Instrumentation: for three guitars and quint guitar

Solo quint guitar against three guitars, contains varying levels of independent and coordinated play. Virtuosic.

Duration: 9' 00"

Instrumentation: For two altos, bass, two clarinets in A, bass clarinet, two violas and double-bass

Texts: Novalis, Ovid, Hermann Broch

Music based on 'Missa Prolationum' by J. Ockeghem: 9 canons (3-9 voices, in 3-9 different metres), notated in various overlapping time species. Text by Novalis, Ovid and Broch.

Duration: 25' 00"

Etude

Instrumentation: for nine players and listeners ad lib. (cl.bcl/2vn.3va.2vc/perc ad lib.)

Twenty-eight single tones. Each harmonically and metrically 'germinating'. An exercise in higher partial tones and metres. Can be performed as individual extracts.

Duration: 15' 00"
Manuscript

twice for two sopranos and once for eight a-cappella voices, including a fitting prelude, intermezzo or postlude for a quarter tone guitar

Instrumentation: total score: two sopranos, two altos, two tenors, two bass and a quarter-tone guitar

Texts: Qvirinus Kuhlmann

A radical sonnet by the Baroque poet and heretic Qvirinus Kuhlmann (twelve times fourteen strung together nouns which can be arbitrarily permutated) become four times musicalised. The guitar piece can be performed on any other quarter tone instrument (e.g. double manual harpsichord on a quarter tone staff). The pieces can be performed seperately.

Duration: 14' 00"

Twenty-two poem excerpts from the 12th 13th, 19th, 20th centuries and Zurich Graffiti

Instrumentation: for deep alto voice and piano

From the short to the shortest of songs. The voice sings perfect intervals drawn from the tempered piano tones.

Duration: 14' 00"

Instrumentation: for two pianos at a quarter tone distance

Four short ornaments with complex agogic and dynamic differentiations.

Duration: 6' 00"

Instrumentation: for variable ensemble (one keyboard instrument, one deep and one high equally tempered instrument (e.g. marimba, vibraphone, guitar, mandolin, keyboard instrument) 2-6 singing strings and/or instruments with free intonation possibilities in diverse regist

Comprises six movements all with a similar static content. They serve as an exercise in processive changes, Just intonations and improvised form in service of a tightly composed music.

Duration: 15' 00"-20' 00"

Instrumentation: for piano trio

Comprises six movements all with a similar static content. They serve as an exercise in processive changes, Just intonations and improvised form in service of a tightly composed music.

Duration: 12' 00"-15' 00"

Instrumentation: for humming piano player solo or with any two melodic instruments ad libitum

Comprises six movements all with a similar static content. They serve as an exercise in processive changes, Just intonations and improvised form in service of a tightly composed music.

Duration: 12' 00"-15' 00"

Instrumentation: for any high-pitch woodwind instrument

Music based on a text by Qvirinus Kuhlmann. The melody is constructed out of twelve short bird-like call motives. Uses quarter tones.

Duration: 3' 00"
Manuscript

Instrumentation: for piano and two instruments with variable intonation possibilities

‘Chromaticism’ here means ‘micro’ chromaticism. The model-like miniature enables practice in harmony of the higher partial tones and the corresponding subtleties in the intonation scale.

Duration: 1' 00"
Manuscript

Instrumentation: for four small drums or drum solo

Based on a text by Qvirinus Kuhlmann. Twelve similar polymetric lines, distinguished only by dynamic changes, means of striking and tempo. A prior knowledge of classical drumming techniques is presumed.

Duration: 10' 00"

Instrumentation: for piano

'Chromaticism' here means 'micro' chromaticism. The model-like miniature enables practice in harmony of the higher partial tones and the corresponding subtleties in the intonations graduation.

Duration: var.
Manuscript

Instrumentation: for vibraphone solo

Based on a text by Quirinus Kuhlmann, a serene flowing monophonic melody with additional tones for colouration. Relies greatly on the strike differentiation and damper technique. Highly demanding.

Duration: 3' 00"

Concept

Instrumentation: for four percussionists

For ice objects by Martin Spühler - or any other objects.

Duration: 20' 00"-30' 00"
Manuscript

Instrumentation: 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"
Manuscript

Instrumentation: for woodwind instrument, violin, violoncello, piano and a small drum

This very serene and flowing music is based on Ossip Mandestam’s Requiem for Andrej Belyj. All instruments with fixed pitches are notated in one system, the very sophisticated drum is notated in a second.

Duration: 12' 00" (00:12:00)

Instrumentation: for violin and mid-range organ

Parenthesis in the second sonata from Dario Castello.
This paraphrase deals with the deceleration of tempo through the reduction of note value. If I was an ant the the ant-hill would be a mountain.

Duration: 2' 00"
Manuscript

"... cinta d'herbe e di frond'il crin adorno..."

