Percussion


solo
12810 Gary Berger: Langsam (1999) 6'
for percussion and live electronics
sFr. 23.00
12822 Gary Berger: spins (2003) 7'
for percussion and live electronics
sFr. 34.00
6767 Hans Eugen Frischknecht: 4 Bilder (2005) 11'
for percussion
sFr. 16.00
Each of these images is restricted to certain instruments: 1) Glockenspiel, triangle 2) Marimbaphone, templeblocks 3) Jazz percussion 4) Vibraphone

8831 Rico Gubler: bored (2003) 3'
Three small scenes
for small drum
sFr. 16.00
For a bored, speaking, small drum, a bored drumming voice or a bored, small drum and a bored voice.

2226 Regina Irman: Vereinsamt (1995) 10'
for percussion solo (glockenspiel, cymbals and metal objects)
sFr. 13.00
Quiet metallic sounds compliment a text by Friedrich Nietzsche.

2214 Regina Irman: Fünf Sprach-Klang-Objekte (1996) 5'
für Schlagzeug solo (Vibraphon, Kleinperkussion, Sprechstimme)
sFr. 16.00
After texts by Sonja Sekula. Very short concentrated pieces that also require the interpreter to speak.

2610 Max E. Keller: Neungestalt (1993) 14'
for percussion solo
sFr. 18.00
A musical form of nine groups with nine variations in which one of the nine membranophones is featured. Drum kit, containing two bass drums (with pedals).

2681 Max E. Keller: Mondlandschaft (1999) 11'
for twenty-three wind instruments (3(3.pic)3.3(3.bcl).3/4.3.3(3.tbn).1) and three percussionists
sFr. 42.00
The musical procedure is, on the one hand side, reduced to the contrast between long and quiet rather than short and loud, on the light/dark of the barren moon surface; on the other hand side, it is formed with great subtlety in sound and structure.

Listen: Youtube
2684 Max E. Keller: Food (1999) 13'
for percussion solo
sFr. 16.00
This piece is to be played on six plates, three glasses, pan lids, small bowls (and other things) while being seated at a table. The percussionist also sings. Eating as a celebrated ritual - in a world of famine.

13801 Lukas Langlotz: Trittico ritmico (2010) 8'
Three Movements
for five drums (tom toms)
sFr. 21.00
3130 Urban Mäder: Der Hosenträger (2001) 9'
Five short scenes
for one percussionist (one standing tom-tom and three cymbals)
sFr. 16.00
The presentation of this piece goes beyond pure percussion playing. The performance concepts have theatrical significance and have to be accomplished with a concentrated stage presence.

3821 Thomas David Müller: Gehen, 13 "Unbewegliche", inklusive 19 Vorwärts- / Rückwärtsbewegungen (1998) ad lib.
for one percussionist
sFr. 23.00
A mobile composition requiring a virtuosic performance. Uses unusual instruments such as three steel drums, a deep G gong, kalimba and cheng cheng. Not obligatory.

4006 Daniel Ott: zweite liebe (1991) 30'
for one percussionist
sFr. 16.00
Music for the play ‘zweite liebe’ (second love) by Jurg Amann. Sixty percussion interventions, each between five and twenty minutes in duration; can also be performed without the play.

10032 Kit Powell: The Green Man (1989-1992) 10'
Musical theatre
for solo percussionist
sFr. 31.00
Work based on a poem by Michael Harlow, which is about the conflict between anima and animus – instruments are arranged as "male" and "female" left and right of the player.

17001 Raphael Staubli: Studien (studies) (1982/83)
for 1 percussionist
sFr. 18.00
4925 Mathias Steinauer: Steinschlag, op. 17.2 (1999) 8'
for lithophone (c-c4) or marimba
sFr. 18.00
Listen: Youtube
7703 Pierre Thoma: Mutations (1983) 10'
for percussion solo
sFr. 26.00
7716 Pierre Thoma: Amplitudes (1991) 9'30
for 1 or 2 percussion instruments
sFr. 23.00
10715 De-Qing Wen: kung-fu (1998) 11'
for percussion solo
sFr. 23.00
The cry is a way of inducing the energy of Kung fu. The vocal imitations of the percussion sounds are a result of this Chinese oral tradition. One finds the contrast of yin and yang in the mixture and diversity of the changes in timbres and rhythms.


voice and piano
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

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


piano and instrument
14808 Ursula Gut: con moto e diavoletto (2001) 7'
for piano and percussion
sFr. 18.00
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.


Percussion with instruments
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.-)
8319 Dieter Ammann: A (tenir) tension (2002/03) 11'30
Trio
for flute, marimbaphone, vibraphone and percussion instruments
sFr. 21.00
The completely dissimilar sound generation of flute and percussion, for example with regard to the acquisition and decay times, formed an important compositional aspect while working on this new ouvre. This dissimilitude, by analogy, is also transferred to the temporal configuration insofar as the rhythmical form of extremely tight motorical passages ("moltoritmico") ranges over diverse intermediate stages to flexible handling parts ("tempo fluido") producing, thereby, tightly packed episodes with highly differentiated timbral play alongside processes where virtuosity in the traditional sense is central. It is so that the trio produces in quick succession various states, which are highly demanding for the interpreters, with regards interaction and playing technique.

Listen: Youtube
13409 Leo Bachmann: Pythagoreisches Komma (1998) 10'
for six melodic instruments and percussion with conductor
sFr. 13.00
The six melodic instruments build the most fragile sound framework. Percussionist and conductor have a 'soloistic' function.

0248 Walter Baer: Das Symposion des Xenophanes (2003) 38'
Cantata
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.

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.

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.

