Symphony orchestra


solo
0227 Walter Baer: Ouvertüre für ein ungewisses Ereignis (1995) 15'
for large orchestra (pic.2.2.ca.2.bcl.2.cbn/4.3.3.cbtba/perc.timp/2hp/str)
sFr. 44.00
(Orchester-Leihmaterial beim Komponisten)
A piece for the fictive re-opening of the bricked-up Golden Gate in Jerusalem. This gate plays a different role in the myths of Christianity, Judaism and Islam.

0254 Walter Baer: Ushuaia (2006/07) 15'30
Himno por la Paz
für Symphonieorchester (2,2,2,2 - 4,2,3,1 - Pk, Schlgz - Str)
sFr. 47.00
(Partitur)
Multi-part, single-movement piece.

8405 Felix Baumann: Monolith (1993) 10'
für Orchester (2,2,2,2- 2,2,2,0- Schlgz(3)- 5,5,5,5,3)
sFr. 34.00
This whole five-part piece is developed from a pentatonic core group.

8455 Felix Baumann: Schimmer (2012) 16'
for large orchestra (3.2.3.2/4.2.3.1/timp.2perc/hp/16.14.12.10.8)
sFr. 55.00
In "Schimmer" wird das Ohr einer vordergründigen Reizarmut ausgesetzt, um das Hören mittels Dehnvorgängen zu beleben. Dabei kreist das kompositorische Denken um Fragen, was es braucht, damit Musik greift und Resonanz erzeugt.

8524 Thüring Bräm: Florestan und Eusebius (1997/98) 16'
for orchestra (3.3(poss.4).3.3(poss.4)/4.2.2.0/timp.2perc.echopiano.cymbalom/hp/str)
sFr. 42.00
Commissioned by the Basel Academy of Music. Variations on the choral from the ‘Album für die Jugend’ by Robert Schumann. This piece is relatively simple on the technical side and achieves differentiated sound effects through a spatial distribution of groups.

14307 Felix Falkner: Cendres (1996) 15'
for orchestra (2.2(ca).2.2(cbn)/2.2.0.0/timp.perc/pf/8.6.4.4.3)
sFr. 57.00
Listen: Youtube
6614 Alfred Felder: Elemente - 4 Tonbilder für Orchester (1999) 35'
(2.2.2.2/2.2.1.0/3perc/str)
sFr. 49.00
(Material und CD beim Komponisten)
Walking in the Paths of the Warrior (Feuer) Teacher (Wasser) Visionary (Luft) Healer (Erde).

1106 Jürg Frey: Orchester I (1986) 18'
(3(2pic).3.3(bcl).2/3.2.3.1/vib.cel.hp/str)
sFr. 26.00
The orchestra is used throughout in a chamber music fashion.

1107 Jürg Frey: A Few Rooms Around Town (1988) 16'
for orchestra (2.2.2.2/2.2.0.0/timp/str)
sFr. 29.00
What did he leave us? A few poems, a few drinks, a few rooms around town, a few friends (Morton Feldman on Frank O'Hara). The piece pays tribute to the mutual affection and rapport between these two men.

1177 Jürg Frey: In memoriam Ludwig Hohl (1978/92) 4'
for orchestra (3(1pic).2.3(1bcl).3(1cbn)/4.2.3.1/perc/str)
sFr. 16.00
6720 Hans Eugen Frischknecht: Farben (1978) 15'
for symphony orchestra (3.3.3.3/4.3.3.0/hp/4perc/str)
sFr. 31.00
(Stimmenmaterial bei SME)
The title relates partly to the timbre of the individual instruments (they remain side by side largely unmixed) and partly to the multifaceted 'colours' audible in the chords.

1476 Eric Gaudibert: Hommage(s) à... (1985) 1'40
Short piece
for orchestra (2.2.2.2./2.2.0.0/perc/pf/str)
sFr. 16.00
A piece for the 80th birthday of Paul Sacher. The symbolic 'S' appears in the notation of the wind instruments. Quotations of works commissioned by Sacher can be heard in the strings.

1478 Eric Gaudibert: Mélodie sans fin (1992) 4'
for orchestra (2(2.pic)2.2.2/2.2.2.0/timp.perc/str)
sFr. 29.00
Homage to Armin Jordan on his 60th birthday, composed with quotations of works from the 19th and 20th centuries.

1501 Eliane Frances George: On the Eighth Day... (1987) 10'25
Sympjonic poem
for orchestra (pic.2.2.ca.2.bcl.2.cbn/4.3.3.btbn.0/timp.1perc/str)
sFr. 42.00
Our life experience constitutes the eighth day. The discovery and expression of our strengths and the acceptance of our joys and sorrows are the building blocks for our eighth day, our myths, and our individual life histories.

