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Gaudibert Eric

(21. 12. 1936 - 28. 06. 2012)

Gaudibert Eric
Gaudibert Eric
36, chemin des Grands-Champs
CH-1232 Confignon
Suisse

Tel: +41 (0)22 771 16 40
Fax: +41 (0)22 300 05 08


Biography
Eric Gaudibert was born in Vevey. He studied piano under the tutelage of Denise Bidal and theory of harmony under Hans Haug at the 'Conservatoire de Lausanne' and later at the ' Ecole Normale de Musique à Paris' with piano under Alfred Cortot, and composition under Nadia Boulanger and Henri Dutilleux. He resided in Paris until 1972.
Gaudibert was active both as pianist and composer until 1969. He has worked in collaboration with 'Radio-Télévision Suisse Romande' on the production of electro-acoustic music and the broadcasting of programmes with a musical didactical theme. He was musical director of the 'Maison de la Culture d'Orleans' from 1972 until 1975 after which he settled in Geneva where he taught piano, harmony, musical analysis and composition at the 'Conservatoire Populaire de Musique'. He is also a professor at the conservatory in Neuchâtel. In 1989 the Swiss Association of Musicians awarded him the composer's prize for his life's work. In 1995 he was granted the music prize by the city of Geneva which is awarded once every four years. Eric Gaudibert was director of the class for composition at the 'Conservatoire Supérieur de Musique de Genève' from 1999 until 2004. He has since been appointed Honorary Professor of the above institution.


Work list
Duo pour flûtes (1959)
The three pieces of this duo (Moderate – Slow – Dance) are written in a classical manner.
Rather easy level of difficulty.
Duration: 10' 30"
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Mélodies (1966)
for soprano (tenor) and piano
Texts: Paul Eluard
2 notebooks each with three melodies.
1st notebook: Dit de l'amour – L'unique – Dit de la force de l'amour.
This notebook has also been transposed one tone deeper.

Duration: 6' 30"
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La harpe du silence (1966)
Lyrical suite
for soprano, alto, recitative and instrumental ensemble (2(2.pic).1.0.0/2.1.0.0/per/hp.pf/1.1.1.1)
Texts: Blaise Cendrars
A work in 7 parts: Tes mains pâles, - Ah! laisse-moi aimer – Comme un jet d'eau de joie – Ton visage m'apparaît – Nos baisers – Tes doigts – A travers nos cheveux.
In the expressionistic style of Alban Berg.
Duration: 26' 00"
Manuscript
Epibolie (1968)
for flute and string orchestra
Epibolie: imbrication of parts (physiology), nightmare (medicine).
The strings are divided into two parts, the part of the double bass is not divided. The flute has a concertante role in classic notation.

Duration: 10' 30"
Manuscript
Morceaux pour flûtes à bec (1969)
30 very brief pieces (duets, trios), half of which are based on folksongs. These easy pieces can also be played on a transverse flute.
Duration: 25' 00"
Editions Foetisch Frères SA
c/o Hug Musique SA
Grand-Pont 2bis
1003 Lausanne
Schweiz
Année (1970)
4 symphonic movements
for soprano, contralto and orchestra (2(2.pic).2(2.obdam).2(2.bcl).2(2.cbn)/2.2.0.0/perc/str)
Texts: Philippe Henri Jaccottet
The text and the music are inspired by the cycle of the seasons.
Duration: 42' 00"
Manuscript
Epitase (1970-1974)
for string trio, harpsichord and electronic tape
Epitase: transition from low to high; a part of a dramatic poem around which the piece is devoloped. The notation is simple and contains aleatoric passages.
The electronic tape is in the form of a CD.

Duration: 13' 00"
Manuscript
Syzygy (1971)
for flute and prepared piano
The instrumental playing is simultaneously traditional and experimental. In space notation. Piano preparation: one small wooden bar, pieces of felt, clothes pegs, pencils and pencil erasers.
Syzigic: The moon in conjunction with, or in opposition to, the sun.

Duration: 8' 30"
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Solstice (1971-1976)
for piano and electronic tape
The pianist plays on the keyboard and the string on the interior of the piano. The notation is synchronised with the electronic tape. Contains aleatoric passages in the notation. The tape is composed exclusively of pre-recorded and studio processed piano sounds. The CD that accompanies this piece is delivered with the score.
Duration: 12' 30"
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CHF: 18.00
(CD on loan)
Quatuor à cordes "entre se taire et dire" (1971)
This is a work of singular immediacy and of a high level of difficulty but without any special experimental notation. It is inspired by the quartet op. 18 n°3 from Beethoven which is quoted repetitively. The two violins and the viola play standing and move around the scene during the middle of the work.
The title is a quotation by Aragon.

