Violin

Mela Meierhans
Vagabundinnen (1992)
for flute, string trio, harp (or bass), piano and electronic tape (CD/DAT or MD)
Texts: Christina Thürmer-Rohr
Duration: 13' 00"
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CHF: 73.00
Alfred Knüsel
Messe (1976)
for vocal quartet, orator, mixed choir, violin and organ
Duration: 18' 00"
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CHF: 68.00
(Violin-Stimme: sFr. 12.-; € 8.00)
Andreas Stahl
schneller werdender blues (1983-1984)
for flute, clarinet, violin, double-bass, marimba, percussion and orator
Texts: Robert Peterhans
Quasi-accompanied readings of texts by Robert Peterhans. Mini-overture; country life; city life (the eventful 80's); love; music.
Duration: 30' 00"
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CHF: 47.00
Felix Falkner
Solitude (1990)
for string quartet with bass clarinet
Duration: 22' 00"
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CHF: 26.00
(Parts: sFr. 14.-; € 9.50)
Bruno Stöckli
Dal peso di un piccolo uccel (1991)
Seven pieces
for female voice and instrumental ensemble (fl.cl/pf.hp/perc/vn.vc.db)
Texts: Erika Burkart
Duration: 15' 00"
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CHF: 57.00
Ursula Gut
Aquamarin (1992)
for two violins, two clarinets, double-bass and harpsichord
Duration: 10' 00"
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CHF: 26.00
Stephan Lauffer
Drei Quartettsätze (1995-1996)
for flute, violin, viola and violoncello
Pastorale - Ballad - Dance
Duration: 6' 30"
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CHF: 18.00
(Parts: sFr. 20.-; € 13.50)
Benedikt Wolfgang Schiefer
Stern (2004)
for violin and piano
Duration: 10' 30"
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CHF: 26.00
Thüring Bräm
Sechs 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"
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CHF: 44.00
Vladislav Jaros
Chinesisches Märchen (1983)
for flute (or oboe or violin) and guitar
An easily approachable piece in which equal demands are made on both interpreters. It is not a difficult piece to interpret and is well suited to an advanced student.
Duration: 3' 00"
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CHF: 13.00
Maria A. Niederberger
Inferences (Rückschlüsse) (1985)
for fl(afl).cl(bcl)bn/2perc/pf/vn.va.vc
Accentuated piano part.
Duration: 8' 00"
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CHF: 42.00
Michael Schneider
Evokation (1991)
for violin, clarinet and piano
Impulsive, feverish movements with lyrical bright spells.
Duration: 5' 00"
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CHF: 18.00
De-Qing Wen
De la Neige en Eté (Snow in the Summer) (1992)
Concerto
for violin and large orchestra (3.3.3.3/4.3.3.1/3perc/hp/30.12.10.8)
This piece is inspired by a Chinese drama of the 12th century. A woman is unjustly exectued, nature testifies her innocence: her blood doesn't drop to the ground but flies away on a white blanket; a heavy snow falls in the middle of summer and the winds begin to howl.
The rhythm is influenced by the poetic form of the Song dynasty (960-1279). The organisation of the musical material is inspired by certain codes which allow one to understand the taoistic texts.

Duration: 16' 00"
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CHF: 57.00
(Score and solo part)
Ursula Gut
Teddybear's Dream (1993)
for violin, violoncello, bassoon, harp, percussion and celesta
Duration: 10' 00"
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CHF: 18.00
Stephan Lauffer
Chinesisches Sprichwort (1997)
for choir (SATB), flute, clarinet, three violins viola and violoncello
Texts: Chinesisch
It is better to light a candle than to complain about the darkness.
Duration: 2' 00"
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CHF: 21.00
(Parts: sFr. 16.-; € 10.50)
Cécile Marti
Im Würfel (2005)
for sextet (fl, cl, vn, vc, mar, pf)
"My form is created entirely out of straight lines and flat surfaces ordered at symmetrical right-angles. Every side, every line is the same as every other. Intersection facing intersection. This is me at peace with myself. I can begin rotating at the slightest movement, yet it is not always possible to forsee my path of motion, for the possibility of changing direction at any moment I leave open. My way is found along my edges or my corners. If I am not resting on a surface then I am moving in this linear fashion."
A square's eye view - its inherent form is the lead for musical transformation.
The ensemble follows characteristic figurations as a compact motional unit. The way leads from a description of the object through to the mechanisms of its motion and on to playfully gestural formulations.
Circular motions, rotation around a fixed axis, gradual advancement over sound layers, using pulses to create structure, fragmentary phases and moments of dancy movement are but a few aspects which infuse throughout this piece.
Duration: 8' 30"
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CHF: 49.00
Maria A. Niederberger
Album Pages (1988-1989)
for violin solo
Duration: 6' 00"
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CHF: 16.00
Alfons Karl Zwicker
Nachtduett (1989-1990)
Cycle with poems by Georg Trakl
for mezzo-soprano, bass, flute, harpsichord, four violins, viola, violoncello and double-bass
Texts: Georg Trakl
An erotic, sticky piece that takes the incestuous relationship between Trakls and his sister as its theme. 'Nachtduett' is a series of scenic poems predestined for the stage.
Duration: 20' 00"
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CHF: 83.00
Valentin Marti
Tres sendas espinosas (1995)
for flute (alto flute) clarinet (bass clarinet), violin, violoncello, percussion and piano
Paths leading nowhere, a search leading to nothingness; subsurface there is a trace that, in its lack of direction, actually depicts the way. In three parts. This piece was first performed on 23.5.1997 in Zurich by the Ensemble for New Music (Zurich) under the direction of Johannes Harneit.
Duration: 15' 00"
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CHF: 47.00
Stephan Lauffer
Drei Bicinien (1997)
for violin and viola
Allegro marcato - Tempo di Valse - Thema con variazioni.
Duration: 10' 00"
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CHF: 21.00
Regina Irman
boden(los) (1985)
for three violins
Duration: 2' 00"
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CHF: 13.00
Alfons Karl Zwicker
Erfrorene Träume (1990-1992)
Cycle based on poems by Josef Kopf
for mezzo-soprano and ensemble (fl(pic).cl(bcl)/hp.pf.hpd/2vn.va.vc.db)
Texts: Josef Kopf
Large-scale song cycle in which the metaphors of ice, cold and freezing are centralised. The leading part for the mezzo-soprano is extremely demanding in the emotional and technical areas. (Vocal range e# - b").
Duration: 29' 00"
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CHF: 78.00
Felix Baumann
Quintet (1992)
for oboe, horn and string trio
Opposing elements growing increasingly apart.
Rights of performance reserved.

Duration: 22' 00"
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CHF: 31.00
De-Qing Wen
Le Souffle (1994)
for six instruments (flute, clarinet, violin, violoncello, piano and percussion)
For the Chinese, the ‘Yin’ and the ‘Yang’ were in the universe from the beginning and all creatures are animated by the ‘Qi’, the breath of life. Inspired by the order of the 64 hexagrams of the Book of Mutations and their composition in six masculine or feminine symbols, I divided this piece into six registers and wrote the music of the 64 hexagrams consecutively for six musicians.
Duration: 8' 00"
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CHF: 18.00
(Parts: sFr. 18.-; € 18.-)
Rico Gubler
Streif(f)lichter einer Morgenstunde (1996)
for violin solo
Duration: 7' 00"
SME/EMS
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CHF: 18.00
Ursula Gut
Arabadus (1996)
for violin solo
Duration: 10' 00"
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CHF: 18.00
Lars Werdenberg
Capriccio (2000)
for 2 violins
At the outset of my studies in composition and influenced by the music of Morton Feldman I wrote a number of pieces for several of the same instrument, e.g. for 4 clarinets, for 6 sopranos and 6 percussionists or for 5 trumpets etc.
This series was concluded by the composition "Capriccio" in the no-longer so exquisite violin duo formation.
While the tonal unity of a "super instrument" was at the forefront of my thoughts for the older pieces, "Capricco" is defined more by the element of dialogue, which can lead to musical competitiveness between the two musicians.
This piece often plays in the "lofty heights" of the instrument.
It gains more and more "traction" via "furious" double stops.
Duration: 6' 00"
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CHF: 21.00
Sarah Haessig
D'ailleurs (2007)
for alto saxophone, violin and piano
Duration: 10' 00"
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CHF: 21.00
Andreas Brenner
Maimelodie (2008)
Study
for violin solo
Duration: 6' 00"
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CHF: 13.00
Bruno Stöckli
Orpheus im Avernus-Tal (1996)
for violin solo
Duration: 7' 00"-8' 00"
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CHF: 18.00
Balz Trümpy
Luzifer (1973/75)
for string quartet and double-bass
The musical development of the string quartet is in conflict with the hecklings of the double-bass.
Duration: 18' 00"
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CHF: 34.00
Stefan Werren
3 Gesänge (1988)
for soprano, two violins and cello
Texts: Paul Celan
Duration: 3' 00"
SME/EMS
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CHF: 16.00
Valentin Marti
Euphotic Circles (1996)
for soprano saxophone solo and ensemble (fl.cl/tpt/perc/pf/vn.va.vc.db)
"The fascinating colours, the successful combination of the three wind players and their perfect connection with the string players are very well mastered from a formal point of view, they let arise an ensemble piece in the truest sense of the word. (S. Palm)
World premiere: 31.7.97, Klagenfurt, Janus-Ensemble Wien Robert HP Platz (cond.).

Duration: 12' 00"
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CHF: 49.00
Rico Gubler
taglio (1996)
for violin, viola, violoncello and double-bass
Duration: 10' 00"
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CHF: 18.00
Ursula Gut
Postludium (1998)
for violin, viola, violoncello and percussion
Duration: 17' 00"
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CHF: 23.00
Sarah Haessig
Die Geister am Mummelsee (2008)
Melodrama
for voice, string quartet, flute and harp
Over a poem by Eduard Mörike.
Difficult interplay.
Duration: 9' 00"
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CHF: 34.00
Raymond Vauterin
Les petits palmiers (1973)
for violin, clarinet in A and piano
Duration: 10' 00"
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CHF: 29.00
Thüring Bräm
Uhrwerk (1976)
for violin solo
A virtuoso piece notated in two systems. It is very difficult to perform and uses twenty-eight different articulations.
Duration: 6' 00"
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CHF: 16.00
Raphael Staubli
Trio (1986-1987)
for clarinet, violin and piano
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CHF: 26.00
Thomas K. J. Mejer
Winterlicht (1990)
for alto saxophone and violin
Duration: 6' 00"
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CHF: 13.00
Marc Kilchenmann
Manie - oder von der Tröstlichkeit eines Volksliedes (1993-1995)
for twenty-two string instruments
Duration: 3' 00"
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CHF: 26.00
Maria A. Niederberger
Tandem Points (1993)
for flute, oboe, bass clarinet, horn, two percussion, violin, viola, violoncello and double-bass
Horn and percussion accentuated.
Duration: 9' 00"
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CHF: 60.00
Michael Schneider
Über verwunschenen Ebenen (1994-1995)
for chamber ensemble (0.1.1.1/1.0.0.0/1perc/2.1.1.1)
This piece is based on inspiration gathered from a flight over the Afghan desert, whose mountain tops, streets and settlements became apparent via a ten kilometer deep fata morgana - optically near, geographically and culturally, however, unattainably distant.
