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Wohlhauser René

(24. 03. 1954)

Wohlhauser René
Wohlhauser René
Schillerstr. 5
CH-4053 Basel
Schweiz

Tel: +41 (0)61 361 04 37
Internet: www.renewohlhauser.com

Biography
René Wohlhauser was born in Zurich and raised in Brienz. A musician with many talents and a broad stylistic spectrum, René Wohlhauser has created an extensive body of some 1000 works across various genres. Long-term experience as a rock and jazz musician, improviser, song accompanist and composer of music for radio plays accompanie(s)d his primary activity as a composer of contemporary music.
1975 until 1979 – conservatory (music school) basel: counterpoint, harmony, analysis, score playing, instrumentation and composition under the tutelage of Thomas Kessler, Robert Suter, Jacques Wildberger and Jürg Wyttenbach – further studies in electronic music (under David Johnson), film music (under Bruno Spörri), non-European music (under Danker Shaaremann), song (under David Wohnlich), algorithmic programming (under Hanspeter Kyburz), improvisation (under Ruedi Lutz), piano (under Stéphane Reymond), Max/MSP (under Volker Böhm) directing (under Thüring Bräm) and philosophy (under Hans Saner) – teacher's diploma in music theory followed by courses in composition given by Kazimierz Serocki, Mauricio Kagel, Herbert Brün and Heinz Holliger; in-depth studies in composition under Klaus Huber and Brian Ferneyhough.
1978 – Valentino Bucchi Prize for Composition, Rome for 'Souvenirs de l'Occitanie' for clarinet
1981 – Association of German Music Schools' Prize for Composition for 'Stilstudien' for piano, 4 guitars and 2 percussionists
1983 – VJMZ Prize for Composition, Zurich
1984 – City and Canton of Fribourg Prize for Composition for 'Fragmente für Orchester'
1987 – Salzburg Diocesan Chapter Prize for Composition for 'Orgelstück'
1988 – Kranichsteiner Stipend Prize of the 'Internationalen Ferienkurse für Neue Musik Darmstadt' for 'Adagio assai' for string quartet (world premiered by the 'Arditti-Quartett')
1990 – East Switzerland Foundation for Music and Theatre St. Gallen Prize for Compostition: 1st prize for 'Klarinettentrio Metamusik'
1991 – Cultural Sponsorship Prize offered by the canton of Luzern
1992 – the Swiss Society for Music Pedagogical Research Tribute Prize, Zurich, for the severalfold-published essay 'Von einfachen graphischen Notationen und Verbalpartituren zum Denken in Musik'
1996 – 'Selection' Prize from Swiss Radio International for the portrait CD 'in statu mutandi'
1998 – Cultural Sponsorship Prize offered by canton Basel-Landschaft
– composed solo, chamber and orchestral music, works for organ and musical theatre.
– numerous performances at home and abroad including at the Schauspielhaus Berlin, Nôtre-Dame-de-Paris, Concertgebouw Amsterdam, Tokyo, Rome, Toronto, New Castle, Azerbaijan, Scandinavia, Basel, Zurich, Frankfurt, Speyrer Cathedral, Glinka-Saal St. Petersburg, the 'Herkules-Saal' of the 'Residenz' in Munich, and frequently at such festivals as the 'Darmstädter Ferienkursen für Neue Musik', the 'Tagen für Neue Musik Zürich', the internationalen festival in Odessa, Sofia, Cardiff, Brisbane and the 'Schweizerischen Tonkünstlerfest' – scores of portrait concerts
– collaborations with the Bavarian Radio Symphony Orchestra, Basel Symphony Orchestra, Lucerne Symphony Orchestra, Biel Symphony Orchestra, 'Sinfonietta Basel', 'Klangforum Wien', the clarinet ensemble of the Ensemble Modern, 'Ensemble Köln', 'Arditti-Quartett', 'Modigliani-Quartett', 'Schweizer Klarinettentrio' and other renowned soloists and ensembles from the international music scene.
– guest lecturer for composition at the 'International Ferienkursen Darmstadt' (1988-94), at the festival in Odessa (1996-98) and the International Composer's Atelier in Lugano (2000).
– extensive talks, mainly on the subject of his own work (also on radio)
– publications on compositional, aesthetic and philosophical aspects of new music in, for example: 'MusikTexte' Cologne, 'Neue Zürcher Zeitung', 'Darmstädter Beiträge zur Neuen Musik', 'New Music and Aesthetics in the 21st Century'.
