 25'
for piano solo
sFr. 47.00
An expansive and very demanding piece taking the main outlines and aims of the age of Aquarius as its theme.


voice and piano
0509 Nicolas Bolens: Quatro Sonetos de Amor (1996) 15'
for voice (soprano) and piano
sFr. 29.00
Based on the poems of Pablo Neruda.

0511 Nicolas Bolens: 6 Airs de circonstance (1997) 5'
for voice (baritone or mezzo-soprano) and piano
sFr. 18.00
Text: Stéphane Mallarmé.

0522 Nicolas Bolens: Trois Chants (1996) 8'
for soprano and piano
sFr. 21.00
To poems of Adonis.

0525 Nicolas Bolens: La Rosa Enflorece (2000) 6'
for three female voices (or female choir) and piano
sFr. 18.00
After a Sephardi song. Extracted from "Terres".

17904 Andreas Brenner: Drei Gedichte nach Gottfried Benn (three poems after Gottfied Benn) (2007) 12'
for medium voice and piano
sFr. 18.00
I Drohung II Melancholien III Wohin

6723 Hans Eugen Frischknecht: De l'Australopithèque à l'homme (1986) 13'
for voice and piano
sFr. 18.00
Text: Gudrun Ryhming This piece was created during an experimental cooperation with the singer Gudrun Ryhming. The almost cabaret like piece spans and presents in text, the stages of modern mans development from Australopithecus.

12415 Fortunat Frölich: 5 Fragmente aus der Ersten Duineser Elegie von R.M. Rilke (1997) 13'
for voice and piano
sFr. 36.00
12416 Fortunat Frölich: 5 Borchert-Lieder (1999) 12'
for voice and piano
sFr. 39.00
Text: Wolfgang Borchert.

19001 Elvira Garifzyanova: "Hört ihr mich, ich bin Johanna" (2005) 26'
Five episodes from the life of Johanna, the virgin of New Orleans
for piano and soprano
sFr. 47.00
Texts: Friedrich Schiller 1. Erscheinung 2. Abschied 3. Johanna zu Johanna 4. Interludium 5. Gebet

1468 Eric Gaudibert: Mélodies (1966) 6'30
pour soprano (ténor) et piano
sFr. 34.00
Text: Paul Eluard 2 notebooks each with three melodies. 1st notebook: Dit de l'amour – L'unique – Dit de la force de l'amour. This notebook has also been transposed one tone deeper.

1469 Eric Gaudibert: Mélodies (1966) 6'30
for soprano (tenor) and piano
sFr. 21.00
En 2 cahiers de 3 mélodies chacun. Texte de Paul Eluard. 2e cahier : Dit d’un jour – A côté – Par un baiser. Ces mélodies sont de style français, dans le sillage de Debussy et Messiaen.

11624 Michael Heisch: 6 Serifen (2001) 8'
for soprano and piano
sFr. 26.00
After texts by Robert Walser.

9259 Michel Hostettler: Vendanges (1980) 3'
for voice and piano
sFr. 16.00
Text: Marianne Bonzon.

9260 Michel Hostettler: Tourne-girelle (1981) 3'
for three identical voices and piano
sFr. 16.00
Text: Marianne Bonzon.

9209 Michel Hostettler: Trois mélodies (1986) 8'
for soprano and piano
sFr. 18.00
Text: Marianne Bonzon

9231 Michel Hostettler: Patiences (1996) 20'
for soprano and piano
sFr. 29.00
Text: François Debluë

9262 Michel Hostettler: Trois Chansons (1996) 4'
for voice and piano
sFr. 16.00
Text: Eugène Guillevic.

2205 Regina Irman: Ein vatter=ländischer Liederbogen (1985/86) 20'
After texts by Adolf Wölfli
for singing and speaking voice (mezzo-soprano) and partly prepared piano
sFr. 44.00
Text: Adolf Wölfli A collection of piano songs setting the Swiss character against the self. Typical Swiss misconceptions are compared and contrasted. Unfathomably grotesque. Illustrated score. Commissioned by the City of Zurich.

15150 Rudolf Jaggi: Drei Morgenstern-Lieder (1997) 8'30
for voice and piano
sFr. 21.00
Text: Christian Morgenstern. 1. Die Stadt aus Elfenbein 2. Es ist Nacht 3. Früh-Herbst

151139 Rudolf Jaggi: Die zwei Wurzeln (2013) 1'20"
Song
for high voice and piano
sFr. 16.00
Text: Christian Morgenstern.

9312 Vladislav Jaros: Staub der Zeit (1995) 40'
Song cycle
for mezzo-soprano and piano
sFr. 49.00
Text: Ruth Loeb A cycle of songs based on the poems by Ruth Loeb. Lyrical, colourful and expressive songs that can be interpreted as a cycle or as an ad libitum selection of individual songs. Relatively easy to perform.

9351 Vladislav Jaros: Golden Gate Bridge In The Fog (2009) 3'
for mezzo-soprano and piano
sFr. 16.00
Music and Lyrics: Vladislav Jaros.

9357 Vladislav Jaros: Home Is The Sailor (2010) 3'
for mezzo-soprano, baritone and piano
sFr. 16.00
Texts: Vladislav Jaros.

2673 Max E. Keller: Zuflucht (1990) 4'
for alto and piano
sFr. 13.00
8th text of the 'Konfigurationen II' in a reduction for Alto and piano.

26102 Max E. Keller: Vom Grunde (2003) 4'
for baritone and piano
sFr. 16.00
Texts: Barbara Köhler One can accept or rebel against tradition, for once I have accepted it and, without dislocation, composed a poem. Barbara Köhler wrote texts about the river Elbe - quiet, melancholic and with a pinch of antidote, particularly nice in the poems chosen by me.

26122 Max E. Keller: Schwein gha! (2008) 3'
Song for children
for children's voice and piano accompaniment
sFr. 13.00
Texts: Mex E. Keller The text is based on short essays by 9 year-old pupils and reflects their personal experiences of the theme "being lucky". The song presents three such experiences in three strophes. The melody is slightly modal, set in a 32-beat song form and terminated by a refrain.

2819 Alfred Knüsel: Wort und Widerhall (1997) 13'
Cycle of four songs
for singing, piano and percussion instrument ad lib.
sFr. 21.00
Text: Heinz Zimmermann

6804 Yehoshua Lakner: "Morning Song" und "Day is Gone" (1949) 4'30
for voice and piano
sFr. 18.00
Text: Elisheba The morning song is quick and rhythmical, the evening song slow and elegiac.

6806 Yehoshua Lakner: Been Arbaim Bayam - Dämmerung beim Meer (1959) 2'
for voice and piano
sFr. 13.00
Text: Dvora Levinson Quiet but syncopated undulations alternating with highly charged, stormy passages.

15212 Stephan Lauffer: Eschenzer-Lied (2006) 3'
for voice and piano
sFr. 16.00
Composed in the spring of 2006 for the open-air concert 'Dorfmais' in Eschenz.

15417 Kurt Meier: 5 Lieder nach Fabeln von Rudolf Kirsten (1997) 15'
for baritone and piano
sFr. 34.00
15416 Kurt Meier: 11 Lieder nach Gedichten von Hermann Kükelhaus (1997/99) 30'
for baritone and piano
sFr. 47.00
9822 Laurent Mettraux: Auf die erniedrigende Erhebung und erhebte Niedrigkeit, M. 548 (1997) 5'
for high voice and piano
sFr. 16.00
Text: Catharina Regina von Greiffenberg Conflict between mysticism and human torture. Sedation in the coda of the piano solo.

9823 Laurent Mettraux: Elògio della Nòtte, M. 549 (1997) 8'
for bass and piano
sFr. 26.00
Text: Michelangelo Buonarrotti First dark and tortured, then ruminant and calm. Written especially for the bass voice. The accompaniment is particularly impressive due to its sobriety.

9827 Laurent Mettraux: Al cor di zolfo..., M. 559 (1997) 5'
for bass and piano
sFr. 16.00
Text: Michelangelo Buonarrotti Between passion and reflection. Based on a sonnet by Michelangelo Buonarrotti.

9913 Maria A. Niederberger: Wait for Me (1995) 10'
Song cycle
for soprano with piano accompaniment
sFr. 47.00
Texts: Silja Walter, Pablo Neruda, Langstston Hughes, Ingeborg Bachmann Four songs, two German and two English. All texts were translated by the composer.

