All indivduals:



Menozzi Sergio

(09. 07. 1960)

Menozzi Sergio
91, montée de l'Observance
F-69009 Lyon
Tel: +33 72 20 08 02

Genre: Classical Music
Professional activity: Composers
* 09. 07. 1960.

Sergio Menozzi was born in Bellinzona. He studied clarinet, initially in Lugano, and then under Thomas Friedli at Geneva Conservatory where he won his first prize as a soloist. He has won various competitions since and is currently solo bass clarinettist with the Lyon Opera, as well as member and founder member of numerous chamber music ensembles, mostly specialising in contemporary music. In 1989 he formed a duo with Swiss percussionist Ivano Torre, dedicated to the performance of creative, improvised music. In 1992 he founded the quintet 'Musique d'Urt', an ensemble for creative music.
As a composer Menozzi has written some thirty pieces for chamber and vocal music, symphonies and electro-acoustic pieces. Several of his works have been performed at competitions and other similarly prestigious events, as well as at festivals and concerts such as 'Musique en Scene' in Lyon.

Work list
Quand les Ténèbres viendront ... (1988)

Instrumentation: for five percussionists

Based on a novel by Isaac Asimov.
I. La cité de Trigon
II. O magnum mysterium (after Giovanni Gabrieli)
III. Et dans les Ténèbres, voici qu’apparurent les Etoiles
Sponsored by the SME Lucerne.

Duration: 15' 00"
Müller & Schade AG
Moserstr. 16
CH-3014 Bern
Tel. +41 (0)31 320 26 26
Fax +41 (0)31 320 26 27
Résurgences (1988)

Instrumentation: for clarinet quartet (Bbcl/ Ebcl.Bbcl.bthn.bcl)

I. Evocatio
II. Hieronimus Bosch in memoriam
III. Mutatis mutandis
The first movement is based on the dissonant intervals (major sevenths and the augmented fourths) and is in space notation throughout. The second movement is a bastardised Buxtehude toccata, which resides in a mad world reminiscent of the paintings of Bosch. The third movement, in the spirit of jazz, brings the idea of variation, or rather "metamorphosis" into play.

Duration: 12' 00"
Les Fantômes du Souvenir (1989)

Instrumentation: for alto flute, English horn, clarinet, horn, bassoon and diapositive electro-acoustic

This piece pays homage to the ‘poème éléctronique’ by Edgar Varèse. Certain parts (bells, organ, percussion, ondes Martenot etc.) of Varèses’ original tapes have been taken and recycled by the synthesizer. The instruments are at times juxtaposed and at times merged with the electronics. 1 Yamaha DX7 - 1 Yamaha TX802 - 1 Roland MT32 - 1 transformational facility capable of changing instrumental sounds using an Apple computer and MIDI-LOGO at once strengthening and propagating the instruments and electronic sounds.
1 conductor, 1 computer operator, 1 producer.

Duration: 15' 00"
Etude-Swing (1989)

Instrumentation: for bass clarinet

A jazz-inspired concert study based exclusively around two melodic cells, combining a delicate set of sounds (colourful and full of nuance) with huge intervals and fast tempi.

Duration: 8' 00"
Paysage avec Ruines (1990-1994)

Instrumentation: for two harps and bass clarinet (or two pianos)

A walk through one of the first glances of a friendly countryside upon which a ruin is set. In the piano version the percussive character of the instrument lends an energetic, bracing feel to the piece. The same countryside, but in another epoch.

Duration: 12' 00"
La Forêt sacrilège (1991)

Instrumentation: for ten instruments (

Inspired by the poetical writings of Jean-Pierre Duprey. The ten instruments are the absolute minimum necessary to represent a reduced symphony orchestra. The running speed is very fast and reduced. The percussion is given particular relevance. Requires a conductor.

Duration: 10' 00"
Derrière son Double (1990)

Instrumentation: for flute, percussion and chamber orchestra (2(2pic).1.1.1/

Inspired by the poetic writings of Jean-Pierre Duprey. The formations are increased to chamber orchestra proportions, the percussion holds a privileged position as in previous works. Not to be conceived as solo flute and solo percussion with orchestra, but rather as solo flute, percussion and orchestra, because here the percussionist actually acts as an orchestra in its own right.

Duration: 20' 00"
L'Ombre sagittaire (1991-1992)

Instrumentation: speaker, Bass (, mixed choir and orchestra (

Texts: Jean-Pierre Duprey

Inspired by the poetical writings of Jean-Pierre Duprey. Here Duprey's text is more dominant because of its declamation, and because it is sung by the choir and bass. The orchestra becomes larger larger (even in part I and part II). The music is a commentary on and a personal interpretation of the texts.
Prologue: L'orriforme règne orryal I: (L'orrirève) Intermède II a: Parlé en soi... II b: Ecrit en soi... (Lettre incombustible rouge blanche noire pour usage flamboyant) Entre Parenthèses Intermède-frois III a: A l'aube ouvrant hors de... III b: A l'aube fermée... - Le noir regonfle

Rébus (1994)

Instrumentation: for wind octet (2ob.2cl.2hn.2bn)

Overture to a concert for a wind octet. Each pair of instruments conveys different characteristics: the oboes shout, the clarinets express a flowing motion, the horns play a fanfare, and the bassoons keep the awkward pulse.

Duration: 3' 30"
Moments musicaux d'après Scriabine (2008)

Instrumentation: for 8 voices and 10 instruments (bcl, ssx, hn, perc, vn, va, 2vc, 2db)

Texts: Sergio Menozzi

Duration: 30' 00"
Ensemble vocal Séquence (Musiques Suisses Nr. MGB CTS-M 126, 2010)
Ensemble vocal Séquence
Dayer, Xavier: Sonnet XXI - Sur un sonnet anglais de Fernando Pessoa (2000)
Bolens, Nicolas: Ou le mystère précipité hurlé (2007)
Menozzi, Sergio: Moments musicaux d'après Scriabine (2008)
With more works of: Jean-Sélim Abdelmoula

Last updated: 2020-10-06 16:48:10