String quartet


solo
8320 Dieter Ammann: Geborstener Satz (2003) 12'30
for string quartet
sFr. 26.00
This piece will most probably become part of a cycle with the planned multipart work already being hinted at by the title. Furthermore it suggests musical energy, for all the complexity of its structure the work is also (particularly from the standpoint of the listener) expressional music, a music that finds its way outwardly with powerful manifestation. This piece is technically and expressively very demanding for interpreters.

Listen: Youtube
8326 Dieter Ammann: Streichquartett Nr. 2 "Distanzenquartett" (2009) 16'
sFr. 26.00
Initially, two maximally distanced, clearly seperated elements are exposed: Sounds - quarter tone glissandi - rhythmical, strongly percussive figures. The following come face to face: Passages within which only certain intervals are used, full chromatism, harmonic lead tones, suggestions of "spectralism" - that is to say, music from the overtone series.

Listen: Youtube
6201 Heidi Baader-Nobs: Quatuor à cordes (1980) 12'-13'
sFr. 26.00
8511 Thüring Bräm: Streichquartett Nr. 1 (1987/90) 17'
sFr. 42.00
A very diversified and animated work with a large cello solo (Er-Innerung 4 1/2), which can also be played as an individual piece. Commissioned by the International Music Festival, Lucerne.

8513 Thüring Bräm: Streichquartett Nr. 2 (1992) 13'
LITANIA
sFr. 18.00
In one movement. A harmonic work in memory of Carl Phillip Emanuel Bach, with a solo viola part (cadenza), which can be performed as an individual piece.

8519 Thüring Bräm: Streichquartett Nr. 3 (1997/98) 13'
"als Zuschauer am Rande des grossen Festes"
sFr. 26.00
'als Zuschauer, am Rande des grossen Festes' (therein adagio (4’) for string orchestra, for the 80th birthday of Rudolf Baumgartner). Striking piece in four movements with extremely quiet and kinetically excited parts. A version for string orchestra is also available.

8604 Juan Manuel Chávez: Protoi (1990/91) 20'
for string quartet
sFr. 60.00
1053 Jean-Jacques Dünki: Madrigaux (2011/12) 18'
for string quartet
sFr. 42.00
14308 Felix Falkner: Im Schatten, engelgleich (1997) 8'
for string quartet
sFr. 18.00
(Stimmen: sFr. 14.-; € 9.50)
11922 Claude Ferrier: Enigmes (1999) 16'
for string quartet
sFr. 39.00
1471 Eric Gaudibert: Quatuor à cordes «entre se taire et dire» (1971) 25'
sFr. 55.00
This is a work of singular immediacy and of a high level of difficulty but without any special experimental notation. It is inspired by the quartet op. 18 n°3 from Beethoven, which is quoted repetitively. The two violins and the viola play standing and move around the scene during the middle of the work. The title is a quotation by Aragon.

8828 Rico Gubler: KOR II (2001) 6'
for string quartet
sFr. 42.00
(Stimmen: sFr. 18.-; € 12.00)
9224 Michel Hostettler: Quatuor à cordes (string quartet) (1992) 22'
sFr. 47.00
(Parties en vente chez SME)
15124 Rudolf Jaggi: Streichquartett (string quartet) (1966) 18'
sFr. 47.00
(Stimmen: sFr. 38.-; € 26.00)
Allegro ma non troppo - Scherzo - Elegie - Rondo.

2662 Max E. Keller: 2. Streichquartett (2nd string quartet) (1995) 11'
sFr. 18.00
Listen: Youtube
26104 Max E. Keller: 3. Streichquartett (3rd string quartet) (2003) 11'
sFr. 18.00
Five simple, quasi-archetypal structures form the basis of this work: accents with differentiated final notes, punctual and cliché fields, sound surfaces, repetitions and pulse. It offers, with simple clarity, an opportunity for the listener to follow the musical process and, more particularly, the form which it supports.