10015 Kit Powell: Vlaminck's Tie (1985/92) 18'
for baritone and piano
sFr. 57.00
Texts by Michael Harlow. A cycle of movements in mirror form.

10016 Kit Powell: Amselbaum (1992) 15'
for soprano and piano
sFr. 47.00
Texts by Brigitte Powell. Cycle in seven movements with birds as its theme.

10034 Kit Powell: Ophelia Songs (1999) 11'
for soprano (or mezzo-soprano) and piano
sFr. 52.00
Four of Shakespeare's texts dealing with the increasing loss of Ophelia's sanity are set to music.

10035 Kit Powell: Scheint denn die Sonne heut nicht? (2001) 20'
for soprano and piano
sFr. 55.00
9 settings of texts by Robert Walser.

10037 Kit Powell: Today is the Piano's Birthday (2003) 7'
for soprano and piano
sFr. 36.00
Setting of a prose poem by Michael Harlow.

10039 Kit Powell: 5 Schwitters Songs for Andres (2005) 8'
for soprano, alto and piano
sFr. 44.00
Settings of 5 texts by Kurt Schwitters. For Andres Giedion's 80th birthday.

18503 Barbara Rettagliati: Ricordi Furtivi (2010) 4'
for soprano and piano
sFr. 21.00
Texts: Claudio Saltarelli.

19305 Katharina Rosenberger: E.E.Cummings Miniatures (1999-2001) 4'-7'
for voice and piano or voice and percussion
sFr. 31.00
Texts: E.E. Cummings there are so many tictoc (1999) voice, piano 1'30 dying is fine(but Death (1999) voice, piano 1'45 l(a (2001) mezzo-soprano, percussion 1'00 n (2001) mezzo-soprano, percussion 1'10

10223 Michael Schneider: Strassburgkonfiguration (1998) 3'
for vocals and piano
sFr. 18.00
A text by Hans Arp on the emergence of Dada in 1916. Contains numerous musical cross references and aleatoric passages; ambitious a-a" vocal range.

10227 Michael Schneider: Intarsien (1998/00) 7'
Four miniatures
for Soprano and piano after text by Ulrich Suter
sFr. 16.00
Text: Ulrich Suter Filigree sketches where the quasi-obligatory piano sparingly adds 'shades' to the central soprano.

16320 Felix Schüeli: 5 Lieder (2007) 19'
for soprano and piano
sFr. 42.00
Morgen! (John Henry Mackay) 4' Um Mitternacht (Friedrich Rückert) 4' Dein Angesicht (Heinrich Heine) 2' Von ewiger Liebe (Josef Wenzig) 3' Widmung (Friedrich Rückert) 3' and: Cäcilie (Heinrich Hart) 2'30" Romantic poems, which have already served as textual templates for the great lieder composers (Schumann, Brahms, Strauss, Mahler), are set anew to music. The musical language of the lieder can be classified as being somewhere between the romantic lied and commercial (pop) song, where the influence of new music is apparent.

16614 Bernhard Sieber: 2 Lieder (1973/77) 5'
for soprano and piano
sFr. 16.00
1. Lass scharren deiner Rosse Huf (C.F. Meyer) 2. Erster Schnee (G. Keller)

4803 Andreas Stahl: im selben raum (1989) 35'
for tenor and piano
sFr. 34.00
Text: Konstantin Kavafis The tenor sings the text of a Greek concerning his love of the male to the generally steady and soft sounds of the piano part (very resonant, many fermata, a few rough edges, a lot of time).

5226 Balz Trümpy: Zwei Lieder (two songs) (Rückert) (1984/85) 4'
for high voice and piano
sFr. 16.00
After poems by Friedrich Rückert.

5209 Balz Trümpy: Vier Lieder (four songs) (Burkart) (1986/87) 10'
for deep voice (alto or baritone) and piano
sFr. 29.00
The four poems of this short song cycle are the contribution of Erika Burkart to the ‘Waldhandschrift’ (Wood Manuscript) - a collection in which Swiss writers express their grief over the destruction of forests.

5231 Balz Trümpy: Vier Gesänge (four songs) (1986/87) 15'
for deep voice and piano
sFr. 42.00
Based on poems by Jürg Signer, Ute Höllrigel, Eveline Hasler and Erwin Jaeckle.

5214 Balz Trümpy: Vier Lieder (four songs) (Eichendorff) (1990) 10'
for high voice (soprano or tenor) and piano
sFr. 26.00
The four poems by Eichendorff are arranged so as to outline a day cycle.

5233 Balz Trümpy: Zwei Lieder (two songs) (Heine) (1990) 4'
for medium voice and piano
sFr. 18.00
Based on poems by Heinrich Heine.

5250 Balz Trümpy: A Valediction (2003) 24'
Six songs for bass and piano
sFr. 49.00
After poems by John Donne. The intricacy of the piano part highlights the complexity of the metaphysical poetry of Shakespeare's contemporaries.

5253 Balz Trümpy: A Dialogue (2003/04) 18'
Three songs
for two sopranos and piano
sFr. 52.00
After texts by Andrew Marvell. The voices are as a singular unit or in a dialogue with the complicated piano accompaniment.

5255 Balz Trümpy: La Notte Bella (2004) 7'
Six lieder
for baritone and piano
sFr. 21.00
After poems by Giuseppe Ungaretti. The headline-like length of the texts is reflected in the formal compendiousness of the lieder.

5258 Balz Trümpy: Drei Haikus (2006) 2'
For the sixtieth birthday of Robert Kahnt
for voice and piano
sFr. 16.00
Texte: Martine Lovis (French).

5265 Balz Trümpy: Nachtgedanken (2011) 27'
for medium voice and piano
sFr. 44.00
Texts: Johann Wolfgang von Goethe A song cycle in the classical sense.

18101 Lars Werdenberg: 3 Lieder auf rätoromanische Texte (3 lieder with texts in Rhaeto-Romanic) (2001) 7'
for soprano and piano
sFr. 31.00
Texts: Luisa Famos, Arthur Caflisch 1. Margrittas (Artur Caflisch) The soprano sings to a piano part, becoming ever thinner, similar to a flower whose petals are plucked one by one (…she loves me, she loves me not…) 2. Di d`inviern (Luisa Famos) "Winter landscape" – piano clusters slowly 'thaw'. Shadow scales form, echo chords. Bells sound in the distance. 3. Queder engiadinais (Artur Caflisch) Bizarre text about a man who is asked by his wife not to smoke in the living room. Half sung, half spoken. The piano part is strictly composed using a numerical series. There is no alignment between the two musicians.

Listen: Youtube
17642 Stefan Werren: Hölderlin-Gesänge (1988) 6'
for soprano and piano
sFr. 23.00
17637 Stefan Werren: 3 Gesänge (1989) 6'
for soprano and piano
sFr. 18.00
Text: Paul Celan

17639 Stefan Werren: 5 Lieder (1999) 6'
for soprano and piano
sFr. 23.00
Text: Peter Härtling

5839 René Wohlhauser: cemaltorz (1977) 11'
Ergon 3
for soprano and piano
sFr. 42.00
Verbindung des Montageprinzips mit extremen ausdrucksmäßigen Kontrasten, in Relation gesetzt zu einer in linguistische Partikel zerlegten, imaginär-artifiziellen Sprache. In memoriam Camilo Torres.

5821 René Wohlhauser: Rachearie aus der Oper "Gantenbein" (2004) 2'
Ergon 30/II
arranged for soprano and piano
sFr. 31.00
Based on the novel "Mein Name sei Gantenbein" by Max Frisch. The opera "Gantenbein" saw its premiere in November 2004 at the Lucerne Theater, performed by four vocal soloists and the Lucerne Symphony Orchestra. The subject of the opera is the relationship between Max Frisch and Ingeborg Bachmann. In the "Rachearie" (revenge aria) she strikes back at his accusations and suspicions made out of jealousy.

Listen: Youtube
5827 René Wohlhauser: Ly-Gue-Tin (2008) 10'
Ergon 38
for voice(s) and piano
sFr. 49.00
Based on an onomatopoeic text by the composer. A dialogue between contrasting fragments as a sounding monograph for the inauguration of Jean Tinguely's life tables in Basel, 22 May, 2008.

