Instrumentation: for bass, two flutes, viola, violoncello and harpsichord

Texts: Andreas Gryphius

Duration: 9' 00"
Manuscript

Instrumentation: for soprano, flute and viola or violin

Duration: 5' 00"
Manuscript

Instrumentation: for violin and organ

Duration: 13' 00"

Instrumentation: for organ

Duration: 9' 00"
Manuscript

Instrumentation: for violoncello and harpsichord

Duration: 15' 00"

Instrumentation: for six instruments: recorder, flute, oboe, harpsichord, violin and violoncello

Alternative version: Concerto per la Camerata for 3vn.va.vc.hpd.


Duration: 13' 00"

Instrumentation: for alto and piano

Texts: Rainer Maria Rilke

Duration: 2' 00"
Manuscript

Instrumentation: for deep voice and piano

Text: from 'Münchner Handschrift' by Kürenberg and Dietmar von Eist.

Duration: 8' 00"
Manuscript

Instrumentation: for organ

Duration: 7' 00"

Mary Hymn

Instrumentation: for small monophonic mixed choir, soli (AT) and six instruments (fl.bn/tpt/hp/va.db)

Texts: Venantius Fortunatus

Duration: 15' 00"

Instrumentation: for alto, violin and violoncello

Alternative version: Sechs Miniaturen for clarinet, violin and violoncello (1963).

Duration: 7' 00"

Instrumentation: for 3-5 part mixed a-cappella choir and single voices (alto, tenor I, Tenor II)

Texts: Thomas Müntzer, Michael Weiße

Duration: 17' 00"

Instrumentation: for orchestra (2.1.2.2/4.2.2.0/timp.perc/cel.hp/str)

Duration: 14' 00"

Instrumentation: for one to four-part mixed choir, large unisono choir and orchestra

Text: Psalms 136.
Work lost.

Duration: 11' 00"
Manuscript

chamber cantata

Instrumentation: for tenor, flute, clarinet, horn and harp

Texts: Johann Georg Albini

The first work by the composer to explore the boundaries and the fertile ground opened up by the twelve-tone system.

Duration: 11' 00"

Instrumentation: for orchestra (2.2.2.2/2.1.2.0/timp.perc/str)

Duration: 11' 00"

chamber symphony

Instrumentation: for chamber orchestra (2.0.2.2/2.1.0.0/timp.perc/cel.glock/str) woth alto voice

Texts: Mechtild von Magdeburg

Duration: 25' 00"

Instrumentation: for soprano, flute, viola and violoncello

Texts: Catharina von Greiffenberg

A second chamber cantata based on mystical baroque lyrics. Pentochromatic on the basis of consonant intervals.

Duration: 12' 00"

Variations over the theme from the last movement of Brahms' violinconcerto

Instrumentation: for orchestra (2.1.2.2/2.2.2.1/perc/cel/str)

Duration: 3' 00"
Manuscript

Instrumentation: for seven brass instruments (2.2.2.1)

Duration: 7' 00"

Instrumentation: for wind quintet

Duration: 17' 00"

Instrumentation: for oboe and harpsichord

"I thank Heinz Holliger for helping the oboe break with its traditional limits causing corresponding innovations for the cembalo." (K.H.)

Duration: 15' 00"

Instrumentation: for string orchestra

Duration: 14' 00"

Instrumentation: for harpsichord solo

Duration: 5' 00"

Instrumentation: for string quartet

Lyrical meditation on a poem from the middle ages (Heinrich von Louffenburg). The techniques and form push beyond traditional quartet composition.

Duration: 25' 00"

Instrumentation: for clarinet, violin and violoncello

Original version with alto: Sechs kleine Vokalisen (1955).

Duration: 7' 00"

Instrumentation: for organ

Oratorio

Instrumentation: for SATBarB, two choirs and orchestra (3.3.2.3/4.3.2.1/timp.perc/2hp.cel.pf.org/vadg/str)

Texts: Aurelius Augustinus

The seven times repeated invocation of the creator of the world and time. Based on the great cosmic prayers of Augustinus.

