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Furrer Beat

(06. 12. 1954)

Furrer Beat
Furrer Beat
Sonnleitengasse 10-12
A-3420 Kloster Neuburg
Österreich
Tel: +43 2243 38 740
Mobile: +43 699 101 989 58


Biography
Beat Furrer was born in Schaffhausen (Switzerland) and received his first musical training on piano at the Music School there. After moving to Vienna in 1975, he studied conducting with Otmar Suitner and composition with Roman Haubenstock Ramati at the Hochschule für Musik und Darstellende Kunst. In 1985 he founded the Klangforum Wien, which he directed until 1992, and with which he is still associated as conductor. Commissioned by the Vienna State Opera, he composed his first opera "Die Blinden". "Narcissus" was premiered in 1994 as part of the Festival "steirischer herbst" at the Graz Opera. In 1996 he was composer-in-residence at the Lucerne Festival. His music theatre work "BEGEHREN" was premiered in Graz in 2001, the opera "invocation" in Zürich in 2003 and the sound theatre piece "FAMA" in Donaueschingen in 2005. In autumn 1991 Furrer became a full professor of composition at the Hochschule für Musik und Darstellende Kunst in Graz. He has been guest professor in composition at the Hochschule für Musik und Darstellende Kunst in Frankfurt since 2006. In 2004 he was awarded the Music Prize of the City of Vienna, and in 2005 became a member of the Academy of Arts in Berlin. He was awarded the Golden Lion at the Venice Biennale in 2006 for his work FAMA.

Work list
Frau Nachtigall (1982)
for violoncello
Duration: 15' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
Tel. +43 1 337 23 0
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Ensemble (1983)
for 4 clarinets, 2 pianos, vibraphone and marimbaphone
Duration: 15' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Tiro mis tristes redes (1984)
for orchestra (2.2.2.2/2.2.2.0/2perc/pf/10.10.8.6.2)
Duration: 15' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Und irgendwo fern, sehr fern (1984)
for 2 pianos
Duration: 11' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Poemas (1984)
for mezzo-soprano, guitar, piano and marimba
Texts: Pablo Neruda
Duration: 20' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Sinfonia per archi (1984)
for string orchestra
Duration: 12' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
1. Streichquartett (1st string quartet) (1984)
Duration: 21' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Illuminations (1985)
for soprano and chamber ensemble (fl.2cl/2tbn/2-3perc/pf/vc(2 or more).db(1 or more))
Texts: Arthur Rimbaud
Duration: 20' 00"
Manuscript
Trio (1985)
for flute, oboe or saxophone and clarinet
Duration: 15' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Music for Mallets (1985)
for xylorimba, marimba and vibraphone
Duration: 9' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Duo (1985)
for 2 violoncelli
Duration: 15' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Chiaroscuro (1983-1986)
for orchestra (4.3.4.4/4.2.4.1/2perc/pf/12.12.8.8.6)
Former title: "Tsunamis".
Duration: 12' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Wie diese Stimmen (1985-1986)
for 2 violoncelli
Duration: 14' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Dort ist das Meer – nachts steig' ich hinab (1985-1986)
for mixed choir (4444) and orchestra (3.2.4.3/4.3.3.1/2perc/2pf.eorg/4.4.6.6)
Texts: Pablo Neruda
The text does not evoke the longing for a time past but is an expression of despair after a disastrous occurrence. Affliction as the mute witness of the Mapocho river: born from snow, flowing from the beak of the eagle, dancing through the 'ember valley'. It stands accused of inexorability and complacency. The ever-haunting call of the poet, the fearful questions, the frantic accounts answered only by silence. Naruda's text is not to be understood here as a programmatic model for the musical composition. Because only fragments of texts were used, it was possible to subordinate the language with the musical composition. The orchestra tutti, a synchronised process dependent on the conductor, the dynamic of which oscillates primarily between ppppp and p, is able only to force its way through in very limited parts forming a strata of sound from the process of which individual voices 'branch off', compress into a web and push the (synchronous) tutti sound into the background. These voices, independent of the conductor, are assigned their own tempo rates. It is thus possible to overlay extremely divergent tempo rates and long bows of tension and with individual time processes.