8203 Alfons Karl Zwicker: Pilgerfahrt zu blauen Eisziegeln (1990/93) 8'
for Baritone and piano
sFr. 23.00
Two songs based on the later poems of Josef Kopf. A compromised winter journey: Death - congealment.


piano and instrument
0206 Walter Baer: Somnium Daedali (1976) 9'40
for tenor/bass trombone and piano
sFr. 26.00
The Dream of Daedalus is a vision of the inventor of momentous creations such as flying machines or the labyrinth. We hear amorphous material confronted by predictable structures in several sequences. An extremely differentiated handling of sound.

0218 Walter Baer: Sonatina Nostalgica (1977) 12'
for violin and piano
sFr. 23.00
(Violinstimme: sFr. 12.-; € 8.00)
0226 Walter Baer: Fragments of a Dream (1989) 13'30
for alto saxophone and piano
sFr. 26.00
(Saxophonstimme: sFr. 16.-; € 16.-)
The title relates to the dream experiences of Indians.

0259 Walter Baer: Lichtspuren (2011) 15'
for harp and piano
sFr. 44.00
This duo is composed of several parts differing in character, tempo and meter. The parts are to be performed atacca.

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
0909 Jacques Demierre: Terminus (take two) (1988) 11'
for flute and piano
sFr. 26.00
This piece stages its own silence, even the fragile and dramatic silence that emerges only after the final tone has sounded.

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).

1023 Jean-Jacques Dünki: Duetto for Bassclarinet and Piano (1983) 5'
sFr. 21.00
1008 Jean-Jacques Dünki: Kammerstück V (1987/94) 9'
for violoncello and piano
sFr. 23.00
Highly virtuosic for both instruments.

6610 Alfred Felder: Night Chant (1996) 25'
music
for violoncello and piano
sFr. 29.00
(Cellostimme bei SME: Sfr. 18.-; € 18.-)
An attempt to produce in music the secretive and magic text of the Indian ritual 'Night Chant'.

6640 Alfred Felder: Traviata-Fantasie (2001) 15'
for violoncello and piano
sFr. 31.00
A fantasy about the opera 'La Traviata' by Giuseppe Verdi.

1472 Eric Gaudibert: Vernescence (1973) 18'
for clarinet (basset horn or bass clarinet), piano and electro-acoustic slide show
sFr. 26.00
The title is a neologism evoking spring or birth. The notation is graphic and rules define its interpretation. Accessories for the piano: a glass with a stem, claves, a percussion stick and a screw. The electro-acoustic device consists of 4 or 6 loud speakers divided in the room, two microphones for direct amplification and 2 Revox, the second of which reproduces, with a delay of about 10", that which is recorded by the first.

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.

14808 Ursula Gut: con moto e diavoletto (2001) 7'
for piano and percussion
sFr. 18.00
9208 Michel Hostettler: Ballade (1986) 7'30
for bassoon and piano
sFr. 21.00
(Avec partie de basson)
9216 Michel Hostettler: Ballade (1990) 9'30
for oboe d'amore and piano
sFr. 23.00
9225 Michel Hostettler: Aubade (1993) 3'
for clarinet and piano
sFr. 18.00
(Avec partie pour clarinette)
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)
15182 Rudolf Jaggi: Zwei Lieder (1957/69) 6'
for high or medium voice and piano
sFr. 18.00
1. Ruhe (Hans Schütz) (3') 2. Tristesse (Alfred de Musset) (3')

15128 Rudolf Jaggi: Duo (1972) 7'30
for viola and piano
sFr. 26.00
(Stimmen: sFr. 12.-; € 8.-)
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
15140 Rudolf Jaggi: Impression (1987) 4'
for flute (or violoncello) and piano
sFr. 16.00
(inkl. Stimme)
15142 Rudolf Jaggi: Pastorale (1989) 3'
for violin and piano
sFr. 16.00
15144 Rudolf Jaggi: 2 Stücke (two pieces) (1996) 6'
for flute (or violoncello) and piano
sFr. 13.00
Based on 'Zwei Lieder' (1957/69). Consolation - Tristesse

15146 Rudolf Jaggi: Kleine Elegie (1997) 3'
for violoncello and piano
sFr. 13.00
(inkl. Stimme)
151134 Rudolf Jaggi: Petite Suite (2013) 9'30
Duos
for flute and piano
sFr. 23.00
9337 Vladislav Jaros: Johann(a), der Wandermusikant (2006) 35'
A musical fairytale
for speaker and piano
sFr. 36.00
Text: Vladislav Jaros Also in a versions for: speaker and string orchestra speaker and wind quintet speaker and piano An amusing, modern and completely atypical fairytale in which, for once, the woman plays the active role and takes her destiny into her own hands. A diversified, colourful story with lively music.

2513 Mischa Käser: 7 kleine stücke (7 small pieces) (1993) 8'
for viola and piano
sFr. 23.00
26161 Max E. Keller: zusammenwachsen (2012) 4'
for bassoon and piano
sFr. 16.00
For teaching purposes. This short composition was created for Dieter Hähnchen's collection for teaching purposes. It begins with a stark contrast between the two dissimilar instruments: a quick, quiet piano motion in the middle register is followed immediately by a deep, loud and long tone from the bassoon. The motives are interchanged, successive becomes simultaneous, and other motives appear. An amalgamation process develops that finally plays out on a noise sound, multiphonic and rhythmical pulse level: the merging of that which does not immediately appear to belong together.

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!

7122 Valentin Marti: Nachtschatten (2001) 6'30
for clarinet and piano
sFr. 34.00
The work with under blown tones is an essential part of this composition. The fingered overblown tones sound merely as a reflection of the under blown shadow-sound. World premiere: 26.5.02 in Zollikon by Sarah Chardonnens-Lehmann (clar.), Eriko Kagawa (piano).

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.

9818 Laurent Mettraux: Sonate, M. 533 (1996) 14'
for flute and piano
sFr. 29.00
(Partie séparée: sFr. 14.-; € 14.-)
Three connected parts, amongst them is a scherzo inspired by the music of the Andes and a ruminant final, increase in in intimacy.

9824 Laurent Mettraux: Lied, M. 551 (1997) 6'
for soprano saxophone and piano
sFr. 18.00
(Partie séparée: sFr. 10.-; € 10.-)
Very song-like piece accentuating the expressive qualities of the saxophone.

9825 Laurent Mettraux: Sonate, M. 553 (1997) 16'
for violoncello and piano
sFr. 34.00
(Partie séparée: sFr. 12.-; € 12.-)
An epic and dark work with an elegiac movement in the middle part.

10003 Kit Powell: Sonatina for Trombone (1986) 8'
for trombone and piano
sFr. 26.00
(Posaunenstimme bei SME/EMS: sFr. 12.-; € 12.-)
Composed in four movements (like a sonata da chiesa).

10047 Kit Powell: Mother Goose Medley (2006) 5'
for trombone and piano
sFr. 23.00
(Stimmen: sFr. 29; € 22.-)
A medley of English nursery songs.

16003 Alex Rüedi: En Ufsteller (1996) 3'
for violin (or alto saxophone) and piano
sFr. 16.00
4503 Martin Schlumpf: Les extrèmes se touchent (1975) 14'
for violoncello and piano
sFr. 49.00
Technically difficult; a series of character pieces.

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.

16313 Felix Schüeli: Riffs (2002) 4'30
for violoncello and piano
sFr. 21.00
10303 Henri Scolari: Arghoul 2 (1977) 8'
Ballad
for clarinet in Bb and piano
sFr. 21.00
Requires a very high degree of virtuosity by the clarinet player. Written for Michel Lethiec.

16608 Bernhard Sieber: Elegie für Englischhorn und Klavier (elegy for English horn and piano) (1965) 3'
sFr. 13.00
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.

7710 Pierre Thoma: M.-M. (1987) 5'30
for trumpet and piano
sFr. 18.00
7713 Pierre Thoma: Strates (1989) 9'
for violoncello and piano
sFr. 26.00
5283 Balz Trümpy: Verstreute Blumen (2013) 11'
Four Pieces
for flute and piano
sFr. 29.00
Eisblumen - Zephir - Winterblume - Windgesang are based indirectly on Schubert's well-known variations over 'Trockene Blumen' (dried flowers). Two fragments of this song are quoted.

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
10708 De-Qing Wen: Traces I (1996) 6'
for clarinet and piano
sFr. 26.00
Inspired by Chinese calligraphy. As a way of reaching a fusion of the visual and the auditory - while the two instruments play I do some calligraphy.