Evocation of mystical, enchanted (sound)landscapes, largely in space notation.
Duration: 7' 00"
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CHF: 34.00
Valentin Marti
... visión ... (1996)
for violin solo
A volatile, flickering appearance. First performed in Vienna, 09.10.96 by Patricia Kopachinskaja.
Duration: 4' 00"
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CHF: 13.00
Xavier Dayer
"In hellem stillem Zimmer..." (1996)
for mezzo-soprano, bass, flute with piccolo, violin, violoncello and accordion, based on poems by Robert Walser
Texts: Robert Walser
The instrumental and vocal parts are, for the most part, written independently of each other.
Aspires to echo the poems and life of Robert Walser.

Duration: 11' 00"
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CHF: 42.00
Felix Schüeli
Sieben 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"
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CHF: 34.00
(Choir parts: sFr. 14.-; € 14.-; instrument parts: sFr. 20.-; € 20.-)
Azumi Okamura
Je m'éveille la nuit subitement (2010)
for violin solo
The title was taken from a poem by Fernando Pessoa.
First part: playing of different timbres (quarter-tones, sul tasto, flautando, sul ponticello etc.) with regard to the dynamics pp-p-mp.
The second part is inspired by the preludes of Louis Couperin and has to be played freely as far as rhythm and combinations are concerned, but must respect the order of the notes. Difficult.
Duration: 3' 30"
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CHF: 13.00
Raymond Vauterin
Deux danses (1974)
for violin and piano
Duration: 6' 00"
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CHF: 23.00
Heidi Baader-Nobs
Session (1988)
for two violins, viola, violoncello, double-bass, flute (pic), oboe (ca), clarinet (Ebcl, bcl), bassoon (cbn), piano and marimba
Duration: 17' 00"
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CHF: 47.00
Martin Imholz
Potenz (Oratorium) (1989)
for clarinet, string quartet, orator and scenery
Four strophes with extremely differentiated parts, based on the principles of homoeopathy. For Joseph Beuys.
Duration: 10' 00"-15' 00"
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CHF: 13.00
Hans-Jürg Meier
das licht um einen schatten heller machen (1993-1995)
for violin and trombone
Three-part piece: grosse Entfernung - Nähe - Entfernung, ohne die innere Beziehung zu verlieren.
Duration: 8' 00"
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CHF: 16.00
Felix Baumann
Duo (1995)
for violine and double-bass
When two unequals do the same the result is a difference, if they do different, a generic third can evolve.
Duration: 15' 00"
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CHF: 18.00
Nicolas Bolens
"... Et derrière moi marchent les étoiles." (1996)
for violin and symphony orchestra (3(2 pic).3(ca).3(bcl).3(cbn)/4.3.3.1/3perc/hp.pf/10.8.6.5.4)
A work in three movements, written for the Tibor Varga Competition in 1996. Notation is traditional. The soloist's part contains a few cadenzas, which are written without bar lines.
Duration: 20' 00"
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CHF: 57.00
Alex Rüedi
En Ufsteller (1996)
for violin (or alto saxophone) and piano
Duration: 3' 00"
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CHF: 16.00
Cécile Marti
Streifen (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"
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CHF: 44.00
Balz Trümpy
Facetten (1976)
for violin solo
This piece lays several musical levels along a single line. It is like an individual conversing simultaneously with various partners.
Duration: 12' 00"
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CHF: 18.00
Edu Haubensak
Tiefer & Tiefer (1983)
for quintet (fl/vn.va.vc/pf)
Duration: 20' 00"
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CHF: 47.00
Thomas David Müller
Gehen, Fragment (1989)
for violin, violoncello and clarinet
The first in a series of instrumental cycles where variations in the interplay and the resulting formal processes are subjects of the composition. Unusual playing techniques.
Duration: 9' 00"
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CHF: 26.00
Kit Powell
Concerto for 2 Violins and String Orchestra (1989)
Demanding solo voices with amateur choir.
Duration: 25' 00"
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CHF: 57.00
Vladislav Jaros
Cum grano salis (1992)
for wind quintet and strings
A polyphonic tonal meshwork - fluctuations between chromatic and polypentatonic - irridescent sound surfaces. For chamber musical performances: wind quintet and string quartet.
Duration: 14' 00"
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CHF: 26.00
Martin Imholz
Potenz II (1994)
for clarinet and string quartet
Version for clarinet quartet.
Duration: 10' 00"-15' 00"
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CHF: 16.00
Marc Kilchenmann
Divertimento barbaro (1995)
for violin, viola and electronic tape
Duration: 8' 00"
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CHF: 31.00
Felix Schüeli
Septett (2001)
for trumpet, alto saxophone, tenor saxophone, trombone, violin, violoncello and double-bass
"I dealt with the subject of the four-part fugue in g minor from the WTK (Vol.I) as a model for this piece. I used these parts continually in various appendages and confronted them with a groovy theme." (composer).
Duration: 7' 00"
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CHF: 26.00
(Parts: sFr. 18.-; € 12.00)
Louisa Lasdun
Gespräch(e) im Gebirg (2002)
for seven players (fl[=pic].bcl.Ebcl/2vn.vc.db) and sound technician
A single movement in eleven parts with play-back tape commissioned by the 'Luzerner Kammermusiker'.
The tape is comprised of text fragments from Paul Celans prose 'Gespräch im Gebirg', read by the author; fragments of a prayer-call from canton Uri, an English nineteenth century hymn and Hebrew lyrics from Bialik. This piece takes Jewish identity in German speaking areas as its theme.
Duration: 16' 45"
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CHF: 34.00
Cécile Marti
Oktogon (2008)
for string quartet and horn quartet
Four horns stand face on with a string quartet. These two close and self-contained sounding groups are led into a kind of duet. It begins with the construction of two sounds before developing into a back and forth oscillation between the two sounding groups. There follows a mutual attempt at tonal alignment and then fine variations where the groups enter an area of wavering tones. Re-colouring moments of the horizontal figurations or a hocket-like interplay between the two parties arises. The themetization of the instrument-specific base elements, the fifths tuning of the strings and the natural spectrum of the horn become the harmonic culture medium for the whole piece.
Duration: 12' 30"
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CHF: 65.00
Eliane Frances George
La Mariposa (1993)
for two violins with electronic effects
'La Mariposa' (the butterfly) - symbol of change - looks at the uncharted realm of death and rebirth. A world of sensual delights and passionate struggle, finally magnifying all the forces of life.
Duration: 4' 10"
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CHF: 26.00
(Parts available from SME)
Claude Ferrier
Quatre études (1996)
for violin solo
Duration: 10' 00"
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CHF: 18.00
Martin Wendel
Quartettino for oboe, violin, viola and violoncello, op. 10 (1957-1980)
Three movements as steps in a metamorphosis of a melodic material which stays strongly connected on the level of intervals.
Duration: 8' 00"
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CHF: 29.00
Josef Kost
Cinq Poèmes (1985-1995)
for flute, clarinet, bass clarinet, violin, viola and violoncello
The sextet musicalises five poems through various means e.g. the metre offers a background of incessant rhythmic variation, the rhyming scheme dictates the form even aspects of the content form the base of the instrumentation. Medium level of difficulty. Requires a conductor.
Duration: 11' 00"
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CHF: 34.00
Thomas David Müller
Gehen. 45 Forward and Backward Movements (1990)
for violin (or violoncello) solo
Nine parts divided into forty-five segments, all of which can be combined to any individual formal process. The whole is almost exclusively in the first register whereas the bowing is differentiated. Unusual playing techniques are involved. Can be performed from an intermediate to virtuosic level.
Duration: ad lib.
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CHF: 16.00
Eliane Frances George
Gossamery Dreams (1993)
for electronic, flute, violin, viola percussion, and dance (ad lib.)
A combination of live music, electronic tape and dance. This piece evokes the inside of archetypal images, images that, throughout time and evolution, have expressed to us the hope of a world of communication that lies beyond our illusory daily lives.
Duration: 17' 00"
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CHF: 34.00
(Parts and CD available from SME)
Laurent Mettraux
Adagio, M. 473 (1993)
for violin and piano
A work of classic appearance with a glowing simplicity. The violin part is very singy.
Duration: 5' 00"
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CHF: 18.00
(Seperate parts: sFr. 10.-; € 10.-)
Dieter Ammann
The Freedom of Speech (1995-1996)
for flute (also bfl), clarinet (also bcl), violin, violoncello, percussion and piano
Duration: 18' 00"
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CHF: 49.00
(Parts: SME sFr. 70.-; € 47.-)
Hans-Jürg Meier
zeitsand (1995)
for two recorders, zink, trombone, violin and two violoncelli
The 'Harmonies' by Erik Satie are the basis for several parts. Conductor of use.
Duration: 14' 00"
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CHF: 26.00
De-Qing Wen
Traces II (1996)
for nine instruments (fl.cl/2perc/pf/vn.va.vc.db)
Chinese calligraphy is the essence of Chinese art. For me personally, it stands as an original score. From written characters, sounds emerge. With the words, music is created.
Duration: 12' 00"
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CHF: 39.00
Cécile Marti
AdoRatio (2009-2010)
for solo violin and ensemble (1.1.1.1/1.1.0.0/pf/3.1.1.1)
I have shared a deep emotional passion for the violin concert since childhood. I was initially swept away by the multifaceted 'classics' repertoire until, with breath-taking surprise, I discovered new creations, the dynamics of which repeatedly nourished my creative side. Bettina Boller, my violin teacher at the time, led me like a guide to this precious resource. A balanced synthesis between strong emotions and structural thought processes is necessary to express this veneration. The soloist-tutti phenomenon, as a mirroring of the real-life situation individuum-collective, is of great interest to me: the transition phase from the solo into the multiplicity of the tutti movements and vice versa. This can, for example, be expressed over a single tone, which is gradually compressed until it disappears into the thicket of a neighbouring tone. Or the other way round: a compact sound structure becomes more and more refined until it dissolves into a single tone. The solo violin is understood as the impulse carrier of various such compression and refining processes. It is apparent throughout the piece, with which instrumental partner the violin enters into dialogue. This piece is based on a spectrally aligned central tone, which expands, contracts, changes colour, swells up or resigns...
Duration: 20' 00"
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CHF: 73.00
Rudolf Jaggi
Sonate für Violine und Klavier (1964)
Allegro - Adagio - Rondo (leggiero).
Duration: 15' 00"
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CHF: 36.00
(Violinstimme: sFr. 12.-; € 8.00)
Thomas K. J. Mejer
Three Miniature to Morton Feldman (1992-1993)
for violin and piano
Duration: 8' 30"
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CHF: 16.00
Martin Imholz
Duo (1992)
for violin and violoncello with electronic amplification
A process from a fixed pitch grid off into unexplored parts of intonation.
Duration: 10' 00"-12' 00"
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CHF: 16.00
Heidi Baader-Nobs
Spires (1993)
for violin solo
Duration: 8' 00"-10' 00"
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CHF: 18.00
Josef Kost
Concerto for Violin and String Orchestra. "Lot's Wife" (1995)
"Lot's Wife"
for solo violin and twelve strings (3.3.3.2.1)
From the scene in the Old Testament where Lots wife transgresses while fleeing Sodom, she looks back and ossifies. The violin concerto addresses the inner mental activity. The perception of the self can be a defensive, rigid death of feeling, or it can lead to a new life. Demanding for both soloist and ensemble.