26127 Max E. Keller: 4th string quartet (2008) 4'30
sFr. 18.00
26148 Max E. Keller: 5. Streichquartett (2013) 12'
sFr. 26.00
The 5th String Quartet was written in 2013: A world of incompatible contrasts, of insurmountable disparity regarding wealth, ideology, society and economy. This is reflected in the music by way of hugely contrasting fortissimo and pianissimo passages that usually follow each other without break. Occurring occasionally between these passages are very long general pauses, which can be understood as an extreme form of pianissimo. In the last part, the sections are less strictly designed, more colourful, using even two or more elements. But the result is not a synthesis; there is no convergence of fortissimo and pianissimo. Dedicated to the ensemble ECLAT (Seoul).

2801 Alfred Knüsel: Installation "Streichquartett" (1990) 18'
sFr. 36.00
An assemblage of four independent compositions, a discourse, as if the term “string quartet” also contained a whole.

Listen: Youtube Youtube
2901 Josef Kost: Streichquartett (string quartet) (1985/87 (rev. 1992)) 21'
sFr. 31.00
Four movements. Because of the variety and the density of its articulation, this piece is technically demanding.

3402 Thomas K. J. Mejer: Streichquartett Nr. 1 (string quartet n° 1) (1989) 15'
sFr. 26.00
Rhythmic superimpositions with simultaneous sonorous differentiation characterises the first and fourth movements. Movements two and three have song-like melodies, in which the second is slow and the third fast and very short (30").

3418 Thomas K. J. Mejer: Streichquartett Nr. 2 (string quartet N° 2) (1999) 12'
Lux obscura
sFr. 26.00
18803 Frédéric Perreten: Action d'apesanteur (2010) 6'
for string quartet
sFr. 18.00
10305 Henri Scolari: Quatuor à cordes (string quartet) (1986/88) 18'
sFr. 68.00
Monolithic, very architectural and expressive.

4804 Andreas Stahl: aufstieg / abstieg (1989) 12'
two movements
for string quartet
sFr. 26.00
First movement intensive, passionate as an "... ever turning circle", but with some clearly defined cuts. The second movement is very slow and steady, utmost strain in the ppp.

4902 Mathias Steinauer: 3 Skizzen für Streichquartett, op. 3 (3 sketches for string quartet, op. 3) (1986) 3'
sFr. 16.00
Slightly scenic. In the third sketch, all four play together on the cello.

5012 Peter Streiff: Wandelnde Gänge (1985/87) 22'
for string quartet
sFr. 34.00
(Stimmen SME/EMS: sFr. 40.-; € 40.-)
Alternating, flowing, speaking, jumping sounds. Commissioned by Elsbeth Roethlisberger and dedicated to Markus Roethlisberger. Sponsored by the SME Lucerne.

5248 Balz Trümpy: Streichquartett (string quartet) (2000/01) 40'
sFr. 122.00
(Stimmen: sFr. 70.-; € 46.-)
Six movements convoluted into a series consisting of ten parts to be played attacca.

5279 Balz Trümpy: Streichquartett II (2012) 25'
sFr. 78.00
These three movements have titles that refer to literary forms or genres: Novelle - Elegie - Ballade. Novelle, fittingly, is a 'prose form', while Elegie displays a metrical form. Ballade refers not to the romantic narrative poem, but to the medieval dancing song.

5409 Daniel Weissberg: Drei Tanzsätze für Streichquartett (1991) 8'
sFr. 42.00
Dance movements where the players are also the dancers.

10705 De-Qing Wen: Quatuor à cordes No 1 (string quartet No. 1) (1995) 22'
sFr. 42.00
(matériel: sFr. 34.-; € 34.-)
This piece is deeply imbued with my nostalgia for China. I. I have chosen to base the whole movement on harmonics, inspired by the Taoist aesthetic precept valuing the search for "emptiness". II. In this movement the musicians do not use the bow instead all play with plectrums. III. Fourths and fifths dominate these melodies, underlying the entire melancholic movement. IV. The movement starts pianissimo with micro-intervals hit on the key with the left-hand fingers, and is gradually amplified with the development of the musical material, reaching a climax that ends the piece.

10716 De-Qing Wen: Quatuor à cordes No. 2 (string quartet n°2) (1997) 24'
sFr. 47.00
(Matériel chez le compositeur)
From my point of view, the audio-visual facilities can coincide. The writing of this piece has been directly influenced by the aesthetics of traditional Chinese painting (as well as its tools).