10815 Martin Wendel: Sonate für Violoncello und Klavier, op. 43 (sonata for violoncello and piano, op. 43) (1983) 12'
sFr. 34.00
In a lyrically soft manner this music copes almost completely without the typical violoncello cantilenas. Instead combinations of intervals full of tension are used in order to accentuate the active gestures in all three aspects of a whole.

10817 Martin Wendel: Musik für Flöte und Klavier, op. 46 (music for flute and piano, op. 46) (1985) 12'
sFr. 42.00
A sonata-like formation which forms a congruent statement by bringing together two very oppositional instruments which are hardly capable of a tonal unity: the flute associated rather with the quiet and intimate and the expansive, differentiating modern grand piano.

10818 Martin Wendel: Musik für Viola und Klavier, op. 56 (music for viola and piano, op. 56) (1991) 17'
sFr. 34.00
The separate tones in this traditional three-movement composition search each other out and feel for worthy connections. Shrill aplenty but not without euphony.

18102 Lars Werdenberg: 2 Lieder ohne Worte (2001) 5'
for alto saxophone and piano
sFr. 21.00
1. Margrittas 2. Di d'inviern Transcription of two parts from "3 Lieder auf rätoromanische Texte" for saxophone and piano. The saxophone part highlights the text of the poem.

Listen: Youtube
17605 Stefan Werren: 6 kleine Stücke (six small pieces) (1992) 8'
for oboe and piano
sFr. 16.00
17625 Stefan Werren: Hölderlinfragmente (1994) 18'
for violoncello and piano
sFr. 34.00
17614 Stefan Werren: In lichten Höhen (1996) 6'
for cello and piano
sFr. 21.00
17624 Stefan Werren: Nachtstück (1997) 9'
for violin and piano
sFr. 26.00
5813 René Wohlhauser: Gedankenflucht (1995) 11'
Ergon 22
for violoncello and piano
sFr. 23.00
'Flight of thought' is a term used in psychiatry and means a mad, neurotic drifting of thoughts. The procedure of the slowed intuitive improvisation which declines all planable construction (like the crisis of analytical rationality), should lead to the formal categories of order dissolving into a flow and allow space for a new audio-experience.

Listen: Youtube
5824 René Wohlhauser: Studie über Zustände und Zeitprozesse (2007) 11'
Ergon 35
for flute and piano
sFr. 34.00
Extreme radicalness in the work with exactly measured time structures in relation to reduced yet obsessively used material.

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’


Piano with instruments
8306 Dieter Ammann: Morceau en forme d'improvisation (1995) var.
for choir (36 voices), 4-handed piano and jazz sextet
sFr. 36.00
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
6406 George Barcos: Danzas del Caribe (1990) 7'
for three clarinets, bass clarinet and piano
sFr. 36.00
Molto animato - Moderato con brio - Andante con ánima.

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
6423 George Barcos: 4 Pièces (2005) 10'
for mixed voices (SATB), piano, violoncello and bassoon
sFr. 34.00
Texts: Antoine de Saint Exupéry, Alfonsina Storni, Beaucarné, Théophile Gautier Passarelles dans a nuit - Maisons alignées - Une triste boutique - Les batôns.

6424 George Barcos: Hymne au Soleil (2006) 12'
for mixed choir, piano and percussion (2)
sFr. 34.00
Texts: Edmond Rostand.

8406 Felix Baumann: Le guetteur mélancolique (1994) 16'
for two clarinets, two harps, piano, six percussion, two orators and four choir groups
sFr. 49.00
Texts: Guillaume Apollinaire For the 'Stadelhofer Death Dance'. A spatially performable score based on texts by Guillaume Apollinaire about the transition from this world to the next. Speechlessness in the face of death, a dance around the grave and the crossing of the threshold.

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.

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
0510 Nicolas Bolens: Il Croco (1997) 5'
for voice (bass), piano and violoncello
sFr. 16.00
Based on a poem by Giovanni Pascoli.

6543 Frédéric Bolli: Sieben Volks- oder Studentenlieder und eine Zugabe (2003) 25'
for mixed choir, partly with and partly without piano accompaniment
sFr. 60.00
Text: folksongs The text and melodies were taken from the volume ‘Allgemeines Deutsches Kommersbuch’ originally published by Hermann and Moritz in Schauenburg. The musical directors were Friedrich Silcher and Friedrich Erk. The choral parts are by Frédéric Bolli.

13916 Pierre-André Bovey: 5 Echappées (1985) 7'
for flute (also flute in G), violoncello and piano
sFr. 23.00
(Parties: sFr. 12.-; € 12.-)
For the 'Trio Coriolan'.

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.

8507 Thüring Bräm: Zeitlupenstücke (1983) 17'
for clarinet, violoncello and piano
sFr. 26.00
A single musical idea or gesture is explored in quasi slow motion.

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.

17902 Andreas Brenner: Figures de Rêve (2004) 15'
for soprano, flute and piano
sFr. 18.00
Original text: Giacinto Scelsi, 'L'Archipel Nocturne'.

17903 Andreas Brenner: Sykomoren (2005) 20'
A small cycle about death
for soprano, alto saxophone and piano
sFr. 31.00
for soprano, alto saxophone and piano I Auch (Abdo Wazin) II Dunkel (Hans Arp) III Aegyptisches Sterbegebet (anonym) IV Patrouille (August Stramm) V Schafott (Fuad Rifka)

17912 Andreas Brenner: Schattenwürfe (2013) 12'
for four-handed piano
sFr. 42.00
18704 Ruedi Debrunner: IM PULS (1999) 7'
for cello and piano
sFr. 34.00
(Stimme: sFr. 18.-; € 14.-)
Listen: Youtube
18710 Ruedi Debrunner: Im Wasserspiegel (2009) 8'
for clarinet and piano
sFr. 31.00
(Stimme: sFr. 29.-; € 22.-)
Listen: Youtube
0923 Jacques Demierre: Quelques remarques (1991) 13'
for flute, clarinet, horn, trombone and four-handed piano
sFr. 57.00
(Parties: sFr. 90.-; € 90.-)
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.

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
1015 Jean-Jacques Dünki: Pessoa - Moment (1992) 48'
for soprano, clarinet (also Ebcl, bcl), violoncello (also viola), piano (also clavichord) and DAT play-back
sFr. 65.00
Texts: Fernando Pessoa Eight scenes from the poems of Portuguese writer Fernando Pessoa (1888-1935). The Soprano sings and recites in Portuguese, German and French. Very demanding for all performers.

1051 Jean-Jacques Dünki: Cas obliques I, II, III (1993-2004) 6'
for oboe, bass clarinet, bassoon, horn and piano
sFr. 34.00
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.

6645 Alfred Felder: ... zu den Rändern ... (2002/03) 20'
Music
for viola, bass clarinet and piano
sFr. 23.00
(Stimmen: sFr. 20.-; € 13.50)
Based on a picture by the Lucerne painter Thyl Eisenmann. Delicate, subtle colour tones possessing an intensive force.

6648 Alfred Felder: all songs are good (2004) 30'
Trio
for flute (afl), clarinet (bcl) and piano
sFr. 42.00
(Flöten- und Klarinettenstimme: sFr. 30.-; € 30.00)
This piece is concerned with the journey into another reality, a reality where one can encounter various magical animals.

6652 Alfred Felder: 9ten Novemb. 1828 Tagebuch Robert Schumann (2009) 16'
Music
for clarinet, viola, piano and percussion
sFr. 23.00
6715 Hans Eugen Frischknecht: Psalm der Hoffnung (1988) 12'
for soprano oboe and organ (or clarinet and piano)
sFr. 36.00
Texts: Anonymous The texts, ranging from sorrow to hope, are derived from political prisoners of various dictatorships. The Soprano voice is identical for both versions.

6758 Hans Eugen Frischknecht: Trio für Klarinette, Violoncello und Klavier (trio for clarinet, violoncello and piano) (1993) 11'
sFr. 29.00
Chamber music in fine sound shades. Space notation.

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.

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.

1507 Eliane Frances George: Mirage (1991/92) 5'25
for soprano, oboe, viola, violoncello and cymbalum (or soprano and piano)
sFr. 21.00
(Parties en vente chez EMS)
A piece dealing with the transparency of life. An adventure into the essence of our elements: The moon - the soul - the sea - the sky - the guardian angel. The perfect man.