9023 Edu Haubensak: KurvenKonturenFiguren (1985/91) 26'
Composition
for orchestra (I-III)
sFr. 68.00
Listen: Youtube
11609 Michael Heisch: Orchesterbearbeitungen nach 4 Klavierstücken von Franz Liszt (orchestral adaptation after 4 pieces by Franz Liszt) (1997) 12'
for orchestra (pic.2.2.ca.2.2(bcl)/2.2.2.1(btba)/1perc/hp.gtr.man.cel/str)
sFr. 44.00
Am Grabe Richard Wagners Caroussel de Madame P-N Resignazione Trübe Wolken - Nuages gris

1907 Francesco Hoch: Il mattino dopo (1986) 11'
for orchestra (2.2.2.0/3.2.0.0/1perc/str)
sFr. 42.00
Listen: Youtube
15188 Rudolf Jaggi: Partita (1977) 15'30
3 movements
for large orchestra (2(2pic).2.2.1/2.2.2.1/4perc/hp/str)
sFr. 47.00
9316 Vladislav Jaros: Instrumentenkarussel (Instrumentenführer für junge Leute) (1992) 4'
for large orchestra
sFr. 23.00
Comical variations on two Swiss folk song themes for diverse instrumental groups, sometimes playing register-like and sometimes as a whole orchestra. Medium level of difficulty, can also be played relatively easily by a student or amateur orchestra.

9327 Vladislav Jaros: Drei Fugen (three fugues) (2005) 10'
for orchestra (2.2.2cl-B.2/2hn-F.2tpt-B/2perc/strquintet)
sFr. 60.00
Two slow outer movements, deep-rooted with partly sad, partly emphatic expression. The middle part, in contrast, is a lively, wild music with an almost over-the-top existence. Postmodern, harmonic structure: extended tonality and free atonality.

9330 Vladislav Jaros: Burgfest-Suite (2005) 16'
for orchestra (2.2.2cl-B.2/2hn-F.2tpt-B/3perc/harp/strquartet)
sFr. 99.00
Seven pictures (character pieces) from 'Das Burgfest' (a musical fairytale for children set for speaker and orchestra). Full of colours and surprises, accessible and easy to play. Postmodern, extended tonality, partly 10-tone structures.

9343 Vladislav Jaros: Fünf Gedichte (five poems) (2008) 17'
for orchestra (2.2.ca.2.2/2.2.1.0/4perc/hp/str)
sFr. 65.00
Easily accessible character pieces with a very dense atmospheric and emotional content. Tonality, bitonality and quintal harmony.

2691 Max E. Keller: 25/250.orch (2000) 11'
for symphony orchestra (2.2.2(bcl).2/4.2.1.0/timp.perc/8.6.4.4.2)
sFr. 47.00
The regular beat is one initial point of departure, on the one hand side, as a reference to the 'Winterthurer Musikfestwochen', a 25 year-young rock and pop festival and on the other, a reference to J.S Bach who died 250 years ago. The second point of departure is the fugal principle, in this instance, however, the fugal theme consists not of single tones but of total structures: clusters, sound surfaces, figures, punctual fields etc..

2694 Max E. Keller: tenuto, battuto, fulminante (2001) 14'
for symphony orchestra (3.3.3(3, bcl).3(3, cbcl)/4.3.3(3, btbn).1/3perc/min.10.min.8.6.6.4)
sFr. 52.00
This work centres on the pulse and the tension between it and its opposite: sustained tone or sound. Both poles of the musical process are shaped with a maximum colour and tonal spectrum. A third basic element is brisk, loud walking movements, which fly down unexpectedly like a bolt from the blue. Commissioned by the ‘Aargauer Kuratorium’ for the ‘Tonhalle-Orchester Zürich’.

2803 Alfred Knüsel: Synchron (1991) 8'
for orchestra (pic.1.1.ca.1.acl-f.bthn.bcl.1/1.1.tbn-c.tba-c/3-4perc/str)
sFr. 18.00
Several time phases blend together to form a whole.

2806 Alfred Knüsel: Geschichtsklitterung als Rezitativ und Arie (1992) 12'
for orchestra (pic.1.1.ca.1.bcl.1/1.1.1.tb-c/3perc/org.cel/str)
sFr. 44.00
Stories of everyday life. This fantastic bazaar of sounds is set in a hermetic sound world.

2834 Alfred Knüsel: Passagen-Kammern (2000) 28'
for orchestra groups (2.1.1.1/2.1.1.1/perc/pf/str)
sFr. 114.00
A collection of non-cyclic orchestral pieces.

3101 Urban Mäder: Spuren ... Furchen (1987) 17'
for orchestra (2(pic).2(ca).2(bcl).2(cbn)/2.2.1.0/2perc/14.4.4.2)
sFr. 47.00
Searching for the subtlest sound track, fearful eruption, internalised epilogue.

18203 Cécile Marti: Bubble Trip (2004/07) 12'
Orchestral study
for large orchestra (3(pic, afl).2.3(bcl).3(cbn)/2.2.2.0/3perc/10.8.6.6.4)
sFr. 57.00
18209 Cécile Marti: wave trip (2011) 16'
for orchestra (3.2.3.2/2.2.2.0/3perc/10.8.6.6.4)
sFr. 55.00
"wave trip" is the final piece of a four-part cycle. Two orchestral pieces frame a violin concert and a piece for solo violin. wave trip refers on the one hand to the first orchestral work, from which mainly gestural elements are extracted and continued. The focus here is on the wave-like continuation gesture of the music. On the other hand, this piece attaches itself to the violin concert and the violin solo, from which sound elements are extracted and further developed in wave trip. The focus here is a central sound which characterises the whole of the violin concert. Two intervals (thirds and quints) are extracted from this sound and used in wave trip as the basis for new development possibilities. Thus the piece begins with the development of a third, which undergoes lineal absorbtion into a dense mesh of sound texture before re-emerging as a pure third. The fifth sound appears with a preference for the register nuances of the brass section, which is guided mainly by a duet but also once by a quartet. In the 2nd half of the piece, the strings for example, form a melodic structure comprised mainly of thirds, the vertical sound structure is, however, composed of fifths. Furthermore, veil-like.

