Soprano


solo
8707 Xavier Dayer: Cantique dans la fournaise (1997) 9'
for soprano and electronics
sFr. 39.00
Texts: Bibel The singing can be meditative, joyful or even agitated, it changes from one to the other in the rhythm of thinking - as in an inner monologue. The electronic part consists of the sounds of spoken voice, cymbals, organ and computer generated parts.

26131 Max E. Keller: Blauer Regen (2009) 5'
for soprano solo
sFr. 16.00
Texts: Max E. Keller Solo version of the collective composition "blau rot soft" together with Susanne Stelzenbach and Ralf Hoyer. "Blau fällt der Regen am Morgen / Blau, wenn leise der Tag beginnt (…) Schwarz wird der Pflasterstein / Blau schien der Himmel vor Zeiten, / Wenn der Sommer begann (…) / Leis' fällt der Regen am Mittag, / Schwarz glänzt der Asphalt, / Nass wird der Weg. / Und der Abend ? / Und die Nacht ? " (Max E. Keller)

10006 Kit Powell: Chinese Songs (1988) 16'
for high soprano and recorded material
sFr. 34.00
(Tonband auf Anfrage)
Text from 'Tao Te Ching' and 'I Ching'. A confrontation of two contrasting philosophies.


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Listen: Youtube

Soprano with instruments
0202 Walter Baer: From Unreality to Unreality (1972) 10'
for soprano, three flutes and three clarinets
sFr. 34.00
Texts: Jorge Manrique, Paul Eluard, Georg Philipp Harsdörffer, T.S. Eliot In this composition, four texts from different authors, languages and historical origin have been used, but all bear on the same theme: the fragility of existence, the problem of the concept of reality. A work of meditation, floating and fragile, it hints at the irrational in both ist vocal and instrumental sounds. The Soprano sings in Spanish, French, German and English.

0210 Walter Baer: Der gefrorene Christ (1990) 12'40
for soprano and mixed a-cappella choir
sFr. 26.00
The simple notation combines with the texts by Gottfried Keller and Angelus Silesius to produce a multi-faceted musical statement. High-demands in intonation.

0229 Walter Baer: Minne ist so wunderlich (1998) 20'
Songs
for soli (SATB), mixed choir and four-handed piano
sFr. 44.00
Texts: Johannes Hadlaub.

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.

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
8525 Thüring Bräm: Sechs Haikai (1969) 8'
for solo soprano, chamber choir, string trio and vibraphone
sFr. 44.00
Texts: Japanese texts Six short Japanese three-liners. The choir part is advanced but can be performed by good amateurs.

8526 Thüring Bräm: "... dass es nichts Neues gibt unter der Sonne..." (1970) 6'
for soprano, viola and bassoon
sFr. 21.00
Texts: Dieter Fringeli Four songs in the original scoring: Soprano, viola and bassoon. Text by the Basel poet Dieter Fringeli. There are some free passages in addition to the through-composed parts.

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

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

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

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

14306 Felix Falkner: Gere Curam Mei Finis (1995/96) 25'
Memento
for soprano, violoncello and organ
sFr. 31.00
Texts: Bibel / Liturgie, Johann Wolfgang von Goethe, W.A. Mozart, Richard Scheid

14311 Felix Falkner: De Profundis (1999) 20'
Lament
for soprano, clarinet and horn
sFr. 29.00
Texts: Wilhelm Felix Swoboda, Georg von der Vring

Listen: Youtube
6722 Hans Eugen Frischknecht: Vokalisationen (1975) 8'
for five singing voices (SSATB)
sFr. 16.00
Five singers generate a multiplicity of vocal sounds on a purely phonetic basis. The pitch levels are purely graphically notated (with no exact indication to elevation). The work oscillates between dense superimpositions and stationary sound surfaces.

6715 Hans Eugen Frischknecht: Psalm der Hoffnung (1988) 12'
for soprano oboe and organ (or clarinet and piano)
sFr. 36.00
Texts: Anonymous The texts, ranging from sorrow to hope, are derived from political prisoners of various dictatorships. The Soprano voice is identical for both versions.