10822 Martin Wendel: Streichquartett Nr. 3, op. 63 (string quartet n°3, op. 63) (1996) 16'
sFr. 34.00
A cyclic arch consisting of six movements.

5605 Peter Wettstein: Janus (1987) 14'
for string quartet
sFr. 34.00
This work lives from a sonority rising from an environment of whispered tremoli and the slightest of tonal movements. Ascending to multi coloured sotto-voce effects and dialogues spoken under breath and eventually falling back to the soft vibrations of the beginning. It is signed over to Janus, and so it develops around a short intermezzo, two strings whose affinity is audible but who have absolutely separate lineaments; where it comes to refined sound effects in Face I, Face II departs into melodic developments and contrapuntal associations…(NZZ)

7822 Hansruedi Willisegger: Introduktion und Fuge in fis-moll (1963) 11'
for string quartet
sFr. 23.00
5808 René Wohlhauser: Adagio assai (1982/88) 4'
Ergon 16
for string quartet
sFr. 23.00
In an enveloping form all phrases and their constituent parts in the micro-parametric area of the calculation of a musical grammar are based on an anolog form of micro-harmony and micro-rhythm in relation to the other parameters; at the same time there is reference to Walter Benjamin's definition of the "capability of fantasy" as the "gift to interpolate infinitely small things".

Listen: Youtube
5817 René Wohlhauser: carpe diem in beschleunigter Zeit (1998/99) 11'
Ergon 25
for string quartet
sFr. 65.00
This piece, written specially for the 'Arditti-Quartett', is compressed in certain core moments to a twenty-fold layer convolute which, little by little, is lost through oscillation and fluctuation to the borders, so that at the end, in a very fast tempo, nothing but a shadow of the initial material remains.

Listen: Youtube

String quartet with instruments
0517 Nicolas Bolens: Suite pour Neuf Instruments (suite for nine instruments) (1999) 11'
for wind quintet and string quartet
sFr. 31.00
6521 Frédéric Bolli: Pentagramm (1988) 20'
for 5 strings (2vn, va, vc, db) and transverse flute
sFr. 55.00
14301 Felix Falkner: Solitude (1990) 22'
for string quartet with bass clarinet
sFr. 26.00
(Stimmen: sFr. 14.-; € 9.50)
1460 Eric Gaudibert: Fantaisie concertante (1998/99) 16'
for pianoforte and Baroque string quartet
sFr. 49.00
This work in one movement is a homage to Carl Philipp Emanuel Bach. It contains quotates from the Fantaisies and from a Rondo by this composer. The pianoforte part is either in a free style, concert-like or very rhythmic and demands an advanced level of play. The quartet is written in traditional notation. The piano which was used for the world premiere was a copy of an instrument of 1815.

1486 Eric Gaudibert: Message(s) (2000/2004) 8'
for violoncello solo and string quartet
sFr. 26.00
This is an enriched version of 'Message' for violoncello solo. The solo part is exactly the same but divided up into four episodes. The viola also remains in the role it played in the first version. The notation for the strings is relatively easy.

1491 Eric Gaudibert: Images japonaises (2005) 18'
for horn and string quartet
sFr. 31.00
This work quotes a Haiku recited once by the hornist. It is inspired by the acidic sounds of Gagaku (music of the imperial court of Japan) and by the tense melismas of Nô. The string quartet's tempo is generally independent of the horn's. The five instrumentalist need to have a good command of micro intervals. The particular timbre of the quartet derives from researching the "fake" unisons.

1505 Eliane Frances George: Etats d'Ame (1990) 12'
for string quartet and electronic (ad libitum)
sFr. 21.00
(Parties en vente chez EMS)
This piece expounds on the life development of the soul. The acoustics of the strings resonate in balance with our own heartstrings, while electronic sounds reflect our environment and its influence over us.

9043 Edu Haubensak: Falsche Schönheit (2002) 10'30
A harmonic study
for two string quartets in scordatura
sFr. 39.00
There is already in the title of my composition two words which take a central position in the music itself, namely false and beauty. Can music be simultaneously beautiful and false or need it be true? Old questions are combined anew. It was actually my intention to write a composition devoid of rhythms. Naturally, in relation to time, this is a grandiose illusion but the idea is tested waiving the rhythmical form of the eight single voices. The interplay between the variations in tempo and polymetric networks gives rise to a reserved and inconspicuous structure opening up the way for harmony. All thirty-two strings of the instrument are tuned new: string quartet 1 by 20 cents and string quartet 2 by 40 cents augmented or diminished. It is now that one hears the unfamiliar or the false nonetheless the air vibrates and pays no attention to the beauty, to the false or the true in music.

