Baumann Felix
(11. 01. 1961)
Biography
- Born and raised in Speicher near St. Gallen
- Graduated as a primary school teacher in Kreuzlingen
- Studied at the Akademie für Schul- und Kirchenmusik Luzern (piano with Eva Serman, school music I+II, conducting) and the Musikakademie Basel (theory and composition with Roland Moser and Detlev Müller-Siemens).
- Additional in-depth study of rhythm with Pierre Favre
Felix Baumann has been a professor for composition, music theory and the interpretation of contemporary music at the Hochschule der Künste in Zurich since 1992. He has been the head of the composition and music theory department since 2003 and the supervisor of the Studio for New Music since 1999, a position that has facilitated a multitude of encounters with composers. He has been a member of the board of directors for the Komponistenforum since 1995 and the IGNM Zurich from 1996 until 2002.
Central to his compositional work is the investigation of unfolding movement (the getting started) and topics of communication. Appropriately the examination of language and speech has led to the production of a whole body of works. In recent years, the context of Felix Baumann's work has become increasingly important, so much so that composed programmes or specific projects now overshadow the creation of new works.
His oeuvre encompasses works for various chamber musical ensembles, numerous vocal works and two compositions for orchestra. The majority of his work is the result of commissions. In 2002 Felix Baumann was awarded a sabbatical year by the city of Zurich for his work as a composer. He has been invited to symposia, festivals and music schools in his position as a guest lecturer and composer (Trstenice, Czech Republic, Festival Cluj Modern in Rumania, Berlin, Kiev, Sarajewo, Peking repeatedly (Beijing Modern International Festival), Nanjing and Shanghai, Rome, Canberra (Canberra International Chamber Music Festival), Sydney and Budapest (Budapest Autumn Festival).
His works are distributed by Swiss Music Edition www.musicedition.ch
- Graduated as a primary school teacher in Kreuzlingen
- Studied at the Akademie für Schul- und Kirchenmusik Luzern (piano with Eva Serman, school music I+II, conducting) and the Musikakademie Basel (theory and composition with Roland Moser and Detlev Müller-Siemens).
- Additional in-depth study of rhythm with Pierre Favre
Felix Baumann has been a professor for composition, music theory and the interpretation of contemporary music at the Hochschule der Künste in Zurich since 1992. He has been the head of the composition and music theory department since 2003 and the supervisor of the Studio for New Music since 1999, a position that has facilitated a multitude of encounters with composers. He has been a member of the board of directors for the Komponistenforum since 1995 and the IGNM Zurich from 1996 until 2002.
Central to his compositional work is the investigation of unfolding movement (the getting started) and topics of communication. Appropriately the examination of language and speech has led to the production of a whole body of works. In recent years, the context of Felix Baumann's work has become increasingly important, so much so that composed programmes or specific projects now overshadow the creation of new works.
His oeuvre encompasses works for various chamber musical ensembles, numerous vocal works and two compositions for orchestra. The majority of his work is the result of commissions. In 2002 Felix Baumann was awarded a sabbatical year by the city of Zurich for his work as a composer. He has been invited to symposia, festivals and music schools in his position as a guest lecturer and composer (Trstenice, Czech Republic, Festival Cluj Modern in Rumania, Berlin, Kiev, Sarajewo, Peking repeatedly (Beijing Modern International Festival), Nanjing and Shanghai, Rome, Canberra (Canberra International Chamber Music Festival), Sydney and Budapest (Budapest Autumn Festival).
His works are distributed by Swiss Music Edition www.musicedition.ch
Work list
Was, wenn Verwandlung nicht (1990)
for piano solo
Based on the 'Duineser Elegien' by R.M.Rilke.The radiation of a central motive changes through a process of different aspects.
Duration: 7' 00"
for piano solo
Based on the 'Duineser Elegien' by R.M.Rilke.The radiation of a central motive changes through a process of different aspects.
Duration: 7' 00"
SME/EMS
Vier Worte (1991)
for choir and organ
Texts: Bibel / Liturgie
For a committed amateur choir. A piece of music in four movements for two female voices, one male voice and an organ. Based on biblical texts.