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.

1484 Eric Gaudibert: Wolkenblau (1999-2000) 11'30
for soprano, alrto flute and guitar
sFr. 29.00
Texts: Georg-Philipp Harsdörffer The text, which evokes the four seasons, dates back to the 17th century. The title of the work, as well as the titles for each piece, are taken from the poem: Es bläst der sanffte West – Ihr Hertz ist von safran – Der Erden Kelterblut – Die Gäste gehen fort.

1502 Eliane Frances George: Adventure (1987) 4'
for soprano, viola and lute
sFr. 13.00
Texts: Everyday advertising and media language 'Adventure' is a journey in which joyful anticipation is transformed in a tumult, before man can again reach safe haven. With its sparse instrumentation, the piece requires a very sensitive approach. Sponsored by SME Lucerne.

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

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

8829 Rico Gubler: KAL (2001) 8'
for soprano, oboe, violoncello and piano
sFr. 52.00
(Spielpartitur)
Listen: Youtube
8826 Rico Gubler: Märchenerzählung (y-song) (2002) 3'
for soprano and percussion
sFr. 16.00
9033 Edu Haubensak: Sechs Walserminiaturen (1996) 8'
for soprano and violin
sFr. 18.00
The aphorisms of Robert Walser (he calls them phrases) unexpectedly caught my attention during nightly readings of his prose. The resulting compositional sketches, all of which were produced in one day, were graphically and verbally fixed (drawn), later interpreted (crystallised) and then precisely notated. The melodic steps of the female voice are often microtonal and are to be performed in the tiniest of intervals in accordance with the interpretation of the texts. In the sixth miniature the violin is retuned resulting in new, profound harmonic situations as well as creating friction between the strings and the voice. To set the texts of Walser to music, to elevate them and endure their depths filled me with an “incredibly intense joy”.

Listen: Youtube
9051 Edu Haubensak: Mon silence discontinue! (2005) 24'
for soprano, oboe (English horn), violoncello and piano
sFr. 42.00
9057 Edu Haubensak: Alte Stimmung (2009/10) 20'
Eight songs over a self-written poem
for high soprano and tempered piano
sFr. 31.00
Props: tea cup, floor vase, cardboard box.

9218 Michel Hostettler: Canticum graduum (1990) 5'
for soprano and organ
sFr. 16.00
9248 Michel Hostettler: Khourounk Deghere (2000) 8'
Psalm 130 (129) in Armenian
for soprano solo, English horn and four strings
sFr. 23.00
(Voix chez EMS: sFr. 20.-; € 13.50)
Psalm 130 (129) in Armenian.

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

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

15185 Rudolf Jaggi: Drei Miniaturen (1978) 7'
for soprano and guitar
sFr. 16.00
Text: Tan Tsien (4th century). 1. Elegie 2. Invention 3. Pastorale

15175 Rudolf Jaggi: Carpe diem (1996) 11'
for solo quartet (SATB)
sFr. 39.00
Text: Omar Khayam. Morning… Perpetual change Away, away Carpe diem

15181 Rudolf Jaggi: Au clair de la lune (Paraphrase) (1999) 4'
for soprano solo, choir (SATB) and piano
sFr. 26.00
(inkl. Stimmen)
2505 Mischa Käser: 7 lieder zu volkstexten (1990) 18'
for soprano, flute (or pic or bfl), clarinet (or cbcl or Ebcl) and string trio
sFr. 47.00
Text from the book 'knaben wunderhorn'.

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

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

2608 Max E. Keller: Gesänge IV - 10 Gedichte von Kurt Marti (1992) 16'
for soprano and instrumental ensemble (flute, clarinet (bass clarinet), violin, violoncello and piano)
sFr. 23.00
Text: Kurt Marti The poems are taken from different collections to form a cycle, the inner and outer components of which convey particularly Swiss characteristics: weighty burden, efficiency, precision as a substitute for happiness and indifference. The soprano's phraseology encompasses both recitative and flamboyant melodies.

