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Schneider Urs Peter

(14. 02. 1939)

Schneider Urs Peter
Schneider Urs Peter
Tessenbergstr. 45
CH-2505 Biel
Schweiz
Tel: 41 (0)32 323 44 57


Biography
Urs Peter Schneider was born in Berne. He is a composer, interpreter and educationalist.
1959 until 1966 – studies under the tutelage of Walter Lang and prof. Bruno Seidlhofer (piano), prof. Sandor Veress and Karlheinz Stockhausen (composition) in Berne, Cologne and Vienna.
1968 – founds the Ensemble Neue Horizonte Bern (over 800 concerts, radio recordings and performances)
1967 until 2007 – a total of fifteen recordings, partly with composed programmes
1983 – receives canton Berne's music prize
1964 until 1987 – receives a further six prizes as a composer and pianist
Since 1966 – lives in Biel, where he was awarded the city's culture prize in 2006.
1955 until 2004 – twelve dozen compositions encompassing all genres (over 2000 performances in Europe, America and Russia)
Until 2002 – professor for theory and ensemble music at the Musikhochschule Bern
Urs Peter Schneider increasingly appears as a performer, often with his own text compositions. He is a specialist in (pre)classical and conceptual music. He received the Swiss Association of Musician's composition award in 2009 and has over 200 works with "aart-Verlag" (since 2002).


Work list
Sechs Praeludien (1955-1958)
for piano
Duration: 2' 00"
aart verlag zürich
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1100 Studien, Acht Hefte mit verschiedenartigsten Notationen (1955-1994)
free score (also non-musically)
A total of over a thousand single leaves filled with bars, notes, pictures, text and numbers. Until now it is mostly self-composed and stretches from soli to orchestral works. It also includes some non-musical material (more can be requested). This study, or better said, 'knowledge items' (so called music with its roots in art) is dedicated to friends of the composer.
Duration: var.
Selbstverlag Urs Peter Schneider
Tessenbergstr. 45
CH-2505 Biel
Schweiz
Tel. +41 (0)32 323 44 57
Die vier Bücher: 1. Liederbuch (1955-1979)
for one singing voice and piano
Based on Robert Walser. A total of eighty pieces, a compositional Summa in (exaggerated terms) eighty different techniques. Robert Walser is present in all of the 10 plus 12 plus 6 plus 8 cycles and also Robert Schumann in the very last of the eighty pieces. Texts have been really set to music and do not just used fro reasons of structure and motto. They have been composed up to thirteen times. This turns the word-sound relationship of the piece on its head. All eighty pieces are written in a severe style and are situated somewhere between the radically experimental and radically compositorial approaches.
Duration: 35' 00"
aart verlag zürich
Postfach 764
CH-8024 Zürich
Schweiz
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Aphorismen und Sonatinensatz (1958-1959)
for violin and piano
Duration: 3' 30"
aart verlag zürich
Postfach 764
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Vier Hahnebücher (1958-1981/84)
material for a theatre piece with a minimum of four performers
Duration: var.
Manuscript
Raritäten für Interpreten (1959-1971/83)
for any score (not necessarily musical)
Ninety one diversely cross-linked leaves for a comprehensive media performance. Any number of musicians, actors, actresses and further participants help themselves to any number of leaves and let their musical and non-musical actions, (modelled on anarchistic directness) out into the open. Dedicated to the theatrewright and long-term friend Norbert Klassen.
Duration: var.
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CHF: 83.00
Sonatine (1959)
for violoncello and piano
Piece for an occasion, parodistic.
Duration: 2' 30"
Manuscript
Texthefte I - VIII (1960-1999)
for reader or speaker
Duration: var.
Selbstverlag Urs Peter Schneider
Tessenbergstr. 45
CH-2505 Biel
Schweiz
Tel. +41 (0)32 323 44 57
Zwiezieler (1960-1999/08)
for speaking voice
Duration: 40' 00"
Selbstverlag Urs Peter Schneider
Tessenbergstr. 45
CH-2505 Biel
Schweiz
Tel. +41 (0)32 323 44 57
Zwanzig Situationen (1960-1969)
Pseudo composition
for ten players on various sound producers
Duration: 40' 00"
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Ich I-IIII (1960-1999/00)
four speech texts
Duration: var.
Selbstverlag Urs Peter Schneider
Tessenbergstr. 45
CH-2505 Biel
Schweiz
Tel. +41 (0)32 323 44 57
Talentproben, Sechs Tänze und Kontertänze (1960/79)
for small instrumental ensemble (afl.bcl/tpt.tbn/pf.org) and string quartet
Extracts from Webern's last twelve-tone series, curiously articulated; radical canon technique. Not particularly difficult technically but awkward and a little unusual. Almost traditional notation. Each extract can be performed separately.
Duration: 10' 00"
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Die vier Bücher: 3. Zeremonienbuch (1960-1982)
for one woodwind instrument
A total of eighty pieces, a compositional Summa in (exaggerated terms) eighty different techniques. Robert Walser is present in all of the 10 plus 12 plus 6 plus 8 cycles and also Robert Schumann in the very last of the eighty pieces. Texts have been really set to music and do not just used fro reasons of structure and motto. They have been composed up to thirteen times. This turns the word-sound relationship of the piece on its head. All eighty pieces are written in a severe style and are situated somewhere between the radically experimental and radically compositorial approaches.
Duration: 25' 00"
aart verlag zürich
Postfach 764
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Frühe Stücke (1961-1963)
for ensembles (soprano, alto flute, two clarinets, two trumpets, alto trombone, piano, harp, harpsichord, vibraphone and string trio)
Aktionen - Reaktionen - Kontraktionen - Dekontraktionen.
Duration: 21' 40"
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Werkraum, Sieben Zwiesprachen (1961-1978/79)
for 1-4 performers (partly free score)
- Immer/Nimmer for four vocalists/four cembalists (8’ / 3’)
- Rohrertisch/Striegeltisch for four orators/four percussionists (or similar) (5’ / 5’)
- Ockerln/Nockerln for three partners (free score) (2’ / 12’)
- Entwickeltes/Verschleiertes for three trombones/two pianists (5’ / 7’)
- Ichts/Nichts for two partners (free score) (10’ / 0’)
- Lichtlein/Pfloecklein for one viola/one recorder (or similar) (7’ / 7’)
- Och/Noch for one soprano/one organ (4’ / 9’)

Duration: var.
Manuscript
Viel Kies (1961-1988/06)
Twelve neglected pieces in 1 - 24 sequences
for 1 - 8 instruments
Brief - Biest - Fieps - Fries - Pieps - Fiest - Pieks - Bries - Fried - Grief - Kieks - Pried.