Duration: 25' 00"
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Vernescence (1973)
for clarinet (basset horn or bass clarinet), piano and electro-acoustic slide show
The title is a neologism evoking spring or birth. The notation is graphic and rules define its interpretation. Accessories for the piano: a glass with a stem, claves, a percussion stick and a screw. The electro-acoustic device consists of 4 or 6 loud speakers divided in the room, two microphones for direct amplification and 2 Revox, the second of which reproduces, with a delay of about 10", that which is recorded by the first.
Duration: 18' 00"
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Ecritures (1975)
Opéra parlé
for voice and electronic tape (CD)
Texts: Bernard Falciola
Half of the text is treated on the tape according to the musique concrète technique, the other half is recited.
The voice of François Germond is the original material used for this piece.
The necessary CD is delivered with the score.

Duration: 22' 00"
Manuscript
Variations lyriques (1976)
for violoncello solo
A re-working of a 1966 piece. This series of variations runs uninterrupted through twenty-one episodes. Scordatura: h.g.d.a#. The score exists in two versions: a sounding and a fingering. Precise rhythmic notation with standard playing techniques - quarter tones used in the lower register.
Duration: 14' 30"
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4 Miniatures (1976)
for piano
Rather easy level of difficulty.
Duration: 9' 00"
Hug & Co. Musikverlage
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CH-8001 Zürich
Pour main gauche seule (1976)
for piano
In two parts: the first is rhythmical, the second slow and soft. Easy to perform.
Duration: 4' 40"
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5 Pièces brèves (1976)
for string orchestra
The first 4 pieces are orchestrations of the 4 miniatures for piano. The fifth piece was intended for strings. Rather easy.
Duration: 12' 00"
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Suite en 5 pièces (1977)
for guitar
The title of the pieces "à la Couperin": La résonante, La boiteuse, La rageuse, La secrète, La turbulente. Traditional notation.
Duration: 11' 00"
Hug & Co. Musikverlage
Limmatquai 28-30
CH-8001 Zürich
Sonate (1978)
for piano
A piece in three movements: Refrain-Brisants-Air. Space notation and standard playing techniques. The second movement is difficult to play. The first can be played separately.
Duration: 13' 00"
Editions Papillon
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Capriccio (1978)
for violin solo
This piece is in two interconnected parts; allegro and lento. Traditional notation.
Compulsory piece for the Tibor Varga Competition, 1979.

Duration: 7' 00"
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Divertimento (1978)
for string orchestra
The titles of the two parts of this work are quotes from Lamartine: "soleils! mondes errants… " and " …ces îles de lumière ". Traditional notation, of a rather high level of difficulty.
Duration: 15' 00"
Manuscript
Eripe me, Domine (Psaume 140) (1978)
for mixed double choir a-cappella
Of a rather high level of difficulty.
Duration: 7' 00"
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Chacun son singe (1973-1978)
Chamber opera
for soprano, baritone, instrumental ensemble (cl/hn/perc/pf/string quartet) and electronic tape
Texts: Philip Kermit Oxman
This work consists of 12 scenes in which the two singers have in each scene a different role. The music makes constant reference to well-known operas: Don Giovanni, Tristan und Isolde, Pelléas et Mélisande, Wozzeck. There is, in addition, a pianistic reference to Beethoven's Diabelli Variations. The libretto is a parody of literary references; it also quotes phrases by the marquis de Sade.
Duration: 65' 00"
Manuscript
Contrechamp (1979)
for flute, oboe, violoncello and harpsichord
The notation for the ensemble is traditional but in space notation for the harpsichord. The last section is notated on separate sheets with momentary points of reference. Standard playing techniques. The harpsichord needs an 8', 4' and lute stops.
Duration: 9' 30"
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Gemmes (1980)
4 Pieces
for orchestra (2(2pic).2(2ca).2(2bcl).2/2.2.2.1.0/2perc/str)
The four pieces: aquamarine, obsidian, heliodor and chrysoberyl present the colours and the characters of these four gemstones. The notation is traditional and the piece of an intermediate level of difficulty.
Duration: 12' 00"
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Astrance (1980)
for wind quintet
This work in one movement is for flute (piccolo, alto flute), oboe (english horn), Bb clarinet (small Eb clarinet, basset horn), horn, bassoon, and four metronomes as accessories. Traditionally notated but technically quite difficult.
Duration: 18' 00"
Hug & Co. Musikverlage
Limmatquai 28-30
CH-8001 Zürich
Light (1981)
for trumpet and piano
Compulsory piece for the international competition in Geneva, 1981.
Duration: 7' 00"
Editions Henn
5-7 rue de l'Ancien-Port
CH-1201 Genève
Suisse
Tel. +41 (0)22 738 91 10
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La cantate des éventails (1984)
for three children's voices and instrumental ensemble (3rec(SB)/tbn/hpd.spin/perc/vc) [3 children's choirs can be added]
Put into text by Jean Nicole after the imaginary narrative of an 8 years old girl.
Duration: 18' 00"
Manuscript
L'écharpe d'Iris (1984-1985)
Prelude
for orchestra (3.3.3.3/4.3.3.1/5perc/hp.cel/str - 3.3.3.3/4.3.3.1/5perc/hp.cel/str)
An impressionistic music inspired in part by the 'Prélude à l'après-midi d'un faune' from Debussy.
Duration: 11' 00"
Editions Papillon
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Un jardin pour Orphée (1985)
Movements
for horn and string ensemble (4.3.2.2.1)
The title of one of Paul Klee's drawings, with it's tangled lines and breathtaking texture, was the inspiration for this piece. The six character-specific passages are confined to the first solo violinist of the ensemble. Precisely notated.
Duration: 19' 00"
Manuscript
Hommage(s) à... (1985)
Short pieces
for orchestra (2.2.2.2./2.2.0.0/perc/pfstr)
A piece for the 80th birthday of Paul Sacher. The symbolic 'S' appears in the notation of the wind instruments. Quotations of works commissioned by Sacher can be heard in the strings.
Duration: 1' 40"
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CHF: 16.00
Orées (1986)
for violin, flute, violoncello, piano and clarinet
In these pieces, which run without a break, the clarinet plays a special role outside the ensemble. After introducing itself, it later closes the piece. The other four instruments are, with the exception of one tutti-episode, independent. The violinist is the soloist in the piece. At the end he plays a denatured instrument. The flute solo requires slight amplification. Towards the end, the cellist puts his instrument out of tune while he is playing. Flute: piccolo, alto flute in G. Clarinet: clarinet in Eb and Bb, bass clarinet.
Duration: 18' 00"
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Miscellanées (1986)
for panpipes, clarinet, violoncello, marimba, harpsichord and spinet, electro-acoustic slide show
Miscellanées: anthology of various manuscripts, mix. The flutist employs three instruments of different register (soprano, mezzo and alto); the clarinettist employs the small clarinet in Eb and a basset horn. Three octaves of a spinet are used to realise the microtonal range (1/4 and 1/3 tones). The electro-acoustic device consist of 2 x 2 electronic tapes, the second of which produces a delay of the recording of the first.
Duration: 17' 00"
Manuscript
Jetées (1987)
for organ
Open score. Seven themes are proposed on twelve separate pages: continuum, chords, arpeggios, fugato, grave, melody and rondo. Any of these themes can be played in conjunction with any of the others. With only one exception, no indications of register are given. The composer proposes eight possible permutations.
Duration: 10' 00"-20' 00"
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CHF: 21.00
Diamant d'herbe (1986)
Poem
for orchestra (2.2.2.2/2.2.1.0/perc/8.7.5.4.3)
The title is inspired by 'le diamant de l'herbe' a text by X. Forneret about a shiny worm.
Note: a duo between the bass clarinet and percussion.