7121 Valentin Marti: Blendung (2001) 16'30
for a large orchestra (3.3.3.3/4.3.3.1/5perc/pf.hp/14.12.10.8.6)
sFr. 57.00
Three movements attacca: I nebel; (haze) II schleier; (mist) III blendung (glare). The simple basic idea of ‘Blendung’ is the process of constant accentuation in the musical course of action, to lurid density during the third movement. World premiere: 26.04.02 in Berne by the Berne Symphony Orchestra under the direction of D. Kitajenko.

9912 Maria A. Niederberger: Towards the Sound of River Aa (Dem Klang der Aa entgegen) (1996) 4'30
for symphony orchestra (2(pic).2.2.1.cbn/4.2.2.btbn.0/timp.2perc/hp.pf/str)
sFr. 49.00
4303 Ernst Pfiffner: Sinfonia (1978/81) 17'
for orchestra (3(afl-g,pic).3(ca).3cl-a(bcl).3(cbn)/4.3.3.1/4perc/hp.cel.pf/12.10.7.6.4)
sFr. 55.00
Movement order: "In Catene - in Fuga - In Scioglimento". In a self-explanatory way, the title and movement order show that the piece does not try to follow classical and romantic form, even if it makes use of a large orchestral setting. The movement titles are merely a starting point for the compositional process, not a programme. In the final movement a theme from a motet by Felice Anerio (1560-1614) is re-worked and a Gregorian melody incorporated. Work series A: Music for concerts.

10046 Kit Powell: Rothko Variations (2005) 17'
for Orchestra (3,3,3,3 - 4,3,3,1 - Timp, Xyl, Perc(2), Harp, Piano - Strings)
sFr. 73.00
(Stimmen: sFr. 160; € 120.-)
4 Variations with 3 Interludes, inspired by the pictures of Marc Rothko.

10124 Marc-André Rappaz: Dialogues pour Orchestre (2000) 15'
(4.3.3.3/4.4.3.1/4perc/hp/14.12.10.8.6)
sFr. 57.00
This work is inspired by the promenades and talks in the gardens of Jinan, capital of the Chinese province Shandong. This is especially apparent in the pianissimi and the big divisi of the strings and sounds and its alternating impression.

10210 Michael Schneider: Laufen auf dünnem Eis (1992/96) 7'
for orchestra (pic.2.1.ca.2.1.cbn/4.2.3.1/1perc/str)
sFr. 36.00
Dynamic with contrasting blocks of sound in the orchestration and short intermezzi with transparent melodic fragments shining through.

10304 Henri Scolari: Polythème pour grand orchestre (1979/80) 23'
(pic.2.2.ca.2.bcl.cbn/4.4.3.1/timp.vib.2perc/str)
sFr. 88.00
A professional orchestra will encounter no particular difficulties here.

16621 Bernhard Sieber: Il Fumatore (1959/82) 8'
Symphonic movement over an Italian folksong
for orchestra (2(pic).2.2.2/4.2.3.1/timp/str)
sFr. 47.00
Reworking of ‘Variationen und Fantasie’ from 1959.

16703 Christian Siegmann: Omnia ab uno (1999) 29'
for orchestra (2.2.2.2/4.2.1.0/perc/str)
sFr. 148.00
4813 Andreas Stahl: bei den dingen (1995/96) 15'
for orchestra (2.2.2.2.sx/3.2.2.2/3perc/hp.pf.acn/18.8.5.4)
sFr. 52.00
A spatially distributed orchestra, with ever changing group assemblage, which (independent of the conductor) moves between individual solo and various tutti-attempts. Critical questions of identity, individuality, coherence and unity are central in this composition.

4833 Andreas Stahl: aussagen über einen realen gegenstand (2000) 5'
for orchestra (2.2.2.2/2.2.0.0/1perc/8.6.4.4.3)
sFr. 29.00
Initially planned as a constituent piece of a ballet, this piece accentuates the rhythmical arrangement of time and highlights the first violin and the percussion line as soloists.

17113 Bruno Stöckli: Notizen zu Anna Magdalena Bach (2010) 15'
for split orchestra (2.2.bcl.1/2.0.0.0/hpd/str)
sFr. 55.00
5013 Peter Streiff: Zeichen und Gebärden (1990) 10'
Orchestral sounds in six parts
(2.2.2.2/2.2.2.1/timp/str)
sFr. 47.00
Written for Toni Mummenthaler and the ‘Bern Mediziner Orchestra’. The six parts vary in character from full orchestra tutti to delicate chamber music. Created for a very good amateur orchestra.

