Duration: 9' 00"
Manuscript

Colourful sound surfaces alternate with melodic and rhythmically stamped passages.

Duration: 12' 00"

CHF: 27.00

Instrumentation: for mezzo-soprano, alto flute and clarinet

Texts: Wolfgang Borchert, Max Bolliger

Based on poems by Wolfgang Borchert and Max Bolliger.

Duration: 8' 00"

CHF: 14.70

Instrumentation: for alto saxophone

Duration: 9' 00"

CHF: 15.30

Instrumentation: 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"

CHF: 25.30

Instrumentation: for piano solo

Two contrasting expression possibilities of the piano are set against each other: The brilliant, technically orientated 'figure' and the expressive 'gesture, which ultimately transcends the instrument.

Duration: 8' 00"

CHF: 14.00

Instrumentation: for eight voices, electronic organ and synthesizer

Texts: Bibel / Liturgie

A snippet of text from the Catholic Requiem Mass is phonetically 'dissolved', reassembled as loud formations and returned to its original unit.

Duration: 20' 00"

CHF: 56.00

Instrumentation: for four horns

A concept for improvisation.
This piece deals with the deciphering of rules, making possible a joint language for the four instruments.


Duration: 10' 00"

CHF: 18.70

Instrumentation: for chamber orchestra (2.2.2.2/2.2.2.0/pf.cel.hp/str)

An expanded version of 'Gesten, Figuren'. Constructed from the "translation" of specific, pianist-like formulated musical ideas into an orchestral language.

Duration: 14' 00"

CHF: 58.00

Instrumentation: for voices

Texts: Bertolt Brecht

Based on a poem by Bertold Brecht.

Duration: 10' 00"

CHF: 24.00

Instrumentation: 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"

CHF: 14.40

Instrumentation: for high voice (soprano or tenor) and orchestra (3(3pic).2.ca.2.bcl.2.cbn/4.3.3.1/1perc/cel/hp/str)

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"

CHF: 64.70

Instrumentation: for high voice 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"

Instrumentation: 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"

CHF: 58.20

Piano trio

The title is on the one hand an indication of how to play, and on the other a reference to the compositional approach with regard to the flow of time.

Duration: 10' 00"

CHF: 30.70

Instrumentation: for high voice and piano

Texts: Friedrich Rückert

Based on poems by Friedrich Rückert.

Duration: 4' 00"

CHF: 12.00

Instrumentation: for vocal ensemble

Texts: Bibel / Liturgie, altgriechisch, Laotse, Carlos Castaneda, Meister Eckhart, indianisch

Three cycles, which can be performed each separately or in parts. Based on texts from the Mass, from the hymns of Orpheus, from the Oktoëchos, by Laotse, Castaneda, Meister Eckhart, and by the Sioux Indians. 14 Canons (sFr. 68.00) - 7 Motets (sFr. 42.00) - 7 Hymns (sFr. 44.00). Sponsored by the SME Lucerne.

Duration: 50' 00"

CHF: 123.60

Instrumentation: for Baritone and eight violoncelli

Texts: Altgriechisch

Based on texts from the hymns of Orpheus.

Duration: 17' 00"

Instrumentation: für Bariton und Orchester (4,4,4,4 - 4,4,3,1 - Schlgz(4), Pk - Str)

Duration: 17' 00"

CHF: 49.20

Instrumentation: for deep voice (alto or baritone) and piano

Texts: Erika Burkart

The four poems of this short song cycle are the contribution of Erika Burkart to the 'Waldhandschrift' (Wood Manuscript) - a collection in which Swiss writers express their grief over the destruction of forests.

Duration: 10' 00"

CHF: 19.80

Instrumentation: for Baritone, violoncello and percussion

Texts: Altgriechisch

Based on texts from the hymns of Orpheus.