12812 Gary Berger: unter Reibung (2000) 3'
for flute, viola and percussion
sFr. 16.00
12814 Gary Berger: lichtempfindliche Erinnerungen (2000) 6'
for bass flute, viola, alto saxophone, guitar, percussion and live electronics
sFr. 26.00
12815 Gary Berger: doppelte Wendung (2000) 6'
for voice, percussion and live electronics
sFr. 18.00
12821 Gary Berger: scri (2002) 8'
for voice, britone saxophone, percussion and live electronics
sFr. 42.00
12824 Gary Berger: Tank (2005) 11'
for voice and percussion
sFr. 23.00
12825 Gary Berger: wellen. zerstäuben (2008) 11'
for large percussion ensemble (12 players)
sFr. 65.00
(Stimmen: sFr. 90.-; € 60.-)
Listen: Youtube
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
0520 Nicolas Bolens: Cercle (2009) 7'
for six female voices (2 sopranos, 2 mezzo-sopranos, 2 altos) and percussion instruments (6 Chinese blocks played by the singers, 7 terracotta bells or high-sounding gongs (one player))
sFr. 34.00
Words deriving from the spoken language of the Lisu, a Tibetan-Burmese population.

Listen: Youtube
0910 Jacques Demierre: Une table pour trois, ou la troïka s'ennuie (1990) 20'
for three percussionists
sFr. 26.00
(Stimmen: sFr. 30.-; € 20.00)
This piece is based around numerous hand playing techniques (from the most common gestures to the orthodox playing techniques of the darbuka). It develops theatrically according to the gestures of each performer. Sponsored by the SME Lucerne.

Listen: Youtube
1020 Jean-Jacques Dünki: Auf die Pauke hauen (1981) 4'
for five kettledrums (1 player)
sFr. 13.00
6611 Alfred Felder: Regen über der Wüste (1997) 6'
for clarinet, bass clarinet, percussion and speaker
sFr. 13.00
Text: Eva Eisenmann-Westphal.

6652 Alfred Felder: 9ten Novemb. 1828 Tagebuch Robert Schumann (2009) 16'
Music
for clarinet, viola, piano and percussion
sFr. 23.00
11920 Claude Ferrier: 4 petites pièces (1999) 6'
for eight instrumentalists (fl.cl.bn/perc/hp/2vn.vc)
sFr. 26.00
6718 Hans Eugen Frischknecht: Fantasia für Violine, Schlagzeug und Orgel (fantasia for violin, percussion and organ) (1980) 10'
sFr. 23.00
Three instruments initially appear unfitting but never the less create a homogenous alliance or compliment each other well in contrast.

6711 Hans Eugen Frischknecht: Actions - Réactions (1998) 12'
for percussion and organ
sFr. 26.00
The percussionist generates a sound - the organist reacts - the percussionist reacts on his part. Every action of one instrument results in a certain reaction.

12421 Fortunat Frölich: Spruch (2000) 1'30
for soprano (with hand cymbals), bass clarinet and percussion
sFr. 16.00
1480 Eric Gaudibert: Deux airs (1995) 12'30
for soprano, violoncello (or accordion) and percussion ad libitum
sFr. 18.00
Texts: Giambattista Marino, Catharina von Greiffenberg Extracts of the Concerto lirico. 1) " Miro, rimiro… " for soprano and violoncello (or accordion) Lyrical air on a poem by Giambattista Marino. 2) " Schwing dich, meine Seel" for soprano and percussion ad libitum Large dramatic air on a poem by Catharina von Greiffenberg. The percussion comprises a tam tam and six temple blocks.

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.

1498 Eric Gaudibert: Trivium (2008-2009)
for recorder, pipa and percussion
sFr. 36.00
This is an encounter between 3 instruments originating in different worlds: the Baroque recorder, the pipa (Chinese lute with 4 strings) and modern percussion instruments. The various timbres of the flute (soprano, alto and bass) and percussion instruments (vibraphone, triangle, cymbals, crotales, tam, snare drum, bass drum) merge with those of the pipa.

Listen: Youtube Youtube
1510 Eliane Frances George: Gossamery Dreams (1993) 17'
for electronics, flute, violin, viola percussion, and dance (ad lib.)
sFr. 34.00
(Parties et bande en vente chez EMS)
A combination of live music, recorded material and dance. This piece evokes the inside of archetypal images, images that, throughout time and evolution, have expressed to us the hope of a world of communication that lies beyond our illusory daily lives.

8806 Rico Gubler: In Sand gemeisselt (1998) 6'
for viola, violoncello and percussion
sFr. 21.00
8826 Rico Gubler: Märchenerzählung (y-song) (2002) 3'
for soprano and percussion
sFr. 16.00
14802 Ursula Gut: Teddybear's Dream (1993) 10'
for violin, violoncello, bassoon, harp, percussion and celesta
sFr. 18.00
14803 Ursula Gut: Clairières (1994/95) 35'
13 pieces
for piano, double-bass and percussion
sFr. 47.00
14805 Ursula Gut: Postludium (1998) 17'
for violin, viola, violoncello and percussion
sFr. 23.00
9020 Edu Haubensak: Bläser Konstellation (1990) 13'
for 13 wind instrumentalists with vibraphone and percussion
sFr. 36.00
9024 Edu Haubensak: Gestes (1991) 4'
Duo
for saxophne and percussion
sFr. 13.00
9029 Edu Haubensak: Message (1994) 20'
A choreographed music performance
for four percussionists (cymbals)
sFr. 13.00
Four percussionists traverse the rows where the audience sit following a pre-drawn choreographic plan. The crashing of the cymbals behind the head and close to the ears allows the sound to reach directly into the inner body. There develops a kaleidoscope of overlapping pitches which intensify or extinguish each other, interfere or harmonise - the result is an almost ‘private’ sound. The inner and outer, the near and far, the slowly changing sculptural figure from sounding metal is a communication transcending explanation: Message.

