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Marti Valentin

(10. 09. 1965)

Marti Valentin
Marti Valentin
Stapferstr. 6
CH-8006 Zürich
Schweiz

Tel: +41 (0)44 363 84 15
Fax: +41 (0)44 363 84 15
Internet: www.valentinmarti.ch

Biography
Valentin Marti was born in Zürich. He graduated from Zurich Conservatory with degrees in classical saxophone (1987-94 Urs Schoch, Marcus Weiss) and studies in composition (1991-95 Gerald Bennet). From 1995 until 1997 he made additional studies in composition under Michael Jarrell in Vienna at the School of Music and Performing Arts.
He is currently active as a free-lance musician (mainly of contemporary music), as a member of various contemporary chamber music ensembles, and an instrumental tutor. He is a member of the board of ISCM (International Society of Contemporary Music) in Zurich, and since 1993 president thereof.
He won second prize at the International Composer's Competition of Klagenfurt in Austria (1997), was awarded a special prize by the 'Universal Edition' in Salzburg in Austria (1997), received a honourable mention at the 'Premio Valentino Bucchi' in Rome (1997), achievement award from the Zollikon council in 2002, received a commission for a composition from the canton of Zurich and was awarded a sabbatical year for composition by the city of Zurich in 2003. Valentin Marti lives in Zurich.


Work list
Quintett für Klarinette und Streichquartett (1993)
A sound world, oscillating between expressivity and absolute non-expressivity, is created from a simple initial motive.
First performed by the ‘Ensemble Opera Nova’ in Zurich, 04.12.95.

Duration: 12' 00"
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CHF: 36.00
Seuils (1994)
for small orchestra (2.2.2.2/2.2.0.0/perc/8.6.4.4.3)
Every transgressed threshold leads to another state of sound, in another inner development.
Duration: 13' 00"
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Tres sendas espinosas (1995)
for flute (alto flute) clarinet (bass clarinet), violin, violoncello, percussion and piano
Paths leading nowhere, a search leading to nothingness; subsurface there is a trace that, in its lack of direction, actually depicts the way. In three parts. This piece was first performed on 23.5.1997 in Zurich by the Ensemble for New Music (Zurich) under the direction of Johannes Harneit.
Duration: 15' 00"
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Arachne (1995-1996)
for flute (piccolo) and harpsichord
Two instruments which never meet tonally, but produce ‘knots’ which carry the whole fabric. Double manual harpsichord.
First performed in Prague, 17.01.97 by Monika Körner (Fl) and Sandra Lechner (hpd).

Duration: 8' 00"
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Euphotic Circles (1996)
for soprano saxophone solo and ensemble (fl.cl/tpt/perc/pf/vn.va.vc.db)
"The fascinating colours, the successful combination of the three wind players and their perfect connection with the string players are very well mastered from a formal point of view, they let arise an ensemble piece in the truest sense of the word. (S. Palm)
World premiere: 31.7.97, Klagenfurt, Janus-Ensemble Wien Robert HP Platz (cond.).

Duration: 12' 00"
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... visión ... (1996)
for violin solo
A volatile, flickering appearance. First performed in Vienna, 09.10.96 by Patricia Kopachinskaja.
Duration: 4' 00"
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Rainshadows (1996-1999)
for bass clarinet, trombone, violoncello and percussion
Shadowy diffused sounds are generated below the sound spectrum of the rainstick. Sounds which, the stronger and more corporeal they appear, the more fragile they really are.
Requires three rainsticks.
First performed by the 'Ensemble Avance' in Baden, 25.02.00.
Duration: 10' 30"
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Sculpture (1997)
for violoncello solo
Fine tonal shapes are sculpted out of crude blocks. A piece with a high physical intensity (tremolo). First performed on the 28.04.97 in Vienna by Attila Pasztor.
Duration: 8' 00"
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Floating (1997)
for piccolo / alto flute, oboe and soprano saxophone
Fragile transitions between noise and tone, fluctuating chromatic modulations and a metric that masks the rhythm are characteristics of this trio.
World premiere: 28.9.97 in Wädenswil, by theTrio Lepic.

Duration: 7' 00"
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Sculpture II (1997)
for violin solo
A piece of the same intensity as 'Sulpture' and hewn from the same material.
Duration: 8' 00"
Universal Edition
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Treibholz (1997-1998)
for three Renaissance tenor recorders
The Renaissance recorder is a rewardingly simple instrument produced from a single piece of wood. It was perfectly natural for me to use very little material and write very simply for this instrument.
First performed in Zurich on 03.06.1998 by ‘Six Hands’.