Duration: 17' 00"

CHF: 35.40

Instrumentation: for flute (afl) and clarinet (bcl)

Duration: 12' 00"

CHF: 24.00

1. Wie eine Improvisation
2. Trio
3. Perpetuum mobile (published by: HBS Nepomuk, Aarau)


Duration: 7' 00"

CHF: 14.70

Instrumentation: for deep voice and piano

Texts: Jürg Signer, Ute Höllrigel, Eveline Hasler, Erwin Jaeckle

Based on poems by Jürg Signer, Ute Höllrigel, Eveline Hasler and Erwin Jaeckle.

Duration: 15' 00"

CHF: 28.70

Instrumentation: for orchestra (2.2.2.2/2.2.0.0/timp.perc/8.6.4.4.2.)

‘Spiralgesang’ presents the route of a melody on its journey through various stages of transformation.

Duration: 12' 00"

Cycle

Instrumentation: for mixed choir, flute, two clarinets and horn

Texts: Joseph von Eichendorff

Night has probably never been praised higher and in so many facets by anyone other than Joseph von Eichendorff. For myself, his poems are equivalent to the music of Schubert and Schumann. A possible discovery of reality on the edge of the concrete, proceeding to point out another reality.

Duration: 18' 00"

CHF: 36.00

The secondary titles of these three pieces are: 'Eingang und Kanon' (Entrance and Canon), 'Lied' (Song), 'Kanon und Ausgang' (Canon and Exit). Both of the outer movements symmetrically encapsulate a central movement, the whole of which utilises the full dynamic range of the piano and is developed from a paraphrase taken from a short passage from the second movement of Schubert's G Major sonata.

Duration: 14' 00"

CHF: 19.30

Instrumentation: for coloratura soprano and organ

Texts: Francesco Petrarca

Each of the four movements illuminates one of several aspects of love from the poet to Laura: The glorification, the steady sorrow in loss, the deceptive vision, and the final idolisation.

Duration: 22' 00"

CHF: 48.60

Instrumentation: for violoncello solo

Four expressive areas - combined organically or alternating abruptly - are set against each other.

Duration: 12' 00"

CHF: 21.30

Symphony

Instrumentation: for soli (SABar) choir and large orchestra (5.5.5.5.2sx/8.6.4.1/timp.6perc/2hp.cel.pf/14.12.10.12.8)

Texts: Altägyptisch, altgriechisch, indianisch, Thomas Mann

1. Aina
2. Tahesha
3. Mithras
4. Lullaby
5. Nachtgesang
6. Sakil
Based on ancient Egyptian text, text from Greek magic papers, texts from the Pawnee, Pima and Laguna Pueblo Indians, middle American Indians and Thomas Mann.
The six movements of 'Helios' can also be performed individually.

Manuscript

Instrumentation: for instrumental ensemble (fl(afl,pic).cl(bcl)/perc/pf/vn.va.vc)

The ensemble corresponds to that of Schoenberg's ‘Pierrot Lunair’, the only difference here being that the percussion replaces the speaking voice.

Duration: 15' 00"

Instrumentation: for high voice (soprano or tenor) and piano

Texts: Joseph von Eichendorff

The four poems by Eichendorff are arranged so as to outline a day cycle.

Duration: 10' 00"

CHF: 22.00

Instrumentation: for medium voice and piano

Texts: Heinrich Heine

Based on poems by Heinrich Heine.

Duration: 4' 00"

CHF: 15.30

Instrumentation: for violin solo

Four characteristic pieces based on modal melody.

Duration: 10' 00"

CHF: 18.00

Instrumentation: for orchestra (2.2.2.2/2.2.0.0/1perc/8.6.4.4.2)

'Nachtgesang' has an inner affinity with 'Spiralgesang'.

Duration: 9' 00"

Instrumentation: for guitar

Duration: 13' 00"

Instrumentation: for solo voice (version 1: alto solo; version 2: Countertenor solo)

Texts: Indianisch

Based on a text by the Laguno Pueblo Indians.

Duration: 3' 00"

CHF: 10.00

Instrumentation: 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"

CHF: 58.00

Instrumentation: for fl(afl).ob(ca).cl(bcl).bn/hn

The wind quintet is composed of three movements: 1. Leggero, 2. Tranquillo, 3. Pesante

Duration: 20' 00"

CHF: 46.00

Motet

Instrumentation: for eight a-cappella voices

Texts: Boethius, Carlos Castaneda, Dietrich Bonhoeffer

Based on texts by Boethius, Carlos Castaneda and Dietrich Bonhoeffer.

