Ammann Dieter
(17. 05. 1962)
Ammann Dieter
Wuhrmattstr. 15
CH-4800 Zofingen (AG)
Schweiz
Tel: +41 (0)62 751 33 61
www.dieterammann.ch
Wuhrmattstr. 15
CH-4800 Zofingen (AG)
Schweiz
Tel: +41 (0)62 751 33 61
www.dieterammann.ch
Genre: Classical Music
Biography
Dieter Ammann, *17. 05. 1962. Composer. Trained in jazz and classic. Lecturer at the "Hochschule Luzern Musik".
Dieter Ammann was born in Aarau into a very musical family. Following his "Matura", Ammann studied school music at the "Akademie für Schul- und Kirchenmusik Luzern" and simultaneously completed several semesters of study at the jazz school in Berne. He performed as a freelance musician on the improvised music/jazz scene for some time after completing this part of his musical education. He has played as a sideman or in his own formations at the international festivals of Cologne, Willisau, Antwerp and Lugano, to name but a few. Recordings and studio sessions have brought him into contact with a variety of artists including Eddie Harris and Udo Lindenberg. Ammann later undertook further studies in theory and composition at the "Musikakademie Basel" and attended master courses headed by W. Lutoslawski, W. Rihm et al. His focus turned to composition during the 90's when he received numerous national and international prizes for his orchestral and chamber musical works, including a grant from the city and canton of Lucerne, the "Aargauer Kuratorium", first-prize at the New York IBLA Foundation's composition competition, the Franz Liszt stipend of the "Weimar Kulturstadt Europas" foundation, first-prize at the Young Composers in Europe competition, Leipzig, the Ernst von Siemens Music Foundation stipend, Munich and others. He has produced only a few compositions, as he is a slow and careful writer.
Dieter Ammann is a professor for music theory/composition at the Lucerne University of Applied Sciences and Arts/Music. He was composer-in-residence during the 2010 Lucerne Festival.
Dieter Ammann was born in Aarau into a very musical family. Following his "Matura", Ammann studied school music at the "Akademie für Schul- und Kirchenmusik Luzern" and simultaneously completed several semesters of study at the jazz school in Berne. He performed as a freelance musician on the improvised music/jazz scene for some time after completing this part of his musical education. He has played as a sideman or in his own formations at the international festivals of Cologne, Willisau, Antwerp and Lugano, to name but a few. Recordings and studio sessions have brought him into contact with a variety of artists including Eddie Harris and Udo Lindenberg. Ammann later undertook further studies in theory and composition at the "Musikakademie Basel" and attended master courses headed by W. Lutoslawski, W. Rihm et al. His focus turned to composition during the 90's when he received numerous national and international prizes for his orchestral and chamber musical works, including a grant from the city and canton of Lucerne, the "Aargauer Kuratorium", first-prize at the New York IBLA Foundation's composition competition, the Franz Liszt stipend of the "Weimar Kulturstadt Europas" foundation, first-prize at the Young Composers in Europe competition, Leipzig, the Ernst von Siemens Music Foundation stipend, Munich and others. He has produced only a few compositions, as he is a slow and careful writer.
Dieter Ammann is a professor for music theory/composition at the Lucerne University of Applied Sciences and Arts/Music. He was composer-in-residence during the 2010 Lucerne Festival.
Work list
Lachen und Weinen (1986)
for voice and piano
Texts: Friedrich Rückert
Three songs in the romantic style.
Duration: 2' 30"
Manuscript
for voice and piano
Texts: Friedrich Rückert
Three songs in the romantic style.