Duration: 51' 00"

Instrumentation: for singing congregation, church choir, organ and orchestra ad lib.

Taken from: Cantus Cancricans für Orgel.


Manuscript

Instrumentation: for organ

From the music for a 'John the Baptist' church service (1965).

Duration: 4' 00"

Instrumentation: for flute and twelve solo strings (4.3.2.2.1)

Alternative version with string orchestra: Alveare vernat (1967) for flute and string orchestra.

Duration: 13' 00"

Instrumentation: for flute, speaking voice and electronic tape recorder

Texts: Günter Grass

Duration: 6' 00"

Instrumentation: for flute solo

Duration: 7' 00"

In memoriam Zvi Snunit

Instrumentation: for baritone and seven instruments (afl.cl/hn.tbn/timp/va.vc)

Texts: Nelly Sachs

Duration: 2' 00"
Manuscript

Instrumentation: for harp, horn and chamber orchestra (2.0.ca.1.bcl.1/0.1.1.0/str)

Duration: 18' 00"

Instrumentation: for baritone and eight instruments (cl.bcl.hn/tpt.tbn/vn.va.vc)

Text: Psalms 22.

Duration: 11' 00"

Instrumentation: for alto flute, English horn and harp

Alternative version: for alto flute, viola and harp (1966/67)

Duration: 7' 00"

Instrumentation: for large orchestra (3.3.4.3/4.3.4.1/timp.perc/cel.org/str)

With its unique overall form, this piece is a far cry from the Second Viennese School.

Duration: 18' 00"

Instrumentation: for deep voice and piano

Texts: Friedrich Hölderlin

Duration: 1' 00"
Manuscript

Instrumentation: for flute, violoncello and piano

Duration: 16' 00"

Instrumentation: for string trio and harp

From 'Kleine deutsche Messe'.

Duration: 8' 00"-10' 00"

Instrumentation: for choir, congregation, organ, string trio and harp (1 perc ad lib.)

Kleine deutsche Messe (1969) for choir, congregation, and organ (1 perc ad lib.), duration: 8'.
Kleine deutsche Messe (1969) for choir and organ (1 perc ad lib.), duration: 7'-8'.
Kleine deutsche Messe (1969) for a-cappella choir.
Performances with latin text are entitled 'Missa brevissima'.
Therefrom: Job 19 (1971) for voices and nine instrumentalists.

Duration: 16' 00"-18' 00"

Concert for violin and small orchestra

Instrumentation: (2.1.2.1/2.2.1.1/timp.perc./cel.hpd.hp/man.gtr/3.3.2.1)

A second instrument is to be used in scordatura.

Duration: 25' 00"

Instrumentation: for choir, electronic tape and orchestra (5.4.4.4/4.5.5.1.3/ wtba/timp.perc/2hp/0.10.0.8)

Texts: Albrecht Dürer

A contemporary apocalypse. Albrecht Durer's dream image of 1525 is here interpreted as an anticipation of the atomic bomb that landed on Hiroshima.

Duration: 25' 00"

Instrumentation: for male voice

From: ...inwendig voller Figur... (1971).
Text: Johannes-Apokalypse VIII, IX.

Duration: 10' 00"

Instrumentation: for choir and nine instrumentalists (hn/tpt.tbn/2perc/3vc.db)

Duration: 10' 00"

Ecclesiastical music

Instrumentation: for baritone, five instrumental groups, loudspeakers, electronic tape (2x2 channel) and organ

Text: the text was put together by the composer utilising texts by Juan de la Cruz, Job, Joachim de Fiore, Quirinius Kuhlmann, Teilhard de Chardin and others.
Instrumental groups (without conductor):
I. va, vadg, gtr, hp, db, perc
II. 3cl, 3vl
III. 3fl, 3va
IV. 3hn, 3vc
V. ob, bn, tpt, tbn

Duration: 17' 00"-20' 00" (und mehr)

Lamentation over the loss of musical reflection - some madrigals

Instrumentation: for flute solo or flute with some other instruments

Duration: 12' 00"

Lamentation over the loss of musical reflection

Instrumentation: for piano with one and a half hands....