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
8829 Rico Gubler: KAL (2001) 8'
for soprano, oboe, violoncello and piano
sFr. 52.00
(Spielpartitur)
Listen: Youtube
8825 Rico Gubler: En bref (2002) 10'
for violin, clarinet, saxophone and piano
sFr. 55.00
8832 Rico Gubler: IR (2003) 7'
for clarinet, viola and piano
sFr. 36.00
Alpsegen - Choral and Waltz - Choral and New Year's Song - Choral, Scottish and Choral.

8837 Rico Gubler: RIT (2007) 9'
for horn in F, violin and piano
sFr. 73.00
(inkl. Stimmen)
Listen: Youtube
8838 Rico Gubler: Xanadu (2007/08) 9'
for alto saxophone and piano
sFr. 47.00
(inkl. Sax-Stimme)
8839 Rico Gubler: The Slant Song (2008) 8'
for alto saxophone and piano
sFr. 42.00
14803 Ursula Gut: Clairières (1994/95) 35'
13 pieces
for piano, double-bass and percussion
sFr. 47.00
18004 Sarah Haessig: D'ailleurs (2007) 10'
for alto saxophone, violin and piano
sFr. 21.00
Quite demanding for the saxophone.

9009 Edu Haubensak: Tiefer & Tiefer (1983) 20'
for quintet (fl/vn.vc/pf)
sFr. 47.00
9051 Edu Haubensak: Mon silence discontinue! (2005) 24'
for soprano, oboe (English horn), violoncello and piano
sFr. 42.00
9053 Edu Haubensak: Spazio Due (2006) 13'
Quartet
for trumpet in B, Eb Alto saxophone, trombone and piano in skordatura (2nd tuning)
sFr. 31.00
9057 Edu Haubensak: Alte Stimmung (2009/10) 20'
Eight songs over a self-written poem
for high soprano and tempered piano
sFr. 31.00
Props: tea cup, floor vase, cardboard box.

9059 Edu Haubensak: Octaves for Two (2011) 20'
for violin (scordatura) and piano
sFr. 34.00
9064 Edu Haubensak: Oneonetwo (2011-12) 22'30
for piano in scordatura and percussion
sFr. 49.00
9261 Michel Hostettler: Cantilène (1989) 3'
for flute and piano
sFr. 16.00
(avec voix flûte)
9263 Michel Hostettler: Pique-Soleil (1996) 3'
for children's choir and piano
sFr. 13.00
Text: Françoise Hostettler.

9264 Michel Hostettler: Viens chez nous (2001) 2'
for childrens choir and piano
sFr. 13.00
Text: Marianne Bonzon.

15012 Martin Imholz: Motto (1999) 30"
for soprano, piano and large drum
sFr. 13.00
2216 Regina Irman: Drei Tänze (1996/97) 18'
for soprano, speaking voice/ piano, clarinet and accordion
sFr. 60.00
Texts: Anna Achmatova Midnight ghostly spook. The concert version of a scene from the forthcoming opera 'Poem ohne Held'. Commisioned by the 'Ensemble Klangheimlich', Berne.

Listen: Youtube Youtube
2225 Regina Irman: Otto mane (1999) 3'
for orator, soprano, piano and large drum
sFr. 18.00
Text: E.T.A. Hoffmann A 'carnival' for four players in fifteen combinations with R. Schuhmann and E.T.A Hoffmann. For the 60th birthday of Urs Peter Schneider.

15181 Rudolf Jaggi: Au clair de la lune (Paraphrase) (1999) 4'
for soprano solo, choir (SATB) and piano
sFr. 26.00
(inkl. Stimmen)
151109 Rudolf Jaggi: Escapades (2006) 9'
for flute and piano
sFr. 26.00
(incl. Flötenstimme)
I. Allegro preciso II. Tranquillo III. Giocoso IV. Lento rubato V. Agitato

151116 Rudolf Jaggi: Automne Gadagne (2007) 2'
for alto recorder (or flute or violin) and piano
sFr. 13.00
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

9347 Vladislav Jaros: Capriccio d'estate (2009) 11'30
for violoncello and piano
sFr. 34.00
A spirited, rhythmical first part leads to a calm, poetic middle part broken only by motives from the first part. The sultry reprise and coda finish this piece - rousing in every aspect.

2652 Max E. Keller: Ausharren im Grauen (1988) 11'
for oboe, violoncello and piano
sFr. 21.00
"A trio-piece of coagulate sound, quasi-captivated nerviness with bursts of desperate fury" (Frank Schneider on the world premiere).

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.

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.

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.

2660 Max E. Keller: Konstellationen (1993/94) 11'
for flute, violoncello and piano
sFr. 21.00
A dense, permanently shifting net of relations between instruments: one instrument acts ‘equal’ ‘similar’, ‘contrary’ or ‘concomitant’ to another.

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).

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.

2682 Max E. Keller: Rotondo (1999) 50'
for nonet (oboe, bassoon, trumpet, trombone, viola, double bass, accordion, piano and percussion)
sFr. 122.00
A composition in cooperation with Werner Bärtschi, Ulrich Gasser, Max Eugen Keller, Martin Sigrist and Peter Wettstein ('Komponistensekretariat' Zurich) with sixty segments, each fifty seconds long. Cyclic composition.

2688 Max E. Keller: Zwillinge (2001) 10'
for clarinet (bcl), trombone, violoncello and piano
sFr. 18.00
This work is based on the interactions of the instruments in such a manner that the very close combination of twos (twins) are at the centre and with which one, two or no ‘free’ instruments can consort. The musical process is born of a dialectic between the above mentioned network and its realisation through three almost archetypal musical base models.

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.

26105 Max E. Keller: Changements (2003) 11'
for tuba, percussion, piano and live electronics (BOSS SE-70)
sFr. 21.00
Changements - between various instrumental groups, between natural and transformed sound, between calm and hectic, between cut and transition, between air and tone, between pulse and free rhythm, between repetition and progress, between sound and noise, between…

26106 Max E. Keller: Verschmelzungen (2003) 12'
for recorder (alto and bass) and piano
sFr. 26.00
There is rarely a greater difference noted between two instruments regarding sound generation, volume, appearance and aura than between the piano and the recorder. To compose fusions of these two instruments was a challenge, which is relayed to the performers who must reach out to the very limits of playability.

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.

26119 Max E. Keller: allemal (2007) 10'
for soprano, clarinet (bcl) and piano
sFr. 29.00
Text: Georg Christoph Lichtenberg "It is almost impossible to carry the torch of truth through a crowd without singing somebody's beard." One of ten aphorisms written by Lichtenberg more than two hundred years ago - and still surprisingly relevant today. This musical version attempts to transpose the concise, acuminate formulation into succinct, very divergent miniatures.

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.

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.

26137 Max E. Keller: Snowflakean Thoughts (2010) 2'
for speaking voice, alto saxophone and piano
sFr. 16.00
This short piece is composed after a text by James A. Emanuel (USA). Together with millions of his kind, the snowflake dreams of calling into being a democratic kingdom - and the setting to music of this poem is just as fluffy. It can aslo be performed by amateurs.

26143 Max E. Keller: Shopping List (2011) 3'
for speaking voice, alto saxophone and piano
sFr. 16.00
Texts: Barry Wallenstein

26144 Max E. Keller: Pour aller mieux (2011) 4'
for tenor, tenor saxophone and piano
sFr. 18.00
Texts: Jean Miniac.

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.

26147 Max E. Keller: Die Schwestern (2011/12) 6'
for soprano and double bass (or soprano and piano)
sFr. 18.00
Texts: Christian Morgenstern In a dialogue between a bell and a cannon, the cannon exhibits ist sisterly nearness: "Today they are yours and pray, tomorrow they are mine and kill." The bell vehemently rejects this kinship with the cannon. But is the cannon really wrong? Are religion and War not often twinned? On the one hand, the musical setting accentuates the contrast between the soprano and double bass, even working within the two parties with extreme contrasts. On the other hand, the double bass occasionally ascends the lofty heights of the soprano and twins itself with the voice.

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.

2837 Alfred Knüsel: Coplas (1987) 21'
for soprano, double-bass (or violoncello) and piano
sFr. 44.00
Text: Spanish (Christof Jung) A seven-part cycle based on anonymous Spanish verse, translated by Christof Jung.