Duration: 12' 00"
Mieroprint
Postfach 5544
D-48030 Münster
On a Darkling Plain (1998)
for accordion, violoncello and four-handed piano
Combined polymerized growth, a sudden break and darkening decolouration. A subtle coordinated sound balance is essential for this piece.
First performed: 13.7.98 in Klagenfurt by the Austrian Art Ensemble.

Duration: 13' 00"
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Marmoradern - latent (1998-1999)
for wind octet (ob.ob,ca.cl,bcl.2hn.2bn)
A composition in the area of conflict between ‘Aleph’ (the all embracing) and ‘Zahir’ (bearer of the “appalling nature of the unforgettable” (J.L.Borges)), the (apparently) conflictive central ideas of two novels by J.L. Borges.
First perfromed in Zurich, 23.3.99 by Octomania.

Duration: 14' 00"
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Den Schatten der Rose entdecken (1999/03)
for flute, clarinet, violin, violoncello and piano
First performed on 27.11.1999 in Boswil by 'Klangforum Vienna' under the direction of V. Kiradjiew.
Duration: 13' 00"
Manuscript
CHF: 29.00
Re-version of a Verse (1999)
for flute solo
An extending, slowly accelerating line, whose harmonic surrounding constantly rotates around its own axis, becomes gradually penetrated and superposed by a defined texture.
First performed: 7.1.00 in Zurich by Vera Fischer.

Duration: 9' 30"
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Wurzelholz (2000)
for alto recorder
A continuous expansion of a central sound field, riddled with incursions; knaggy, meditative, continuosly quarter tonal.First performed in Dägerlen, 25.03.00 by Christine Fringeli.
Duration: 6' 20"
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Wurzelholz (2000)
for tenor recorder or any other woodwind instrument (alto flute, oboe, tenor saxophone...)
For a different woodwind instrument to the recorder, a somewhat smoother effect because the extreme registers of the recorder have a greater influence on the tone than other instruments with a wider range.
First performed in Wädenswil 04.02.01 by Rico Gubler (tsx).
Duration: 6' 20"
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Expansion of a Verse (2000)
for alto flute, basset horn, violoncello and harp
A further independent version of ‘Re-version of a Verse’ which was left open for harmonic and formal additions. Intertwining structured sound surfaces; timbral changes.
First performed: 12.5.00, Zumikon by I.Bende (fl), V.Wandeler (bhn), B.Göttert (vc), I.-L. Stettler-Jansen (hp), Philipp Hefti (cond.).

Duration: 9' 45"
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Passages (2000)
for viola, piccolo/bass flute, baritone saxophone, guitar and percussion
‘Passages’ is determined by a hugely formal changing process, beginning with block-like, vertical melodies of the solo viola, leading to a linear, horizontal notation with five equal instrumental parts. Quarter tonal.
First performed: 28..8.00 in St.Moritz by the Ensemble Cattrall under the direction of Marc Kissoczy.

Duration: 12' 30"
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CHF: 31.00
Fernruf J 12 (2001)
for soprano, oboe, violoncello and piano
Texts: Alltags- Werbe- Mediensprache
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 premier: 22.05.02 in Basel by the aequator ensemble.

Duration: 13' 00"
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CHF: 36.00
Blendung (2001)
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"
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CHF: 57.00
Nachtschatten (2001)
for clarinet and piano
The work with under blown tones is an essential part of this composition. The fingered overblown tones sound merely as a reflection of the under blown shadow-sound.
First performed: 26.5.02 in Zollikon by Sarah Chardonnens-Lehmann (clar.), Eriko Kagawa (piano).

Duration: 6' 30"
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splitting (2002)
for clarinet, violoncello and piano
A tone is coloured and set in motion, fragments of this tone develop their own life, fan out and become tonally coloured.
First performed in Basel 04.06.02 by the Avalon Trio.

Duration: 12' 00"
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La Fontaine (2002)
A theatrical composition
for 3 instrumental groups
For youths and children.
Duration: variabel (mindestens 10')
Manuscript
Notizen und Gravur (2003)
for mandolin, guitar and harp

