Thüring BrämSechs Haikai (1969)
for solo Soprano, chamber choir, string trio and vibraphone
Texts: Japanische Texte
Six short Japanese three-liners. The choral part is on an advanced level but can be performed by good amateurs.
Duration: 8' 00"
George BarcosHomenaje a la Selva (1989)
for flute, clarinet, violoncello and vibraphone
Diálogo de las flores - Danza de las abejas - Resurección de los árboles.
Duration: 7' 30"
Eliane Frances GeorgeArmistice (1990)
for three vibraphones and six musicians
Following the experience of 'Darkness' which had been composed before the fall of the Berlin wall and the change in our relationship with the Soviet Union, I wanted to express another vision of the possibilities which our era has to offer - the hope of peace, as opposed to the nightmare vision which I sought to depict in 'Darkness'.
Duration: 11' 35"
Felix SchüeliSieben Geheimnisse (2000-2001)
for mixed choir, orator, CD playback and ensemble (piano quartet and one percussionist: marimbaphone, vibraphone, large drum, small drum, flexatone, whip, cipher)
Texts: Alltags- Werbe- Mediensprache
Text: Commentary from the French national football team winning the world championships: "Aux larmes citoyens!", "La victoire est en eux!", "Ils iront tous aux paradis!".
Duration: 8' 00"
(Choir parts: sFr. 14.-; € 14.-; instrument parts: sFr. 20.-; € 20.-)
Cécile MartiStreifen (2007)
for quartet (vn, va, vib, pf
"Klänge streifen, Rhythmen streifen, Melodien streifen, Streifen schichten, Streifen verweben,
Streifen verdichten. Streifend durch Klanglandschaften ziehen, streifend Klangfarben berühren,streifend Streifen streifen......."
Two string instruments stand face on with two percussion instruments whereby the "percussion's" primary objective is to attempt tonal alignment with the strings. The vibraphone plays a coupling role between the two parties. Polar oscillating movements, stratifying and sometimes recolouring, flowing sound bands and flitting pulsations alternate throughout the piece.
Duration: 9' 00"
Hans-Jürg Meierd'une autre vie (1996)
for tenor recorder, violoncello and vibraphone
Three parts: véhément / paralysé / -.
The recorder requires amplification in parts.
Duration: 14' 00"
Michael SchneiderLicht bei Vermeer (1997-1998)
for eight-part choir (SSAATTBB), basset horn and vibraphone
Texts: Vincent van Gogh, Pieter Teding van Berckhout, Dirk Hannema, Catharina Bolnes, Alltagssprache
Very little is known about the life of Jan Vermeer (1632-1675). There exists nothing but a scattering of contemporary articles and absolutely no personal testimonials with regard to the artist, who rarely left his hometown of Delft. Despite this, and a relatively small oeuvre of approximately 35 paintings known to exist, Jan Vermeer exposed new dimensions in the field of light, perspective and colour, and is regarded as one of the most outstanding painters of his era. Using compositional methods, 'Licht bei Vermeer' attempts to transpose the characteristic light and colour concepts of seven Vermeer paintings onto a musical level. While the basset horn and vibraphone generally represent the only painting depicting a view of Vermeer's hometown (View of Delft, ca. 1660/61), the choir tackles six genre scenes situated within this city: Woman with a Lute [ca. 1659-60], Lady and Gentleman Drinking Wine [undated] The Girl with the Wine Glass [ca. 1659-60], A Lady Standing at a Virginal [ca. 1672-1673], Woman with a Pearl Necklace [ca. 1664] and Woman Holding a Balance [ca. 1664]. Each of these genre scenes is assigned a text fragment, like tesserae in the mosaic of Vermeer-reception, where the musical reference to the picturesque work of Vermeer is coupled with exemplary statements about his life and impact.
Duration: 12' 00"
Dieter AmmannA (tenir) tension (2002-2003)
for flute, marimbaphone, vibraphone and persussion instruments
The completely dissimilar sound generation of flute and percussion, for example with regard to the acquisition and decay times, formed an important compositional aspect while working on this new ouvre.
This dissimilitude, by analogy, is also transferred to the temporal configuration insofar as the rhythmical form of extremely tight motorical passages ("moltoritmico") ranges over diverse intermediate stages to flexible handling parts ("tempo fluido") producing, thereby, tightly packed episodes with highly differentiated timbral play alongside processes where virtuosity in the traditional sense is central. It is so that the trio produces in quick succession various states, which are highly demanding for the interpreters, with regards interaction and playing technique.
Duration: 11' 30"
Thomas K. J. MejerSternensturz (1995)
for english horn (or alto saxophone) and vibraphone
This composition is based on a poem bearing the same name by Rose Auslander. It advances in stages from spoken image, through associated image, to aural image.
Version a: cor anglais and vibraphone
Version b: alto saxophone and vibraphone
Duration: 6' 00"
Michael SchneiderDie chemischen Elemente (2008)
for flute, saxophone and vibraphone
The structure and course of this piece is based on the periodic table of chemical elements. The three instruments represent specific groups of elements within the seven periods of the periodic system (metals, transition metals, non-metals, noble gasses). Small variations in playing technique and "plasticity" represent the chemical properties of each single element in one-bar 5/4 "portraits", which are linked to form a suspended tonal stream.
Duration: 7' 00"
Henri ScolariArghoul 1 (1971)
Piece in the medieval form of stantipes
for clarinet, bass clarinet, contrabass clarinet and vibraphone
Fusion of medieval and contemporary notation.
Duration: 7' 00"
Walter BaerConcerto (2007)
for alto saxophone, string orchestra, harp, vibraphone and marimbaphone
Duration: 21' 00"
(Parts sold separately)
Edu Haubensak< H > (2012)
for vibraphone solo in scordatura
Duration: 13' 30"
Thomas K. J. MejerPrinces' balls (2013)
for contrabass flute, contrabass saxophone, tuba and sextet (fl, cl, pf, perc, vn, vc)
Written for the "Kontra-Trio" Lucerne and the "Moscow Contemporary Music Ensemble", created for the project "Stravinskij Revisited".
Suite in five movements:
Duration: 13' 00"
Michel HostettlerKaïros (1993)
for clarinet (bass clarinet) and percussion (marimba, vibraphone)
Duration: 6' 00"
(Clarinet part available from SME: Sfr. 10; € 10.-)
Edu HaubensakPonds (2017)
für 2 Vibrafone, eines davon mit Skordatur
Duration: 22' 00"
Max E. KellerIns Freie (2017)
Improvisationskonzept für Bassklarinette, Marimba oder Vibraphon & Schlagzeug ad libitum, Klavier, Violine, Viola und Violoncello
In den 68er-Jahren wurde in der Neuen Musik oft mit einem politischen Hintergrund improvisiert, quasi als antiautoritäre Praxis. Die Konzepte wollten nicht vorschreiben, was zu spielen sei, sondern zur Kreativität anregen. "Ins Freie" knüpft an meine langjährige Beschäftigung mit Improvisation an, ist aber nicht - wie viele Konzepte - für den Eigengebrauch im "inner circle" geschrieben, sondern versucht, allgemein gängige Wege "ins Freie" zu entwerfen.
Duration: 11' 00"