Duration: 2' 30"
Manuscript
Vier nach zwölf (1990-1991)
for oboe, clarinet, bassoon and piano
Duration: 8' 00"
Manuscript
for oboe, clarinet, bassoon and piano
Duration: 8' 00"
Manuscript
Notorisch motorisch (1991/92)
for singing voice, vibraphone, violin, violoncello, percussion and piano
Duration: 8' 00"
Manuscript
for singing voice, vibraphone, violin, violoncello, percussion and piano
Duration: 8' 00"
Manuscript
Sirens (1992)
for jazz ensemble (tpt, sax, keybrd, gtr, perc, e-bass)
Duration: 6' 00"-8' 00"
Manuscript
for jazz ensemble (tpt, sax, keybrd, gtr, perc, e-bass)
Duration: 6' 00"-8' 00"
Manuscript
Developments (1993)
for two trumpets, horn, trombone and tuba
Duration: 9' 30"
for two trumpets, horn, trombone and tuba
Duration: 9' 30"
SME/EMS
It's alive (1994)
for jazz ensemble (tpt, sax, keybrd, gtr, perc, e-bass)
Duration: 7' 00"-10' 00"
Manuscript
for jazz ensemble (tpt, sax, keybrd, gtr, perc, e-bass)
Duration: 7' 00"-10' 00"
Manuscript
Piece for Cello (1994/98)
Duration: 9' 00"
Duration: 9' 00"
SME/EMS
Morceau en forme d'improvisation (1995)
for choir (thirty-six voices), four-handed piano and jazz sextet
Duration: var.
for choir (thirty-six voices), four-handed piano and jazz sextet
Duration: var.
SME/EMS
The Freedom of Speech (1995-1996)
for flute (also bfl), clarinet (also bcl), violin, violoncello, percussion and piano
Duration: 18' 00"
for flute (also bfl), clarinet (also bcl), violin, violoncello, percussion and piano
Duration: 18' 00"
SME/EMS
(Parts: SME sFr. 66.-)
Short Variation (1996)
for seven clarinets and a bass clarinet
Duration: 3' 00"
for seven clarinets and a bass clarinet
Duration: 3' 00"
SME/EMS
Under Pressure (1996-1997)
for tenor saxophone and orchetsra (3(pic).3.ca.3(bcl).2.cbn/4.3.2.btbn.0/2-3perc/hp/min8.6.4.4.2)
Duration: 16' 00"
for tenor saxophone and orchetsra (3(pic).3.ca.3(bcl).2.cbn/4.3.2.btbn.0/2-3perc/hp/min8.6.4.4.2)
Duration: 16' 00"
SME/EMS
Musica Empirica (1997-1998)
for soprano saxophone and guitar
Duration: 9' 00"
for soprano saxophone and guitar
Duration: 9' 00"
SME/EMS
Violation (1999)
for violoncello and ensemble (fl(pic).cl(bcl)/vn.vc/perc/pf)
Duration: 15' 00"
for violoncello and ensemble (fl(pic).cl(bcl)/vn.vc/perc/pf)
Duration: 15' 00"
Bärenreiter-Verlag
Grooves- fitting one (2000)
for chamber orchestra (1(pic).2.0.2(cbn)/2.0.0.0/1-2perc/6.5.4.4.2)
Duration: 15' 00"
for chamber orchestra (1(pic).2.0.2(cbn)/2.0.0.0/1-2perc/6.5.4.4.2)
Duration: 15' 00"
SME/EMS
Venite a dire / Raummusik (2000)
2 madrigals
for 12 solo voices (3S3A3T3B)
The three pieces are formally independent of each other and can be performed seperately.
Duration: 14' 00"
2 madrigals
for 12 solo voices (3S3A3T3B)
The three pieces are formally independent of each other and can be performed seperately.
Duration: 14' 00"
SME/EMS
Boost (2001)
for orchestra (3(3pic).3(3ca).3(3bcl).3(3cbn)/4.3.3.1/4perc/min10.8.6.6.4,max12.12.10.8.8)
Commissioned work for the Lucerne Festival.
Duration: 13' 00"
for orchestra (3(3pic).3(3ca).3(3bcl).3(3cbn)/4.3.3.1/4perc/min10.8.6.6.4,max12.12.10.8.8)
Commissioned work for the Lucerne Festival.
Duration: 13' 00"
Bärenreiter Verlag Basel/Kassel
Core (2002)
for orchestra (3(2-3pic).3.3(2Ebcl,3bcl).3(3cbn)/4.4.4.1/4perc/12.12.10.8.8)
A commissioned piece for the Lucerne Festival.
