Instrumentation: for piano

Duration: 2' 00"

Instrumentation: for violin and piano

Duration: 3' 30"

Instrumentation: for violoncello and piano

Piece for an occasion, parodistic.

Duration: 2' 30"
Manuscript

Instrumentation: for small instrumental ensemble (afl.bcl/tpt.tbn/pf.org) and string quartet

Extracts from Webern's last twelve-tone series, curiously articulated; radical canon technique. Not particularly difficult technically but awkward and a little unusual. Almost traditional notation. Each extract can be performed separately.

Duration: 10' 00"

Instrumentation: for any score (each with piano ad libitum)

Versions of considerable duration can be realised using the existing material, versions whose time / space characteristics are completely accidental. Musical grid structures are the unpredictable result. These pieces are dedicated to John Cage, Morton Feldman and Christian Wolff

Duration: var.

CHF: 23.40

Instrumentation: for anything which makes a noise.

Thirteen pages each with thirty-five notations of musical and non-musical provenance. To be performed by a maximum of thirteen players who help themselves to a large 'arsenal' of percussion instruments and then let loose their prepared realisations on each other. Only the duration of play and an approximate sequence of events are discussed in advance. This work is dedicated to Erika Radermacher (my first long-time companion).

Duration: var.

CHF: 20.70

A musicalised text

Instrumentation: for one orator

Published in: Komponieren 1955-1988.

Duration: 24' 00"

Excercise

Instrumentation: for fifteen solo strings (5.4.3.2.1)

Duration: var.

Excercise

Instrumentation: for ten solo speakers (4.2.3.1)

Duration: var.

Pseudo composition

Instrumentation: for ten players on various sound producers

Duration: 40' 00"

examples for optic and acoustic realisation

Duration: 64' 00"

Instrumentation: for one or two performers with simple electronic

Kommentar - Attrappe - Rentisse - Opposit

Duration: 32' 00"

Instrumentation: für Klaviertrio

Duration: ca. 3'00''

CHF: 18.00

Instrumentation: for one electronic tape tinkerer

Duration: 18' 00"

Instrumentation: for one piano player

Duration: 20' 00"

Instrumentation: for one lecturer

Published in: Das Umbiel 2008.

Duration: 22' 00"

Instrumentation: for any score (not necessarily musical)

Ninety one diversely cross-linked leaves for a comprehensive media performance. Any number of musicians, actors, actresses and further participants help themselves to any number of leaves and let their musical and non-musical actions, (modelled on anarchistic directness) out into the open. Dedicated to the theatrewright and long-term friend Norbert Klassen.

Duration: var.

CHF: 64.20

Instrumentation: for four instrumentalists (xylophone, flute, piano and harmonium)

Kirchweih: A feature-length multi media cycle about the perverted or lost ritual; 'Kreuze' is critical ecclesiastic music, 'Englisches Zubehoer', 'Zähler' and 'Geistliche Uebungen' are all pieces with optical, film-like, pantomime-like ceremonies, 'Umkehr' is possibly reconciliatory Easter music whose tone is advanced into the utopic using simple electronic apparatus. The five pieces should be (but not necessarily) performed in a church, each can be performed seperately. Can be realised by a well motivated amateur choir.

Duration: 6' 00"

Instrumentation: for objects of an ecclesiastical nature

Kirchweih: A feature-length multi media cycle about the perverted or lost ritual; 'Kreuze' is critical ecclesiastic music, 'Englisches Zubehoer', 'Zähler' and 'Geistliche Uebungen' are all pieces with optical, film-like, pantomime-like ceremonies, 'Umkehr' is possibly reconciliatory Easter music whose tone is advanced into the utopic using simple electronic apparatus. The five pieces should be (but not necessarily) performed in a church, each can be performed seperately. Can be realised by a well motivated amateur choir.

Duration: 16' 00"

Instrumentation: for figurine (slide projection)

Kirchweih: A feature-length multi media cycle about the perverted or lost ritual; 'Kreuze' is critical ecclesiastic music, 'Englisches Zubehoer', 'Zähler' and 'Geistliche Uebungen' are all pieces with optical, film-like, pantomime-like ceremonies, 'Umkehr' is possibly reconciliatory Easter music whose tone is advanced into the utopic using simple electronic apparatus. The five pieces should be (but not necessarily) performed in a church, each can be performed seperately. Can be realised by a well motivated amateur choir.