Duration: variabel
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Duplizitäten für Interpreten (1961-1983/95)
for any instrumentation (also of a non-musical type)
Fifty-five leaves, each with two related texts, for multidisciplinary performances: any number of musicians, actors/actresses and further participants help themselves to any number of leaves in order to assist them in the preparation of their actions; dedicated to the actress and friend of many years Janet Haufler.
Duration: var.
SME/EMS
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CH-6000 Luzern 7
Schweiz
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CHF: 62.00
Käfig: Septett, Quintett, Terzett (1961-1962/92)
for any score (each with piano ad libitum)
Versions of considerable duration can be realised using the existing material, versions whose time / space characteristics are completely accidental. Musical grid structures are the unpredictable result. These pieces are dedicated to John Cage, Morton Feldman and Christian Wolff
Duration: var.
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Schweiz
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CHF: 26.00
Babel (1961-1967)
for anything which makes a noise.
Thirteen pages each with thirty-five notations of musical and non-musical provenance. To be performed by a maximum of thirteen players who help themselves to a large 'arsenal' of percussion instruments and then let loose their prepared realisations on each other. Only the duration of play and an approximate sequence of events are discussed in advance. This work is dedicated to Erika Radermacher (my first long-time companion).
Duration: var.
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CHF: 29.00
Sammlung (1962-1972)
six sections for soloists
- Sphere for one piano- Angle for two harmoniums- Navel for four harpsichords- Bird for three sopranos- Jacket for six clarinets- Handle for five harps
Duration: var.
Selbstverlag Urs Peter Schneider
Tessenbergstr. 45
CH-2505 Biel
Schweiz
Tel. +41 (0)32 323 44 57
Kirchweih, Fünf Rückführungen: 1. Kreuze (1964-1967/72)
for four instrumentalists (xylophone, flute, piano and harmonium)
Kirchweih: A feature-length multi media cycle about the perverted or lost ritual; 'Kreuze' is critical ecclesiastic music, 'Englisches Zubehoer', 'Zähler' and 'Geistliche Uebungen' are all pieces with optical, film-like, pantomime-like ceremonies, 'Umkehr' is possibly reconciliatory Easter music whose tone is advanced into the utopic using simple electronic apparatus. The five pieces should be (but not necessarily) performed in a church, each can be performed seperately. Can be realised by a well motivated amateur choir.
Duration: 6' 00"
Mannheimer Musik-Verlag GmbH
Baumkirchnerstr. 53a
D-81673 München
BRD
Kirchweih, Fünf Rückführungen: 2. Englisches Zubehoer (1965-1966/72)
for objects of an ecclesiastical nature
Kirchweih: A feature-length multi media cycle about the perverted or lost ritual; 'Kreuze' is critical ecclesiastic music, 'Englisches Zubehoer', 'Zähler' and 'Geistliche Uebungen' are all pieces with optical, film-like, pantomime-like ceremonies, 'Umkehr' is possibly reconciliatory Easter music whose tone is advanced into the utopic using simple electronic apparatus. The five pieces should be (but not necessarily) performed in a church, each can be performed seperately. Can be realised by a well motivated amateur choir.
Duration: 16' 00"
Mannheimer Musik-Verlag GmbH
Baumkirchnerstr. 53a
D-81673 München
BRD
Kirchweih, Fünf Rückführungen: 3. Zähler (1966-1969/72)
for figurine (slide projection)
Kirchweih: A feature-length multi media cycle about the perverted or lost ritual; 'Kreuze' is critical ecclesiastic music, 'Englisches Zubehoer', 'Zähler' and 'Geistliche Uebungen' are all pieces with optical, film-like, pantomime-like ceremonies, 'Umkehr' is possibly reconciliatory Easter music whose tone is advanced into the utopic using simple electronic apparatus. The five pieces should be (but not necessarily) performed in a church, each can be performed seperately. Can be realised by a well motivated amateur choir.
Duration: 2' 00"
Mannheimer Musik-Verlag GmbH
Baumkirchnerstr. 53a
D-81673 München
BRD
Abendfüllendes (1966-1969)
examples for optic and acoustic realisation
Duration: 64' 00"
aart verlag zürich
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Schweiz
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Die vier Bücher: 2. Chorbuch (1966-1977)
for eight singing voices (2S.2A.2T.2B)
A total of eighty pieces, a compositional Summa in (exaggerated terms) eighty different techniques. Robert Walser is present in all of the 10 plus 12 plus 6 plus 8 cycles and also Robert Schumann in the very last of the eighty pieces. Texts have been really set to music and do not just used fro reasons of structure and motto. They have been composed up to thirteen times. This turns the word-sound relationship of the piece on its head. All eighty pieces are written in a severe style and are situated somewhere between the radically experimental and radically compositorial approaches.
Duration: 18' 00"
aart verlag zürich
Postfach 764
CH-8024 Zürich
Schweiz
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Worte wie Omsk (1967)
A musicalised text
for one orator
Published in: Komponieren 1955-1988.
Duration: 24' 00"
Zytglogge Verlag
Eigerweg 16
CH-3073 Gümligen
Auf Anhieb (1968)
Excercise
for fifteen solo strings (5.4.3.2.1)
Duration: var.
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Kirchweih, Fünf Rückführungen: 4. Geistliche Uebungen (1968-1971/72)
for people of both sexes
Kirchweih: A feature-length multi media cycle about the perverted or lost ritual; 'Kreuze' is critical ecclesiastic music, 'Englisches Zubehoer', 'Zähler' and 'Geistliche Uebungen' are all pieces with optical, film-like, pantomime-like ceremonies, 'Umkehr' is possibly reconciliatory Easter music whose tone is advanced into the utopic using simple electronic apparatus. The five pieces should be (but not necessarily) performed in a church, each can be performed seperately. Can be realised by a well motivated amateur choir.
Duration: 12' 00"
Mannheimer Musik-Verlag GmbH
Baumkirchnerstr. 53a
D-81673 München
BRD
Unter Umständen (1968)
Excercise
for ten solo speakers (4.3.2.1)
Duration: var.
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Karo, four pieces for electronic tape (1968-1970)
for one or two performers with simple electronic
Kommentar - Attrappe - Rentisse - Opposit
Duration: 32' 00"
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Kirchweih, Fünf Rückführungen: 5. Umkehr (1969-1970/72)
For an orchestra with apparatus (2.2.2.2/2.2.2.2/2vnpizz.2gtr.2vcpizz.2hp/0.2.2.2.2)
Kirchweih: A feature-length multi media cycle about the perverted or lost ritual; 'Kreuze' is critical ecclesiastic music, 'Englisches Zubehoer', 'Zähler' and 'Geistliche Uebungen' are all pieces with optical, film-like, pantomime-like ceremonies, 'Umkehr' is possibly reconciliatory Easter music whose tone is advanced into the utopic using simple electronic apparatus. The five pieces should be (but not necessarily) performed in a church, each can be performed seperately. Can be realised by a well motivated amateur choir.