2828 Alfred Knüsel: Fluchtweg ist nicht zu erkennen (1999) 16'
Cycle of songs
for voice, piano and percussion ad libitum
sFr. 34.00
Texts: Michèle M. Salmony A cycle in five parts based on text fragments by Michèle M. Salmony.

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
9501 Louisa Lasdun: "Jabberwocky" (1978) 10'
for orator (most suitable would be a voice from the media known by children), piccolo, 2 bassoons, contrabassoon, amplified harpsichord (or synthesizer), piano, four percussion, mixed choir (4.4.4.4 also possible 2.2.2.2)
sFr. 34.00
Text: Lewis Carroll Entertainment for anybody between the ages of four and ninety-nine. Suitable for a children's programme. The text is from ‘Alice Through the Looking Glass’ by Lewis Carroll, also available in French and German. The original is in English gibberish but is easily transferable to German or French gibberish.

9510 Louisa Lasdun: Smile (2008)
für Oboe, Cello und Klavier
sFr. 29.00
15205 Stephan Lauffer: Sinfonietta (1999) 4'
for two flutes, clarinet and piano
sFr. 18.00
Präludium - Scherzo - Tanz - Burleske.

15208 Stephan Lauffer: Tränen... Für die unschuldigen Opfer eines sinnlosen Krieges (2003) 4'
for viola and organ (possibly piano)
sFr. 18.00
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 …

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.

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).

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.

7115 Valentin Marti: Fernruf J 12 (2001) 13'
for soprano, oboe, violoncello and piano
sFr. 36.00
Text: Everyday advertising and media language The basis of the text for ‘Fernruf J 12’ is the the list of the Bolshevist musicians from the Berlin department for art preservation from 1935: it is the list of musicians which had to be displaced from the music scene. The piece works, from a musical point of view, with different levels of understanding i.e. repression and forgetting. World premiere: 22.05.02 in Basel by the aequator ensemble.

Listen: Youtube
7123 Valentin Marti: splitting (2002) 12'
for clarinet, violoncello and piano
sFr. 36.00
A tone is coloured and set in motion, fragments of this tone develop their own life, fan out and become tonally coloured. World premiere: 04.06.02 in Basel by the Avalon Trio.

7126 Valentin Marti: Exposure (2003) 7'
for alto saxophone, trombone, accordion, piano and percussion
sFr. 26.00
World premiere: 20.9.03 in Lugano by Ensemble Oggimusica.

9727 Hans-Jürg Meier: die ganze übrige spanne ist nicht leben, sondern zeit (2001/02) 17'
for voice (alto), flute (pic, afl)bassoon, trumpet, vioal, violoncello and piano
sFr. 49.00
Text: Johann Peter Hebel, Hans-Jürg Meier Music to the story 'Unverhoffte Wiederbegegnung' by Johann Peter Hebel. Composed rhythmically open in parts.

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.

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.

7209 Mela Meierhans: Sec''ondes (1995) 12'
for wind quintet (fl.ob.cl.hn.bn), viola and piano
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

3708 Roland Moser: Heinelieder. Für Stimmen mit Begleitung (1970 ff) 40'
Version 1985
for Soprano, piano, actor, small amplification equipment and a small wooden table
sFr. 52.00
Text: Heinrich Heine Twelve pieces of music (songs and a piano piece) with texts by Heine throughout, representing a biography in five stages. The Soprano needs a strong low register.

3715 Roland Moser: Brentanophantasien (1988/95) 60'
After 'Den Zeiten' by Philipp Otto Runge
for soprano (with a strong lower register), baritone and piano
sFr. 88.00
Der Morgen (fantasy for piano solo); Der Tag (scherzo for vocals and piano); Der Abend (song cycle); intermezzo; Der Nacht (fragments for voices and piano). Text by C. Brentano and others.

3802 Thomas David Müller: Trauerarbeit (1978) 7'
for viola, double-bass, harp, piano and percussion (6 players in total)
sFr. 18.00
Quite quiet music, easy to perform.

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
3812 Thomas David Müller: Secco (1994) 12'
for saxophone, piano and percussion
sFr. 26.00
The running motion that characterises the ‘Gehen’ pieces is here tapered to a musicianly progression - with associated imminent crash.

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
3823 Thomas David Müller: Howl (2000) 16'
for viola, violoncello, clarinet, piano counter tenor (or alto) CD player and short wave radio (possibly 1 actor)
sFr. 34.00
Text: Allen Ginsberg Alternating score and part notation. The solo voice is simple to intermediate. The interplay is not time-bound throughout.

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.

9906 Maria A. Niederberger: Sounds of Space-Time (Klänge von Raum-Zeit) (1994) 18'
for clarinet (also bass clarinet), marimba and piano
sFr. 44.00
The clarinet plays solo. Virtuosic passages. Demanding.

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.

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.

10033 Kit Powell: Tide Pools (1990) 8'
for speaker, choir, SATB and piano
sFr. 44.00
5 short pieces with amusing texts about the New Zealand foreshore.

10038 Kit Powell: Verschiedene Tiere (2004-2005) 17'
for soprano, trombone and piano
sFr. 57.00
(Stimmen: sFr. 16; € 12.-)
Setting of 4 prose texts by Jürg Schubiger.

10041 Kit Powell: A Shout (2005) 10'
for soprano, female choir & piano
sFr. 44.00
4 texts by Michael Harlow. Im memoriam William Cumming, NZ painter.

18501 Barbara Rettagliati: Enchained figures (2004) 7'30
for clarinet and piano
sFr. 26.00
(Clarinetto: sFr. 12.-; € 12.-)
16006 Alex Rüedi: Mättju (1996) 4'30
Trio
for flute, alto saxophone (or clarinet/soprano saxhophone) and piano
sFr. 21.00
(Stimmen: sFr. 12.-; € 8.00)
16016 Alex Rüedi: To you (2004) 11'
ssx, asx ,tsx, pno, bass, dr
sFr. 18.00
(Stimmen SME: sFr. 20.-; € 20.-)
16017 Alex Rüedi: Quit evening (2005) 5'
ssx, asx ,tsx, bsx, pno, bass, dr
sFr. 16.00
(Stimmen SME: sFr. 20.-; € 20.-)
16018 Alex Rüedi: Outlooks (2006) 7'
ssx, asx ,tsx, bsx, pno, bass, dr
sFr. 21.00
(Stimmen SME: sFr. 20.-; € 20.-)
16019 Alex Rüedi: Interact (2006) 5'
ssx, asx ,tsx, bsx.pno, bass, dr
sFr. 23.00
(Stimmen SME: sFr. 18.-; € 18.-)
16020 Alex Rüedi: Marina d' oru (2006) 10'
ssx, asx ,tsx, bsx, pno, bass, dr
sFr. 34.00
(Stimmen SME: sFr. 26.-; € 26.-)
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.

19105 Benedikt Wolfgang Schiefer: Stern (2004) 10'30
for violin and piano
sFr. 26.00
4512 Martin Schlumpf: ... wie die Zeit vergeht ... (1993) 20'
8 rational time jumps at point 662/264
for piano and percussion quartet
sFr. 47.00
2 marimbas, vibraphone, crotales, 6 cowbells, 5 toms, 3 log drums, 4 calabassas, 2 bass strings, 5 tubular bells, large drum-set (with 5 toms), 8 gongs, div. cymbals, 4 whips, 2 metal-sets, tambourine, tam-tam et.al..For percussionists who feel comfortable in a groovy environment. Frequently pulsating rhythm with hanging ostinato figures of varying length; difficult part for the first marimba. The solo pianist is chiefly improvising.

4602 Urs Peter Schneider: Käfig: Septett, Quintett, Terzett (1961-62) var.
for any instrumentation (each with piano ad libitum)
sFr. 26.00
Versions of considerable duration can be realised using the existing material, these are versions whose time / space characteristics are completely accidental. Musical grid structures are the unpredictable result. These pieces are dedicated to John Cage, Morton Feldman and Christian Wolff.

10202 Michael Schneider: Evokation (1991) 5'
for violin, clarinet and piano
sFr. 18.00
Impulsive, feverish movements with lyrical bright spells.

4622 Urs Peter Schneider: Blumen (1971) 38'
for four pianos
sFr. 34.00
10225 Michael Schneider: Distant calls (1999/00) 11'
for saxophone quartet and piano
sFr. 31.00
Derived from physiological characteristics, the mystery of the Tasmanian Tiger is evoked by the martellato gestures and extensive sound arches of the piano. Experienced amateurs can perform this piece.