5241 Balz Trümpy: Zwei Stücke für Orchester (two pieces for orchestra) (1998) 25'
(3.3.3.3/4.3.3.1/cel.hp/timp.3perc/12.10.8.10.6)
sFr. 88.00
1. Aufschwung 2. Abgesang

Listen: Youtube
5259 Balz Trümpy: Proteus (2006/07) 14'
for symphonic orchestra (2(pic).2.2(bcl).2/2.2.0.0/timp/12.10.8.6.4)
sFr. 75.00
Listen: Youtube
5271 Balz Trümpy: Verstreute Blätter (2009) 14'
Eight pieces from the piano cycle 'Im Labyrinth' scored for orchestra
for symphony orchestra (pic.2.2.3.2/4.0.0.0/hp.perc/str)
sFr. 52.00
These eight short pieces are orchestrations from the piano cycle 'Im Labyrinth'. This collection, similar in form to Schumann's Album for the Young, contains 21 piano pieces of varying degrees of dificulty. The titles can be understood as romantic miniatures even though they are written in a contemporary musical language.

10743 De-Qing Wen: Zheng (In Competition) (2008) 9'
Concertino
for orchestra (2.2.2.2/2.1.0.0/perc/8.7.6.4.2)
sFr. 44.00
(Stimmen: sFr. 90.-)
Inspired by the Chinese translation for the theme "in competition". I composed this concertino, commissioned by the Young •Euro •Classic •Festival Orchestra with the theme "In Competition" . This theme, though exactly appropriate for the spirit of the Olympic Games, posed a really tough task in music, for it is impossible to evaluate music works through competition. But inspired by the sound of the character "zheng" in the Chinese translation for "In Competition", I associated the theme with the Chinese instrument Zheng, a zither with 25 strings, because the two characters share the same sound in Chinese, and came up with the idea of composing a Zheng concerto in respect that concertos imply competition between the solo instrument and the orchestra. Unfortunately this idea was rejected by the commissioner for the sake of a solo instrument not included in the budget. With no alternatives, I composed this Zheng concertino without a Zheng by imposing some unique features of Zheng, like plucking, arpeggio, glissando, and grace notes, on all the instruments. To my great joy, it not only produced a strikingly fresh orchestra sound effect, which is totally different from any other orchestral music works of my own, but also gave me a new train of thoughts to combine western and eastern music styles, for which I owed my hearty gratitude to the music theme commissioned by the Young •Euro •Classic •Festival Orchestra and ist demanding restrictions.

10746 De-Qing Wen: Daybreak (2011) 11'
for large orchestra (3.3.3.3, 4.3.3.1, 3perc, 1harp, 14.12.10.8.6)
sFr. 55.00
With the title "Daybreak", we needn't any specification for the piece in the concert program as the title explains itself explicitly.

10747 De-Qing Wen: An Ear to Flowers (2012) 13'
for large orchestra (3.3.3.3/4.3.3.1/4perc/hp/str)
sFr. 60.00
One day, Wendy, my three-year-old daughter, came to me and said, "Daddy, I was listening to the sound of flowers"and I was really astonished by her poetic language. I know she is fond of flowers but what I don't know is that she has a potentiality to be brought out as an obscure poet. Then I asked, "How is the sound like?" She sang, "Do----". I couldn't believe my years that I asked her repeatedly and there came the same answer as before. That touched off a train of my thoughts and I wrote this new piece by using the technique of distorting the spectrum based on note C and E as well as interpolation. And I decided the copyright of this piece is reserved for myself and its author royalties go to my daughter. This piece was commissioned by "Hu Jingmin" Contemporary Music Foundation.

10748 De-Qing Wen: Love Song and River Chant (2006/14) 9'
für Orchester (Picc,2,3,3,3 - 4,3,3,1 - Schlgz(3), Hfe - Streicher)
sFr. 44.00
(Stimmen: sFr. 150)
Für einen Chinesischen Komponisten ist die pentatonische Musik ein Joch. Ich will es abschütteln und dennoch ein paar Spuren davon behalten. Das erste Lied basiert auf dem Volkslied "Small Road". Das Originallied ist von einer tiefen Hilflosigkeit geprägt. Die Melodie ist stetig absteigend und widerspiegelt so perfekt die Aussage des Textes. In der Vergangenheit war die Liebe zwischen jungen Menschen in China ein Tabu. Das zweite Lied habe ich selbst komponiert - es imitiert den Stil eines Flussgesangs. Das Lied beschwört die immense Kraft, die für diese Arbeit benötigt wird.

10749 De-Qing Wen: Nostalgia (2014) 8'
Version for orchestra (3.2.3.2/4.2.3.1/4perc/pf.hp/str)
sFr. 42.00
10750 De-Qing Wen: Fantasia of the Peony Pavilion (2013) 17'
for orchestra (3.3.3.3/4.3.3.1/4perc/hp/14.12.10.8.6)
sFr. 65.00
I can safely say "The Peony Pavilion", a Kun Opera by Tang Xianzu, is the most audacious play in the Chinese opera history for trying to smash the bonds of feudal ethics by glorifying a brave pursuit of love. Picking up the pitch materials from one measure of this opera and the elements of Luogu Jing, a Chinese traditional vocal notation for percussion, I hope this piece would serve as a grand respect for Tang Xianzu through weaving an adventurous but organic fabric of heaven and hell, man and ghost, love and lust, dream and reality, merit and demerit as well as tranquility and bustle, just like a reflection in a mirror.

