8430 Felix Baumann: Intervention (2004/05) 8'
for oboe solo
sFr. 16.00
In 'Intervention', the music is channelled in such a way as to highlight the fragile and the subtle, unthinkable without the large gesture at the beginning, they now become something equivalent to its opposite. It is thus that polar positions seem to nourish subterraneously.

12816 Gary Berger: X-ation (2001) 6'
for oboe and live electronics
sFr. 18.00
1030 Jean-Jacques Dünki: Musique pour un Guillaume Tell (1991) 6'
for oboe (oboe d'amore, English horn)
sFr. 13.00
1032 Jean-Jacques Dünki: Solo per Oboe (1994) 4'
sFr. 13.00
15015 Martin Imholz: Stück (2009) 2'30
for oboe
sFr. 16.00
15016 Martin Imholz: Stück (2009) 2'30
for oboe
sFr. 16.00
2644 Max E. Keller: Friedenslied eines Oboisten (1983) 14'
for oboe
sFr. 16.00
Poem by Burkhard Glaetzner.

7118 Valentin Marti: Wurzelholz (2000) 6'20
for tenor recorder or any other woodwind instrument (alto flute, oboe, tenor saxophone...)
sFr. 16.00
For a different woodwind instrument to the recorder, a somewhat smoother effect because the extreme registers of the recorder have a greater influence on the tone than other instruments with a wider range. World Premiere: 04.02.01 in Wädenswil by Rico Gubler (tsx).

9748 Hans-Jürg Meier: ??? (Echo) (2008) 5'30
for oboe solo
sFr. 16.00
17608 Stefan Werren: Akróasis 1 (1996) 5'
for oboe
sFr. 16.00
Listen: Youtube
17617 Stefan Werren: 7 Bagatellen (2000) 5'
for oboe
sFr. 18.00

piano and instrument
17605 Stefan Werren: 6 kleine Stücke (six small pieces) (1992) 8'
for oboe and piano
sFr. 16.00

Oboe with instruments
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
0248 Walter Baer: Das Symposion des Xenophanes (2003) 38'
for soli (AB from the choir) two choirs, flute, oboe, harp percussion and organ
sFr. 60.00
Texts: Xenophanes von Kolophon, Marie Luise Kaschnitz The two choirs are situated as far apart as possible. The vocal parts are demanding both for the soloists and the choir.

8404 Felix Baumann: Quintett (quintet) (1992) 22'
for oboe, horn and string trio
sFr. 31.00
Opposing elements growing increasingly apart. Rights of performance reserved.

8432 Felix Baumann: Ich und Du (2008) 3'
for 2 oboes
sFr. 16.00
For Ana Lomsaridze and Matthias Arter. 'Ich und Du' takes the canon technique as its starting point to create, in the first few moments, an unexpected constellation full of conflict potential, which is then gradually tackled and illuminated from various sides. This short piece offers the possibility to listen in on the longing and the shared and their possible and impossible realisations.

0517 Nicolas Bolens: Suite pour Neuf Instruments (suite for nine instruments) (1999) 11'
for wind quintet and string quartet
sFr. 31.00
0519 Nicolas Bolens: A Due (2000) 7'30
for oboe, clarinet, violin and double bass
sFr. 16.00
Composition by Eric Gaudibert / Nicolas Bolens. This work is written by two hands, by two different composers who experimented in equally sharing the single instruments: the oboe and double-bass on the one hand side and the violin and the clarinet on the other. The precisely written violin is the conducting element and the three other instruments are grouped accurately around it. A description of the tempi allows easy playing. This piece has a medium level of difficulty.

8527 Thüring Bräm: Children Songs of the American Indian (1979) 8'
for solo soprano, vocal ensemble (SATB), oboe, viola, violoncello, and marimbaphone
sFr. 34.00
Texts: Indian texts The 'Children Songs' (which received a prize from the University of California in 1973) are a kind of half scenic cantata based on Indian text.

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.