Duration: 2' 00"

Instrumentation: for people of both sexes

Kirchweih: A feature-length multi media cycle about the perverted or lost ritual; 'Kreuze' is critical ecclesiastic music, 'Englisches Zubehoer', 'Zähler' and 'Geistliche Uebungen' are all pieces with optical, film-like, pantomime-like ceremonies, 'Umkehr' is possibly reconciliatory Easter music whose tone is advanced into the utopic using simple electronic apparatus. The five pieces should be (but not necessarily) performed in a church, each can be performed seperately. Can be realised by a well motivated amateur choir.

Duration: 12' 00"

Instrumentation: For an orchestra with apparatus (2.2.2.2/2.2.2.2/2vnpizz.2gtr.2vcpizz.2hp/0.2.2.2.2)

Kirchweih: A feature-length multi media cycle about the perverted or lost ritual; 'Kreuze' is critical ecclesiastic music, 'Englisches Zubehoer', 'Zähler' and 'Geistliche Uebungen' are all pieces with optical, film-like, pantomime-like ceremonies, 'Umkehr' is possibly reconciliatory Easter music whose tone is advanced into the utopic using simple electronic apparatus. The five pieces should be (but not necessarily) performed in a church, each can be performed seperately. Can be realised by a well motivated amateur choir.

Duration: 22' 00"

Instrumentation: for four pianos

Duration: 38' 00"

CHF: 20.40

six sections for soloists

- Sphere for one piano- Angle for two harmoniums- Navel for four harpsichords- Bird for three sopranos- Jacket for six clarinets- Handle for five harps

Duration: var.

Concept

Instrumentation: for any instrumentation (also of a non-musical nature)

Published in: 'Komponieren' 1955-1988.

Duration: var.

radio programme for and against the 'Südwestfunk'

Duration: 2h 23' 00"
Manuscript

Instrumentation: for four musicians (soprano, orator, piano and large drum)

Texts: Robert Walser

Text: Robert Walser.

Duration: 0' 30''

Instrumentation: for variable instrumentation

- Zahlen for 4 percussionists, in 3 parts
- Texte for 1 speaker, in 3 x 5 parts
- Bilder for 3 singers, in 5 parts
- Noten for 5 strings, in 5 x 7 parts
- Striche for 2 synthesizer, in 7 parts

Duration: 20' 00"

Ecclesiastic music

Instrumentation: for singing voice (soprano) and electronic processing

Duration: 24' 00"

Instrumentation: for large instrumental ensemble and four voices (SATB; 0.0.0.0/1.0.0.0/6gtr/2pf(eight players)/2timp /0.3.3.3.0)

Sixty minutes for thirty performers in dynamic combination, demanding the maximum of inner concentration. An unusually vigilant and deliberate virtuosity is required for each of the six monochromatic pieces: 'Atemwende', 'Sprachgitter', 'Fadensonnen', 'Schneepart', 'Niemandsrose' and 'Lichtzwang'. Each piece lasts between five and fifteen minutes and can be performed separately without need of the others. A work concerning the unspeakable concealment of fragility; a memorial piece.

Duration: 60' 00"

a radiophonic portrait

Duration: 35' 00"
Manuscript

A concept

Instrumentation: for two pianos

Based on Paul Celan.

Duration: 8' 30"

for singing voice and instrumentarium (with any instruments)

Duration: 2' 30"

Instrumentation: for singing voice and instrumentarium (with any instruments)

Duration: 1' 30"

Instrumentation: for four different clarinets, piano and three different strings

- Ewiger Schnee for bcl and pf (7'10) - Wolkenloser Himmel for 2 str and pf (6'30) - Dürres Gras for 3 str and pf (4'25) - Ätzendes Brennen for 4 cl and pf (1'05)
After Rudolf Steiner.
Consistently calm, quiet piece inspired by the wisdoms offered up by the course of the year: a playback apparatus (cassette player within the piano) produces pulsations of varying tempi and intensity, to this comes sparse, partly experimentally created tonal sequences whose tempi and intensity communicate as precisely as possible with the pulsations of the cassette player. The four pieces can be performed individually or as a cycle; they are intended for highly concentrated musicians only, but do not require any particular virtuosity. Written in semi-traditional notation. The piano is partly prepared (simply) and the pianist occasionally hits a membranophone.