18104 Lars Werdenberg: fall up - climb down (2005) 10'
for chamber orchestra (1.1.1.1/1.1.1.0/2perc/1.1.1.1.1) or orchestra (1.1.1.1/1.1.1.0/2perc/8.8.6.4.2)
sFr. 57.00
The strings can be set soloistically.

Listen: Youtube
7827 Hansruedi Willisegger: Gesang an die Sonne (1969) 15'
for orchestra (3.3.3.3/4.3.3.1/3perc/hp/cel/str)
sFr. 42.00
5840 René Wohlhauser: Fragmente (1979) 10'
Ergon 6
for orchestra (3(3pic).2(2.ca).3(3.bcl).2/2.2.2.0/3perc/hp.pf/12.12.8.8.4)
sFr. 55.00
Eleven elaborated compositional ideas in the realm of sound surfaces and sound-combinations are in a field of conflict between static and dynamic. The atmosphere is inspired by the unrolling of Ariadnes thread from the cave allegory by Plato, the imaginary land of Uqbar by Borges and "schwarze Milch der Frühe" - the first line of a poem by Paul Celan.

5811 René Wohlhauser: in statu mutandi (1991/93) 8'
Ergon 19
for orchestra (afl.bfl.ob.ca.bcl.cbcl.bn.cbn/3.2.2.1/2perc/8.6.4.4.2)
sFr. 39.00
Almost in the spirit of the fast growing theory of complex, physical conditions, a stubborn dialectic between chaos and order which touches on the experience of the perception of the transition between stillness, noise and an unstable developing microtonal area.

Listen: Youtube

Symphony orchestra with instruments
9353 Vladislav Jaros: Hommage à Francisco Tàrrega (2010) 10'
3 songs
for mezzo-soprano and orchestra (1.1.1.0/gtr/str)
sFr. 62.00
Texts: Vladislav Jaros Instrumentation: 1. Dreams: fl, ob, mezzo, gtr, str 2. Recuerdos de la Alhambra: mezzo, gtr, str 3. Tears: fl, ob, kl, mezzo, gtr, str The composer has written an English text and a melodie to the well-known pieces by Francisco Tàrrega and intrumented the pieces for chamber orchestra. In he orchestral version, the music of Francisco Tàrrega sounds in an unknown colour, intensity and musical quality that must be heard.


Symphony orchestra with orchestra
8309 Dieter Ammann: Under Pressure (1996/97) 16'
for tenor saxophone and orchetsra (3(1.pic).3.ca.3(1.bcl).2.cbn/4.3.2.btbn.0/2-3perc/hp/min8.6.4.4.2)
sFr. 44.00
0209 Walter Baer: Konzert für Violine und Orchester (concert for violin and orchestra) (1987) 17'40
(2.2.2.2/2.2.1.0/hp/timp/str)
sFr. 62.00
(Violinstimme bei SME: Sfr. 12.-; € 8.00)
The violin concerto succeeds thanks to its sonorous and atmospheric sound world, and without a need to rely on traditional forms and structures.

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

0507 Nicolas Bolens: "... Et derrière moi marchent les étoiles." (1996) 20'
for violin and symphony orchestra (3(2 pic).3(ca).3(bcl).3(cbn)/4.3.3.1/3perc/hp.pf/10.8.6.5.4)
sFr. 57.00
A work in three movements, written for the Tibor Varga Competition in 1996. Notation is traditional. The soloist's part contains a few cadenzas, which are written without bar lines.

0513 Nicolas Bolens: Once Asleep (1997) 8'
for choir, soloists (Soprano, Baritone) and orchestra (0.0.2.2/0.2.0.0/str)
sFr. 26.00
Based the sonnet 154 by William Shakespeare.

8523 Thüring Bräm: 5 Eichendorff-Lieder (1996) 16'
for solo voice (T possibly S) and orchestra (2.2.2.2/4.2.3.1/ timp.2perc/str)
sFr. 49.00
Texts: Josef Freiherr von Eichendorff Written for the 1000-year anniversary of the city of Danzig. A representation of five poems by the romantic poet Josef Freiherr von Eichendorff for high voice (tenor, soprano) and orchestra with transparent texture.Todeslust - Im Alter - Die Zeit geht schnell - Memento - In Danzig.

11924 Claude Ferrier: La Croix du Sud (2000) 11'
for violin and orchestra (2(pic).1.ca.2(cbl).2(cbn)/1.1.1.0/timp.2perc/cel.hp/str)
sFr. 52.00
(Réduction pour violon et piano: sFr. 20.-; € 20.-)
6721 Hans Eugen Frischknecht: Orgorchestra (1990) 17'
for organ and orchestra (2.2.2.2/2.2.2.0/2perc/str)
sFr. 52.00
(Stimmenmaterial bei SME)
The organ and orchestra are equal concerting partners in this piece. An amateur orchestra can tackle the orchestral part but the organ, with its two large-scale cadenzas, requires an experienced organist.

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.