Duration: 16' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Voicelessness. The Snow Has No Voice (1986)
for piano
Duration: 10' 00"
Universal Edition
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A-1010 Wien
Oesterreich
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...y a una canción desesperada (1986)
for 3 guitars
Duration: 15' 00"
Universal Edition
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A-1010 Wien
Oesterreich
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Retour an Dich (1986)
for violin, violoncello and piano
No programme – it is made clear from the outset: The title was given after completion of the composition. – I speak not of myself – nor of you, now long lost to the eyes – I speak of the hours before our encounter – those that sparkled like glass shards on the riverbed, continually stirring our desire, descending to newer depths to raise them and view them on the surface as being nothing more than mere glass shards. – I speak of the way to you, Fata Morgana, whose narrowing spiral keeps me from you, forever circling an imaginary centre.
The image of the spiral signifies a state of weightlessness, created by the balance between similar and new – static and dynamic goal-orientated models.
I. Hesitant, step-by-step examination of the continually developing harmonic space
The tripartite form is a result of the breech in continuity I – III
II. The sound and metrical complexity is suddenly polarised
III. Advanced state of I – several voices gain ground – diverge but never totally lose their points of contact.
Duration: 14' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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n der Stille des Hauses wohnt ein Ton (1987)
for chamber ensemble (1.0.2.0/0.1.2.1/2perc/pf/1.1.2.1)
Duration: 12' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Ultimi cori (1987-1988)
for mixed choir (4.4.4.4 or 8.8.8.8) and 3 percussionists
Texts: Giuseppe Ungaretti
Duration: 40' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Gaspra (1988)
for ensemble (fl.cl/perc/pf/vn.va.vc)
In Gaspra, Furrer has divided the instruments into small groups within the ensemble. First, "two extreme sounds" pierce through the tutti passages: the grating, rhythmical, over determined piano and the rhythmical, rather more ambiguous string trio. The violoncello and clarinet duo and the percussion and piano duo operate between. The story committed to these groups by Furrer is told as a gradual transformation of the initial sound.
In Furrer's oeuvre, Gaspra is in many ways a new beginning; it is the first piece within which he works undeviatingly with noises. Additionally, the piece is "a concept in such a way so strictly executed as I have never actually implemented before". – And with a rigidity Furrer discounts today. It is also one of the first pieces where the voices are synchronised in a uniform measure.
In Gaspra, Furrer also works for the first time with rhythmical patterns, which, as the piece progresses, run through the transformation of a given starting constellation. Between this, the initial rhythmical form dissolves in an unforeseeable, quasi-chaotic field, however, the visualised form remains in continual development. The quality of the rhythmical fields "suddenly flips, becomes erratic and develops again into one direction: towards the target sound".
Gaspra is named after an asteroid with a diameter of five kilometres – "a boulder, the remains of an exploded star, erring in the gravitational force of our solar system".
Duration: 17' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Risonanze (1988)
for orchestra in 3 groups
Instrumentation:
Group A: 2.0.2.2/2.2.2.1/str(4.4.4.4.4)
Group B: 3perc
Group C: (electronically amplified) afl(G).bcl/vl.vc.db
Duration: 25' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Epilog (1988)
for 3 violoncelli
Duration: 10' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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2. Streichquartett (2nd string quartet) (1988)
Duration: 10' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Die Blinden (1989)
chamber opera in 1 act
After Maurice Maeterlinck's " Les Aveugles", adapted by Beat Furrer.