2677 Max E. Keller: Deformationen (1998) 14'
for soprano, flute and guitar
sFr. 23.00
Text: Max E. Keller, E. Galeano The setting to music of four of my own texts: Globalisation as worldwide exploitation of people and nature; freedon as unlimited and uninhibited profit maximisation; Education as manipulative conformation. The 5th text comes from Eduardo Galeano from Uruguay: repress how the rich countries accumulate their riches.

Listen: Youtube
2693 Max E. Keller: Fern(seh) - Mitleid (2001) 4'
for soprano and violin
sFr. 16.00
Text: Max E. Keller A contribution to the 'Zepernicker Liederbuch', 2001.

26109 Max E. Keller: Löwen Löwen (2004) 11'
for soprano and violin
sFr. 21.00
Text: Klaus Merz In laconic, melancholic and simultaneously playfully poetic miniatures Klaus Merz mirrors in ‘Löwen Löwen’ surprising facets of the much praised lagunal city of Venice. Profound ambiguity is the point of departure for this musicalisation which partly proceeds as if on two levels before reuniting unawares.

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

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

26130 Max E. Keller: blau rot soft (2009) 5'
for three sopranos
sFr. 18.00
A collective composition with Susanne Stelzenbach and Ralf Hoyer; text by the composers. Special guidelines and a structural framework are essential if a good, tonal whole is to be the result of a collective work. Once these two elements are in place the composing can follow freely and independently. The three singers, who sing largely independently of one another, become individual characters. "Blau fällt der Regen am Morgen / Blau, wenn leise der Tag beginnt (…) Schwarz wird der Pflasterstein / Blau schien der Himmel vor Zeiten, / Wenn der Sommer begann (…) / Leis' fällt der Regen am Mittag, / Schwarz glänzt der Asphalt, / Nass wird der Weg. / Und der Abend ? / Und die Nacht ?" (Max E. Keller)

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.

26142 Max E. Keller: Ruh' (2011/12) 5'
for soprano and violoncello (or soprano and baritone)
sFr. 18.00
Texts: Max E. Keller As with many of my compositions, Ruh' (calmness) is based on a richly varied yet simple and easy-to-follow model. Soprano and violoncello continuously find calmness on a quiet unisono, an octave or double octave paraphrased on tonal, rhythmical or sound colour levels. This is followed by a "solo" or "a due" break out into turbulent fields - sometimes also indicated in the lyrics - and the return to a resting tone. Almost like in real life.

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

26150 Max E. Keller: Das Tattoo blickt böse (2012) 10'
for soprano and string quartet
sFr. 29.00
Der Text ist von Rock-Lyrik inspiriert: direkt, realitätsbezogen und doch sprunghaft assoziativ. Er stellt die Frage, ob sich das Rebellisch-Unangepasste - wie es ein Tattoo ursprünglich manifestiert - sich nicht längst verschliffen und mit der Konsumwelt verbrüdert hat, deren Leerformeln in den Text einmontiert sind. Spielerisch-kritisch geht auch die Vertonung mit Elementen des Rock um, indem hinter der komplexen Welt zeitgenössischer Musik immer wieder ein Pulsieren und der rocktypische Backbeat wahrgenommen werden können, was gelegentlich die ganze Struktur erfasst, aber auch in dichten Klangfeldern versickert.

26153 Max E. Keller: Les Fleurs du Mal (2012) 14'
Four poems by Charles Baudelaire
for soprano and guitar
sFr. 23.00
Baudelaire's worldview is characterised by ambivalence: light is at the same time dark; flowers are 'the evil'. On the one hand is the search for beauty, on the other is the experience of spleen, the never-ending ennui. Transposed into music, the deep, bell-like tones of the guitar are broken by hard, dissonant accents - or dissonant chords slide into consonants and vice versa. The singing voice is characterised by a model that, following a rapid ascent, moves slowly downwards, often quasi-disintegrates or ossifies in ennui.