Duration: 8' 40"
for orchestra (3(2-3pic).3.3(2Ebcl,3bcl).3(3cbn)/4.4.4.1/4perc/12.12.10.8.8)
A commissioned piece for the Lucerne Festival.
Duration: 8' 40"
Bärenreiter Verlag Basel/Kassel
A (tenir) tension (2002-2003)
Trio
for flute, marimbaphone, vibraphone and persussion instruments
The completely dissimilar sound generation of flute and percussion, for example with regard to the acquisition and decay times, formed an important compositional aspect while working on this new ouvre.
This dissimilitude, by analogy, is also transferred to the temporal configuration insofar as the rhythmical form of extremely tight motorical passages ("moltoritmico") ranges over diverse intermediate stages to flexible handling parts ("tempo fluido") producing, thereby, tightly packed episodes with highly differentiated timbral play alongside processes where virtuosity in the traditional sense is central. It is so that the trio produces in quick succession various states, which are highly demanding for the interpreters, with regards interaction and playing technique.
Duration: 11' 30"
Trio
for flute, marimbaphone, vibraphone and persussion instruments
The completely dissimilar sound generation of flute and percussion, for example with regard to the acquisition and decay times, formed an important compositional aspect while working on this new ouvre.
This dissimilitude, by analogy, is also transferred to the temporal configuration insofar as the rhythmical form of extremely tight motorical passages ("moltoritmico") ranges over diverse intermediate stages to flexible handling parts ("tempo fluido") producing, thereby, tightly packed episodes with highly differentiated timbral play alongside processes where virtuosity in the traditional sense is central. It is so that the trio produces in quick succession various states, which are highly demanding for the interpreters, with regards interaction and playing technique.
Duration: 11' 30"
SME/EMS
Geborstener Satz (2003)
for string quartet
This piece will most probably become part of a cycle with the planned multipart work already being hinted at by the title. Furthermore it suggests musical energy, for all the complexity of its structure the work is also (particularly from the standpoint of the listener) expressional music, a music that finds its way outwardly with powerful manifestation.
This piece is technically and expressively very demanding for interpreters.
Duration: 12' 30"
for string quartet
This piece will most probably become part of a cycle with the planned multipart work already being hinted at by the title. Furthermore it suggests musical energy, for all the complexity of its structure the work is also (particularly from the standpoint of the listener) expressional music, a music that finds its way outwardly with powerful manifestation.
This piece is technically and expressively very demanding for interpreters.
Duration: 12' 30"
SME/EMS
d'accord(s) (2004)
for 2 alto saxophones
The title has two meanings:
On one hand side, the material for the pitch is derived mainly from parallel chords which have been placed horizontally to build up the melodic lines. (d'accords = in the sense of originating from chords).
On the other hand side, there are textures where both instruments play consensually, in substantial accord, together. This leads up to (mostly fast) homorhythmical passages.
Duration: 7' 30"
for 2 alto saxophones
The title has two meanings:
On one hand side, the material for the pitch is derived mainly from parallel chords which have been placed horizontally to build up the melodic lines. (d'accords = in the sense of originating from chords).
On the other hand side, there are textures where both instruments play consensually, in substantial accord, together. This leads up to (mostly fast) homorhythmical passages.
Duration: 7' 30"
SME/EMS
Eine Minute für zwei Fanfaren (2004)
for horn in F
Duration: 1' 30"
for horn in F
Duration: 1' 30"
SME/EMS
Vacation (2004)
for jazz ensemble (tpt, sax, keybrd, gtr, perc, e-bass)
Duration: 9' 00"
Manuscript
for jazz ensemble (tpt, sax, keybrd, gtr, perc, e-bass)
Duration: 9' 00"
Manuscript
Après le silence (2005)
for violin, violoncello and piano
The title refers, on the one hand, to the long phase of silence (as an inner absence of music), which preceded the piece, and on the other hand the necessity for one, following this silence, to make oneself completely understood. The large range of expressive means is a result of this necessity for complete expression.
