for violoncello solo
Duration: 15' 00"
Im Würfel (2005)
for sextet (fl, cl, vn, vc, mar, pf)
"My form is created entirely out of straight lines and flat surfaces ordered at symmetrical right-angles. Every side, every line is the same as every other. Intersection facing intersection. This is me at peace with myself. I can begin rotating at the slightest movement, yet it is not always possible to forsee my path of motion, for the possibility of changing direction at any moment I leave open. My way is found along my edges or my corners. If I am not resting on a surface then I am moving in this linear fashion."
A square's eye view - its inherent form is the lead for musical transformation.
The ensemble follows characteristic figurations as a compact motional unit. The way leads from a description of the object through to the mechanisms of its motion and on to playfully gestural formulations.
Circular motions, rotation around a fixed axis, gradual advancement over sound layers, using pulses to create structure, fragmentary phases and moments of dancy movement are but a few aspects which infuse throughout this piece.
Duration: 8' 30"
Im Kreis (2005)
for sextet (fl, cl, vn, vc, mar/vib, pf)
Duration: 13' 00"
for two pianos with eight hands
Helm & Baynov Verlag
Bubble Trip (2004-2007)
for large orchestra (3(pic, afl).2.3(bcl).3(cbn)/188.8.131.52/3perc/10.8.6.6.4)
Duration: 12' 00"
trennend verschmelzen (2007)
for soprano and trumpet
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 dispoitions?
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.
Duration: 7' 30"
for quartet (vn, va, vib, pf
"Klänge streifen, Rhythmen streifen, Melodien streifen, Streifen schichten, Streifen verweben,
Streifen verdichten. Streifend durch Klanglandschaften ziehen, streifend Klangfarben berühren,streifend Streifen streifen......."
Two string instruments stand face on with two percussion instruments whereby the "percussion's" primary objective is to attempt tonal alignment with the strings. The vibraphone plays a coupling role between the two parties. Polar oscillating movements, stratifying and sometimes recolouring, flowing sound bands and flitting pulsations alternate throughout the piece.
Duration: 9' 00"
for string quartet and horn quartet
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.
Duration: 12' 30"
for quartet (vn, va, perc, pf)
Duration: 3' 30"
for solo violin and ensemble (184.108.40.206/220.127.116.11/pf/18.104.22.168)
I have shared a deep emotional passion for the violin concert since childhood. I was initially swept away by the multifaceted 'classics' repertoire until, with breath-taking surprise, I discovered new creations, the dynamics of which repeatedly nourished my creative side. Bettina Boller, my violin teacher at the time, led me like a guide to this precious resource. A balanced synthesis between strong emotions and structural thought processes is necessary to express this veneration. The soloist-tutti phenomenon, as a mirroring of the real-life situation individuum-collective, is of great interest to me: the transition phase from the solo into the multiplicity of the tutti movements and vice versa. This can, for example, be expressed over a single tone, which is gradually compressed until it disappears into the thicket of a neighbouring tone. Or the other way round: a compact sound structure becomes more and more refined until it dissolves into a single tone. The solo violin is understood as the impulse carrier of various such compression and refining processes. It is apparent throughout the piece, with which instrumental partner the violin enters into dialogue. This piece is based on a spectrally aligned central tone, which expands, contracts, changes colour, swells up or resigns...
Duration: 20' 00"
changing five (2010)
for piano solo
Duration: 6' 30"
for violin and cello
This piece was commissioned by Gare du Nord Basel. The commission was to write a musical 'work commentary' on Nikolai Rimski-Korsakow's Scheherazade.
The piece focusses on the two protagonists from the 1001 Nights saga, namely the Scheherazade and the Sultan Scharyar, which Korsakow mirrors with two main themes. The duo follow these themes with the minutest intervals. A duality gradually develops from a supposed unity without actually ever leaving the combined sound corporeality.
Duration: 13' 00"
wave trip (2011)
for orchestra (22.214.171.124/126.96.36.199/3perc/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"
Von Einem ins Andere. Cécile Marti im Portrait, in: Dissonanz
117 (2012), S. 49-53 [Internet