19402 Burkhard Kinzler: ad vitam (2010) 45'
Gottesdienstmusik
für Sopran, gemischten Chor, Vokalensemble, zwei Orgeln, Lektor
sFr. 88.00
- Liganden - Christe, du Lamm Gottes - Da pacem domine (verschiedene Bearbeitungen) - Evangelienlesung (mit Einführung) - Give peace a dance - Lobpreis- Antwortgesang - Schon zieht herauf des Tages Licht (5 Str.) - Sanctus - Sonne der Gerechtigkeit - Spielmann Gottes - Weg zur AT-Lesung - Totengebet Alle Teile für Chor, Orgel und verschiedene Kombinationen sind separat aufführbar, z.B. "Sanctus" für Chor, "Totengebet" für Chor und Sopran solo, choralgebundene Chorwerke, Orgelvor-, zwischen- und nachspiel, "Liganden" für grosse Orgel, "Spielmann Gottes" für Chor-Orgel mit geteilten Schleifen, "Give peace a dance" für zwei Organisten an einer grossen Orgel.

19405 Burkhard Kinzler: Toccatadagioral (2010) 13'
Sopra "Wachet auf"
für Orgel und schwellbare Sopranistin
sFr. 31.00
Text: "Wachet auf, ruft uns die Stimme".

19409 Burkhard Kinzler: In nomine (2012) 25'
für vier Stimmen (SATB), drei Blockflöten, Akkordeon und vier Streicher (Vl, Vla, Vc, Kb))
sFr. 70.00
Instrumentierungen altenglischer In-Nomine-Vertonungen (Taverner, Picforth, Bull) samt einem Prolog über den cantus firmus.

2846 Alfred Knüsel: Messe (1976) 18'
for vocal quartet, speaker, mixed choir, violin and organ
sFr. 68.00
(Violin-Stimme: sFr. 12.-; € 8.00)
2837 Alfred Knüsel: Coplas (1987) 21'
for soprano, double-bass (or violoncello) and piano
sFr. 44.00
Text: Spanish (Christof Jung) A seven-part cycle based on anonymous Spanish verse, translated by Christof Jung.

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.

2813 Alfred Knüsel: FrauenZeit (1994) 23'
for two sopranos, alto and double bass
sFr. 47.00
Texts: Anna Achmatova (Mathilde F. Anneke), Dorothee Sölle, Hanna-Renate Laurien, Käthe Kollwitz, Wera Figner, Adelheid Duvanel Five songs requiring a broad, expressive spectrum.

2821 Alfred Knüsel: Zeit zum Spielen - Zeit drängt (1996) 12'
for soprano and violin
sFr. 21.00
Texts: Bible / Liturgy, folksong

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

2862 Alfred Knüsel: Vesper als Massstabwechsel von einer Realität in eine andere (2006/07) 20'
for soprano, choir (SATB), flute, zink (tr), trombone and organ
sFr. 34.00
1. Doxologie 2. Antiphon 3. Ektenie I 4. Hymne 5. Ektenie II

2916 Josef Kost: ... und er verwunderte sich... - Musik zu Visionen von Niklaus von Flüe (1999) 26'
for soli (ST) choir (large choir SAB, small vocal ensemble) and orchestra (1.1.1.1/1.1.1.1/org/2perc/1.1.1.1.1)
sFr. 70.00
Texts: Niklaus von Flüe Easy to easy/intermediate for amateur choir and semi professional vocal ensemble. Liturgical performance duration 50’- 65’

3108 Urban Mäder: L'absence de vent (1992) 55'
for speaker, soprano, alto, countertenor, flute, guitar and bass clarinet
sFr. 47.00
Text: Samuel Backett An audio play after a quote from Samuel Beckett's “Mal vu mal dit” (badly seen badly said).

18204 Cécile Marti: trennend verschmelzen (2007) 7'30
for soprano and trumpet
sFr. 18.00
The core of this piece is created by the convergence of two sounds with very different tonal characters. It is an attempt at bringing together two differing tonal qualities (one soft and elastic, the other sharp and determined), to recoulour them and transform them. Is it possible to create a moment where a new mutual sounding body is formed, where a combination colour becomes a new primary colour? How can this threshold be approached: via the fusion of harmony, by increasing the disharmony, through the alternation of tone and tempo dispositions? The more the voice becomes a sound dispenser, the more instrumental it becomes. As there is no room here for language as a carrier of meaning, the phonetical formation of syllables allows the vocal sound to become purely tonal.