The work fathoms then, a multitude of conflicting areas: here it goes from sound alteration to noise as the result of inner endeavours, there a huge instrumental gesture, the outwardly directed virtuosity. Moments of static from "frozen" textures are relieved by moments of kinetic density, which (paradoxically) can return again to stagnation.
The associative exploration (exploration as a circumlocution of the working method, not the resulting sounds) is sometimes penetrated by sound gestures, which are not, in a logical sense, inherently part of the system but are created in the respective moment of the work process, from an inner (thus subjective) necessity - they have, as a result, a purely "psychological function".
The compositional challenge, to construct the unexpected as paradigm without this producing an (expected?) abrasion, is for the piano trio programme. The rapid scales deceive, the pulses are fragile, ostinato lead to nowhere, the seemingly target-orientated become volatilised; no state is definitive. Many moments subsume that which came previous and simultaneously refer to that which is to follow, the music gives birth to and is itself permanently reborn.
The work is held together more through the atmospherical density and a conjunctive (sound) sensualism than through the structures material relationships (e.g. regarding pitch). All this occurs in a concentrated from and a tight time dimension.
Duration: 18' 00"
for violin, violoncello and piano
The title refers, on the one hand, to the long phase of silence (as an inner absence of music), which preceded the piece, and on the other hand the necessity for one, following this silence, to make oneself completely understood. The large range of expressive means is a result of this necessity for complete expression.
The work fathoms then, a multitude of conflicting areas: here it goes from sound alteration to noise as the result of inner endeavours, there a huge instrumental gesture, the outwardly directed virtuosity. Moments of static from "frozen" textures are relieved by moments of kinetic density, which (paradoxically) can return again to stagnation.
The associative exploration (exploration as a circumlocution of the working method, not the resulting sounds) is sometimes penetrated by sound gestures, which are not, in a logical sense, inherently part of the system but are created in the respective moment of the work process, from an inner (thus subjective) necessity - they have, as a result, a purely "psychological function".
The compositional challenge, to construct the unexpected as paradigm without this producing an (expected?) abrasion, is for the piano trio programme. The rapid scales deceive, the pulses are fragile, ostinato lead to nowhere, the seemingly target-orientated become volatilised; no state is definitive. Many moments subsume that which came previous and simultaneously refer to that which is to follow, the music gives birth to and is itself permanently reborn.
The work is held together more through the atmospherical density and a conjunctive (sound) sensualism than through the structures material relationships (e.g. regarding pitch). All this occurs in a concentrated from and a tight time dimension.
Duration: 18' 00"
SME/EMS
pRESTO sOSTINATO (2005-2006)
for large ensemble (1.0.1.0.asx/.0.1.1.0/2perc/hp.pf/strquintet)
Duration: 11' 30"
for large ensemble (1.0.1.0.asx/.0.1.1.0/2perc/hp.pf/strquintet)
Duration: 11' 30"
Bärenreiter Verlag Basel/Kassel
stellen (2008)
for strings (8.3.2.1)
Duration: 10' 30"
for strings (8.3.2.1)
Duration: 10' 30"
SME/EMS
(Stimmen SME: sFr. 75.00)
Streichquartett Nr. 2 "Distanzenquartett" (2009)
Initially, two maximally distanced, clearly seperated elements are exposed:
Sounds - quarter tone glissandi - rhythmical, strongly percussive figures.
The following come face to face:
Passages within which only certain intervals are used, full chromatism, harmonic lead tones, suggestions of "spectralism" - that is to say, music from the overtone series.
Duration: 16' 00"
Initially, two maximally distanced, clearly seperated elements are exposed:
Sounds - quarter tone glissandi - rhythmical, strongly percussive figures.
The following come face to face:
Passages within which only certain intervals are used, full chromatism, harmonic lead tones, suggestions of "spectralism" - that is to say, music from the overtone series.
