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Haefliger Pius

(28. 01. 1961)

Haefliger Pius
Haefliger Pius
Dorfstrasse 5
CH-6103 Schwarzenberg
Schweiz
Tel: +41 (0)41 467 04 48
Internet: www.piushaefliger.ch www.dirigieren.ch

Biography
Pius Haefliger was born in Sursee. After completing his teacher training he studied clarinet at the Lucerne Conservatory and counterpoint at the 'Akademie für Schul- und Kirchenmusik' (Academy for School and Church Music) in Lucerne, he studied conducting under Ernst Schelle in Freiburg im Briesgau and Lausanne and attended master classes in conducting in Lugano (Switzerland) and Amsterdam. He is presently active as an instrumental tutor at the 'Pädagogischen Zentrum Musegg' in Lucerne, as an orchestra musician in the Lucerne Symphony Orchestra and as manager and director of the AVISO conductor workshops in Lucerne. He received a sabbatical year from the Dienemann Foundation for compositional works. He has also received prizes from various composition competitions in Switzerland, Greece and the Ukraine.

Work list
Phantasie und Scherzo (1984)
for clarinet in A solo
A very free and dramatic first movement is followed by a second, in a strong jazz like style. This piece uses no special effects but draws on every register of the clarinet including the very highest.
Duration: 5' 00"
Custos Verlag
Krauerhusmatte 1
CH-6206 Neuenkirch
Suite (1986)
for clarinet and piano
A five-movement cyclic work rising from the darkness and ultimately returning there. Very demanding interplay - like every true dialogue!
Duration: 12' 00"
Custos Verlag
Krauerhusmatte 1
CH-6206 Neuenkirch
Vier Studien (1989)
for alto saxophone-Eb
Duration: 6' 00"
Custos Verlag
Krauerhusmatte 1
CH-6206 Neuenkirch
Visions (1991)
for symphonic wind orchestra (including contrabassoon)
Visions: A fight between vision and reality. In this composition the symphonic wind orchestra acts in a rather untypical combination of timbres and rhythm.
Duration: 12' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
Schweiz
Tel. +41 (0)41 210 60 70
Fax +41 (0)41 210 60 70
mail@musicedition.ch
www.musicedition.ch
CHF: 62.00
Chicago Pictures (1991)
for symphonic wind orchestra with piano, double-bass and vibraphone
A day in the life of an American city. A total of five images depict the pulsating of a city. A city in which, like anywhere, crime and fortune sit side by side.
1. Rush Hour - 2. The Dawn - 3. In the Bar - 4. Quarrel - 5. Drunken Homewards.