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

Listen: Youtube
15412 Kurt Meier: Ich bin bei euch (1992) 3'
Ecclesiastical concert
for soprano, mezzo-soprano and organ
sFr. 16.00
15409 Kurt Meier: Der Mensch lebt nicht vom Brot allein (1993) 7'
Ecclesiastical concert
for soprano and organ
sFr. 18.00
15410 Kurt Meier: 1. Gottesknechtslied Jesaias (1999) 10'
Ecclesiastical concert
for soprano and organ
sFr. 21.00
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.

15414 Kurt Meier: Jesus Christus, unser Bruder und Heiland (2000) 7'
Ecclesiastical concert
for soprano, mezzo-soprano and organ
sFr. 18.00
15423 Kurt Meier: Gebet um Liebe (2003) 6'
Hymn
for soprano and organ
sFr. 16.00
Text: Michael Bauer.

15424 Kurt Meier: Dass da niemand hineingeht (Die Brunnenvision des Niklaus von Flüe) (2004) 18'
Ecclesiastical concert
for soprano and organ
sFr. 29.00
9749 Hans-Jürg Meier: annunciazione / ánemos - vom wehen des windes im vorhang (2008/09) 58'
for soprano, altus and 9 instruments (recorder (or aulos), flute, clarinet, saxophone, violin, viola, violoncello, bandoneon, percussion)
sFr. 148.00
(Stimmen beim Autor)
Texts: Hans-Jürg Meier, Rainer Maria Rilke, Hilde Domin, Virginia Woolf, William Butler Yeats, Mona van Duyn, Dante Alighieri, antique authors and the Bible Profane consideration of the Annunciation scene. Sacred music in a double proscenium and a three-part main piece.

9751 Hans-Jürg Meier: ...und die Musik, immer neu, baut im unbrauchbaren Raum… (2011) 20'
for vocal quartet (SMezTB)
sFr. 52.00
Texts: Rainer Maria Rilke Music in four parts with texts from "Die Sonette an Orpheus" (1922): I Blume und Buch II Tempel im Gehör III Gesang ist Dasein IV Lied überm Land

9753 Hans-Jürg Meier: wingert in der frühe (2011/12) 17'
für Sopran, 4 Renaissancetraversflöten, Laute
sFr. 57.00
(Stimmen beim Komponisten)
Texte aus dem "Canticum Canticorum". Musik in sechs Teilen über die Kirche "Santa Maria Formosa" von Mauro Codussi (Venezia): I ort und zeit (gondola); II er besingt sie (caminada); III sie besingt ihn (caminada); IV minne (hortus conclusus); V wein (cielo); VI siegel (fuoco).

9754 Hans-Jürg Meier: locus (2012) 14'
for melodica and objects, saxophone (bar, a) trombone, violin, viola, double bass and voice (soprano)
sFr. 52.00
A trip to and into the Pantheon in Rome in four parts: Tympanon, Pronaos, Innenraum, Opaion. The performance places the Endless Column in Targo Jiu by Constantin Brancusi into the Pantheon.

7202 Mela Meierhans: Abscheu vor dem Paradies (1991) 20'
for soprano, alto and viola
sFr. 49.00
Texts: Karoline von Günderrode, Christina Thürmer-Rohr

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

3712 Roland Moser: Nach deutschen Volksliedern (1984/90) 13'
Strophes from the 'Knaben Wunderhorn'
for soprano, flute, clarinet, violin, viola and violoncello
sFr. 34.00
Also in a version for mezzo-soprano and the same instrumentation. Mutations in the same edition. Seven songs: ABC-Schützen - Papiers Natur ist Rauschen - Ein Musikant wollt fröhlich sein - Ich sass auf einem Birnenbaum - Das Vöglein Butschli Butschli Bu (Brentano) - Letzter Zweck aller Krüppelei - Ich hört ein Sichlein rauschen.