Duration: 12' 00"

Instrumentation: for 2-7 players (variable score)

Duration: 14' 00"

Instrumentation: for guitar

Arrangement for guitar: Cornelius Schwehr.

Duration: 12' 00"

Instrumentation: for accordion

Arrangement for accordion:Hugo Noth.

Duration: 12' 00"

Instrumentation: for double-bass

Arrangement for double-bass: Fernando Grillo.

Duration: 10' 00"

Instrumentation: for violoncello

Arrangement for violoncello: Michael Bach.

Duration: 10' 00"

Dialectic opera

Instrumentation: for soli (STBar), speaker, choir and orchestra (3.2.3.2.sx/3.4.2.1/perc/egtr/str) and electronic tape)

Texts: Philip Oxman (Kurt Marti, Dietrich Ritschl)

Text by Philip Oxman, German version by Kurt Marti and Dietrich Ritschl.

Duration: 80' 00"

Instrumentation: for conductor, stage manager and symphony orchestra (5.4.3.4/6.5.4.1/timp.perc/pf.org[=eorg]/str) and electronic tape recorder (four channel or two x two channel)

Duration: 22' 00"

Five schematic opera pieces for a large orchestrta

Instrumentation: (5.4.3.4/6.5.4.1/timp.perc/pf.eorg/6.6.6.6.6)

Texts: Alfred Jarry (Eugen Helmlé)

Soli: Aladin (Pantomime and electronic tape), Genghis Khan (Bass), Marco Polo (Baritone), Belor (Soprano), Astrologer (Tenor), Albanus (Bass falsetto), Alau (actor).
Mixed choir ad libitum.

Duration: 90' 00"
Manuscript

Instrumentation: for bass clarinet, violoncello and piano (lightly prepared)

The three instrumentalists should ideally play at some distance apart from each other and without maintaining eye contact. Each also operates small percussion instruments. Other version: Bb clarinet and piano, violoncello and piano, piano solo (this last version bearing the title 'Blätterlos').

Duration: 12' 00"

Instrumentation: for prepared piano

Alternative version to 'Schattenblätter'.

Duration: 12' 00"

Instrumentation: for boy soprano, oboe, violin, viola, violoncello and harpsichord

Texts: Bibel / Liturgie

"One of my most strict as well as most innovative compositions of this period." (K.H.) The method used here was to take the first bars of Bach's bass-Aria ‘Es ist vollbracht’, make a few adjustments and then hide it within a grand scheme. ‘Senfkorn’ is also featured as the central piece in the oratory "Erniedrigt - geknechtet - verlassen - verachtet". (Score: Ricordi, Sy. 2350).

Duration: 9' 00"

Instrumentation: for soprano with accordion ad lib.

Texts: Georg Wilhelm Friedrich Hegel, Max Bense

A version for solo voice is also available.

Duration: 10' 00"

Instrumentation: for virtuoso cello solo

For Paul Sacher, suggested by Mstislav Rostropovich.

Duration: 8' 00"

Instrumentation: for viola and small orchestra with 20 players (3.2.1.0/2.3.0.0/perc/hp.gtr/3.0.2.1)

Duration: 13' 00"

Instrumentation: for double-bass and 18 instrumentalists (1.1.3.1/3.0.1.0/timp.2perc/hp.gtr/3va)

Duration: 22' 00"

Instrumentation: for four-part mixed a-cappella choir

Duration: 2' 00"

Instrumentation: for flute solo or/and two flutes/three flutes

Duration: variabel

Crumbs

Instrumentation: for violoncello and piano

Duration: 7' 00"

Instrumentation: for flute, viola, piano and small percussion

Duration: 6' 00"

Contrafaktum

Instrumentation: for small orchestra (2.pic.1.1.bcl.1/3.1.0.0/timp.4perc/pf/gtr/4.0.3.3.2) with choir (ad lib.) and seven single voices (SMezA2TBarB)

Texts: Ernesto Cardenal

Duration: 12' 00"

Instrumentation: for 17 instrumentalists (2.1.2.0/1.1.0.0/2-3perc/pf.gtr/1.1.1.2.1)

From: Zwei Sätze für Ensemble.