– commissions for compositions at home and abroad, production of works through national and international radio events and portrait broadcasts; guest lectures on the radio
– cultural/political engagements ('Komponistenforum Basel', 'Schweizerisches Komponisten-Kollegium', worldwide score distribution system 'Adesso'
– teaches composition since 1979, musical theory and improvisation at Basel Academy of Music (and from 1979 until 1991 at the Academy in Lucerne)
– lives as a freelance composer in Basel


Work list
Lemuria (1977)
Ergon 1
for two flutes and playback
A secret revelation by the oneirocritic Cayce about 'Lemuria', the continent lost under the pacific ocean - as told by Plato and here translated into acousic images.
Duration: 17' 00"
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Nesut (1977)
Ergon 2
for piano solo
'Nesut' is a transliteration of a hieroglyph which stands as a symbol of power and repression; a relic from the study of the middle Egyptian language.
Duration: 8' 00"
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cemaltorz (1977)
Ergon 3
for soprano and piano
Texts: René Wohlhauser
A joining of the montage principle with moderate to extreme expressive contrasts, set in relation to an imaginary artificial language disassembled into linguistic particles. In memory of Camilo Torres.
Duration: 11' 00"
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Souvenirs de l'Occitanie (1977-1978)
Ergon 4
for clarinet solo
A musical unearthing of Kafkaesque and surrealist expressive moments, the source of the initial inspiration being hinted at by the title.
Duration: 9' 00"
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Modulaltica (1978)
Ergon 5a
for alto recorder and synthesizer
Construction of a music inherent chain of causation with the help of electronic appliances enabling one to experience the musical logics.
Duration: 15' 00"
Adesso
CH-6958 Corticiasca
adesso@bluewin.ch
Modulaltica-Variationen, Parergon 23, Nr. 3b (1978)
for violin
Duration: 15' 00"
Manuscript
Fragmente für Orchester (1979)
Ergon 6
(3(3pic).2(2.ca).3(3.bcl).2/2.2.2.0/3perc/hp.pf/12.12.8.8.4)
Eleven elaborated compositional ideas in the realm of sound surfaces and sound-combinations are in a field of conflict between static and dynamic. The atmosphere is inspired by the unrolling of Ariadnes thread from the cave allegory by Plato, the imaginary land of Uqbar by Borges and "schwarze Milch der Frühe" - the first line of a poem by Paul Celan.
Duration: 10' 00"
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Stilstudien (1980)
Parergon group 23, N° 4
for piano, two percussionists and four guitars
Various style-idioms are compositionally alienated and worked into a kind of high-level "telemusic".
I. Gamelan, II. alla romantica, III. Punk-Requiem, IVa. Dodekaphonia 1, IVb. Dodekaphonia 2, V. Rock-Medley, VI. Hors d'Œuvre, VII. Jazz-Quartett, VIII. Latino, IX. Fasnachtsmärsche
Suitable for music school ensembles.
Commissioned by the 'Staatlichen Musikkredit-Kommission', Basel
Association of German Music Schools' Prize for Composition, Bonn 1981
Association of Youth Music School in the Canton of Zurich's Prize for Composition, 1983
Duration: 9' 00"
Adesso
CH-6958 Corticiasca
adesso@bluewin.ch
Tremolo (1980)
for violin
Duration: 1' 00"
Manuscript
flautando (1980-1981/87)
Ergon 7
for two flutes
A timbral composition without pitches or rhythms. It accentuates and puts into a grammatical form many aspects (partly humorously) of the flute sound and then places them into a musical discourse.
Duration: 13' 00"
Müller & Schade AG
Moserstr. 16
CH-3014 Bern
Schweiz
Tel. +41 (0)31 320 26 26
Fax +41 (0)31 320 26 27
musik@mueller-schade.com
www.mueller-schade.com
Musica Assoluta e Determinata (1981)
Ergon 8, Nr. I
for chamber ensemble (voices, trumpet in C, electric guitar, percussion and piano)
Monadic tone points as the smallest animated substances (Leibnitz) develop out of the conscious setting of antitheses to contextual formations of growing suspense.
Duration: 3' 00"
Adesso
CH-6958 Corticiasca
adesso@bluewin.ch
Largo elettrificato (1981)
Ergon 8, Nr. II
for chamber ensemble with electronic sound alteration (voice, trumpet in C, electric guitar, percussion, piano, vocoder, harmonizer, ringmodulator, continuous electronic tape-loop and playback)
Electronically altered instrumental sounds evoke an 'aesthetic fluctuation'.
