De-Qing Wen
vent et neige dans la nuit
for pipa and string quartett

CHF: 18.00

De-Qing Wen
Petit Chou (Small Cabbage) (1997)
Variation
for Er hu (Chinese violin) and string quartet
'Petit Chou' is a Chinese folk song telling the sad history of a little girl who carries this name. This song is composed of six bars with each one forming the object of a variation. The complete theme is only apparent at the end of the piece.
Duration: 13' 00"

CHF: 24.60

De-Qing Wen
Ballade (1998)
for pipa (Chinese lute) and string quartet
The musical material is based primarily on the superposition of the intervals of fourths, second major and fifth, like the tuning of the pipa in A, D, E, A. The string quartet imitates the pipa in its play and thus creates an ambiance that intermingles two types of instruments.
Duration: 10' 00"

CHF: 20.40

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"

CHF: 57.00

De-Qing Wen
Wind and Snow in the Night (2002)
for pipa (Chinese lute) and string quartet
Duration: 8' 00"

CHF: 23.00

Urban Mäder
Windstriche II (1999)
for shakuhachi and seven flute players (instrumentarium: pic.fl-f.4fl-c.afl-g.bfl-c.bfl-f.cbfl-c)
Four movements. Four differing attempts to combine the soloistic Japanese Zen flute, the shakuhachi, with the european transverse flute.
Duration: 14' 00"

CHF: 47.00

Valentin Marti
Flügelschläge (2006)
for pipa solo
3 character pieces.
WP: 21.1.08, Lausanne, Lingling Yu
Duration: 3' 00"

CHF: 16.00

De-Qing Wen
Les saules ne se plaignent pas aux sons de la flûte (2002)
for xiao (chinese flute) (or flute), bottles, crystal glasses and percussion (14 players)
Duration: 6' 00"
Manuscript

CHF: 21.00

Valentin Marti
In der Kälte des tauenden Eises (2006-2007/09)
for pipa, violoncello and clarinet
A work for two European instruments (clarinet and violoncello) and one Chinese instrument (pipa).
The title describes a non-stable state out of which various musical and cultural developments are possible.
Duration: 7' 30"

CHF: 26.00

De-Qing Wen
Traces IV (2004)
Concerto
for suo-na, calligraphy and large orchestra (3,3,3,3- 4,3,3,1 - perc(4), hp, pno - 12,10,8,8,6)
Duration: 16' 00"

CHF: 54.70

De-Qing Wen
Traces V (2005)
Concert
for erhu and traditional Chinese orchestra
Duration: 22' 00"

CHF: 66.70

Felix Baumann
Baustelle Dialog (2011)
for shakuhachi and (Baroque) violin

Duration: 15' 00"

CHF: 16.20

De-Qing Wen
Spring, River and Flowers on a Moonlit Night (2006)
for pipa (Chinese lute) and chamber orchestra (1.1.1.1/1.1.1.0/perc/hp.pf/2.1.1.1)
Duration: 18' 00"

CHF: 64.70

Valentin Marti
Desert Winds (2010)
for Erhu, Pipa and Guzheng
Duration: 8' 00"

CHF: 26.00

De-Qing Wen
Moving Ants (2006)
for four pipas
The theme is derived from a children's song sung in my hometown of Shuiji, which I sang over and over again when I was a little child and had so much fun watching the ants busily moving around. The four different layers constitute a complex texture, moving at four different speeds. The sound of the music is endowed with sound density and tension, great vibrancy and exuberant feelings in the tightened harmony of the 1/6 tones, an endless flowing of rhythms and variety of forces.
Duration: 9' 00"

CHF: 22.80

De-Qing Wen
The Sound Shining (2009-2010)
for erhu and ensemble (erhu, fl, cl, ob, tbn, perc, pf, 2v, va, vc)
Sun Wenming (1928-1962) was a blind but great Chinese folk erhu player and Avant-garde composer, whose playing techniques and cutting edge ideas in timber can hardly be matched even in the modern times and whose composition based on the harmonic series was fully 20 years earlier than the Spectral Music in France.
His erhu Solo The Double Erhu Sounding is quoted in this piece as its second theme while its pitch materials derive from its erhu tuning tones of G and D and their harmonic series and distortions.
Duration: 12' 00"

CHF: 64.20

De-Qing Wen
The Tender Language of Wu (2011)
for guqin, pre-recorded tape and string quartet
Commissioned by the Guqin player Ms. Dai Xiaolian, I composed "The Tender Language of Wu" for guqin, pre-recorded tape and string quartet. The tape recording was completed with the help from Suzhou native students Li Mingyue, Zhou Heqing, Lu Wenyi and Gu Yunyu from the Musicology Department of Shanghai Conservatory of Music and Zhang Shichao from the Composition Department of the same school.

Suzhou dialect is often considered to be soft, light, and flowing, therefore given a good name Wu nong ruan yu , which literally means "The Tender Language of Wu". Guqin and western string instruments are both characteristic of gentleness and elegance. I had intended to create a dialogue between these different factors by integrating the ancient Chinese and western string instruments with the tender language of Wu and modern digital audio technology.
Duration: 10' 00"

CHF: 19.30

Eric Gaudibert
Trivium (2008-2009)
for recorder, pipa and percussion
This is an encounter between 3 instruments originating in different worlds: the Baroque recorder, the pipa (Chinese lute with 4 strings) and modern percussion instruments. The various timbres of the flute (soprano, alto and bass) and percussion instruments (vibraphone, triangle, cymbals, crotales, tam, snare drum, bass drum) merge with those of the pipa.

CHF: 36.00

Rudolf Jaggi
Farigouletto (2013)
eleven folksongs from around the world
for children's choir (1 part with canon) and orchestra (2.1.1.asx.1/2.2.0.0/metal.xyl.whip.3 timp, small dm/str/galoubet.srec.bamboo fl.shakuhachi.tamb.cong.taiko.largdm.shoko.gong.goat bell.cow bell.shamisen.lute
1. Tein minä pillin 2. Daldalan 3. Abendstille überall 4. Farigouleto 5. Janie Mama 6. Toryanse 7. Odvovjala 8. Wir reiten geschwinde 9. Fallealili 10. Mon papa 11. Gang rüef de Brune
Duration: 59' 00"

CHF: 91.00