Duration: 19' 00"

Instrumentation: for violin, alto flute, violoncello, bass clarinet (or any other quartet instrumentation)

Quiet music that can only be accomplished when all four performers pursue the whole temporal-spatial event consciously yet completely immersed.
Intermediate level of difficulty but requires a high level of concentration; twelve almost identical strophes - simultaneously an object from twelve perspectives. Radical music dedicated to Matthias Bruppacher.


Duration: 16' 00"

Instrumentation: for 1 to 4 performers (partly free score)

- Immer/Nimmer for four vocalists/four cembalists (8' / 3')
- Rohrertisch/Striegeltisch for four orators/four percussionists (or similar) (5' / 5')
- Ockerln/Nockerln for three partners (free score) (2' / 12')
- Entwickeltes/Verschleiertes for three trombones/two pianists (5' - 6' / 6' - 7')
- Ichts/Nichts for two partners (free score) (10' / 0')
- Lichtlein/Pfloecklein for one viola/one recorder (or similar) (7' / 7')
- Och/Noch for one soprano/one organ (4' / 9')


Duration: var.
Manuscript

Instrumentation: for orchestra / ensemble (free scoring)

- Silberlinge for orchestra (16'10)
- Kohlenfeuer for small orchestra (8'10)
- Erdbeben for ensemble (4'10)
- Wundmale for small ensemble (2'05)

Duration: 31' 30"

Instrumentation: for large, medium or small choir and trumpet, horn or trombone

Duration: var.

für (präpariertes) Klavier

Duration: ca. 65'00'' - 75'00''

CHF: 57.60

Instrumentation: for eight - thirty two strings, eight - thirty two percussionists and eight - thirty two orators

Three concept pieces for a half-theatrical performance in purely verbal notation. Merry musical fairytale pieces created for children where each piece can also be performed singularly. Barely any technical difficulties but does require carefully controlled study of the tonal procedures. A stage director takes care of all the sensibly formed optical moments.

Duration: var.

CHF: 13.80

Concentration

Instrumentation: for 22 instruments in 5 ascending cadences

Duration: 5' 00"

Meditation

Instrumentation: for 10 instruments in 11 ascending cadences

Duration: 11' 00"

Contemplation

Instrumentation: for 4 instruments in 23 ascending cadences

Duration: 23' 00"

Instrumentation: for large, medium or small ensemble

Duration: var.
Manuscript

78 Ermunterungen

Duration: var.

CHF: 9.00

Instrumentation: for piano

Piano pieces for cult or concertante use; one piece for each half of the month. Can also be performed individually (relative to the respective date). Medium level of difficulty: the performance of the whole cycle, however, requires an excellent sense of time and persistent attentiveness. The pieces are traditional, exactly notated but with several novel suggestions, which are explained in the foreword. Work on this kind of music demands a readiness to understand the occult theories that form the basis of Rudolph Steiner's spiritual science, or serves at least to initiate this readiness.

Duration: 30' 00"-34' 00"

Instrumentation: for deep, respectively high, wind quintet

Duration: 13' 00"

Instrumentation: for various small chamber music scores

Duration: 27' 00"-30' 00"

Instrumentation: for two violins, viola, two violoncelli, two clarinets, two horns and two bassoons

Precisely notated chamber music containing no unusual playing techniques. The four cycles 'Langer Marsch', 'Langer Walzer', 'Kurzer Marsch', 'Kurzer Walzer', can be performed individually. Some pieces are finicky, others simple. Emotional, placative music with many allusions to the life of Rudi Dutschkes to whom the piece is dedicated.

Duration: 17' 00"

Instrumentation: for six instrumentalists (can also be set chorally)

Texts: Gottfried Keller

Duration: 1' 30"

Instrumentation: for singers and instruments on play-back tape

Texts: William Shakespeare

- Incidental music for a scenic performance of A Mid Summer Nights Dream.
- Radio play music for a radiophonic summary of A Mid Summer Nights Dream by William Shakespeare.