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

3809 Thomas David Müller: Già va rilucendo / mosso, quel mare (1991) 17'
for two mixed choirs and soprano solo
sFr. 26.00
Text: Giuseppe Ungaretti The quartets can be performed as solos. Standard vocal techniques. One section contains altered vocal effects. Demanding to perform. Sponsored by the SME Lucerne.

9915 Maria A. Niederberger: Lieder für hohe Stimmen (1995) 6'
for soprano and alto voices
sFr. 21.00
The four German a-cappella songs (2 to 4-part) are in a traditional tonal style and suitable for an amateur choir; it is not without difficulties. The pieces can be performed individually. 1. Carl Sandburg: Der Nebel (2-part) 2. Gertrud Burkhalter: D Chrinne (2-part) 3. Friedrich Bischoff: Schneefall (4-part) 4. Ernst Penzoldt: Abreise (canon for three sopranos)

4323 Ernst Pfiffner: 8 Gesänge nach Gedichten von Bettina Ruchti (2010) 11'
for soprano and violin
sFr. 23.00
Texts: Bettina Ruchti

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.

10036 Kit Powell: Das Ausland (2003) 7'
for soprano and trombone
sFr. 23.00
(Stimmen: sFr. 16.-; € 12.-)
Setting of a short story by Jürg Schubiger.

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

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

10118 Marc-André Rappaz: "de Dschember Schamblin" (1997) 10'
for soprano and guitar
sFr. 21.00
A piece based on a cycle of poems in Romansch, taken from the cycle ‘Dschember Schamblin’ by Denise Mützenberg.

19306 Katharina Rosenberger: aPhasis (2002) 6'30
for soprano, alto flute, bass clarinet
sFr. 23.00
The title stems from the Greek words "Aphasia" and "Apheresis". The original meaning of Aphasia is "speechlessness", this is often translated into English as "loss of language". The leaving out of a vowel or syllable at the beginning of a word, either for causes pertaining to language history or because of metric or articulation reasons, is referred to as "Apheresis". The dealing of language in aPhasis reflects these processes with the explosive, blurting out of word clusters, which are deconstructed as the piece progresses. This process is musically embedded by the voice in a sharply contrasting sound image comprising wordless, archaic sounding 'vocalese' passages, which are hummed or interpreted with a half-open mouth. The accompanying instruments - written here in a new version for bass clarinet and violoncello - negotiate the tonal space between these two dynamics. The libretto comes from the pen of British poet Rob Holloway.

10214 Michael Schneider: Colors and Countenance (1996/97) 8'
for Soprano and wind quintet
sFr. 31.00
Texts: Ralph Waldo Emerson, Emily Dickinson In May when south winds pierced our solitudes - A light exists in spring. Sensible American natural poetry by Ralph Waldo Emerson and Emily Dickinson. From a fading vocal part dotted with various natural effects to a network of variously coloured instrumental timbres.

10217 Michael Schneider: Gorillas are sleeping at night (1997) 10'
for soprano, alto, mixed choir (SATB) and four-handed piano with small percussion
sFr. 49.00
A lyrical and atmospheric piece about the world of mountain gorillas. The choir parts can be performed by a good amateur choir, the small percussion instruments (cymbals, small tam-tam, wood blocks, glass rattle) are to be played by the pianists.

16316 Felix Schüeli: Fürchtet Euch nicht (2007) 8'
Three pieces for the church
for soprano and violoncello
sFr. 18.00
1. Einzug: Blasius-Segen (2'30) 2. Fürchtet Euch nicht - Folget mir nach (3'30) 3. Gabenbereitung: Nimm, o Herr! (2')

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.

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

17111 Bruno Stöckli: Kikakokú (2009) 14'
2 recitatives + arias
for soprano, mezzo-soprano, flute, clarinet, violin, violoncello and piano
sFr. 55.00
Texts: Paul Scheerbart, Oskar Pastior, Bruno Stöckli Uses the quarter-tone system.