9220 Michel Hostettler: Diptyque (1991) 17'
for violin and orchestra
sFr. 60.00
(Parties en vente chez EMS)
9273 Michel Hostettler: Pièce concertante (1978) 6'
for trumpet and orchestra (2,1,2,1 - 2,1,0,0 - perc, pno - str)
sFr. 44.00
151119 Rudolf Jaggi: Menschwerdung (2008) 27'
Christmas cantata
for tenor solo, choir (SATB) and orchestra
sFr. 88.00
(Stimmen: SME sFr. 62.-; € 41.00)
151138 Rudolf Jaggi: Farigouletto (2013) 59'
Eleven folksongs from around the world
for children's choir (1 part with canon) and orchestra (2.1.1.asx.1/2.2.0.0/metal.xyl.whip.3 timp, small dm/str/galoubet.srec.bamboo fl.shakuhachi.tamb.cong.taiko.largdm.shoko.gong.goat bell.cow bell.shamisen.lute
sFr. 91.00
1. Tein minä pillin 2. Daldalan 3. Abendstille überall 4. Farigouleto 5. Janie Mama 6. Toryanse 7. Odvovjala 8. Wir reiten geschwinde 9. Fallealili 10. Mon papa 11. Gang rüef de Brune

9335 Vladislav Jaros: Johann(a), der Wandermusikant (2006) 35'
A musical fairytale
for speaker and orchestra (2(pic)2.2.2/2.2.0.0/cel.3perc/str)
sFr. 104.00
Text: Vladislav Jaros Also in a versions for: speaker and string orchestra speaker and wind quintet speaker and piano An amusing, modern and completely atypical fairytale in which, for once, the woman plays the active role and takes her destiny into her own hands. A diversified, colourful story with lively music.

9346 Vladislav Jaros: Concertino (2009) 11'30
for euphonium and orchestra (pic.2.2.2.2/2.2.1.0/perc/cel/str)
sFr. 57.00
A colourful concertino in one movement, playful and blithe, dancey. Extended tonality throughout, middle part is atonal. An easily comprehensible and rewarding piece for both musicians and audience alike.

9354 Vladislav Jaros: Pigeon's Song (2010) 4'
Song
for mezzo-soprano and orchestra (fl, ob, cl, bn, drm, drmset, bongos, piano, bassgtr, str) or mezzo and pf
sFr. 34.00
Texts: Vladislav Jaros Tonally composed in the Musical style. Second version is without bass guitar and drum set.

9358 Vladislav Jaros: Come Along (2010) 4'
for mezzo-soprano and orchestra (fl, ob, cl, bn, timp, gong, hp, gtr, pf, str) (also for mezzo and pf)
sFr. 29.00
Texts: Vladislav Jaros In the Musical style.

9359 Vladislav Jaros: Why (2010) 7'
Song
for mezzo-soprano and orchestra (2fl, 2ob, 2cl, 2hn, 2tpt, tbn. drm, drmset, bassgtr, str)
sFr. 36.00
Tonally composed in the Musical style.

9360 Vladislav Jaros: Why (short version) (2010) 5'
Song
for mezzo-soprano and orchestra (2fl, 2ob, 2cl(bcl), 2hn, 2tpt, tbn. drm, drmset, pf, bassgtr, str) or mezzo, baritone and pf
sFr. 34.00
Tonally composed in the Musical style.

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

2914 Josef Kost: Et coeperunt loqui ("... und sie begannen zu reden ...") (1996/97) 26' 30
for large amateur choir, vocal ensemble, (amateur) youth choir, solo (T and speaking role), orchestra (1.1.1.1/1.1.1.1/2perc/hp/str) and organ
sFr. 47.00
Texts: Bible / Liturgy Music for the Pentecostal Liturgy with Latin text. Seven parts distributed throughout the service. The choir and instrumental groups are distributed throughout and incorporate the whole church room. The congregation sings (with accompaniment) four integrated Gregorian chants. Easy to intermediate level of difficulty. Liturgical performance duration: 65'

7204 Mela Meierhans: Vagabundinnen (1992/98) 13'
for recorded material (CD/DAT or MD) and orchestra (1.2(ca).2(bcl).2(cbn)/2.2.1.1/hp/str)
sFr. 73.00
Text: Christina Thürmer-Rohr A version for chamber orchestra (wind quintet, strings, piano and recorded material) is also available (1994).

9816 Laurent Mettraux: "Vers le soleil couchant", oratorio, M. 528 (1995/96) 42'
for four soli (SATB), children's choir or girl choir, mixed choir and orchestra (0.0.acl.2bthn.2/0.2.3.0/2perc/vn&vc.solistr)
sFr. 122.00
(Parties séparées chez le compositeur; réduction voix/piano: sFr. 70.-; € 70.-)
Texts: Gilgamesh epic, Emily Brontë, Vedas (Indian), Guillaume Apollinaire Numerous, equally overlapping texts regarding the problem of death: from the epic of Gilgamesh to E. Brontë, from the Vedas to Apollinaire. A very impressive work in its expressivity and its musical and philosophical progression, with a multitude of climates and a very serene ending.

9820 Laurent Mettraux: Concerto n. 1, M. 544 (1996) 13'
for violin and orchestra (2(pic).2(ca).2(bcl).2(cbn)/2.0.0.0/str)
sFr. 34.00
(Partie séparée: sFr. 12.-; € 12.-: réduction violon/piano: sFr. 16.-; € 16.-)
In two parts, the first is sad and tragic with a cadenza almost at the beginning; the second ruminant and deep. It disappears in the end towards the high in the solo part, towards the low in the orchestral and towards silence.