Duration: 19' 00"
for choir and organ
Texts: Bibel / Liturgie
For a committed amateur choir. A piece of music in four movements for two female voices, one male voice and an organ. Based on biblical texts.
Duration: 19' 00"
SME/EMS
Laub (1991)
for guitar solo
A collection of pieces for tuition.
Duration: 40' 00"
for guitar solo
A collection of pieces for tuition.
Duration: 40' 00"
Gitarrenforum Winterthur
c/o Bissig
Lustgartenstr. 9
CH-9000 St. Gallen
Lustgartenstr. 9
CH-9000 St. Gallen
Quintet (1992)
for oboe, horn and string trio
Opposing elements growing increasingly apart.
Rights of performance reserved.
Duration: 22' 00"
for oboe, horn and string trio
Opposing elements growing increasingly apart.
Rights of performance reserved.
Duration: 22' 00"
SME/EMS
Monolith (1993)
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"
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"
SME/EMS
Le guetteur mélancolique (1994)
for two clarinets, two harps, piano, six percussion, two orators and four choir groups
Texts: Guillaume Apollinaire
For the 'Stadelhofer Death Dance'. A spatially performable score based on texts by Guillaume Apollinaire about the transition from this world to the next. Speechlessness in the face of death, a dance around the grave and the crossing of the threshold.
Duration: 16' 00"
for two clarinets, two harps, piano, six percussion, two orators and four choir groups
Texts: Guillaume Apollinaire
For the 'Stadelhofer Death Dance'. A spatially performable score based on texts by Guillaume Apollinaire about the transition from this world to the next. Speechlessness in the face of death, a dance around the grave and the crossing of the threshold.
Duration: 16' 00"
SME/EMS
Duo (1995)
for violine and double-bass
When two unequals do the same the result is a difference, if they do different, a generic third can evolve.
Duration: 15' 00"
for violine and double-bass
When two unequals do the same the result is a difference, if they do different, a generic third can evolve.
Duration: 15' 00"
SME/EMS
aufwärts (1997)
for flute, guitar and violoncello
A non octave-identical ladder is the starting point and the tonal centre of this piece in four movements.
Duration: 16' 00"
for flute, guitar and violoncello
A non octave-identical ladder is the starting point and the tonal centre of this piece in four movements.
Duration: 16' 00"
Gitarrenforum Winterthur
c/o Bissig
Lustgartenstr. 9
CH-9000 St. Gallen
Lustgartenstr. 9
CH-9000 St. Gallen
unzuhause (1997)
for alto saxophone solo
‘Unzuhause’ is, according to Heidegger, a more primordial phenomenon than fear.
Duration: 8' 00"
for alto saxophone solo
‘Unzuhause’ is, according to Heidegger, a more primordial phenomenon than fear.
Duration: 8' 00"
SME/EMS
entgegen (1998)
for basset horn solo
The contrast between different energy forms acts as a catalyst enabling the static to become fluid.
Duration: 7' 00"
for basset horn solo
The contrast between different energy forms acts as a catalyst enabling the static to become fluid.
Duration: 7' 00"
SME/EMS
entgegen (2002)
version for clarinette in B
Duration: 7' 00"
version for clarinette in B
Duration: 7' 00"
SME/EMS
entgegen 2 (1998)
for basset horn solo
'entgegen 2' differs from 'entgegen' by a more open cadence.
Duration: 8' 00"
for basset horn solo
'entgegen 2' differs from 'entgegen' by a more open cadence.
Duration: 8' 00"
SME/EMS
Ins Offene (1998)
for alto flute, English horn and soprano saxophone
A piece about the keying of the unsisono, which is displaced from a static into a liquid state.
Duration: 15' 00"
for alto flute, English horn and soprano saxophone
A piece about the keying of the unsisono, which is displaced from a static into a liquid state.
Duration: 15' 00"
SME/EMS
Fährte (1998)
for trombone solo
When the ground is soft enough, the game leave a track.