Duration: 1' 00"
Adesso
CH-6958 Corticiasca
adesso@bluewin.ch
Soggetto cavato de una parola, Parergon 24, Nr. 5a/b (1982)
for violin or for piano
Duration: 1' 30"
Manuscript
Piano quartet (Klavierquartett) (1979-1984/87)
Ergon 9
traditional score: violin, viola, violoncello and piano
An exploration of form and content in borderline situations, merely pushing further into a deeper dimension while writing the music down led to a condensed duration of the music, referred to as textural polyphony.
Duration: 9' 00"
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Eile oder weile (1984)
Mouth noises parergon group 23, N° 8
for ensemble
A sound parcours in graphic notation. Also suitable for school classes.
Duration: 10' 00"
Adesso
CH-6958 Corticiasca
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Kreise (1984)
Parergon-group 23, N° 9
for voices, cymbals and drums.
A plumbing of sound relationships between differential sound sources, graphically notated. Also suitable for school classes.
Duration: 10' 00"
Adesso
CH-6958 Corticiasca
adesso@bluewin.ch
Kombinationen (1984)
Parergon group 23, N° 10
for voices and instrumentalised every day objects
Contrasting sound combinations in differentiated form. Graphic notations evoke play actions. Also suitable for school classes.
Duration: 10' 00"
Adesso
CH-6958 Corticiasca
adesso@bluewin.ch
Im Tritt! Oh Nuss, Parergon 24, Nr. 13 (1984)
for violin
Duration: 3' 00"
Manuscript
Percussion trio (Schlagzeugtrio) (1984-1985)
Ergon 10
for three percussionists
Polyphonic time levels shifting within the area of tension which exists between determination and indetermination act as a multi-dimensional rhizome-Labyrinth without centre, periphery or exit and therefore potentially eternal. Based on Gilles Deleuze.
Duration: 9' 00"
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CHF: 60.00
CI - IC (1985)
Ergon 11
for flute and viola
A miniature with an extremely dense timing and concentrated structural complexity, meant as a metaphor for the fury of the disappearance of short and intensive listening experiences.
Duration: 2' 00"
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CHF: 13.00
Duometrics (1985-1986)
Ergon 12
for flute and bass clarinet
External time levels (as has been described by Stephen Hawking, with linear time comes an additional vertical imaginary time base out of which there exists a dependent area with no oppositional beginning and end and which is conceived as instantaneous) stands in relation to the piece's inner nature, its complex dramatic time organisation, which amongst other things is one of its products, and in which, for both players, time is not continuous - often with different tempi having to be played simultaneously. An expression of incompatible contradiction, so-called antimony, reminiscent of Kant's 'Transcendental Dialectic'.
Duration: 5' 00"
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CHF: 23.00
Piece for Organ (Orgelstück) (1986)
Ergon 13
for organ solo
A rhapsodic circling around the source material moves in turn in ever increasing circles, gradually the tempo becomes caught up in the rolling motion and eventually leads to a standstill with zero tempo, an interesting size which the mathematician Leonhard Euler defined in his 'Algebra' (in combination with other sizes) as a symbol for infinity.
Duration: 8' 00"
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CHF: 52.00
Drei Stücke für Klavier (1986-1987)
Ergon 14
This piece was the result of a theoretical discourse with the so-called ontological dialectic: between mundus sensibilis and mundus intelligibilis, between materialism and immaterialism, between logicism and facticity. This can be likened to the second part 'Adagio' where, bordering on the absurd, a nervous ostensible fluctuation caricatures a grotesque musical 'Seins bereich' ("being area") on a quiet background.
Duration: 5' 00"
Nepomuk Musik Verlag
c/o Breitkopf & Härtel Musikverlag
Walkmühlstrasse 52
D-65195 Wiesbaden
BRD
Tel. +49 (0)611 45 0080
vertrieb@breitkopf.de
www.breitkopf.com
Clarinet trio Metamusic (Klarinettentrio Metamusik) (1986-1987)
Ergon 15
for three clarinets
An attempt to transfer the plurality of aspects - how an object can be seen from various stand points - into a musical setting. Based on the aspects of seeing as described by Ludwig Wittgenstein in his "Philosophischen Untersuchungen" (Philosophical explorations).