Duration: 16' 00"
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CHF: 36.00
Ursula Gut
Mouchoirs (2005)
Six small utility pieces
for violin solo
1. verschnupft zu spielen
2. körperlos, mit Spitzenrand und Erinnerung
3. mit Vergesslichkeit zu spielen
4. auflauern und entwischen, oder: vorübergehend virtuos
5. halb so lustig zu spielen
6. kindlich verspielt
Duration: 10' 00"
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CHF: 26.00
Andreas Brenner
Duo (Bodhisattvas) (2013)
for 2 violins
The duo was created in reference to Isang Yun's ensemble piece 'Distances' where the different groups of instruments represent shapes from Buddhist mythology. The two violins represent bodhisattvas (enlightened beings). As there, the two players of the duo are spaced far apart on the edges of the podium, possibly even behind the audience in the gallery, etc. Notwithstanding this particualar concrete reference, the duo is a completely independent unit: it is written in its own musical language and in terms of compositional technique quite uninfluenced by Isang Yun.
Duration: 12' 00"
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CHF: 23.00
Mathias Steinauer
Omaggio ad Italo Calvino, op. 10 (1993-1994)
for clarinet (horn), violin (violoncello) and partly prepared piano
Version I: cl.hn.vn.pf (op. 10a)
Version II: cl.vn.vc.pf (op. 10b)
After three fantastical poems about the origin of the world.
Duration: 14' 00"
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CHF: 31.00
Heidi Baader-Nobs
Duo pour Hansheinz (1996)
for violine solo
Duration: 7' 00"
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CHF: 16.00
Rico Gubler
Aus reifem Wachs (1998)
for violin solo
Duration: 2' 00"-3' 00"
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CHF: 13.00
Luigi Laveglia
Code of Light (2007-2008)
for flute, bass clarinet, violin and piano
Two movements (part one, part two)
My occupation with light and its spectrum of colours (in a poetic rather than scientific sense) formed the starting point of this composition. It lead to extraordinary answers on a formal and associative level. Intense and diversified at the same time.
Duration: 23' 00"
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CHF: 34.00
(Parts SME: sFr. 48.-; € 48.-)
Rudolf Jaggi
Souvenir sentimental (1966)
for violin (or violoncello) and piano
Duration: 2' 00"
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CHF: 13.00
(Including violin and violoncello parts))
Walter Baer
Five Movements for Clarinet, Violin and Violoncello (1974)
These five short movements require a very sensitive interpretation - already obvious from the detailed notation. Composed in an atonal style, it features rhythmic and articulatory differentiated structures.
Duration: 8' 00"
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CHF: 18.00
Balz Trümpy
Anima (2. Fassung) (1977/78)
for high voice, clarinet, horn, string quartet and piano
Texts: Anonymus, Heinrich von Morungen, Walter von der Vogelweide
This three-part work is based on text from a minnelied. The vocal line, which uses various sound modulations, is harmonically, melodically and rhythmically interwoven with the accompaniment.
Duration: 17' 00"
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CHF: 68.00
Mathias Steinauer
Undici duettini, op. 11.1 (1991)
for violin and viola
Very intimate music. Individual duets can be performed in any combination. Varying degrees of difficulty.
Duration: 18' 00"
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CHF: 23.00
Marc-André Rappaz
Stances sur "La mort de Marie" (1992-1993/00)
for two percussion and violin
Based on 'Jamais la mort ne délira / Le noeud dont ta beauté me lie' by Ronsard. The second part is an improvisation over a group of short cells.
Duration: 8' 00"
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CHF: 21.00
Vladislav Jaros
Lapis Miraculum (1993)
for English horn (violin, viola, violoncello) and guitar
A relatively easy to play, slow, transparent and colourful piece.
Duration: 6' 00"
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CHF: 13.00
Luigi Laveglia
Black Bird (2008)
for clarinet, violin, violoncello and piano
This is actually a prelude for Messiaen's "Quatuor pour la fin du temps" and written for the same instrumentation. It does, however, stand just as well performed on its own. The music is very colourful, partly abrupt with a very intimate middle part …
Duration: 11' 00"
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CHF: 21.00
(Parts SME: sFr. 30.-; € 30.-)
Bruno Stöckli
Kikakokú (2009)
2 recitatives + arias
for soprano, mezzo-soprano, flute, clarinet, violin, violoncello and piano
Texts: Paul Scheerbart, Oskar Pastior, Bruno Stöckli
Uses the quarter-tone system.
Duration: 14' 00"
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CHF: 55.00
Urban Mäder
der und die (1993)
for alto and violin
Texts: Ernst Jandl
Formal severity (alto) and virtuoso intoxicated play (vn) with a conformably direct relationship to the speech form and content of a text bearing the same name by Ernst Jandl.
Duration: 11' 00"
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CHF: 31.00
Alfons Karl Zwicker
Postludien (1995-1997)
for violin and piano
Ironic, humorous, partly satirical, characteristic pieces. The title and musical thoughts spring from graphic variations on the violin clef. The drawings are by the composer; the originals are available for inspection from the composer.
musikalisch 2’
gemächlich 6’
verschämt 5’
con fuoco 3’
romantisch 3’

Duration: 19' 00"
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CHF: 39.00
Josef Kost
"Ohne Titel" (1996)
for violin, guitar, double-bass and strings (4.4.2.2.0)
A major, a minor, an augmented and a diminished triad, giving all twelve tones of an octave, are woven together harmonically and melodically (serial). Predominantly modal rhythm, determinate sound room, differentiated dynamic. Three short expressionistic pieces. Difficult.
Duration: 11' 00"
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CHF: 29.00
De-Qing Wen
Divination (1997)
for six instruments (flute, clarinet, violin, violoncello, piano and percussion)
The ideal for ancient Chinese civilization is that nature and man are one. Although this piece seems to describe a divination ceremony and the natural elements, it mainly expresses the human feelings.
Duration: 19' 00"
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CHF: 62.00
Bruno Stöckli
Rest (1999-2010)
for flute, clarinet, violin, violoncello and piano
Duration: 10' 00"
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CHF: 49.00
Valentin Marti
Den Schatten der Rose entdecken (1999/03)
for flute, clarinet, violin, violoncello and piano
First performed on 27.11.1999 in Boswil by 'Klangforum Vienna' under the direction of V. Kiradjiew.
Duration: 13' 00"
Manuscript
CHF: 29.00
Rico Gubler
FAL (1999)
for bass clarinet / Eb clarinet, bassoon, horn, two violins, viola, violoncello and double-bass
Duration: 7' 00"
SME/EMS
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CHF: 34.00
(Parts avasilable from SME/EMS: sFr. 28.-; € 28.-)
Jürg Wyttenbach
Trois chansons violées pour une violoniste chantante (1973-1981)
for violin (female singing violinist)
Texts: François Rabelais, Volkslied
‘Chanson de la canaille’ (a rag song): French and Swiss Dialect (from the Bern region); The tragedy (anonymous Australian country blues): English; ‘Chanson a la Lanternoy’ (an 'underexposed' chanson): comic-speech and French. The violinist must have a good ear and be able to play and sing simultaneously. She does not need a trained voice but must possess perfect diction and the ability to act. Sponsored by the SME Lucerne.
Duration: 8' 00"
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CHF: 23.00
Thüring Bräm
Album Goodbye Seventies (1979-1980)
for clarinet or violin (or any other melodic instrument) and piano
This cycle of seven pieces encompasses mostly notated memories: a (quasi) summary of the seventies. Where one movement requires the courage to improvise, another contains a sung alternative version.
Duration: 17' 00"
SME/EMS
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CHF: 26.00
Thomas David Müller
Zwei Sequenzen: Stehstelle / Gehstelle (1993)
for violin, violoncello, clarinet, three trombones and piano
Both sequences are attempts at reaching emptiness, and consequently to liberate space through non-speech and anti-speech methods respectively. The performers perform and as it were 'speak' on scrap metal texts taken from Thomas Bernhard's 'Gehen'.
Duration: 13' 00"
SME/EMS
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CHF: 42.00
Bruno Stöckli
Melodie in d (2010)
for piano (with flute, clarinet, violin and violoncello ad lib.)
Duration: 1' 00"
SME/EMS
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CHF: 16.00
Rudolf Jaggi
Fantasia canonica (1967)
for violin and organ
Duration: 7' 30"
SME/EMS
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CHF: 31.00
(Including parts)
Thüring Bräm
Quiet Music I-III (1980-1981)
for piano, flute, clarinet, oboe, violin and violoncello
No. III is a markedly beautiful piece to commemorate Berios 'O King'. No. I and II are confined to the piano and a melodic instrument of choice.
Duration: 8' 00"
SME/EMS
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CHF: 29.00
Alfred Felder
Cercles (1992)
for flute, clarinet, harp, string quartet and double-bass
Duration: 12' 00"
SME/EMS
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CHF: 26.00
Andreas Stahl
sextet (1993-1994)
for soprano, violin, violoncello, trombone, percussion, piano, electronic tape and a piece of mechanical equipment
A half scenic attempt to look at the common ground between musical and theatrical operation and the resulting relationship between movement and sound.
Duration: 20' 00"
SME/EMS
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CHF: 31.00
Alfons Karl Zwicker
Konstellation mit Mondtransit (1998-1999)
for soprano, violin, trombone, violoncello, clarinet and piano
A piece with aperspective performance practice. The ever-changing aspects on the radix planets (instrumentalists) by the transitory moon (soprano) are made audible.
Duration: 16' 00"
SME/EMS
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CHF: 55.00
Josef Kost
Un Quatuor d'airs dialogués (1999)
for flute, violin, viola and violoncello
This very difficult piece is based on the flute quartet by W.A. Mozart.
Duration: 14' 00"
SME/EMS
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CHF: 34.00
Felix Baumann
spöttisch leicht - 5 Lieder nach Gedichten von Sarah Kirsch (1999-2000)
5 Songs based on poems by Sarah Kirsch
for singing voice (mezzo-soprano), clarinet, violin, violoncello and piano
Texts: Sarah Kirsch
The line skips by Sarah Kirsch turn the readers into stumblers. Stumblers have to re-read the text if they want to understand its content. They gain, thereby, unexpectedly in time and fall to a deeper level.
Duration: 15' 00"
SME/EMS
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CHF: 34.00
Walter Baer
Sonatina Nostalgica (1977)
for violin and piano
Duration: 12' 00"
SME/EMS
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CHF: 23.00
(violin part: sFr. 12.-; € 8.00)
Mathias Steinauer
Rumori cardiaci, op. 13 (1996)
for flute, clarinet, violin, violoncello and piano
A short nocturne for the first heart beat of the ensemble 'Oggimusica'.
Duration: 5' 00"
SME/EMS
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CHF: 18.00
George Barcos
Cinco Piezas Recreativas (1996)
for flute, violin, clarinet and piano
Danza Idilica - Ikebana - Caja de recuerdos - Nieve - El Ángel de la Guardia.