9034 Edu Haubensak: Deux Mondes (1996) 10'
for solo marimba and 8 gongs
sFr. 18.00
9041 Edu Haubensak: Locomozione (2000) 16'30
for violin, viola and percussion
sFr. 31.00
9061 Edu Haubensak: Schnee (A Ritual) (2013) 21'
for horn, voice and percussion
sFr. 31.00
9064 Edu Haubensak: Oneonetwo (2011-12) 22'30
for piano in scordatura and percussion
sFr. 49.00
9101 Fritz Hauser: Die Welle (1986) 10'
for percussion ensemble (10 players)
sFr. 23.00
Listen: Youtube
9102 Fritz Hauser: zytraffer (1992) 8'
for percussion ensemble (7 players)
sFr. 31.00
9104 Fritz Hauser: double exposition (1996) 30'
for percussion quartet
sFr. 42.00
Listen: Youtube Youtube Youtube
9105 Fritz Hauser: Le souvenir (1997) 10'
for percussion quartet
sFr. 21.00
9106 Fritz Hauser: zytraffer zwei (1997) 8'
for percussion ensemble (8 players)
sFr. 34.00
9107 Fritz Hauser: nothing will ever change (1998) 5'
for percussion ensemble (10 players)
sFr. 16.00
9112 Fritz Hauser: Zeichnung (2002) 6'
Duo
for percussion
sFr. 13.00
9113 Fritz Hauser: As we are speaking (2004) 8'
for percussion quartet
sFr. 29.00
Listen: Youtube
11619 Michael Heisch: wechselspielwechsel I. "Fall" (2000) 12'
for organ and percussion
sFr. 47.00
11623 Michael Heisch: wechselspielwechsel II. "Fälle" (2001) 15'
for accordion and percussion
sFr. 57.00
After texts by Daniil Charms.

Listen: Youtube
11625 Michael Heisch: kitchen accidents (2002) 12'
for percussion quartet and speaker
sFr. 49.00
After texts by M. Vänçi Stirnemann.

9226 Michel Hostettler: Kaïros (1993) 6'
for clarinet (bass clarinet) and percussion (marimba, vibraphone)
sFr. 21.00
(Partie pour clarinette chez EMS: Sfr. 10.-; € 10.-)
Listen: Youtube
9254 Michel Hostettler: Ballade (2002) 9'
for horn and percussion
sFr. 39.00
(2 partitions et partie de cor)
15012 Martin Imholz: Motto (1999) 30"
for soprano, piano and large drum
sFr. 13.00
2203 Regina Irman: Speculum (1984) 15'
for four Eb clarinets, two percussion, sisyphus machine, mirrored scenery and coloured lighting
sFr. 34.00
The Sisyphus machine, mirror stage-layout and lighting can all be obtained on request. In the case of a version without these accessories the machine must be replaced by a running tape recorder.

2204 Regina Irman: Ein Trauermarsch (1987) 40'
After texts by Adolf Wölfli
for percussion trio and speaking voice
sFr. 65.00
Percussion set-up to include: Three pans, zinc bowl, water ladle, water gong, pedal timpani, Basel drum, military snare, piccolo snare, two wood-felt sets, ten cow bells, two tam tams, Peking opera gong, six cymbals, kazoo, vibraslap. The illogical and anti-perspectivist text, and a few Wölfli-like somisation fragments are formed and set to music in individual strata. These strata are laid one on top of the other in a collage, betraying Wolfli's frequent tendency towards queer folklorism. The timpani are the central and recurrent element throughout. Commissioned by the festival 'Tage für Neue Musik Zürich'.

2208 Regina Irman: Schwarzes Glück 2 (1990/01) 10'
for percussion quartet
sFr. 34.00
Percussion set-up to include: four piccolo snares, Basel drum, eight tom-toms, two bongos, conga, darbouka, two large frame drums, two bass drums, four pedal timpani, three woodblocks, temple block, large slit drum, two tam-tams, gong in c, four cymbals, three cowbells, large Japanese temple bell, brake drum, guiro, and other small percussion instruments (no melodic instruments). Two movements and an epilogue based on sections from the piano composition ‘Schwarzes Glück’. A rhythmical pulse and fine sounds predominate.

Listen: Youtube
2201 Regina Irman: Spiegeltanz (1993) 4'
for two recorders and one drum
sFr. 18.00
In cooperation with Dieter Jordi. Commissioned by Conrad Steinmann for the International Recorder Festival in Basel.

2211 Regina Irman: Wörter (1995) 10'
for saxophone ensemble (4s, 2a, 2bar) and one percussion
sFr. 34.00
This piece in five movements is derived from the same material as the vocal piece 'Requiem'. The sonogram of the same but differently pronounced words of a Russian text is processed in often very short sequences. With microtonal colouring. Commissioned by the City of Zurich.

Listen: 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.

2230 Regina Irman: Landschaften (2003) 12'
Five pieces
for percussion sextet
sFr. 49.00
1. Schneelandschaft 2. Eisblumen 3. Maschinenlandschaft, zerschnitten 4. Eisgitter, amorph 5. Maschinenlandschaft, rotierend

151127 Rudolf Jaggi: Im Santyhans (2011) 4' 30
for male choir T1T2B1B2 and four brass instrumentalists and timpani (2tpt in b/2tbn/3timp)
sFr. 23.00
(Stimmen: sFr. 29.-; € 22.-)
Texts: Martin J.P. Schwitter.