Duration: 10' 00"
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Exposure (2003)
for alto saxophone, trombone, accordion, piano and percussion
Premiered: 20.9.03, Lugano, Ensemble Oggimusica
Duration: 7' 00"
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CHF: 26.00
Tempio in tre impressioni (2004)
for Rennaissance alto recorder and percussion
'Tempio in tre impressioni' associates three imaginary encounters with the remains of the portico of a Doric temple, each from a different temporal perspective. The percussion consists of a 'Ching' (a Korean gong) or similar instrument, 2 templeblocks, a very high tambourine and a large framedrum.
World Premiere: 24.9.04, Malans, strumentale opera
Duration: 8' 30"
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CHF: 21.00
Le Journal de Sisyphos (2003-2005)
for saxophone quartet
Five movements with partly alternating instrumentation (satb – ttbb), a continual upward movement of the piece's harmonic concept with simultaneous individual downward draughts… the knowledge of the aimlessness / futility of human action leads to the realisation that the experience of every moment, that (artistic) creation, as absurd as it seems, is the ultimate representation of the meaning of life (after Camus).
World premiere: 18.9.05, Lugano, 4tenors (Journées 1-3); 30.5.08, Zurich, 4tenors (Journées 1-5)
Duration: 23' 00"
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CHF: 42.00
La 4ème journée de Sisyphos (2005)
for alto saxophone solo
Solo version of the 4th movement from the saxophone quartet "Le Journal de Sisyphos".
World premiere: 12.04 08 Wilmington (North Carolina) USA, Laurent Estoppey
Duration: 5' 45"
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CHF: 16.00
im Wind geschliffen (Segesta II) (2006)
for two recorders, violin, violoncello and harpsichord
Various positions or points of origin lead to different perceptions, to different truths about an object or event. Minimally displaced observation points lead to a drifting apart and drifting together of individual lines, to individual stickings on a single tone or form of articulation.
Duration: 12' 00"
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Aus der Ferne (2006)
for Renaissance recorder, viola da gamba and harpsichord/organ
In 6 movements. The 6th movement is a modest hommage to György Ligeti:: "Clarity"
Duration: 15' 00"
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CHF: 39.00
Flügelschläge (2006)
for pipa solo
3 character pieces.
WP: 21.1.08, Lausanne, Lingling Yu
Duration: 3' 00"
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CHF: 16.00
In der Kälte des tauenden Eises (2006-2007/09)
for pipa, violoncello and clarinet
A work for two European instruments (clarinet and violoncello) and one Chinese instrument (pipa).
The title describes a non-stable state out of which various musical and cultural developments are possible.
Duration: 7' 30"
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Pintxo 1 (2007)
for violin solo
The Baskian variant of tapas was the model for this piece: each a work of art in itself, but designed for consumption.
World premiere: 6.5.07, Vevey, Valérie Bernard.
Duration: 1' 00"
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CHF: 13.00
Charon schläft (2007)
... kein Notturno
for tenor saxophone solo
Rawness is as present as lightness, crudeness as present as elegance and obstinacy as present as excursiveness. Sound palette features specific to the tenor saxophone. Many special fingerings are derived directly from standard fingerings.
World premiere: 23.4.08, Zurich, Marcus Weiss
Duration: 10' 00"
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CHF: 18.00
Pinxto 2 (2008)
for 2 oboes
WP: 1.3. 09, Zürich, Ani Lomsaridze, Matthias Arter
Duration: 2' 00"
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CHF: 13.00
Out Of Chinatown (2008)
for clarinet and violoncello
Duration: 9' 30"
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White Screen (2009)
for ensemble (fl, cl, bcl, tsx, tbn, 2 perc, pf, vn, va, vc, db)
"White Screen" is the music to a film playing on an empty screen, that is to say, a series of images, colours or movements that takes place solely in the imagination of the listener. The initial starting point of this composition was a tale that (for me) still haunts music, a tale I would rather not tell…
World premiere: 5.11.09, Zurich, Ensemble Laboratorium, Pierre-André Valade
Duration: 13' 00"
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Desert Winds (2010)
for Erhu, Pipa and Guzheng
Duration: 8' 00"
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(Parts: sFr. 18.-; € 12.-)
(2012)

Duration: 9' 00"
Manuscript
Diskographie
Aequatuor (Musiques Suisses Nr. 102, 2006)
Werke:
Holliger, Heinz: Schwarzgewobene Trauer (1961-1962/1966)
Lehmann, Hans Ulrich: Canticum II (1981)
Marti, Valentin: Fernruf J 12 (2001)
Gubler, Rico: KAL (2001)
Mit weiteren Werken von: Caspar Johannes Walter, Robert Schumann, Nicolas A. Huber
Bibliography
Haffter, Christoph: Valentin Marti: Musiques Suisses / Grammont Portrait, MGB CTS-M 123, in: Dissonanz 113 (2011), S. 94-95 [Internet]
Steiner, Christoph: Valentin Marti (Contemporary Swiss Composers), Pro Helvetia, Zürich 2002
Eidenbenz, Michael: Eine Musik, die organisch wächst, in: Tages-Anzeiger (2000)
Müller, Patrick: Wassermusik. Der Zürcher Komponist Valentin Marti, in: NZZ (1998)