Cast: 3 mezzo-sopranos, 2 female and 6 male voices, choir (4S4A4T4B)
Duration: 60' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
Tel. +43 1 337 23 0
Fax +43 1 337 23 400
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Studie – Übermalung (1989-1990)
for large orchestra (4.4.4.4.tsx/4.4.4.1/2per/8-10.8-10.8-10.6-8.6)
Duration: 13' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Studie 2 - a un moment de terre perdue (1990)
for ensemble (fl.2cl.tsx/tpt.tbn.tba/2perc/pf/vn.va.vc.db)
Duration: 17' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
Tel. +43 1 337 23 0
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Für Alfred Schlee (1991)
for string quartet
Duration: 1' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Aer (1991)
for piano, clarinet and violoncello
Duration: 13' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Face de la chaleur (1991)
for flute, clarinet, piano and orchestra divided into four groups
The divided orchestra distributed in the room:
Group A: 2tpt.2tbn/2vn.va.vc.db/perc
Group B: afl(G).2cl/2vn.va.vc.db/perc
Group C: 2afl(G).cl/2vn.va.vc.db/perc
Group D: 2tpt.2tbn/2vn.va.vc.db/perc
Duration: 18' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
Tel. +43 1 337 23 0
Fax +43 1 337 23 400
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www.universaledition.com/
Madrigal (1992)
for orchestra (3.2.3.2/4.3.4.0/4perc/pf.hp/12.12.10.8.6)
Duration: 15' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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... cold and calm and moving (1992)
for flute, harp, violin, viola and violoncello
Furrer outlines his composition "cold and calm and moving" in an associative sequence:
"Four initial sentences of a Petrarca sonnet – images of solidification – are audibly perambulated – spiralling outwards from an imaginary centre – here movement is a displacement of perspectives, respectively a continual deformation of the initial constellation – the displacement of rhythmic, respectively harmonic constellations are perceived by the listener in the same way perspectives and lighting conditions continually change for a viewer walking through the inside of a church."
Duration: 25' 00"
Manuscript
Lied (1993)
for violin and piano
The violin and piano can find no mutual meter – they approach and recede from one another in ever so slightly differing tempi.
Sounds appear to remember – the initial motive from Schubert's lied "auf dem Flusse" (Winterreise) seems – without being quoted – to be audible in the distance.
Duration: 12' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Narcissus (1992-1994)
opera in 6 acts
After Ovid's "Metamorphosis". German by Beat Furrer.
Cast: Soprano, 2 speaking voices, 8 voices (2S2A2T2B)
Instrumental ensemble: 2.0.2.1.sx/2.2.2.1/3perc/pf.hp/2.2.2.2
Duration: 80' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Narcissus-Fragment (1993)
for 2 speakers and 26 players (2.0.2.1.sx/2.2.2.1/3perc/hp.pf/2.2.2.2)
After the "Metamorphoses" of Ovid. German by Beat Furrer.
From tense, unstable sequences of events: a continual, restless search as a certain gesture: the achieved is immediately relinquished, the establishing orders are immediately fragmented, mirrored, contorted, duplicated. New perspectives, new reference points alter the sequence of events – quasi echoes in ever-changing spaces.
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Quartett (1995)
for percussionists
Duration: 24' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
Time out 1 (1995)
for flute, harp and strings
Repetition – modification
Precise – process-like aspirations continually interrupted
Movement – hesitation – returning again
Searching for another sequel
Snapshots of slowly altering surfaces – multilayered – interlocking
"A song, which beyond the end of the song searches for another ending…" (Kafka)
Duration: 16' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Time out 2 (1995-1996)
for flute, harp and strings
Duration: 14' 00"-15' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Nuun (1995-1996)
for 2 pianos and ensembe (2.1.3.1.sx/2.2.2.0/3perc/2.2.2.2)
Duration: 17' 00"-18' 00"
Universal Edition
Karlsplatz 6
A-1010 Wien
Oesterreich
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Stimmen (1996)
for mixed choir and four percussionists
Excerpt from the "Prophecy" by Leonardo da Vinci and two texts from Christine Huber.
Can also be performed by a percussion quartet without the choir.
Duration: 20' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
Psalm "Gloria tibi Domine" (1997)
for eight-part a-cappella choir (SSAATTBB)
Duration: 5' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
Stimme – allein (1997)
for baritone
Text from "Leonce und Lena" by Georg Büchner.