Duration: 11' 00"
Editions Papillon
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Océans (1988)
Concertino
for flute and strings (4.3.2.2.1)
This concertino in one movement allows the flute a brilliant and poetic role. The notation is classic without any specialities.
The complete score and the material for a performance are available.
Reduction for clarinet and piano.

Duration: 12' 00"
Editions Papillon
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Feuillages (1988)
for three percussionists
This work, in four parts, is concerned respectively with woodwind, brass, keyboard and the skins.
Two very short intermezzi connect the parts.
The part 4a can also be played seperately as a fragment for four timpani.

Duration: 11' 00"
Hug & Co. Musikverlage
Limmatquai 28-30
CH-8001 Zürich
Songes / songs (1989)
for violin and piano
Traditionally written piece with the exception of certain passages. The parts are independent and notated on separate sheets - this leaves temporal relationships open and allows room for free interpretation. Employs standard playing techniques. Additional items: child-sized violin, and a weight to press down on the lower register of the piano.
Duration: 10' 00"
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CHF: 18.00
Le regardeur infini (1987)
Six scenes
for vocal ensemble, speaker, percussion and harpsichord
Texts: Victor Hugo
The principal text is extracted from legends of the centuries. The six scenes are grouped into 3 groups of two, between which an intermezzo taken from 'Choses vuis' is played on the harpsichord. The choral part of this new version is identical to that of the original version - the percussion requires three players. The vocal ensemble is for 16 voices in four registers; semi professional level.
Duration: 28' 00"
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Le regardeur infini (1987-1990)
6 scenes
for vocal ensemble and orchestra (3(2pic, afl, bfl).3(2.ca).3(Bbcl, bcl).3(3.cbn)/4.3.3.1/5perc/hp/str)
Texts: Victor Hugo
(1987)
The principal text is extracted from legends of the centuries. The six scenes are grouped into 3 groups of two, between which an intermezzo taken from 'Choses vuis' is played.
The vocal ensemble is for 16 voices in four registers; semi professional level.

Duration: 28' 00"
Manuscript
Songes, bruissements (1990)
for violin, violoncello and piano
Traditionally written piece with the exception of certain passages. The three instruments run their courses more or less independently of each other. Ensemble writing is metrical and performance techniques standard. The cello often plays in extremely high register, and a metal damper is used on the violin.
Duration: 16' 30"
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CHF: 36.00
Petite suite (1990)
for groups of violoncelli
This suite is composed in six pieces: ouverture, duel, nuit, ciel, danse de bois, sarabande. These pieces (two, three or four-voice) are written to assist development of collective play and are at a basic to medium level of difficulty.
Duration: 12' 00"
Nepomuk Musik Verlag
c/o Breitkopf & Härtel Musikverlag
Walkmühlstrasse 52
D-65195 Wiesbaden
BRD
Tel. +49 (0)611 45 0080
vertrieb@breitkopf.de
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Zwielicht (1990)
for flute and harp
Zwielicht = Twilight
Uses the piccolo flute and the alto flute in G. Written almost entirely in space notation. High level of difficulty.
Accessories: a bow for the harp.