9313 Vladislav Jaros: CARMEN O CARMEN (1995) 24'
for 7 percussionists
sFr. 42.00
A symphony concertante in one movement with two themes from G.Bizet. A very effective and rewarding piece in which over thirty-five percussion instruments play. Polyrhythmic parts alternate with turbulent polyphony on the plate instruments, harmonic, multi tonal and rhythmic surprises, as well as a demanding drum solo part. A delicacy for every percussion ensemble and a chance to demonstrate virtuosity.

2507 Mischa Käser: einspruch (1990/91) 13'
for baritone, speaker, accordion, double bass, saxophone, percussion and a dance duo
sFr. 60.00
Texts: Thomas Huonker, Peter Zahl, everyday advertising and media language A piece requiring demanding rehearsals. The speaker should draw on his talent for rhythm. The sung sections can be performed by a tenor with a good lower register. Uses texts by Thomas Huonker, Peter Zahl, and newspaper cuttings.

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.

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

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

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.

2689 Max E. Keller: Dialogfelder (2000) 10'
for double bass and percussion
sFr. 18.00
The instruments form a dialogue on fields of varying length, either in harmony or in contrast; differentiated rubbing noises play an important part in the adaptation. The percussion uses only two toms, two bongos, a cymbal, a thunder sheet and two woodblocks.

Listen: Youtube Youtube
2690 Max E. Keller: insieme, a coppie, indipendente (2000) 11'
for four percussion instruments
sFr. 21.00
This work is composed of a series of seven basic, quasi-archetypal structures that are repeated varyingly and are up to four times superposed: roll, punctual field, fade outs, pulse etc..

Listen: Youtube
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…

26110 Max E. Keller: Graduale (2005) 4'
for mixed choir, clarinet in B ad libitum, and percussion (2 toms, 2 bongos, cymbals) ad libium
sFr. 18.00
(inklusive Klarinettenstimme)
Text: Silja Walter

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.

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.

26139 Max E. Keller: Gravuren (2010) 7'
for string quartet and percussion
sFr. 26.00
This composition is based on a process or a figurative concept: one or several lines are engraved into a surface, derived from the opposing string surface and percussion line. Surfaces and lines exist in the most varied of forms, colours, intensities and mutations thereof, and the contrast traverses various grades and forms. By utilising three cardboard boxes, the percussion section is also able to play flat rubbing noises that create an approximation of everyday sounds. The spectrum expands at various points throughout the work when totally different elements are suddenly introduced.

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.

19416 Burkhard Kinzler: Nürnberger Choräle (2012) 16'30
für Flöte, Klarinette, Saxophon, Posaune, Cello, Kontrabass, Percussion
sFr. 44.00
Zum 3. Teil der Clavierübung von Bach, alternierend aufzuführen; Luthers Katechismuslieder in modernen Bearbeitungen für Instrumentalensemble. - Kyrie Gott Vater (2') - Christe aller Welt Trost (3') - Kyrie Gott Heiliger Geist (2') - Allein Gott in der Höh sei Ehr (1'30'') - Dies sind die Heilgen zehn Gebot (1'30'') - Wir gläuben all an einen Gott (1'15'') - Vater unser im Himmelreich (1'30'') - Christ unser Herr zum Jordan kam (2'30'') - Aus tiefer Not (2') - Jesus Christus unser Heiland (1'15'') Separat (auch einzelne Choräle) aufführbar.

19410 Burkhard Kinzler: a curl (2013) 7'
für Stimme und Schlagzeug
sFr. 16.00
2808 Alfred Knüsel: de profundis (1992) 7'
for soprano, flute, violoncello, harpsichord, and percussion
sFr. 39.00
Text: Henriette Hardenberg Cycle of three songs.

2814 Alfred Knüsel: specularis (1993/94) 15'
for soprano, violin, two organs, and percussion (2-3 players)
sFr. 52.00
Texts: Clara of Assisi, Francis of Assisi, Bible / Liturgy Homage to Clara of Assisi. The soprano is expected to use her voice in a widely colourful manner.

2822 Alfred Knüsel: Untersuchung - das Hörbare und das Vermutbare (1996) 15'
for clarinet (Ebcl, bcl, bthn-f, bcl, cbcl-b), percussion instruments (2-4) and strings (4.2.2.1)
sFr. 39.00
2858 Alfred Knüsel: Katharsis I - III (1997)
for 5 flutists and percussion
sFr. 18.00
2820 Alfred Knüsel: ... und lässt in gewisser Weise Bindung hinter sich (1997) 14'
Collection of four ecclesiastical songs
for singing, keyboard instrument (organ) and percussion instrument ad lib.
sFr. 31.00
Text: André Duplain

2824 Alfred Knüsel: Frühling gestehen (1997) 23'
for singing voice, strings (1.1.1.1.1), flute and percussion
sFr. 47.00
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
2848 Alfred Knüsel: Detail (2003) 3'
for trumpet and percussion
sFr. 16.00
(Partitur und Stimme)
The middle section sits between rowdy sound and composed form.

