Lachen und Weinen (1986)
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

Notorisch motorisch (1991/92)
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

Developments (1993)
for two trumpets, horn, trombone and tuba
Duration: 9' 30"

CHF: 21.00

It's alive (1994)
for jazz ensemble (tpt, sax, keybrd, gtr, perc, e-bass)
Duration: 7' 00"-10' 00"
Manuscript

Piece for Cello (1994/98)
Duration: 9' 00"

CHF: 13.00

Regards sur les traditions (1994-1995)
for four-handed piano
Duration: 14' 00"

CHF: 23.00

Morceau en forme d'improvisation (1995)
for choir (thirty-six voices), four-handed piano and jazz sextet
Duration: var.

CHF: 36.00

The Freedom of Speech (1995-1996)
for flute (also bfl), clarinet (also bcl), violin, violoncello, percussion and piano
Duration: 18' 00"

CHF: 49.00

Short Variation (1996)
for seven clarinets and a bass clarinet
Duration: 3' 00"

CHF: 16.00

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"

CHF: 44.00

Musica Empirica (1997-1998)
for soprano saxophone and guitar
Duration: 9' 00"

CHF: 21.00

Gehörte Form - Hommages (1998)
for violin, viola and violoncello
Duration: 18' 00"

CHF: 49.00

Violation (1999)
for violoncello and ensemble (fl(pic).cl(bcl)/vn.vc/perc/pf)
Duration: 15' 00"

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"

CHF: 52.00

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"

CHF: 42.00

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"

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"

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"

CHF: 21.00

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"

CHF: 26.00

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"

CHF: 18.00

Eine Minute für zwei Fanfaren (2004)
for horn in F
Duration: 1' 30"

CHF: 13.00

Vacation (2004)
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"

CHF: 34.00

pRESTO sOSTINATO (2005-2006)
for large ensemble (1.0.1.0.asx/.0.1.1.0/2perc/hp.pf/strquintet)
Duration: 11' 30"

stellen (2008)
for strings (8.3.2.1)
Duration: 10' 30"

CHF: 39.00

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"

Turn (2010)
for orchestra (3.3.3.3/4.4.4.1/4perc/hp/10.8.6.6.6)
Duration: 12' 00"

Cute (2011)
for flute and clarinet
Duration: 11' 00"

(2013)

Duration: 22' 00"

Grammont Sélection 7 (Musiques Suisses Nr. MGB CTS-M 142, 2014)

Interpreten:

Wyttenbach, Jürg
Karlen, Ingrid
Keller, Simone
Nouvel Ensemble Contemporain NEC
Ensemble Phoenix Basel

Werke:

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)

Werke:

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)

Interpreten:

Zappa, Daria
Mondrian Ensemble

Werke:

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)

Interpreten:

Klavierduo Adrienne Soós und Ivo Haag

Werke:

Ammann, Dieter: Regards sur les traditions (1994-1995)
Kelterborn, Rudolf: Sonata (1955)
Kelterborn, Rudolf: Klavierstück 7 "Quinternio" (2005)
Roth, Michel: Molasse vivante (2004)
Mit weiteren Werken von: Krzysztof Meyer

Info: www.fonoteca.ch

Dieter Ammann: The Freedom of Speach (Hat Art Nr. 158, 2005)

Interpreten:

ensemble für neue musik zürich

Werke:

Ammann, Dieter: The Freedom of Speech (1995-1996)
Ammann, Dieter: Gehörte Form - Hommages (1998)
Ammann, Dieter: Violation (1999)
Mit weiteren Werken von: Dieter Ammann

Mondrian Ensemble (Grammont Porträt Nr. 88, 2004)

Interpreten:

Mondrian Ensemble

Werke:

Ammann, Dieter: Gehörte Form - Hommages (1998)
Roth, Michel: Verinnerung (2001-2002)
Jaggi, Martin: Schebka (2001)
Mit weiteren Werken von: Iannis Xenakis, Giacinto Scelsi, Martin Jaggi

Info: www.fonoteca.ch

Musik in Luzern: Klaviermusik (Gallo Nr. 1010/11, 2000)

Interpreten:

Brennan, John Wolf
Klavierduo Adrienne Soós und Ivo Haag

Werke:

Mäder, Urban: stossen, ziehen, schieben - am Rand (1999)
Ammann, Dieter: Regards sur les traditions (1994-1995)
Brennan, John Wolf: KLA4, op. 161 (1999)
Mit weiteren Werken von: Sergej Rachmaninoff, Richard Rosenberg, Hans Huber, Peter Benary, Philipp Eichenwald

Info: www.fonoteca.ch

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]