Recorder

Andreas Zurbriggen
Mondrose Rosenmond (2007)
for tenor recorder and countertenor
Texts: Pierre Imhasly
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CHF: 18.00
Felix Schüeli
7 leichte Miniaturen (1998)
for two recorders guitar and piano
Composed for a school ensemble with circa 1-2 years of musical education.
Duration: 3' 30"
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CHF: 18.00
Hans-Jürg Meier
etwas quintlastig (1993)
for recorder, bass clarinet, viola, violoncello and two percussionists
The melody is expanded in a tower of quints. A row of variations in three parts where the melody sounds as a whole only in the second part.
Conductor is of use.

Duration: 6' 00"
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CHF: 13.00
Raphael Staubli
M(en)uet mit Trio (1987)
for alto recorder solo
Duration: 7' 00"
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CHF: 18.00
Andreas Stahl
sonnetts VIII and LXIV by shakespeare (1990)
for altus, three recorders and percussion
Duration: 18' 00"
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CHF: 23.00
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
Mathias Steinauer
Speculum sibyllinum, op. 9 (1992)
for six voices (mezzo-soprano, altus, 2 tenors, baritone, bass), 5 recorder-players (div. instr.), 6 viola da gambas (2 disc, A, 2 T/B, violone in D) and two percussion
An adaptation of newly found manuscripts written by an anonymous twelfth century composer in the Vatican, in which aspects of the whole of musical history are anticipated. Spatial music.
Duration: 16' 00"
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CHF: 44.00
Hans-Jürg Meier
d'une autre vie (1996)
for tenor recorder, violoncello and vibraphone
Three parts: véhément / paralysé / -.
The recorder requires amplification in parts.
Duration: 14' 00"
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CHF: 29.00
Peter Streiff
Movimento e cadenza (1980)
for tenor recorder
A virtuosic piece, asymmetrical in form. Dedicated to Regula and Conrad Steinmann.
Duration: 10' 00"
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CHF: 16.00
Walter Baer
Desolatio Marsyae (1975)
for three recorders (one player)
The 'Desolation of Marsyas' relates to the Greek saga. The simultaneous playing of two recorders is evocative of the Aulos with its double reed. It is possible to achieve a feeling of the desperate, tricky, competition between the aulete and the Apollon citharode by using various unconventional playing techniques.
Duration: 6' 30"
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CHF: 13.00
Hans-Jürg Meier
fast (1997)
for tenor recorder and violoncello
Annäherungen - Abstossungen - fast ein Zusammentreffen
Duration: 11' 00"
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CHF: 18.00
Hans-Jürg Meier
par le murmure déchiré (1997-1998)
for soprano, three Renaissance recorders, percussion and electronic tape
Texts: Samuel Beckett
Seven poems from the 'Mirlitonnades' by Samuel Beckett form the textual base of this piece.
Duration: 16' 00"
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CHF: 34.00
Valentin Marti
Wurzelholz (2000)
for alto recorder
A continuous expansion of a central sound field, riddled with incursions; knaggy, meditative, continuosly quarter tonal.First performed in Dägerlen, 25.03.00 by Christine Fringeli.
Duration: 6' 20"
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CHF: 16.00
Regina Irman
Spiegeltanz (1993)
for two recorders and one drum
In cooperation with Dieter Jordi and commissioned by Conrad Steinmann for the International Recorder Festival in Basel.
Duration: 4' 00"
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CHF: 18.00
Valentin Marti
Wurzelholz (2000)
for tenor recorder or any other woodwind instrument (alto flute, oboe, tenor saxophone...)
For a different woodwind instrument to the recorder, a somewhat smoother effect because the extreme registers of the recorder have a greater influence on the tone than other instruments with a wider range.
First performed in Wädenswil 04.02.01 by Rico Gubler (tsx).
Duration: 6' 20"
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CHF: 16.00
Raymond Vauterin
Printemps (1997)
for recorder quartet
Duration: 15' 00"
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CHF: 49.00
Alfred Knüsel
Grundzüge eines Themas (1994)
for four recorders (SATB), for two players
Duration: 8' 00"
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CHF: 21.00
Thomas David Müller
Erste Etappe in Richtung farbiger Eindrücke (1999)
for three bass recorders
Part I Partly very simple rhythm, but rich in blowing and fingering techniques. Concept notation.
Part II In space notation based on ‘piangete, ochi miei lassi’ by Sigismondo d’India. Intermediate level of difficulty. Circular breathing ad lbitum.