Duration: 11' 30"
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Duel (1990)
for small string ensemble (ad lib.)
Part of the anthology CH-VIOLINO (didactical contemporary music for string instruments). This is a variation on the 2nd piece from the Small Suite for Groups of Violoncelli (1990).
Duration: 2' 00"
Nepomuk Musik Verlag
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Walkmühlstrasse 52
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Concerto (1991)
"su fondamenta insivisibli"
for oboe and orchestra (2.3.2.1/2.0.1.1/3perc/hp.clav.pf/str)
In two parts. The oboe solo is extremely difficult.
Duration: 17' 00"
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S'achève ma voix (1991)
for mixed choir and orchestra (2(2.pic).2.2(2.bcl).2(2.cbn)/2.2.0.0/3perc/str)
Texts: Adrien Pasquali
Duration: 6' 00"
Manuscript
Du blanc dans du noir (1991)
for two children's voices and a small ensemble (cl(bcl)/1perc/hp.ondes martinot/vc/)
Texts: J.M.G. Le Clézio
26 'sirandanes' riddles (grouped into 16 pictures) in Creole, the language of Mauritius.
Duration: 20' 00"
Manuscript
Albumblaetter (1992)
for flute and chamber orchestra
This work in six pictures is a homage to Schumann, from whom the following titles are borrowed: 'Humoresque', 'Lied', 'Vision', 'Abendlied', 'Dans la nuit' and 'Lied ohne Ende'. The chamber orchestra is a string orchestra with the addition of one percussion instrument and an oboe. The four flutists use the common flutes from piccolo to bass. This work exists in a version for two flutes. Composed for Aurèle Nicolet.
Duration: 17' 00"
Manuscript
Albumblaetter (1992-2000)
for two flutes
Version for soloists after the same work for flute and chamber orchestra.
This is a suite consisting of six short pieces 'Humoresque', 'Lied', 'Vision', 'Abendlied', 'Dans la nuit' and 'Lied ohne Ende'. The titles are a homage to Robert Schumann. Motives extracted from 'Albumblätter' and 'Bunte Blätter' can be found circulating in certain pieces.
The following four flutes are utilised: piccolo, flute-C, alto flute-G, and bass flute. The play is traditional and experimental.

Duration: 10' 30"
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Bruit d'ailes (1992)
for twelve-part vocal ensemble
Texts: K. White, Blaise Cendrars
The twelve voices (three per register) have the responsibility of soloists and demands an advanced level of performance. The legendry inspiring texts by K. White and B. Cendrars are in French and English.
Duration: 10' 00"
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Mélodie sans fin (1992)
for orchestra (2(2.pic)2.2.2/2.2.2.0/timp.perc/str)
Homage to Armin Jordan on his 60th birthday, composed with quotations of works from the 19th and 20th centuries.
Duration: 4' 00"
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CHF: 29.00
Sérénade (1992)
for violin, viola, violoncello and piano
A suite with four pieces: Entrée, Air à danser, Nocturne, Jeu. In the first piece the violin and the viola are independant of the piano and the cello; in a scenic version they move from the concert hall towards the stage while playing. Medium level of difficulty for all parts.
Duration: 8' 00"
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CHF: 26.00
Trois Tableaux (1993)
for two pianos
A work in three parts inspired by the interior of a church: Voutes - Rais - Travees. Metric notation and standard playing techniques.
Duration: 12' 00"
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CHF: 36.00
Chant de l'aube (1993)
for horn solo
A piece demanding very high technical skills, composed as a homage to Robert Faller. It is inspired by the music of Robert Schumann. At the end the hornist simultaneously sings one tone and plays.
Duration: 5' 00"
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Chant de l'aube (1993-1995)
for viola solo
An adaptation of the piece for horn solo.
Duration: 5' 00"
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Concerto (1993)
for violoncello and orchestra (2(2.pic).2(2.ca).2(2.bcl).2/2.2.0.0/timp/6.6.4.4.2)
In two parts.
Duration: 19' 00"
Manuscript
Jardins d'Est (1994)
for orchestra (2(pic).2.2(bcl).2(cbn)/2.2.0.0/2perc/hp/str)
This work contains a lot of tempi changes. It evokes a poetic and trembling atmosphere.
The fine and transparent notation is often underlined by the motives confined to the wind section, the solo violin, the harp and the percussion.
Duration: 8' 30"
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Concertino (1994)
for clarinet and strings
This work is in one movement. The Bb clarinet alternates between virtuoso, lyrical and intimate.
The score and the material are available on loan.
A reduction for clarinet and piano is also available.
Duration: 11' 00"
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Les amours du poète (1994)
for four-handed piano
Variation on 'Der Dichter spricht', the last piece of the 'Kinderszenen' by Robert Schumann.
Duration: 1' 30"
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Fanfare pour la paix (1994)
for solo and ensemble ad lib.
Duration: 2' 30"
Manuscript
33 chansons (1994)
for two guitars
This very attractive book (with drawings by Robert Hainard) is designed for children or beginners. It is a collection of popular songs accompanied by a second voice, which can be played by the teacher or an advanced student.
Duration: 50' 00"
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Deux pas dans le gris (1994-1999)
for accordion solo
Duration: 9' 00"
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Deux ou trois pas ... (1994-1998)
for double-bass
Duration: 9' 00"
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Deux ou trois pas dans le gris (1994)
for double-bass and accordion
The first part of this work gives the double-bass a virtuoso role. The two instruments are now independent as far as their character and the tempo is concerned. In the second part the double-bass and accordion merge in a lyrical and poetic way. This work resulted in two solo versions: 'Deux ou trois pas...' for double-bass and 'Deux pas dans le gris' for accordion.
Duration: 10' 00"
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Le dit d'elle (1995)
for double-bass solo
Inspired by a rondeaux by G. de Machaut, this piece is constructed of strophes in a parlando style. With comments using basic harmonic sounds. A quotation of a song taken from 'Remède de Fortune' concludes the work.
Duration: 10' 00"
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Concerto lirico (1995)
for soprano, violoncello and percussion
Texts: d'Aubigné, Martin Opitz, Francesco Petrarca, Katharina von Greiffenberg
This piece is intended for an extremely skilled soprano who is trained to sing in very different styles (from popular singing to dramatic singing). It is designed for a large venue within which the soprano and percussionist can move freely.
Duration: 40' 00"
Manuscript
Deux airs (1995)
for soprano, violoncello and percussion
Texts: Giambattista Marino, Catharina von Greiffenberg
Extracts of the Concerto lirico.
1) " Miro, rimiro… " for soprano and violoncello (or accordion)
Lyrical air on a poem by Giambattista Marino.
2) " Schwing dich, meine Seel" for soprano and percussion ad libitum
Large dramatic air on a poem by Catharina von Greiffenberg. The percussion comprises a tam tam and six temple blocks.