17914 Andreas Brenner: Trio (2014) 18'
für Oboe, Klarinette und Fagott
sFr. 44.00
Das Trio besteht aus einem knapp zwanzigminütigen Satz in elf kontrastierenden Abschnitten. Aus kompositionstechnischem Gesichtspunkt sind vor allem die sorgfältig austarierten Gewichtungen der einzelnen Tonhöhen interessant. Sie führen zu feinen Verschiebungen von Mustern, die in kanonische Texturen münden – ein Prozess, der in immer neuen Varianten durchgespielt wird und die elf Abschnitte unter der kontrastierenden Oberfläche eng zusammenschliesst. Es entsteht eine Klanglichkeit, in deren Vordergrund sparsam eingesetzte harmonische Farben und deren allmähliche Veränderung stehen.

1051 Jean-Jacques Dünki: Cas obliques I, II, III (1993-2004) 6'
for oboe, bass clarinet, bassoon, horn and piano
sFr. 34.00
11919 Claude Ferrier: Condensations (1998) 9'
for sextet (fl.hn.asx/hp.cel/gtr)
sFr. 42.00
11920 Claude Ferrier: 4 petites pièces (1999) 6'
for eight instrumentalists (fl.cl.bn/perc/hp/2vn.vc)
sFr. 26.00
6716 Hans Eugen Frischknecht: Komposition für Oboe und Orgel (composition for oboe and organ) (1964) 5'
sFr. 16.00
Four opposing parts combine to form a whole. Written extensively in space notation.

Listen: Youtube
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.

1405 Eric Gaudibert: Contrechamp (1979) 9'30
for flute, oboe, violoncello and harpsichord
sFr. 31.00
The notation for the ensemble is traditional but in space notation for the harpsichord. The last section is notated on separate sheets with momentary points of reference. Standard playing techniques. The harpsichord needs an 8', 4' and lute stops.

1481 Eric Gaudibert: «Ce tremblement, qui est une volupté» (1997-1999) 13'
for two oboes
sFr. 21.00
The title is a quote by Victor Hugo extracted from 'Les travailleurs de la mer'. The first oboe doubles English horn and the second doubles a Baroque oboe, if the latter is not available the musician can perform the passage in question on a modern oboe while transposing the text half a note deeper. This piece is of a high level of difficulty.

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

1499 Eric Gaudibert: Warum? (2009) 6'
for flute, oboe and clarinet
sFr. 18.00
This work is inspired by a piano piece with the same title by Schumann (Phantasiestücke op.12). It is a slow and tender piece of music which demands a great deal of concentration to master the contrapuntal lines.

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.

8829 Rico Gubler: KAL (2001) 8'
for soprano, oboe, violoncello and piano
sFr. 52.00
Listen: Youtube
8833 Rico Gubler: Turnaround (2005) 12'
for wind and string quintet (fl.ob.cl.bn/hn/
sFr. 60.00
Evening News - Summertime - Today Special - Meteo - Sonntag 03.17 Uhr MEZ - Breaking News.

9051 Edu Haubensak: Mon silence discontinue! (2005) 24'
for soprano, oboe (English horn), violoncello and piano
sFr. 42.00
9202 Michel Hostettler: Intermède (1977) 6'
for flute, oboe and organ (or strings)
sFr. 18.00
(Parties pour les cordes en vente chez EMS)
9212 Michel Hostettler: Fantaisie épidermique (1988) 7'
for flute, oboe and bassoon
sFr. 18.00
(Parties chez EMS: Sfr. 14.-; € 14.-)
9256 Michel Hostettler: Schegge d'ambra (2006) 8'
for oboe, clarinet and bassoon
sFr. 29.00
(Parties: 22.-)
15174 Rudolf Jaggi: Flucht (1977) 15'
for choir (SAB), oboe, alto saxophone and bass clarinet
sFr. 34.00
Text: Hans Häring.

15179 Rudolf Jaggi: Bin alben e wärti Tächter gsi (Paraphrase) (1996) 4'
for choir (SAB), clarinet, oboe and bassoon
sFr. 23.00
(Stimmen: sFr. 16.-; € 10.50)
9305 Vladislav Jaros: Chinesisches Märchen (1983) 3'
for flute (or oboe or violin) and guitar
sFr. 13.00
An easily approachable piece in which equal demands are made on both interpreters. It is not a difficult piece to interpret and is well suited to an advanced student.

