Instrumentation: for electronic tape (CD/DAT or MD) and orchestra (1.2(ca).2(bcl).2(cbn)/2.2.1.1/hp/str)

Texts: Christina Thürmer-Rohr

A version for chamber orchestra (wind quintet, strings, piano and electronic tape) is also available (1994).

Duration: 13' 00"

CHF: 25.20

Symphonic poem

Instrumentation: for orchestra (pic.2.2.ca.2.bcl.2.cbn/4.3.3.btbn.0/timp.1perc/str)

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.

Duration: 10' 25"

CHF: 28.20

Orchestral study

Instrumentation: for large orchestra (3(pic, afl).2.3(bcl).3(cbn)/2.2.2.0/3perc/10.8.6.6.4)

Duration: 12' 00"

CHF: 42.70

Instrumentation: for orchestra (2(pic).2(ca).2(bcl).2(cbn)/2.2.1.0/2perc/14.4.4.2)

Searching for the subtlest sound track, fearful eruption, internalised epilogue.

Duration: 17' 00"

CHF: 38.70

Instrumentation: for orchestra (2.2.2.2/4.2.1.0/timp/str)

Duration: 29' 00"

CHF: 94.40

Symphonic movement over an Italian folksong

Instrumentation: for orchestra (2(pic).2.2.2/4.2.3.1/timp/str)

Reworking of 'Variationen und Fantasie' from 1959.

Duration: 11' 21"

CHF: 31.30

Concerto

Instrumentation: for violin and large orchestra (3.3.3.3/4.3.3.1/3perc/hp/30.12.10.8)

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.


Duration: 16' 00"

CHF: 50.70

Instrumentation: for orchestra (2.2.2.2/2.2.2.0/3perc/5.5.5.5.3)

This whole five-part piece is developed from a pentatonic group core.

Duration: 10' 00"

CHF: 26.70

Instrumentation: for orchestra (pic.1.1.ca.1.acl-f.bthn.bcl.1/1.1.tbn-c.tba-c/3-4perc/str)

Several time phases blend together to form a whole.

Duration: 8' 00"

CHF: 16.70

Instrumentation: 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)

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.

Duration: 20' 00"

CHF: 44.70

Ergon 6

Instrumentation: (3(3pic).2(2.ca).3(3.bcl).2/2.2.2.0/3perc/hp.pf/12.12.8.8.4)

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.

Duration: 10' 00"

CHF: 40.00

Instrumentation: (3(2pic).3.3(bcl).2/3.2.3.1/vib.cel.hp/str)

The orchestra is used throughout in a chamber music fashion.

Duration: 18' 00"

CHF: 19.20

Concert

Instrumentation: 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)

Based on Jean Gebsers idea of the five-phase conscience changes of humanity (archaic, magic, mythic, mental, integral) the soloist personifies the individual changing in its environment.

Duration: 26' 00"

CHF: 51.30

Instrumentation: for orchestra (2.2(ca).2.2(cbn)/2.2.0.0/timp.perc/pf/8.6.4.4.3)

Duration: 15' 00"

CHF: 39.00

Instrumentation: for a large orchestra

Comical variations on two Swiss folk song themes for diverse instrumental groups, sometimes playing register-like and sometimes as a whole orchestra.
Of a medium level of difficulty, can also be played, relatively easily, by a student or amateur orchestra.


Duration: 4' 00"

CHF: 18.00

Instrumentation: for orchestra (pic.2.2.ca.2.2(bcl)/2.2.2.1(btba)/1perc/hp.gtr.man.cel/str)

Am Grabe Richard WagnersCaroussel de Madame P-NResignazioneTrübe Wolken - Nuages gris

Duration: 12' 00"

CHF: 33.60

Instrumentation: for violoncello and orchestr (2.2.2.2/4.2.2.1/2perc/str)

Duration: 9' 00"

CHF: 17.30

Instrumentation: for trumpet and orchestra (2,1,2,1 - 2,1,0,0 - perc, pno - str)

Duration: 6' 00"

CHF: 27.00

Cycle

Instrumentation: for large orchestra and piano solo (2.2.3.2/3.2.3.1/4perc/hp/24.6.6.4(five stringed))

'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.


Duration: 13' 00"

CHF: 51.30

Instrumentation: for orchestra (pic.1.1.ca.1.bcl.1/1.1.1.tb-c/3perc/org.cel/str)

Stories of everyday life. This fantastic bazaar of sounds is set in a hermetic sound world.

Duration: 12' 00"

CHF: 29.40

Instrumentation: for symphony orchestra (3(pic)2.2.bcl.2/4.4.3.1/hp.hpd.pf.toypiano/4perc/10.8.6.6.4) and electronic metronome

Duration: 11' 00"

CHF: 53.30

Instrumentation: 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)

Duration: 10' 00"

CHF: 35.40

Instrumentation: for high voice (soprano or tenor) and orchestra (3(3pic).2.ca.2.bcl.2.cbn/4.3.3.1/1perc/cel/hp/str)

Texts: Anonymus, Heinrich von Morungen, Walter von der Vogelweide

This three-part work is based on text from a minnelied. The vocal line, which uses various sound modulations, is harmonically, melodically and rhythmically interwoven with the accompaniment.

Duration: 17' 00"

CHF: 64.70

Cycle

Instrumentation: for large orchestra and piano solo (2.2.3.2/3.2.3.1/4perc/hp/24.6.6.4(five stringed))

'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.


Duration: 13' 00"

CHF: 38.70

Instrumentation: for tenor saxophone and orchetsra (3(pic).3.ca.3(bcl).2.cbn/4.3.2.btbn.0/2-3perc/hp/min8.6.4.4.2)

Duration: 16' 00"

CHF: 30.70

Instrumentation: for orchestra (2.2.2.2/2.2.0.0/timp/str)

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.