Duration: 12' 30"
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Intermezzo (1996)
for female choir, flute, violin and harp
Texts: Gianbattista Guarini, Quirinus Kuhlmann, Eduard Mörike, G.M. Hopkins, Angelus Silesius
The text is in three languages (Italian, German and English) and allows great variety in the choral part.
Duration: 20' 00"
Manuscript
Judith et Holopherne (1996-1997/07)
Melodrama
for string orchestra (or piano), timpani and speaker
Texts: François Debluë
This music is an adaptation of the Divertimento for Strings (1978) with the insertion of a fragment from Feuillages (1988).
Duration: 22' 00"
Manuscript
Voce, voci (1997)
for harp
A work written for the Concours international de Genève 1997. It is written in space notation in a system of three staves. It is essentially lyrical and develops polyphonic play in traditional notation.
Duration: 8' 00"
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"Ce tremblement, qui est une volupté" (1997-1999)
Duo
for two oboes
The title is a quote by Victor Hugo extracted from 'Les travailleurs de la mer'.
The first oboe doubles English horn and the second doubles a baroque oboe, if the latter is not available the musician can perform the passage in question on a modern oboe while transposing the text half a note deeper. This piece is of a high level of difficulty.

Duration: 13' 00"
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Concerto grosso (1998)
for strings (4.4.4.3.1 or 3.3.3.2.1)
This work consists of three movements: 'D’alcuna stella adorno', 'Un’estranea dolcezza', 'E fra l’onde agitata' (quotations by Torquato Tasso). Every instrument has a separate part. The whole carries with it the spirit of the baroque concerto grosso. The work is of a medium to advanced level of difficulty but devoid of special effects.
Duration: 16' 00"
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Canzone (1998/07)
for flute and violoncello
This work is based on melodic elements and rhythms taken from a 12th century chanson and a 14th century estampie. It demands a good technique for the high and muted notes. The flute player also uses the bass flute. At the end the 4th string of the cello is lowered by a fourth.
Duration: 12' 30"
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CHF: 31.00
Fantaisie concertante (1998-1999)
for pianoforte and baroque string quartet
This work in one movement is a homage to Carl Philipp Emanuel Bach. It contains quotates from the Fantaisies and from a Rondo by this composer. The pianoforte part is either in a free style, concert-like or very rhythmic and demands an advanced level of play. The quartet is written in traditional notation. The piano which was used for the world premiere was a copy of an instrument of 1815.
Duration: 16' 00"
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Canzone a tre (1998-2000)
for recorder, Baroque violin and Baroque violoncello
Can be played with modern instruments. The flute doubles the piccolo. This is a delicate piece inspired by a song from the 12th Century and a saltarello from the 14th Century. The original canzone was composed for flute and violoncello.
Duration: 10' 00"
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Fantaisie concertante (1999-2000)
for pianoforte
This is a solo version of the same work for pianoforte and baroque string quartet, a homage to Carl Philipp Emanuel Bach.The pianoforte has a range of five and a half octaves.
Duration: 12' 00"
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Trois pièces pour accordéon (1999)
These three pieces are part of a pedagogical series commissioned by the editor. They are intended for performers at basic and advanced levels. Every single one (Tourne, carrousel - Des pas dans le soir - Ciel d’orage) is at the same time an act and an etude.
Duration: 6' 00"
Nepomuk Musik Verlag
c/o Breitkopf & Härtel Musikverlag
Walkmühlstrasse 52
D-65195 Wiesbaden
BRD
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"Wolkenblau" (1999-2000)
for soprano, alto flute and guitar
Texts: Georg-Philipp Harsdörffer
The text, which evokes the four seasons, dates back to the 17th century. The title of the work, as well as the titles for each piece, are taken from the poem: Es bläst der sanffte West – Ihr Hertz ist von safran – Der Erden Kelterblut – Die Gäste gehen fort.
Duration: 11' 30"
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A Due (2000)
for oboe, clarinet, violin and double bass
Composition by Eric Gaudibert / Nicolas Bolens.
This work is written by two hands, by two different composers who experimented in equally sharing the single instruments: the oboe and double-bass on the one hand side and the violin and the clarinet on the other.