Duration: 14' 00"
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CHF: 18.00
Felix Baumann
aussprechen (2002)
Trio
for recorder, viola da gamba and harpsichord
'aussprechen' has something installative about it: in apparently endlessly excessive lengths almost nothing happens, which causes inflexibility to appear with quiet humour.
Duration: 15' 00"
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CHF: 34.00
Alfred Knüsel
Sechs Miniaturen als Tafelmusik (1994)
for recorder quartet, string quartet, harpsichord and singing voice
Duration: 10' 00"
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CHF: 34.00
Hans-Jürg Meier
raum (1999-2000)
for percussion, tenor recorder, viola and violoncello
A music that evolves in extended development, for a performance location with a lot of reverberation. An additional tone installation can sound simultaneously.
Duration: 18' 00"
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CHF: 47.00
Hans-Jürg Meier
abermals (2000)
for tenor recorder, oboe, soprano saxophone and bassoon
Four conversational partners embroil, increasingly dramatically and then calm down in a multi-sounding room.
Duration: 10' 00"
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CHF: 34.00
Valentin Marti
Tempio in tre impressioni (2004)
for Rennaissance alto recorder and percussion
'Tempio in tre impressioni' associates three imaginary encounters with the remains of the portico of a Doric temple, each from a different temporal perspective. The percussion consists of a 'Ching' (a Korean gong) or similar instrument, 2 templeblocks, a very high tambourine and a large framedrum.
World Premiere: 24.9.04, Malans, strumentale opera
Duration: 8' 30"
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CHF: 21.00
Thomas K. J. Mejer
O rubor sanguinis (1995)
for alto recorder solo
An antiphon by Hildegard von Bingen is used as the basis of these contemplative works. The composition is notated in 147 breaths. A recorder (440 Hz) and a Baroque flute (415 Hz) play in succession and simultaneously.
Duration: 31' 00"
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CHF: 29.00
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"
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CHF: 34.00
Valentin Marti
Aus der Ferne (2006)
for Renaissance recorder, viola da gamba and harpsichord/organ
In 6 movements. The 6th movement is a modest hommage to György Ligeti:: "Clarity"
Duration: 15' 00"
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CHF: 39.00
Urban Mäder
orten (2000)
for tenor recorder, viola, violoncello and percussion
These three studies of intermediate difficulty are composed for a small resonant room.
Duration: 17' 00"
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CHF: 29.00
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"
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CHF: 23.00
Balz Trümpy
Tahesha (1995)
for flute or recorder (sopranino and alto recorder), violoncello and strings (4.4.2.2.1)
A preliminary instrumental study for the second movement of 'Helios'.
Duration: 12' 00"
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CHF: 70.00
Jürg Frey
Der Mensch gleicht einem Hauche (1993-1994)
for counter-tenor, recorder, viola, violoncello, double-bass and organ
Texts: Bibel / Liturgie
Text: Psalms 144,4.At the heart, danger, desolation, and fragility are what most characterise this piece. The choice of notes is limited, and only collectively can their meaning be known.
Duration: 5' 00"
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CHF: 16.00
Pierre Thoma
Solo (1995)
for solo alto recorder
Alone means isolated, fragile, dominated, enslaved, ignored, silent. Alone also means unique, free, singular, original, liberated, the essence of the element. The fragility of a sound amongst others, of the musician on stage, of these economic, political and cultural minorities, of enslaved or destroyed populations.
Alone also means unique, singular, original, liberated, free.
Duration: 14' 00"
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CHF: 18.00
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"
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CHF: 31.00
(CD and Video available from the composer)
De-Qing Wen
A New legend of Yang Zongbao and Mu Guiying (2008)
for voice and recorder
The hero Yang Zhongbao and his wife Mu Guiying were two of the impressive warriors from the famous historical story in China, Heroic Legend of the Yang's Family, which was set in the Northern Song Dynasty (960-1127). Although as time goes, the social value has been changed and people today easily find incredible and ridiculous what was cherished in the time of Yang Zhongbao and Mu Guiying, they still love the story. That is where the charm of traditional culture lies.
This piece makes the two ancient characters live in today's setting by traveling through time and do what they did in their own time, which is full of humor and wit. Besides, it combines factors of contemporary music with the Chinese traditional form of talking and singing, the arrangement of the tenor and soprano part sung by one male and the artistic appeal of Xi'an dialect and Qin Opera of China.