11620 Michael Heisch: Night Bites (2000) 12'
for string quartet and speaker
sFr. 39.00
After texts by M. Vänçi Stirnemann.

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.

15007 Martin Imholz: Potenz (Oratorium) (1989) 10'-15'
for clarinet, string quartet, speaker and scenery
sFr. 13.00
Four strophes with extremely differentiated parts, based on the principles of homoeopathy. For Joseph Beuys.

15008 Martin Imholz: Potenz II (1994) 10'-15'
for clarinet and string quartet
sFr. 16.00
Version for clarinet quartet

15135 Rudolf Jaggi: Consolation (1978) 3'
for clarinet and string quartet
sFr. 13.00
(Stimmen: sFr. 10.-; € 6.60)
9315 Vladislav Jaros: Zwei Lieder nach Gedichten von Peter Weibel (two songs after poems by Peter -Veibel) (1985) 14'
for singing voice and strings (or string quartet)
sFr. 23.00
Text: Peter Weibel The autumn atmosphere becomes music, as delicate as poems by Weibel. Relatively simple to perform. An appeal to the musicality of interpreters…

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

2678 Max E. Keller: Integration I (1998) 14'
for string quartet and improvising trio
sFr. 18.00
This work leaves behind the identity of the classical tradition and its strengths (string quartet is widely notated; frequent free improvisation from the jazz tio (saxophone, piano and percussion)) and brings them together only there where real points of contact exist. Integration II and III are conceived in a similar way.

2686 Max E. Keller: Integration II (1999) 12'
for string quartet and improvising trio
sFr. 16.00
2687 Max E. Keller: Integration III (1999) 12'
for string quartet and improvising trio
sFr. 16.00
26108 Max E. Keller: Kalkül und Emotion (2004) 4'
for saxophone quartet (satbar) and string quartet
sFr. 18.00
This work forms the intertwining, togetherness and conflict of the two quartets with calculated emotional intention. The security net provided by the rational prearrangements allows greater freedom and confidence in the emotional decisions made regarding concrete sounds, instruments, complexity and developments.

26112 Max E. Keller: nel pomeriggio (2006) 7'
for baritone saxophone and string quartet
sFr. 23.00
(Stimmen beim Komponisten)
A comfortable afternoon in a dusty café: As in times past, a string quartet plays a waltz that nobody listens to, a never-ending, continuously repetitive violin melody and an almost imperceptibly shifting accompaniment. Added to this is a completely inappropriate baritone saxophone - sometimes blending in, sometimes detached and sometimes obstinately defiant. Suddenly a bang! And everything collapses into shadowy ruins.

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

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.

2843 Alfred Knüsel: Sechs Miniaturen als Tafelmusik (1994) 10'
for recorder quartet, string quartet, harpsichord and voice
sFr. 34.00
7101 Valentin Marti: Quintett für Klarinette und Streichquartett (quintet for clarinet and string quartet) (1993) 12'
sFr. 36.00
A sound world, oscillating between expressivity and absolute non-expressivity, is created from a simple initial motive. World premiere: 04.12.95. in Zurich by the ‘Ensemble Opera Nova’.

18205 Cécile Marti: Oktogon (2008) 12'30
for string quartet and horn quartet
sFr. 65.00
Four horns stand face on with a string quartet. These two close and self-contained sounding groups are led into a kind of duet. It begins with the construction of two sounds before developing into a back and forth oscillation between the two sounding groups. There follows a mutual attempt at tonal alignment and then fine variations where the groups enter an area of wavering tones. Re-colouring moments of the horizontal figurations or a hocket-like interplay between the two parties arises. The themetization of the instrument-specific base elements, the fifths tuning of the strings and the natural spectrum of the horn become the harmonic culture medium for the whole piece.