Duration: 15' 00"

CHF: 60.00

Instrumentation: for violin and orchestra (3.3.3.3/4.3.3.1/hp/10.8.6.8.4)

Duration: 27' 00"

CHF: 79.60

Instrumentation: for tuba, string quartet and piano

A series of variations over a bass result in a cathartic waltz.

Duration: 7' 00"

CHF: 18.70

Instrumentation: (3.3.3.3/4.3.3.1/cel.hp/timp.3perc/12.10.8.10.6)

1. Aufschwung2. Abgesang

Duration: 25' 00"

CHF: 76.70

Instrumentation: for four-handed piano

Four characteristic pieces which, in numerous ways, transcribe the interplay of four hands into a musical meshwork.

Duration: 11' 00"

CHF: 30.70

Six movements convoluted into a series consisting of ten parts to be played attacca.

Duration: 40' 00"

CHF: 100.80

Instrumentation: for violin solo

For the 75th birthday of Hansheinz Schneeberger

Duration: 1' 40"

CHF: 9.00

Six pieces

Instrumentation: 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"

CHF: 17.30

21 pieces

Instrumentation: for piano

'Im Labyrinth' is a loose collection of twenty-one pieces for piano and are comparable to the 'Album für die Jugend' by Schumann. Various play and notation techniques of varying difficulty are used throughout.

Duration: 30' 00"

CHF: 32.70

Instrumentation: for soprano, baritone, horn, two trumpets, trombone, percussion and strings

Texts: Altgriechisch

Sappho and Alkaios from the isle of Lesbos are amongst the most prestigious representatives of Greek lyrics strongly connected with the Orpheus saga. After the heavenly singer has lost his beloved Eurydice to the underworld and, spurned by his endless mourning, he seeks the love of other women. Bacchante tear him to pieces in an angry rage and cast his head into the sea. The tide washes it onto the shores of Lesbos - here his mouth is once again brought to speech by the lyric of the island.
Mythological notions merge with personal experience and sufferance in connection with the erotic. Eros is the 'weirdest God' (Alkaois) whose effect is to rip open the abyss between the highest fulfilment and the degeneration towards death. The elemental force with which he encompasses man awakes in him an orpheic longing for immortality and the desire to overcome the underworld; simultaneously bringing even more painfully the forlornness of his wish to consciousness. While Alkaios attempts to forget in wild drunkenness and sexual indulgence, we eavesdrop on Sappho, and the dark tones of a wish for love in which pain resonates with the transient.
EIS EROTA combines fragments from both poets to produce a dialogue on the subject of love and death.


Duration: 12' 00"

CHF: 48.70

Instrumentation: für Sopran, Bariton und Orchester (4,4,4,4 - 4,4,3,1 - Schlgz(4), Pk - Str)

Texts: Sappho, Alkaios

Duration: 12' 00"

CHF: 40.80

Instrumentation: for clarinet solo

This virtuosic solo piece unites the complete palette of the clarinet's classical expressionistic possibilities.

Duration: 12' 00"

CHF: 14.00

Three songs

Instrumentation: for two sopranos and piano

Texts: Andrew Marvell

The voices are as a singular unit or in a dialogue with the complicated piano accompaniment.

Duration: 18' 00"

CHF: 38.70

Six songs

Instrumentation: for bass and orchestra (2(pic).2.2.(bcl).2(cbn)/2.2.0.0/timp.perc/str)

Texts: John Donne

Orchestral version of the six songs for bass and piano.
In 'A Valediction' I have taken six poems by the Baroque poet John Donne with one prevailing theme: the saying of farewells, the leaving of loved ones. The theme is circumscribed in Donne's picturesque language in a multitude of modes ranging from tender pain to powerful and reckless claims of freedom, and on further to ecstatic delirium in the knowledge that physical separation is revoked by spiritual unification.
In a similar manner to the text, the music circles around a complex nucleus of themes that merge into great lines and trace the various shades of feeling.
'A Valediction' is dedicated to Ute and Susanne Stoecklin.