Duration: 12' 30"
SME/EMS
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CHF: 31.00
(Parts: SME sFr. 32.-, € 32.-)
Nicolas Bolens
Suite pour Neuf Instruments (1999)
for wind quintet and string quartet
Duration: 11' 00"
SME/EMS
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CHF: 31.00
Rico Gubler
ZIR (2000)
for clarinet, violin, viola and violoncello
Duration: 7' 00"
SME/EMS
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CHF: 26.00
Luigi Laveglia
Ulalume (2008)
for violin and piano
After the poem bearing the same title by E. A. Poe. Very dark and foreboding music …
Duration: 9' 00"
SME/EMS
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CHF: 34.00
(incl. violin part)
Rudolf Jaggi
Alla francese (1968)
for two violins or violin and violoncello
Duration: 4' 00"
SME/EMS
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CHF: 13.00
Thomas David Müller
"Duetti" und "Ansfelder Skizze" (1994-1995)
for two violins and piano
From very easy to easy / intermediate progressing to intermediate and back again. The piano piece is to be freely interpolated (also when repeated) solo and / or colla parte. ‘Ansfelder Skizze’ refers to Bruckner’s theme in the VII. Symphony, first movement.
Duration: 17' 00"
SME/EMS
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CHF: 13.00
Rico Gubler
1. Suite für Viktor (2000)
for clarinet, saxophone, violin, violoncello and piano
Quartet for bass clarinet, violin, violoncello, and piano
[vetro] (3')
Quintet [incontro] (2')
Quartet for clarinet, baritone saxophone, violin and violoncello [with bundled energy] (1'45)
Solo violin with accompaniment [like eternally broken glass] (4')
Quintet II [Melody granulated] (2'30)
Duration: 14' 00"
SME/EMS
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CHF: 49.00
(4 Suites for Viktor: sFr. 94.-; € 94.-)
Felix Baumann
"nah / hautnah" (2000-2001)
'Radio Play'
for orator, solo soprano, violoncello and ensemble (fl.cl/perc/pf/vn.vc)
Texts: Sarah Kirsch, Sappho, Michel Serres, Stefan Buri, Hans Magnus Enzensberger
Commissioned by and with support of 'Pro Helvetia', (the Swiss culture foundation) for the 50th anniversary of the Zurich Chamber Voice Choir. First performed in Zurich on the 20th November 2001 by the Chamber Voice Choir Zurich, Martina Fausch, Martina Schucan, Ensemble for New Music Zurich (Bernhard Erne). A piece dealing with the proximity of music and speech, the border area between commutation and murmuring, exactly there where the word is weak and the music has already begun.
Duration: 45' 00"
SME/EMS
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CHF: 70.00
(Parts available from the composer)
Alfred Knüsel
specularis (1993-1994)
for soprano, violin, two organs, and percussion with two or three players
Texts: Clara von Assisi, Franziskus von Assisi, Bibel / Liturgie
Homage to Clara von Assisi. The soprano is expected to use her voice in a widely colourful manner.
Duration: 15' 00"
SME/EMS
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CHF: 52.00
Thomas David Müller
Quintett (J'en ai perdu le souvenir) (1997)
for flute, clarinet, violin, violoncello and piano
Elementary rhythm and sonority; little bass - uses Schubert’s ‘Ave Maria’ as its structural reservoir. Very little instrumental alienation but it does alienate the usual techniques. Simple music, not particularly simple to play. The interplay (with conductor) is traditional.
Duration: 9' 00"
SME/EMS
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CHF: 23.00
Hans-Jürg Meier
at (1998)
for alto flute, trombone, violin, viola and violoncello
In the middle of the players sits a tub of water into which small pebbles are thrown. This triggers musical actions from the players.
Duration: 14' 00"
SME/EMS
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CHF: 26.00
Rico Gubler
2. Suite für Viktor (2000)
for clarinet, saxophone, violin, violoncello, and piano
Duo for violin and violoncello [battuto – roughly a dance] (2’)
Trio for clarinet, soprano saxophone and violin [approximately] (2’15)
Duo for clarinet and violoncello [mute ballet from billiard balls] (2’)
Solo for clarinet (with additional instrumentation) [uneasy, murky] (2’)
Trio for violin, violoncello and piano [inside pulsating] (2’)
Quartet for bass clarinet, baritone saxophone, violoncello, and piano with poco solo violin [conspicuously quiet] (2’)

Duration: 13' 00"
SME/EMS
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CHF: 47.00
(4 Suites for Viktor: sFr. 94.-; € 94.-)
Nicolas Bolens
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"
SME/EMS
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CHF: 16.00
Felix Schüeli
Prélude, Scherzo, Choral und Fuge (2006)
for flute, violin, viola and violoncello
Duration: 11' 00"
SME/EMS
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CHF: 42.00
(Parts: sFR. 30.-; € 20.-)
Lars Werdenberg
Mechanische Landschaft (2008)
for violin solo
Zwanghaft, mechanische Landschaft
Albtraumhafte Wolken und Wege
auf denen man nie ankommt.
Treppen, Leitern und Türen die immer
zum Ausgangspunkt hin zurückverweisen.
Zunehmende Wut über ausweglose Situation
Einmal gar ausser sich geratend
einen Tunnel im Himmel graben.
Ueber Zahnräder stolpernd
daraus entlassen werden.
Duration: 5' 00"
SME/EMS
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CHF: 23.00
Stephan Lauffer
Fantasie für zwei Violinen und zwölf Töne (2009)
Duration: 4' 00"
SME/EMS
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CHF: 16.00
Hansruedi Willisegger
Meeting (1961)
for solo- violin, two flutes, two clarinets, bass clarinet, two horns, percussion and string orchestra
Duration: 5' 00"
SME/EMS
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CHF: 21.00
Frédéric Bolli
Pentagramm (1988)
for five strings (2vn.va.vc.db) and tansverse flute
Duration: 20' 00"
SME/EMS
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CHF: 55.00
Urban Mäder
... Ma-non troppo (1995)
for violin and a prepared piano
Aphoristic - in memory of Alban Berg and his violin concerto; with post-serial roots, ...but only just!
Duration: 4' 00"
SME/EMS
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CHF: 23.00
Rico Gubler
3. Suite für Viktor (2000)
for clarinet, saxophone, violin, violoncello and piano
Trio for clarinet, tenor saxophone, and violoncello [too coarsely assembled, rupturing] (2')
Quartet for clarinet, tenor saxophone, violin and piano [inert, of stone and columns] (2')
Quintet [somewhat course, in the interstice] (1'45)
Duo for violoncello and piano [reserved, singing I] (2')
Duo for clarinet and tenor saxophone [linear, with defiance] (2'30)
Duo violin and piano [reserved, singing II] (2')
Duration: 13' 00"
SME/EMS
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CHF: 49.00
(4 Suites for Viktor: sFr. 94.-; € 94.-)
Rudolf Jaggi
Sonate für Violine allein (1967-1969)
Duration: 10' 00"
SME/EMS
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CHF: 23.00
Thomas K. J. Mejer
Sex Crystals (1994)
for flute, clarinet, horn, violin, violoncello and double-bass
A horn line is sweet-talked with high intensity by perfect fourths and fifths, only on a low dynamic level.
Duration: 6' 30"
SME/EMS
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CHF: 18.00
Laurent Mettraux
Exils, M. 484 (1994-1997)
for violin, violoncello and two percussionists
Written in a non-traditional, but easily understandable notation. Mystery, parts of incantation with superposed tempi. The end is lyrical and nostalgic, the violin player leaves the concert hall while continuing to play.
Duration: 9' 00"
SME/EMS
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CHF: 31.00
Rico Gubler
4. Suite für Viktor (2000)
for clarinet, saxophone, violin, violoncello and piano
Quintet [Impulse, a choice] (2')
Solo for violoncello [circling the resistance] (2'45)
Quartet for clarinet, tenor saxophone, violoncello and piano [muted screaming] (2')
Duo for baritone saxophone and violoncello [deep ground] (2')
Duo for clarinet and piano [... and a waltz] (1'45)
Duo for violin and soprano saxophone [exercise for the death of agogics] (2'30)
Duration: 13' 00"
SME/EMS
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CHF: 47.00
(4 Suites for Viktor: sFr. 94.-; € 94.-)
Laurent Mettraux
Fantasia, M. 497 (1994-1995)
for violin solo
A piece requiring great virtuosity in the middle part ('fantastico'), the beginning and end are very expressive. Contains a fugue on the name BACH.
Duration: 10' 00"
SME/EMS
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CHF: 18.00
Andreas Stahl
126 pbm (1998-1999)
for violin and piano, with or without amplification
This open-form piece (with three piano and twenty eight violin parts) in techno-tempo, can be assembled in accordance with the performers own preference for bodily movement. Because all the violin parts must not necessarily be played it can, to a certain extent, be adapted to the performers technical skills. In opposition to music in the disco, upon which it is based, the non-amplified version is almost inaudible. This work takes as its central theme time related categories such as duration, pulse, metre, rhythm, continually questioning and changing them.
Duration: 8' 00"
SME/EMS
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CHF: 29.00
Rico Gubler
KOR (2000-2001)
for string quartet, tenor saxophone, percussion, bass clarinet and double-bass
Duration: 9' 00"
SME/EMS
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CHF: 70.00
(Parts available from the composer)
De-Qing Wen
The Song of Chinese Guessing game (2000)
Trio
for violin, oboe and Bb clarinet
Comissioned by the ‘Conservatoir de Musique de Genève’ for the students of the second classes. The theme of this piece is borrowed from the folkloristic Chinese song ‘Cai diao’.
Duration: 3' 00"
SME/EMS
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CHF: 18.00
George Barcos
Bochorno (2004)
for voice, violin, bandoneon, piano and double bass
Duration: 5' 00"
SME/EMS
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CHF: 21.00
Andreas Stahl
o vento voa (1999-2000)
for Altus and violin
Texts: Cecilia Meireles
A soft, short duet based on a text by Cecilia Meireles. Also for female voice possible.
Duration: 5' 00"
SME/EMS
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CHF: 18.00
Nicolas Bolens
D'un Rêve (2001)
for violin solo
Duration: 8' 00"
SME/EMS
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CHF: 18.00
Rudolf Jaggi
Concertino (1970)
for solo flute, solo oboe, solo violin and strings
Duration: 8' 00"
SME/EMS
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CHF: 42.00
Frédéric Bolli
Je suis ravi de vous revoir, Monsieur Ravel! (1990)
for flute, violin, violoncello and four-handed organ (or piano)
Duration: 10' 00"
SME/EMS
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CHF: 26.00
Alfred Knüsel
Sechs Miniaturen als Tafelmusik (1994)
for recorder quartet, string quartet, harpsichord and singing voice
Duration: 10' 00"
SME/EMS
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CHF: 34.00
Maria A. Niederberger
Sonnenspur: Tonbilder aus Kalifornien (1996-1997)
for flute, oboe, clarinet, bassoon, two percussion, piano, string quartet and double-bass
Fantasy, prelude, I. Nächtlicher Kojotentanz, II. Morgensonn' das Meer enthüllet, III. Purple Horses, IV. Yosemite.
Accentuated percussion.
Duration: 11' 00"
SME/EMS
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CHF: 83.00
Claude Ferrier
4 petites pièces (1999)
for eight instrumentalists (fl.cl.bn/perc/hp/2vn.vc)
Duration: 6' 00"
SME/EMS
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CHF: 26.00
Raymond Vauterin
Seetalhorn (1999)
for violin and piano
Duration: 14' 00"
SME/EMS
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CHF: 47.00
Alfred Knüsel
Fundstücke (1995)
for violin, piano and percussion ad libitum (2-4 players)
A collection of six non-cyclic works. Piano with sostenuto pedal.