The precisely written violin is the conducting element and the three other instruments are grouped accurately around it. A description of the tempi allows easy playing. This piece has a medium level of difficulty.
Duration: 7' 30"
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"It was not no melody" (2000)
for soprano, flute, bass, viola, trumpet and electronic piano
The piece is based on the poem 'The mad fiddler' by a portuguese poet. There is, in addition, another poem sung in portuguese. The instrumental and vocal material is influenced by traditional portugese songs, the instrumental sections contain some improvised parts, mainly for the trumpet whose improvisation is inspired by jazz. The midi-piano gives some chords of colouring and micro-intervals, which contribute to the poetic atmosphere of the work. The Soprano has a very operatic vocal style.
Duration: 21' 00"
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Message (2000)
for violoncello solo and viola
The very lyrical violoncello has a parlando discourse. It is of a very high level of difficulty. The viola part, in contrast, plays a discrete role reminiscent of a portuguese folk song and is very easy.
Piece for the Concours international de Genève 2000.
Duration: 8' 00"
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5 Pièces (2001)
for 1, 2 or 3 saxophones
This notebook (which includes a CD) is part of the series "Musiques d'aujourd'hui pour saxophonistes de demain" (Music of Today for the Saxophonist of Tomorrow). These pieces ('Mélodies, mon désir', 'Une conversation', 'De-ci de-là', 'Est-ce un rêve?', 'En un violent combat') are of an intermediate to high level of difficulty.
Duration: 13' 00"
Woodbrass Music SA
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"Remember…" (2001)
for violoncello and electronic
This piece, dedicated to the memory of the victims of the concentration camps, and to that of Alma Rosé, niece of Gustav Mahler, the violinist who founded the orchestra for women at the Auschwitz camp. Sonorous documents (on CD) intervene during the course of the work. The electronics (GRM Tools) directly transform the sound of the violoncello. Accessory for the final section: a bow for a child's violin.
Duration: 16' 00"
Manuscript
Une promenade (2002)
for transverse flute, bassoon and natural horn
The three musicians perform on historical instruments tuned to 430 Hz.
Can be performed using modern instruments.
The parts are independent of each other. Towards the end there is an allusion to 'la Truite' by Schubert.

Duration: 11' 00"
Manuscript
"Mayn kind, mayn treyst" (2002-2004)
for violin and guitar
The title quotes the beginning of a Yiddish song that, together with a well-known melody (Belz), is the inspiration for this work. It is a homage to all the Polish Jewish children deported during the last World War. Violin and guitar are notated on separate sheets. The deepest string of the 2 instruments is tuned to F#. This is a music that is at once of great expressiveness and of great inwardness.
Duration: 14' 00"
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"Pierrot, à table !" ou le souper du poète (2003)
for percussion, accordion, saxophone, horn and piano
The percussionist plays both a principal and theatrical role performing on a table. The remaining instruments are, for the most, independent of one another; the piano is placed at the far-end of the scene. The sounds produced on the table are amplified.
Duration: 10' 00"
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Hekâyat (2003)
for rubab, viola, oboe and percussion.
The rubab is a common lute-like instrument with four strings from Afghanistan. The scordatura of the viola is: F#, D, G, H. The oboe doubles the baritone oboe which sounds one octave lower. The percussion consists of 3 cymbals, a log drum and a rototom. An amplifier is necessary.
This music leans towards a reunion of the Eastern and Western cultures.

Duration: 23' 00"
Manuscript
Vers quel ciel éblouissant (2003-2004)
Cantata
for mixed choir and ensemble (3(2.3.pic).1(ca).0.1(cbn)"2.2.0.0/2/perc/2pf/0.0.3.1)
Texts: François Debluë
In three parts. This work is intended for execution by a semi-professional choir. The text consists of 11 poems (or extracts) on the subject of Man and Nature.
Duration: 28' 00"
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"pour Orphée" (2004)
for horn solo
This piece is an adaptation and development of the solo part from 'Un jardin pour Orphée' (1985) for horn and string ensemble.
Compulsory piece for the international competition in Geneva, 2004.