Duration: 8' 00"
for trombone solo
When the ground is soft enough, the game leave a track.
Duration: 8' 00"
SME/EMS
Poren (1999)
for three basset horns
An attempt at writing a music which is, on the one hand, corporal even crystal clear and on the other hand dismantled from every fixation: a music which is flowing and simultaneously clear.
Duration: 9' 00"
for three basset horns
An attempt at writing a music which is, on the one hand, corporal even crystal clear and on the other hand dismantled from every fixation: a music which is flowing and simultaneously clear.
Duration: 9' 00"
SME/EMS
spöttisch leicht - 5 Lieder nach Gedichten von Sarah Kirsch (1999-2000)
5 Songs based on poems by Sarah Kirsch
for singing voice (mezzo-soprano), clarinet, violin, violoncello and piano
Texts: Sarah Kirsch
The line skips by Sarah Kirsch turn the readers into stumblers. Stumblers have to re-read the text if they want to understand its content. They gain, thereby, unexpectedly in time and fall to a deeper level.
Duration: 15' 00"
5 Songs based on poems by Sarah Kirsch
for singing voice (mezzo-soprano), clarinet, violin, violoncello and piano
Texts: Sarah Kirsch
The line skips by Sarah Kirsch turn the readers into stumblers. Stumblers have to re-read the text if they want to understand its content. They gain, thereby, unexpectedly in time and fall to a deeper level.
Duration: 15' 00"
SME/EMS
Kadenzen für das Violoncello-Konzert in D-Dur von Joseph Haydn, Hob. VII b:2 (2000)
for violoncello
1. Movement: 1'102. Movement: 12"3. Movement: 10" and 30"An attempt to propagate the compositional perspective of Haydn.
Duration: 2' 00"
for violoncello
1. Movement: 1'102. Movement: 12"3. Movement: 10" and 30"An attempt to propagate the compositional perspective of Haydn.
Duration: 2' 00"
SME/EMS
"nah / hautnah" (2000-2001)
'Radio Play'
for orator, solo soprano, violoncello and ensemble (fl.cl/perc/pf/vn.vc)
Texts: Sarah Kirsch, Sappho, Michel Serres, Stefan Buri, Hans Magnus Enzensberger
Commissioned by and with support of 'Pro Helvetia', (the Swiss culture foundation) for the 50th anniversary of the Zurich Chamber Voice Choir. First performed in Zurich on the 20th November 2001 by the Chamber Voice Choir Zurich, Martina Fausch, Martina Schucan, Ensemble for New Music Zurich (Bernhard Erne). A piece dealing with the proximity of music and speech, the border area between commutation and murmuring, exactly there where the word is weak and the music has already begun.
Duration: 45' 00"
'Radio Play'
for orator, solo soprano, violoncello and ensemble (fl.cl/perc/pf/vn.vc)
Texts: Sarah Kirsch, Sappho, Michel Serres, Stefan Buri, Hans Magnus Enzensberger
Commissioned by and with support of 'Pro Helvetia', (the Swiss culture foundation) for the 50th anniversary of the Zurich Chamber Voice Choir. First performed in Zurich on the 20th November 2001 by the Chamber Voice Choir Zurich, Martina Fausch, Martina Schucan, Ensemble for New Music Zurich (Bernhard Erne). A piece dealing with the proximity of music and speech, the border area between commutation and murmuring, exactly there where the word is weak and the music has already begun.
Duration: 45' 00"
SME/EMS
(Parts available from the composer)
Schwebungen (2001)
for violoncello solo
Dedicated to Martina Schucan. First performed in Menorca, 3rd November 2001 by Martina Schucan.
Harmonic extremeties effect a continual toggeling between tension and relaxation. At the end remains the faint idea of the vicissitude at the beginning, now altered into a persistent and intensified dimension.
Duration: 8' 00"
for violoncello solo
Dedicated to Martina Schucan. First performed in Menorca, 3rd November 2001 by Martina Schucan.