Duration: 4' 00"

Functional music for a Church Service: "The Prophecies of Jeremiah"

Instrumentation: for congregational singing; two choirs, baritone solo, various speakers (m/f); organ; 3 brass groups: 3tpt.tbn - 5tbn - 5tbn/timp.perc and materials to beat

Duration: variabel
Manuscript

Instrumentation: for soli, choirs, orchestral groups, electronic tapes, electronic and projections

Texts: Ernesto Cardenal, Florian Knobloch, Carolina Maria de Jesús, George Jackson, Prophet Jesaja

Soli: mezzo-soprano, tenor/speaker, bass-baritone, boy soprano
16 single voices (each 4 SATB), choir (40-60 SATB);
50 musicians in upto seven groups: 4.2.4.2/3.4.4.1/timp.perc(5-6 players)/pf.hpd/gtr.man/5.0.4.4.3)
Electronic tape, microphone (ad lib. gate switch), video tape or projection;
4-5 conductors (principle conductor, 2-3 co-conductors, choirmaster)

Duration: 70' 00"

Instrumentation: for 14 instrumentalists (1(afl).1.1.1/1.1.1.0/perc/pf/1.1.1.1.1)

From: Zwei Sätze für Ensemble.

Duration: 4' 00"

Instrumentation: for 17 instrumentalists (2.1.2.0/1.1.0.0/2-3perc/pf/gtr/1.1.1.2.1)

I. Seht den Boden, blutgetränkt (1983) for 14 instrumentalists.
II. Ich singe ein Land, das bald geboren wird (1978/79) for 17 instrumentalists.

Duration: 8' 00"

Instrumentation: for 16 solo voices (each 4 SATB) in 3 groups (SSSAA/TTTBB/SMezATBarB)

Texts: Teresa de Avila, Pablo Neruda

Duration: 14' 00"

2. String quartet

An insisting reflection on the multi dimensionality of musical time is incessantly linked with the expansion of the string quartet sound. (K.H)

Duration: 22' 00"

Spatial music

Instrumentation: for three groups and five single players (soli: soprano, alto, baritone, speaker, bass/choir (SATB), ob (obdam, ca), bcl, tpt, 2tbn, hp, gtr, posorg, 3perc, va, db/two conductors: choirmaster and cantica conductor)

Texts: Hildegard von Bingen, Heinrich Böll

Duration: 39' 00"

Instrumentation: for three basset horns (or three clarinets in A)

Duration: 4' 00"

Three small pieces fro orchestra

Instrumentation: for chamber orchestra

I. Die Enge des Marktes / II. Implosion / III. Stäubchen von Licht.
A) Successive version:
2(pic, afl).1.ca(bthn).bcl.1.cbn/2.1.2.0/timp.perc(1 player)/min.:6.6.4.4.2
B) Simultaneous version: (the three pieces overlap)
3(pic, afl).2.ca.1.bcl.bthn.2.cbn/4.2.3.0/timp.perc(3 players)/16.14.12.10.8

Duration: 6' 00"-10' 00"

Instrumentation: for large orchestra (3.3.2.bcl.3.4/Wtba.4.3.4.2/timp.6perc/str)

From: Spes contra spem.