18802 Frédéric Perreten: Gris (2009) 9'
for cello and orchestra (2,2,2,2 - 4,2,2,1 - perc(2) - strings)
sFr. 21.00
4305 Ernst Pfiffner: Biblische Szene (1989/91) 20'
for high voice and orchestra (2.2(2obda).2.2/ 2.2.0.0/perc/str)
sFr. 55.00
Text: Bible / Liturgy This piece is based on the story of the healing of the boy in Mark’s gospel. The voice assumes the roles of Jesus, the Father and a chronicler, by singing, whispering, speaking, and humming. Four timpani and nine other percussion instruments (two players) enlarge the classical strings and wind orchestra. There is a Gregorian credo motive and Beethoven's credo motive from the ‘Missa Solemnis’ In the final section. Work series A: Music for concerts.

4316 Ernst Pfiffner: Osterbuch (1994/96) 45'
for soli (MezATBarB), choir and orchestra (2.2(2ca).2.2/4.2.2.0/perc/str)
sFr. 88.00
Texts: Euripides, Karl Jaspers, Blaise Pascal, William Shakespeare, Bible / Liturgy Work series A: Music for concerts.

4506 Martin Schlumpf: Ostinato II (1982) 30'
for three improvising musicians (any instruments) and orchestra (2(pic).2(ca).2(bcl).2/2.2.1.0/1perc/10.6.5.3)
sFr. 68.00
The improvised part is composed for wind instruments, cello and drums but can just as easily be realised using other instruments.

10302 Henri Scolari: Concerto pour flûte et orchestre (concert for flute and orchestra) (1976/77) 21'
(2.2.2.2/2.2.0.0/timp/hp/str)
sFr. 88.00
(Avec partie de flûte)
Demands an exceptional level of virtuosity for the solo flute. Written for Aurèle Nicolet.

16623 Bernhard Sieber: Der 77. Psalm (Psalm 77) (1982/85) 11'
for mixed choir and orchestra (3.2.2.2/4.2.3.1/perc/str)
sFr. 42.00
4905 Mathias Steinauer: ... wie Risse im Schatten..., op. 7 (1988/89) 26'
Concert
for flute and orchestra (Solo: pic.fl-c.fl-g.bfl/ 2(pic:fl-g).1(ca).2(bcl).1(cbn)/1.0.0.btbn.0/3-5perc/hp.pf/6.0.4.4.2)
sFr. 49.00
Based on Jean Gebser's idea of the five-phase conscience changes of humanity (archaic, magic, mythic, mental, integral), the soloist personifies the individual changing in its environment.

Listen: Youtube
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
5206 Balz Trümpy: Anima (3. Fassung) (version 3) (1977 (rev. 1983)) 17'
for high voice (soprano or tenor) and orchestra (3(3pic).2.ca.2.bcl.2.cbn/4.3.3.1/1perc/cel/hp/str)
sFr. 78.00
Texts: Anonymus, Heinrich von Morungen, Walter von der Vogelweide This three-part work is based on texts from a minnelied. The vocal line, which uses various sound modulations, is harmonically, melodically and rhythmically interwoven with the accompaniment.

Listen: Youtube
5292 Balz Trümpy: Dionysos-Hymnen (3. Fassung) (1985-2013) 17'
für Bariton und Orchester (4,4,4,4 - 4,4,3,1 - Schlgz(4), Pk - Str)
sFr. 70.00
Nach Texten aus den Hymnen des Orpheus. Die dritte Version meiner DIONYSOS-HYMNEN beruht auf der Urfassung für Bariton und acht Violoncelli auf dem Jahre 1985. Ausgangspunkt meines Werkes bilden die "Hymnen des Orpheus", eine Sammlung von 88 Gedichten aus dem griechischen Altertum. Diese kurzen Lieder, von denen jedes einem Gott gewidmet ist, bildeten die liturgischen Texte in der Art eines "Gesangbuches" für die religiöse Bewegung der Orphiker, eines Mysterienvereins, in dessen Zentrum der Gott Dionysos stand. Für die DIONYSOS-HYMNEN verwende ich drei der acht zentralen Hymnen, die Dionysos gewidmet sind. Sie beschreiben in vielfältigen, einander zum Teil widersprechenden Attributen die Hauptzüge dieser chthonischen Gottheit. Nach der Überlieferung der Griechen leben in den Menschen Teile des von den Titanen zerstückelten und aufgefressenen Dionysos weiter und manifestieren sich in ihren dunklen, irdischen und triebhaften Seiten. Andererseits bietet Dionysos in der heiligen Ekstase seiner Tänze auch das Heilmittel zur Überwindung der Erdenschwere. Das Geheimnis der Kraft des Gottes ist sehr schön im 53. Hymnus gezeigt, wo der schlafende Dionysos als Potential von Kräften geschildert wird, die jederzeit ausbrechen und die Menschen mit Zerstörung oder Befreiung überfallen können. Meine Musik verwendet die Texte im griechischen Original. Sie ist nicht eine direkte Übertragung der Worte in Klänge, sondern vielmehr ein Ausdruck der Bilder und Assoziationen, welche die Texte und das zu ihnen gehörende Umfeld in mir auslösten.