Duration: 22' 00"
Mannheimer Musik-Verlag GmbH
Baumkirchnerstr. 53a
D-81673 München
BRD
Windwerk (1970)
for one electronic tape tinkerer
Duration: 18' 00"
aart verlag zürich
Postfach 764
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Handwerk (1970)
for one piano player
Duration: 20' 00"
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Mundwerk (1970)
for one lecturer
Published in: Das Umbiel 2008.
Duration: 22' 00"
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Postfach 764
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Clavierübung (1971-1979/88)
für (präpariertes) Klavier
SME/EMS
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Blumen (1971)
for four pianos
Duration: 38' 00"
SME/EMS
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CHF: 34.00
Bravo Trude (1972)
Concept
for any instrumentation (also of a non-musical nature)
Published in: 'Komponieren' 1955-1988.
Duration: var.
Zytglogge Verlag
Eigerweg 16
CH-3073 Gümligen
Sendung (1972)
radio programme for and against the 'Südwestfunk'
Duration: 2h 23' 00"
Manuscript
(1973-1982)

Duration: var.
Selbstverlag Urs Peter Schneider
Tessenbergstr. 45
CH-2505 Biel
Schweiz
Tel. +41 (0)32 323 44 57
Meridian, Sechs Dauern nach Paul Celan (1973-1976/86)
for large instrumental ensemble and four voices (SATB; 0.0.0.0/1.0.0.0/6gtr/2pf(eight players)/2timp /0.3.3.3.0)
Sixty minutes for thirty performers in dynamic combination, demanding the maximum of inner concentration. An unusually vigilant and deliberate virtuosity is required for each of the six monochromatic pieces: 'Atemwende', 'Sprachgitter', 'Fadensonnen', 'Schneepart', 'Niemandsrose' and 'Lichtzwang'. Each piece lasts between five and fifteen minutes and can be performed separately without need of the others. A work concerning the unspeakable concealment of fragility; a memorial piece.
Duration: 60' 00"
aart verlag zürich
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Motto (1973)
for four musicians (soprano, orator, piano and large drum)
Texts: Robert Walser
Text: Robert Walser.
Duration: ' 30"
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Muspilli I-V (1974/08)
for variable instrumentation
- Zahlen for 4 percussionists, in 3 parts
- Texte for 1 speaker, in 3 x 5 parts
- Bilder for 3 singers, in 5 parts
- Noten for 5 strings, in 5 x 7 parts
- Striche for 2 synthesizer, in 7 parts
Duration: 20' 00"
aart verlag zürich
Postfach 764
CH-8024 Zürich
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Die vier Bücher: 4. Orchesterbuch (1974-1981)
for eight woodwind and strings (2.2.2.2/2.4.6.4.2)
Based on Robert Walser. A total of eighty pieces, a compositional Summa in (exaggerated terms) eighty different techniques. Robert Walser is present in all of the 10 plus 12 plus 6 plus 8 cycles and also Robert Schumann in the very last of the eighty pieces. Texts have been really set to music and do not just used fro reasons of structure and motto. They have been composed up to thirteen times. This turns the word-sound relationship of the piece on its head. All eighty pieces are written in a severe style and are situated somewhere between the radically experimental and radically compositorial approaches.
Duration: 12' 00"
aart verlag zürich
Postfach 764
CH-8024 Zürich
Schweiz
info@aart-verlag.ch
www.aart-verlag.ch/
Mei Schatz is a Schneider (1975)
for singing voice and instrumentarium (with any instruments)
Duration: 2' 30"
aart verlag zürich
Postfach 764
CH-8024 Zürich
Schweiz
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Senfkorn (1975)
Ecclesiastic music
for singing voice (soprano) and electronic processing
Duration: 24' 00"
Selbstverlag Urs Peter Schneider
Tessenbergstr. 45
CH-2505 Biel
Schweiz
Tel. +41 (0)32 323 44 57
Schriftwerke (1975-1983)
four different scores
- Hohe Lieder, for singing and five - seven instruments (10')- Du, der im Versteck des Höchsten sitzt, for horn (5'-10')- Gleiche Sprüche, for two speakers and twenty two - twenty six instruments (6'-12')- O Glück ihrer, die schlichten Wegs sind, for two pianists (12')
Based on Martin Buber.
Duration: 33' 00"-44' 00"
aart verlag zürich
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Spazieren mit Robert Walser (1975-1976)
a radiophonic portrait
Duration: 35' 00"
Manuscript
Vier kleine Mysterien (1976-1977)
for four different clarinets, piano and three different strings
- Ewiger Schnee for bcl and pf (7'10) - Wolkenloser Himmel for 2 str and pf (6'30) - Dürres Gras for 3 str and pf (4'25) - Ätzendes Brennen for 4 cl and pf (1'05)
After Rudolf Steiner.
Consistently calm, quiet piece inspired by the wisdoms offered up by the course of the year: a playback apparatus (cassette player within the piano) produces pulsations of varying tempi and intensity, to this comes sparse, partly experimentally created tonal sequences whose tempi and intensity communicate as precisely as possible with the pulsations of the cassette player. The four pieces can be performed individually or as a cycle; they are intended for highly concentrated musicians only, but do not require any particular virtuosity. Written in semi-traditional notation. The piano is partly prepared (simply) and the pianist occasionally hits a membranophone.

Duration: 19' 00"
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Hölzerner Himmel: Ohrwurm, Uhrwerk, Ehrwort (1976-1979/93)
for eight - thirty two strings, eight - thirty two percussionists and eight - thirty two orators
Three concept pieces for a half-theatrical performance in purely verbal notation. Merry musical fairytale pieces created for children where each piece can also be performed singularly. Barely any technical difficulties but does require carefully controlled study of the tonal procedures. A stage director takes care of all the sensibly formed optical moments.
Duration: var.
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CHF: 13.00
Ein Jahreslauf, 24 Reigen durch alle Tonarten (1976-1980)
for piano
Piano pieces for cult or concertante use; one piece for each half of the month. Can also be performed individually (relative to the respective date). Medium level of difficulty: the performance of the whole cycle, however, requires an excellent sense of time and persistent attentiveness. The pieces are traditional, exactly notated but with several novel suggestions, which are explained in the foreword. Work on this kind of music demands a readiness to understand the occult theories that form the basis of Rudolph Steiner's spiritual science, or serves at least to initiate this readiness.