Duration: 24' 00"

CHF: 85.20

Six songs

Instrumentation: for bass and piano

Texts: John Donne

In 'A Valediction' I have taken six poems by the Baroque poet John Donne with one prevailing theme: the saying of farewells, the leaving of loved ones. The theme is circumscribed in Donne's picturesque language in a multitude of modes ranging from tender pain to powerful and reckless claims of freedom, and on further to ecstatic delirium in the knowledge that physical separation is revoked by spiritual unification.
In a similar manner to the text, the music circles around a complex nucleus of themes that merge into great lines and trace the various shades of feeling.
'A Valediction' is dedicated to Ute and Susanne Stoecklin.

Duration: 24' 00"

CHF: 33.60

Instrumentation: for baritone and percussion

After texts from the Oracula Sibyllina.
The simultaneously forboding yet salvational Sibylline Oracle in alternation between noise and exstatic song.

Duration: 12' 00"

CHF: 24.70

Instrumentation: for mezzo-soprano and organ

After Psalms 116.
Glorification of the soul and relive its torments.

Duration: 14' 00"

CHF: 35.30

Six lieder

Instrumentation: for baritone and piano

Texts: Giuseppe Ungaretti

The headline-like length of the texts is reflected in the formal compendiousness of the lieder.

Duration: 7' 00"

CHF: 17.30

Instrumentation: 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"

CHF: 31.30

Seven duos

Instrumentation: for two violas

Gespräch (1')
Uneins (1'40)
Vexierspiegel (0'50)
Wechselgesang (2')
Schatten (1'20)
Fantasie (5'30)
Kreisel (2')

Duration: 15' 00"

CHF: 22.70

Instrumentation: for guitar solo

Duration: 17' 00"

CHF: 17.30

Instrumentation: for piano solo

Duration: 1' 00"-20' 00"
Manuscript

For the sixtieth birthday of Robert Kahnt

Instrumentation: for voice and piano

Texts: Martine Lovis

Duration: 2' 00"

CHF: 10.80

Instrumentation: for horn

Duration: 8' 30"

CHF: 14.00

Instrumentation: for symphonic orchestra (2(pic).2.2(bcl).2/2.2.0.0/timp/12.10.8.6.4)

Duration: 14' 30"

CHF: 64.00

Instrumentation: for soprano and flute

Texts: Vergil

The sixth book of Vergil's 'Aeneid' describes Aeneas' descent into the underworld and his subsequent ascent from Pluto's realm. He is accompanied on his dangerous journey by the Cumean Sibyl. The texts of the piece Oratio Sibyllae for soprano and flute are based on some of her warnings and prophecies. The flute, which guided Gluck's Orpheus into the underworld and also plays the role of protector from the dangers of the "other world" in the Magic Flute, floats above and beside the singing voice, merging into one.

Duration: 10' 00"

CHF: 15.00

Instrumentation: for soprano, flute and piano

Texts: Giacomo Leopardi, Michelangelo Buonarroti

Two poems by the Italian romantic poet Giacomo Leopardi flank a lament on the effects of ageing carved in stone by Michelangelo. In spite of all the despair over vanishing powers and the insight not to have ended one's life successfully at its climax, Michelangelo's work still emanates an unbroken will for life fighting against faith. Leopardi's deep melancholy, however, appears in a tender and ambiguous light, giving space to a slight glimmer of hope.
The two different works were set into music accordingly: The music for Michelangelo's poem is rhythmically firm, while Leopardi's is rhythmically and metrically free and floating.

Duration: 22' 00"

CHF: 38.40

Instrumentation: for piano solo

The title of my piano piece reflects the idea of a landscape that is explored musically in an unrestricted manner, following only a track that is created from moment to moment. The result is a labyrinthine form that is most comparable to Schumann's Fantasie in C major. The reference to an ancient landscape is, however, not to be understood in the sense of the Virgilian pastoral idyll: My Arcadia is a wild, rugged, rocky landscape shaped by storms, where Pan chases nymphs and Dionysian forces fill the sultry-laden air.