Harmonic extremeties effect a continual toggeling between tension and relaxation. At the end remains the faint idea of the vicissitude at the beginning, now altered into a persistent and intensified dimension.
Duration: 8' 00"
SME/EMS
anhaltend (2001-2002)
for two violincelli
Music based on the duo op. 54, Lettre F 2e livre by Jacques Offenbach.
First performed in St Gallen, 8th April, 2002 by Martina Schucan and Imke Frank. 'Anhaltend' can be played independently or as the third movement of the duo op. 54, Lettre F 2e livre von Jacques Offenbach, whereby the original third movement is replaced or played as the fourth. Music sounds exactly there where we least expect it and always different to how we expect it.
Duration: 9' 00"
for two violincelli
Music based on the duo op. 54, Lettre F 2e livre by Jacques Offenbach.
First performed in St Gallen, 8th April, 2002 by Martina Schucan and Imke Frank. 'Anhaltend' can be played independently or as the third movement of the duo op. 54, Lettre F 2e livre von Jacques Offenbach, whereby the original third movement is replaced or played as the fourth. Music sounds exactly there where we least expect it and always different to how we expect it.
Duration: 9' 00"
SME/EMS
(Parts: sFr. 18.-; € 12.00)
Sprayerspruch (2002)
Music
for five-part a-cappella choir
Texts: Mahatma Gandhi, Alltags- Werbe- Mediensprache
Texts: Mahatma Gandhi, everyday advertising and media language
Loosely based on Mahatma Gandhi.
A continual substantiation of musical and later even non-musical contents leads to a central question of human being. For an ambitious amateur choir.
Duration: 13' 00"
Music
for five-part a-cappella choir
Texts: Mahatma Gandhi, Alltags- Werbe- Mediensprache
Texts: Mahatma Gandhi, everyday advertising and media language
Loosely based on Mahatma Gandhi.
A continual substantiation of musical and later even non-musical contents leads to a central question of human being. For an ambitious amateur choir.
Duration: 13' 00"
SME/EMS
Sprayerspruch II (2002-2003)
for five-part choir and three basset horns
Texts: Mahatma Gandhi, Alltags- Werbe- Mediensprache
Texts: Mahatma Gandhi, Alltags- Werbe- Mediensprache
Attempting to make the choral version even more radical by including instruments.
Duration: 15' 00"
for five-part choir and three basset horns
Texts: Mahatma Gandhi, Alltags- Werbe- Mediensprache
Texts: Mahatma Gandhi, Alltags- Werbe- Mediensprache
Attempting to make the choral version even more radical by including instruments.
Duration: 15' 00"
SME/EMS
aussprechen (2002)
Trio
for recorder, viola da gamba and harpsichord
'aussprechen' has something installative about it: in apparently endlessly excessive lengths almost nothing happens, which causes inflexibility to appear with quiet humour.
Duration: 15' 00"
Trio
for recorder, viola da gamba and harpsichord
'aussprechen' has something installative about it: in apparently endlessly excessive lengths almost nothing happens, which causes inflexibility to appear with quiet humour.
Duration: 15' 00"
SME/EMS
menschenfleiss (2002-2003)
Music
for string orchestra
Based on a poem by Ernst Jandl.
From the late collision of extreme opposites there grows a sound room consisting of out-of-tune harmonic spectra, spectra whose penetrability and opacities evoke memories of pure sounds and hidden anticipation.
Duration: 14' 00"
Music
for string orchestra
Based on a poem by Ernst Jandl.
From the late collision of extreme opposites there grows a sound room consisting of out-of-tune harmonic spectra, spectra whose penetrability and opacities evoke memories of pure sounds and hidden anticipation.
Duration: 14' 00"
SME/EMS
... nachfragend (2002-2003)
for flute and harpsichord
Between reception and perception. This short piece allows the opportunity to meditate over the difference between the recording of foreign content and sensual perception as a level of knowledge.
Duration: 2' 30"
for flute and harpsichord
Between reception and perception. This short piece allows the opportunity to meditate over the difference between the recording of foreign content and sensual perception as a level of knowledge.