Duration: 38' 00"
SME/EMS
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CHF: 62.00
(Also available seperately. Price on request.)
Alfred Felder
Song of the Sky (1996)
for violin, guitar and double-bass
After searching for ones own identity one finds ones own songs.
Duration: 23' 00"-25' 00"
SME/EMS
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CHF: 31.00
Urban Mäder
fast zerrissen (1997)
for flute, clarinet, violin, violoncello, piano and percussion
Duration: 10' 00"
SME/EMS
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CHF: 49.00
Maria A. Niederberger
A Swift Progression (Eine rasche Fortschreitung) (1997)
for violin solo
Duration: 3' 00"
SME/EMS
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CHF: 13.00
Rico Gubler
Ortswechsel, eine Winteroper (2001)
19 Singings
for clarinet, bassoon, horn, string quartet and speaker
Texts: Gert Loschütz
Duration: 45' 00"
SME/EMS
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CHF: 57.00
De-Qing Wen
Silk Bamboo (2001)
for flute and string quartet
This piece is inspired by ‘Sizhu’ (silk and bamboo). ‘Sizhu’ is a traditional Chinese musical form used popularly in Central-East and Southern China. The silk bamboo ensemble consists of "soft" instruments with si silk strings (pipa, erhu, zheng) and zhu bamboo instruments (bamboo flutes, dizi). In this work the composer tries to integrate the ideas of traditional Chinese music with modern Western composition techniques. The silk is soft - ‘Yin’ (feminine): pianissimo and lento. The bamboo is hard - ‘Yang’ (masculine): fortissimo and allegro. Although the instruments, the musicians, the way of composing and time have all been transformed the spirit of the music and the Chinese emphasis of the musical language remains unchanged.
Duration: 10' 00"
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CHF: 47.00
(Material available from the composer)
Frédéric Bolli
Im Anfang war das Wort (1990-1991)
for male choir and string quintet (2vn.va.vc.db)
Duration: 15' 00"
SME/EMS
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CHF: 55.00
Alfred Knüsel
Mitte wird Bewegung (1995)
for speaking choir, violin, clarinet and keyboard instrument
Texts: Alfred Knüsel
'Peinture naïve' in music.
Duration: 16' 00"
SME/EMS
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CHF: 34.00
Maria A. Niederberger
On Winter's Margin (Am Rande des Winters) (1997)
for marimba and violin
I. First Reflection, Interlude 1, II. Second Reflection, III. Princess of Crumbs, Interlude 2: A Hymn, IV. Ice Flowers.
A loose connection to a poem by Mary Oliver.
Duration: 12' 00"
SME/EMS
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CHF: 39.00
Raymond Vauterin
Fantaisie (2000)
for violin and synthesizer
Duration: 17' 00"
SME/EMS
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CHF: 91.00
Andreas Stahl
erinnern - an sich (2001)
for female voice, flute, oboe, violin, violoncello and piano
Written for the ensemble ‘pre-art’ for the 1700 anniversary of the Christianisation of Armenia. Text (mostly spoken) and music refer to the processes of memory and remembrance (resp. forgetting). Formally it is a triple duet (fl/vn, ob/vc, voc/pno) and is, as usual, situated on the rather extreme sector of sound production.
Duration: 18' 00"
SME/EMS
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CHF: 47.00
Henri Scolari
Le Christ voilé (1948)
Catata
for baritone and instruments (1(pic).1(ca).1(bcl).1/hn/hp/vn.va.vc(db ad lib.))
Texts: Patrice de la Tour du Pin
Fusion of a series of twelve tones with a constant reference to tonality.
Very expressive French poetry.
Duration: 19' 00"
SME/EMS
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CHF: 86.00
(Reduction available from the SME/EMS: sFr. 34.-; € 34.-)
Rudolf Jaggi
Kleines Rondo (1972)
for violin solo
Duration: 8' 00"
SME/EMS
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CHF: 13.00
Urban Mäder
Windstriche I (1998)
for shakuhachi, string trio and percussion
Fine, transparent sound piece using the Japanese Zen flute, the shakuhachi. An attempt to converge.
Duration: 18' 00"
SME/EMS
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CHF: 57.00
Claude Ferrier
La Croix du Sud (2000)
for violin and orchestra (2(pic).1.ca.2(cbl).2(cbn)/1.1.1.0/timp.2perc/cel.hp/str)
Duration: 11' 00"
SME/EMS
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CHF: 52.00
(Reduction for violin and piano: sFr. 20.-; € 20.-)
Felix Baumann
Irritationen (Irritations) (2003)
for violin solo
Compulsary piece for the 2004 Koeckert Competition.
'Irritationen' are amenities or excitors that provoke. Terms such as 'unsicher machen', 'verwirren' and 'berunruhigen' are added to this meaning in the 1800s (through their proximity to the verb 'irren'). In this sense, 'Irritationen' indicate profound connections, where to live with them harmoniously is not an absolute given from the outset.
Duration: 6' 00"
SME/EMS
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CHF: 16.00
Hans Eugen Frischknecht
Fantasia für Violine, Schlagzeug und Orgel (1980)
Three instruments initially appear unfitting but never the less create a homogenous alliance or compliment each other well in contrast.
Duration: 10' 00"
SME/EMS
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CHF: 23.00
Alfred Knüsel
Zeit zum Spielen - Zeit drängt (1996)
for soprano and violin
Texts: Bibel / Liturgie, Volkslied
Duration: 12' 00"
SME/EMS
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CHF: 21.00
Stefan Werren
Moment musical (1996)
for violin and violoncello
Duration: 5' 00"
SME/EMS
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CHF: 23.00
Jürg Wyttenbach
tell@tarantell@tarantell@... (2001)
for violin
A short instrumental scene for a violinist.
Duration: 5' 00"-6' 00"
SME/EMS
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CHF: 18.00
De-Qing Wen
Wind and Snow in the Night (2002)
for pipa (Chinese lute) and string quartet
Duration: 8' 00"
SME/EMS
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CHF: 23.00
Rico Gubler
En bref (2002)
for violin, clarinet, saxophone and piano
Duration: 10' 00"
SME/EMS
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CHF: 55.00
Felix Baumann
Intonationen (2004)
3 short pieces
for two (baroque) violins
Commissioned by and for John Holloway and Monika Baer.
Evaporating presences. A work about chracteristic moods, possibly comparable to feelings and their associated paradigmatic tarnishing or colouring of the peceprion of the environment.

Duration: 8' 00"
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CHF: 16.00
Valentin Marti
im Wind geschliffen (Segesta II) (2006)
for two recorders, violin, violoncello and harpsichord
Various positions or points of origin lead to different perceptions, to different truths about an object or event. Minimally displaced observation points lead to a drifting apart and drifting together of individual lines, to individual stickings on a single tone or form of articulation.
Duration: 12' 00"
SME/EMS
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CHF: 34.00
Roland Moser
Based on popular German songs (1984-1990)
Strophes from the 'Knaben Wunderhorn'
for soprano, flute, clarinet, violin, viola and violoncello
Texts: Volkslied
Also in a version for mezzo-soprano and the same instrumentation. Mutations in the same edition. Seven songs: ABC-Schützen - Papiers Natur ist Rauschen - Ein Musikant wollt fröhlich sein - Ich sass auf einem Birnenbaum - Das Vöglein Butschli Butschli Bu (Brentano) - Letzter Zweck aller Krüppelei - Ich hört ein Sichlein rauschen.
Duration: 13' 00"
SME/EMS
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CHF: 34.00
Alfred Felder
Im See ist Feuer (1990-1997)
Music
for violin, violoncello and orchestra
Double concert;
Score for orchestra: strings and two percussionists.
"The fire below and the sea above battle and defeat one another…" from the symbol GO out of the Chinese oracle book I Ging.

Duration: 30' 00"
SME/EMS
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CHF: 49.00
Edu Haubensak
Sechs Walserminiaturen (1996)
for soprano and violin
The aphorisms of Robert Walser (he calls them phrases) unexpectedly caught my attention during nightly readings of his prose. The resulting compositional sketches, all of which were produced in one day, were graphically and verbally fixed (drawn), later interpreted (crystallised) and then precisely notated. The melodic steps of the female voice are often microtonal and are to be performed in the tiniest of intervals in accordance with the interpretation of the texts. In the sixth miniature the violin is retuned resulting in new, profound harmonic situations as well as creating friction between the strings and the voice.
To set the texts of Walser to music, to elevate them and endure their depths filled me with an “incredibly intense joy”.

Duration: 8' 00"
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CHF: 18.00
Maria A. Niederberger
Concerto for Oboe and Instrumental Ensemble (1999-2000)
for oboe solo, flute (piccolo), clarinet, horn, harp, two violins, viola, violoncello and double-bass
This piece is suitable for oboe and ensemble but oboe and a small orchestra is preferable. The oboe is very demanding but the harp and horn also play important parts.
Duration: 20' 00"
SME/EMS
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CHF: 57.00
Walter Baer
Concerto for Violin and Orchestra (1987)
(2.2.2.2/2.2.1.0/timp/hp/str)
The violin concerto succeeds thanks to its sonorous and atmospheric sound world, and without a need to rely on traditional forms and structures.
Duration: 17' 40"
SME/EMS
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CHF: 62.00
(violin part available from the SME: Sfr. 12.-; € 8.00)
Rudolf Jaggi
Barcarole (1974)
for violin (or flute) and piano
Duration: 2' 30"
SME/EMS
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CHF: 13.00
(Including violin part)
René Wohlhauser
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"
SME/EMS
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CHF: 47.00
Stefan Werren
Nachtstück (1997)
for violin and piano
Duration: 9' 00"
SME/EMS
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CHF: 26.00
Balz Trümpy
Modale Studien (1992)
for violin solo
Four characteristic pieces based on modal melody.
Duration: 10' 00"
SME/EMS
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CHF: 21.00
Rico Gubler
variationen für viktor, fiori per luigi (2003)
for clarinet, bassoon, horn, violin, viola, violoncello and double-bass
Including the fourth movement of the septet op. 20 by Ludwig van Beethoven.
Duration: 18' 00"
SME/EMS
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CHF: 18.00
(Parts: sFr. 54.-; € 36.00)
Gary Berger
übersetzte Geschwindigkeit (2006)
for piano trio and electronic playback
Duration: 10' 00"
SME/EMS
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CHF: 34.00
Valentin Marti
Pintxo 1 (2007)
for violin solo
The Baskian variant of tapas was the model for this piece: each a work of art in itself, but designed for consumption.
World premiere: 6.5.07, Vevey, Valérie Bernard.
Duration: 1' 00"
SME/EMS
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CHF: 13.00
Urban Mäder
anhaltend (2000)
for a baroque ensemble (altus, tenor recorder, baroque violin, viola da gamba, harpsichord)
Texts: Thomas Locher
Based on text clippings from ‘Das Eine. Das Selbe. Das Gleiche’ by Thomas Locher. Introduction and dance that allow the baroque elements to shine through. Tonally subtle and transparent music. Typical baroque performance technique combined with a variety of contemporary experimental (noisy, brittle) playing methods.