Duration: 11' 00"
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Adagio assai (1982-1988)
Ergon 16
for string quartet
In an enveloping form all phrases and their constituent parts in the micro-parametric area of the calculation of a musical grammar are based on an anolog form of micro-harmony and micro-rhythm in relation to the other parameters; at the same time there is reference to Walter Benjamin's definition of the "capability of fantasy" as the "gift to interpolate infinitely small things".
Duration: 4' 00"
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CHF: 23.00
Atemlinie (1988)
Ergon 17
for horn solo (and tam-tam)
In a high range of possible subtleties in the mixing of sounds this piece arranges and deals with breathing in music. The piece is based on fine nuances between cerulean blue and manganese blue, between cadmium red and permanent red, embedded in the grammar of intensity, opacity, pigmentation of a sound colour alphabet. Micro breath-lines of various length bind to macro breath-lines by artificial extension.
Duration: 8' 00"
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CHF: 23.00
Lumière(s) (1989)
Ergon 18
for organ
'Musical light phenomena' Aspects of the incidence of light, refraction, translucency, and opacity on the background of an intentional and so-called 'light-transcendence'. Inspired by the paintings of Claude Monet.
Duration: 8' 00"
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CHF: 36.00
Schneehäx 4 (1989-1990)
Radio play, interlude 5, Parergon 18, N°69
for piano
A suggestive piece of music from a series of radio plays.
Duration: 1' 00"
Manuscript
Wer den Gesang nicht kennt (1991)
Parergon group 23, N° 13
for choir in three groups
Texts: Atahualpa Yupanqui
A choral piece in graphic notation. Equally suitable for beginners and the advanced.
Duration: 3' 00"
Adesso
CH-6958 Corticiasca
adesso@bluewin.ch
Atemwege (1991)
Mouth noises, parergon group 23, N° 12
for ensemble
Various different breathing sounds are superposed to form a piece of music. Also suitable for school classes.
Duration: 10' 00"
Adesso
CH-6958 Corticiasca
adesso@bluewin.ch
in statu mutandi (1991-1993)
Ergon 19
for orchestra (afl.bfl.ob.ca.bcl.cbcl.bn.cbn/3.2.2.1/2perc/8.6.4.4.2)
Almost in the spirit of the fast growing theory of complex, physical conditions, a stubborn dialectic between chaos and order which touches on the experience of the perception of the transition between stillness, noise and an unstable developing microtonal area.
Duration: 8' 00"
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CHF: 39.00
vocis imago (1993-1995)
Ergon 20
for flute, clarinet, percussion, piano, violin and violoncello
Conception of a dialectic tension between textual narrative and formal architectonically composite parts (inspired by literary narrative forms) integrated into a system of metric modulations.
Duration: 19' 00"
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CHF: 47.00
Prestissimo (1995)
Ergon 21/1
for xylophone (also marimbaphone)
Apparently without a structured outer rhythm but with a multifariously structured inner rhythm and a dialectically built inner dramaturgical tension in association with scenic elements.
Duration: 1' 00"
Adesso
CH-6958 Corticiasca
adesso@bluewin.ch
Prestissimo (1995)
Ergon 21/2
for xylophone (et al.) in threes
Apparently without a structured outer rhythm but with a multifariously structured inner rhythm and a dialectically built inner dramaturgical tension in association with scenic elements.
Duration: 3' 00"
Adesso
CH-6958 Corticiasca
adesso@bluewin.ch
Gedankenflucht (1995)
Ergon 22
for violoncello and piano
'Flight of thought' is a term used in psychiatry and means a mad, neurotic drifting of thoughts. The procedure of the slowed intuitive improvisation which declines all planable construction (like the crisis of analytical rationality), should lead to the formal categories of order dissolving into a flow and allow space for a new audio-experience.
Duration: 11' 00"
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CHF: 23.00
Quantenströmung (1996)
Ergon 23
for flute, viola and harp (harp trio)
'Quantum streaming' is defined by Gilles Deleuze as the transition of one energy state to another. In this piece I am mainly interested in the different energy forms, primarily potential energy and kinetic energy: What is the nature of the positional condition and the positional orientation, resp. energy density and energy transformation capabilities which charge a potential energy and set a process in motion.