9306 Vladislav Jaros: Cum grano salis (1992) 14'
for wind quintet and strings
sFr. 26.00
A polyphonic tonal meshwork - fluctuations between chromatic and polypentatonic - irridescent sound surfaces. For chamber musical performances: wind quintet and string quartet.

9340 Vladislav Jaros: Terzett (terzet) (2007) 12'
for panflutes (or flutes), taragot (or oboe) and organ (or flute, clarinet and organ)
sFr. 21.00
In memoriam Sándor Veress. A piece with two themes from Hungarian folk music, slow lyrical parts alternate with lively, quick and very rhythmical parts. Extended tonality.

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).

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.

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

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.

2692 Max E. Keller: Sans cesse (2001) 9'
for oboe, bassoon, horn, trombone, violin, viola, violoncello and double bass
sFr. 18.00
26114 Max E. Keller: Schlaglichter (2006) 4'
for oboe, clarinet, bassoon, double bass and percussion
sFr. 21.00
These three miniatures are the reshaping of the structure and instrumentation of three laconic parts of my opera "Die Axt" after "Graf Öderland" by Max Frisch, which I composed as a commission for the Komischen Oper Berlin. Schlaglicht I is taken from the end of the 2nd act. In Schlaglicht II, the wind instrumentalists play excerpts from the three trumpets in the 1st act, while the percussion and double bass develop a new oppositional layer. Schlaglicht III transposes almost the entire 5th act where the bassoon and oboe intonate the duet between the central character and his partner, while the clarinet and double bass play the accompanying trumpet and tuba and the percussion brings in a new line.

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

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.

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

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.

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

19406 Burkhard Kinzler: Fragment & Entrückung (2011) 25'
für gemischten Chor, Traversflöte 2 Oboen, Fagott, 2 Violinen, Viola, Cello, Violone
sFr. 86.00
Text: Antonia Bertschinger. "Fragment" ist eingewoben in die Bachkantate "Herr, deine Augen sehen nach dem Glauben" BWV 102. "Entrückung" ist als Einzelsatz unter dem Titel "Paradies" aufführbar (10'). Besetzung von Entrückung: gemischter Chor, Traversflöte.

19407 Burkhard Kinzler: round about Haydn (2012) 6'
a roundabout
für 2 Flöten, 2 Oboen (beide auch Engl-Hn), 2 Fagotte, 2 Naturhörner und 2 Naturtrompeten
sFr. 29.00
2838 Alfred Knüsel: gezogene Klänge (2000) 20'
Six-part work block
for double bass solo and chamber ensemble (1(pic).1.1.1(cbn)/
sFr. 65.00
9510 Louisa Lasdun: Smile (2008)
für Oboe, Cello und Klavier
sFr. 29.00
15209 Stephan Lauffer: en dankopfergsang - dä hundertschti psalm (2003) 7'
for choir (SATB), oboe, viola, xylophone, percussion, organ and double bass
sFr. 29.00
(Instrumentalstimmen sFr. 20.-, € 20.-; Chorpartitur sFr. 16.-, € 16.-)
Texts: Bible / Liturgy Musical setting of the 100th Psalm.

15213 Stephan Lauffer: Niobes Klage (2006/09) 7'
for oboe, viola I and II, violoncello and double bass
sFr. 18.00
(Stimmen: sFr. 14.-; € 9.50)
3140 Urban Mäder: Kulm (2013) 14'
for flute, oboe, clarinet, horn, bassoon and string quintet
sFr. 57.00
After a radio protocol on Pilatus. Commissioned by the Ensemble Montaigne, Lucerne.

7109 Valentin Marti: Floating (1997) 7'
for piccolo / alto flute, oboe and soprano saxophone
sFr. 21.00
Fragile transitions between noise and tone, fluctuating chromatic modulations and a metre that masks the rhythm are characteristics of this trio. World premiere: 28.9.97 in Wädenswil by theTrio Lepic.