Duration: 16' 00"

CHF: 22.00

Instrumentation: for orchestra (3.2.3.2/2.2.2.0/3perc/10.8.6.6.4)

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

Duration: 16' 00"

CHF: 39.30

Instrumentation: for choir, soli, and orchestra

Texts: Elisabeth Wandeler-Deck, Sophokles, S. Rotenberg, F. Nietzsche, M. Schmidt-Salomon, W. Shakespeare, Lukrez

"Seit Jahrhunderten hat die abendländische Musik geistliche Messen hervorgebracht - teils basierend auf religiöser Überzeugung, teils die bewährte sakrale Tradition fortschreibend. Einem solchen Werk begegnet die Missa de homine mit einem zeitgenössischen und gegensätzlichen Zugriff: "Nicht Gott, sondern der sterbliche Mensch mit seinen positiven wie negativen Eigenschaften steht im Mittelpunkt."

Der Cantate Basel Kammerchor brachte die Missa de homine im Wechsel mit Joseph Haydns Harmoniemesse zur Uraufführung.
"

Duration: 38' 00"

CHF: 81.20

Instrumentation: for orchestra (pic.2.2.ca.2(piccl).bcl.2.cbn/3.3(pictpt,cnt).2.1/3perc./pf.cel/str)

In four acts: Image d'hiver, Ville pavoisée, Paysage aux oiseaux jaunes, Sacrifice barbare.The work is a meditation based on the following cocepts: Universe (movements one and three), Man (movements two and four).

Duration: 20' 00"

CHF: 74.50

Instrumentation: for choir, soloists (Soprano, Baritone) and orchestra (0.0.2.2/0.2.0.0/str)

Texts: William Shakespeare

Based the sonnet 154 by William Shakespeare.

Duration: 8' 00"

CHF: 17.40

Instrumentation: 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

Texts: Bibel / Liturgie

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'.

Duration: 26' 00"

CHF: 34.00

Instrumentation: 3 Flutes, 1-3 doubling Piccolo; 3 Oboes; 3 Clarinets in Bb, 2nd doubling Clarinet in Eb, 3rd doubling Bass Clarinet; 3 Bassoons, 3rd doubling Contrabassoon; 4 Horns in F; 3 Trumpets in C, 3rd doubling Piccolo Trumpet in Eb; 3 Trombones; 1 Tuba; 4 Percussionists; Harp (1 player, 2 Harps, one tuned in quarter tones); Piano/Celesta (piano, six pitches are tuned in quarter tones); Accordion, tuned in quarter tones; Strings (12-10-8-6-6); Choir: S-A-T-Bar-B (approx. 40 singers)

Duration: 78' 00"

CHF: 115.20

Instrumentation: for orchestra

Die 4 Orchesterstücke standen im Finale des ersten Basel Composition Competition 2017 und wurden vom Kammerorchester Basel uraufgeführt.Uraufführung: 16. Februar 2017, Theater Basel (Foyer); Dirigent: Frank Ollu; Kammerorchester Basel Basel Composition Competition 2017

Duration: 17' 00"

CHF: 56.70

Instrumentation: for three improvising musicians (any instruments) and orchestra (2(pic).2(ca).2(bcl).2/2.2.1.0/1perc/10.6.5.3)

The improvised part is composed for wind instruments cello and drums, but can just as easily be realised using other instruments.

Duration: 30' 00"

CHF: 68.00

Instrumentation: for piano/percussion and orchestra (2(pic).3(3ca).2.2/4.2.2.1/1perc/14.12.10.10.3)

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 material, small additional instruments, and preparation devices for the piano (Steinway D-274) are available on loan.

Duration: 26' 00"

CHF: 56.70

Instrumentation: 3.3.3.3/4.3.3.1/4 Perk./12.10.8.6.6

Duration: 18' 00"

CHF: 42.00

Instrumentation: for split orchestra (2.2.bcl.1/2.0.0.0/hpd/str)

Duration: 15' 00"

CHF: 34.20

Instrumentation: 3.3.3.3/4.3.3/Akkordeon/12.10.8.6.6

Seven Towers 1-7 - ein Orchesterzyklus in sieben aufeinanderfolgenden Teilstücke von 80 Minuten Dauer. Die sieben Teile gestalten sich durch musikalische Verlaufsprozesse, die sich in jedem Satz anders formulieren. Verlaufsprozesse beschreiben das musikalische Geschehen beim aktiven Hören im Moment der Wahrnehmung. Sieben musikalische Klangräume wurden erstellt, um die Verläufe deutlich von einander abzuheben. Die Musik möchte innere Räume öffnen, ja vielleicht sogar an äussere Räume erinnern. Die Teilstücke sind so geschrieben, dass sie als ein einziges Kontinuum spielbar sind. Die einzelnen Teilstücke können aber auch einzeln gespielt werden. Das erste Teilstück bildet die Grundstruktur des gesamten Zyklus. Es stellt eine Mikrostruktur dar, die sich in der Makrostruktur des Gesamtwerkes wiederspiegelt: es gründet auf sieben aufeinander folgenden Klangräumen, welche die musikalischen Elemente vorstellen. Jedes der darauf folgenden Teilstücke bezieht sich auf die Materialien und entwickelt die Ideen weiter.