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
a due (1997)
for viola and piano
Duration: 18' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
presto (1997)
for flute and piano
Duration: 10' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
still (1998)
for ensemble (fl, ob, bcl, tsx, tpt, tbn, 2perc, pf, 2vn, va, vc, db)
Duration: 15' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
spur (1998)
for piano and string quartet
Duration: 17' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
aria (1999)
for soprano and six instruments (cl, perc, pf, vn, va, vc)
Texts: Günter Eich
Duration: 18' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
solo (1999)
for cello
Duration: 18' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
Ein Lied, das über das Ende des Liedes hinaus ein anderes Ende finden wollte (2000)
for ensemble (2.1.2.1/1.1.1.0/2perc/pf/2.2.1.1)
Duration: 3' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
voices – still (2000-2001)
for choir (SATB) and ensemble (1(pic).1.1(bcl).tsx(ssx)/tpt.tbn/2perc/pf/2vn.ca.vc.db)
Duration: 13' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
Orpheus' Bücher (2001)
for choir and orchestra (1.1.1.bcl.sx(tsx,ssx).0/0.1.1.0/2perc/pf/str soloistic: 8.8.6.6.4)
Texts: Cesare Pavese, Ovid, Vergil
Duration: 15' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
Begehren (2001)
Musical theatre
After texts by Cesare Pavese, Günter Eich, Ovid and Vergil. Libretto by Beat Furrer, Christine Huber and Wolfgang Hofer.
Cast: She (female voice), He (male voice), speaker, mixed choir (12 voices)
Orchestra: 1.1.2(bcl,2.cbcl).sx(tsx,ssx).0/0.1.1.0/2perc/pf/2vn.va.vc.db
Duration: 90' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
auf tönernen füssen (2001)
for voice and flute
Texts: Friederike Mayröcker
Duration: 10' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
Phasma (2002)
for piano
Duration: 16' 00"-18' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
invocation (2002-2003)
Opera
After texts by Marguerite Duras ("Moderato cantabile"), Ovid, Cesare Pavese et al. Libretto and translation by Ilma Rakusa in collaboration with Beat Furrer
People: Anne [she] (high soprano), Anne (actress), Chavin [he] (reading voice)
Choir 3S3A3T3B
Orchestra: 2(1.bfl).1.3(1.and2.bcl).tsx(ssx).1(cbn)/1.1.1.0/3perc/pf/str: 2vn1va1vc1db
A city somewhere beside the sea: A woman, Anne Desbaresdes, wife of a factory owner, is with her young son visiting a piano teacher. Screams are heard in the street, in the pub below a man has shot a woman; it was said she wanted him to do it. Anne enters the pub, and returns day after day, conversing in short sentences with a stranger about the murder and how it came to happen. The border blurs between the destiny of the one murdered and her own. In her relationship with the stranger it is as though the relationship between the murderer and the murdered is want to repeat. "Thin ice" separates the world of this member of the educated class, symbolised by a performance of the Diabelli Sonatina repeated in a weekly piano lesson, from the abyss of a destructive libidinality the scream, the scent, the magnolias, the wine, the night. The drama is sketched in powerful images and curt sentences, the starting point of which is the scream that interrupted the "moderato cantabile" of the Diabelli Sonatina during the piano lesson. This still anonymous murder then appears to repeat itself on a different level. The sound is already a constituent of this curiously timeless image: the sound of the sea, Diabelli's Sonatina, the scream, the noise, the anonymous mass of people on the street, in the pubs etc. The form of narration, the anticipation of the scream, which seems to be a quasi anticipation of the end of the lineal narration, leaves this quasi in the room as a theme: the narrative time as the perspective of a room. It is left to the music to create these changing perspectives (camera angles), this corresponds to my idea of the temporal densification (simultaneity) of linear processes (movement sequences): everything is present from the beginning; things (figures) emerge and recess.
While the narration broaches the issue of desire (the skin of the protagonist), the focus of my compositional "view" is Anne's voice, its intimacy, the "dramatic" space between cultivated opera voice and the immediacy of a corporeal expression (such as breath, scream etc).
