Instrumentation: for piano

I. 'Lauda quella gloriusa'II. Scherzino - Rondino.Composed in Arosa (1952), revised in July 2001 for Davos.

Duration: 8' 00"

CHF: 16.20

Instrumentation: for flute and clarinet in B

Four short, light 'n' airy pieces for two players with a sense of fun and virtuosity.

Duration: 8' 00"

Duration: 12' 00"

10 Comical Songs

Instrumentation: for mixed choir and four-handed piano

Texts: Mani Matter

Mani Matter has musicalised the farcical story of two odd friends. This piece uses known melodies (partly from folk and children's songs). It can be performed by a good school choir.

Duration: 12' 00"

Instrumentation: for oboe, harp and piano

Composed for Heinz and Ursula Holliger - hence the relatively demanding technicalities and tonal refinement.

Duration: 8' 00"

Instrumentation: for soprano and violoncello

Texts: Hans Arp, Mani Matter, O. Nash, S.T. Coleridge, Anonymus

Written for a very light, agile soprano voice (lyrical soubrette...) and a cellist partner with lightning reactions.

Duration: 5' 00"

Instrumentation: for piano and nine solo strings (4.2.2.1)

The piano part, although virtuosic, is woven chamber musically into the strings. The string parts are not particularly demanding technically, but do require an acute sense of sound and an initiative of one's own.

Duration: 7' 00"

Instrumentation: for two pianos

‘Nachspielen’ in a literal sense: comprises of both echoing and reverberating sounds and counterpoint chasing itself in an imitative way, the result is a mutually infectious instrumental laughter, all preceding a real ‘Nachspiel’ (Postlude)

Duration: 9' 00"

From the 'prophecy' of Leonardo da Vinci

Instrumentation: for baritone and orchestra (pic.2.2.bcl.2.cbn/4.2.btpt.2.2/7perc/pf.2hp/0.0.8.6)

Texts: Leonardo da Vinci

Highly expressive, a furious condemnation of human meanness and the profit-seeking exploitation of nature. The baritone must be capable of articulating any kind of expression, from the most lyrical song to martial screams and suppressed whispers.

Duration: 11' 00"

Instrumentation: for flute and piano (organ)

In the second movement the flutist also plays bass flute and the pianist a small electric organ. Both players form a dialogue in the first part, leading in the second part to weeping; in the third their discourse consists of arguing with and interrupting each other.

Duration: 12' 00"

From beautifully resonant piano sounds to ghostly noises (preparation).

Duration: 7' 00"

Instrumentation: for one or two flutes

Duration: 12' 00"

Instrumentation: for string quartet

One can see - and indeed hear - the whole quartet as the quartet cellists nightmare.

Duration: 25' 00"
Manuscript

Instrumentation: (2.pic.1.ca.1.bcl.1.cbn/4.3.2.1/timp.perc/2hp/str)

Duration: 14' 00"

Instrumentation: for violin (female singing violinist)

Texts: François Rabelais, Volkslied

'Chanson de la canaille' (a rag song): French and Swiss Dialect (from the Bern region); The tragedy (anonymous Australian country blues): English; 'Chanson a la Lanternoy' (an 'underexposed' chanson): comic-speech and French. The violinist must have a good ear and be able to play and sing simultaneously. She does not need a trained voice but must possess perfect diction and the ability to act. Sponsored by the SME Lucerne.

Duration: 8' 00"

CHF: 19.30

Vocal and instrumental scherzo in the form of a large double carillon

Instrumentation: for one singer (soprano) and six clarinets (in A and masculine)

Texts: François Rabelais

Instrumental and vocal ‘theatre’. In order for the soprano to show the six clarinettists around the 'nose' she should have a lyrical/dramatic voice with a large vocal range. She must also have cabaret artiste and actress-like qualities.

Duration: 17' 00"

playthings

Instrumentation: for one trombonist

Duration: 12' 30"
Manuscript

Instrumentation: for violoncello and actress

Texts: Alphonse Allais

Text: Alphonse Allais, "A Rajah who is bored". Beginning comically, but becoming increasingly earnest. This piece takes colonisation and violence against women as its underlying theme. The actress must speak English, sing music hall-style and be able to operate about the dandy-like cellist. The cellist also plays a small mouth organ (e.g. of the 'little lady' brand) and a rattle, at the end he uses two bows.