Duration: 8' 00"
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Message(s) (2004)
for violoncello solo and string quartet
This is an enriched version of 'Message' for violoncello solo. The solo part is exactly the same but divided up into four episodes. The viola also remains in the role it played in the first version. The notation for the strings is relatively easy.
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Ciel d'ombre (2004)
3 pieces
for theorbo
Theorbo with 14 strings (6 of which are in the lower register).
The three pieces are: Paroles - Vers la nuit - Ciel d'ombre.

Duration: 8' 00"
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Intermezzo (2005)
for a vocal ensemble and female voice
Texts: Gianbattista Guarini, Angelus Silesius, Eduard Mörike, G.M.Hopkins
New a-cappella version of the work composed in 1996. For a minimum of 8 voices.

Duration: 13' 00"
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Au delà (2005)
for flute, viola and violoncello
The fourth string of the viola is lowered to G (one octave lower than the third string). The fourth string of the violoncello is lowered a minor third to A. Accessory: a bow for the flutist. At the end of the work the violist and the flutist both play on the strings of the violoncello. A discreet quotation appears in the middle of this trio: the beginning of the 'Gesänge der Frühe', op. 133 by Robert Schumann.
Duration: 15' 00"
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Images japonaises (2005)
for horn and string quartet
This work quotes a Haiku recited once by the hornist. It is inspired by the acidic sounds of Gagaku (music of the imperial court of Japan) and by the tense melismas of Nô. The string quartet's tempo is generally independent of the horn's. The five instrumentalist need to have a good command of micro intervals. The particular timbre of the quartet derives from researching the "fake" unisons.
Duration: 18' 00"
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5 Miniatures (2005)
for string quartet
The title of these miniatures are: accordi – flüchtig – lacrymæ – harmonics – trépidant. Each is of medium difficulty and develops an individual idea in a subtle manner.
Duration: 7' 00"
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Quatuor à cordes no 2 "rien, il n'y a rien de plus beau" (string quartet N° 2 "rien, il n'y a rien de plus beau") (2006)
This quartet, in three movements, is composed for the Quatuor Terpsychordes, which plays at the same time on historic 19th century instruments, tuned 1/2 a tone lower and on instruments with modern tuning. The combination of old and modern timbres and the different tunings add to the harmony and expression.
A version for instruments with a single tuning is included in the score.
Duration: 18' 00"
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"Là" (2006)
for guitar
An acrobatic piece of 15 chords to be played on the empty chords which change their scordatura every 4 seconds until every chord is tuned to the note a.
Duration: 1' 00"
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CHF: 13.00
Praeludium (2007)
for string ensemble (5.4.3.3.1)
This very short piece of medium difficulty was composed for the Camerata Zurich to celebrate their 50th anniversary. At the end of the piece the violin quotes the theme of Alban Bergs violin concerto.
Duration: 2' 00"
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(Parts: 16.-)
2'35" (2007)
for bassoon solo, bass flute, bass clarinet and trumpet
This piece was composed for the 30th anniversary of the ensemble Contrechamps. The title corresponds to the timing which Bartók set for his Allgero Barbaro. The trio (flute, clarinet, trumpet) play some extracts of this work with breathing sounds only, while the solo bassoon "sings" the beginning of the Music for Strings, Percussion and Celesta, also by Bartók.
It is possible to use other wind instruments then the ones chosen here.
Duration: 3' 40"
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"Sur la route du soleil levant" (2007)
for string orchestra (minimum 7.6.4.4.1)
This piece was composed to celebrate the 75th anniversary of the "Conservatoire Populaire de Musique" in Geneva. It has a very variable and colourful character and is suitable for good amateurs. In one part of the work the music stands (except for that of the double bass) are split into two.
Duration: 9' 30"
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A... in Wonderland (2007)
for viola and ensemble (fl, ob, cl/tbn/perc/pf/vn,vc)