Duration: 10' 00"

CHF: 26.70

Instrumentation: für Bariton, Mezzosopran, Violine solo und grosses Orchester

Texts: Samuel Pepys

"Auszüge aus den Tagebüchern des englischen Tagebuchschreibers und Chronisten Samuel Pepys (1633 – 1703). Staatssekretär im englischen Marineamt (Chief Secretary to the Admiralty), Präsident der Royal Society und Abgeordneter des englischen Unterhauses.
Das Tagebuch, das Pepys [piːps] von 1660 bis 1669 führte, gehört zu den wichtigsten Quellen für diese Zeit und zu den am häufigsten zitierten literarischen Werken des englischen Sprachraums.
"

Duration: 45' 00"

CHF: 85.60

Instrumentation: for orchestra (2.2.2.2.sx/3.2.2.2/3perc/hp.pf.acn/18.8.5.4)

A spatially distributed orchestra, with ever changing group assemblage who (independent of the conductor) move between individual solo and various tutti-attempts. Critical questions of identity, individuality, coherence and unity are central in this composition.

Duration: 15' 00"

CHF: 52.00

Instrumentation: for orchestra (2(pic).1(obda).ca.1(bthn).bcl.2(cbn)/2.2(pictpt).1.0/1perc/pf/str)

Dans un an et un jour... - La quête suprême - Joie de la Cort.

Duration: 16' 00"

CHF: 70.00

Instrumentation: 3.3.3.3/4.3.3.1/1 Harfe/Celesta/4 Perk./Akkordeon gestimmt in Vierteltöne/12.10.8.6.6

Seven Towers 1-7 - ein Orchesterzyklus in sieben aufeinanderfolgenden Teilstücke von 80 Minuten Dauer. Die sieben Teile gestalten sich durch musikalische Verlaufsprozesse, die sich in jedem Satz anders formulieren. Verlaufsprozesse beschreiben das musikalische Geschehen beim aktiven Hören im Moment der Wahrnehmung. Sieben musikalische Klangräume wurden erstellt, um die Verläufe deutlich von einander abzuheben. Die Musik möchte innere Räume öffnen, ja vielleicht sogar an äussere Räume erinnern. Die Teilstücke sind so geschrieben, dass sie als ein einziges Kontinuum spielbar sind. Die einzelnen Teilstücke können aber auch einzeln gespielt werden. Das erste Teilstück bildet die Grundstruktur des gesamten Zyklus. Es stellt eine Mikrostruktur dar, die sich in der Makrostruktur des Gesamtwerkes wiederspiegelt: es gründet auf sieben aufeinander folgenden Klangräumen, welche die musikalischen Elemente vorstellen. Jedes der darauf folgenden Teilstücke bezieht sich auf die Materialien und entwickelt die Ideen weiter.

Duration: 9' 00"

CHF: 26.00

Instrumentation: für Bariton und Orchester (4,4,4,4 - 4,4,3,1 - Schlgz(4), Pk - Str)

Duration: 17' 00"

CHF: 49.20

Composition

Instrumentation: for orchestra (I-III)

Duration: 26' 00"

CHF: 54.70

Instrumentation: 3.3.3.3/4.3.2.1/1 Harfe/Celesta/Akkordeon gestimmt in Vierteltöne/4 Perk./12.10.8.6.6

Duration: 7' 00"

CHF: 20.00

Instrumentation: (2(pic).2(ca)2(bcl).2/2.2.2.0/timp/3perc/hp.cel/str)

This composition was awarded the 'Primo Premio Città di Trieste' in 1967.

Duration: 14' 00"

CHF: 49.30

Instrumentation: for large orchestra (3.3.3.3/4.3.3.1/3perc/hp/pf/16.14.12.10.8)

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.

Duration: 14' 00"

CHF: 32.00

Instrumentation: for two rap voices and orchestra (pic.2.2.ca.2.bcl.2/2.2.0.0/2timp.1perc/jazzdms/str)

Duration: 8' 00"

CHF: 31.80

Instrumentation: for a large orchestra (3.3.3.3/4.3.3.1/5perc/pf.hp/14.12.10.8.6)

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.
First performed on 26.04.02 in Bern by the Bern Symphony Orchestra under the direction of D. Kitajenko.


Duration: 16' 30"

CHF: 44.00

Instrumentation: Opera

Duration: 1h 57' 00"

CHF: 82.00

Instrumentation: grosses Symphonieorchester; Kurzfilm

Duration: 6' 15"

CHF: 15.30

Instrumentation: für Orchester (3. Satz für Streichquintett)

1. Satz: Allegro für Orchester
2. Satz: Andante für Orchester
3. Satz: Scherzo für Streichquintett


Beschreibung

zu Franz Schubert, Symphonie-Fragment D-Dur D 936A - ein Versuch zwischen Orchester- und Kammermusik

Wie kann ein nicht vollständiges Werk einer Öffentlichkeit zugänglich gemacht werden?

Ein unvollendetes Bild hat für Betrachtende einen grossen Reiz; ein Textfragment - etwa von Hölderlin - kann Gedanken auslösen nach Herkunft und möglichem Ziel; eine musikalische Skizze ist schwieriger zu vermitteln, wenn sie nicht bloss gelesen, sondern aufgeführt und gehört werden soll. In die Fusstapfen des Komponisten zu treten und "stilecht" zu komplettieren ist eine oft gewählte Herangehensweise. Eine andere, transparentere wäre, Ergänzung und Bearbeitung auch hörbar zu machen, ohne das Original zu zerstören.

Franz Schubert schrieb in den letzten Wochen seines kurzen Lebens an einer Symphonie in D-Dur (D 936A). Erhalten sind zwölf grosse, zweizeilig eng geschriebene Seiten mit drei Sätzen: einem ersten mit zwei Anfängen bis zum mittleren Doppelstrich und danach nur einem rätselhaften Schluss zwischen Trauer und virtuosem Übermut. Der zweite, ein Andante in h-Moll erscheint fast nackt, ohne übliches Beiwerk, mit einem nachträglich durchgestrichenen Schluss. Der dritte Satz ist "Scherzo" überschrieben, aber in völlig neuer Sicht durchgeführt, ohne die üblichen Wiederholungen, in einem sich fortlaufendend entwickelnden polyphonen Satz. Von einem Finale fehlt jede Spur.