Duration: 7' 00"

In memoriam Karol Szymanowski and Bruno Schulz

Instrumentation: for mezzo-soprano, viola and piano

Texts: Bruno Schulz

Duration: 9' 00"

In memoriam Ossip Mandelstam

Instrumentation: for string trio in third-tone tuning

Duration: 12' 00"

In memoriam Simone Weil

Instrumentation: for mezzo-soprano, countertenor/speaker and 18 instruments (1.1.1.bcl.0/1.1.1.0/3perc.cimb/hp.pf/gtr/1.1.1.1)

Texts: Simone Weil, Ossip Mandelstam

Duration: 35' 00"

A contra-paradigm to 'Götterdämmerung' in four parts with a prelude

Instrumentation: for soli, speaker-actors/actresses, orchestra and electronic tape

Texts: Bertolt Brecht, Elias Canetti, Georg Herwegh, Rosa Luxemburg, Friedrich Nietzsche, Reinhold Schneider, Dorothee Sölle, Peter Wei

Total score: soli: 2SMezTB-Bar / 5 speakers-actors/actresses (2 women, 3 men) / large Wagner orchestra / electronic tape, auxilliary digital equipment.
Other versions:
prelude (1988): Kapital contra Proletariat
Text by Rosa Luxemburg
Soli: 2SMez / 5 speakers-actors / actresses (2 women, 3 men) / small orchestra: 6hn, tpt, tbn, cbtb, cbn, perc (4 players), 6vc, 6-8db and two channel electronic tape / digital clock over monitors; octopad (duration 5')
I. Festival (1988/89): Theatre performance and hallucination montage after / from Richard Wagner's 'Götterdämmerung' and 'Kaisermarsch' with texts by Richard Wagner, Georg Herwegh, Friedrich Nietzsche, Elias Canetti and others.
Soli: 2SMezTB-Bar / 5 speakers-actors / actresses (2 women, 3 men) / large Wagner orchestra and four-channel electronic tape (duration: 17')
II. Interlude (1986)
for large orchestra with a singer/speaker ad lib. (can be performed separately)
Text by Richard Wagner (duration: 7')
III. Inversion (1988)
Soli: 2SMezTB-Bar / 5 speakers-actors / actresses (2 women, 3 men) / orchestra: 3.3.3.3/4.3.3.1/timp.perc(4 players)/pf/str
Text by Peter Weiss (duration: 7')
IV. Finale (1988/89): 'Die Wirklichkeit des Kommenden hat sich gespalten'
Texts from Reinhold Schneider, Dorothee Sölle, Elias Canetti
5 vocal-instrumental duos (S/afl; S/ca; Mez/bthn; T/hn; B/tbn) / 5 speakers-actors / actresses (2 women, 3 men) / 11 solo strings (3.2.2.2.2) and orchestra (duration: 13')
Appendage: Background music to a 'Liebestod' for soprano and large orchestra in ten groups (duration: 5')


Duration: 50' 00"

In memoriam Luigi Nono

Instrumentation: for mezzo-soprano, high tenor, viola d'amore (third-tone tuned) and 13 instruments (1.1.1.1/1.0.1.0/perc/gtr(third-tone tuned)/1.1.1.1.1)

Texts: Ossip Mandelstam

Other versions
Version without voices:
Plainte - Die umgepflügte Zeit I, in memoriam Luigi Nono
for viola d'amore in third-tone tuning and 13 instruments
Version with voices:
Plainte - Lieber spaltet mein Herz I, in memoriam Ossip Mandelstam
for viola d'amore (also viola) in third-tone tuning, guitar in third-tone tuning and small percussion
Plainte - Lieber spaltet mein Herz II, in memoriam Ossip Mandelstam
for alto flute (also bass flute), guitar in third-tone tuning and small percussion

Duration: 13' 00"

In memoriam Luigi Nono

Instrumentation: spatial music for viola d'amore, mezzo-soprano, high tenor, female speaker, two mixed ensembles, choir and instruments distributed around the room

Texts: Ossip Mandelstam

Total score: 4.3.4.3/4.3.4.0/gtr.hp/3perc/6.0.2.3.3)
Ensemble A: MezT/1.1.1.1/1.0.1.0/gtr(third-tone tuned)/perc/2.0.1.1.1
Ensemble B: BSSATBar/2.0.0.2/1.2.1.0/perc/3.0.2.0.2
Trio: hp, obdam, bthn

Duration: 20' 00"

For Luigi Nono

Instrumentation: for viola d'amore in third-tone tuning

A version for alto flute solo is also available on request.