Duration: 10' 00"
Custos Verlag
Krauerhusmatte 1
CH-6206 Neuenkirch
Chicago Pictures (1991-2006)
version for symphony orchestra (2.2.2.2/4.2.3.0/timp.perc/vib, xyl(1)/pf/str)
Everyday Chicago: This piece depicts 5 images from everyday life in Chicago, in a dichotomy typical of the big city. 'Rush hour', 'Dämmerung', 'Bar', 'Streit' and 'betrunken heimwärts' could actually be scenes encountered in any city. The application of a jazz quartet (vibraphone, piano, bass and percussion) makes the piece to what it is: a piece of everyday America.
This piece is 100% identical to the wind orchestra version from 1991.
Duration: 10' 00"
Custos Verlag
Krauerhusmatte 1
CH-6206 Neuenkirch
Ikaros (1992)
for chamber orchestra
Based on the famous saga. Very dramatic music, strongly related to the mythical master. For string orchestra, flute (piccolo), oboe (English horn), clarinet, bassoon and horn.
Duration: 10' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
Schweiz
Tel. +41 (0)41 210 60 70
Fax +41 (0)41 210 60 70
mail@musicedition.ch
www.musicedition.ch
CHF: 55.00
Spiegelungen (1994)
for piano solo
The name refers to the composition technique of the piece. Out of the prologue five reflections and an epilogue are formed. A very sensual piece allowing great freedom for the interpreter.
Duration: 10' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
Schweiz
Tel. +41 (0)41 210 60 70
Fax +41 (0)41 210 60 70
mail@musicedition.ch
www.musicedition.ch
CHF: 26.00
Kaleidoskop (1994)
for symphonic wind orchestra
From the facet to the whole picture: A dazzling firework of rhythm and harmonic melodies.
Duration: 9' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
Schweiz
Tel. +41 (0)41 210 60 70
Fax +41 (0)41 210 60 70
mail@musicedition.ch
www.musicedition.ch
CHF: 70.00
Sechs Klangstudien (1994)
for alto saxophone
Duration: 8' 00"
Manuscript
Consequenza (1995)
for alto saxophone solo
A different perspective on the serial composition technique. How 'calculated' music can sound good.
Duration: 5' 00"
Custos Verlag
Krauerhusmatte 1
CH-6206 Neuenkirch
A Question and its undesirable Answer (1995)
for alto saxophone solo
Taken from real life? Everybody has received an unwanted answer to a question; the question is what to make of it....
Duration: 5' 00"
Custos Verlag
Krauerhusmatte 1
CH-6206 Neuenkirch
Bach-Tango (1996)
for string orchestra and small drum
It is actually a great shame that the tango was not known in the time of Bach. His famous opening motive from Toccata in D minor (which is not actually from J.S. Bach) would be suitable as a head motive for a Tango.
Duration: 6' 00"
Custos Verlag
Krauerhusmatte 1
CH-6206 Neuenkirch
Cantus Nr. 1 (1996)
for string orchestra
This work requires a church room, it reverts to the simplicity of the Gregorian; only from absolute silence can the best be acquired.
Duration: 10' 00"
Custos Verlag
Krauerhusmatte 1
CH-6206 Neuenkirch
Oszillationen (1996)
for clarinet, piano and vibraphone
When all parameters of music are in a state of constant change, the three musicians have a truly tricky time in the interplay. A work in which the listener, despite the traversing and unaltered 4/4 time, cannot hear the pulse - even after minutes of listening.
Duration: 10' 00"
Custos Verlag
Krauerhusmatte 1
CH-6206 Neuenkirch
Recitativo, Aria & Danza (1996)
for guitar solo and string orchestra
Spain a little different - that’s the sound of the guitar when it is played as a melody instrument as opposed to being played as a chord instrument.
Duration: 10' 00"
Custos Verlag
Krauerhusmatte 1
CH-6206 Neuenkirch
Nahe - näher (1997)
for ten instruments and a part-time conductor
Spatial music for sub contrabass transverse flute, oboe, bass clarinet, violin, piano, four percussionists and a female singer. The singer does not actually sing but speaks and directs - she is the ‘string puller’ gradually bringing the actors (musicians) to the centre of attention.
Duration: 11' 00"
Custos Verlag
Krauerhusmatte 1
CH-6206 Neuenkirch
"THE voice" (1998)
for voice, vibraphone, piano and string orchestra
Written for a female jazz singer who, through the flexibility of her voice, can produce sounds similar to those of a wind instrument.
Duration: 12' 00"
Custos Verlag
Krauerhusmatte 1
CH-6206 Neuenkirch
"Da waren's nur noch zwölf..." (1999)
Quintet
for brass quartet (two cornets, Eb horn, euphonium) and marimbaphone
A chamber music piece which demands very highly concentrated interplay.
Duration: 12' 00"
Custos Verlag
Krauerhusmatte 1
CH-6206 Neuenkirch
"Pizzango" (2000)
for string orchestra
Pizzicato and Tango become 'Pizzango'. A piece also suitable for an amateur orchestra.
Duration: 5' 00"
Custos Verlag
Krauerhusmatte 1
CH-6206 Neuenkirch
"Rhapsody in Blue" (2000)
for piano solo, seven wind instruments (ob.cl.asx-Eb/hn.tpt.tbn.tba) and percussion
Arrangement of the famous work by George Gershwin.
Duration: 16' 00"
Custos Verlag
Krauerhusmatte 1
CH-6206 Neuenkirch
Chroma (2001)
Suite
for accordian and string orchestra
The accordion is extremely well-known in our regions as a folkmusic instrument, not however, as a concert solo instrument – and that together with orchestral accompaniment! The few works written for this combination stem almost all from renowned bandoneon virtuoso Astor Piazolla. In fact his compositions are not works for accordion and orchestra but for the South American variant – the bandoneon. Although Piazolla composed for another instrument he also provides, to a certain extent, the measuring staff for my Accordion Suite.
The work is in four movements (Rezitativ, Musette, Cantilena & Danza), arranged and required in addition to the string orchestra is a clarinet and a vibraphone. The four movements are strung together in a suite form, whereby each movement merges seamlessly into the next. The accordion as a solo instrument is thereby apparent in four different ways:
- in the first part as a recitative instrument (similar to opera), very melodious
- in the second part as a typical French instrument (French: "Musette")
- in the third part with, amongst others, a solo cadence
- in the fourth as a more chordal instrument, which takes over the 7/8 rhythm of the strings
The whole work is characterised by its rhythmical diversity, which also affects the 5/4 and 7/8 time.
Duration: 15' 00"
Custos Verlag
Krauerhusmatte 1
CH-6206 Neuenkirch
Hommage (2001)
for soprano saxophone and string orchestra
As the name implies, this work takes reference from the Baroque master composers, with a total of four movements orientated on this long-forgotten time. It is not by accident that I set the soprano saxophone as a solo instrument; it has in its timbral character an astounding similarity to a solo instrument commonly used in Baroque i.e. the oboe, respectively the English horn.
Duration: 10' 00"
Custos Verlag
Krauerhusmatte 1
CH-6206 Neuenkirch
Ultra Short Wave (2002)
for two solo pianos, brass quartet and timpani
… you remember the times when radio broadcasts made a break at midnight and during this transmission-less time one could search for foreign channels? This work is concerned with exactly that.
Duration: 16' 00"
Custos Verlag
Krauerhusmatte 1
CH-6206 Neuenkirch
Dona Nobis Pacem (2003)
Spatial music
for solo soprano, boy's choir, echo alto saxophone, harp, bass drum, string orchestra and choir
Following the period with which I had, up until then, occupied myself almost exclusively with secular music, I had the idea about a year ago to produce a large ecclesiastical piece; a work, which consciously allows several "small" formations to work together.
This work is intended and conceived for a (large) church room; the room is directly incorporated into the course of the piece.
Although this music is through-composed in one go, there are several parts which are distinguishable; the work is cyclically composed and ends there where it began – in absolute silence. There is a minimum of text – namely the three words which make up the title of the piece DONA NOBIS PACEM – which focuses the listener on the absolute central characteristic of this piece; its sound.
Duration: 30' 00"
Custos Verlag
Krauerhusmatte 1
CH-6206 Neuenkirch
Bibliography
Bitterli, Peter: Zum Stand des Komponierens in Emmen, in: Luzern heute (30. Oktober 1997) 13 (1997), S. 20