Duration: 25' 00"

CHF: 28.80

11 pieces

Instrumentation: for flute ensemble (12 fl, 6 afl, 2 bfl)

My 'Flötenbuch' (flute book) comprises eleven character pieces for flute ensemble, ranging in formation from four to 20 flutes. In addition to transverse flutes in C, up to six alto and two bass flutes may also be used. The voices can be partly arranged chorally. Any number of pieces can be performed in any order.

Duration: 24' 00"

CHF: 56.40

Instrumentation: for soprano, baritone, flute and percussion

After texts from 'Oracula Sibyllina' and Vergil's 'Aeneid' (adaptation of CARMEN SIBYLLAE and ORATIO SIBYLLAE).
'Oracula Sibyllae' is the combination of two works that deal with the sibyls: Carmen Sibyllae for baritone and percussion and Oratio Sibyllae for soprano and flute. The ancient books 'Oracula Sibyllina' contain the prophecies of the Sibylla which, engulfed by divine powers, utters her usually unrequested and fatal predictions.

Duration: 24' 00"

CHF: 28.20

Instrumentation: for vocal ensemble (2.2.2.2) and instruments (1.1.2.0/2.0.2.0/2perc/2.2.2.2.0)

Texts: Eduard Mörike

The music of my piece 'Die Elemente' refers in a simple and immediately understandable way to the text in the poem of the same name by Eduard Mörike. This poem impressed me with its combination of raging elemental force and naive tenderness. Despite the biblical citation that Mörike adds as a motto, I find the essence of his poem more archaic-antique, like a Greek or Germanic myth.

Duration: 17' 00"

CHF: 55.80

Instrumentation: for violin, violoncello and piano

In my second trio for piano, I treat the ensemble in a classical sense. This piece in one movement connects several parts in different moods.

Duration: 15' 00"

CHF: 39.60

Socrates' speech in Plato's "Symposium"

Instrumentation: for 14 baritones and 14 strings

Duration: 16' 00"

CHF: 58.80

Eight pieces from the piano cycle 'Im Labyrinth' scored for orchestra

Instrumentation: for symphony orchestra (pic.2.2.3.2/4.0.0.0/hp.perc/str)

These eight short pieces are orchestrations from the piano cycle 'Im Labyrinth'. This collection, similar in form to Schumann's Album for the Young, contains 21 piano pieces of varying degrees of dificulty. The titles can be understood as romantic miniatures even though they are written in a contemporary musical language.

Duration: 14' 00"

CHF: 32.40

Instrumentation: for marimbaphone and guitar

Each of the four duets originates in a basic constellation of musical dialogue, which develops in the interplay between the two instruments. The marimba-guitar combination offers a myriad of colour and expressive shades, which are not possible with each instrument alone.
Vier Duette is dedicated to the duo Christina Schorn and Ivan Mancinelli.

Duration: 16' 00"

CHF: 22.80

Instrumentation: 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"

CHF: 19.80

Duos and trios

Instrumentation: for saxophone (soprano, baritone), trombone and piano

In December 2010, I held a lecture on polyphony in the music of Schumann. This event led me to perform the complete piano works by this composer, who has remained dear to me since childhood. My composing has been influenced on a subliminal level by Schuhmann's sound meshes and quirky-fantastical lines. I became accutely aware of this fact while working on my piece for the trio Weiss-Svoboda-Henneberger. Since the content of the three main pieces ("Rezitativ und Arioso" for trombone and piano, "Lied" for saxophone and piano as well as "Mit Leidenschaft" for the trio) turned out to be rather Schumannian, I decided to dedicate it to the two main characters of the circle of the Davidsbündler (League of David).

Duration: 19' 00"

CHF: 37.80

Instrumentation: for a cappella vocal ensemble (SATB)

Duration: 35' 00"

CHF: 58.20

Instrumentation: for piano and orchestra (3.3.3.3/4.3.3.1/4perc.timp/hp.cel.mandoline/14.12.10.12.6)

My concert for piano and orchestra essentially follows the traditional idea of a solo concert.