5240 Balz Trümpy: Konzert (concert) (1997/98) 27'
for violin and orchestra (3.3.3.3/4.3.3.1/hp/10.8.6.8.4)
sFr. 91.00
Listen: Youtube
5293 Balz Trümpy: EIS EROTA (2. Version) (2002-14) 12'
für Sopran, Bariton und Orchester (4,4,4,4 - 4,4,3,1 - Schlgz(4), Pk - Str)
sFr. 60.00
Die griechische Lyrik, zu deren grossen Vertretern Sappho und Alkaios von der Insel Lesbos gehören, steht in engem Zusammenhang mit der Orpheus-Sage. Nachdem der göttliche Sänger durch eigenes Verschulden Eurydike endgültig an die Unterwelt verloren hatte, verschmähte er in seiner unendlichen Trauer die Liebe anderer Frauen. In rasender Wut darüber rissen ihn Bacchantinnen in Stücke und warfen sein Haupt ins Meer. Von der Strömung wurde es zur Insel Lesbos getrieben, wo sein Mund in der Lyrik wieder zu sprechen begann. In dieser Lyrik verschmelzen mythologische Vorstellungen mit dem persönlichen Erleben und Erleiden des Erotischen. Eros ist der "unheimlichste Gott" (Alkaios), dessen Wirkung die Kluft zwischen höchster Erfüllung und dem Verfallensein an den Tod aufreisst. Die Urgewalt, mit der er den Menschen erfasst, erweckt in ihm die orphische Sehnsucht nach Unsterblichkeit und nach Überwindung der Unterwelt; gleichzeitig bringt sie ihm um so schmerzlicher das Vergebliche seiner Wünsche zum Bewusstsein. Während Alkaios im wilden Trunk und im Liebesgenuss das Vergessen sucht, lauschen wir bei Sappho den dunkleren Tönen der Liebessehnsucht, in denen der Schmerz über die Vergänglichkeit mitschwingt. EIS EROTA verbindet Fragmente der beiden Dichter zu einem Zwiegespräch über Liebe und Tod.

5251 Balz Trümpy: A Valediction (2003/04) 24'
six songs for bass and orchestra (2(pic).2.2.(bcl).2(cbn)/2.2.0.0/timp.perc/str)
sFr. 99.00
After poems by John Donne. Orchestral version of the six songs for bass and piano. The orchestra highlights the complexity of the metaphysical poetry of Shakespeare's contemporaries.

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

10720 De-Qing Wen: De la Neige en Eté (1992) 16'
Concerto
for violin and large orchestra (3.3.3.3/4.3.3.1/3perc/hp/30.12.10.8)
sFr. 57.00
(Partition et partie de soliste)
This piece is inspired by a Chinese drama of the 12th century. A woman is unjustly exectued, nature testifies her innocence: her blood doesn't drop to the ground but flies away on a white blanket; a heavy snow falls in the middle of summer and the winds begin to howl. The rhythm is influenced by the poetic form of the Song dynasty (960-1279). The organisation of the musical material is inspired by certain codes which allow one to understand the taoistic texts.

10739 De-Qing Wen: Variations of a Rose (2000) 14'
for large orchestra (3.3.3.3/4.3.3.1/3perc/hp/pf/16.14.12.10.8)
sFr. 47.00
The theme of the work is borrowed from a folk song of Xianjiang province (China) "A lovable rose". How deep love is, how deep it hurts.

10730 De-Qing Wen: Traces IV (2004) 16'
Concert
for suo-na, calligraphy and large orchestra (3.3.3.3/4.3.3.1/perc(4)/hp.pf/12.10.8.8.6)
sFr. 70.00
10805 Martin Wendel: Musik für Klavier und Orchester, op. 20 (music for piano and orchestra, op. 20) (1966) 14'
(2(pic).2(ca)2(bcl).2/2.2.2.0/timp/3perc/hp.cel/str)
sFr. 62.00
This composition was received the 'Primo Premio Città di Trieste' award in 1967.

7837 Hansruedi Willisegger: Cantico delle creature (Sonnengesang des Hl. Franz von Assisi) (1984) 35'
for vocal ensemble (SATB), choir, children's choir and large orchestra (2.2.1.1/2.3.3.0/hpd/2perc/str)
sFr. 57.00
8216 Alfons Karl Zwicker: Vom Klang der Bilder: III. Gegenklänge (1988/89 (rev. 1993)) 13'
Cycle
for large orchestra and piano solo (2.2.3.2/3.2.3.1/4perc/hp/24.6.6.4(five stringed))
sFr. 65.00
‘Vom Klang der Bilder’ (from the sound of images): An orchestral cycle based on pictures by Buchholz, Klee, Kandinsky, Klein and Fruhtrunk. The five pieces span a cyclic arch that is anchored in the laws of life. I. ‘Blutgesang’ (blood song): destruction, swan song, tears, sadness, grievance II. ‘Choral und Landschaft’ (choral landscape): hope, confidence, humbleness, belief, nature III. ‘Gegenklänge’ (a mediant): re-polarisation, existence of contradictions IV. ‘Monochromes Blau’ (monochrome blue): Movement in statics, pause, mediation, illusion, paradise on earth V. ‘Orgelpunkt’ (pedal point): painful recurrence of the same in being different.

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

Listen: Youtube

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