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.

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

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!"

16311 Felix Schüeli: Dreitonal (2002) 5'30
Trio
for oboe, violoncello and piano
sFr. 23.00
16312 Felix Schüeli: Threetonality (2002) 5'30
Trio
for flute, violoncello and piano
sFr. 26.00
(Stimmen: sFr. 14.-; € 9.50)
16633 Bernhard Sieber: Psalm 113 (1984) 6'
for mixed choir and piano
sFr. 13.00
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.

4815 Andreas Stahl: rufen wir charon? - und wenn er nicht kommt? (1997/98) 8'
for altus, bass clarinet, double bass and piano
sFr. 26.00
This piece, without text, was written for the altus Luiz Alves da Silva. It works primarily with oscillating, non transition forming elements such as register change, upbow - downbow, to and fro movements etc. Continually changing parameters such as dynamics and tempo transitions are to be avoided in so far as they are not induced by the instrument or the human being itself.

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
4903 Mathias Steinauer: Visions, op. 5 (1987) 13'
for wind ensemble, two percussionists and piano (2(pic,fl-g)2.2(bcl)2/2.2.0.0)
sFr. 31.00
In three movements; Grande danse froide, nine microludes, epilogue. Engraved in Nuremberg's ancient fire bell: "When I, the bell ring, it never means a futile thing (...)". - As is inscribed in my memory, the chemical catastrophe at Schweizerhalle in Basel on 01.11.86. Numerous bell sounds are featured and there is a personal attempt to portray the event through both poles of the work. This piece is written for music students.

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
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
4924 Mathias Steinauer: Klangfäden.Einzeln, op. 17.1 (1999) 4'
for saxophone, piano and percussion
sFr. 21.00
1. Version: für Saxophon, Klavier und Schlagzeug (1999) (SME/EMS) 2. Version: für Flöte, Klarinette, Violine, Violoncello, Klavier und Schlagzeug (2005) (Adesso)

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
17106 Bruno Stöckli: Rest (1999) 10'
for flute, clarinet, violin, violoncello and piano
sFr. 49.00
17107 Bruno Stöckli: Bribes (2001) 10'
for viola, violoncello, trombone, tuba and piano
sFr. 34.00
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
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.

5287 Balz Trümpy: Canti elegiaci (2007) 22'
for soprano, flute and piano
sFr. 57.00
Two poems by the Italian romantic poet Giacomo Leopardi flank a lament on the effects of aging carved in stone by Michelangelo. In spite of all despair over the vanishing powers and the insight not to have ended one's life successfully on its climax Michelangelo's work still emanates an unbroken will for life fighting against one's faith. Leopardi's deep melancholy however appears in a tender and ambiguous light giving space to a slight glimmer of hope. The different works were set into music accordingly: the music for Michelangelo's poem is rhythmically firm while Leopardi's is rhythmically and metrically free and floating.

5289 Balz Trümpy: Lieder der Ferne (2007) 16'
Vier Gesänge
für Tenor, Bratsche und Klavier
sFr. 52.00
Eduard Mörikes Poesie fasziniert mich durch ihre Doppelbödigkeit und ihre schillernde Stimmungslage, die sich zwischen romantischer Verklärung, verinnerlichter Gemütlichkeit und dämonischer Abgründigkeit bewegt. Sie kommt der klanglichen Erweiterung des Klavierliedes durch die Bratsche dadurch entgegen, dass dieses wunderbare Instrument eine "Vertiefung" des Geigenregisters im Sinne der Hinwendung zum Schattigen, Erdigen und Sinnlich-Körperhaften darstellt.

5264 Balz Trümpy: An Florestan und Eusebius (2010) 19'
Duos and trios
for saxophone (soprano, baritone), trombone and piano
sFr. 57.00
In December 2010, I held a lecture on polyphony in the music of Schumann. This event led me to perform the complete piano works by this composer, who has remained dear to me since childhood. My composing has been influenced on a subliminal level by Schuhmann's sound meshes and quirky-fantastical lines. I became accutely aware of this fact while working on my piece for the trio Weiss-Svoboda-Henneberger. Since the content of the three main pieces ("Rezitativ und Arioso" for trombone and piano, "Lied" for saxophone and piano as well as "Mit Leidenschaft" for the trio) turned out to be rather Schumannian, I decided to dedicate it to the two main characters of the circle of the Davidsbündler (League of David).

5288 Balz Trümpy: Der Geist des Tals (2013) 17'
for soprano, trombone, cello, percussion and piano
sFr. 75.00
The Ensemble Eunoia's suggestion that I write a piece dealing with the letter 'U' set off in me a chain of associations relating to this vowel. The starting point was the tonal character of the phoneme U: For me its dark, earthy, warm timbre equated to the symbolic image of the Mother ("uterus", "ursprung" (=origin)...). My text selection combines the following excerpts taken from literature and lore that evoke different aspects of the Mother symbol: In the 3rd hymn of the legendary poet and Dionysus priest Orpheus, night is celebrated as the Mother of gods and men. In the second part of Goethe's "Faust", Mephistopheles describes the nocturnal and sinister descent into the obscure realm of the Mothers ("No way! Into the untrodden ..."), where Faust wants to lead Helena back to life. A mother grieving for her son and creation forms the basis of the liturgical "Stabat Mater". And finally, the text of "Tao te Ching" to the "valley spirit" elevates the image of the Mother as the origin of heaven and earth to the spiritual.

17518 Raymond Vauterin: Les petits palmiers (1973) 10'
for violin, clarinet in A and piano
sFr. 29.00
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.

10717 De-Qing Wen: Piping and Drumming (2000) 12'
for wind and percussion instruments (fl.ob.cl.asx.bn/tpt.tbn/3perc/pf)
sFr. 62.00
(Matériel SME/EMS: sFr. 62.-; € 20.-)
'Piping and Drumming' is a traditional Chinese musical form that uses only wind instruments and percussion. It is often played at ceremonies.

10810 Martin Wendel: Musik für Oboe / Klarinette und Flöte / Klavier, op. 29 (music for oboe/clarinet and flute, op. 29) (1975) 12'
sFr. 29.00
Two sounding pairs become isolated and re-converge in a quartet relationship. A multi-faceted composition in five parts.

10811 Martin Wendel: Railways, op. 30 (1975/82) 14'
Trio
for clarinet, viola and piano
sFr. 42.00
Bits of this four-movement chamber music piece were drawn-up on train journeys, hence the title.

10813 Martin Wendel: Quintett, op. 40 (quintet, op. 40) (1981) 18'
for three clarinets, bass clarinet and piano
sFr. 52.00
Five passages connected by various associations.

10825 Martin Wendel: Anmerkungen, op. 52 (1995) 21'
for high singing voice, clarinet and piano
sFr. 49.00
After ancient Chinese texts. I tried to avoid all allusions to ancient Chinese exotics in the realisation of the aphoristic and directness of the still up-to-date texts. All fourteen pieces are connected in a meaningful compositional manner.

18105 Lars Werdenberg: Trio (2006) 12'
for clarinet, violoncello and piano
sFr. 34.00
(Stimmen: sFr. 26.-; € 17.50)
Drei gehen über Stock und Stein jeder seines Wegs suchen sich einen Partner DAS ALTE LIED I gehen zuweilen Hand in Hand verlieren den Boden unter den Füssen finden sich schliessllich ganz oben fallen einander ins Wort DAS ALTE LIED II zwei gegen einen? einer gegen alle? GLOCKEN. This trio is dedicated to Elliott Carter who celebrated his 100th birthday in 2008.

Listen: Youtube
18110 Lars Werdenberg: Manoeuvers (2011) 6'
for flute, piano and percussion
sFr. 23.00
17613 Stefan Werren: 7 Stücke (7 pieces) (1998) 15'
for clarinet, cello and piano
sFr. 31.00
17648 Stefan Werren: Kantate (1998) 12'
for choir, piano and percussion
sFr. 29.00
Text: Friedrich Hölderlin, Friedrich Nietzsche

17621 Stefan Werren: To Axion Esti 2 (2000) 9'
for piano and percussion
sFr. 34.00
7826 Hansruedi Willisegger: Impressionen (1967) 15'
for eight instruments (fl.cl/hn/cel/hp.pf/2perc)
sFr. 47.00
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.