Der Bearbeiter wählte für jeden Satz eine andere Art, das Fragmentarische spürbar zu machen. Die komplette Exposition des ersten Satzes entspricht Schuberts früherer Instrumentationsweise. Statt der fehlenden Durchführung bildet eine neu komponierte leise, dünn instrumentierte Brücke den Übergang zu einer zunächst immer noch im Schatten liegenden kürzeren Reprise. Die Coda folgt wieder ganz Schuberts Schreibweise. Im traumhaften Andante wurden keine Stimmen für Übergänge hinzugefügt. Einzig eine kleine, nachträglich von Schubert eingefügte Fis-Dur-Episode wurde klanglich etwas hervorgehoben. Die durchgestrichene Coda wird bloss von einem einfachen Streichquartett gespielt. Daran anschliessend wird der polyphone Scherzo-Satz an Stelle des Orchesters bis zum Schluss durchgehend von einem Streichquintett (mit zwei Celli) ausgeführt.

Der Dirigent legt also bereits vor dem Schluss des Andante seinen Stock nieder und hört - wie das ganze Orchester - bis zum Ende den Solostreichern zu. Aus dem Gemälde wird eine Zeichnung.

R.M. 20.April 2021


Duration: ca. 35'

CHF: 57.30

Instrumentation: for orchestra (2.2.2.2/2.2.0.0/1perc/8.6.4.4.3)

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 as soloists.

Duration: 5' 00"

CHF: 29.00

Instrumentation: (4.3.3.3/4.4.3.1/4perc/hp/14.12.10.8.6)

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.

Duration: 15' 00"

CHF: 42.00

Instrumentation: for symphony orchestra (2(pic).2.2.1.cbn/4.2.2.btbn.0/timp.2perc/hp.pf/str)

Duration: 4' 30"

CHF: 36.00

Instrumentation: 1 Fl, 1 Ob, 1 Bkl, 1 Kfg, 1 Hrn, 2 Perk, 1 Git, 1 Akk, 1 Bakk, 1 Vln, 1 Vlc, 1 Ktb, 1 Sprecher, 1 Tänzerin; Théâtre Musical

Duration: 10' 00"

CHF: 20.40

Instrumentation: for violin and orchestra (2(pic).1.ca.2(cbl).2(cbn)/1.1.1.0/timp.2perc/cel.hp/str)

Duration: 11' 00"

CHF: 34.80

Instrumentation: for large orchestra (3.2.ca.2.2/4.0.0.0/2hp/str) and two percussion

Melody and counter-melody. A piece rich in contrast and full of distinguished sounds.

Duration: 12' 00"

CHF: 49.00

Instrumentation: for orchestra (3(1pic).2.3(1bcl).3(1cbn)/4.2.3.1/perc/str)

Duration: 4' 00"

CHF: 13.30

Short pieces

Instrumentation: for orchestra (2.2.2.2./2.2.0.0/perc/pfstr)

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.

Duration: 1' 40"

CHF: 10.80

Instrumentation: (2.2.2.2/2.2.1.0/timp/hp/str)

The violin concerto succeeds thanks to its sonorous and atmospheric sound world, and without a need to rely on traditional forms and structures.

Duration: 17' 40"

CHF: 49.30

Instrumentation: Symphonieorchester und Big Band

Orchesterwerk

Duration: 25' 00"

CHF: 52.00

Instrumentation: 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&vcsoli/str)

Texts: Gilgamesh-Epos, Emily Brontë, Vedas (indisch), 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.

Duration: 42' 00"

CHF: 122.00

Concerto

Instrumentation: for suo-na, calligraphy and large orchestra (3,3,3,3- 4,3,3,1 - perc(4), hp, pno - 12,10,8,8,6)

Duration: 16' 00"

CHF: 54.70

Instrumentation: for orchestra (2.2.2cl-B.2/2hn-F.2tpt-B/2perc/strquintet)

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: augmented tonality and free atonality.

Duration: 10' 00"

CHF: 44.70

Instrumentation: (2.2.2.2/2.2.1.0/3perc/str

Walking in the Paths of the Warrior (fire)Teacher (water)Visionary (air)Healer (earth).

Duration: 35' 00"

CHF: 63.60

Instrumentation: Symphonieorchester, Chor, Tenor-Solo

Duration: 10' 00"

CHF: 16.20

Instrumentation: for orchestra (2.2.2cl-B.2/2hn-F.2tpt-B/3perc/harp/strquartet)

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, augmented tonality, partly 10-tone structures.

Duration: 16' 00"

CHF: 99.00

Instrumentation: for orchestra (pic.2.3.3.3/4.3.3.1/3perc/hp/str)

Pentatonic music is a yoke for a Chinese composer. I want to shake it off, but at the same time I want to keep some trace of this "yoke".
The first song is based on the folk song "Small Road". The original song contains a deep helplessness. The melody is continually descending, perfectly expressing the sense of the lyrics. In China, love between the young was taboo in the past.
I composed the second song myself - it imitates the style of a river chant. The song conjures up the image of the incredible manpower required for this task.

Duration: 9' 00"

CHF: 30.70

Orchestral sounds in six parts

Instrumentation: (2.2.2.2/2.2.2.1/timp/str)

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.

Duration: 10' 00"

CHF: 37.30

Instrumentation: for large orchestra (3.2.3.2/4.2.3.1/timp.2perc/hp/16.14.12.10.8)

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.

Duration: 16' 00"

CHF: 38.70

3 Movements

Instrumentation: for large orchestra (2(2pic).2.2.1/2.2.2.1/4perc/hp/str)

Duration: 15' 30"

CHF: 32.00

Instrumentation: for mixed choir and orchestra (3.2.2.2/4.2.3.1/perc/str)

Duration: 11' 00"

CHF: 29.30

Instrumentation: for violin and orchestra (2(pic).2(ca).2(bcl).2(cbn)/2.0.0.0/str)

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 solists part, towards the low in the orchestral and towards silence.