Duration: 30' 00"-34' 00"
aart verlag zürich
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Zeitgehöft (1976/96)
A concept
for two pianos
Based on Paul Celan.
Duration: 8' 30"
aart verlag zürich
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Schweiz
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Mi Frau heisst Annegret (1977)
for singing voice and instrumentarium (with any instruments)
Duration: 1' 30"
aart verlag zürich
Postfach 764
CH-8024 Zürich
Schweiz
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Geistliche Musik (1977-1978)
for orchestra / ensemble (free scoring)
- Silberlinge for orchestra (16'10)
- Kohlenfeuer for small orchestra (8'10)
- Erdbeben for ensemble (4'10)
- Wundmale for small ensemble (2'05)
Duration: 31' 30"
Selbstverlag Urs Peter Schneider
Tessenbergstr. 45
CH-2505 Biel
Schweiz
Tel. +41 (0)32 323 44 57
Zeitraum (1977)
for violin, alto flute, violoncello, bass clarinet (or any other quartet instrumentation)
Quiet music that can only be accomplished when all four performers pursue the whole temporal-spatial event consciously yet completely immersed.
Intermediate level of difficulty but requires a high level of concentration; twelve almost identical strophes - simultaneously an object from twelve perspectives. Radical music dedicated to Matthias Bruppacher.

Duration: 16' 00"
aart verlag zürich
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Hülle und Fülle I-III (1978)
for large, medium or small choir and trumpet, horn or trombone
Duration: var.
aart verlag zürich
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Urbilder, Sechs experimentelle Kammermusiken (1978-1981)
for various small chamber music scores
- Gral für min. 8 Ausführende (7')- Zwerg für 6 Ausführende (3'30)- Tor für 7 Ausführende (4')- Orplid für ca. 5 Ausführende (8')- Delphin für 3 Ausführende (2'30")- Tamil für min. 4 Ausführende (6')
Duration: 27' 00"-30' 00"
aart verlag zürich
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Achtsamkeit I (1978)
Concentration
for 22 instruments in 5 ascending cadences
Duration: 5' 00"
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Achtsamkeit II (1978-1979)
Meditation
for 10 instruments in 11 ascending cadences
Duration: 11' 00"
aart verlag zürich
Postfach 764
CH-8024 Zürich
Schweiz
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Achtsamkeit III (1979-1997/09)
Contemplation
for 4 instruments in 23 ascending cadences
Duration: 23' 00"
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Zu tun (1979)
78 Ermunterungen

Duration: var.
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Vom Himmel durch die Welt zur Hölle (1979)
for large, medium or small ensemble
Duration: var.
Manuscript
Achtzehn Stationen (1979-1981)
for two violins, viola, two violoncelli, two clarinets, two horns and two bassoons
Precisely notated chamber music containing no unusual playing techniques. The four cycles 'Langer Marsch', 'Langer Walzer', 'Kurzer Marsch', 'Kurzer Walzer', can be performed individually. Some pieces are finicky, others simple. Emotional, placative music with many allusions to the life of Rudi Dutschkes to whom the piece is dedicated.
Duration: 17' 00"
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Organe I+II (1980)
for deep, respectively high, wind quintet
Duration: 13' 00"
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Eine kleine Extramusik von sechs Engelchen (1981)
for six instrumentalists (can also be set chorally)
Text: Gottfried Keller.
Duration: 1' 30"
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Mit Dank an Mendelssohn (1981)
for Soprano and instruments on play-back tape
Texts: William Shakespeare
- Incidental music for a scenic performance of A Mid Summer Nights Dream.
- Radio play music for a radiophonic summary of A Mid Summer Nights Dream by William Shakespeare.
Duration: 45'00" bzw. 65'00"
Manuscript
55 Variationen (1982-1985)
for oboe and harpsichord (or two other different instruments)
After Adalbert Stifter.
Duration: 9' 00"
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91 Variationen (1982-1985)
for violin and piano (or two other different instruments)
After Adalbert Stifter.
Duration: 15' 00"
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(1982)
Texts: Johann Wolfgang Goethe

Duration: ca. 4'00"
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Faust (1982)
Incidental music
with twenty-four instrumental timbres over all keys
Duration: 65' 00"
Manuscript
Häresie (1983-1984)
Warm up excercise
for two-hundred solo recorders (100S, 60A, 30T, 10B)
This work was inspired by Conrad Steinmann, who then undertook the organisation of the four performances in May 1984. Two hundred single voices in a large-scale process of respiration; this impressive work makes an unheard of ethereal sound and a seemingly utopian form of collective performance audible, it ends in a full minute of absolute silence. The voices are simple, are offered a certain amount of freedom and allow the player plenty of time to listen. A large and simple "clock" provides the (generous) synchronisation. One needs 10 bass, 30 tenor, 60 alto and 100 soprano recorders. The score (condensed version) is also a document for the creation of the two hundred single voices.
Duration: 21' 00"
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Friedrich Hölderlin Trilogie I: Vom Turm her (1983-1985)
for voice and free instrumentation
- Die Linien des Lebens I for 2-11 performers
- Mit Unterthänigkeit for voice and accompaniment
- Die Linien des Lebens II for 2-11 performers
Duration: 3' 00"-9' 00"
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Friede auf Erden (1984)
Orchestral piece
for fifty-five performers (3.3.3.3/0.2.1.0/5perc/2hp.pf/2gtr/8.7.8.7)
Duration: 11' 00"
Manuscript
Friedrich Hölderlin Trilogie II: Mit Pindar (1984-1986)
for speaker, string instruments and others
- Todeslinien for violoncello or similar (with bourdon ad lib.)
- Mit Liebenswürdigkeit for 5-7 speakers
- Lebenstänze for viola or similar (with bourdon ad lib.)
Duration: variabel
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Friedrich Hölderlin Trilogie III: Zur Wand hin (1985-1987)
for percussion and free instrumentation
- Die Tänze des Todes I for 3-4 performers
- Mit Unterthänigkeit for groups of percussionists
- Die Tänze des Todes II for 3-4 performers
Duration: 6' 00"-12' 00"
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Sternstunde (1985-1986)
Opera in six scenes
for electronic tape, slide projection, light and possibly a silent protagonist
Texts: Friedrich Hebbel
A contribution to the forgotten category of radio opera. This piece was commissioned by the Swiss Radio Association and is based on an altered interpretation of a scene fragment written by Friedrich Hebbel. A scenic presentation of this piece is possible without stretching the possibilities of a modern opera house, it employs no singing people, at best only symbolic figures are required. The theme of this opera is a world dialogue between two spiritual powers.