Duration: 10' 00"
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CHF: 23.00
Quantenströmung (1996/97)
Ergon 23b
for flute, cello and piano
'Quantum streaming' is defined by Gilles Deleuze as the transition of one energy state to another. In this piece I am mainly interested in the different energy forms, primarily potential energy and kinetic energy: What is the nature of the positional condition and the positional orientation, resp. energy density and energy transformation capabilities which charge a potential energy and set a process in motion.
Duration: 10' 00"
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CHF: 57.00
Entropia (1997-1998)
Ergon 24
for violoncello solo
'Entropie' (ital. entropia) Is the measure of increasing disorder in a closed system. Entropy increases in any natural concurrent process. Interesting from a compositional point of view is the autodynamic process of the disorganisation of a strict order to growing "disorder", almost immediately creating new legalities of modes of action in the context. The composer becomes the observer of the drift in the piled up energies inherent to the material.
Duration: 11' 00"
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CHF: 23.00
carpe diem in beschleunigter Zeit (1998-1999)
Ergon 25
for string quartet
This piece, written specially for the 'Arditti-Quartett', is compressed in certain core moments to a twenty-fold layer convolute which, little by little, is lost through oscillation and fluctuation to the borders, so that at the end, in a very fast tempo, nothing but a shadow of the initial material remains.
Duration: 11' 00"
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CHF: 65.00
Die Auflösung der Zeit im Raum (2000-2001)
Ergon 26
for saxophone, percussion and piano
First performed by the Oggimusica Ensemble at the Expo 02, this work deals with various time-space concepts and attempts to fathom the depth of the sounding room, which has the capability to develop in time only - there were space and time converge and fuse together.
Duration: 14' 00"
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CHF: 49.00
Die Auflösung der Zeit in Raum (2000-2001/11)
Ergon 26f, work number 1607
for clarinet (bass clarinet), violoncello and piano
A piece dealing with the volatility of temporal experience in the infinitude of room.
Duration: 15' 00"
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CHF: 57.00
Meditation über die Zeit (2001)
Ergon 27a
for the left hand on the piano
Simple and extended sound structures create an even, acoustive level and bring the dimesion of time to the centre of attention.
Duration: 7' 00"
Manuscript
Manía (2001-2002)
Ergon 28
for piano
This piece is concerned with a compulsive obsession which should be chisselled so relentlessly and radically into the artistic expression such that it appears transformed into a completely different, transcended form.
Duration: 10' 00"
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Musik für Flöte (2002)
Ergon 29
A sparsely elemental material should gradually develop in such a way that, through an increasingly virtuosic, ever broader striking movement, an illusion of the instrument's threshold being expanded is created.
Duration: 6' 00"
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CHF: 31.00
Gantenbein, Musiktheater (2002-2004)
Ergon 30
for 4 soloists (SMezTBar) and orchestra (fl.ob.2cbcl(cl, bcl).bn/hn.tpt.2tbn.tba/2perc/8v I.6v II.4va. 4vc.2db)
Libretto by the composer.
World premiered at Lucerne City Theatre in collaboration with the 2004 'Weltmusiktagen', this opera named after the book by Max Frisch, deals with the relationship between him and Ingeborg Bachmann. The problematisation of the identity formation is mirrored through algorithmic processes, these are critically challenged and subjectively broken.
Duration: 60' 00"
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CHF: 114.00
Rachearie aus der Oper "Gantenbein" (2004)
Ergon 30/II
arranged for soprano and piano
Based on the novel "Mein Name sei Gantenbein" by Max Frisch.
The opera "Gantenbein" saw its premiere in November 2004 at the Lucerne Theater, performed by four vocal soloists and the Lucerne Symphony Orchestra. The subject of the opera is the relationship between Max Frisch and Ingeborg Bachmann. In the "Rachearie" (revenge aria) she strikes back at his accusations and suspicions made out of jealousy.
Duration: 2' 00"
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CHF: 31.00
Sulawedische Lieder (2005)
Song and vocal piece on my own onomatopoeic texts, Ergon 31
for soprano, baritone, 2 music-speach voices and extended piano (2-5 players)
Ergon 31, N° 1: "gelsüraga" for soprano and piano ca. 2:45
Ergon 31, N° 2: "hang gomeka" for soprano and piano (2005), ca. 2:40
Ergon 31, N° 3: "suragimanä" for soprano and piano (2005), ca. 4:10
Ergon 31, N° 3b: "suragimanä" for soprano and piano (2006), version b, ca. 4:10
Ergon 31, N° 4: "duet" for soprano and baritone (2005), ca. 4:46
Ergon 31, N° 5: "flutching music", a music-speech piece for two people (2005), ca. 2:30
Ergon 31, N° 6: "sulla tastiera" for music-speech voice and claviature, also as a virtual duet for a speaking claviature player alone (2005), ca. 4:00
Each piece deals with a different aspect: transparency, accordic, complexity, lucidity, music-speech, key-surface play. In addition it is an attempt at a new aesthetic approach to the song-duo.