Duration: 12' 00"

Instrumentation: for mezzo-soprano, tenor, viola d'amour and instrumental ensemble (1.1.1.1/1.0.1.0/perc/gtr/2.1.1.1)

Texts: Ossip Mandelstam

In memory of Luigi Nono. The voices of this lamentation song are written throughout in third tone and supported by a correspondingly tuned guitar. From the same work: a version with the same instrumentation but without voices.

Duration: 13' 00"

Hommage à Jehan Okeghem

Instrumentation: for countertenor, 2 tenors, bass-baritone, renaissance lute, 2 fiddles (or guitar), 2 violas

Text from Agnus Dei and Gösta Neuwirth (translated into Old French by Pierre Bec).

Duration: 14' 00"

Instrumentation: for eight instruments (obdam.ca(or cl-a)/tbn/hpd(third-tone tuned/perc/va.vc.db)

Duration: 11' 00"

Instrumentation: for a-cappella choir and bass-baritone solo (ad lib.)

Texts: Hildegard von Bingen

From 'Cantiones de circulo gyrante'
Other Versions:
'Auf der Welt sein - Im Licht sein' / 'Svjet - Man kann nicht atmen'

Duration: 18' 00"

In memoriam John Cage

Instrumentation: for voice (over a loud speaker) and four violoncelli each with any two strings in scordatura (or as playback of a vioncello)

Duration: 8' 00"

A little enigmatic music for Brian Ferneyhough

Instrumentation: for mandolin, guitar and harp (all third-tone tuned)

Duration: 10' 00"

In memoriam Ossip Mandelstam

Instrumentation: for viola d’amore (also viola) in third-tone tuning, guitar in third-tone tuning and small percussion

Duration: 14' 00"

For the 75th birthday of Isang Yun

Instrumentation: for kayagum with the accompaniment of a buk (Korean instruments)

Duration: 4' 00"

Instrumentation: for violoncello pizzicato and buk (Korean drum)

Duration: 4' 00"

Instrumentation: for violoncello pizzicato

Duration: 4' 00"

Assemblage

Instrumentation: for 4 Arabian and 2 European musicians and electronic tape

Text: Mahmud Doulatabadi (Persian, Arabian, French, German).
Singer (Sufi), Nay (Arabian flute), Qanun (Arabian zither), Riqq / Mazhar (tambourine/large frame drum) / viola, guitar / six-channel electronic tape.

Duration: 38' 00"

In memoriam Ossip Mandelstam

Instrumentation: for alto flute (also bass flute), guitar in third-tone tuning and small percussion

Duration: 14' 00"

Instrumentation: for accordion

Duration: 11' 00"

Instrumentation: for piano and instrumental ensemble (1.1.1.bcl.1/2.1.0.0/timp.perc/3.2.2.1)

Reflections on Mozart's final piano concerto, borrowing from it idiosyncratic intervallic relationships. In four movements: Intarsi, Pianto - Specchio di Memorie, Unita, Giardino Arabo.

Duration: 20' 00"

Instrumentation: for orchestra in four groups and Sufi singer ad lib. (3(pic,afl,bfl).3(obda,ca).2(bcl,bthn).3(cbn)/3.3.3.cbtbn.1(cbtba)/timp.3perc/2gtr.bgtr/14.12.10.8.6)

Texts: Arabisch

"My preoccupation with classical Arabic music, especially those musical systems from the 8th to the15th centuries, led me to a new understanding of our own music (...). The large orchestral forces in particular, which are imbued with tradition, are an inspiration, and pose an awesome challenge." (K.H.)

Duration: 27' 00"

Instrumentation: for shô and percussion

Text: Masuji Ibuse (Schwarzer Regen) and a lamentation poem from the 'Man’Yoshu' (Nara era), both in the Japanese language.