Duration: 45'00" bzw. 65'00"
Manuscript

Instrumentation: for one singing voice and piano

Based on Robert Walser. A total of eighty pieces, a compositional Summa in (exaggerated terms) eighty different techniques. Robert Walser is present in all of the 10 plus 12 plus 6 plus 8 cycles and also Robert Schumann in the very last of the eighty pieces. Texts have been really set to music and do not just used fro reasons of structure and motto. They have been composed up to thirteen times. This turns the word-sound relationship of the piece on its head. All eighty pieces are written in a severe style and are situated somewhere between the radically experimental and radically compositorial approaches.

Duration: 35' 00"

Instrumentation: for eight singing voices (2S.2A.2T.2B)

A total of eighty pieces, a compositional Summa in (exaggerated terms) eighty different techniques. Robert Walser is present in all of the 10 plus 12 plus 6 plus 8 cycles and also Robert Schumann in the very last of the eighty pieces. Texts have been really set to music and do not just used fro reasons of structure and motto. They have been composed up to thirteen times. This turns the word-sound relationship of the piece on its head. All eighty pieces are written in a severe style and are situated somewhere between the radically experimental and radically compositorial approaches.

Duration: 18' 00"

Instrumentation: for one woodwind instrument

A total of eighty pieces, a compositional Summa in (exaggerated terms) eighty different techniques. Robert Walser is present in all of the 10 plus 12 plus 6 plus 8 cycles and also Robert Schumann in the very last of the eighty pieces. Texts have been really set to music and do not just used fro reasons of structure and motto. They have been composed up to thirteen times. This turns the word-sound relationship of the piece on its head. All eighty pieces are written in a severe style and are situated somewhere between the radically experimental and radically compositorial approaches.

Duration: 25' 00"

Instrumentation: for eight woodwind and strings (2.2.2.2/2.4.6.4.2)

Based on Robert Walser. A total of eighty pieces, a compositional Summa in (exaggerated terms) eighty different techniques. Robert Walser is present in all of the 10 plus 12 plus 6 plus 8 cycles and also Robert Schumann in the very last of the eighty pieces. Texts have been really set to music and do not just used fro reasons of structure and motto. They have been composed up to thirteen times. This turns the word-sound relationship of the piece on its head. All eighty pieces are written in a severe style and are situated somewhere between the radically experimental and radically compositorial approaches.

Duration: 12' 00"

Instrumentation: für 1 bis 5 Bläser

Duration: var.

Incidental music

Instrumentation: with twenty-four instrumental timbres over all keys

Duration: 65' 00"
Manuscript

Texts: Johann Wolfgang Goethe

Duration: ca. 4'00"

CHF: 18.00

Instrumentation: for any instrumentation (also of a non-musical type)

Fifty-five leaves, each with two related texts, for multidisciplinary performances: any number of musicians, actors/actresses and further participants help themselves to any number of leaves in order to assist them in the preparation of their actions; dedicated to the actress and friend of many years Janet Haufler.

Duration: var.

CHF: 42.60

Instrumentation: four different scores

- Hohe Lieder, for singing and five - seven instruments (10')- Du, der im Versteck des Höchsten sitzt, for horn (5'-10')- Gleiche Sprüche, for two speakers and twenty two - twenty six instruments (6'-12')- O Glück ihrer, die schlichten Wegs sind, for two pianists (12')
Based on Martin Buber.

Duration: 33' 00"-44' 00"

material for a theatre piece with a minimum of four performers

Duration: var.
Manuscript

Warm up excercise

Instrumentation: for two-hundred solo recorders (100S, 60A, 30T, 10B)

This work was inspired by Conrad Steinmann, who then undertook the organisation of the four performances in May 1984. Two hundred single voices in a large-scale process of respiration; this impressive work makes an unheard of ethereal sound and a seemingly utopian form of collective performance audible, it ends in a full minute of absolute silence. The voices are simple, are offered a certain amount of freedom and allow the player plenty of time to listen. A large and simple "clock" provides the (generous) synchronisation. One needs 10 bass, 30 tenor, 60 alto and 100 soprano recorders. The score (condensed version) is also a document for the creation of the two hundred single voices.

Duration: 21' 00"

Orchestral piece

Instrumentation: for fifty-five performers (3.3.3.3/0.2.1.0/5perc/2hp.pf/2gtr/8.7.8.7)

Duration: 11' 00"

Instrumentation: für Hoboe und Cembalo (oder zwei andere, verschiedene Instrumente)

After Adalbert Stifter.