The title refers to the book 'Alice's Adventures in Wonderland' by Lewis Carroll and to the interpreter, Anna Spina, to whom the work is dedicated. The alto solo part is of a high level of difficulty. There is a different scordatura for each of the 3 parts of the work.
Duration: 18' 00"
Manuscript
Passages intérieurs (2007)
for 3 flutists
Each interpreter plays 2 instruments: the flute in C + piccolo or alto flute or bass flute. The writing attempts to merge the timbres. Average level of difficulty.
Duration: 9' 00"
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CHF: 21.00
Le chant de la rose (2008)
for kawala, clarinet and qanun
Composed in collaboration with Arabic musicians in Cairo, this piece is improvised in parts. The clarinettist also has a singing part, which links the kawala (rural Egyptian flute) and the qanûn (Arabic zither).
Duration: 12' 00"
Manuscript
Trivium (2008-2009)
for recorder, pipa and percussion
This is an encounter between 3 instruments originating in different worlds: the Baroque recorder, the pipa (Chinese lute with 4 strings) and modern percussion instruments. The various timbres of the flute (soprano, alto and bass) and percussion instruments (vibraphone, triangle, cymbals, crotales, tam, snare drum, bass drum) merge with those of the pipa.
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Warum? (2009)
for flute, oboe and clarinet
This work is inspired by a piano piece with the same title by Schumann (Phantasiestücke op.12). It is a slow and tender piece of music which demands a great deal of concentration to master the contrapuntal lines.
Duration: 6' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
Schweiz
Tel. +41 (0)41 210 60 70
Fax +41 (0)41 210 60 70
mail@musicedition.ch
www.musicedition.ch
CHF: 18.00
Skr(i)pt (2009)
for vibraphone and ensemble (soprano.1.1.1/db)
Texts: François Rabelais
Triangles, crotales, cymbals, wood-blocks, bongos and bass drum are positioned around the vibraphone. The sung text consists of onomatopeic sounds and fragments from François Rabelais' Gargantua.
Duration: 11' 00"
Editions Papillon
Route d'Annecy 46
CH-1256 Troinex/Drize
Suisse
Tel. +41 (0)22 343 35 42
Fax +41 (0)22 343 35 42
editionp@worldcom.ch
www.editionspapillon.ch/
Si lointaine, sa voix (2010)
for female choir, recorder and organ
Texts: Francois Deblue
Duration: 18' 00"
Manuscript
Gong (2011-2012)
for concert piano and ensemble (2ob.cl.bn/2hn.tbn/2va.db/perc)
Duration: 18' 00"
Editions Papillon
Route d'Annecy 46
CH-1256 Troinex/Drize
Suisse
Tel. +41 (0)22 343 35 42
Fax +41 (0)22 343 35 42
editionp@worldcom.ch
www.editionspapillon.ch/
Diskographie
el-sabr gameel (Musiques Suisses Nr. MGB CTS-M 111, 2008)
Interpreten:
Spina, Anna
Giger, Paul
Werke:
Käser, Mischa: City 2 (2005)
Gaudibert, Eric: Le chant de la rose (2008)
Zimmerlin, Alfred: Rayyis Fikri and the Magic Square (2008)
Zimmerlin, Alfred: er-innern (2006)
Giger, Paul: Ruland-Zäuerli (2008)
Hansheinz Schneeberger (Musiques Suisses Nr. 101, 2006)
Interpreten:
Schneeberger, Hansheinz
Werke:
Gaudibert, Eric: Capriccio (1978)
Trümpy, Balz: Intertwined Paths (2001-2002)
Baader-Nobs, Heidi: Duo pour Hansheinz (1996)
Looser, Rolf: Rezitativ und Hymnus (1960)
Mit weiteren Werken von: Kolja Lessing, Friedemann Treiber, Elliott Carter
Info: www.fonoteca.ch
Gaudibert, Meier, Mieg: Konzerte (Musiques Suisses Nr. 6234, 2005)
Interpreten:
Schneider, Bruno
Renggli, Felix
Klavierduo Adrienne Soós und Ivo Haag
Werke:
Gaudibert, Eric: Albumblaetter (1992)
Mieg, Peter: Konzert für zwei Klaviere und Orchester (1939-1942)
Mit weiteren Werken von: Jost Meier
CIEM 1994 (Musica Helvetica Nr. 84.2, 1994)
Interpreten:
Kissóczy, Marc
Werke:
Blank, William: Nachtmusik (1994)
Gaudibert, Eric: Jardins d'Est (1994)
Trümpy, Balz: Nachtgesang (1993-1994)
Voegelin, Fritz: Ecstatic - Prelude (1960/1993)
Calame, Geneviève: Sur la margelle du monde (1987)
Kelterborn, Rudolf: Canto appassionato (1959)
Mit weiteren Werken von: Renzo Rota, Jost Meier
Info: www.fonoteca.ch
Eric Gaudibert (Perspective Nr. 9302, 1993)
Interpreten:
Cuendet, Olivier
Werke:
Gaudibert, Eric: Songes, bruissements (1990)
Gaudibert, Eric: Albumblaetter (1992-2000)
Gaudibert, Eric: Feuillages (1988)
Gaudibert, Eric: Concerto (1991)
Info: www.fonoteca.ch
Eric Gaudibert (Grammont Porträt Nr. 8-2)
Werke:
Gaudibert, Eric: Syzygy (1971)
Gaudibert, Eric: Gemmes (1980)
Gaudibert, Eric: Astrance (1980)
Info: www.fonoteca.ch
Bibliography
Verdier, David: Un chant de l'aube. La musique d'Eric Gaudibert au festival Les Amplitudes, in: Dissonanz 123 (2013), S. 34-37 [Internet]
Dayer, Xavier: Eric Gaudibert (1936-2012), in: Dissonanz 119 (2012), S. 80-81 [Internet]
Zimmerlin, Alfred: Musik an der Schnittstelle von Kulturen. Zum Tode des Komponisten Eric Gaudibert, in: NZZ (1. Juli 2012) (2012) [Internet]