Duration: 21' 00"
Manuscript
Drei andere Stücke für Klavier (2005-2006)
Ergon 32
Ergon 32, N° 1: 'Das andere Klavier' for an instrumentalist and inner piano, work in progress, present duration: 5-7 mins (2005)
Ergon 32, N° 2: 'Zeitrelationen' for piano solo in various versions (2005/06) between 3:17 and 4:32 mins in length
Ergon 32, N° 3: 'to the death of György Ligeti', 2 1/2 mins
The piano is, so to say, dematerialised as unconventional and extreme playing techniques are brought into association with a quasi-utopic configuration resulting in a music whereby one can lose ones sense of time.
Duration: 15' 00"
Manuscript
mira schinak (2006)
Ergon 33
trio for soprano, flute and piano
Moment forms, contrasting structures and characters between complexity and simplicity combined with a particular kind of lyricism leads to changes in the perception of tempo. Parallel to the conflict with various forms of perception, there develops a grammar of constructive congruity, which should allow the beaten path to emerge as conclusive.
Duration: 13' 00"
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mikka resna (2006)
Ergon 34
for tenor and guitar
The self-written onomatopoeic texts are semantically charged by the exaggerated gesture of the music and become thereby a farce.
Duration: 5' 00"
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CHF: 31.00
Studie über Zustände und Zeitprozesse (2007)
Ergon 35
for flute and piano
Extreme radicalness in the work with exactly measured time structures in relation to reduced yet obsessively used material.
Duration: 11' 00"
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CHF: 34.00
'Srang (2007)
Ergon 36
for soprano, flute, clarinet and violoncello
Based on an onomatopoeic text by the composer.
The development of an aesthetic of fragments as a metaphor for fragmentary perception.
Duration: 10' 00"
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Streichtrio (string trio) (2007)
Ergon 37
A dialectical dialogue between implied formal processes and an aesthetic of contrasts and opposites, and the attempt at developing a new grammar of musical form from this confrontation.
Duration: 10' 00"
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CHF: 29.00
Ly-Gue-Tin (2008)
Ergon 38
for voice(s) and piano
Based on an onomatopoeic text by the composer.
A dialogue between contrasting fragments as a sounding monograph for the inauguration of Jean Tinguely's life tables in Basel, 22 May, 2008.
Duration: 10' 00"
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CHF: 49.00
Sokrak (2008)
Ergon 39
for soprano, flute, clarinet, violoncello and piano
Based on an onomatopoeic text by the composer.
Sounds change from instrumental noises to sound frictions and from virtuousic buzzing to vocal noises.
Duration: 10' 00"
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CHF: 55.00
Iguur - Blay - Luup (2009)
Ergon 40
for soprano solo, soprano and baritone duo, and soprano with small ensemble (bass flute, bass clarinet and violoncello)
Based on own onomatopoeic text.
In the emblematics of the virtual language Sulavedic the word "iguur" stands as a metaphor, which has been mystified into "blay" through an unexpected resonance in order to resurrect in "luup" in a changed, purified and contextually different form.
Duration: 16' 00"
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CHF: 62.00
Charyptin (2010)
Ergon 42
for soprano, baritone, flute, clarinet, violin and violoncello
Texts: René Wohlhauser
Based on own onomatopoeic texts.
This piece deals with the possibilities and impossibilities of interaction, the mixing and exchanging of roles between vowels and instrumental sounds.
Duration: 13' 00"
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Charyptin-Fragmente (2010)
Ergon 42/IIa
for two voices: preferably soprano and baritone or soprano and alt or tenor and baritone
Based on own onomatopoeic texts.
This piece fathoms the various intermediary areas between the whispered, spoken and sung.
Versions for high or deep baritone (alt).
Duration: 5' 00"
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CHF: 36.00
Marakra Code Ø (2011)
Ergon 44/IV, work number 1606
for baritone solo
Based on own onomatopoeic texts.
The solo voice forms onomatopoeic language snippets with almost theatrical gestures and expressions into a discourse, thus suggesting an ambiguous subtext.