2849 Alfred Knüsel: Abschied und Neubeginn (2003) 4'40
for trumpet and percussion
sFr. 16.00
(Partitur und Stimme)
2855 Alfred Knüsel: Lakonie (2004) 4'
for alto soprano and tam-tam
sFr. 16.00
2856 Alfred Knüsel: Gleichklang (2004) 5'
for soprano/alto saxophone and tam-tam
sFr. 16.00
2857 Alfred Knüsel: Chiffren (2004) 6'30
for soprano/alto saxophone and tam-tam
sFr. 18.00
2851 Alfred Knüsel: Cadenza I - IV (2006)
for double bass solo and percussion (large drum, cymbals, guiro)
sFr. 18.00
2854 Alfred Knüsel: ... Höchst gegenwärtig aufgeladen (2006) 4'20
for 5-6 tam-tams and chain
sFr. 13.00
2868 Alfred Knüsel: inmitten der Fülle das Verschwinden als verbindendes Element (2008) 8'40
for wind instruments (pic, fl, bcl, bn), string instruments (vn, db, hp) and percussion
sFr. 49.00
Listen: Youtube
2906 Josef Kost: Vesper (1994) 31'
for amateur choir, youth choir (both also speaking choirs), congregation, mezzo-soprano, baritone, liturgist, harp, organ and two percussion
sFr. 55.00
Texts: Bible / Liturgy A composition in various instrumental formations based on texts from Psalms and paraphrases on the subject of creation. Both the youth and amateur choirs are accompanied by the organ or percussion instruments; the singing congregation is accompanied by harp and drums, and the female and male cantor are accompanied by marimbaphone. Intermediate to difficult level. Liturgical duration: 60'

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.

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.

3124 Urban Mäder: Windstriche I (1998) 18'
for shakuhachi, string trio and percussion
sFr. 57.00
Fine, transparent sound piece using the Japanese Zen flute, the shakuhachi. An attempt to converge.

3128 Urban Mäder: orten (2000) 17'
for tenor recorder, viola, violoncello and percussion
sFr. 29.00
These three studies of intermediate difficulty are composed for a small yet highly resonant room.

3137 Urban Mäder: Ballast (2009) 12'
for flute, clarinet, violin, violoncello, piano and percussion
sFr. 42.00
Three movements: gestaut, dickflüssig, überschwappend.

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).

7107 Valentin Marti: Rainshadows (1996/99) 10'30
for bass clarinet, trombone, violoncello and percussion
sFr. 42.00
Shadowy diffused sounds are generated below the sound spectrum of the rainstick. Sounds which, the stronger and more corporeal they appear, the more fragile they really are. Requires three rainsticks. World premiere: 25.02.00 in Baden by the 'Ensemble Avance'.

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

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.

7127 Valentin Marti: Tempio in tre impressioni (2004) 8'30
for Rennaissance alto recorder and percussion
sFr. 21.00
'Tempio in tre impressioni' associates three imaginary encounters with the remains of the portico of a Doric temple, each from a different temporal perspective. The percussion consists of a 'Ching' (a Korean gong) or similar instrument, 2 templeblocks, a very high tambourine and a large framedrum. World premiere: 24.9.04 in Malans by opera strumental.

Listen: Youtube
9704 Hans-Jürg Meier: etwas quintlastig (1993) 6'
for recorder, bass clarinet, viola, violoncello and two percussionists
sFr. 13.00
The melody is expanded in a tower of quints. A row of variations in three parts where the melody sounds as a whole only in the second part. Conductor is of use.

9714 Hans-Jürg Meier: d'une autre vie (1996/97) 14'
for three percussionists
sFr. 29.00
Three parts: véhément / paralysé / -.

9711 Hans-Jürg Meier: par le murmure déchiré (1997/98) 16'
for soprano, three Renaissance recorders, percussion and recorded material
sFr. 34.00
Texts: Samuel Beckett Seven poems from the 'Mirlitonnades' by Samuel Beckett form the textual base of this piece.

9725 Hans-Jürg Meier: raum (1999/00) 18'
for percussion, tenor recorder, viola and violoncello
sFr. 47.00
A music that evolves in extended development, for a performance location with a lot of reverberation. An additional tone installation can sound simultaneously.

9742 Hans-Jürg Meier: apprendista stregone (mit flatterecho) (2007) 27'
for 3 small drums
sFr. 18.00
Spatial music for a courtyard with a very strong echo.

9745 Hans-Jürg Meier: Kringel Kreisel Kranz (2008) 8'
for 8 small drums
sFr. 18.00
(Stimmen beim Autor)
Rotary spatial composition. For students.

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

3407 Thomas K. J. Mejer: Amandla Awethu (1993) 21'
for 4 wandering percussionists
sFr. 49.00
A ring of instruments surrounds the audience. Four percussionists swap from one instrument to the next, accelerating as they do so, seeking the point at which tone and the power of rhythm meet.

3415 Thomas K. J. Mejer: Macula Matris (1995/96) 72'
for seven musicians (fl(pic,bfl,cbfl).cl(bcl,cbcl).bn(cbn)/tbn/hp/perc/vc), seven speakers and seven dancers.
sFr. 200.00
Texts: Hermann Berger, André Gide, Marisa Holder, Elfriede Jelinek, Milan Kundera, Irmgard Morgner, Karin Struck A stage work, somewhere between performance and installation.

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

9809 Laurent Mettraux: Exils, M. 484 (1994/97) 9'
for violin, violoncello and two percussionists
sFr. 31.00
Written in a non-traditional, but easily understandable notation. Mystery, parts of incantation with superposed tempi. The end is lyrical and nostalgic, the violin player leaves the concert hall while continuing to play.

15622 Martin Metzger: Du Doppelgänger (2001) 8'
for trumpet, alto saxophone, organ, glockenspiel, vibraphone, marimba and tubular bells (1 player)
sFr. 34.00
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.

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.

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.

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.

4002 Daniel Ott: im museum (1987) 45'
Musical theatre piece
for a group of children and piccolo, bass clarinet, tuba, accordion, mandolin (guitar), violin and four percussion instruments
sFr. 31.00
Texts: Folksong Can be played individually: ‘kinderspiele’ for 2 percussionists (glock.vib.cym) [2'] ‘le ranz des vaches’ for 6 tuned cow bells (f#+2,g2,d2,g#+3,a3,e4), one player [2']

4007 Daniel Ott: skizze - 7 1/2 bruchstücke (1992) 11'
Scenic composition
for bass clarinet, percussion and string trio
sFr. 23.00
A portrait study, ‘Bilderbogen’, developed from discussions with members of the ‘Ensemble Recherche’ concerning their relationship with their instruments; also available as a film version: ‘7 ½’ (together with Reinhard Manz) Distribution: Video-Genossenschaft Basel, Postfach 511, CH-4005 Basel.