Duration: 60' 00"
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72 Mutations (1986)
for speaking voice
Duration: 6' 00"-72' 00"
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Zwölf Phantasien (1986-1987)
for a few string instruments (free score)
Duration: 9' 00"
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Robert Walser Trilogie I,1: Die schöne Frau von Thun (1987-1988)
Six life-images
for three pairs of (string and/or wind) instruments
A cycle based on savage and partly lost writings; "Die schöne Frau von Thun" uses six instruments, which can be relatively freely chosen; "Tobold" is a compositional concept, formal and extremely variable in its instrumentation (the composer has arranged one version); "Das Mädchen mit den schönen Augen" is the last work before the composer's non-composing phase, maliciously simple, supposedly humorous – it is dedicated to the performer Marion Leyh.
Duration: 7' 00"
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Robert Walser Trilogie I,2: Tobold (1987-1988)
Scenes of humility
for choir voices and orchestral groups
A cycle based on savage and partly lost writings; "Die schöne Frau von Thun" uses six instruments, which can be relatively freely chosen; "Tobold" is a compositional concept, formal and extremely variable in its instrumentation (the composer has arranged one version); "Das Mädchen mit den schönen Augen" is the last work before the composer's non-composing phase, maliciously simple, supposedly humorous - it is dedicated to the performer Marion Leyh.
Duration: variabel (Ausarbeitung durch den Komponisten: 10'00")
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Wüsten (1987-1988)
documentation of a music theatrical project with Marion Leyh
Duration: var.
Manuscript
Robert Walser Trilogie I,3: Das Mädchen mit den schönen Augen (1988)
Two fantasy pieces
for oboe and trumpet (or two other, slightly different instruments)
A cycle based on savage and partly lost writings; "Die schöne Frau von Thun" uses six instruments, which can be relatively freely chosen; "Tobold" is a compositional concept, formal and extremely variable in its instrumentation (the composer has arranged one version); "Das Mädchen mit den schönen Augen" is the last work before the composer's non-composing phase, maliciously simple, supposedly humorous - it is dedicated to the performer Marion Leyh.
Duration: 3' 00"
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Farne für Amsp (1989)
A musicalised text
for one speaker
Published in: Das Umbiel 2008.
Duration: 8' 00"
Verlag Die Brotsuppe
Neumarktstr. 14
CH-2502 Biel
Schweiz
Ein kleiner Extrabericht vom gekreuzigten Jesus (1991)
for four vocalists (can be set chorally)
Texts: Johann Scheffler
Duration: 7' 30"
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Robert Walser Trilogie II,1: Studje zwej (1995)
for speaker or saxophone solo (et al)
Duration: variabel
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Mutmassungen über Agis I + II (1995/02)
A spartanic monody resp. dialody
for a high and/or a deep instrument
Duration: 4' 30"
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Robert Walser Trilogie II,2: Studie über den Adel (1995-1996)
for four performers (multimedia work)
Duration: 14' 00"
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Manna (1995)
for four musicians (soprano, orator, piano and large drum)
Texts: Martin Buber
Duration: 2' 30"
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Robert Walser Trilogie II,3: Studje drej (1996)
for female speaker or harp solo (et al)
Duration: variabel
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Zehntausend Erscheinungen I - VII (1997-1998)
2-50 Permutations
for 50-2 people (free scores)
Duration: 4' 00"-25' 00"
Selbstverlag Urs Peter Schneider
Tessenbergstr. 45
CH-2505 Biel
Schweiz
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Androgyn I-III (1997-2002)
Slogans and sonatas
for literary and/or musical perfomance (any instrumentation)
Duration: var.
Manuscript
Ein Tanzpoem (1998)
for free quartet instrumentation
Based on Heinrich Heine.
Duration: 10' 00"
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Vierzehntausend Mangelerscheinungen I - V (1998-1999)
4-25 Permutations
for 25-4 people (free score)
Duration: 8' 00"-21' 00"
Selbstverlag Urs Peter Schneider
Tessenbergstr. 45
CH-2505 Biel
Schweiz
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Infinitive, sakrale und profane Handlungen mit Gegenständen (1999)
A six-hour ritual
for between six and sixty performers
Duration: 60h 00"
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Meilensteine (1999-2000)
literary and musical etudes
Duration: var.
Manuscript
Jericho (2000-2004)
for any sources of sound
Collected concepts for various realisations with a maximum of eleven performers; a teeny-weeny 'concert tub' produced in cooperation with Tzie Elgna and Ludger von Diedrichsfeld, Dora Hermine Eybling and Margot Erdmute von Drajschenfleygh. It is to be understood as a kind of worthy comparison to the piece 'Babel'. Dedicated to the conceptualist Marion Leyh (the second partner).
Duration: var.
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Würste (2000-2008)
Punch and Judy show in collaboration with Marion Leyh
for 8 performers
Duration: 11' 40"
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Hilfslinien (2000)
Concept for the elaboration of pieces In memorium resp. In expectationem
for eight high instruments (any instrumentation)
Duration: var.
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Innere Stimme (2001)
a three-part concert etude for multiple use
for 1-3 instruments (also microtonal)
Duration: var.
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Eine Idylle (2002)
Eight details (of a picture)
for 14 solo recorders
After Friedrich Hölderlin.
Duration: 7' 00"
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Kar I + II (2003-2004)
Ecclesiastical music
for oboe/baritone oboe or clarinet/bass clarinet (1player)
Duration: var.
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Elemente (2003)
for bassoon solo (with one player and two cymbals ad lib.)
Duration: variabel
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Robert Walser Trilogie III,1: Die Liebe in den leichten Worten (2003)
Two Albumleaves
for fidel and gamba (or two slightly differeing instruments)
A last cycle, which mirrors the first in many ways, based closely on restructured texts by the poet. "Die Liebe in den leichten Worten" continues semantic distraction in unsophisticated seconds, deceptive and beautiful; "Kanal" is a conceptual composition, creating artificial folklore, and sentences of a piece of prosa, quasi idyllic continuation (the composer himself has created one version); "Das leichte End in Bern" is to be scored in a monochrome fashion with six identical instruments. It tells of disappearance into anonymity, of poltergeists and much more; it is dedicated to the performer Eva Fuhrer.
Duration: 5' 00"
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Robert Walser Trilogie III, 2: Kanal (2003-2004)
Scenes of Grace
for speaking voice and chamber ensemble
A last cycle, which mirrors the first in many ways, based closely on restructured texts by the poet. "Die Liebe in den leichten Worten" continues semantic distraction in unsophisticated seconds, deceptive and beautiful; "Kanal" is a conceptual composition, creating artificial folklore, and sentences of a piece of prosa, quasi idyllic continuation (the composer himself has created one version); "Das leichte End in Bern" is to be scored in a monochrome fashion with six identical instruments. It tells of disappearance into anonymity, of poltergeists and much more; it is dedicated to the performer Eva Fuhrer.