Duration: 9' 00"

Instrumentation: for speaking voice

Duration: 6' 00"-72' 00"

Instrumentation: for violin and piano (or two other different instruments)

After Adalbert Stifter.

Duration: 15' 00"

Opera in six scenes

Instrumentation: for electronic tape, slide projection, light and possibly a silent protagonist

Texts: Friedrich Hebbel

A contribution to the forgotten category of radio opera. This piece was commissioned by the Swiss Radio Association and is based on an altered interpretation of a scene fragment written by Friedrich Hebbel. A scenic presentation of this piece is possible without stretching the possibilities of a modern opera house, it employs no singing people, at best only symbolic figures are required. The theme of this opera is a world dialogue between two spiritual powers.

Duration: 60' 00"

Instrumentation: for voice and free instrumentation

- Die Linien des Lebens I for 2-11 performers
- Mit Unterthänigkeit for voice and accompaniment
- Die Linien des Lebens II for 2-11 performers

Duration: 3' 00"-9' 00"

Instrumentation: for speaker, string instruments and others

- Todeslinien for violoncello or similar (with bourdon ad lib.)
- Mit Liebenswürdigkeit for 5-7 speakers
- Lebenstänze for viola or similar (with bourdon ad lib.)

Duration: variabel

Instrumentation: for percussion and free instrumentation

- Die Tänze des Todes I for 3-4 performers
- Mit Unterthänigkeit for groups of percussionists
- Die Tänze des Todes II for 3-4 performers

Duration: 6' 00"-12' 00"

Instrumentation: for a few string instruments (free score)

Duration: 9' 00"

Twelve neglected pieces in 1 - 24 sequences

Instrumentation: for 1 - 8 instruments

Brief - Biest - Fieps - Fries - Pieps - Fiest - Pieks - Bries - Fried - Grief - Kieks - Pried.

Duration: var.

Six life-images

Instrumentation: for three pairs of (string and/or wind) instruments

A cycle based on savage and partly lost writings; "Die schöne Frau von Thun" uses six instruments, which can be relatively freely chosen; "Tobold" is a compositional concept, formal and extremely variable in its instrumentation (the composer has arranged one version); "Das Mädchen mit den schönen Augen" is the last work before the composer's non-composing phase, maliciously simple, supposedly humorous – it is dedicated to the performer Marion Leyh.

Duration: 7' 00"

CHF: 22.80

Scenes of humility

Instrumentation: for choir voices and orchestral groups

A cycle based on savage and partly lost writings; "Die schöne Frau von Thun" uses six instruments, which can be relatively freely chosen; "Tobold" is a compositional concept, formal and extremely variable in its instrumentation (the composer has arranged one version); "Das Mädchen mit den schönen Augen" is the last work before the composer's non-composing phase, maliciously simple, supposedly humorous - it is dedicated to the performer Marion Leyh.

Duration: variabel (Ausarbeitung durch den Komponisten: 10'00")

CHF: 27.60

Two fantasy pieces

Instrumentation: for oboe and trumpet (or two other, slightly different instruments)

A cycle based on savage and partly lost writings; "Die schöne Frau von Thun" uses six instruments, which can be relatively freely chosen; "Tobold" is a compositional concept, formal and extremely variable in its instrumentation (the composer has arranged one version); "Das Mädchen mit den schönen Augen" is the last work before the composer's non-composing phase, maliciously simple, supposedly humorous - it is dedicated to the performer Marion Leyh.

Duration: 3' 00"

CHF: 13.80

documentation of a music theatrical project with Marion Leyh

Duration: var.
Manuscript

A musicalised text

Instrumentation: for one speaker

Published in: Das Umbiel 2008.

Duration: 8' 00"

Instrumentation: for four vocalists (can be set chorally)

Texts: Johann Scheffler

Duration: 7' 30"

Instrumentation: free score (also non-musically)

A total of over a thousand single leaves filled with bars, notes, pictures, text and numbers. Until now it is mostly self-composed and stretches from soli to orchestral works. It also includes some non-musical material (more can be requested). This study, or better said, 'knowledge items' (so called music with its roots in art) is dedicated to friends of the composer.

Duration: var.

Instrumentation: for four musicians (soprano, orator, piano and large drum)

Texts: Martin Buber

Text: Martin Buber.

Duration: 2' 30"

A spartanic monody resp. dialody

Instrumentation: for a high and/or a deep instrument

Duration: 4' 30"

Instrumentation: for speaker or saxophone solo (et al)

Duration: var.