4008 Daniel Ott: jammermusik (1993) 2'
for 6-12 players, variable instrumentation (obligatory drums, wind and accordion)
sFr. 13.00
Extract from a larger, open-air theatre composition.

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

4309 Ernst Pfiffner: "... da der Tod..." (1991/93) 25'
for monophonic choir, alto, orator, flute, English horn, viola, violoncello and small percussion
sFr. 55.00
Text: Karl Mittlinger and W.A. Mozart Work series A: Music for concerts.

4310 Ernst Pfiffner: "... ahnten sie nicht" (1992) 16'
for alto, flute, English horn, viola, violoncello, small percussion
sFr. 49.00
Text: Karl Mittlinger Work series A: Music for concerts.

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.

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.

10048 Kit Powell: Das Ausland (2003) 7'
for soprano, bass clarinet and percussion.
sFr. 31.00
(Stimmen: sFr. 42.-; € 32.-)
Setting of a short story by Jürg Schubiger.

10113 Marc-André Rappaz: Stances sur "La mort de Marie" (1992/93 (rev. 2000)) 8'
for two percussion and violin
sFr. 21.00
Based on 'Jamais la mort ne délira / Le noeud dont ta beauté me lie' by Ronsard. The second part is an improvisation over a group of short cells.

16002 Alex Rüedi: Sandsaaga (1996) 6'
for percussion ensemble (7 percussionists, 3 mallets, marimba, percussion, timpani, drumset)
sFr. 16.00
(Stimmen: sFr. 18.-; € 12.00)
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.-)
17708 Peter Schärli: Krieg I-IV (1998) 10'
for brass quintet (1.2.1.1), voice and timpani
sFr. 16.00
19107 Benedikt Wolfgang Schiefer: TRUO (2009) 10'
for e-guitar, baritone saxophone, percussion and live electronics
sFr. 18.00
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.

4534 Martin Schlumpf: Cumuli III (3-4-1-5-2 - Kapitel II im Buch der Proportionen) (1999) 20'
for flute, clarinet, soprano saxophone, trombone, electric piano (or piano), electric bass (or double bass) and percussion
sFr. 34.00
4612 Urs Peter Schneider: Hölzerner Himmel: Ohrwurm, Uhrwerk, Ehrwort (1976/79 (rev. 1993)) var.
for 8-32 strings, 8-32 percussionists and 8-32 speakers
sFr. 13.00
Three concept pieces for a semi-theatrical performance in purely verbal notation. Merry musical fairytale pieces created for children where each piece can also be performed singularly. Barely any technical difficulties but does require carefully controlled study of the tonal procedures. A stage director takes care of all the sensibly formed optical moments.

10207 Michael Schneider: Über verwunschenen Ebenen (1994/95) 7'
for chamber ensemble (0.1.1.1/1.0.0.0/1perc/2.1.1.1)
sFr. 34.00
This piece evokes, magical, mystical (sound) landscapes - mostly in space notation.

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!"

4801 Andreas Stahl: schneller werdender blues (1983/84) 30'
for flute, clarinet, violin, double bass, marimba, percussion and speaker
sFr. 47.00
Quasi-accompanied readings of texts by Robert Peterhans. Mini-overture; country life; city life (the eventful 80's); love; music.

4805 Andreas Stahl: sonette VIII und LXIV von shakespeare (1990) 18'
for altus, three recorders and percussion
sFr. 23.00
4807 Andreas Stahl: brudermord (1992) 7'20
for piccolo trumpet, Eb-trumpet, horn and three percussionists
sFr. 29.00
Short, fierce (also complex) cry out against equality in its handling of various aspects such as mankind, musical instruments, parameters, etc..

4808 Andreas Stahl: steinstück (1992) 12'
for three percussion and 12/11/10 stones
sFr. 21.00
Two versions: one is based on a sculpture by Heinz Häberli; it consists of twelve stone pillars (roughly life-size), amongst which the percussionists shuffle about while playing. The other version is played in any combination on any twelve stones, slabs, pipes, bricks etc.. With each performance of a series, one of the stones is destroyed, in this way a variety of interpretations is achieved.

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.

4814 Andreas Stahl: again, sam! (1998) 20'
for violoncello, double-bass, baritone saxophone, bass clarinet, two tenor-bass trombones and two percussion instruments
sFr. 47.00
An initial piece based on repetition presented in such a way that the repeated elements, located on many different levels, are not always immediately recognizable. This gives the impression of a loosely fabricated form. It is sonorously very soft with lots of sounds and lots of interlocking rhythms. Requires a conductor.

4837 Andreas Stahl: zeit.druck (4 skins) (2003) 19'
for four large drums with auxillary instruments (4 players)
sFr. 49.00
A permanent accellerando, an initial eight-bar metre is compressed into 2 1/4 notes at the end. Rather quiet - the membranes should be stroked rather than beaten. For the percussion art ensemble, Berne.

4901 Mathias Steinauer: * . *, op. 1.1 (1984) 8'
for xylophone, marimba and two musical boxes (total of 3 percussionists)
sFr. 23.00
An almost scenic confrontation: childlike, self-centred play contrasts with perfectionist, cold virtuosity. Music boxes are available on loan for the performance.