Duration: 2' 00"
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CHF: 34.00
Marakra Code 1 (2011)
Ergon 44/1, Musikwerknummer 1603
for soprano, baritone and piano, with percussion
Texts: René Wohlhauser
Two voices on their path through various fields of expression in dialogue with scarcely breaking out piano fragments, their performance shaded by some gentle input from the percussion.
Duration: 7' 00"
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CHF: 47.00
Marakra Code 2 (2011)
Ergon 44/II, work number 1604
for soprano, baritone, flute, clarinet, violoncello and piano, with percussion
Texts: René Wohlhauser
Following a double turning point (in bar 110) the onomatopoeic series of syllables at the beginning turn into semi-semantic text fragments, while reversely the instrumentalist's style of play moves from a quasi-traditional technique to sounding fragmented and noise-like.
Duration: 15' 00"
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CHF: 60.00
Naschra (2013)
Ergon 47, Musikwerknummer 1652
for 16th tone piano
Leading to an altered musical perception, limitation of the scope to an octave and the extreme differentiation of intervals within this octave are characteristics of this piece for sixteenth-tone piano.
Duration: 10' 00"
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Mikosch … lost in the Ultra Deep Field (2013)
Ergon 46, Musikwerknummer 1646
for piano
The music attempts to trace the relationship between human consciousness and the universe. It endeavors to look deep into the universe with its matter and energy organised according to physical laws.
Duration: 10' 00"
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CHF: 55.00
Mera gor nit (2013)
Ergon 48, Musikwerknummer 1657
for soprano and baritone
Texts: René Wohlhauser
If any text appears too profane to be set to music, all that remains is the complete absence of the text. The complete absence of a semantic text leads to a pure vocal music.
Duration: 8' 00"
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CHF: 42.00
(2011)

Duration: 12' 00"
Manuscript
Diskographie
Festival L'art pour l'Aar. Die Konzerte 2008/2009 (Müller & Schade Nr. 5071/2, 2009)
Interpreten:
Bovey, Pierre-André
Werke:
Darbellay, Jean-Luc: Aulos (2000)
Henking, Christian: 3 Bagatellen für 3 Englischhörner (1999)
Holliger, Heinz: KLAUS-UR (2001-2002)
Wohlhauser, René: Streichtrio (2007)
Keller, Max E.: Cinque (2008)
Schweizer, Alfred: Burleske (2008)
Frauchiger, Katrin: "Estos dias azules" (2008)
Frischknecht, Hans Eugen: FanSolSi (2002)
Darbellay, Jean-Luc: Vif (2008)
Frischknecht, Hans Eugen: Quartett (2009)
Mit weiteren Werken von: Gabrielle Brunner, Stefan Werren, Anastasiya Lozova, Theo Hirsbrunner, Daniel Andres, Pierre-André Bovey, Christian Giger, Markus Hofer, Ursula Gut
Info: www.fonoteca.ch
Luzerner Sinfonieorchester live im Konzertsaal des Schauspielhauses Berlin (Magnon Nr. 2620, 1995)
Werke:
Wohlhauser, René: in statu mutandi (1991-1993)
Mit weiteren Werken von: Alban Berg, Franz Schubert, Ernst Helmuth Flammer
Bibliography
Wohlhauser, René: Von einfachen graphischen Notationen und Verbalpartituren zum Denken in Musik, in: Schweizer musikpädagogische Blätter (Juni 1989) (1989), S. 72-81
Wohlhauser, René: Nicht ganz so einfach, in: Dissonanz (November 1989) 22 (1989), S. 33
Wohlhauser, René: Möglichkeiten der Einwirkung, in: MusikTexte 36 (1990), S. 36
Wohlhauser, René: Gegen die Zementierung des Status Quo, in: MusikTexte 35 (1990), S. 34-37
Wohlhauser, René: Wo bleibt der Schweizer Frühling?, in: Dissonanz (Mai 1990) 24 (1990), S. 39