5212 Balz Trümpy: Petrarca-Gesänge (1989) 22'
for coloratura soprano and organ
sFr. 68.00
Texts: Francesco Petrarca Each of the four movements illuminates one of several aspects of love from the poet to Laura: The glorification, the steady sorrow in loss, the deceptive vision, and the final idolisation.

5267 Balz Trümpy: Oratio Sibyllae (2007) 10'
for soprano and flute
sFr. 21.00
Das sechste Buch der "Aeneis" von Vergil beschreibt den Abstieg des Aeneas zur Unterwelt und seinen Wiederaufstieg aus dem Reiche Plutos. Auf der gefährlichen Reise begleitet ihn die Seherin Sibylle. Einige ihrer Ermahnungen und Verkündigungen bilden die Textvorlage zum Stück Oratio Sibyllae für Sopran und Flöte. Die Flöte, welche schon den Gluckschen Orpheus zur Unterwelt geleitete und auch in der Zauberflöte die Rolle der Beschützerin vor den Gefahren der "anderen Welt" spielt, schwebt sozusagen über und neben der Singstimme und verschmilz mit ihr zur Einheit.

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

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.

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

5281 Balz Trümpy: Antico Inverno (2012-13) 10'
for soprano and clarinet
sFr. 26.00
Salvatore Quasimodo's multilayered poetry is transposed into four musical images.

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.

10706 De-Qing Wen: Wu (L'Eveil, bouddhisme Zen) (awakening, zen Buddhism) (1995) 15'25
for Soprano, alphorn and double bass
sFr. 23.00
A wealth of discourse is presented in this piece, a poem interpreted according to the Yi Chang technique used for thousands of years to declaim poetry, quotes from contemporary Zen texts, Buddhist prayers and the Swiss yodel.

17647 Stefan Werren: 3 Gesänge (1988) 3'
for soprano, 2 violins and cello
sFr. 16.00
Text: Paul Celan

7888 Hansruedi Willisegger: Marienmesse (1959) 10'
for soprano solo and mixed choir
sFr. 16.00
7833 Hansruedi Willisegger: O Heiland reiss die Himmel auf (1960) 16'
Doric choral cantata
for soprano, choir, flute and organ
sFr. 34.00
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.

78190 Hansruedi Willisegger: und maria (2003) 8'
for vocal double quartet (poss. small choir) and mixed choir
sFr. 39.00
Texts: Kurt Marti, Silja Walter, Gabriel Garcia Marquez, Novalis

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

5825 René Wohlhauser: 'Srang (2007) 10'
Ergon 36
for soprano, flute, clarinet and violoncello
sFr. 31.00
Based on an onomatopoeic text by the composer. The development of an aesthetic of fragments as a metaphor for fragmentary perception.

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

Listen: Youtube
5836 René Wohlhauser: Iguur - Blay - Luup (2009) 16'
Ergon 40
for soprano solo, soprano and baritone duo, and soprano with small ensemble (bass flute, bass clarinet and violoncello)
sFr. 62.00
Based on own onomatopoeic text. In the emblematics of the virtual language Sulavedic the word "iguur" stands as a metaphor, which has been mystified into "blay" through an unexpected resonance in order to resurrect in "luup" in a changed, purified and contextually different form.

Listen: Youtube
5831 René Wohlhauser: Charyptin (2010) 13'
Ergon 42
for soprano, baritone, flute, clarinet, violin and violoncello
sFr. 65.00
Texts: René Wohlhauser Based on own onomatopoeic texts. This piece deals with the possibilities and impossibilities of interaction, the mixing and exchanging of roles between vowels and instrumental sounds.

Listen: Youtube
5832 René Wohlhauser: Charyptin-Fragmente (2010) 5'
Ergon 42/Iia
for two voices: preferably soprano and baritone or soprano and alt or tenor and baritone
sFr. 36.00
Based on own onomatopoeic texts. This piece fathoms the various intermediary areas between the whispered, spoken and sung. Versions for high or deep baritone (alt).