Duration: 16' 00"
Bärenreiter-Verlag
Turn (2010)
for orchestra (3.3.3.3/4.4.4.1/4perc/hp/10.8.6.6.6)
Duration: 12' 00"
for orchestra (3.3.3.3/4.4.4.1/4perc/hp/10.8.6.6.6)
Duration: 12' 00"
Bärenreiter Verlag Basel/Kassel
Cute (2011)
for flute and clarinet
Duration: 11' 00"
for flute and clarinet
Duration: 11' 00"
Bärenreiter-Verlag
unbalanced instability (2013)
für Violine und Kammerorchester
Duration: 22' 00"
für Violine und Kammerorchester
Duration: 22' 00"
Bärenreiter Verlag Basel/Kassel
Le réseau des reprises (2013-2014)
für grosses Ensemble
Ein wesentliches formales Merkmal meiner Musik ist die einmalige Gestaltung einer musikalischen Idee in ihrer bestmöglichen Erscheinungsform. Dieses Vorgehen schliesst die Wiederholung als Gestaltungsmittel aus.
In dieser Hinsicht werden hier neue Wege beschritten, handelt es sich doch um eine Reflexion darüber, was Wiederholung und Variante alles bedeuten kann. Sie ist eine Art "variations serieuses", in welchen das Phänomen der Wiederholung, beziehungsweise der Variantbildung auf ganz verschiedenen Ebenen zum kompositorischen Thema gemacht wird.
Dabei geht es nicht um die blockhafte Aneinanderreihung sampleartiger Module, sondern um die Kreation nicht-linearer Verläufe – also mit Sprüngen zurück wie auch nach vorn – bei gleichzeitiger Beibehaltung eines vorwärts treibenden Grundcharakters als dramaturgischem Prinzip.
Die kompositorische Herausforderung bestand also in der Überwindung eines Paradoxons, nämlich trotz Wiederholungs-Elementen eine sich dennoch stets entwickelnde Musik zu gestalten. Repetitive Verfahren mussten daher so variabel angewendet werden, dass Wiederholungen frisch wirken, oder als solche gar nicht wahrnehmbar sind.
So werden bisweilen einzelne Instrumentalschichten extrahiert und mit neuem Material konfrontiert. Es werden Taktgruppen oder nur Taktteile substituiert oder durch Bildung von Ellipsen komprimiert, ferner gelangen permutative Verfahren und Interpolation zur Anwendung. Letztere ereignet sich auch auf übergeordneter Ebene, nämlich in Form von neu komponierten Texturvarianten aus vorangegangenen Werken.
Aber auch das naheliegendste, weil in der Tradition verwurzelte Prinzip der Wiederholung, die Reprise, gelangt grossformal zur Anwendung. Sie soll angesichts der hohen Informationsdichte des musikalischen Satzes eine vertiefte Wahrnehmung der klanglichen Ereignisse ermöglichen.
Ein weiteres Paradox ist der Versuch, das harmonische Tempo (also die Progression von Akkorden) in gewissen Passagen so hoch zu gestalten, dass deren konsonante Vertikalität in der Wahrnehmung zurücktritt zugunsten horizontaler Bewegungsmuster . Der Arbeitstitel "vertige vertical" brachte diesen Teilaspekt des neuen Werks zum Ausdruck.
Manuscript
für grosses Ensemble
Ein wesentliches formales Merkmal meiner Musik ist die einmalige Gestaltung einer musikalischen Idee in ihrer bestmöglichen Erscheinungsform. Dieses Vorgehen schliesst die Wiederholung als Gestaltungsmittel aus.
In dieser Hinsicht werden hier neue Wege beschritten, handelt es sich doch um eine Reflexion darüber, was Wiederholung und Variante alles bedeuten kann. Sie ist eine Art "variations serieuses", in welchen das Phänomen der Wiederholung, beziehungsweise der Variantbildung auf ganz verschiedenen Ebenen zum kompositorischen Thema gemacht wird.
Dabei geht es nicht um die blockhafte Aneinanderreihung sampleartiger Module, sondern um die Kreation nicht-linearer Verläufe – also mit Sprüngen zurück wie auch nach vorn – bei gleichzeitiger Beibehaltung eines vorwärts treibenden Grundcharakters als dramaturgischem Prinzip.