9914 Maria A. Niederberger: "Oh grosses Wunder" (1995) 4'
A Christmas carol (first version)
for choir and organ for choir with flute, triangle and string quartet (string ensemble)
sFr. 13.00
(Version mit Instrumenten: sFr. 14.-, € 9.50)
Choir is 1-2-part, four strophes; music in a traditional tonal style. German text by M. Niederberger.

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

4322 Ernst Pfiffner: Monologe über Frieden und Krieg (1983) 12'
for voice and string quartet
sFr. 29.00
Texts: Dschang Dji, Andreas Gryphius, Hugo Ball, Li-Tai-Pe Work series A: Music for concerts.

Listen: Youtube
10031 Kit Powell: Sextett (2000) 11'
for clarinet, bass clarinet and string quartet
sFr. 39.00
(Stimmen bei SME/EMS: sFr. 38.-; € 38.-)
5242 Balz Trümpy: Passacaglia und Walzer (1997) 7'
for tuba, string quartet and piano
sFr. 23.00
A series of variations over a bass result in a cathartic waltz.

10710 De-Qing Wen: Petit Chou (1997) 13'
Variation
for Er hu (Chinese violin) and string quartet
sFr. 39.00
‘Petit Chou’ is a Chinese folk song telling the sad history of a little girl who carries this name. This song is composed of six bars with each one forming the object of a variation. The complete theme is only apparent at the end of the piece.

10713 De-Qing Wen: Ballade (1998) 10'
for pipa (Chinese lute) and string quartet
sFr. 31.00
The musical material is based primarily on the superposition of the intervals of fourths, second major and fifth, like the tuning of the pipa in A, D, E, A. The string quartet imitates the pipa in its play and thus creates an ambiance that intermingles two types of instruments.

10721 De-Qing Wen: Silk Bamboo (2001) 10'
for flute and string quartet
sFr. 47.00
(Matériel chez le compositeur)
This piece is inspired by ‘Sizhu’ (silk and bamboo). ‘Sizhu’ is a traditional Chinese musical form used popularly in Central-East and Southern China. The silk bamboo ensemble consists of "soft" instruments with si silk strings (pipa, erhu, zheng) and zhu bamboo instruments (bamboo flutes, dizi). In this work the composer tries to integrate the ideas of traditional Chinese music with modern Western composition techniques. The silk is soft - ‘Yin’ (feminine): pianissimo and lento. The bamboo is hard - ‘Yang’ (masculine): fortissimo and allegro. Although the instruments, the musicians, the way of composing and time have all been transformed the spirit of the music and the Chinese emphasis of the musical language remains unchanged.

10727 De-Qing Wen: Wind and Snow in the Night (2002) 8'
for pipa (Chinese lute) and string quartet
sFr. 23.00
10745 De-Qing Wen: The Tender Language of Wu (2011) 10'
for guqin, pre-recorded tape and string quartet
sFr. 26.00
Commissioned by the Guqin player Ms. Dai Xiaolian, I composed "The Tender Language of Wu" for guqin, pre-recorded tape and string quartet. The tape recording was completed with the help from Suzhou native students Li Mingyue, Zhou Heqing, Lu Wenyi and Gu Yunyu from the Musicology Department of Shanghai Conservatory of Music and Zhang Shichao from the Composition Department of the same school. Suzhou dialect is often considered to be soft, light, and flowing, therefore given a good name Wu nong ruan yu , which literally means "The Tender Language of Wu". Guqin and western string instruments are both characteristic of gentleness and elegance. I had intended to create a dialogue between these different factors by integrating the ancient Chinese and western string instruments with the tender language of Wu and modern digital audio technology.

8206 Alfons Karl Zwicker: Rituale für Fada (1994) 54'
for string quartet
sFr. 65.00
Large-scale string quartet that opens a discourse on the African way of making music, be it vocally or instrumentally. This piece is based on rituals still alive in Togo today. ‘Fada’ is Togolian and means ‘Father’. Fada is clergyman Karl Rohrbach, who has offered his exemplary services for development aid in Togo for more than twenty years. The strings also play pedal drums, rattles and blow a whistle. The third passage is to be performed with live electronic.

Listen: Youtube

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

automatically generated. last update: 28.08.2015 / 2004 Theo Lustenberger