Duration: variabel (Ausarbeitung durch den Komponisten: 10'00")
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CHF: 23.00
Tetralogie der Mutmassungen (2003)
Rituals
for 6-12 performers (any instrumentation)
- Blasse Spur for 6 performers (07'37")
- Weisse Spur for 8 performers (14'28")
- Krasse Spur for 10 performers (23'35")
- Heisse Spur for 12 performers (34'58")
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36 Existenzen (36 Existences) (2003)
These pieces arose during a year accompanying the documentary film maker Urs Graf and form, after the process of their development was identified, the final part of the feature-length film. The title 'Ins Unbekannte der Musik' (into the musical unknown) carries the sub-title 'Urs Peter Schneider: 36 Existenzen' (36 Existences). This consists of 17 existences: three-part sacral dances and contredanses for five instruments in the higher register (8'30), and 19 existences: four-part profane dances and concert dances for seven instruments in the deeper register (9'30).
Duration: 18' 00"
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Eigenheiten (Peculiarities) (2003)
Examples for continuous (optic and/or acoustic) realisation - installations of indefinite duration
Published in: Susanne Muller catalogue (special edition).
Duration: var.
Edition Centre PasquArt
Seevorstadt 71-75
2502 Biel
Peter Sauschneider Trilogie I: Zur Zahl hin (2004-2006)
for melodica, flute and piano forte
- Die Teile des Tages I for melodica
- Mit Eigenhändigkeit for 2 female Flutists
- Die Teile des Tages II for piano forte
Duration: 9' 00"-15' 00"
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Nebennotensatz und Euphemismen (2004-2005)
for oboe and ud
Duration: 11' 30"
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Das leichte End in Bern (2004)
Six Images of Life
for three pairs of (plucked and/or percussion) instruments
A last cycle, which mirrors the first in many ways, based closely on restructured texts by the poet. "Die Liebe in den leichten Worten" continues semantic distraction in unsophisticated seconds, deceptive and beautiful; "Kanal" is a conceptual composition, creating artificial folklore and sentences of a piece of prosa, quasi idyllic continuation (the composer himself has created one version); "Das leichte End in Bern" is to be scored in a monochrome fashion with six identical instruments. It tells of disappearance into anonymity, of poltergeists and much more; it is dedicated to the performer Eva Fuhrer.
Duration: 9' 00"
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Peter Sauschneider Trilogie II: Mit Haydn (2005-2007)
for piano, organ and various instruments
- Wesensteile für Klavier (with or without string instruments)
- Mit Hintergründigkeit for 2 x 15 instruments and paper sounds
- Tageswiegen für Orgel (with or without percussion instrument)
Duration: variabel
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Acht Postludien (2005-2008)
for oboe
Duration: 6' 00"
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Titelseiten (2005)
Concepts
for agile people
Duration: variabel
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Präsenz ohne Produkt (2005)
Concept to a cultural/political event
for the event's invited public and 100 or more cultural workers
Published in: Das Umbiel 2008.
Duration: 12h 00"
Verlag Die Brotsuppe
Neumarktstr. 14
CH-2502 Biel
Schweiz
3 mal 17 Sentenzen (2005)
Text composition
for one speaker
Duration: 4' 45"
Selbstverlag Urs Peter Schneider
Tessenbergstr. 45
CH-2505 Biel
Schweiz
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4 mal 19 Sentenzen (2005)
Text composition
for one speaker
Duration: 5' 15"
Selbstverlag Urs Peter Schneider
Tessenbergstr. 45
CH-2505 Biel
Schweiz
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Im Anstehn (2005)
15 or more exercises
for speaker solo (and ensemble ad lib.)
Duration: 10' 00"-16' 00" (mit Ensemble 32'00'')
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Ohne Umschweife (2005)
10 or more exercises
for tuba player solo (and ensemble ad lib.)
Duration: 6' 00"-16' 00" (mit Ensemble 32'00'')
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Peter Sauschneider Trilogie III: Vom Puls her (2006-2008)
for hammond organ, bassoon and bandoneon
- Die Wiegen des Wesens I for hammond organ
- Mit Eigenhändigkeit for two bassoonists
- Die Wiegen des Wesens II for bandoneon
Duration: 12' 00"-18' 00"
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Fernschreiben (2006)
A compositional concept for for the prouction of small four-voice pieces
for one two voice and two one voice instruments
Duration: variabel
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Seitab (2006)
for celesta sounds (1-6 players)
Robert Walser in memoriam.
Duration: 5' 25"
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Torte I (2006-2007)
Sandor Veress on 1.II.07
for 1 x 100 singing parts (for 100 performers)
Duration: 7' 00"
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Natursprache nach Jakob Böhme (2007-2009)
A composition concept to create a pitch series
for one or several high instruments (declamation ad lib.)
Duration: variabel
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Sterntaler I + II (2007-2010)
Fairytale machine
for speaking voice and/or percussion trio resp. singing voice and/or stringtrio
Texts: Brüder Grimm
Duration: variabel
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Torte II (2008)
Karlheinz Stockhausen on 22.VIII.08
for 2 x 40 percussion sounds (1-10 performers)
Duration: 5' 00"
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Torte III (2008)
For the Ensemble Neue Horizonte Bern (14.IV.08)
for 4 x 10 toy sounds (40 performers)
Duration: 13' 00"
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Dies I (2008)
Unisonous music to a text by Thomas Aquinas
for 2 x 1 individual
Duration: 1, 11... Minuten
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Dies II (2008)
Four-part music to a text from the Benediktbeuren monastery
for 4 x 4 individuals
Duration: 4, 44... Minuten
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Dies III (2008)
Nine-part music to a text by Thomas of Celano
for 6 x 9 individuals
Duration: 9, 99... Minuten
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www.aart-verlag.ch/
Lilienzeit I-IIII (2008)
Chamber piece after Jakob Böhme
for historical, traditional, exotic and experimental instruments (four of each)
Each of the four (almost identical) pieces presents a self-contained cyclical process "without beginning or end". Temporal and spatial characteristics are blurred, directly related to each other; the performers read the score and stand in a state of mutual dependence in only partly controllable situations full of paradoxes. The audience is presented with an intimate, quantitative and qualitative, hardly definable, continually relativising complete process.
