Instrumentation: for xylophone, marimba and two musical boxes (total of three percussionists)

An almost scenic confrontation: childlike, self-centred play contrasts with perfectionist, cold virtuosity. Play boxes are available on loan for performance.

Duration: 8' 00"

CHF: 23.00

Instrumentation: for percussion trio and large electronic tape loop

Duration: 10' 00"

CHF: 18.00

Instrumentation: for three violoncelli and two percussionists

A play with formal superimpositions.

Duration: 17' 00"

CHF: 25.80

Slightly scenic. In the third sketch all four play together on the cello.

Duration: 3' 00"

CHF: 12.00

Instrumentation: for baritone solo, female choir (18S20A) recorder ensemble (9t18b) and large orchestra (3(pic).2.3(3bcl).2(cbn)/4.0.4.0/4perc/hp.pf.cel/12.10.8.8.6)

Texts: Hans Erni

Despite the large setting this is a chiefly quiet piece - inspired by a text by Hans Erni (painter).

Duration: 16' 00"

Instrumentation: for wind ensemble, two percussion and piano (2(pic,fl-g)2.2(bcl)2/2.2.0.0)

In three movements; Grande danse froide, nine microludes, epilogue. Engraved in Nuremberg's ancient fire bell: "When I, the bell ring, it never means a futile thing (...)". - As is inscribed in my memory, the chemical catastrophe at Schweizerhalle in Basel on 01.11.86. Numerous bell sounds are featured, and there is a personal attempt to portray the event through both poles of the work. This piece is written for music students.

Duration: 13' 00"

CHF: 25.20

14 signs

Instrumentation: for (grave) chamber orchestra (2(pic).2.2(bcl).2/2.2.0.0/2perc/hp/8.6.4.4.2)

Quasi archaeological finds - from the Egyptian death books to the blurred vision of twentieth century man. Each 'Zeichen' (sign) can be performed separately.

Duration: 18' 00"

CHF: 38.00

Concert

Instrumentation: for flute and orchestra (Solo: pic.fl-c.fl-g.bfl/ 2(pic:fl-g).1(ca).2(bcl).1(cbn)/1.0.0.btbn.0/3-5perc/hp.pf/6.0.4.4.2)

Based on Jean Gebsers idea of the five-phase conscience changes of humanity (archaic, magic, mythic, mental, integral) the soloist personifies the individual changing in its environment.

Duration: 26' 00"

CHF: 51.30

Instrumentation: for alto flute, violoncello and harpsichord plus recitation ad libitum

Texts: Christian Uetz

'Aussch(l)uss' for alto flute, violoncello and harpsichord (1988/98) (2'30)
'EinSchluss' for violoncello and harpsichord, as well as recitation ad lib. (1998) (3')
Text (ad lib.) by Christian Uetz.

Duration: 5' 30"

CHF: 15.60

Eighteen prints, still life and grotesques

Instrumentation: for solo soprano, mixed choir, chamber choir, childrens voice and instrumental ensemble (cl(bcl)/amphpd.org/egtr/2perc/vn.va) and a couple of easy to play additional instruments

Texts: Giuseppe Ungaretti, Hans Saner, Rudolf Rechsteiner, E.M. Cioran, R. Heinzelmann, M. Buselmeier, Elias Canetti, Hermann Burger, G

A disruptive, conflicting cycle with a tendency to decline (from blinding light to ferocious darkness). To be played exclusively in a church and utilising the whole room.

Duration: 50' 00"

CHF: 58.80

Instrumentation: for six voices (mezzo-soprano, altus, 2 tenors, baritone, bass), 5 recorder-players (div. instr.), 6 viola da gambas (2 disc, A, 2 T/B, violone in D) and two percussion

An adaptation of newly found manuscripts written by an anonymous twelfth century composer in the Vatican, in which aspects of the whole of musical history are anticipated. Spatial music.

Duration: 16' 00"

CHF: 40.20

Instrumentation: for clarinet (horn), violin (violoncello) and partly prepared piano

Version I: cl.hn.vn.pf (op. 10a) Version II: cl.vn.vc.pf (op. 10b) After three fantastical poems about the origin of the world.

Duration: 14' 00"

CHF: 25.20

Instrumentation: for violin and viola

Very intimate music. Individual duets can be performed in any combination. Varying degrees of difficulty.

Duration: 18' 00"

CHF: 18.00

A little wedding music

Instrumentation: for Mezzo-soprano and organ

Texts: Japanisch, Barock-Lyrik, Alltags- Werbe- Mediensprache

Text: some Japanese Haiku, baroque lyric, and computer terms. Lovingly ironic music. Cyclic in 12 short sections.

Duration: 9' 00"

CHF: 14.40

Instrumentation: for percussion trio resp. string trio

Slightly scenic. For glockenspiel, three flexatones, wind machine, two tubular bells (d#''' - d#'''') and a wind wheel with remote control.