Duration: 13' 00"

CHF: 34.00

Musical fairytale

Instrumentation: for speaker and orchestra (2(pic)2.2.2/2.2.0.0/cel.3perc/str)

Texts: Vladislav Jaros

Also 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.

Duration: 35' 00"

CHF: 37.30

Instrumentation: for orchestra (2.2.2.0/3.2.0.0/1perc/str)

Duration: 11' 00"

CHF: 42.00

Instrumentation: for large orchestra (pic.2.2.ca.2.bcl.2.cbn/4.3.3.cbtba/perc.timp/2hp/str)

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.

Duration: 15' 00"

CHF: 32.00

Instrumentation: for symphony orchestra (3.3.3.3/4.3.3.0/hp/4perc/str)

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.

Duration: 15' 00"

CHF: 24.00

Instrumentation: for violin and orchestra (3.3.3.3/4.3.3.1/hp/10.8.6.8.4)

Duration: 27' 00"

CHF: 79.60

Instrumentation: (3.3.3.3/4.3.3.1/cel.hp/timp.3perc/12.10.8.10.6)

1. Aufschwung2. Abgesang

Duration: 25' 00"

CHF: 76.70

Instrumentation: for improvisation trio (reeds, cello percussion) and symphony orchestra (4pic.4.3bcl.cbcl.3.cbn/4.4.4.1/3perc/16.14.12.10.8)

For the 'Koch-Schütz-Studer' trio and basel sinfonieta.
a commission for the Lucerne Festival.

Duration: 22' 00"

CHF: 58.70

Concertino

Instrumentation: for orchestra (2.2.2.2/2.1.0.0/perc/8.7.6.4.2)

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 its demanding restrictions.

Duration: 9' 00"

CHF: 28.70

Instrumentation: for orchestra (2.2.ca.2.2/2.2.1.0/4perc/hp/str)

Easily accessible character pieces with a very dense atmospheric and emotional content.
Tonality, bitonality and quintal harmony.

Duration: 17' 00"

CHF: 50.00

Instrumentation: für Orchester (3.3.3.3/4.3.3.1/timp.2perc/hp.pf.xyl/str)

4 Variations with 3 Interludes, inspired by the pictures of Marc Rothko.

Duration: 17' 00"

CHF: 61.30

Instrumentation: for euphonium and orchestra (pic.2.2.2.2/2.2.1.0/perc/cel/str)

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.

Duration: 11' 30"

CHF: 42.70

Wehnachten für Alle

Instrumentation: 2 Chöre SATB (antiphonal), and kleines Sinfonie Orchester

Texts: Maria A. Niederberger: A Star Shall Guide

Antiphonales Chorwerk mit kleinem Orchester. Tonal/modal geschrieben.
In diesem Werk kommunizieren ein Engel??" und irdischer Chor. Neben dem Englischen Gedicht “A Star Shall Guide “ verwende ich Vokalisierungen und lateinische Passagen für den Chor der Engel. Am Ende verbinden sich beide Chöre.

Duration: 5' 50"

CHF: 28.00

Piano concert in eight parts

Instrumentation: (2.2.2(2bcl).2/2.2.1.0/perc/7.7.4.4.2)

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.

Duration: 15' 00"

CHF: 30.00

Instrumentation: for orchestra groups (2.1.1.1/2.1.1.1/perc/pf/str)

A collection of non-cyclic orchestral pieces.

Duration: 28' 00"

CHF: 85.20

Instrumentation: for large orchestra (3.3.3.3, 4.3.3.1, 3perc, 1harp, 14.12.10.8.6)

With the title "Daybreak", we needn't any specification for the piece in the concert program as the title explains itself explicitly.

Duration: 11' 00"

CHF: 39.30

Instrumentation: für Sopran, Bariton und Orchester (4,4,4,4 - 4,4,3,1 - Schlgz(4), Pk - Str)

Texts: Sappho, Alkaios

Duration: 12' 00"

CHF: 40.80

Instrumentation: for large orchestra (3.3.3.3/4.3.3.1/4perc/hp/str)

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.

Duration: 13' 00"

CHF: 44.00

Instrumentation: for orchestra (2(2.pic)2.2.2/2.2.2.0/timp.perc/str)

Homage to Armin Jordan on his 60th birthday, composed with quotations of works from the 19th and 20th centuries.

Duration: 4' 00"

CHF: 19.20

Musik für Sopran, Bariton, gemischten Chor und Orchester nach Gedichten von Moulana Djalal ad-Din Rumi (1207-1273)

Instrumentation: Sopran solo, Bariton solo, gemischten Chor 2 Fl,, 2 Ob, 2 Kl, 2 Fag, 4 Hörner 2 Trompeten, 3 Posaunen, Timpani, 2 Schlagzeug, Streicher

Texts: Rumi, deutsch und persisch

1. Satz Adagio, Bariton und Orchester
2. Satz Allegro con brio, Sopran, Bariton und Orchester (wurde noch nicht aufgeführt)
3. Satz Andante, Chor und Orchester
4. Satz, Adagio, Sopran und Orchester,
5. molto Agitato Sopran, Bariton und Orchester1. Satz Adagio, Bariton und Orchester
2. Satz Allegro con brio, Sopran, Bariton und Orchester,
4. Satz, Adagio, Sopran und Orchester,
5. molto Agitato Sopran, Bariton und Orchester,
(der 3. Satz Andante, Chor und Orchester wurde noch nicht aufgeführt.

Duration: 50' 00"

CHF: 84.60

Instrumentation: for orchestra (3.3.3.3/4.3.3.1/4perc/hp/14.12.10.8.6)

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.