Duration: 8' 00"
SME/EMS
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CHF: 23.00
Rudolf Jaggi
Phase (1975)
for violin (or violoncello) and piano
Duration: 2' 00"
SME/EMS
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CHF: 13.00
Pierre Thoma
Ton sur ton 3 (1992)
for violin and clarinet
Duration: 5' 30"
SME/EMS
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CHF: 18.00
Edu Haubensak
Vertikale Horizonte (1998)
Quartet
for flute (bfl), clarinet (cl-a), violin and violoncello
Duration: 8' 00"
SME/EMS
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CHF: 23.00
Kit Powell
Sextett (2000)
for clarinet, bass clarinet and string quartet
Duration: 11' 00"
SME/EMS
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CHF: 39.00
(Parts: sFr. 38.-; € 38.-)
Alfred Knüsel
Drei Konzertante Stücke: 1. Spielplan (1997)
for violin solo, strings and percussion
It is possible to perform the ‘three concertante pieces’ separately but they are also meant as a cycle with the following order: ‘Spielplan’ - ‘Schwebende Zentren’ - ‘Wendepunkt’ where a movement from J.H.F. Bibers ‘Mysterien-Sonaten’ or J.S. Bachs ‘Sonaten und Partite’ is interposed between ‘Spielplan’ and ‘Schwebende Zentren’ and ‘Schwebende Zentren’ and ‘Wendepunkt’.
Duration: 6' 00"
SME/EMS
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CHF: 34.00
(3 concertante pieces: sFr. 48.-; € 48.-)
Regina Irman
Ten short pieces based on motives by Bach and Biber (2004)
for (Baroque) violin solo
Duration: 10' 00"
SME/EMS
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CHF: 26.00
Rudolf Jaggi
6 Bagatellen (1977)
for flute, violin and violoncello
Duration: 10' 30"
SME/EMS
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CHF: 21.00
Thomas K. J. Mejer
Einmal ich und du: Die Bombe im Herzen (1995-1999/05)
Cycle of "songs" after poems by Ludwig Fels
for flute (afl, pic), clarinet (bcl) and piano trio
N° 1: Elegische Ballade
N° 5: Sterbenswort
N° 10: Sexuelle Panik
Duration: 10' 00"
Manuscript
CHF: 52.00
Alfred Knüsel
Drei Konzertante Stücke: 2. Schwebende Zentren (1997)
for violin solo, strings and percussion
It is possible to perform the ‘three concertante pieces’ separately but they are also meant as a cycle with the following order: ‘Spielplan’ - ‘Schwebende Zentren’ - ‘Wendepunkt’ where a movement from J.H.F. Bibers ‘Mysterien-Sonaten’ or J.S. Bachs ‘Sonaten und Partite’ is interposed between ‘Spielplan’ and ‘Schwebende Zentren’ and ‘Schwebende Zentren’ and ‘Wendepunkt’.
Duration: 6' 00"
SME/EMS
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CHF: 21.00
(3 concertante pieces: sFr. 48.-; € 48.-)
Raymond Vauterin
Connivence (2005)
for violin and guitar
Duration: 14' 00"
SME/EMS
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CHF: 31.00
Eric Gaudibert
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"
SME/EMS
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CHF: 18.00
Jean-Jacques Dünki
Kammerstück VI (1989)
for violin (viola) and ten instruments (1(pic).1(obda,ca).2(Ebcl,bthn).1/1.0.1.1/1perc/pf)
In the first and at the end of the fifth movement the solo violin switches to viola.
Duration: 21' 00"
SME/EMS
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CHF: 62.00
Laurent Mettraux
Duo, M. 540 (1996)
for violin and alto saxophone
The parts are balanced well to ensure the saxophone doesn't cover the violin. Four movements: appassionato, rêveur, energico and intérieur.
Duration: 11' 00"
SME/EMS
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Schweiz
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CHF: 23.00
Alfred Knüsel
Drei Konzertante Stücke: 3. Wendepunkt (1997)
for violin solo, strings and percussion
It is possible to perform the ‘three concertante pieces’ separately but they are also meant as a cycle with the following order: ‘Spielplan’ - ‘Schwebende Zentren’ - ‘Wendepunkt’ where a movement from J.H.F. Bibers ‘Mysterien-Sonaten’ or J.S. Bachs ‘Sonaten und Partite’ is interposed between ‘Spielplan’ and ‘Schwebende Zentren’ and ‘Schwebende Zentren’ and ‘Wendepunkt’.
Duration: 6' 00"
SME/EMS
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CHF: 29.00
(3 concertante pieces: sFr. 48.-; € 48.-)
Vladislav Jaros
Ungarische Rhapsodie (2006)
for flute (or violin), bassoon (or bass clarinet or violin) and piano (or harp)
A varied music full of life with an Hungarian rhythm.
1 - fl.bn.hp
2 - fl.bn.pf
3 - fl.bcl.pf
4 - v.vc.pf
Duration: 12' 00"
SME/EMS
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CHF: 36.00
Laurent Mettraux
Concerto n. 1, M. 544 (1996)
for violin and orchestra (2(pic).2(ca).2(bcl).2(cbn)/2.0.0.0/str)
In two parts, the first is sad and tragic, with a cadenza almost at the beginning; the second ruminant and deep. It disappears in the end towards the high in the solists part, towards the low in the orchestral and towards silence.
Duration: 13' 00"
SME/EMS
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CHF: 34.00
(Seperate parts: sFr. 12.-; € 12.-: reduction for violin/piano: sFr. 16.-; € 16.-)
Edu Haubensak
Locomozione (2000)
for violin, viola and percussion
Duration: 16' 30"
SME/EMS
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CHF: 31.00
Urban Mäder
Das Eine. Das Selbe. Das Gleiche (2002)
for voice (altus), recorder(s), violin, gamba and doublebass
This project is a collaboration between video art and a musically open play disposition in the room. Based on a text by Thomas Locher, with the Scappatella Ensemble and the video artist Judith Albert.
CD and video with the composer.
Duration: 50' 00"
SME/EMS
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CHF: 31.00
(CD and Video available from the composer)
Rudolf Jaggi
Consolation (1978)
for clarinet and string quartet
Duration: 3' 00"
SME/EMS
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CHF: 13.00
(Parts: sFr. 10.-; € 6.60)
Balz Trümpy
Passacaglia und Walzer (1997)
for tuba, string quartet and piano
A series of variations over a bass result in a cathartic waltz.
Duration: 7' 00"
SME/EMS
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CHF: 23.00
Ruedi Debrunner
Musaka Songs (2003)
Praphrase of Cameroonian hymns
for precentor (m/f), monophonic choir, oboe, clarinet, bassoon, violin, violoncello and double-bass
Duration: 18' 00"
SME/EMS
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CHF: 62.00
(Parts: sFr. 73.-; € 56.-)
Rico Gubler
Turnaround (2005)
for wind and string quintet (fl.ob.cl.bn/hn/2.1.1.1)
Evening News - Summertime - Today Special - Meteo - Sonntag 03.17 Uhr MEZ - Breaking News.
Duration: 12' 00"
SME/EMS
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CHF: 60.00
Burkhard Kinzler
Fragment &Entrückung (2011)
for mixed choir, transverse flute, 2 oboes, bassoon, 2 violins, viola, cello, violone
Texts: Antonia Bertschinger

Duration: 25' 00"
SME/EMS
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CHF: 86.00
Balz Trümpy
Concert (1997-1998)
for violin and orchestra (3.3.3.3/4.3.3.1/hp/10.8.6.8.4)
Duration: 27' 00"
SME/EMS
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CHF: 91.00
Thomas K. J. Mejer
Barockengel im Schuss (2001)
for counter tenor, recorder, violin and viola da gamba
Duration: 8' 00"
SME/EMS
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CHF: 31.00
Thüring Bräm
Krajiny Snu (1992)
for piano trio, chamber orchestra (2.2.2.2/2.2.0.0/str) and one crotale
The title 'Krajiny Snu' means 'dreamlandscape' and represents shreds of the composers associations with his work as a conductor from 1985 to 1995 in Pardubice. This work, originally dedicated to the 'Guarnieri Trio', Prague and the Pardubice Chamber Phillharmonic, enriches the category of concert for piano and orchestra.
Duration: 17' 00"
SME/EMS
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CHF: 55.00
Balz Trümpy
Turn around (2001)
for violin solo
For the 75th birthday of Hansheinz Schneeberger
Duration: 1' 40"
SME/EMS
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CHF: 13.00
Edu Haubensak
Vier Saiten (2003)
for violin solo (scordatura)
Duration: 5' 30"
SME/EMS
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CHF: 21.00
Urban Mäder
Gesten - Nichts (2004)
Concert piece
for choir (SATB), violin, double bass and organ
Commissioned by the Cantorin Contenti Zug. Even though the starting point for this composition is texts from Bach's "Jesu, meine Freude", "Gesten - Nichts" still remains a rudimentary music of sound and noise.
Duration: 14' 00"
SME/EMS
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CHF: 23.00
Burkhard Kinzler
In nomine (2012)
for mixed vocal / instrumental ensemble (SATB, 3rec, acn, vn, va, vc, db)
Five compositions by Old English composers (Taverner, Picforth, Bull) are adapted and partly altered compositionally.
Duration: 25' 00"
SME/EMS
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CHF: 70.00
Hansruedi Willisegger
Choralvariationen (1964)
for violin and organ
Duration: 6' 30"
SME/EMS
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CHF: 16.00
Martin Wendel
Duo für Violine und Gitarre in drei Sätzen, op. 44 (1984)
The sound character of this piece is balanced and aligned with the gentle tone of the guitar.
Duration: 7' 00"
SME/EMS
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CHF: 23.00
Max E. Keller
Konfigurationen II (1989)
for alto and instrumental ensemble (flute, clarinet (bass clarinet), violin, violoncello, percussion and piano
Texts: Franz Hohler, Hansjörg Schneider, Jürg Schmied, Sascha Anderson, Max E. Keller
Eight texts, different in kind, from poetry to excerpts from military regulations. Theme: order fetishism as a contrast to a chaotic, self-destructive world. Authors: Franz Hohler, Hansjorg Schneider, Jürg Schmied, Sascha Anderson, Max E. Keller.
Duration: 16' 00"
SME/EMS
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CHF: 39.00
Balz Trümpy
Intertwined Paths (2001-2002)
Six pieces
for violin solo
1. Interweave
2. Turn around
3. Up and down
4. Spread out
5. Descending
6. Taking turns
These six pieces form an associated cycle, each of them represents the idea of a motion sequence in an imaginary sound room. It is about the tensile progression of movement and its form of expression - reaching from forging ahead to tentative exploration, from calmly flowing to clouded volatility. The sound room itself connects the six pieces in a labyrinthine way. ‘Intertwined Paths’ has been written on the request of Hansheinz Schneeberger and is dedicated to him.

Duration: 16' 00"
SME/EMS
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CHF: 23.00
Alfred Felder
Mullah Nasrudin (2007)
for violin solo
Mullah Nasrudin is simultaneously a sage, a fool, a master, a beggar, a magistrate, a teacher and a doctor figure in the Arabian tree. He appears in many stories, each of which can be perceived as superficial and funny but also contain a hidden proposition. It is for the latter reason that the stories of Nasrudin are deeply anchored in the tradition of Sufism (Islamic mysticism) where the Sheikhs use them as teaching stories for their dervishes. The first written reference of such a Nasrudin story can be found as far back as the 13th century. The name Nasr ed-Din means "victory of the faith". Nasreddin is always in the Muslim faith!