5815 René Wohlhauser: Quantenströmung (1996/97) 10'
Ergon 23b
for flute, cello and piano
sFr. 57.00
'Quantum streaming' is defined by Gilles Deleuze as the transition of one energy state to another. In this piece I am mainly interested in the different energy forms, primarily potential energy and kinetic energy: What is the nature of the positional condition and the positional orientation, resp. energy density and energy transformation capabilities which charge a potential energy and set a process in motion.

Listen: Youtube
5818 René Wohlhauser: Die Auflösung der Zeit im Raum (2000/01) 14'
Ergon 26
for saxophone, percussion and piano
sFr. 49.00
This work, world premiered by the Oggimusica ensemble at the Expo 2002, works with various concepts of spatio-temporal relations and attempts to fathom the depth of the sound room

Listen: Youtube
5829 René Wohlhauser: Die Auflösung der Zeit in Raum (2000-2001/11) 15'
Ergon 26f, work number 1607
for clarinet (bass clarinet), violoncello and piano
sFr. 57.00
A piece dealing with the volatility of temporal experience in the infinitude of room.

5822 René Wohlhauser: mira schinak (2006) 12'
Ergon 33
trio for soprano, flute and piano
sFr. 47.00
Moment forms, contrasting structures and characters between complexity and simplicity combined with a particular kind of lyricism leads to changes in the perception of tempo. Parallel to the conflict with various forms of perception, there develops a grammar of constructive congruity, which should allow the beaten path to emerge as conclusive.

5828 René Wohlhauser: Sokrak (2008) 10'
Ergon 39
for soprano, flute, clarinet, violoncello and piano
sFr. 55.00
Based on an onomatopoeic text by the composer. Sounds change from instrumental noises to sound frictions and from virtuousic buzzing to vocal noises.

Listen: Youtube
5834 René Wohlhauser: Marakra Code 1 (2011) 7'
Ergon 44/1, work number 1603
for soprano, baritone and piano, with percussion
sFr. 47.00
Texts: René Wohlhauser Two voices on their path through various fields of expression in dialogue with scarcely breaking out piano fragments, their performance shaded by some gentle input from the percussion.

5835 René Wohlhauser: Marakra Code 2 (2011) 15'
Ergon 44/II, work number 1604
for soprano, baritone, flute, clarinet, violoncello and piano, with percussion
sFr. 60.00
Texts: René Wohlhauser Following a double turning point (in bar 110) the onomatopoeic series of syllables at the beginning turn into semi-semantic text fragments, while reversely the instrumentalist's style of play moves from a quasi-traditional technique to sounding fragmented and noise-like.

18907 Andreas Zurbriggen: Hiroshima ist auch ein Schnee (2011/12) 9'
für Klavier, Querflöte und 1 Perk (Vib + 1 Crotales in es/dis)
sFr. 31.00
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").

8207 Alfons Karl Zwicker: Tropfen auf Stein (1995) 30'
Cycle based on poems by Elisabeth Heck
for baritone, flute (pic, afl, bfl), harp, piano, one percussion and viola
sFr. 62.00
Very introspective and contemplative song cycle with an increasingly ruminant character. A very subtle and diversified sound world whose centre is the metaphor of stone in all its varieties.

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.


Piano with orchestra
0258 Walter Baer: Konzertstück (2004/09) 20'
for piano and large orchestra (2(2.pic).2.ca.2.bcl.2.cbn/4.3.3.1/timp.perc/hp/str)
sFr. 65.00
(Klavierauszug: sFr. 52.-; € 40.-)
Multi-part, single-movement piece with solo cadence.

6544 Frédéric Bolli: Klakofonie (2001/03) 15'
for piano and chamber orchestra (2.1.1.1/1.0.0.0/perc/str)
sFr. 114.00
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.

6115 Josef Haselbach: Leporellos Traum (1989) 24'
for string orchestra, flute, clarinet, saxophone, trumpet and piano
sFr. 109.00
"A rhythmically moved, gesture-full, richly chromatic music." (Th. Gartmann) Second part of the trilogy based on Mozart's 'Don Giovanni'.

2606 Max E. Keller: Das ganze Leben (1989/90) 15'
Piano concert in 8 parts
(2.2.2(2bcl).2/2.2.1.0/perc/7.7.4.4.2)
sFr. 44.00
To explore the whole of vastness is the utopic aim, and yet the whole can only be seen in part. Dialectic between part and whole is expressed in terms of the exploration to extremities of a dimension and the freezing of other parameters. A simple orchestral part with aleatoric passages in which each individual plays independently.

4912 Mathias Steinauer: Il rallentamento della sarabanda, op. 12 (1993/95) 26'
for piano/percussion and orchestra (2(pic).3(3ca).2.2/4.2.2.1/1perc/14.12.10.10.3)
sFr. 57.00
An attempt at a musical commentary on the poetry of the Sarabande - its presumed Aztec origins and its almost 200 year long chastisement. Spatial music. Can also be performed by a good amateur orchestra. Parts, small additional instruments, and preparation devices for the piano (Steinway D-274) are available on loan.

Listen: Youtube
5274 Balz Trümpy: Konzert in zwei Sätzen (2010) 33'
for piano and orchestra (3.3.3.3/4.3.3.1/4perc.timp/hp.cel.mandoline/14.12.10.12.6)
sFr. 114.00
My concert for piano and orchestra essentially follows the traditional idea of a solo concert.

17538 Raymond Vauterin: Six dialogues (2001) 20'
for piano and string orchestra
sFr. 68.00
Different sounds of the synthesizer.

10805 Martin Wendel: Musik für Klavier und Orchester, op. 20 (music for piano and orchestra, op. 20) (1966) 14'
(2(pic).2(ca)2(bcl).2/2.2.2.0/timp/3perc/hp.cel/str)
sFr. 62.00
This composition was received the 'Primo Premio Città di Trieste' award in 1967.

7818 Hansruedi Willisegger: Suite über "Wenn alle Brünnlein fliessen" (1960) 23'
for piano, trumpet, horn, percussion and string orchestra
sFr. 39.00
7821 Hansruedi Willisegger: Konzert in d-moll (concert in d minor) (1963) 25'
for piano and orchestra (2.1.2.1/2.2.0.0/str)
sFr. 55.00
8216 Alfons Karl Zwicker: Vom Klang der Bilder: III. Gegenklänge (1988/89 (rev. 1993)) 13'
Cycle
for large orchestra and piano solo (2.2.3.2/3.2.3.1/4perc/hp/24.6.6.4(five stringed))
sFr. 65.00
‘Vom Klang der Bilder’ (from the sound of images): An orchestral cycle based on pictures by Buchholz, Klee, Kandinsky, Klein and Fruhtrunk. The five pieces span a cyclic arch that is anchored in the laws of life. I. ‘Blutgesang’ (blood song): destruction, swan song, tears, sadness, grievance II. ‘Choral und Landschaft’ (choral landscape): hope, confidence, humbleness, belief, nature III. ‘Gegenklänge’ (a mediant): re-polarisation, existence of contradictions IV. ‘Monochromes Blau’ (monochrome blue): Movement in statics, pause, mediation, illusion, paradise on earth V. ‘Orgelpunkt’ (pedal point): painful recurrence of the same in being different.

8217 Alfons Karl Zwicker: Vom Klang der Bilder: IV. Monochromes Blau (1987/96) 13'
Cycle
for large orchestra and piano solo (2.2.3.2/3.2.3.1/4perc/hp/24.6.6.4(five stringed))
sFr. 57.00
‘Vom Klang der Bilder’ (from the sound of images): An orchestral cycle based on pictures by Buchholz, Klee, Kandinsky, Klein and Fruhtrunk. The five pieces span a cyclic arch that is anchored in the laws of life. I. ‘Blutgesang’ (blood song): destruction, swan song, tears, sadness, grievance II. ‘Choral und Landschaft’ (choral landscape): hope, confidence, humbleness, belief, nature III. ‘Gegenklänge’ (a mediant): re-polarisation, existence of contradictions IV. ‘Monochromes Blau’ (monochrome blue): Movement in statics, pause, mediation, illusion, paradise on earth V. ‘Orgelpunkt’ (pedal point): painful recurrence of the same in being different.

Listen: Youtube

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

automatically generated. last update: 28.08.2015 / 2004 Theo Lustenberger