Duration: 2' 30"
SME/EMS
Irritationen (Irritations) (2003)
for violin solo
Compulsary piece for the 2004 Koeckert Competition.
'Irritationen' are amenities or excitors that provoke. Terms such as 'unsicher machen', 'verwirren' and 'berunruhigen' are added to this meaning in the 1800s (through their proximity to the verb 'irren'). In this sense, 'Irritationen' indicate profound connections, where to live with them harmoniously is not an absolute given from the outset.
Duration: 6' 00"
for violin solo
Compulsary piece for the 2004 Koeckert Competition.
'Irritationen' are amenities or excitors that provoke. Terms such as 'unsicher machen', 'verwirren' and 'berunruhigen' are added to this meaning in the 1800s (through their proximity to the verb 'irren'). In this sense, 'Irritationen' indicate profound connections, where to live with them harmoniously is not an absolute given from the outset.
Duration: 6' 00"
SME/EMS
...für und für (2004)
for violoncello solo
In "...für und für" the music leaves the familiar tempering and linear time form. Ostensible impurity can, thereby, suddenly engage in an alien harmony. Rhythmically pulsating music, nice for the duration.
Duration: 7' 00"
for violoncello solo
In "...für und für" the music leaves the familiar tempering and linear time form. Ostensible impurity can, thereby, suddenly engage in an alien harmony. Rhythmically pulsating music, nice for the duration.
Duration: 7' 00"
SME/EMS
Intonationen (2004)
3 short pieces
for two (baroque) violins
Commissioned by and for John Holloway and Monika Baer.
Evaporating presences. A work about chracteristic moods, possibly comparable to feelings and their associated paradigmatic tarnishing or colouring of the peceprion of the environment.
Duration: 8' 00"
3 short pieces
for two (baroque) violins
Commissioned by and for John Holloway and Monika Baer.
Evaporating presences. A work about chracteristic moods, possibly comparable to feelings and their associated paradigmatic tarnishing or colouring of the peceprion of the environment.
Duration: 8' 00"
SME/EMS
Intervention (2004-2005)
for oboe solo
In 'Intervention', the music is channelled in such a way as to highlight the fragile and the subtle, unthinkable without the large gesture at the beginning, they now become something equivalent to its opposite. It is thus that polar positions seem to nourish subterraneously.
Duration: 8' 00"
for oboe solo
In 'Intervention', the music is channelled in such a way as to highlight the fragile and the subtle, unthinkable without the large gesture at the beginning, they now become something equivalent to its opposite. It is thus that polar positions seem to nourish subterraneously.
Duration: 8' 00"
SME/EMS
Übergang (2005)
for bass clarinet (in B), bassoon and violoncello
Through the elongation of time in the deeper and darker register, the music (or rather the perceiving ear) nestles in an intermediate area between process and static, as if observed through a magnifying glass. From the abundance of innumerable possibilities emerges the presence of a singular transition.
Duration: 10' 00"
Manuscript
for bass clarinet (in B), bassoon and violoncello
Through the elongation of time in the deeper and darker register, the music (or rather the perceiving ear) nestles in an intermediate area between process and static, as if observed through a magnifying glass. From the abundance of innumerable possibilities emerges the presence of a singular transition.
Duration: 10' 00"
Manuscript
Ich und Du (2008)
for 2 oboes
'Ich und Du' takes the canon technique as its starting point to create, in the first few moments, an unexpected constellation full of conflict potential, which is then gradually tackled and illuminated from various sides. This short piece offers the possibility to listen in on the longing and the shared and their possible and impossible realisations.
Duration: 3' 00"
for 2 oboes
'Ich und Du' takes the canon technique as its starting point to create, in the first few moments, an unexpected constellation full of conflict potential, which is then gradually tackled and illuminated from various sides. This short piece offers the possibility to listen in on the longing and the shared and their possible and impossible realisations.