Duration: 3' 00"

CHF: 10.80

Instrumentation: for piano/percussion and orchestra (2(pic).3(3ca).2.2/4.2.2.1/1perc/14.12.10.10.3)

An attempt at a musical commentary on the poetry of the Sarabande - its presumed Aztec origins and its almost 200 year long chastisement. Spatial music. Can also be performed by a good amateur orchestra. Parts material, small additional instruments, and preparation devices for the piano (Steinway D-274) are available on loan.

Duration: 26' 00"

CHF: 56.70

Instrumentation: for flute, clarinet, violin, violoncello and piano

A short nocturne for the first heart beat of the ensemble 'Oggimusica'.

Duration: 5' 00"

CHF: 15.30

Instrumentation: (2(pic).2.2(bcl).2/2.0.0.0/6.6.4.4.2)

An almost entirely de-mystified night dealing with two typical nocturnal behaviour patterns. The musical material has been determined by the nightly changes of pulse rate, body temperature, brainstream and breathing.

Duration: 11' 00"

CHF: 40.70

27 imaginations - studies on Greek antiquity (approaches to stone)

Instrumentation: for double-reed quartet (double-reed instruments, heckelephone, bassoon), orator/singer (bass/baritone) and one percussion

Texts: Aristoteles, Hippokrates, Ch. Mullack, Xenophon, Aristophanes, Hans Saner, Platon, Leonides von Tarent, Epikur

Text by Aristoteles, Hippokrates, Ch. Mullack, Xenophon, Aristophanes, H. Saner, Platon, Leonides of Tarent and Epikur.

Duration: 45' 00"

CHF: 28.80

Adapatation

Instrumentation: for chamber ensemble (1.1.1.1/1.1.0/perc/1.1.1.1.1)

Duration: 30' 00"

Adaptations

Instrumentation: for percussion quartet, flute, clarinet, violin, violoncello, piano and percussion and for harp and percussion

1. Percussion quartet:
Wassermann, Fische, Widder, Stier, Zwillinge, Krebs, Löwe
2. Ensemble (flute, clarinet, violin, violoncello, piano and
percussion):
Löwe
3. Harp and percussion (cymbalon, glass harp):
Jungfrau, Waage, Skorpion

Duration: ad lib.

Instrumentation: for flute solo (and one microphone stand)

Duration: 5' 00"

CHF: 13.80

Instrumentation: for saxophone, piano and percussion or flute, clarinet, violin, violoncello, piano and percussion

Duration: 4' 00"

CHF: 15.60

Instrumentation: for lithophone (c-c4) or marimba

Duration: 8' 00"

CHF: 15.00

Instrumentation: for soprano saxophone, horn, trombone, percussion and piano

Partly with an improvised second piano (ad libitum).

Duration: 10' 00"

CHF: 19.80

A portrait

Instrumentation: for piano and percussion... and four pigs (ad lib.) (percussion: 2 Peking opera gongs (c#2/d2), cowbell (c#2), small cymbals, tamtam, 2 large tin cans)

Sergey Kuryokhin (Leningrad, 1954 – St. Petersburg 1996) was a very "talented good-for-nothing", or at least this was the view of his former professors. He considered music to be of ultimate importance, to be completely indestructible. He was the best in musical dictation, the best pianist, composer, improviser, actor, was expelled from his university because of truancy and non-conformism, a pop star (groups such as "Aquarium" and "Popular Mechanics"), invented his own movement system in his role as a conductor and left the percussion and scrap metal department of "Popular Mechanics" to his friend and percussionist Sergey Africa.

Duration: 9' 00"

Instrumentation: for clarinet, violin, violoncello and (celtic) harp

Duration: 4' 00"

Instrumentation: for 4 violins, 2 violas, 2 violoncelli, double-bass and percussion

Duration: 8' 00"

Instrumentation: for flute, clarinet, violin, violoncello, piano and percussion

Two movements: Champ d'aviation - Champ de mai.

Duration: 12' 00"

or: "ein Klang als Maske"

Instrumentation: for saxophone, horn, trombone, piano and percussion

First contribution to the series: "Schweizer im Spiegel der Weltliteratur".