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
7136 Valentin Marti: Pinxto 2 (2008) 2'
for 2 oboes
sFr. 13.00
WP: 1.3. 09, Zürich, Ani Lomsaridze, Matthias Arter

9721 Hans-Jürg Meier: colours de la rose (1999/01) 30'
for alto flute (flute) oboe (english horn) and soprano saxophone (alto saxophone)
sFr. 49.00
A nine-part piece - a confrontation between the music of Guillaume de Machaut and Hans-Jürg Meier.

9726 Hans-Jürg Meier: abermals (2000) 10'
for tenor recorder, oboe, soprano saxophone and bassoon
sFr. 34.00
Four conversational partners embroil, increasingly dramatically and then calm down in a multi-sounding room.

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

7209 Mela Meierhans: Sec''ondes (1995) 12'
for wind quintet (fl.ob.cl.hn.bn), viola and piano
sFr. 31.00
3417 Thomas K. J. Mejer: Recurrence of the Nymphs (1997) 18'
for oboe (also English horn), alto saxophone, bass clarinet and bassoon (also contra bassoon)
sFr. 42.00
Structured in four consecutive tonal images, each one takes its inspiration from a species of nymph: Orestiads, Dryades, Naiads and Nereids.

3816 Thomas David Müller: Letzte Zeichen von Geschwindigkeit (Chartres I) (1998) 11'
for flute, oboe and soprano saxophone
sFr. 21.00
Traditional interplay with some dodgy rhythmics. Partly over-the-top high register. Reduced but colourful harmony.

Listen: Youtube
9909 Maria A. Niederberger: Tandem Points (1993) 9'
for flute, oboe, bass clarinet, horn, two percussion, violin, viola, violoncello and double bass
sFr. 60.00
Accentuated horn and percussion.

9910 Maria A. Niederberger: Sonnenspur: Tonbilder aus Kalifornien (1996/97) 11'
for flute, oboe, clarinet, bassoon, two percussion, piano, string quartet and double bass
sFr. 83.00
Fantasy, prelude, I. Nächtlicher Kojotentanz, II. Morgensonn’ das Meer enthüllet, III. Purple Horses, IV. Yosemite. Accentuated percussion.

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

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

4324 Ernst Pfiffner: Trio (2010) 13'
for oboe and two english horns
sFr. 26.00
4308 Ernst Pfiffner: Eine Kantilene vom Menschen (1992) 4'
for choir, oboe, violoncello and percussion
sFr. 36.00
This piece is based on the poem 'Empfangen und genähret' (Received and Nourished) by Matthias Claudius together with extracts from the book Kohelet (300 BC). Despite being scored for three vocal and three instrumental parts, the fascinating phenomenon of monophony is kept throughout. Work series A: Music for concerts.

4311 Ernst Pfiffner: Trio pasquale (1993) 14'
for flute, oboe and English horn
sFr. 34.00
Da der Tod - ...ahnten sie nicht - Trio pasquale: A variety of settings: the whole ensemble in the first part; in the second the choir and the speaker are omitted whilst the third part features flute, oboe, and English horn. The three pieces are a religious triptych, but they can be performed separately. The first two cycles set texts by the Graz writer Karl Mittlinger to music. In the first part, death is objectified in its many aspects whilst the last part sees the speaker narrate sentences from Mozart's letters to his father, in which he describes his attitude towards death. The middle piece is concerned with form, life and the mission of Jesus and closes with death and resurrection. The ‘Trio Pasquale’ is deals with Easter, as seen by Maria Magdalena. Work series A: Music for concerts.

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

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

4616 Urs Peter Schneider: Robert Walser Trilogie I,3: Das Mädchen mit den schönen Augen (1988) 3'
Two album leaves
for oboe and trumpet (or two other, slightly different instruments)
sFr. 16.00
A cycle based on savage and partly lost writings; "Die schöne Frau von Thun" uses six instruments, which can be relatively freely chosen; "Tobold" is a compositional concept, formal and extremely variable in its instrumentation (the composer has arranged one version); "Das Mädchen mit den schönen Augen" is the last work before the composer's non-composing phase, maliciously simple, supposedly humorous - it is dedicated to the performer Marion Leyh.