Instrumentation: for violin and mid-range organ

Sopra 'vestiva i colli' del Palestrina.
This paraphrase deals with the deceleration of tempo through the reduction of note value. If I was an ant the the ant-hill would be a mountain.

Duration: 8' 30"
Manuscript

Concept

Instrumentation: for four performers

Based on an installation by Ute Klein.

Duration: 10' 00"-15' 00"
Manuscript

Nine concepts

Instrumentation: for any instrumentation

Extracts can be performed separately.

Duration: var.
Manuscript

Instrumentation: for vocal quartet and grand piano with two players

Texts: Georg Friedrich Dauemer, Kaspar Hauser

For the scoring and based on texts by the poets from Brahms’ ‘Liebesliederwalzer’.
Throughout his short life It seemed that Kaspar Hauser danced between extremely hard times and their extreme opposite. Caught between his sufferings (every cognition generated pain and often illness) and his sensitivity (every perception was a unique occurrence, which held his concentration with such force, that nothing else was able to exist) He was fired driven and to learn everything by his dauntless will. The musical structures, composed of few elements and accessory to the texts by Daumers / Hausers, attempt to arrange a small number of tonal relations and time relations detached from their traditional context. The expression they create is such that it could "mean" everything or nothing.
The ten pieces have, by mirroring the texts, the character of memories, this is underlinded with two quotes by Brahms.


Duration: var.
Manuscript

Concept piece

Instrumentation: for piano

Duration: var.
Manuscript

Nine movements

Instrumentation: for piano and a sixteenth-tone piano (piano duo)

1. WECHSELSATZ, through all tonality types (for Tom Johnson)2. KEIMLINGE, four short mysteries (for Ivan Vysnegradskij)3. TRAUBEN, filtered (for György Kurtág)4. VERWANDLUNG, atonal - tonal (for Joseph Matthias Hauer)5. WENDUNG, euphuistic (for Urs Peter Schneider)6. TORKELN, precise (for Viktor Jekimovskij)7. ZENTRUM, approximated (for Peter Streiff)8. CARILLON, over the thirteenth tone (for Julian Carrillo)9. TRAUM, reminiscent (for Regina Irman)The sixteenth tone piano which is mentioned here is one produced by the firm Sauter, under the initiative of Julian Carrillo. It was produced for the world exhibition in Brussels in 1957 and has a range of one octave (c1 - c2) and ninety-seven keys. The claviature looks the same as a normal piano with a _C - c5 range.

Duration: 10' 00"
Manuscript

Instrumentation: for two woodwind instruments

‘Chromaticism’ here means ‘micro’ chromaticism. This model-like miniature enables practice in harmony of the higher partial tones and the corresponding subtle intonation scales.
# 1a: Transcription for two violins
# 1b: Transcription for two violoncelli


Duration: 2' 00"-10' 00"
Manuscript

Instrumentation: for melodic instrument and piano

‘Chromaticism’ here means ‘micro’ chromaticism. This model-like miniature enables practice in harmony of the higher partial tones and the corresponding subtle intonation scales.

Duration: 2' 00"-10' 00"
Manuscript

Instrumentation: for overtone singing

‘Chromaticism’ here means ‘micro’ chromaticism. This model-like miniature enables practice in harmony of the higher partial tones and the corresponding subtle intonation scales.

Duration: 3' 00"
Manuscript

Instrumentation: for orchestra, band I (2.2.2.2/1.2.0.0/timp.perc/hp/6.5.4.4.3)

‘Chromaticism’ here means ‘micro’ chromaticism. This model-like miniature enables practice in harmony of the higher partial tones and the corresponding subtle intonation scales.

Duration: 7' 00"
Manuscript

Instrumentation: for orchestra, band II (2.2.2.2/2.2.0.0/timp.perc/hp/4.3.4.4.3)

‘Chromaticism’ here means ‘micro’ chromaticism. This model-like miniature enables practice in harmony of the higher partial tones and the corresponding subtle intonation scales.

Duration: 10' 00"
Manuscript

Instrumentation: for chamber ensemble (fl(pic, fl-g).ob(ca).cl(cl-a, Bcl).bn(cbn)/hn.tpt.tbn/perc/hp) and string quintet

‘Chromaticism’ here means ‘micro’ chromaticism. This model-like miniature enables practice in harmony of the higher partial tones and the corresponding subtle intonation scales.

Duration: 8' 00"
Manuscript

Instrumentation: for flute (pic, fl-c, fl-g) and guitar

Also for other suitable melodic instruments. Guitar with seventh string H.
‘Chromaticism’ here means ‘micro’ chromaticism. This model-like miniature enables practice in harmony of the higher partial tones and the corresponding subtle intonation scales.

Duration: 4' 00"
Manuscript

Instrumentation: for piano and sixteenth-note piano (piano duo)

Based on a text by Quirinus Kuhlmann.

Duration: 3' 00"
Manuscript