Duration: 50' 00"
aart verlag zürich
Postfach 764
CH-8024 Zürich
Schweiz
info@aart-verlag.ch
www.aart-verlag.ch/
Mit Kanons auf die Tauben (2009)
1 - 10 experimental canons
four-part (e.g. piano, oboe, violin, ud)
After Joseph Haydn's Ten Commandments of Art.
Duration: variabel
Manuscript
Torte IIII (2009)
For the project group Neue Musik Bremen (35.X.09)
for 5 x 4 chinwaggers (1-4 performers)
Duration: 11' 00"
aart verlag zürich
Postfach 764
CH-8024 Zürich
Schweiz
info@aart-verlag.ch
www.aart-verlag.ch/
Dieselben (2009-2010)
4 pieces
for 1/2 tone and 1/3 tone piano
Duration: 7' 00"
aart verlag zürich
Postfach 764
CH-8024 Zürich
Schweiz
info@aart-verlag.ch
www.aart-verlag.ch/
Manieren I und II (2009-2010)
for a homogeneous quintet formation
Duration: 15' 00"
aart verlag zürich
Postfach 764
CH-8024 Zürich
Schweiz
info@aart-verlag.ch
www.aart-verlag.ch/
Wanderwege durch ein Wildwuchsgebiet I bis V (2010)
for 1-5 (homogeneous) instruments and piano
Duration: variabel
aart verlag zürich
Postfach 764
CH-8024 Zürich
Schweiz
info@aart-verlag.ch
www.aart-verlag.ch/
Rezepte (2010-2011)
for 1 or more performers
Texts: Urs Peter Schneider
Duration: variabel
Manuscript
Uraufführung (2010-2011)
A concept for you alone
for 1 person
Duration: variabel
aart verlag zürich
Postfach 764
CH-8024 Zürich
Schweiz
info@aart-verlag.ch
www.aart-verlag.ch/
Nachvollzug (2011)
for duo
Duration: 9' 00"
aart verlag zürich
Postfach 764
CH-8024 Zürich
Schweiz
info@aart-verlag.ch
www.aart-verlag.ch/
Repertory
Carl Philipp Emanuel Bach: Klavierwerke (integral)
Johann Sebastian Bach: Das Wohltemperierte Klavier II
Dietrich Buxtehude: Suiten (integral) für Klavier
John Cage: Solo for Piano
Morton Feldman: For Bunita Marcus für Klavier
Girolamo Frescobaldi: Capricci (integral) für Klavier
Jürg Frey: Stein und Wasser für Klavier
Josef Matthias Hauer: Atonale Musik, op. 20 für Klavier
Josef Matthias Hauer: Klavierstücke nach Hölderlin, op. 25
Joseph Haydn: Klaviersonaten (integral)
Hermann Meier: Stück für 2 Klaviere
Hermann Meier: Stück für 3 Klaviere
Erika Radermacher: Depression for piano solo
Urs Peter Schneider: Handwerk for one piano player
Urs Peter Schneider: Schriftwerke four different scores
Urs Peter Schneider: Vier kleine Mysterien for four different clarinets, piano and three different strings
Urs Peter Schneider: Die vier Bücher: 1. Liederbuch for one singing voice and piano
Peter Streiff: Motto for piano and large drum
Peter Streiff: Drei Etüden für Klavier
Galina Ustvolskaja: Klaviersonate Nr. 5
Anton Webern: Variationen, op. 27 für Klavier
Diskographie
Peter Streiff. Komposition - Urs Peter Schneider. Klavier (Edition Wandelweiser Records Nr. EWR 1401, 2014)
Interpreten:
Schneider, Urs Peter
Werke:
Streiff, Peter: Von Magischem (1970)
Streiff, Peter: Drei Klavieretüden (1973)
Streiff, Peter: Melodien Bd. I (1971-1977)
Streiff, Peter: Modell zur Gewichtsverlagerung (2007)
Streiff, Peter: Neun kleine Bässe (1975/2013)
Info: www.fonoteca.ch
Hermann Meier - Kammermusik und Orchesterwerke 1960-69 (Musiques Suisses Nr. MGB CD 6268, 2010)
Interpreten:
Schneider, Urs Peter
Radermacher, Erika
Henneberger, Jürg
Weber, Katharina
Blum, Dominik
Ensemble Neue Horizonte Bern
Werke:
Meier, Hermann: Stück (1960)
Meier, Hermann: Stück (1969)
Meier, Hermann: Stück (1960)
Meier, Hermann: Stück (1968)
Info: www.fonoteca.ch
Robert Walser in der Schweizer Musik (Musiques Suisses Nr. 6231, 2005)
Interpreten:
Schneider, Urs Peter
Radermacher, Erika
Werke:
Frey, Jürg: Lachen und Lächeln (1978)
Glaus, Daniel: Sechs Lieder nach frühen Gedichten von Robert Walser (1977)
Neidhöfer, Christoph: 4 Lieder nach Robert Walser (1995)
Haubensak, Edu: Sechs Walserminiaturen (1996)
Mit weiteren Werken von: Annette Schmucki, Aleksander Gabrys
Ensemble Neue Horizonte Historische Aufnahmen 1968-1998 (Musikszene Schweiz - Grammont Portrait Nr. CTS-M 76, 2002)
Interpreten:
Ensemble Neue Horizonte Bern
Werke:
Frey, Jürg: Lachen und Lächeln (1978)
Frey, Jürg: Sachen (1979-1980)
Moser, Roland: Heinelieder. Für Stimmen mit Begleitung (1970-1985)
Schneider, Urs Peter: Raritäten für Interpreten (1959-1971/1983)
Schneider, Urs Peter: Mit Dank an Mendelssohn (1981)
Streiff, Peter: Partikel 1-7 (1970-1972)
Radermacher, Erika: Sieben Rosen später (1981)
Radermacher, Erika: Musenkonzept (1990)
Mit weiteren Werken von: Hansjürgen Wäldele, Istvan Zelenka, Henri Pusseur, Christian Wolff, Philippe Micol, Hans-Joachim Hespos, La Monte Young, Cornelius Cardew, Franco Evangelisti, Mathias Brupacher, John Cage, Tzie Elgna, Morton Feldman, Karel Goeyvaerts, Rudolf Komorous, Pie
Info: www.fonoteca.ch
Urs Peter Schneider (Edition Wandelweiser Records Nr. 101, 2001)
Interpreten:
Schneider, Urs Peter
Radermacher, Erika
Werke:
Schneider, Urs Peter: Sternstunde (1985-1986)
Schneider, Urs Peter: Zeitgehöft (1976/1996)
Bibliography
Schneider, Urs Peter (Hrsg.): Ein Buch, Ensemble Neue Horizonte, Bern 1971
