Zwischen Zeiten (1995-1996)
for alto flute-G
Duration: 10' 00"

Zwischen Zeiten II (1995-1996)
for solo violin and 11 strings (3.3.2.2.1)
In this work, the orchestra assumes neither the antagonistic nor the ancillary solo-accompanying role it would normally take within the context of a traditional violin concert. Here it envelops and colours the sound, or complements the melodic fragments of the solo violin in the absence of its deeper register. Solo and orchestra are thus one sound and, just as a sculpture offers its viewer a multitude of perspectives, so the eleven strings allow the sound of the solo violin to be heard from all sides. This collective sound, initially quite static, feels its way tentatively forward in small, sometimes quarter-tonal steps, explores tonal colours (on the border of noise), dynamics and movement before the quasi-nucleal solo violin is released from its orchestral sheath. Now, with expressive and virtuosic gestures, they play with their possibilities; fathom their borders, impassionate, temperamental, but also ephemeral and delicate. (M.R)
Duration: 16' 00"

Zugrundegetrauert (1996-1997)
for deep female voice and small orchestra (2.ca.2.2/2.1.0.0/timp.perc/0.4.4.3
Texts: Andrea Gadient
The music responds to the poem by Andrea Gadient, associates and spins thoughts further. Together with the orchestra, the deep female voice carries the text and allows speech and sound, as expressions of each other, to rejoin. Here the orchestra departs from its usual setting: the soprano register is thinned out (the oboe and violin are missing) and the deep register in the woodwind is fortified by the addition of an alto flute, English horn, bass clarinet and contrabassoon. The deep female voice - introverted in quartertone melodic fragments, lost in whispers, outcries - often inserts itself into the ensemble as a further instrument. (M.R.)
Duration: 10' 00"

Streichquartett II (String Quartet II) (1998)
Duration: 7' 00"

Ins Dämmersegel (1998)
for soprano, clarinet and violoncello
Texts: Andrea Gadient
Duration: 8' 00"

Irrlichter (1999)
for violoncello and piano
Duration: 6' 00"

Im Wissen um die Stille (1999-2000)
Concert
for violoncello and orchestra (2.1.ca.2(bcl).2(cbn)/2.2.2.0/3perc/8.6.4.4.3)
Duration: 25' 00"

und ungesagt (2000)
for 2 female voices and 6 instruments (S/A - afl.ca.cl/pf(3ped)/va.vc)
Texts: Andrea Gadient
Duration: 22' 00"

ET IMMISIT IN OS MEUM CANTICUM NOVUM (2000)
for soprano and violin
Texts from Psalms 129, 39 and 144.
Duration: 10' 00"

Analogies (2001-2002)
Four pieces
for variable chamber ensemble (guitar, flute, clarinet/bassclarinet, violin, viola, violoncello, piano, percussion)
Duration: 15' 00"

Ottos Mops (2002)
for speaking choir
Texts: Ernst Jandl
Duration: 4' 00"

Spuren geritzt (2002)
for guitar solo
Duration: 9' 00"

SCHRRRDLPKZIWUU (2003)
for seven children and a grand piano
Duration: 4' 00"

Beinahe Eins (2003)
for 2 violoncelli
Duration: 8' 00"

troublé (2004)
for grand piano with 3 pedals
Duration: 9' 00"

Pétrifications (2005)
3 pieces
for clarinet and piano
Duration: 10' 00"

Varietà delle fila (2005-2006)
for ensemble (fl.cl(bcl)/perc/pf(3ped).gtr/vn.va.vc.db)
Duration: 20' 00"

Gehinderte Liebe, verwelkte Herzen (2005-2007)
Songs
for soprano and 11 instruments (fl.cl[=bcl]/tbn/perc/pf.gtr/vn.va.vc.db)
Goethe's commentary on Serbian songs (Therese v. Jakob alias Talvj).
Duration: 15' 00"

fractal (2007)
for violoncello solo
Duration: 7' 00"

perspectives (2007-2008)
Music
for guitar and strings
Duration: 15' 00"

Prope est Dominus (2009)
for baritone, clarinet, trumpet and organ
Duration: 10' 00"

Minotaurus (2009)
for flute solo
A sketch after the ballad by Friedrich Dürrenmatt.
Duration: 9' 00"

réfractions (2012)
for piano
Duration: 8' 00"

perceptions (2012)
for large ensemble and voice (1.1.1.1/1.1.1.0/perc/hp.pf/1.1.1.1.1)
Duration: 20' 00"

Omlin, Christina: "Ich bin meine Musik". Die Komponistin Madeleine Ruggli, in: Dissonanz 58 (1998)