Die kompositorische Herausforderung bestand also in der Überwindung eines Paradoxons, nämlich trotz Wiederholungs-Elementen eine sich dennoch stets entwickelnde Musik zu gestalten. Repetitive Verfahren mussten daher so variabel angewendet werden, dass Wiederholungen frisch wirken, oder als solche gar nicht wahrnehmbar sind.
So werden bisweilen einzelne Instrumentalschichten extrahiert und mit neuem Material konfrontiert. Es werden Taktgruppen oder nur Taktteile substituiert oder durch Bildung von Ellipsen komprimiert, ferner gelangen permutative Verfahren und Interpolation zur Anwendung. Letztere ereignet sich auch auf übergeordneter Ebene, nämlich in Form von neu komponierten Texturvarianten aus vorangegangenen Werken.
Aber auch das naheliegendste, weil in der Tradition verwurzelte Prinzip der Wiederholung, die Reprise, gelangt grossformal zur Anwendung. Sie soll angesichts der hohen Informationsdichte des musikalischen Satzes eine vertiefte Wahrnehmung der klanglichen Ereignisse ermöglichen.
Ein weiteres Paradox ist der Versuch, das harmonische Tempo (also die Progression von Akkorden) in gewissen Passagen so hoch zu gestalten, dass deren konsonante Vertikalität in der Wahrnehmung zurücktritt zugunsten horizontaler Bewegungsmuster . Der Arbeitstitel "vertige vertical" brachte diesen Teilaspekt des neuen Werks zum Ausdruck.
Manuscript
glut (2015-2016)
für Orchester
für Orchester
Bärenreiter Verlag Basel/Kassel
Diskographie
Grammont Sélection 7 (Musiques Suisses Nr. MGB CTS-M 142, 2014)
Karlen, Ingrid
Keller, Simone
Nouvel Ensemble Contemporain NEC
Ensemble Phoenix Basel
Camerata variabile
Giger, Jannik: Contaminare (2013)
Wirth, Stefan: This glacial shore (2013)
Moser, Roland: Pierrot Soldat (2012)
Rosenberger, Katharina: Erzählung (2013)
Kelterborn, Rudolf: Sinfonie 5 in einem Satz "La Notte" (2011-2012)
Ammann, Dieter: unbalanced instability (2013)
Furrer, Beat: strane costellazioni (2013)
Moreau, Benoît: Encre et Trompette (2013)
Zimmerlin, Alfred: tiw - saw (1913)
Schuler, Denis: Ek Balam (2013)
Charrière, Caroline: Envol (2013)
Interpreters:
Wyttenbach, JürgKarlen, Ingrid
Keller, Simone
Nouvel Ensemble Contemporain NEC
Ensemble Phoenix Basel
Camerata variabile
Works:
Haubensak, Edu: Pur (2004-2005)Giger, Jannik: Contaminare (2013)
Wirth, Stefan: This glacial shore (2013)
Moser, Roland: Pierrot Soldat (2012)
Rosenberger, Katharina: Erzählung (2013)
Kelterborn, Rudolf: Sinfonie 5 in einem Satz "La Notte" (2011-2012)
Ammann, Dieter: unbalanced instability (2013)
Furrer, Beat: strane costellazioni (2013)
Moreau, Benoît: Encre et Trompette (2013)
Zimmerlin, Alfred: tiw - saw (1913)
Schuler, Denis: Ek Balam (2013)
Charrière, Caroline: Envol (2013)
Info: www.fonoteca.ch
Trio CONTEXTO (Musiques Suisses Nr. MGB CTS-M 129, 2011)
Ammann, Dieter: A (tenir) tension (2002-2003)
Skrzypczak, Bettina: Toccata sospesa (1999)
Blank, William: Lichtton (2004)
Works:
Käser, Mischa: Soft morning, city! (2000)Ammann, Dieter: A (tenir) tension (2002-2003)
Skrzypczak, Bettina: Toccata sospesa (1999)