Duration: 20' 00"

Instrumentation: for organ solo (preferably a baroque organ in mean-tone)

Duration: 30' 00"

Instrumentation: for organ ((preferably a baroque organ in mean-tone), alto trombone and two boy sopranos with organ pipes and small percussion

Texts: Klaus Huber

Duration: 30' 00"

Instrumentation: for female voice (medium ad lib.), afl, bthn, tpt, hp (third-tone tuning), perc, str: 1.1.1.1.1

A version without voice is also available.

Duration: 5' 00"

Instrumentation: for six coices (cantus, sextus, altus, tenor, quintus bassus. (SMezbC2TB-bar)), theorbo (third-tone tuned guitar and basset horn (bcl))

Texts: Ernesto Cardenal, Mahmud Doulatabadi, Klaus Huber, Jeremiah

Duration: 46' 00"

Diptychon

Instrumentation: for choir (24-30 singers), mezzo-soprano and small orchestra (2.2.2.2/2.2.2.1/timp.2perc/gtr(third-tone tuned)/3.2.3.2.1)

Texts: Ossip Mandelstam, Max Frisch, Elias Canetti, Martin Buber

The second version, simultaneous with a text by Kurt Marti, requires a speaker and 9 extras ad lib.

Duration: 35' 00"

Instrumentation: for string quintet (2vn.2va.vc)

Duration: 37' 00"

Instrumentation: for alto flute, viola d'amore and harp (all third-tone tuned)

Duration: 15' 00"

Instrumentation: for alto flute, basset horn (acl), alto trombone and string trio (vn.va.vc)

Duration: 7' 00"

Contrafactum

Instrumentation: for chamber ensemble (afl.ca.bcl(cl)/hp/vn.vadam.vc) - afl, vadam and harp are all third-tone tuned

Duration: 23' 00"

Instrumentation: for choir and 6 single voices (in pairs: ST - MezBar - AB), timp and 3 perc

Texts: Max Frisch, Ossip Mandelstam

'Svjet - Man kann nicht atmen' is a part of the stage piece 'Schwarzerde'.

Duration: 9' 00"

Instrumentation: for piano, guitar and four percussionists

Duration: 7' 00"

Instrumentation: for two string groups (4.4.4.4.2 in two groups), 2 percussionists and two children's voices ad lib.

Texts: Pablo Neruda

The work can be performed without 'Canción' (concertino). 'Canción' can be performed seperately.

Duration: 21' 00"

Instrumentation: for mezzo-soprano, guitar, 2 violins, viola, violoncello and double-bass

Texts: Pablo Neruda

This work can be performed alone or together with the piece 'Flor mía, flor de mi alma' where it functions as a 'Concertino'.

Duration: 21' 00"

Stage piece in nine sequences

Text by Michael Schindhelm in cooperation with Klaus Huber (based on poems and prose by Ossip Mandelstam)
Soli: Parnok (B-bar), boy (Ct), Nadja (Mez), Anna (A), Natalja (S), Officer (Spkr/T)
6 single voices: SMezATBarB / large choir SATB
Orchestra: 2.2.1.bcl.bthn(on stage).2/2.2.2(1 on stage).1/hp.theorbo(gtr)(on stage)/timp.3perc(1 on stage)/5.4.3.vadm(on stage).2.2

Duration: abendfüllend

Instrumentation: for six single voices: (SMezATBarB) and choir (SATB)

Texts: Ossip Mandelstam

Reduction from the stage piece.

Duration: 4' 00"

Instrumentation: for violoncello, baritone, countertenor and two orchestral groups (2(fl).1(baroque ob).2.1.cbn/2.0.2(tenor baroque tbn, alto baroque tbn).1/timp.2perc/2hp/theorbo.2barogue vn.vdg/5.4.3.2.2)

Texts: Mahmoud Darwisch

Other versions:
... à l'âme de marcher sur ses pieds de soie...
chamber concert for violoncello solo, baritone solo, countertenor and nine instrumentalists.
... à l'âme de marcher sur ses pieds de soie...
chamber concert for violoncello solo, alto, baritone solo, accordion (with third-tone tuning of 19 reeds), perc (2 players).