Duration: 12' 00"
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CHF: 39.00
Thomas K. J. Mejer
Barockengel im Schuss (2001)
for counter tenor, recorder, violin and viola da gamba
Duration: 8' 00"
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CHF: 31.00
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"
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CHF: 70.00
Hans-Jürg Meier
volta bianca (2007)
for recorder quintet (Renaissance instruments)
A fictive walk around the Palazzo Ducale di Urbino, where concerts with early music could also be found.
Duration: 25' 00"
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CHF: 49.00
(Incl. parts)
Urban Mäder
Scurriculum (2007)
for recorder(s) and harpsichord
Eight fragments for recorder(s) and harpsichord.
Duration: 10' 00"
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CHF: 29.00
Edu Haubensak
Chroma 24 (2009)
for Renaissance recorders (8) and gamba consort (5) in meantone tuning
Duration: 14' 30"
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CHF: 23.00
Hans-Jürg Meier
das dasein ist nicht das wesentliche (sestiere - prima lettura) (2010)
for panpipes, transverse flutes, recorders, clarinets, saxophone, horns, trombones, trumpets
Duration: 16' 00"
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CHF: 60.00
Hans-Jürg Meier
herbst (abtasten) (2010-2011)
for 4 alto recorders, guitar, tromba marina, percussion
A tentative musical exploration of the 1907 painting "Herbst (Schule)" by Marianne Werefkin.
Duration: 7' 00"
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CHF: 21.00
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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CHF: 23.00
Balz Trümpy
Sechs archaische Melodien (2009)
for recorder solo
For me the recorder represents a basic layer of music - on one hand because it reminds me of my earliest musical practice and on the other hand it is in its refined tonal simplicity THE melodic instrument per se. In my work "Sechs archaischen Melodien" I composed prototypical melodies in the sense of internal flows of energy such as I imagine them to be as a base for my harmonic modalities. The pieces can be played on different instruments of one's own choice, such that a complete performance is possible with a soprano recorder solo or with different instruments (sopranino, soprano, alto, tenor).

Duration: 12' 00"
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CHF: 31.00
Max E. Keller
Verschmelzungen (Fusions) (2003)
for recorder (alto and bass) and piano
There is rarely a greater difference noted between two instruments regarding sound generation, volume, appearance and aura than between the piano and the recorder. To compose fusions of these two instruments was a challenge which is relayed to the performers who must reach out to the limits of playability.
Duration: 12' 00"
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CHF: 26.00
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.
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CHF: 36.00
Max E. Keller
Les sons perdus (2007)
for three recorders (alto + sopranino, alto + soprano, alto + bass(f))
Since the emancipation of dissonance and the break with tonal music, the third has largely become a taboo, a lost sound. For centuries the foundation of harmony and even today a primary component of popular music, it has been dismissed in art music as the symbol of a pseudo-ideal world. "les sons perdus" attempts to encounter and thematise this impoverishing constraint of sound by using a major third together with a variable additional interval to establish the structure of six formal components.
Duration: 8' 00"
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CHF: 21.00
Rudolf Jaggi
Automne à Gadagne (2007)
for alto recorder (or flute or violin) and piano
Duration: 2' 00"
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CHF: 13.00
Max E. Keller
1968 – und heute? (2010)
for tenor/countertenor and recorder
Texts: Max E. Keller
Three aspects of the 1968 movement in three sections: The USA War against Northern Vietnam caused worldwide protestation, which led in 1975 to the beaten withdrawal of the Americans. Today's united Vietnam is a thriving country and a rich source of mineral deposits. The Shah's visit to Berlin in June 1967 and the shooting of a protesting student by police triggered a further youth revolt in 1968. The Shah was soon forced to stand down and the Islamists picked up the sceptre in a dubious success. In its widest sense, the then ideal of a self-determined yet solidly life gave way to a new conformism and apathy and a bureaucratically regulated society. This setting does not make use of today's ready-made pop idiom, but explores a rather more independent, colourful and diversified musical implementation of this unconventional instrumentation. Voice and recorder often move on different levels by reacting to different textual dimensions. This sound world thus reflects the spontaneity, fantasy and abandon of 68 without the superficial duplication of the textual content.
Duration: 14' 00"
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CHF: 26.00
Urban Mäder
Über Stock und Stein (2010)
Encounters in the alps in 6 movements
for blfl, 2bfl, dulcimer, Swiss acc, acc, pf, vn and fl, cl, pf, vn, vc
Commissioned by the Tonkünstlerfest for the 2010 Lucerne Festival.
Duration: 15' 00"
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CHF: 60.00