Duration: abendfüllend
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
Invocation VI (2002-2003)
for soprano and bass flutes
Texts: Juan de la Cruz
Duration: 10' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
Zwei leichte Klavierstücke (two light piano pieces) (2003-2004)
Duration: 2' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
Drei Klavierstücke (three piano pieces) (2003-2004)
Duration: 12' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
Invocation III (2004)
Concertante version of a scene from the opera "Invocation"
version for soprano and flute
Texts: Anonymus
Duration: 12' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
Invocation III (2004)
Concertante version of a scene from the opera "Invocation"
for soprano and ensemble (fl.2bcl/tpt.tbn/1perc/pf/2vn.va.vc.db)
Texts: Anonymus
Duration: 12' 00"
Manuscript
3. Streichquartett (3rd string quartet) (2004)
Duration: 40' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
andere stimmen (2003)
for violine and orchestra (2.1.2(bcl).tsx.0/2.2.2.0/3perc/pf/6.6.4.4.3)
Duration: 17' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
apoklisis (2004)
for two bass clarinets
Duration: 15' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
recitativo (2004)
for voice and ensemble (1(bfl)1.2(bcl).tsx.1/0.1.2.0/2perc/pf/1.1.1.1.1)
Concertante version of the 3rd scene from the musical theatre "FAMA".
Duration: 17' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
FAMA (2004-2005)
Sound theater in eight scenes
for large ensemble, eight-part (SSAATTBB) and actress
Texts: Ovid, Arthur Schnitzler
Ensemble: 2(1.bfl,cbfl,pic,2.pic).1.2(bcl).tx.1(cbn)/0.2.2.0/2perc/pf.acn/str(2vn.2va.2vc.2db)
The third scene can be performed concertante.
A young woman before a mirror "Am I really so beautiful? – Is that me there who speaks?" She experiences herself though the projections of the society around her, reflects in the image of others. Her nakedness shows her exposed, defenceless, an object of desire. An obsessive view from without: she has not yet found herself, remains a stranger to who she is. In Schnitzler's novel, Fräulein Else is sent out into the fine world of a glitzy Italian hotel in the Dolomites. She has a hopeless, demure sense of the direction in which this society is leading her, a society whose women are kept on the end of leads attached to pearl collars. "When I marry, I will most probably do it cheaper" – marriage is another form of prostitution. Her mother's beseeching letters pressure her: Else must find money to support her debt-ridden father, first thirty and then fifty thousand guilders. The sponsor's price is high and leads Else to a world of self-destruction, a further "victim on the altar of a world of total reification" (Furrer).
A breathless monologue, blurted out in great distress: "I want to leave"… Existential danger is the starting situation of Beat Furrer's "Fama" – a volcanic explosion, as described by the Roman poet Lukrez – pure status quo, an overpowering pressure which can lead only to flight. "I hear the screaming, the fire, the breath…" a massive, glistening sound.
A complimentary vision of a distant, serene garden, "with nothing but dreaming trees, united in one thought…" (Carlo Emilio Gadda). Beat Furrer positions this utopia at the centre of the eight scenes: a sense of longing is brought to sound by the echo of a distant, pulsating sigh.
Sounds of man and earth, distant mumblings and rumblings resonate in the house of Fama. Fama, the mythical figure, has built a house "entirely of sounding ore, resonating ubiquitously it hurls back in imitation what it hears", like Ovid described, "with overwhelming sensuality" (Beat Furrer). The indefatigable monologue of Else is a human's destiny, reverberating – as a scream, as a desolate whisper, as a breathless babble. This figure, whose thoughts are language, oscillates between the rapture of a dream and a harried existence. "How curious my voice sounds" – the voice and its alternating tonalities is increasingly approached as the piece progresses, from 'close-ups' to a unification with the instrumental sound and finally a complete loss of voice: "Fama reveals the ensuing catastrophe in an instrumental aftershock."