Duration: 39' 00"

Chamber concert

Instrumentation: for violoncello solo, baritone solo, countertenor and nine instrumentalists (man/mandola, gtr, hp, acc, 2perc, vdg, db)

Texts: Mahmoud Darwisch

This work is a recomposition/reduction of 'Die Seele muss vom Reittier steigen' (world premiered Donaueschingen, 2002), commissioned for the 'Wittener Tage für Neue Kammermusik' 2004.

Duration: 29' 00"

Chamber concert

Instrumentation: for violoncello solo, baritone solo, alto and three instrumentalists (accordion with third-tone retuning of 19 reeds, 2 percussionists)

Texts: Mahmoud Darwisch

This work is a recomposition/reduction of 'Die Seele muss vom Reittier steigen' (world premiered in Donaueschingen, 2002), and respectively a reduction of '...à l'âme de marcher sur ses pieds de soie...' (2004).

Duration: 29' 00"

"Pablo Picasso has words for Colin Powell from the other side of death"

Instrumentation: for baritone and mandola/mandolocello, both in scordatura

Texts: Ariel Dorfman

Slaughter of innocents.

Instrumentation: for flute and 13 instruments

Duration: 14' 00"

in memoriam Jacques Derrida

Instrumentation: for alto and tenor

Texts: Jacques Derrida

Duration: 4' 30"

in memoriam Carl Améry

Instrumentation: for violin and bass-baritone

Texts: W. B. Yeats

Duration: 2' 00"
Manuscript

Instrumentation: for 7 single voices and 7 instruments

Texts: Psalm 52; Agnus Dei; Octavio Paz: El canto roto; Mahmoud Darwisch: Murale; Carl Amery: Global Exit (Die Kirchen und der totale Markt); Jacques Derrida: Nous? La raison du cœur

Duration: 50' 00"

Instrumentation: for five solo voices, Arabian percussion and percussion

Texts: Jacques Derrida, Octavio Paz

Instrumentation: for countertenor and violoncello

Texts: Octavio Paz

Duration: 6' 00"

Recomposition of the work by Igor Stravinsky from 1958

Instrumentation: for 18 instruments (flafl.bfl.ob.2cl.Sarrusophone.cbn/tpt.2hn.tbn.tba.acn/pf.cel.hp/str quintet) 6 soli and small choir

Duration: 24' 00"

Instrumentation: for six musicians (gayageum, daegum, piri, piano, cello and guitar)

Huber's latest setting to music of the "Agnus Dei" was born out of decades of influence from Younghi Pagh-Paan, whose traditional music from her Korean home became an ideal projection screen for remembering and longing for the overcoming suffering and sadness. He created a dialogue between our European sounds and three Korean instruments - and their completely different tunings: flute (daegum), zither (gayageum) and oboe (piri).

Duration: 9' 30"

Instrumentation: for fortepiano, string quartet and alto voice

Texts: Kurt Marti

Recomposition of the chamber concert "Intarsi".

Duration: 20' 00"

Film music for a film by Martin Huber

Texts: Auguste Villiers de l'Isle-Adam

Duration: 22' 00" (22' (Film))
Manuscript

Instrumentation: for double bass, 18 instruments (afl.0.0.ca.3.1/3.0.1.0/perc (conga, darbuka, 2 pebbles, gudalo, sheet metal, Guiro, Jpanese hyoshigi (2 players)/va) and live electronics

This work is based on the composition 'Erinnere dich an G...' (1977).

Duration: 25' 00"

Instrumentation: for violine solo

Commissioned composition (compulsory piece) for the Concours de violon Marguerite Long-Jacques Thibaud, Paris derived from the chamber concert "Intarsi". The original work is in three-quater tone; the competition piece is a chromatic variation.

Duration: 6' 00"