Schneider, Urs Peter: Ein weiches Bett für Trösterin Musica, in: Weltwoche 44 (1971)
Schneider, Urs Peter: Informationen zur Kirchweih, in: Schweizerische Musikzeitung 1 (1973), S. 8-15
Schneider, Urs Peter (Hrsg.): Noten - Musikalische Schriftbilder und ihre Ausführung, Kunsthalle, Bern 1974
Schneider, Urs Peter: Die Werke von Peter Streiff, in: Schweizerische Musikzeitung 4 (1978), S. 217-222
Schneider, Urs Peter: Ein Sommernachtstraum?, in: Kulturmagazin (September/Oktober 1981) (1981), S. 37-41
Schneider, Urs Peter: Musik im Raum - Hörübungen, Denkanstösse, in: Zwillingsphänomene der Architektur 2 (1981), S. 39-50
Schneider, Urs Peter: Musiker sein - In der Schweiz, in: Kaspar Hauser / Individualität 5 (1984), S. 99-105
Schneider, Urs Peter: Alle mich interessierende Musik ist Avantgarde, in: Kulturmagazin (September/Oktober 1986) (1986), S. 31-33
Schneider, Urs Peter: Aus den Tagebüchern, in: Zytglogge Zytig 117 (1987)
Schneider, Urs Peter: Vermittlung Neuer Musik. Zwanzig Betrachtungen, in: Der Bund (Beilage "Der kleine Bund") 18 (1988)
Schneider, Urs Peter: Komponieren 1955-1988 (Dossier Musik / Pro Helvetia), Zytglogge, Gümligen (Bern) 1989
Schneider, Urs Peter: Texte als für mit zur Musik (ohne D), in: Kaspar Hauser / Individualität 28 (1990), S. 41-55
Schneider, Urs Peter: Texte als für mit zur Musik (ohne C), in: Dissonanz 50 (1996), S. 15-17
Schneider, Urs Peter (Hrsg.): 168 Stunden Musik, Aktion, Performance, Installation (Programmheft), Neue Horizonte Bern, Bern 1998
Schneider, Urs Peter: Eigenheiten, in: Ausstellungskatalog Susanne Muller, Centre PasquArt, Biel 2003
Schneider, Urs Peter: Konzeptuelle Musik. Eine kommentierte Anthologie, Hochschule HKB, Bern 2004
Schneider, Urs Peter: Berichterstattung zum jüngsten Gericht. Entgegnung auf "Zersplitterung und Bewegtheit" von Andreas Fatton in "Dissonanz" Nr. 107 S. 39, in: Dissoanz 108 (2009), S. 48
Schneider, Urs Peter: Verschiedenes von Hermann Meier, in: Dissonanz 108 (2009), S. 9-12
Schneider, Urs Peter: Verschiedenes zu Hermann Meier, in: Dissonanz 108 (2009), S. 6-9
Kenneweg, Friederike: Grammont Sélection 5, in: Dissonanz 122 (2013), S. 76-77 [Internet]
Meyer, Thomas: Hypnoperettas. Urs Peter Schneiders Operette "Heile Welt" in Biel (Stadttheater, 19. Juni 2013), in: Dissonanz 123 (2013), S. 44-45 [Internet]
Brotbeck, Roman: Grammont Sélection 5. Uraufführungen aus dem Jahr 2011, in: Kuratierung und Kommentierung der CD, Musiques Suisses, Zürich 2012
Spohr, Mathias: Urs Graf: Ins Unbekannte der Musik. Ein Musikstück entsteht. Drei Filme: Urs Peter Schneider, Jürg Frey, Annette Schmucki, in: Dissonanz 113 (2011), S. 92-94 [Internet]
Möller, Torsten: Sonderwege. Urs Peter Schneider im Portrait, in: Dissonanz 112 (2010), S. 36-43 [Internet]
Fatton, Andreas: Zersplitterung und Bewegtheit, in: Dissonanz 107 (2009), S. 39
Keller, Kjell: Für das Neue auf der Welt. Ein Gespräch in Urs Peter Schneiders Küche, in: Dissonanz 100 (2007), S. 48-53 [Internet]
Therre, Pit: Urs Peter Schneiders "Infinitive, ein sechzigstündiges Ritual", in: Programmheft des Theaters am Marienplatz, Krefeld 2004
Meyer, Thomas: Die Enfants terribles der Schweizer Musik. Das Ensemble Neue Horizonte Bern, in: Neue Zeitschrift für Musik (März/April) (2002)
Meyer, Thomas: Das Berner Avantgardephänomen - Ein paar Stichworte zum Ensemble Neue Horizonte Bern, in: Berner Almanach 4 (2001), S. 67-80
Vinzelberg, Jacqueline: Göbeldalpen und Gratelgopen - U.P. Schneiders Infinitive, in: Magazine (2001), S. 48-52
Gartmann, Thomas: Artikel "Urs Peter Schneider", in: The New Grove Dictionary of Music and Musicians, London 2000
Therre, Pit: Urs Peter Schneider wird 60, in: Programmheft des Theaters am Marienplatz (Februar 1999), Krefeld 1999
Wüthrich, Andreas: Analysen der 1100 Studien von Urs Peter Schneider, Privatdruck A. Wüthrich, Langenthal 1998
Meyer, Thomas: Aufbrechendes, ohne Hast - Das Ensemble Neue Horizonte Bern, in: Positionen 26 (1996), S. 14-17
Meyer, Thomas: Die langen Haare im Wind - Pröbeln, Botanisieren, Suchen, in: MusikTexte 60 (1995), S. 31-42
Niemann, Matthias: Das kompositorische Werk Urs Peter Schneiders, Hochschule für Musik, Köln 1993
Barras, Vincent: L'oeuvre mise en question, in: Dissonanz 29 (1991), S. 34-35
Schädeli, Klaus: Urs Peter Schneider - Eine Einführung und ein Gespräch, in: Dissonanz 22 (1989), S. 11-15
Schönenberger, Walter: Urs Peter Schneider - Ein Gehen zu neuen Orten, in: Der Bund 35 (1989)
von Diedrichsfeld, Ludger: Lückenhaftes zu Urs Peter Schneiders Leben, in: Werkverzeichnis Urs Peter Schneider, Zürich 1988
Kläy, Walter: Spazieren mit Robert Walser, in: RadioTV 40 (1977)
Keller, Kjell: Das Ensemble Neue Horizonte Bern, in: Melos 4 (1974)
Keller, Kjell: Theatralische Aspekte in der Musik von Urs Peter Schneider, in: Dissonanz 4 (1970), S. 16-18
Oehlschlägel, Reinhard: Urs Peter Schneider - Ein Schweizer Kagel, in: Neue Musikzeitung (März 1970) (1970)
Ensembles