Duration: 50' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
lotófagos (2006)
for soprano and double bass
Texts: José Ángel Valente
Duration: 7' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
enigma (2006)
for mixed a-cappella choir (divided into four groups)
Texts: Leonardo da Vinci
Duration: 4' 00"-5' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
antichesis (2006)
for 14 strings (distribution: 2 string quartets, trio [2 vn,va], duo [2 vn], db)
Duration: 15' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
canti notturni (2006)
for two sopranos and orchestra (bfl.0.0.2bcl.0/2(2tbn).2.0.0/2perc/pf.acn/8.8.6.6.4)
Texts: Carlo Emilio Gadda
Duration: 8' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
Phaos (2006)
for orchestra (2(1.bfl and pic, 2.pic)1.3(2.,3.bcl).tsx.2(2.cbn)/2.2.2.0/3perc/pf.acn/8.8.6.6.4)
Duration: 17' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
Konzert für Klavier und Orchester (2007)
orchestral instrumentation: 2(2pic).1.3(2.,3.bcl).tsx.2(2.cbn)/2.2.2.0/3perc/pf.acn/8.8.6.4.3
Duration: 18' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
Conzert (2007)
for piano and orchestra (2(both pic).1.3(2&3 bcl).1tsx.2(2 cbn)/2.2.2.0/3perc/pf/acn/1.2.2.2.1)
Duration: 18' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
fragmentos de un libro futuro (2007)
for soprano and guitar quartet
Texts: José Ángel Valente
Duration: 10' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
lotófagos II (2008)
for 2 sopranos and ensemble (cbfl, acn, 2vn, va, vc, db)
Texts: Klaus Händl, Antonio Machado
Duration: 15' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
Xenos (2008)
for ensemble (1.1.2.sx.cbn/1.1.1.0/2perc/pf.acn/2.1.1.1)
Duration: 13' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
Apon (2009)
for speaking voice and orchestra (2.1.2.sx.2cbn/2.2.2.0/2perc/pf.acn/8.8.6.5.4)
Texts: Klaus Händl
Duration: abendfüllend
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
Wüstenbuch (2009)
Musical theatre
for 2 sopranos, vocal ensemble, speaking voice and small orchestra (2.1.2.1.sx/1.1.1.0/2perc/pf.acn/str)
Texts: Klaus Händl, Ingeborg Bachmann, Antonio Machado, Lukrez, Papyros Berlin 3024
Duration: abendfüllend
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
Xenos III (2010)
for 2 percussionists and string ensemble (6.4.4.2)
Duration: 11' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
Studie (2011)
for piano solo
Duration: 7' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
Enigma V (2012)
for mixed a cappella choir
Texts: Leonardo da Vinci
Duration: 15' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
Ira - Arca (2012)
for bass flute and double bass
Duration: 15' 00"
Bärenreiter Verlag Basel/Kassel
Neuweilerstr. 15
CH-4015 Basel
Schweiz
www.baerenreiter.com
(2013)

Duration: 9' 30"
Manuscript
Diskographie
Beat Furrer (Musiques Suisses Nr. MGB CTS-M 141, 2014)
Werke:
Furrer, Beat: Aer (1991)
Furrer, Beat: ... cold and calm and moving (1992)
Furrer, Beat: Lied (1993)
Furrer, Beat: auf tönernen füssen (2001)
Furrer, Beat: Studie (2011)
Info: www.fonoteca.ch
Ensemble Boswil (Klang Farben Boswil Nr. 14, 2012)
Werke:
Huber, Klaus: Kammerkonzert ("Intarsi") (1993-1994)
Furrer, Beat: Xenos (2008)
Mit weiteren Werken von: Iannis Xenakis, Xiaoyong Chen
Info: www.fonoteca.ch
Ensemble Phoenix Basel (Grammont Porträt Nr. MGB CTS-M 110, 2008)
Interpreten:
Ensemble Phoenix Basel
Werke:
Buess, Alex: Ghosts of Schizophonia (Phylum II) (2005)
Furrer, Beat: still (1998)