10216 Michael Schneider: 67 pas sur la nappe de l'étang glacé (1997) 4'
for oboe and a frozen lake (play-back)
sFr. 13.00
(DAT vom Komponisten zur Verfügung gestellt.)
In memory of Edison Denissow. A relatively simple oboe piece with glistening, breathing sounds provided by the play-back (DAT).

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

10226 Michael Schneider: Voiles (2000) 6'
3 Sketches
for three oboes
sFr. 16.00
Three different 'veils' for oboe trio which attempt to avoid the typical oboe stereotypes.

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

16311 Felix Schüeli: Dreitonal (2002) 5'30
for oboe, violoncello and piano
sFr. 23.00
10310 Henri Scolari: Le Christ voilé (1948) 19'
for baritone and instruments (1(pic).1(ca).1(bcl).1/hn/hp/vn.va.vc(db ad lib.))
sFr. 86.00
(Réduction chez SME/EMS: sFr. 34.-; € 34.-)
Based on a poem by Patrice de la Tour du Pin. Fusion of a series of twelve tones with a constant reference to tonality. Very expressive French poetry.

10307 Henri Scolari: Trio d'anches (1997) 10'
for horn, Eb clarinet and bassoon
sFr. 23.00
Constructed on a series of intervals.

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.

4836 Andreas Stahl: grauzone (2002/03) 19'
for flute, oboe, clarinet and accordion
sFr. 29.00
A piece about pitch, almost about melody. But certainly so that the borders between identical, similar and different dissolve to leave one hearing melodies where no melodies exist (?).

4919 Mathias Steinauer: Koren-Fantasien, op. 15 (1997) 45'
27 imaginations - studies on Greek antiquity (approaches to stone)
for double-reed quartet (double-reed instruments, heckelephone, bassoon), orator/singer (bass/baritone) and one percussion
sFr. 70.00
Texts: Aristoteles, Hippokrates, Ch. Mullack, Xenophon, Aristophanes, Hans Saner, Platon, Leonides von Tarent, Epikur

5417 Daniel Weissberg: Oh mi! (1998) 10'
for flute, oboe and guitar
sFr. 29.00
Jocular, virtuoso piece.

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.

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

10737 De-Qing Wen: Two Birds in One Cage (2007) 9'30
In honor of Philippe Albera
for oboe and English horn
sFr. 26.00
The piece was inspired by the singing of my neighbor's two beautiful birds encased in one cage in front of my new residency in Fuzhou, China. Their singing aroused my curiosity. What were they singing for? How well were they getting along with each other? What were they discussing? About the past or the future? Life or death? Love or hatred? Nature or art? Freedom or confinement? Food or philosophy? Were they happy or sad? What if it was I myself who was encased in the cage with my love? No, no, no... It is not a good idea for us, but my neighbor and his wife should be!

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

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.

7830 Hansruedi Willisegger: Passionierte Violinistin (1989, rev. 92) 9'-15'
for coloratura Soprano, violin, oboe (musette) and percussion
sFr. 18.00
After a picture by Hans Erni.

Oboe with orchestra
15149 Rudolf Jaggi: Concertino (1970) 8'
for solo flute, solo oboe, solo violin and strings
sFr. 42.00
15178 Rudolf Jaggi: Petrus (Oratorium) (1989) 75'
for soprano, baritone, bass, choir (SATB), organ, flute, oboe, bassoon and strings
sFr. 130.00
I Jünger II Apostel III Märtyrer

4321 Ernst Pfiffner: Cambiamenti concertanti (1981/83) 16'
for oboe, string orchestra ( and percussion
sFr. 44.00
The oboist plays the oboe d'amore in the movements I, III, IV; oboe in the movements II, V and the English horn in movement IV. Work series A: Music for concerts.

Listen: Youtube
16638 Bernhard Sieber: Sinfonia concertante (2012) 27'
Organ Concert
for organ, oboe and strings
sFr. 81.00

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