Wohlhauser, René: Transzendentale Exerzitien, in: Neue Zürcher Zeitung (9. März 1991) (1991), S. 68
Wohlhauser, René: Über kompositorische, ästhetische und philosophische Aspekte eigener Werke (Darmstädter Beiträge zur Neuen Musik: Band 20: "Komposition und Ästhetik"), Schott, Mainz 1994
Wohlhauser, René: Kompositionsunterricht, in: Publikation der Musikakademie Basel (2001)
Wohlhauser, René: Komponieren und Unterrichten, in: Mitteilungen der Freien Musikschule Basel (2001)
Wohlhauser, René: "Aufbruch zu neuen Ufern." Entwicklungen, Tendenzen und Perspektiven in der zeitgenössischen Musik, in: Publikation der Musikakademie Basel (2001)
Wohlhauser, René: in statu mutandi – a work-analysis, in: New Music and Aesthetics in the 21st Century, Vol. 1: "Polyphony & Complexity", hrsg. von Claus-Steffen Mahnkopf, Wolke Verlag, Hofheim 2002, S. 314-324
Wohlhauser, René: "Ein Psychodrama der Seelenspiegelungen". Über die Oper "Gantenbein", in: Dissonanz (September 2004) 87 (2004), S. 22-24
Wohlhauser, René: Ende der Utopien?, in: Dissonanz (September 2006) 95 (2006), S. 49
Wohlhauser, René: Nur empfinden können sie nicht. Computerunterstütztes Komponieren – Erfahrungen aus der Kompositionspraxis, in: Basler Zeitung, Kulturteil (8.1.07) (2007), S. 6-7
Wohlhauser, René: Aphorismen zur Musik. Beiträge zum musikalischen Diskurs, Pfau-Verlag, Saarbrücken 2013
Drees, Stefan: Rezension zu: Aphorismen zur Musik. Beiträge zum musikalischen Diskurs, in: Dissoananz (Februar 2014) 125 (2014), S. 79-80
Kenneweg, Friederike: René Wohlhauser: The Marakra Cycle, in: Dissonanz 123 (2013), S. 79-80 [Internet]
Möller, Torsten: Mathematisch, mithin poetisch. Komponistenporträts von Edu Haubensak und René Wohlhauser, in: Dissonanz 108 (2009), S. 55
Hennrich, Dirk: Eifersucht und Verwirrung. Über René Wohlhausers Oper "Gantenbein", in: Baslerstab (2. November 2004) (2004), S. 11
Scheidegger, Birgit: Oper mit brisantem Hintergrund, in: Zeitung im Mikrokosmos Jungrau (29. Oktober 2004) (2004), S. 17
Koch, Jan-Peter: René Wohlhauser, in: Komponisten der Gegenwart (24. Nachlieferung), München 2002
Meyer, Thomas: "Ich möchte mich auf keinen Fall wiederholen" Oder: Komponieren als geistige Extremsportart. René Wohlhausers Streichquartett "carpe diem in beschleunigter Zeit", in: Dissonanz 72 (2001) [Internet]
Meyer, Thomas: Komponieren als geistige Extremsportart. Der Komponist René Wohlhauser, in: Dissonanz (Dezember 2001) 72 (2001), S. 28-33
Scheidegger, Birgit: Konzerte rund um den Erdball, in: Der Oberhasler (17. August 2001) (2001)
von Erlach, Hans Uli: Neugierde ist der Schlüssel zur modernen Musik, in: Blick [sic!] (8. August 2001) (2001)
Meyer, Thomas: Suche nach allen Dimensionen, in: Tele-Radio-Verlag (11. Mai 2000) 18 (2000), S. 24
Rüdiger, Wolfgang: Improvisationen mit Atem und Stimme, in: Musik & Bildung (Mai/Juni 1998) (1998), S. 45-48
Balzardi, Liliane: Schweizer Komponisten nach 1950 und ihre Ausdrucksweise - René Wohlhauser, SMPV, Zürich 1997
Meyer, Thomas: Interview with René Wohlhauser (contemporary swiss composers), Pro Helvetia, Zürich 1996
Koch, Jan-Peter: René Wohlhauser: Drei Stücke für Klavier (Universität Rostock, 1. November 1994), Rostock 1994
Haefeli, Toni: Komplexität und Einfachheit, in: Dissonanz (November 1993) 38 (1993), S. 26-28
Schaub, Fritz: Gangbarer Weg in unentdecktes Neuland, in: Luzerner Zeitung (19. April 1993) (1993), S. 27
Hänggi, Christoph E.: Ich bin eigentlich ohne Musik zur Musik gekommen, in: Basellandschaftliche Zeitung (5. Januar 1990) (1990), S. 14
Zbinden, Regula: Der kreative Impuls war von allem Anfang an da, in: Oberländischen Volksblatt (30. Juli 1988) (1988), S. 3
Ensembles