Duration: 17' 00"

CHF: 49.30

Instrumentation: (2.2.2.2/2.2.0.0/timp/hp/str)

Demands an exceptional level of virtuosity for the solo flute. Written for Aurèle Nicolet.

Duration: 21' 00"

CHF: 70.60

Song

Instrumentation: for mezzo-soprano and orchestra (fl, ob, cl, bn, drm, drmset, bongos, piano, bassgtr, str) or mezzo and pf

Texts: Vladislav Jaros

Tonally composed in the Musical style.
Second version is without bass guitar and drum set.

Duration: 4' 00"

CHF: 18.70

Instrumentation: version for orchestra (3.2.3.2/4.2.3.1/4perc/pf.hp/str)

Duration: 8' 00"

CHF: 29.30

Six songs

Instrumentation: for bass and orchestra (2(pic).2.2.(bcl).2(cbn)/2.2.0.0/timp.perc/str)

Texts: John Donne

Orchestral version of the six songs for bass and piano.
In 'A Valediction' I have taken six poems by the Baroque poet John Donne with one prevailing theme: the saying of farewells, the leaving of loved ones. The theme is circumscribed in Donne's picturesque language in a multitude of modes ranging from tender pain to powerful and reckless claims of freedom, and on further to ecstatic delirium in the knowledge that physical separation is revoked by spiritual unification.
In a similar manner to the text, the music circles around a complex nucleus of themes that merge into great lines and trace the various shades of feeling.
'A Valediction' is dedicated to Ute and Susanne Stoecklin.

Duration: 24' 00"

CHF: 85.20

Himno por la Paz

Instrumentation: for symphony orchestra (2.2.2.2/4.2.3.1/timp.perc/str)

Multi-part work in one movement.

Duration: 15' 30"

CHF: 29.40

Konzert

Instrumentation: für Cello und Orchester

CHF: 45.30

Instrumentation: (pic.2.2.ca.2.bcl.cbn/4.4.3.1/timp.vib.2perc/str)

A professional orchestra will encounter no particular difficulties here.

Duration: 23' 00"

CHF: 76.00

Oratorio

Instrumentation: for bass bariton, tenor, mix choir & orchestra

Duration: 16' 30"

CHF: 41.30

Ergon 19

Instrumentation: for orchestra (afl.bfl.ob.ca.bcl.cbcl.bn.cbn/3.2.2.1/2perc/8.6.4.4.2)

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.

Duration: 8' 00"

CHF: 25.30

Instrumentation: for piano and large orchestra (2(2.pic).2.ca.2.bcl.2.cbn/4.3.3.1/timp.perc/hp/str)

Multi-part, single-movement piece with solo cadence.

Duration: 20' 00"

CHF: 49.30

Instrumentation: for mezzo-soprano and orchestra (fl, ob, cl, bn, timp, gong, hp, gtr, pf, str) (also for mezzo and pf)

Texts: Vladislav Jaros

In the Musical style.

Duration: 4' 00"

CHF: 18.70

Song

Instrumentation: for mezzo-soprano and orchestra (2fl, 2ob, 2cl, 2hn, 2tpt, tbn. drm, drmset, bassgtr, str)

Tonally composed in the Musical style.

Duration: 7' 00"

CHF: 19.30

Instrumentation: for solo Chinese guqin and orchestra

Ink Splashing is one of the techniques for traditional Chinese painting. This painting technique was accidentally innovated by Wang Qia, an artist in the Tang Dynasty, who, in an inebriation, threw ink onto a piece of silk on a desk, and turned the traces of seeping ink into an unexpectedly remarkable landscape painting in an impressionistic manner. It was later developed into a methodical and systematic formula with a combination of washy and thick ink.

Duration: 13' 20"

CHF: 36.70

Instrumentation: for mezzo-soprano and orchestra (2fl, 2ob, 2cl(bcl), 2hn, 2tpt, tbn. drm, drmset, pf, bassgtr, str) or mezzo, baritone and pf

Duration: 5' 00"

CHF: 34.00

Instrumentation: for violin and orchestra

Duration: 17' 00"

CHF: 53.30

Instrumentation: for Soprano, piano and orchestra

Midnight Tune is inspired by the poem Midnight Piano Tune by Xi Chuan, a China's modern poet, who was provoked by a piano tune he heard at midnight into deep reflections on the nature of life. The poet stunned me so much with his mind-blowing imagination of images, otherworldly and creative use of words, and the rich musicality and distinct rhythm in the poem that I could not tell whether I was lost in the extra-powerful magic power of the modern poetic language or overwhelmed by the glass sky-walk built by the modern poem between reality and fantasy, or whether my music gave his poem wings or his poem brought my music to life.

Duration: 12' 30"

CHF: 47.30

Instrumentation: for Orchestra

CHF: 41.30

Instrumentation: for mezzo-soprano, guitar and orchestra (or just guitar accompaniment)

Texts: Vladislav Jaros

The author wrote an English version of the well-known Catalan folksong 'El noy de la mara', set it for orchestra and added lyrical instrumental interludes.

Duration: 3' 00"

CHF: 13.20

Instrumentation: for mezzo-soprano, guitar and orchestra (or just piano or guitar)

Texts: Vladislav Jaros

An atmospheric orchestral song created in San Fransisco; one is able to hear in the music this beautiful city and the fog, which intermittently ascends from the sea to envelop this famous bridge. Tonal, English text written by the composer.