Mit weiteren Werken von: Jim Grimm, Fausto Romitelli, Jorge Sánchez-Chiong
Begehren (KAIROS Nr. 0012432KAI, 2003)
Interpreten:
Furrer, Beat
Werke:
Furrer, Beat: Begehren (2001)
Info: www.fonoteca.ch
Die Blinden (MGB Nr. 6150, 1999)
Interpreten:
Furrer, Beat
Werke:
Furrer, Beat: Die Blinden (1989)
Info: www.fonoteca.ch
Hommage à Andrei Tarkovsky (DG Nr. 437 840-2, 1996)
Werke:
Furrer, Beat: Face de la chaleur (1991)
Mit weiteren Werken von: Nono, Kurtag, Rihm
Info: www.fonoteca.ch
Narcissus (MGB Nr. 6143, 1996)
Interpreten:
Furrer, Beat
Werke:
Furrer, Beat: Narcissus (1992-1994)
Info: www.fonoteca.ch
Die Blinden (pan classics Nr. 510 054, 1992)
Interpreten:
Furrer, Beat
Werke:
Furrer, Beat: Die Blinden (1989)
Info: www.fonoteca.ch
Aria / Solo / Gaspra (Kairos / edel Nr. 12322)
Interpreten:
Furrer, Beat
Werke:
Furrer, Beat: Gaspra (1988)
Furrer, Beat: aria (1999)
Furrer, Beat: solo (1999)
FAMA (Kairos / edel Nr. 12562)
Interpreten:
Furrer, Beat
Werke:
Furrer, Beat: FAMA (2004-2005)
still ... (Kairos / edel Nr. 1206)
Interpreten:
Furrer, Beat
Werke:
Furrer, Beat: Nuun (1995-1996)
Furrer, Beat: Poemas (1984)
Furrer, Beat: still (1998)
Bibliography
Gottstein, Björn: Metamorphosen. Beat Furrer an der Hochschule für Musik Basel. Schriften, Gespräche, Dokumente - stimmen im raum. Der Komponist Beat Furrer, in: Dissonanz 119 (2012), S. 84-85 [Internet]
Fatton, Andreas: Einsamkeit und Tod. "Wüstenbuch" - ein Musiktheater von Beat Furrer in Basel und Berlin, in: Dissonanz (Juni 2010) 110 (2010), S. 69-70 [Internet]
Rögl, Heinz: Eine formative Kraft im österreichischen Musikleben. Das "System" Furrer, in: Dissonanz 99 (2007)
Müller, Patrick: Mögliche Orte einer Handlung. Gespräch mit Beat Furrer zu seiner neuen Oper "Invocation", in: Dissonanz 81 (2003)
Töpel, Michael: Moderato cantabile. Beat Furrer im Gespräch über seine neue Oper, in: Takte, Informationen für Bühne und Orchester 2 (2002), S. 2f
Scheib, Christian: Destillationsprozesse, in: du, Die Zeitschrift für Kultur 7 (2001), S. 135ff
Artikel "Beat Furrer", in: Lexikon zeitgenössischer Musik aus Österreich. Komponisten und Komponistinnen des 20. Jahrhunderts, hrsg. von Bernhard Günther, music information center austria, Wien 1997, S. 449-452
de la Motte, Diether: Zum 'Narcissus-Fragment', in: Nähe und Distanz, Bd. 2, Hofheim 1997, S. 236-248
Siegrist, Kerstin: Furrer - die Opern 'Die Blinden' und 'Narcissus', Johannes Gutenberg-Universität, Mainz 1997
Bitterli, Peter: Furrers Einkreisung und Verkündigung. Werke von Beat Furrer an den IMF Luzern, in: Luzern heute 188 (1996), S. 3
Bitterli, Peter: Assonanz und Stimmen. Uraufführungen von Michael Jarrell und Beat Furrer, in: Basler Zeitung (6. September 1996) 208 (1996), S. 46
Günther, Bernhard: Zeit im Sprung: Beat Furrer, in: Takte, Informationen für Bühne und Orchester 2 (1996), S. 16f
Kager, Reinhard: Klangblitze in stiller Dunkelheit. Zur Musik der Schweizer Komponisten Beat Furrer und Michael Jarrell, in: Programmheft der Internationalen Musikfestwochen Luzern, Luzern 1996, S. 142ff
Maurer Zenck, Claudia: Echo wird Musik. Zur Entstehung von Beat Furrers 'Narcissus', in: Opernkomposition als Prozess, Kassel 1996, S. 165-186
Scheib, Christian: Artikel "Beat Furrer", in: Komponisten der Gegenwart, Edition Text + Kritik, München 1992
Hagmann, Peter: Musik der offenen Beziehungen, in: Neue Zürcher Zeitung 9 (1991), S. 68
Becher, Christoph: Der freie Fall des Architekten, in: Neue Zeitschrift für Musik 7 (1990)
Oswald, Peter: Chiffrierte Botschaften des Lebens, in: Melos 3 (1988), S. 33ff