Blank, William: Lichtton (2004)
Dieter Ammann (Grammont Porträt Nr. MGB CTS-M 124, 2010)
Mondrian Ensemble
Amar Quartett
Ammann, Dieter: Geborstener Satz (2003)
Ammann, Dieter: Après le silence (2005)
Ammann, Dieter: Streichquartett Nr. 2 "Distanzenquartett" (2009)
Interpreters:
Zappa, DariaMondrian Ensemble
Amar Quartett
Works:
Ammann, Dieter: Gehörte Form - Hommages (1998)Ammann, Dieter: Geborstener Satz (2003)
Ammann, Dieter: Après le silence (2005)
Ammann, Dieter: Streichquartett Nr. 2 "Distanzenquartett" (2009)
Klavierduo Adrienne Soós / Ivo Haag (Grammont Porträt Nr. 107, 2007)
Kelterborn, Rudolf: Sonata (1955)
Kelterborn, Rudolf: Klavierstück 7 "Quinternio" (2005)
Roth, Michel: Molasse vivante (2004)
With more works of: Krzysztof Meyer
Interpreters:
Klavierduo Adrienne Soós und Ivo HaagWorks:
Ammann, Dieter: Regards sur les traditions (1994-1995)Kelterborn, Rudolf: Sonata (1955)
Kelterborn, Rudolf: Klavierstück 7 "Quinternio" (2005)
Roth, Michel: Molasse vivante (2004)
With more works of: Krzysztof Meyer
Info: www.fonoteca.ch
Dieter Ammann: The Freedom of Speach (Hat Art Nr. 158, 2005)
Ammann, Dieter: Gehörte Form - Hommages (1998)
Ammann, Dieter: Violation (1999)
With more works of: Dieter Ammann
Interpreters:
ensemble für neue musik zürichWorks:
Ammann, Dieter: The Freedom of Speech (1995-1996)Ammann, Dieter: Gehörte Form - Hommages (1998)
Ammann, Dieter: Violation (1999)
With more works of: Dieter Ammann
Mondrian Ensemble (Grammont Porträt Nr. 88, 2004)
Roth, Michel: Verinnerung (2001-2002)
Jaggi, Martin: Schebka (2001)
With more works of: Iannis Xenakis, Giacinto Scelsi, Martin Jaggi
Interpreters:
Mondrian EnsembleWorks:
Ammann, Dieter: Gehörte Form - Hommages (1998)Roth, Michel: Verinnerung (2001-2002)
Jaggi, Martin: Schebka (2001)
With more works of: Iannis Xenakis, Giacinto Scelsi, Martin Jaggi
Info: www.fonoteca.ch
Musik in Luzern: Klaviermusik (Gallo Nr. 1010/11, 2000)
Klavierduo Adrienne Soós und Ivo Haag
Ammann, Dieter: Regards sur les traditions (1994-1995)
Brennan, John Wolf: KLA4, op. 161 (1999)
With more works of: Sergej Rachmaninoff, Richard Rosenberg, Hans Huber, Peter Benary, Philipp Eichenwald
Interpreters:
Brennan, John WolfKlavierduo Adrienne Soós und Ivo Haag
Works:
Mäder, Urban: stossen, ziehen, schieben - am Rand (1999)Ammann, Dieter: Regards sur les traditions (1994-1995)
Brennan, John Wolf: KLA4, op. 161 (1999)
With more works of: Sergej Rachmaninoff, Richard Rosenberg, Hans Huber, Peter Benary, Philipp Eichenwald
Info: www.fonoteca.ch
Bibliography
Ammann, Dieter: Meinung zur Kulturförderung, in: Dissonanz 93 (2007), S. 35 [Internet]
Drees, Stefan: Umschwünge. Dieter Ammanns Orchester-Triptychon "Boost-Turn-Core", in: Dissonanz 111 (2010), S. 56-61 [Internet]
Fatton, Andreas: Dieter Ammann: Musiques Suisses / Grammont Portrait MGB CTS-M 124, in: Dissonanz 112 (2010), S. 92-93 [Internet]
Kunkel, Michael: Don't be afraid of colours. Ein Gespräch in E-Mails mit Dieter Ammann (# 94), in: Dissonanz 94 (2006) [Internet]