Duration: 15' 00"

Seven poems by Paul Klee

Instrumentation: for violin (female singing violinist)

Texts: Paul Klee

Von der Katze ein Stück - Beim Anblick eines Baumes - Regattazuschauer auf kleinem Dampfer - Moritat I und II - Albumblatt - Traum. Like 'Chansons violées' - only finer, more lyrical and more intimate.

Duration: 9' 00"

Instrumentation: for percussion (four players)

Commentaries on the 'black notation' in Josquin's song 'Scaramella va alla guerra' for four players (percussionists that can also speaks/sing and act. Instrumentarium: Four railings).

Duration: 13' 00"
Manuscript

5 little poems by Dorothy Parker

Instrumentation: for sa singing violinist

Duration: 6' 00"

Instrumentation: for one flute and one clarinet

An illustrious duel in a mischievously ironic vision: Marsyas helps himself to the flute, thrown away in anger by Minerva and unmasks Appollo (who thinks his bass clarinet is a noble harp) as a vain winner type.

Duration: 12' 00"

A cycle of 17 Haikus from Issa and other Japenese poets

Instrumentation: for soprano and harp or guitar

Texts: Japanisch

No 'cherry blossom and moonshine' lyrics here. An adequate musical version of precise, concrete, sensual poetry, partly in dialogue: The instrumentalist also sings and speaks. Small theatrical gestures support the musical event.

Duration: 22' 00"

Instrumentation: for eight singers, contrabass clarinet, two clarinets, violin, double-bass, dulcimer, bass dulcimer, two hand organs and diverse percussion instruments

Texts: François Rabelais (Franziskus Abgottspon)

A couple of ominous yet bucolic scenes from Rabelais compiled and set to music for the ‘D’Oberwalliser Spillit’. The text is in French or the Wallis dialect (conveyed by Franziskus Abgottspon).

Manuscript

Instrumentation: for clarinet and harp (plus auxiliary sounds)

Duration: 7' 00"

From 100 Swiss compositions of the last 100 years

Instrumentation: for baritone, piano, scratcher, electronics and orchestra

Texts: Arthur Schopenhauer

Duration: 11' 00"
Manuscript

Instrumentation: for violin

A short instrumental scene for a violinist.

Duration: 5' 00"-6' 00"

CHF: 16.00

Instrumentation: for singing female clarinetist

Duration: 6' 00"
Manuscript

Instrumentation: for string orchestra (17 musicians)

Duration: 10' 00"
Manuscript

Instrumentation: for a flutist and four wind instrumentalists

Duration: 21' 00"
Manuscript

Concertante scenes

Instrumentation: for violin and orchestra

Duration: 23' 00"
Manuscript

Burlesque (and obscene) discourse

Instrumentation: for horn solo

Duration: 7' 00"
Manuscript

7 short pieces

Instrumentation: for piano solo

Duration: 10' 00"
Manuscript

Instrumentation: for 7 reciting cellists

7 poems by Kurt Marti.

Duration: 10' 00"
Manuscript

Instrumentation: for mezzo-soprano, children, narrator and orchestra (2.1.2.2/2.2.1.0/hp.pf/perc/8.8.5.4.3)

After a Japanese fairytale.

Duration: 17' 00"
Manuscript

Anatomic sentences

Instrumentation: for 2 violines (with recitation)

Texts: Jürg Wyttenbach

Duration: 5' 00"
Manuscript

Instrumentation: for 2 ensembles, each with 5 musicians (2cl, dulc, acn / fl, cl, vn, vc, db)

Texts: Jürg Wyttenbach

A musico-scenic narration of the famous contest.

Duration: 20' 00"
Manuscript

Instrumentation: for violin and horn

(...nail-biters need freedom of elbow, whereas ventriloquists need open ears...)

Duration: 5' 00"
Manuscript

Through composed sketches after the Artaria sketch book 195 from 1829.

Duration: 8' 00"
Manuscript

Trio

Instrumentation: for flute, viola and harp

Duration: 14' 00"
Manuscript

Instrumentation: for flute and violoncello

Duration: 12' 00"
Manuscript