CHF: 12.00

Instrumentation: für vier Ausführende (Multimediales Werk)

Duration: 14' 00"

CHF: 22.70

Instrumentation: for female speaker or harp solo (et al)

Duration: var.

CHF: 12.00

2-50 Permutations

Instrumentation: for 50-2 people (free scores)

Duration: 4' 00"-25' 00"

4-25 Permutations

Instrumentation: for 25-4 people (free score)

Duration: 8' 00"-21' 00"

Instrumentation: for free quartet instrumentation

Based on Heinrich Heine.

Duration: 10' 00"

Instrumentation: for reader or speaker

Duration: var.

A six-hour ritual

Instrumentation: for between six and sixty performers

Duration: 60h 00' 00''

Concept for the elaboration of pieces In memorium resp. In expectationem

Instrumentation: for eight high instruments (any instrumentation)

Duration: var.

a three-part concert etude for multiple use

Instrumentation: for 1 bis 3 instruments (also microtonal)

Duration: var.

Instrumentation: für Klaviertrio

Duration: 3' 00"

CHF: 13.00

Slogans and sonatas

Instrumentation: for literary and/or musical perfomance (any instrumentation)

Duration: var.

Eight details (of a picture)

Instrumentation: for 14 solo recorders

After Friedrich Hölderlin.

Duration: 7' 00"

Instrumentation: for bassoon solo (with one player and two cymbals ad lib.)

Duration: var.

Rituals

Instrumentation: for 6 bis 12 performers (any instrumentation)

- Blasse Spur for 6 performers (07'37")
- Weisse Spur for 8 performers (14'28")
- Krasse Spur for 10 performers (23'35")
- Heisse Spur for 12 performers (34'58")

These pieces arose during a year accompanying the documentary film maker Urs Graf and form, after the process of their development was identified, the final part of the feature-length film. The title 'Ins Unbekannte der Musik' (into the musical unknown) carries the sub-title 'Urs Peter Schneider: 36 Existenzen' (36 Existences). This consists of 17 existences: three-part sacral dances and contredanses for five instruments in the higher register (8'30), and 19 existences: four-part profane dances and concert dances for seven instruments in the deeper register (9'30).

Duration: 18' 00"

Examples for continuous (optic and/or acoustic) realisation - installations of indefinite duration

Published in: Susanne Muller catalogue (special edition).

Duration: var.
Manuscript

Instrumentation: for any sources of sound

Collected concepts for various realisations with a maximum of eleven performers; a teeny-weeny 'concert tub' produced in cooperation with Tzie Elgna and Ludger von Diedrichsfeld, Dora Hermine Eybling and Margot Erdmute von Drajschenfleygh. It is to be understood as a kind of worthy comparison to the piece 'Babel'. Dedicated to the conceptualist Marion Leyh (the second partner).

Duration: var.

CHF: 19.30

Two Albumleaves

Instrumentation: for fidel and gamba (or two slightly differeing instruments)

A last cycle, which mirrors the first in many ways, based closely on restructured texts by the poet. "Die Liebe in den leichten Worten" continues semantic distraction in unsophisticated seconds, deceptive and beautiful; "Kanal" is a conceptual composition, creating artificial folklore, and sentences of a piece of prosa, quasi idyllic continuation (the composer himself has created one version); "Das leichte End in Bern" is to be scored in a monochrome fashion with six identical instruments. It tells of disappearance into anonymity, of poltergeists and much more; it is dedicated to the performer Eva Fuhrer.

Duration: 5' 00"

CHF: 13.80

Scenes of Grace

Instrumentation: for speaking voice and chamber ensemble

A last cycle, which mirrors the first in many ways, based closely on restructured texts by the poet. "Die Liebe in den leichten Worten" continues semantic distraction in unsophisticated seconds, deceptive and beautiful; "Kanal" is a conceptual composition, creating artificial folklore, and sentences of a piece of prosa, quasi idyllic continuation (the composer himself has created one version); "Das leichte End in Bern" is to be scored in a monochrome fashion with six identical instruments. It tells of disappearance into anonymity, of poltergeists and much more; it is dedicated to the performer Eva Fuhrer.