A historical Nasrudin most probably lived between the 13th and 14th centuries in Anatolia or Persia where he worked as a spiritual teacher. Konya in Turkey and Iran are his probable last resting places. As with other people from tradition, the present day Nasrudin is not an authentic historical perso. He is known in all Islamic regions, including Afghanistan, Iran and Tadzhikistan with many local miracles being ascribed to him.
Duration: 6' 00"
Manuscript
CHF: 16.00
Vladislav Jaros
Due minuti capricciosi (2009)
for saxophone, bassoon, violin, violoncello, guitar, piano and percussion
A very turbulent piece. Hasty, breathless tempo.
Duration: 2' 00"
SME/EMS
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CHF: 26.00
Alfred Knüsel
gezogene Klänge (2000)
Six part work block
for double-bass solo and chamber ensemble (1(pic).1.1.1(cbn)/1.0.0.0/perc/pf/2vn.va.vc)
Duration: 20' 00"
SME/EMS
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CHF: 65.00
Max E. Keller
Swissfiction (1990)
Musical theatrical scenes
for four actors(esses), four musicians (fl.ob.cl.vn) and a four-channel electronic tape
Texts: Alex Gfeller
Based on Alex Gfellers story 'Das Komitee'.The cities of Switzerland are contaminated, be it with poison or radioactivity, the ozone layer is depleted many paths leading to destruction have long been foreseeable. Only few have survived and sit vegetating in their shelters underneath the ruins of earlier prosperity. Some have already mutated, others live in a world of delusion.
Duration: 30' 00"
SME/EMS
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CHF: 34.00
Rico Gubler
RIT (2007)
for horn in F, violin and piano
Duration: 9' 00"
SME/EMS
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CHF: 73.00
(Parts included)
Rudolf Jaggi
6 Intermezzi (1984)
for two violins, violoncello and clarinet
Duration: 8' 00"
SME/EMS
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CHF: 23.00
Walter Baer
Cantus Gemellus (2005)
concert
for two solo violins and chamber orchestra (1.1.2.1/2.0.0.0/glock/str)
Duration: 10' 00"
SME/EMS
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CHF: 29.00
Jacques Demierre
Nous ici (1993)
for voice, flute, clarinet, violin, violoncello and piano
Texts: Jacques Roman
Three main 'characters'. A text by Jacques Roman based on African rhythm organisation and inspired by the solo fragments of jazz saxophonist Charlie Parker.
Duration: 13' 00"
SME/EMS
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CHF: 70.00
Stefan Werren
Nachklang (2002)
for violin and violoncello
Duration: 4' 00"
SME/EMS
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CHF: 16.00
Hansruedi Willisegger
Quartet (1966-1967)
for flute, clarinet, violin and violoncello
Duration: 20' 00"
SME/EMS
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CHF: 34.00
Henri Scolari
Monos (1981)
for violin solo
Duration: 11' 00"
SME/EMS
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CHF: 21.00
Hans-Jürg Meier
Schwärme von Lichtfischen (2008)
for 6 pianos and 8 pairs of high instruments (flutes, clarinets, trumpets, cornets, harps and violins)
Spatial composition based on a text by Elisabeth Binder (from "Orfeo"). For students.
Duration: 8' 30"
SME/EMS
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CHF: 21.00
(Stimmen beim Autor)
René Wohlhauser
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"
SME/EMS
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CHF: 65.00
Balz Trümpy
Duetti Concertanti (2004-2005)
for violin and violoncello
The reference to old forms and techniques stands in dialectical tension to the expressive complexity of the four pieces.
Duration: 22' 00"
SME/EMS
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CHF: 44.00
Michel Hostettler
Diptyque (1991)
for violin and orchestra
Duration: 17' 00"
SME/EMS
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CHF: 60.00
(Parts available from SME)
Jacques Demierre
Max and Moritz (1996)
for speaker, flute, clarinet, violin, viola and violoncello
Texts: Wilhelm Busch
Musical version of the adventures of those two likeable rascals...
Duration: 20' 00"
SME/EMS
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CHF: 57.00
Laurent Mettraux
Concerto n. 2, M. 579 (1998)
for violin and string orchestra (6.6.4.4.1 or 2)
First movement is virtuosic and passionate, the second quiet and ruminant and the third dynamic. The particularly expressive cadenza is at the end of the second movement.
Duration: 19' 00"
SME/EMS
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CHF: 62.00
(Reduction for piano: sFr. 36.-; € 36.-; violin part: sFr. 18.-; € 18.-)
Jean-Jacques Dünki
Romance pour Violon solo (romance for violin solo) (1995)
With viola (ad libitum) in the last movement.
Duration: 6' 00"
SME/EMS
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CHF: 16.00
Hans Eugen Frischknecht
Quintett (1999)
for flute, clarinet, violin, violoncello and piano
A multi-part composition with contrasting parts.
Duration: 16' 00"
SME/EMS
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CHF: 39.00
Alfred Knüsel
fünf Extreme eines dynamischen Moments (2006)
Trio
for trumpet and two violins
Duration: 17' 00"
SME/EMS
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CHF: 29.00
Edu Haubensak
Octaves for Two (2011)
for violin (scordatura) and piano
Duration: 20' 00"
SME/EMS
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CHF: 34.00
Rudolf Jaggi
Pastorale (1989)
for violin and piano
Duration: 3' 00"
SME/EMS
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CHF: 16.00
Thüring Bräm
Piccoli Stagioni (1997)
for piano trio, flute and singing voice
Texts: Anna Maria Bacher
Four seasons poems by the poet Anna Maria Bacher from Pomatt in the Italian version; short, transparent pieces.
Duration: 7' 00"
SME/EMS
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CHF: 31.00
Hans-Jürg Meier
locus (2012)
for melodica and objects, saxophone (bar, a) trombone, violin, viola, double bass and voice (soprano)
Texts: Hadrian
A trip to and into the Pantheon in Rome in four parts: Tympanon,
Pronaos, Innenraum, Opaion. The performance places the Endless Column in Targo Jiu by Constantin Brancusi into the Pantheon.
Duration: 14' 00"
SME/EMS
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CH-6000 Luzern 7
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CHF: 52.00
Max E. Keller
Walk-Music (1994)
for flute, violin, guitar and percussion
Each of the musicians follows his/her own course, whereby each independently repeats and varies a single sequence: Isolation, without contact, narcissism - sign of the times...
Duration: 11' 00"-15' 00"
SME/EMS
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CH-6000 Luzern 7
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CHF: 16.00
Edu Haubensak
Octaves for Four (2013)
for piano quartet
Violin, viola and violoncello in scordatura.
Piano in tempered tuning.
Duration: 19' 00"
SME/EMS
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CHF: 42.00
Michel Hostettler
Digitales (1990-1994)
5 pieces
for two violins
Duration: 14' 00"
SME/EMS
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CHF: 23.00
Michel Hostettler
Prologue, Eglogue, Epilogue (1996)
for clarinet and violin
Duration: 9' 00"
SME/EMS
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CHF: 18.00
Max E. Keller
Nononono (1996)
for violin solo
Seven elements are developed into a combination according to the pattern A, AB, ABC,... and then once again reduced. This simple process is superposed and counterpointed with other structures in which dynamic and differentiation are of particular importance.
Duration: 7' 00"
SME/EMS
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CHF: 16.00
Hans Eugen Frischknecht
4 Stücke (4 pieces) (2002)
for violin and piano
The two instruments face each other as equals, once the violin dominates, then the piano. These pieces can also be performed seperately.
Duration: 9' 00"
SME/EMS
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CHF: 18.00
Jean-Jacques Dünki
Jumelles (1998)
for violin and organ
Duration: 5' 00"
SME/EMS
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CHF: 16.00
(Violin part: SME sFr. 10.-; € 6.60)
Eric Gaudibert
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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Eric Gaudibert
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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Hans Eugen Frischknecht
Quartett (2005)
for flute and three strings (vn, va, vc)
This work lives for the most part from the contrast between the flute and the three string instruments. The string players sit during the performance and the flutist stand behind them.
Duration: 11' 00"
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Max E. Keller
Integration I (1998)
for string quartet and improvisations trio
This work leaves behind the identity of the classical tradition and its strengths (string quartet is widely notated; frequent free improvisation from the jazz tio (saxophone, piano and percussion)) and brings them together only there where real points of contact exist. Integration II and III are conceived in a similar way.
Duration: 14' 00"
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Michel Hostettler
Khourounk Deghere (2000)
Psalm 130 (129) in Armenian
for soprano solo, English horn and four strings
Duration: 8' 00"
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(Parts available form SME: sFr. 20.-; € 13.50)
Michel Hostettler
Musing (2000)
for violin and piano
Duration: 3' 00"
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CHF: 16.00
Balz Trümpy
Komm, o Tod, du Schlafes Bruder (2012)
for mixed choir, violin and 4 tom toms
After a choral melody by Johannes Crüger and a Teton Sioux melody. A Baroque longing for death vis-a-vis the Teton Sioux's unconditional will to live.
Duration: 6' 00"
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Eric Gaudibert
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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Max E. Keller
Sans cesse (2001)
for oboe, bassoon, horn, trombone, violin, viola, violoncello and double-bass
Duration: 9' 00"
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Max E. Keller
Fern(seh) - Mitleid (2001)
for soprano and violin
Texts: Max E. Keller
A contribution to the 'Zepernicker Liederbuch', 2001.
Duration: 4' 00"
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Max E. Keller
Schnitt-Muster (2002)
for flute, clarinet, piano, percussion and string trio
Sometimes completely different musical types or structural samples are set aside each other in a similar way to the effect achieved while zapping through television channels, sharp cuts which seem at first random are yet intentional. Even the other meaning of ‘cut-sample’, the prefabrication of something based on a template or the stereotypical also receives acknowledgement through the mimicry of musical styles. In this manner various fields of popular music are touched upon - even contemporary music cannot escape.
Duration: 7' 00"
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Eric Gaudibert
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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CHF: 31.00
Max E. Keller
Unione e tremolo (2002)
for violin and viola
Conceived for a world premiere in the Gobi desert, this piece must be extremely desert-proof. Unisono and octavel sound doubling forms the initial starting point. This, on the one hand side, turns a contemporary music taboo into material and brings the sound and the drifting apart of the duo into play on the other.
Duration: 5' 00"
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Urs Peter Schneider
Robert Walser Trilogie III,1: Die Liebe in den leichten Worten (2003)
Two Albumleaves
for fidel and gamba (or two slightly differeing instruments)
A last cycle, which mirrors the first in many ways, based closely on restructured texts by the poet. "Die Liebe in den leichten Worten" continues semantic distraction in unsophisticated seconds, deceptive and beautiful; "Kanal" is a conceptual composition, creating artificial folklore, and sentences of a piece of prosa, quasi idyllic continuation (the composer himself has created one version); "Das leichte End in Bern" is to be scored in a monochrome fashion with six identical instruments. It tells of disappearance into anonymity, of poltergeists and much more; it is dedicated to the performer Eva Fuhrer.