Duration: 33' 00"

CHF: 84.20

Instrumentation: for medium voice and piano

Texts: Johann Wolfgang von Goethe

A song cycle in the classical sense.

Duration: 27' 00"

CHF: 27.60

Instrumentation: for soprano, tenor, 2 baritones, speaker and instrumental ensemble (1.1.1.1/1.1.1.0/perc/2.2.1.1)

After a scene from Shakespeare's "Troilus and Cressida". The psychological complexity of the scene is realised musically in polyphonic layers.

Duration: 18' 00"

CHF: 70.70

2 songs

Instrumentation: for male choir

Texts: Wilhelm Busch

The songs centre around the topic of walking, about which Busch wrote ironic poems.

Duration: 4' 00"

CHF: 16.80

Instrumentation: for flute solo

Duration: 8' 00"

CHF: 12.00

These three movements have titles that refer to literary forms or genres: Novelle - Elegie - Ballade.
Novelle, fittingly, is a 'prose form', while Elegie displays a metrical form. Ballade refers not to the romantic narrative poem, but to the medieval dancing song.

Duration: 25' 00"

CHF: 58.20

Instrumentation: 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"

CHF: 18.00

Instrumentation: for soprano and clarinet

Texts: Salvatore Quasimodo

Quasimodo's multilayered poetry is transposed into four musical images.

Duration: 10' 00"

CHF: 17.40

Instrumentation: for male a cappella choir

Texts: Sabine Gisin

A half serious, half ironic text about a touring male choir.

Duration: 4' 00"

CHF: 15.60

Instrumentation: for mezzo-soprano and harp

Texts: Niki de Saint Phalle

These nine pieces set to music texts written about the tarot cards by Niki de Saint Phalle. The texts are 'programme notes' for her sculptures in the "Jardin des Tarots".

Duration: 16' 00"

CHF: 23.40

Instrumentation: for violoncello solo

A further virtuosic solo piece with the parts 'Introduction', 'Aria', 'Ballad' and 'Aeolian Song'.

Duration: 9' 00"

CHF: 11.40

four pieces

Instrumentation: for flute and piano

Eisblumen - Zephir - Winterblume - Windgesang are based indirectly on Schubert's well-known variations over 'Trockene Blumen' (dried flowers). Two fragments of this song are quoted.

Duration: 11' 00"

CHF: 18.00

Instrumentation: for three female voices a cappella

Uses the tractus 'Sicut cervus desiderat' from the Graduale Triplex.
This piece, as with 'Missa', is the compositional adaptation of a Gregorian chant.

Duration: 9' 00"

CHF: 20.40

Virtuosic character pieces.

Duration: 10' 00"

CHF: 15.00

Instrumentation: for soprano, trombone, cello, percussion and piano

The Ensemble Eunoia's suggestion that I write a piece dealing with the letter 'U' set off in me a chain of associations relating to this vowel. The starting point was the tonal character of the phoneme U: For me its dark, earthy, warm timbre equated to the symbolic image of the Mother ("uterus", "ursprung" (=origin)...). My text selection combines the following excerpts taken from literature and lore that evoke different aspects of the Mother symbol: In the 3rd hymn of the legendary poet and Dionysus priest Orpheus, night is celebrated as the Mother of gods and men. In the second part of Goethe's "Faust", Mephistopheles describes the nocturnal and sinister descent into the obscure realm of the Mothers ("No way! Into the untrodden ..."), where Faust wants to lead Helena back to life. A mother grieving for her son and creation forms the basis of the liturgical "Stabat Mater". And finally, the text of "Tao te Ching" to the "valley spirit" elevates the image of the Mother as the origin of heaven and earth to the spiritual.

Duration: 17' 00"

CHF: 57.00

Instrumentation: for solo voice

After texts by Lisa Elsässer and after questions from newspapers (selected by Claudia Vonmoos).
A monologue that also includes theatrical aspects.

Duration: 15' 00"

CHF: 15.60

Instrumentation: for piano

Duration: 9' 00"

CHF: 14.40