Duration: 3' 00"

Instrumentation: for soprano and piano (with large beater)

Texts: Robert Walser

Duration: 3' 00"

Instrumentation: for flute, clarinet, percussion, piano, violin, viola, violoncello, double-bass, guitar, video production and playback CD

Duration: 12' 00"

Adaptation

Instrumentation: for ensemble (2(1.pic).2.2.1/2.tpt/3perc/pf/1.1.1.1.1)

Duration: 14' 00"

Adaptation

Instrumentation: for ensemble (1(pic).1(ca).1(bcl).0/tpt/2perc/hp.pf/1.1.1.1.1)

Duration: 34' 00"

Adaptation

Instrumentation: for ensemble (1(pic).1(ca).1(bcl, ebcl).1/2.1.1.0/2perc/1.1.1.1.1)

Duration: 20' 00"

Five Audio-Strips

Instrumentation: for baglama (saz) and string quartet

1. Mozart's Kugel wider ein authentisches Türkenbild
2. Im Pulverdampf Versäumtes
3. Orient im Hirn (Derwisch, Bauchtanz und Kaffeehaus)
4. Vision einer Hymne
5. Belagerung des Kebabstandes im Regen, mit klebrigem Nachtisch

Duration: 8' 00"

Instrumentation: for soprano, horn, piano (with Chinese woodblock, c4 raised by a quarter tone, hard mallet and a designer whisk), double bass and a speaking/eating Japanese woman (with a silver tray and a Japanese delicacy)

Duration: 3' 00"

Instrumentation: for string trio and Schwebeklang (4 performers)

The "schwebeklang" is an electronic tuning apparatus that is made to undulate in the room.

Duration: 4' 00"

Instrumentation: for piccolo, clarinet, percussion, piano, violin, violoncello (and text projection ad lib.)

Duration: 1' 00"

Instrumentation: for electric guitar, keyboard (hohner clavinet), percussion instruments, two electric violins, electric viola, electric violoncello and ten music boxes

Duration: 14' 00"

A monochrome "Shanzhai recital" in the for of a exiter clip

Instrumentation: for piano, 5 temple blocks, 2 Chinese wood blaocks and See Siang Wong

A Chinese brand-name product sounds as a Shanzhai fake: Calculated bungling from a small mountain village, created in a factory in the southernmost province of Switzerland. It is to be hoped that neither the work nor the pianist will be crushed by the Chinese customs.
N.B. Any interpretation of the work and imitation of See Siang Wong is strictly prohibited and will lead to legal prosecution.
Shanzhai: A rip-off-entity-related, traditionally ironic sub-culture runs rampant against the powerful of China. Using technical and aesthetic modifications, the bootleg copies take on their own identity leaving China with a disreputable imitation industry and an unexpected creative by-product: a subversive botched-copy business packed with irony and black humour. (Wei Zhang, NZZ 26.2.2009)
The Chinese word "Shanzhai", literally meaning "small mountain village", is now used to describe products that carry similar names to famous brand name products or people who imitate famous people. It became a commonly used term for plagiarism after the production of "Shanzhai Handys", manufactured in small, individual enterprises in Southern China, turned into a massive hit on the Chinese market.
Apart from the widely available Shanzhai electronic devices there are also Shanzhai films, Shanzhai stars and even a Shanzhai gala to celebrate the Chinese Spring Festival - mocking a 25-year-old CCTV show which celebrates the Chinese New Year.
"Shanzhai" has become an independent culture and stands for the emulation of anything famous. The phenomenon has sparked a public debate as to whether it is "normal or abnormal" to copy something.
According to the press, a bamboo copy of the Birdnest and a "Shanzhai" version of the Water Cube have become something of an attraction in the Southwest city of Chongqing. Both are copies of famous sports arenas built for the Olympic Games in Beijing.
"Shanzhai denotes ideas and innovations outside of the mainstream and is a new way for normal people to express their heart's desire", says Li Zonggui, professor at the Sun Yat-Sen University in the Southern Chinese Province of Guangdong.
The literature critic Xie Xizhang says that the Shanzhai Gala is an example of how easy it is for a Shanzhai version to emerge and offer the people more diversification, while the traditional CCTV programme looses more and more viewers.
"Despite the use of simple technology and methods of implementation, the Shanzhai culture fulfils the psychological needs of simple people and can satisfy their minds", says Xie.
Tian Huiqun, professor at Beijing Normal University's department of Art and Communication, says that the Shanzhai concept has its outlet in the business world and thus contains a commercial aspect. She further professes that the Shanzhai culture never copies classical things, only trendy products. In this sense it is like a computer virus and is spread without deeper meaning. "If we become too tolerant of this "culture", it will become increasingly difficult to develop a culture of [real] innovation", she says.
Although highly controversial, the Shanzhai culture has become a widespread phenomenon. According to the Xie newspaper, the advancement of the Shanzhai culture has created both a challenge to and a stimulus for popular culture.
Tian is of the opinion that it would be best to allow the different cultures to develop parallel to each other and let the public to decide.

Duration: 7' 00"
Manuscript

Chamber opera in 5 acts in the form of a feast

Instrumentation: for 7 singers (m/f) and 7 instruments

Texts: Mathias Steinauer, Luigi Malerba, Stefano Benni, J.O. de la Mettrie

Duration: 1h 50' 00"
Manuscript

Instrumentation: for clarinet in B solo

Duration: 8' 00"