4915 Mathias Steinauer: AnDante, op. 1.2 (1985) 10'
for percussion trio and large electronic tape loop
sFr. 23.00
(Tonbandschlaufe leihweise)
4916 Mathias Steinauer: Musik in 5 Teilen, op. 2 (1986) 3'
for three violoncelli and two percussionists
sFr. 42.00
(Aufführungsmaterial leihweise)
A play with formal superimpositions.

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.

4908 Mathias Steinauer: Speculum sibyllinum, op. 9 (1992) 16'
for 6 voices (mezzo-soprano, altus, 2 tenors, baritone, bass), 5 recorder-players (div. instr.), 6 viola da gambas (2 disc, A, 2 T/B, violone in D) and two percussion instruments
sFr. 44.00
An adaptation of newly found manuscripts written by an anonymous twelfth-century composer in the Vatican, within which aspects of the whole of musical history are anticipated. Spatial music.

4911 Mathias Steinauer: Jahreszeiten ?, op. 11.3 (1995) 3'
for percussion trio resp. string trio
sFr. 13.00
Slightly scenic. For glockenspiel, three flexatones, wind machine, two tubular bells (d#''' - d#'''') and a wind wheel with remote control.

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

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
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
7701 Pierre Thoma: Ode à Chronos (1976) 10'
for 4 percussion instruments
sFr. 23.00
(Matériel: sFr. 30.-; € 30.-)
7704 Pierre Thoma: Musiques pour fifres et tambours (1984) 2'30
sFr. 16.00
7707 Pierre Thoma: Batterie Connection (1985) 2'
for marching band
sFr. 13.00
(Matériel: sFr. 12.-, € 12.-)
7717 Pierre Thoma: Drums (1991) 6'
for 7-10 young percussionists
sFr. 36.00
(Matériel: sFr. 38.-; € 38.-)
7722 Pierre Thoma: Déchirure (Alinnik) (1993) 6'
for flute and 2 percussion instruments
sFr. 42.00
5228 Balz Trümpy: Dionysos-Hymnen (2. Fassung) (version 2) (1986/88) 17'
for baritone, violoncello and percussion
sFr. 52.00
Based on ancient Greek texts from the hymns of Orpheus.

Listen: Youtube
5252 Balz Trümpy: Carmen Sibyllae (2003) 12'
for baritone and percussion
sFr. 31.00
After texts from the Sibylina Oracle. The simultaneously forboding yet salvational Sibylline Oracle in alternation between noise and exstatic song.

Listen: Youtube
5291 Balz Trümpy: Oracula Sibyllae (2008) 24'
for soprano, baritone, flute and percussion
sFr. 47.00
Nach Texten aus den "Oracula Sibyllina" und aus Vergils "Aeneis" (Bearbeitung von CARMEN SIBYLLAE und ORATIO SIBYLLAE). "Oracula Sibyllae" ist die Verbindung von zwei Werken, die sich mit den Sibyllen beschäftigen: Carmen Sibyllae für Bariton und Schlagzeug sowie Oratio Sibyllae für Sopran und Flöte. Die antiken Bücher "Oracula Sibyllina" enthalten die Weissagungen der von göttlichen Kräften überwältigten Seherin Sibylle, die meist unerwünschte und unheilvolle Prophezeiungen hervorstösst.

5280 Balz Trümpy: Komm, o Tod, du Schlafes Bruder (2012) 6'
for mixed choir, violin and 4 tom toms
sFr. 29.00
After a choral melody by Johannes Crüger and a Teton Sioux melody. A Baroque longing for death vis-a-vis the Teton Sioux's unconditional will to live.

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.

10702 De-Qing Wen: Distance (1992) 14'40
for mezzo-soprano, tenor, 12 female voices and 3 percussionists
sFr. 26.00
Text: four ancient Chinese poems. The female chorus is dispersed in four groups located on each side of the audience; each chorus-singer also plays a percussion instrument. The soloists on stage create a feeling of distance.

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.

10704 De-Qing Wen: Complainte (1994) 13'
for one reciter of Peking opera and 3 percussionists
sFr. 23.00
I chose unusual percussion instruments on purpose because these objects are part of our everyday life, yet their sound is rarely heard in concert halls. Some instruments and tones have symbolic meanings. Because there is no set pitch, rhythmic organization is of the utmost importance.

Listen: Youtube
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.

10718 De-Qing Wen: Soliloqui (2000) 5'
Trio
for twelve crystal glasses
sFr. 13.00
10728 De-Qing Wen: Les saules ne se plaignent pas aux sons de la flûte (2002) 6'
for xiao (chinese flute) (or flute), bottles, crystal glasses and percussion (14 players)
sFr. 31.00
18110 Lars Werdenberg: Manoeuvers (2011) 6'
for flute, piano and percussion
sFr. 23.00
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
78106 Hansruedi Willisegger: Bitte, Lob und Dank (1973) 12'
for cantor, three sopranos, mixed choir, congregation, three speakers, three flutes, violoncello, double bass and bongos
sFr. 18.00
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.

5803 René Wohlhauser: Schlagzeugtrio (percussion trio) (1984/85) 9'
Ergon 10
for 3 percussionists
sFr. 60.00
Polyphonic time levels shifting within the area of tension which exists between determination and indetermination act as a multi-dimensional rhizome-Labyrinth without centre, periphery or exit and therefore potentially eternal. Based on Gilles Deleuze.

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.

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
18904 Andreas Zurbriggen: ... Mond Traum ... ich hör Sand und Steine weinen… (2009)
for soprano, violoncello and percussion (vibraphone / percussion - 1 player)
sFr. 21.00
Texts: Rose Ausländer

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
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.