Duration: 3' 00"

CHF: 11.40

Instrumentation: for symphonic orchestra (2(pic).2.2(bcl).2/2.2.0.0/timp/12.10.8.6.4)

Duration: 14' 30"

CHF: 64.00

Instrumentation: for orchestra (3.3.3.3/4.3.3.1/3perc/hp/cel/str)

Duration: 15' 00"

CHF: 30.70

Duration: 15' 00"
Manuscript

CHF: 18.70

aus Elemente, 4 Tonbilder für Orchester

Instrumentation: 2 Flöten, 2 Oboen, 2 Klarinetten, 2 Fagotte, 4 Hörner, 2 Trompeten, 3 Posaunen, Timpani, 2 Schlagzeug, Streicher

Neue Bearbeitung des Satzes "Wasser" aus Elemente, vier Tonbilder für Orchester (1999)

Duration: 12' 00"

CHF: 18.70

Instrumentation: 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)

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.


Duration: 17' 00"

CHF: 41.30

Instrumentation: for mezzo-soprano, piano and orchestra

Texts: Vladislav Jaros

The author composed a song from the middle part (Un poco andante e cantabile) of the Fantaisie Impromtu for piano by F. Chopin by using a voice and making several additions, wrote an English text and orchestrated the resulting, filigree song, which demands to be heard.

Duration: 5' 00"

CHF: 20.40

Instrumentation: for clarinet, guitar and orchestra (also clarinet and guitar or piano)

The turbulent first part transforms into a melodious middle part prior to a varied recapitulation. An effective, temperamental piece of music with a Spanish soul.

Duration: 4' 30"

CHF: 16.70

Instrumentation: for mezzo-soprano, guitar, harp and orchestra

Texts: Heinrich Heine

The author added several short pieces to this famous song by Felix Mendelsohn and set it for chamber orchestra. The song shines with previously unknown colour and beauty.

Duration: 2' 30"

CHF: 15.00

Eight pieces from the piano cycle 'Im Labyrinth' scored for orchestra

Instrumentation: for symphony orchestra (pic.2.2.3.2/4.0.0.0/hp.perc/str)

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.

Duration: 14' 00"

CHF: 32.40

Instrumentation: for mezzo-soprano, piano and orchestra (also mezzo-soprano and piano)

Texts: Vladislav Jaros

An atmospheric orchestral song, tonal. Soft echos of Celtic music. English text written by the composer.

Duration: 4' 00"

CHF: 19.80

Instrumentation: for mezzo-soprano, baritone, guitar, piano and orchestra (also only piano accompaniment)

Texts: Vladislav Jaros

A yearning shanty. Tonal.

Duration: 4' 00"

CHF: 14.70

Instrumentation: for mezzo-soprano, guitar and orchestra

This famous aria from Georg Friedrich Händel sounds in fresh colours in this instrumentation by Jaros. The composer also also composed a catchy interlude.

Duration: 5' 00"

CHF: 17.40

Instrumentation: for piano and orchestra (3.3.3.3/4.3.3.1/4perc.timp/hp.cel.mandoline/14.12.10.12.6)

My concert for piano and orchestra essentially follows the traditional idea of a solo concert.

Duration: 33' 00"

CHF: 84.20

Oper in zwei Akten

CHF: 189.20

Instrumentation: for mezzo-soprano, mixed choir and orchestra (2.2.ca.2.2/2.2.1.0/perc.tubular bels/hp.cel/str)

A slow piece. Tonal, heartfelt music.

Duration: 6' 20"

CHF: 13.80

Instrumentation: für Orchester

Duration: 18' 13"

CHF: 46.00

Oratorium

Instrumentation: für Solisten, Chor und Orchester

Duration: ca. 75 min

CHF: 106.80

Instrumentation: Cellokonzert

When I was looking at the old painting "Totentanz" (Dance of Death) in Bern in Switzerland, I thought that despite so many differences between East and West traditions, religions and cultures, there are such profound similarities in the depths of the human mind! In 2020, the year of the White Mouse, the unseen Reaper is active all over the world and it is difficult to avoid it. Life and death, this eternal theme since ancient time haunts us today and tomorrow, in life and in arts.

This is an unusual concerto. Instead of regular orchestra instruments it uses natural materials like paper in different forms to produce different levels of tone colours, rhythms and musical articulations to support and contrast the solo cello. The white paper is an indispensable material and colour in the ceremony of Chinese people to hold the memorial ceremony for the dead. It has occupied irreplaceable symbolism and a strong sense of ritual in people's hearts from ancient time to the present.

In this piece of music, the ensemble creates different tones from strong, eruption sounds to euphemistic voices by beating, tearing or strongly vibrating the paper instruments to broaden and tightly support the solo cello. The unconventional instrumental combination used in the concerto changes the contrast between sound and tone. It brings unpredictable soundscapes. This adds a mysterious, even magical note to the music and fills it with tension.

The cello part contains strongly dynamic sections as well as the inner reflection singing sections. It brings two parallel melodies together and emphasizes the change of timbre in the operation of a single line, that forms up a multi-dimensional acoustic state of itself. It reflects the unstoppable dynamics and omnipotent divine power of the god of death.

Grim Reaper tore the hearts of those who lost loved ones. It took life away lightly like if it were a piece of paper. It left the helplessness of people and the sorrow of losing loved ones, and the silent prayer to bless the deceased: Let‘s pray that the souls of all people who became victims of the virus will rest in peace!

Duration: 9' 30"

CHF: 15.60

Messe

Instrumentation: für Solisten, Chor und Orchester

Duration: 57' 38"

CHF: 86.40

Instrumentation: für Mezzosopran und Orchester (1,1,Engl. Hr., 1,1, 2 Tromp., 3Hr, Harfe, Kl, Git, Schlgzg, Streicher)

Texts: Vladislav Jaros

Duration: 3' 30"

CHF: 12.60

Instrumentation: für Kontrafagott und Orchester

Duration: 15' 59"

CHF: 22.70

Instrumentation: for solo voice (T possibly S) and orchestra (2.2.2.2/4.2.3.1/ timp.2perc/str)

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, at all events soprano) and orchestra with transparent texture.Todeslust - Im Alter - Die Zeit geht schnell - Memento - In Danzig.