Duration: variabel (Ausarbeitung durch den Komponisten: 10'00")

CHF: 18.00

Six Images of Life

Instrumentation: for three pairs of (plucked and/or percussion) instruments

A last cycle, which mirrors the first in many ways, based closely on restructured texts by the poet. "Die Liebe in den leichten Worten" continues semantic distraction in unsophisticated seconds, deceptive and beautiful; "Kanal" is a conceptual composition, creating artificial folklore and sentences of a piece of prosa, quasi idyllic continuation (the composer himself has created one version); "Das leichte End in Bern" is to be scored in a monochrome fashion with six identical instruments. It tells of disappearance into anonymity, of poltergeists and much more; it is dedicated to the performer Eva Fuhrer.

Duration: 9' 00"

CHF: 25.80

Ecclesiastical music

Instrumentation: for oboe/baritone oboe or clarinet/bass clarinet (1player)

Duration: var.

Concepts

Instrumentation: for agile people

Duration: var.

Concept to a cultural/political event

Instrumentation: for the event's invited public and 100 or more cultural workers

Published in: Hotel Elite 2005

Duration: 12h 00"

15 or more exercises

Instrumentation: for speaker solo (and ensemble ad lib.)

Duration: 10' 00"-16' 00" (mit Ensemble 32'00'')

10 or more exercises

Instrumentation: for tuba player solo (and ensemble ad lib.)

Duration: 6' 00"-16' 00" (mit Ensemble 32'00'')

Drei Potpourris für Sprechstimmen und Abspielgeräte

Duration: 43' 30"

A compositional concept for for the prouction of small four-voice pieces

Instrumentation: for one two voice and two one voice instruments

Duration: var.

Instrumentation: for celesta sounds (1-6 players)

Robert Walser in memoriam.

Duration: 5' 25"

Sandor Veress on 1.II.07

Instrumentation: for 1 x 100 singing parts (for 100 performers)

Duration: 7' 00"

Fairytale machine

Instrumentation: for speaking voice and/or percussion trio resp. singing voice and/or stringtrio

Texts: Brüder Grimm

Duration: var.

Instrumentation: for melodica, flute and piano forte

- Die Teile des Tages I for melodica
- Mit Eigenhändigkeit for 2 female Flutists
- Die Teile des Tages II for piano forte

Duration: 9' 00"-15' 00"

Instrumentation: for piano, organ and various instruments

- Wesensteile für Klavier (with or without string instruments)
- Mit Hintergründigkeit for 2 x 15 instruments and paper sounds
- Tageswiegen für Orgel (with or without percussion instrument)

Duration: var.

Instrumentation: for hammond organ, bassoon and bandoneon

- Die Wiegen des Wesens I for hammond organ
- Mit Eigenhändigkeit for two bassoonists
- Die Wiegen des Wesens II for bandoneon

Duration: 12' 00"-18' 00"

Instrumentation: for oboe and ud

Duration: 11' 30"

Instrumentation: for oboe

Duration: 6' 00"

Chamber piece after Jakob Böhme

Instrumentation: for historical, traditional, exotic and experimental instruments (four of each)

Each of the four (almost identical) pieces presents a self-contained cyclical process "without beginning or end". Temporal and spatial characteristics are blurred, directly related to each other; the performers read the score and stand in a state of mutual dependence in only partly controllable situations full of paradoxes. The audience is presented with an intimate, quantitative and qualitative, hardly definable, continually relativising complete process.

Duration: 50' 00"

Instrumentation: for speaking voice

Duration: 40' 00"

CHF: 18.00

Karlheinz Stockhausen on 22.VIII.08

Instrumentation: for 2 x 40 percussion sounds (1-10 performers)

Duration: 5' 00"

For the Ensemble Neue Horizonte Bern (14.IV.08)

Instrumentation: for 4 x 10 toy sounds (40 performers)

Duration: 13' 00"

Punch and Judy show in collaboration with Marion Leyh

Instrumentation: for 8 performers

Duration: 11' 40"

Unisonous music to a text by Thomas Aquinas

Instrumentation: for 2 x 1 individual

Duration: 1, 11... Minuten

Four-part music to a text from the Benediktbeuren monastery

Instrumentation: for 4 x 4 individuals

Duration: 4, 44... Minuten

Nine-part music to a text by Thomas of Celano

Instrumentation: for 6 x 9 individuals

Duration: 9, 99... Minuten

A composition concept to create a pitch series

Instrumentation: for one or several high instruments (declamation ad lib.)