Duration: 3' 00"
SME/EMS
Heiligenetude (Bidott und Padott) (2008)
for small ensemble (fl, ob, cl, bn, hn, vn, va, vc)
Attempting to describe the sacred or the holy is captious and can easily miss that which is actually meant. The sacred is not easily articulated. Maybe the sacred simply arises through musical means like an uncontrolled accordance of interior and exterior, conscious and preconscious facts?
Maybe Bidott and Padott are two Patron Saints yet to be discovered.
Duration: 5' 00"
for small ensemble (fl, ob, cl, bn, hn, vn, va, vc)
Attempting to describe the sacred or the holy is captious and can easily miss that which is actually meant. The sacred is not easily articulated. Maybe the sacred simply arises through musical means like an uncontrolled accordance of interior and exterior, conscious and preconscious facts?
Maybe Bidott and Padott are two Patron Saints yet to be discovered.
Duration: 5' 00"
SME/EMS
(Parts: sFr. 40.-; € 26.50)
ich und ich (2009)
für Klavier solo
Dedicated to Siang Wong.
Following 'Ich und Du' for two oboes, 'ich und ich' for piano solo is the second part of a cycle in progress tackling the issue of one's own position.
'ich und ich' is a work about the sound of the piano and an exploration of a mediation between expressively charged material and musical facts, which develop of their own accord.
Duration: 7' 00"
für Klavier solo
Dedicated to Siang Wong.
Following 'Ich und Du' for two oboes, 'ich und ich' for piano solo is the second part of a cycle in progress tackling the issue of one's own position.
'ich und ich' is a work about the sound of the piano and an exploration of a mediation between expressively charged material and musical facts, which develop of their own accord.
Duration: 7' 00"
SME/EMS
2efnmz5 (2009)
for ensemble ad lib.
Conceptual piece for the 'Ensemble für neue Musik Zürich' (for its 25th anniversary). The concept effectively comprises all the music ever played over the past 25 years performed at a lightening speed agreed upon in advance (not less than 15 seconds).
Duration: 1' 00"
for ensemble ad lib.
Conceptual piece for the 'Ensemble für neue Musik Zürich' (for its 25th anniversary). The concept effectively comprises all the music ever played over the past 25 years performed at a lightening speed agreed upon in advance (not less than 15 seconds).
Duration: 1' 00"
SME/EMS
Urgrund (2010)
Duo
for violoncello and piano
Duration: 12' 00"
Duo
for violoncello and piano
Duration: 12' 00"
SME/EMS
Baustelle Dialog (2011)
for shakuhachi and (Baroque) violin
Duration: 15' 00"
for shakuhachi and (Baroque) violin
Duration: 15' 00"
SME/EMS
hellwach (2012)
for ensemble (fl, cl, hn, tbn, perc, pf, vn, va, vc)
This piece deals with intensity, how it is able to continually change or increase and to what degree the listening experience differs from the compositional approach.
Duration: 12' 00"
for ensemble (fl, cl, hn, tbn, perc, pf, vn, va, vc)
This piece deals with intensity, how it is able to continually change or increase and to what degree the listening experience differs from the compositional approach.