Percussion with orchestra
6604 Alfred Felder: Im See ist Feuer (1990/97) 30'
Music
for violin, viooloncello and orchestra
sFr. 49.00
Double concert; scored for orchestra: strings and two percussionists. "The fire below and the sea above battle and defeat one another…" from the symbol GO out of the Chinese oracle book I Ging.

6107 Josef Haselbach: Prélude (1979) 12'
for large orchestra (3.2.ca.2.2/4.0.0.0/2hp/str) and two percussion
sFr. 49.00
Melody and counter-melody. A piece rich in contrast and full of distinguished sounds.

9303 Vladislav Jaros: Sinfonie für Streicher und Schlagzeug (symphony for strings and percussion) (1986) 25'
(8.8.4.4/4perc)
sFr. 57.00
A rewarding piece, effective and relatively accessible to the public.

2839 Alfred Knüsel: Drei Konzertante Stücke: 1. Spielplan (three concertante pieces: 1. Spielplan) (1997) 6'
for violin solo, strings and percussion
sFr. 34.00
(3 konzertante Stücke: sFr. 48.-; € 48.-)
It is possible to perform the ‘three concertante pieces’ separately but they are also meant as a cycle with the following order: ‘Spielplan’ - ‘Schwebende Zentren’ - ‘Wendepunkt’ where a movement from J.H.F. Bibers ‘Mysterien-Sonaten’ or J.S. Bach's ‘Sonaten und Partite’ is interposed between ‘Spielplan’ and ‘Schwebende Zentren’ and ‘Schwebende Zentren’ and ‘Wendepunkt’.

Listen: Youtube
2840 Alfred Knüsel: Drei Konzertante Stücke: 2. Schwebende Zentren (three concertante pieces: 2. Schwebende Zentren) (1997) 6'
for violin solo, strings and percussion
sFr. 21.00
(3 konzertante Stücke: sFr. 48.-; € 48.-)
It is possible to perform the ‘three concertante pieces’ separately but they are also meant as a cycle with the following order: ‘Spielplan’ - ‘Schwebende Zentren’ - ‘Wendepunkt’ where a movement from J.H.F. Bibers ‘Mysterien-Sonaten’ or J.S. Bach's ‘Sonaten und Partite’ is interposed between ‘Spielplan’ and ‘Schwebende Zentren’ and ‘Schwebende Zentren’ and ‘Wendepunkt’.

Listen: Youtube
2841 Alfred Knüsel: Drei Konzertante Stücke: 3. Wendepunkt (three concertante pieces: 3. Wendepunkt) (1997) 6'
for violin solo, strings and percussion
sFr. 29.00
(3 konzertante Stücke: sFr. 48.-; € 48.-)
It is possible to perform the ‘three concertante pieces’ separately but they are also meant as a cycle with the following order: ‘Spielplan’ - ‘Schwebende Zentren’ - ‘Wendepunkt’ where a movement from J.H.F. Bibers ‘Mysterien-Sonaten’ or J.S. Bach's ‘Sonaten und Partite’ is interposed between ‘Spielplan’ and ‘Schwebende Zentren’ and ‘Schwebende Zentren’ and ‘Wendepunkt’.

Listen: Youtube Youtube
2832 Alfred Knüsel: Fragmente I-IV (2000) 15'
for strings (1.1.1.1.2) and percussion
sFr. 47.00
Four short, contrasting pieces as a discourse on the archaic communication forms like the refrain forms, antiphonal singing or the repetition form.

2860 Alfred Knüsel: trotz ständigem Wechsel in immer derselben Rolle (2001/06) 18'
Nine variations
for trumpet solo, string orchestra and percussion
sFr. 42.00
4302 Ernst Pfiffner: Componimento (1974/76) 20'
for organ, strings (min. 12.12.10.8.6) and four percussion instruments
sFr. 55.00
The title comes from Gottlieb Muffat’s (1690-1770) ‘Componimenti Musicale’. In this piece two rather contrasting movements are set against each other (chamber musical registration and ‘Pleno’ effects, combine agile percussion and string figuration with long held single notes with chords, strict structures with improvisatory elements, and various blends of organ and orchestral sound). Work series A: Music for concerts.

Listen: Youtube
4321 Ernst Pfiffner: Cambiamenti concertanti (1981/83) 16'
for oboe, string orchestra (6.6.5.4.3) 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
10023 Kit Powell: Boundaries (1997) 17'
for two string orchestras and percussion
sFr. 91.00
(Material bei SME/EMS leihweise)
Stereophonic work for two amateur orchestras and one percussionist.

10025 Kit Powell: Percussion Concerto (1998) 21'
for five percussionists and orchestra (1.1.1.1/1.1.1.0/str)
sFr. 99.00
A work in three movements for an amateur orchestra.

4505 Martin Schlumpf: Ostinato I (1980) 31'
for three improvising musicians (any instruments), string orchestra and harpsichord
sFr. 34.00
The improvised part is composed for wind instruments, double bass and drums but can just as easily be realised using other instruments.

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

17514 Raymond Vauterin: In Memoriam (1987) 10'
for string orchestra and timpani
sFr. 57.00
17543 Raymond Vauterin: Fugato (2007) 5'
for string orchestra and 6 timpani
sFr. 36.00
17654 Stefan Werren: Mantra (2002) 11'
for cello solo, strings and percussion (2 players)
sFr. 34.00
7818 Hansruedi Willisegger: Suite über "Wenn alle Brünnlein fliessen" (1960) 23'
for piano, trumpet, horn, percussion and string orchestra
sFr. 39.00
78103 Hansruedi Willisegger: Lazarus: Musik für einen Gottesdienst (1969) 29'
for baritone solo, congregation, flute, trumpet, percussion and strings
sFr. 39.00

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