Duration: var.

1 - 10 experimental canons

Instrumentation: four-part (e.g. piano, oboe, violin, ud)

After Joseph Haydn's Ten Commandments of Art.

Duration: var.

For the project group Neue Musik Bremen (35.X.09)

Instrumentation: for 5 x 4 chinwaggers (1-4 performers)

Duration: 11' 00"

Instrumentation: for a homogeneous quintet formation

Duration: 15' 20"

4 pieces

Instrumentation: for 1/2 tone and 1/3 tone piano

Duration: je 7' 00''

Instrumentation: for 1 bis 5 (homogeneous) instruments and piano

Duration: var.

1-100 Verschreibungen für 1-10 Performende

Instrumentation: for 1 or more performers

Duration: var.

A concept for you alone

Instrumentation: for 1 person

Duration: var.

Instrumentation: for duo

Duration: ca. 13' 00'' pro Fassung

Instrumentation: für Orgel

Nach Franz Josef Czernin

Duration: 12' 00"

Drei Kontaktstellen für Quartette

Duration: 4' 30"

25 Befindlichkeiten für drei Ausführende mit vielfältigen Klangmöglichkeiten

Duration: 12' 30"

Instrumentation: für Ensembles (2 Ob, Fg, Sax, Tp, 2 Hn, Klavier, Harfe, Marimba, Vibraphon, Streichtrio)

Duktionen - Reduktionen - Konstruktionen - Dekonstruktionen

Duration: 17' 00"

Operette in sechzehn stillen Bildern

Nach Texten aus verschiedenen Libretti

Duration: 61' 30"

Instrumentation: für je sechzehn Instrumente

Duration: je 12' 00''

20 Transformationen für 1, 2, 4, 5 Instrumente

Duration: 23' 30"

Instrumentation: für fünfundzwanzig Solotraverse

Duration: ca. 14' 00''

Instrumentation: für (präpariertes) Klavier

Duration: ca. 5' 00''

CHF: 9.00

Texte für als mit zur Musik

Der dicke Band enthält: alle Sprechtexte, Tagebuchnotizen, kürzere Texte zu allerlei (musikalischen) Themen, alle experimentellen Texte.

Duration: var.

Acht Zumutungen für Klavier

Duration: var.

Eine dunkle Konversation

Duration: 25' 00"-40' 00"

Ein Schwanengesang für Klavier solo oder vierhändig (Rezitation ad lib.)

Duration: 9' 30"-11' 00"

Ein zarter Abschied für Klaviertrio

Duration: 10' 00"

Ein Schwanengesang für Klavier solo oder vierhändig (Rezitation ad lib.)

Duration: 9' 00"-10' 30"

Sprechtext für eine Performance

Duration: ca. 17' 00''

CHF: 16.20

Eine Elegie für Soloviola (und Ensemble ad lib.)

Duration: 9' 00"

Ein Abschied für 1, 2, 3, 4 Instrumente (Singstimmen)

Duration: min. 3'00''

Ein Opfer für grosses Orchester ohne Schlagzeug

Duration: 11' 00"

Ein Gebet für 5 zweistimmig spielende Schlagzeuger

Duration: min. 6'00''

Ein Verzicht für Solopiano (und Ensemble ad lib.)

Duration: 8' 00"

Eine Studie für 1, 2, 3, 4 Singstimmen (Instrumente)

Duration: min. 4'00''

Instrumentation: für 1 bis 3 Streicher mit oder ohne Klavier

Duration: ca. 6' 00''

Ein Kammermusikstück für 6 Ausführende

Duration: 10' 00"

Instrumentation: für Violine, Klavier, Violoncello, bzw. Klarinette, Orgel, Bassklarinette

Duration: je ca. 4' 00''

Eine erste und letzte Sinfonie

Instrumentation: für 84 singende, spielende, sprechende, schlagende Ausführende

Duration: ca. 17' 00''

Uebung

Instrumentation: for 10 Solo-speaker (4,2,3,1)

Duration: var.

Ein nicht ganz ernst zu nehmendes Konzept

Veröffentlicht in: Das Urteil 2023

Ein zwölfteiliger Text

Instrumentation: Sprechstimme

Published in: Schriften 1955-2015