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

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

5843 René Wohlhauser: Mera gor nit (2013) 8'
Ergon 48, Musikwerknummer 1657
for soprano and baritone
sFr. 42.00
If any text appears too profane to be set to music, all that remains is the complete absence of the text. The complete absence of a semantic text leads to a pure vocal music.

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

8213 Alfons Karl Zwicker: Konstellation mit Mondtransit (1998/99) 16'
for soprano, violin, trombone, violoncello, clarinet and piano
sFr. 55.00
A piece with aperspective performance practice. The ever-changing aspects on the radix planets (instrumentalists) by the transitory moon (soprano) are made audible.


Soprano with orchestra
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.

6534 Frédéric Bolli: Ich lag in einem Schlafe (1994/95) 50'
for solo soprano, mixed choir and eorchestra (3fl/2tpt.2tbn/str)
sFr. 210.00
Texts by Emmy Hennings, Klabund, Richard Huelsenbeck and Hugo Ball.

8530 Thüring Bräm: Kantate nach Sprüchen von Angelus Silesius (1986) 17'
for soprano, mixed choir and string orchestra
sFr. 26.00
Texts: Angelus Silesius A very good amateur choir with a professional orchestral accompaniment can perform this varified piece.

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.

18703 Ruedi Debrunner: Psalms (1995) 20'
for two sopranos, choir and string orchestra
sFr. 60.00
15178 Rudolf Jaggi: Petrus (Oratorium) (1989) 75'
for soprano, baritone, bass, choir (SATB), organ, flute, oboe, bassoon and strings
sFr. 130.00
I Jünger II Apostel III Märtyrer

15194 Rudolf Jaggi: Je sais, Vièrge Marie (2004) 4'
for choir (SAB), soloists (SATB), panpipes and/or alto flute and small orchestra (perc/str)
sFr. 18.00
(Stimmen: sFr. 18.-; € 12.-)
15195 Rudolf Jaggi: Zwei Paraphrasen über bolivianische Weiihnachtslieder (2004) 16'30
for choir (SAB), soloists (SATB), panpipes and/or altoflute and orchestra (1.2.0.1/0.0.0.0/perc/str)
sFr. 62.00
(Stimmen: sFr. 44.-; € 30.-)
1. Hoch steht am Himmel uns der Stern 2. Flieg, mein Vogel

151102 Rudolf Jaggi: Weihnachtssuite in den vier Landessprachen (2005) 11'
for soli (SSA), female choir (SSA) and small orchestra (fl.ob/perc/str)
sFr. 78.00
(Stimmen: sFr. 32.-; € 20.00)
151110 Rudolf Jaggi: O freudenreiche Nacht (2006) 13'
A Christmas cantata
for female choir (SSA), three soloists (SSA) and small orchestra (2ob,2tp,perc,v1,v2,va,vc,db
sFr. 91.00
(Stimmen bei SME: sFr. 30.-; € 30.-)
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.

4320 Ernst Pfiffner: Pfingstbuch (1996/97) 35'
for six solo voices (SMezATBarB), speaking voice and chamber orchestra (1(pic,fl-g).1(ca).1.1/2.1.2.0/2perc/hp/str)
sFr. 148.00
(Aufführungsmaterial bei Akademie für Schul- und Kirchenmusik Luzern)
Texts from the Bible and eastern Liturgy; twelve single verses from Martin Gutl, Huub Oosterhujs, Nelly Sachs, Rabindranath Tagore; quotes from Helder Camara, Ernesto Cardenal, Johannes XXIII., Josef Quadflieg und J.M. Sailer. Wie? Pfingsten? die Gott verschlafen Verheissungen Als Pfingsten gekommen "Licht wird aus Sand" Geist - Heiliger GeistSchenk uns neue Begeisterung Work series A: Music for concerts.

10044 Kit Powell: Alles unter einem Hut (2008) 20'
for soprano and string orchestra
sFr. 65.00
(Stimmen: sFr. 55; € 42.-)
Setting of texts for children by Jürg Schubiger. Suitable for an amateur orchestra.

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
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.

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.

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

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