Duration: 12' 00"
SME/EMS
(2014)
Manuscript
Manuscript
(2015)
Manuscript
Manuscript
Diskographie
See Siang Wong: Swiss Piano Project (Musiques Suisses Nr. MGB CTS-M 143, 2014)
Baumann, Felix: ich und ich (2009)
Marti, Cécile: changing five (2010)
Steinauer, Mathias: kurzkurz© (Live at Carnegie), op. 24 (2009)
Zimmerlin, Alfred: Klavierstück 11 (2009)
Zinsstag, Gérard: Cinq petites études sur les résonances (2008)
Baer, Walter: Zwielicht (2011)
Marti, Heinz: Méditation interrompue (2011)
Lehmann, Hans Ulrich: Klavierstück 2009 (2009)
Mettraux, Laurent: Traces gravées dans le sable, M. 673 (2009)
Wyttenbach, Jürg: ... innig beflügelt... (2009)
Wettstein, Peter: 5 Facetten (2010)
Hoch, Francesco: Flashback (2009)
Kinzler, Burkhard: circles & commas (2010)
Frank, Patrick N.: (.....) (2004)
Fueter, Daniel: Slumberland (2009)
Neukom, Martin: Studie 19.4 (2009)
Derungs, Martin: 5 Ausgänge (2010)
Rechsteiner, Franz N.: Ver-Fügungen (2011)
Ringger, Rolf Urs: So Tender was the Night (2011)
Nick, Andreas: Menora, sieben Erleuchtungen (2008-2009)
Wohlhauser, René: Morphologia - Polyphonia (2011)
Marti, Valentin: Storr (2012)
Karrer, Bruno: Helle Seelen ohne Saum (2013)
Dayer, Xavier: Cantus I (2014)
Lehmann, Hans Ulrich: Drei Miniaturen (2001)
Mit weiteren Werken von: Thomas Läubli, Jannis Weggenmann, Jonas Bühler
Interpreten:
Wong, See SiangWerke:
Kelterborn, Rudolf: Klavierstücke 1-6 (2001-2004)Baumann, Felix: ich und ich (2009)
Marti, Cécile: changing five (2010)
Steinauer, Mathias: kurzkurz© (Live at Carnegie), op. 24 (2009)
Zimmerlin, Alfred: Klavierstück 11 (2009)
Zinsstag, Gérard: Cinq petites études sur les résonances (2008)
Baer, Walter: Zwielicht (2011)
Marti, Heinz: Méditation interrompue (2011)
Lehmann, Hans Ulrich: Klavierstück 2009 (2009)
Mettraux, Laurent: Traces gravées dans le sable, M. 673 (2009)
Wyttenbach, Jürg: ... innig beflügelt... (2009)
Wettstein, Peter: 5 Facetten (2010)
Hoch, Francesco: Flashback (2009)
Kinzler, Burkhard: circles & commas (2010)
Frank, Patrick N.: (.....) (2004)
Fueter, Daniel: Slumberland (2009)
Neukom, Martin: Studie 19.4 (2009)
Derungs, Martin: 5 Ausgänge (2010)
Rechsteiner, Franz N.: Ver-Fügungen (2011)
Ringger, Rolf Urs: So Tender was the Night (2011)
Nick, Andreas: Menora, sieben Erleuchtungen (2008-2009)
Wohlhauser, René: Morphologia - Polyphonia (2011)
Marti, Valentin: Storr (2012)
Karrer, Bruno: Helle Seelen ohne Saum (2013)
Dayer, Xavier: Cantus I (2014)
Lehmann, Hans Ulrich: Drei Miniaturen (2001)
Mit weiteren Werken von: Thomas Läubli, Jannis Weggenmann, Jonas Bühler
Info: www.fonoteca.ch
Celloduo Frank / Schucan (Grammont Porträt Nr. 91, 2004)
Baumann, Felix: anhaltend (2001-2002)
Mit weiteren Werken von: Jacques Offenbach
Werke:
Gubler, Rico: Roundabout - Zu Offenbachs op. 34 (2001-2002)Baumann, Felix: anhaltend (2001-2002)
Mit weiteren Werken von: Jacques Offenbach
Info: www.fonoteca.ch
Bibliography
Baumann, Felix (et al.): Wann ist ein Stück Musik zu Ende? Zwei Antworten von Felix Baumann und Rico Gubler, in: Dissonanz 78 (2002) [Internet]
Nolte, Lisa D.: Der Mensch und das Ohr. Der Komponist Felix Baumann, in: Dissonanz (Juni 2014) 126 (2014), S. 33-35 [Internet]
Gottstein, Björn: Swiss Piano (CD ZHdK). Piano Works by Emmanuel Nunes and Rudolf Kelterborn (CD Guild), in: Dissonanz 115 (2011), S. 89-90 [Internet]
Gubler, Rico (et al.): Wann ist ein Stück Musik zu Ende? Zwei Antworten von Felix Baumann und Rico Gubler, in: Dissonanz 78 (2002) [Internet]