Duration: 16' 00"

CHF: 49.00

Instrumentation: for symphony orchestra (2.2.2(bcl).2/4.2.1.0/timp.perc/8.6.4.4.2)

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..

Duration: 11' 00"

CHF: 34.70

Instrumentation: for orchestra (3.3(poss.4).3.3(poss.4)/4.2.2.0/timp.2perc.echopiano.cymbalom/hp/str)

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.

Duration: 16' 00"

CHF: 25.80

Jan Hus Oratorium

Instrumentation: für Solisten, Chor und Orchester

Texts: Ivo Ledergerber

Duration: 90' 00"

CHF: 113.20

Instrumentation: for symphony orchestra (3.3.3(3bcl).3(3cbcl)/4.3.3(3btbn).1/3perc/min.10.min.8.6.6.4)

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'.


Duration: 14' 00"

CHF: 40.00

Oratorium

Instrumentation: für Solisten, Chor und Orchester

Duration: 73' 08"

CHF: 100.40

Violinkonzert

Instrumentation: für Violine und Orchester

Duration: 30' 46"

CHF: 82.80

Premiere Easter Sunday 2018

Duration: 34' 42"

CHF: 82.80

Kinderoper

St. Gallen 6/5/2018 Complete

CHF: 100.80

Instrumentation: for high voice and orchestra (2.2(2obda).2.2/ 2.2.0.0/perc/str)

Texts: Bibel / Liturgie

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. In the final section there is a Gregorian credo motive and Beethoven's credo motive from the 'Missa Solemnis'.
Work series A: Music for concerts.


Duration: 20' 00"

CHF: 42.70

für Kammerorchester

Instrumentation: Fl, Kl, Bkl, Tr, 2 Schlgzg, Klav., Marimba, Str. (Vl, Vla, Kb)

Duration: 20' 00"

CHF: 37.30

Instrumentation: Ein volksliedartiges Orchesterlied für Sopran, Mezzosopran, Chor und Orchester

Duration: 4' 14"

CHF: 17.30

Instrumentation: for soli (MezATBarB), choir and orchestra (2.2(2ca).2.2/4.2.2.0/perc/str)

Texts: Euripides, Karl Jaspers, Blaise Pascal, William Shakespeare, Bibel / Liturgie

Work series A: Music for concerts.

Duration: 45' 00"

CHF: 70.20

Christmas cantata

Instrumentation: for tenor solo, choir (SATB) and orchestra

Duration: 27' 00"

CHF: 70.20

Instrumentation: für Trio und Orchester

Duration: 20' 20"

CHF: 18.70

eleven folksongs from around the world

Instrumentation: 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

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

Duration: 59' 00"

CHF: 77.30

Instrumentation: for vocal ensemble (SATB), choir, children's choir and large orchestra (2.2.1.1/2.3.3.0/hpd/2perc/str)

Duration: 35' 00"

CHF: 43.30

Franz Joseph Leonti Meyer von Schauensee 1720-1789

Instrumentation: Rezitativ und Arie für Sopran und Orchester

Duration: 6' 00"

CHF: 21.60

Extra the music of ballet "The Girl of Xixia"

Instrumentation: for orchestra

Duration: 17' 00"

CHF: 63.30

Instrumentation: 2 Ob./EH/Fg./2Hr./3Trp./gem. Chor/Streichorchester

Naturtonreihen (mit dem heute eher ungewohnten ‘Alphorn-Fa’ - gespielt mit Naturhörnern und Naturtrompeten), Alphornmelodik und Innerschweizer Betrufmotive bilden das
Basismaterial zu dieser Collage für Chor und Orchester. Getreue Wiedergaben (z.B. der vollständige Schrattenfluh-Betruf durch die 2. Trompete) kommen ebenso vor wie Improvisationen über bestimmte Tonvorräte. Beim Eingangschor handelt sich um die Vertonnung des Psalms 91,1 : Wer unter dem Schirm des Höchsten wohnt, wer im Schatten des Allmächtigen ruht, der darf sprechen zum Herrn: ‘Meine Zuflucht, meine Feste, mein Gott, auf den ich vertraue.’ Der längere rein instrumentale Mittelteil mündet in gewohnte Tonalität, und den Abschluss bildet der Bach'sche Choral BWV 13: „Was Gott tut, das ist wohlgetan“.

Duration: 10' 00"

CHF: 18.60

Zerbrechliches Gleichgewicht

Instrumentation: für Akkordeon und Orchester

Im Zentrum des Konzerts für Akkordeon und Orchester steht das Moment des fragilen Gleichgewichts, eines prekären und gleichzeitig Glück verheissenden, immer nur temporären Zustands und die Gefahr um dessen Verlust. Inspiriert durch die Mobiles von Alexander Calder, gerät die Musik immer wieder aus ihrem Gleichgewicht. Sie kommt mit allerlei Kräften ins Spiel, kämpft mit Schlagseiten und pendelt zwischen Anziehung und Abstossung.

Duration: 32' 00"

CHF: 52.70

Instrumentation: für Alphornquartett und Orchester

CHF: 17.40

Für grosses Orchester

Instrumentation: 3 (3. auch Picc.), 3 (3. auch EH), 3 (3. auch Basskl.), 3 (3. auch Ktrfg.) / 4 (3. auch Tenortb., 4. auch Basstb.), Tenortb., Basstb., Kontrabassstb. / 4 Pk. Schlgzg., (2 Spieler) / 14 12 10 8 6

Einsitziges Orchesterwerk mit Bezug zu Bruckner

Duration: 17' 00"

CHF: 47.40

Instrumentation: version for orchestra

The parts are total 56.40 CHF.

CHF: 56.40