Duration: 5' 00"
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Michel Hostettler
Trio (2006)
for violin, violoncello and marimba
Duration: 9' 00"
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Parts available fromSME: sFr. 26.-; € 17.-)
Max E. Keller
Löwen Löwen (2004)
for soprano and violin
Texts: Klaus Merz
In laconic, melancholic and simultaneously playfully poetic miniatures Klaus Merz mirrors in ‘Löwen Löwen’ surprising facets of the much praised lagunal city of Venice. Profound ambiguity is the point of departure for this musicalisation which partly proceeds as if on two levels before reuniting unawares.
Duration: 11' 00"
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Michel Hostettler
Trio (2009/12)
for violin, viola and violoncello
Janus — Oiseau-lune — Petite pomme rouge.
Duration: 17' 00"
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Max E. Keller
nel pomeriggio (2006)
for baritone saxophone and string quartet
A comfortable afternoon in a dusty café: as in times past, a string quartet plays a waltz that nobody listens to, a never-ending, continuously repetitive violin melody and an almost imperceptibly shifting accompaniment. Added to this is a completely inappropriate baritone saxophone - sometimes blending in, sometimes detached and sometimes obstinately defiant. Suddenly a bang! And everything collapses into shadowy ruins.
Duration: 7' 00"
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(Parts available from the composer)
Max E. Keller
Eingriffe (2006)
for flute, clarinet, piano, violin, viola and violoncello
The initial material consists of two melodies and two rhythmical sequences; these can be varied causing their superposition's to result in a countless number of related musical forms. The recurring formal idea is the "undampered clew": a dense, wide mesh that thins out then squeezes itself into the centre of the sound space. In this clear, goal-orientated process, diversity is encroached upon: three instruments temporarily break out of the process, colourful accents engage with the continuous mezzo forte, the process stops momentarily, the residual viola tips over into the realms of noise etc.
Duration: 12' 00"
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Max E. Keller
gebündelt und ausfasernd (2007)
for flute, clarinet (bcl), violin and piano
"gebündelt" (clustered) initially means the beginning together of different chords of varying duration, which then either die out, collapse or very quietly drift ("ausfasern"), that is to say dissolve in short, soft movements. The chords are in the forte range and vary throughout the composition with respect to dynamics and internal movement, repeating rhythms and timbral changes. The drifting ("ausfasern"), is also formed in a multifarious manner, but always remains in the quiet range.
Duration: 10' 00"
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Max E. Keller
concertare e improvvisare (2007)
for flute, oboe, clarinet (bcl), violin, viola, violoncello and improvising piano
This work contrasts notated music with improvised music. The sextet is extensively notated; the piano merely has several verbal suggestions. There are, however, also moments of improvisation in the sextet where, for example, each instrument initially and independently of the others repeats a phrase, which gradually changes following verbal instructions. Each begins this process with great intensity, playing as loud and as quickly as possible – very much in the style of early free jazz.
Duration: 14' 00"
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Michel Hostettler
Psaume 137 (2012)
for baritone, female choir, violin and organ
Duration: 8' 00"
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Rudolf Jaggi
Automne à Gadagne (2007)
for alto recorder (or flute or violin) and piano
Duration: 2' 00"
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Max E. Keller
accent - figure - layer (2008)
A project between improvisation and composition
for bass clarinet/tenor saxophone, percussion, piano, violin, viola and double bass
The wide scope between improvisation and composition is calibrated. There are, however, no long notated passages but form sequences, short notated phrases as starting points, verbal instructions and graphics - right through to improvisation as one extreme. The musical material is based on the archetypal elements 'accent', 'figure' and 'layer' as mentioned in the title. The through-composed parts "unione e tremolo" for violin and viola (movement II) and the violin solo "NONONONO" (movement VII) are inserted between the six movements as the other extreme.
Duration: 58' 00"
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Max E. Keller
hasten und warten (2008)
for violin and live electronics
The volatile and varying movements of everyday life, a little like the "stop and go" of traffic, provides the basic feeling of tempo for modern times. Irregular rhythms in music are a reflection of this. In "Hasten und Warten", this is taken as the model for the form. The change between stop and go is regular, however, the duration of each section is irregular, ranging from 1 second to 83 seconds. The violin and electronics do not always ride parallel but also in opposition: the violin remains static and the electronics give the impulse or vice versa. The movement contrast does not appear thus in succession but also contrapuntal in simultaneity.
Duration: 7' 00"
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Max E. Keller
Trio fluido (2009)
for violin, violoncello and piano
Here we have three different elements that flow (a word used in its broadest sense): sustained sounds, wide-reaching melodies and an often repeated phrase from Swiss folk music. These elements are not only varied extensively, but also superimposed. Every so often, short and sometimes very strong opposing figures appear, occasionally cristalising out of the flow. Such opposing figures also form the finish, which leads into another world.
Duration: 7' 00"
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Max E. Keller
Peanuts (2009)
for flute, clarinet, violin, viola and violoncello
Peanuts are trivialities, in this case a 3-minute scherzo for the 30th birthday of the Theater am Gleis. The well-known bebop piece "Salt Peanuts" is quoted in this work.
Duration: 3' 00"
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Max E. Keller
Wendepunkte (2009)
for piano, percussion and string quartet
For advanced amatuers.
This piece was composed for the music Matura. The education of young people is the same for all until the Matura stage. Here, at the first major turning point in their lives, individuals must decide which direction they wish to take. Thus the 'turning point' became one fundamental concept behind this work, walking together and walking alone became another. They are processed on various levels - both on the quasi-motif and the formal.
Duration: 13' 00"
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Max E. Keller
Il filo (2009)
for violin and horn
Il filo (the thread) is the name of the underlying theme: the sustained note, from which other things slowly emerge, split off or even oppose. The two instruments start unisono while the sustained tone soon gets rhythmized and played around by a second tone. They veer away from the unisono to find themselves reunited on the same note after various phases. In the final part both spin together or alternately on the same thread, leave it, play around it and give it individual colours.
Duration: 5' 00"
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Max E. Keller
Où est le roi? (2010)
for flute, violin, violoncello and organ
1747: King Friedrich II challenged J.S. Bach to create a 3-part fugue over his own fugue theme, which resulted in 'The Musical Offering'.
2010: The Schweizer Kammerensemble challenged five very different composers to work with the same fugue theme. I transformed it with a contemporary edge into a theme consisting of 2 x 12 different tones - in the sense of 12-tone music but with a slight irregularity. The relation to Bach is initially almost imperceptible, a connection can only be drawn from the rhythm and the fluctuation in colour of the noise-like string sounds. The theme undergoes the normal transformations until it finally emerges in quasi purity.
Duration: 7' 00"
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Max E. Keller
ich, du, wir (2010)
for flute, clarinet, percussion, piano, violin, violoncello
Composed for the 25th anniversary of the 'ensemble für neue musik zürich', this short piece attempts to trace the path to togetherness (ensemble), from I to we. A unity is drawn twice from a dense fabric of independent lines, initially on a trill surface and then in unison at the end.
Duration: 1' 00"
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Max E. Keller
Pourquoi (2010)
for speaking violin
This solo piece, based on a text by Anthony Phelps (Haiti/Canada), was composed for the franco-anglais de poésie festival in Paris. The poem broaches the contrast between nature, which is entirely and undoubtedly what it is, and man as a reflective being: Pourquoi. The setting to music of this piece uses this contrast and mirrors it in two structures: long, oblivious sounds and systematically growing structures.
Duration: 5' 00"
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Max E. Keller
Gravuren (2010)
for string quartet and percussion
This composition is based on a process or a figurative concept: one or several lines are engraved into a surface, derived from the opposing string surface and percussion line. Surfaces and lines exist in the most varied of forms, colours, intensities and mutations thereof, and the contrast traverses various grades and forms. By utilising three cardboard boxes, the percussion section is also able to play flat rubbing noises that create an approximation of everyday sounds. The spectrum expands at various points throughout the work when totally different elements are suddenly introduced.
Duration: 7' 00"
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Max E. Keller
wanawizzi II (2011-2012)
for flute, clarinet, violin and violoncello

Duration: 8' 00"
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Max E. Keller
mit Pfiff (2012)
for flute, bass clarinet, piano, violin, viola and violoncello
The leitmotif of this piece is indeed, as the title suggests (Pfiff = whistle), an instrumental whistle by the whole ensemble, which is followed in each case by a kind of echo - be it hard and loud accents or soft chords.
(Trans.: mit Piff also translates as 'with flair' or 'with zing').
Dedicated to the Ensemble Theater am Gleis Winterthur for it's 20th anniversary.
Duration: 2' 00"
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Max E. Keller
Das Tattoo blickt böse (2012)
for soprano and string quartet
Texts: Max E. Keller

Duration: 10' 00"
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Max E. Keller
Keim - con sorpresa (2013)
for flute clarinet (bcl), piano, violin, viola, violoncello
This work develops from a simple kernel on the one hand, and displays surprising aspects on the other. And so the kernel grows exuberantly, quasi-uncontrolled, in unpredictable directions, notes remain surprising - like mistakes - enduring to form a surface of contrasts. Suggestions expand into preludes, after beats into codas; the surfaces become noise-like. These surfaces dominate from the middle part onwards, and the kernal fragments and repeats, simultaneously rising up as a pulse. In addition to the little surprises, four structures are spliced in, none of which have anything to do with the kernel: sorpresa.
Duration: 12' 00"
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Max E. Keller
Al borde del abismo (2013)
for violin and piano
That literature has more to do with the author than they wish to think is rarely disputed. But music too can be directly linked to a person's situation. Following a medical examination, I was left teetering on the edge of an inner abyss. This led to the creation of four excerpts, the sounds of which hang as if lost in tonal space and wither into noise. Two contrasting parts were then inserted: Emergent, quick, repetitively varied movements, which ultimately solidify again without consequence. From this, the music is twice again liberated in different ways before wild accelerando results in the instruments terminating abruptly.
Duration: 9' 00"
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Hansruedi Willisegger
Passionierte Violinistin (1989/92)
for coloratura Soprano, violin, oboe (musette) and percussion
Texts: Hans Erni
Based on a picture by Hans Erni.
Duration: 9' 00"-15' 00"
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Ernst Pfiffner
8 Gesänge nach Gedichten von Bettina Ruchti (2010)
for soprano and violin
Texts: Bettina Ruchti
Duration: 11' 00"
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Hansruedi Willisegger
Wachet auf, ruft uns die Stimme (1992)
for violin solo
Duration: 5' 00"
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Frédéric Perreten
Pièce sans titre (2008)
for violin solo
Duration: 5' 00"
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Urban Mäder
Ballast (2009)
for flute, clarinet, violin, violoncello, piano and percussion
Three movements: gestaut, dickflüssig, überschwappend.
Duration: 12' 00"
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CHF: 42.00
Cécile Marti
hidden (2011)
Duo
for violin and cello
This piece was commissioned by Gare du Nord Basel. The commission was to write a musical 'work commentary' on Nikolai Rimski-Korsakow's Scheherazade.
The piece focusses on the two protagonists from the 1001 Nights saga, namely the Scheherazade and the Sultan Scharyar, which Korsakow mirrors with two main themes. The duo follow these themes with the minutest intervals. A duality gradually develops from a supposed unity without actually ever leaving the combined sound corporeality.
Duration: 13' 00"
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Thomas K. J. Mejer
Princes' 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:
Wickedly
Obscured Beautiful
Insisting
Seductive
Concealed
Duration: 13' 00"
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