Instrumentation: for piano

Duration: 10' 00"
Manuscript

Instrumentation: for organ (eight organists and assistants)

The organ represents here a gigantic Morse encoder, which is connected to a respiratory machine. An experiment with primary expressive form. Action score.

Duration: 9' 00"

CHF: 15.30

Instrumentation: for viola, double-bass, harp, piano and percussion (six players in total)

Quite quiet music, easy to perform.

Duration: 7' 00"

CHF: 17.30

Instrumentation: for piano

Duration: 12' 00"

CHF: 17.30

Instrumentation: for flute

A reworking of three 'Ländler' by Franz Schubert, in which there remains a kind of transfigured hindsight, but the false evocation rotates in a circle.

Duration: 10' 00"

CHF: 14.70

Instrumentation: for piano

Crossing of whole-tone series; third intervals. Traditional playing techniques. Easy but not school music.


Duration: 2' 00"

CHF: 10.00

Instrumentation: for orator, flute, bassoon and natural / every day materials

Duration: ad lib.
Manuscript

Instrumentation: for violin, violoncello and clarinet

The first in a series of instrumental cycles where variations in the interplay and the resulting formal processes are subjects of the composition. Unusual playing techniques.

Duration: 9' 00"

CHF: 22.00

Instrumentation: for female vocals (mezzo-soprano), two violins, viola, violoncello, piano and percussion

a) Version with string quartet (1989)b) Version for string orchestra (2000 / 2001)

Duration: 30' 00"
Manuscript

Instrumentation: for violin (or violoncello) solo

Nine parts divided into forty-five segments, all of which can be combined to any individual formal process. The whole is almost exclusively in the first register whereas the bowing is differentiated. Unusual playing techniques are involved. Can be performed from an intermediate to virtuosic level.

Duration: ad lib.

CHF: 17.30

Instrumentation: for piano

Concerning the solo pieces: The (as much as possible) playful creation of a comprehensible entity from precisely notated fragments is left entirely to the interpreter and to the moment of play. It is hoped that the transitional merging instants will behave as a reflex of the whole.

Duration: ad lib.

CHF: 15.30

Instrumentation: for two mixed choirs and soprano solo

Texts: Giuseppe Ungaretti

The quartets can be performed as solos. Standard vocal techniques. One section contains altered vocal effects. Demanding to perform.
Sponsored by the SME Lucerne.


Duration: 17' 00"

CHF: 26.00

First movement ('Simultan') takes various forms of time articulation and ensemble playing as its theme (duration ad Lib.). The second movement ('Treffen in Prag') poses the question: Is singing possible? (approx. duration 15'). Third movement ('Gehen') looks at the problem of playing together in time (duration ad Lib.). The first and second movements can be played independently, the third movement only together with the first.

Duration: ad lib.

CHF: 46.70

Instrumentation: for trombone solo

Duration: ad lib.

CHF: 17.30

Instrumentation: for violin, violoncello, piano, trombone and orator ad libitum

Texts: Thomas Bernhard

The compilation of the score depends entirely on the interpreter. It can be made up of an eclectic mix or identical pieces from the instrumental cycle ‘Gehen’ and combined with text snippets from ‘Gehen’ by Thomas Bernhard.

Duration: 15' 00"
Manuscript

Instrumentation: for violin, violoncello, clarinet, three trombones and piano

Both sequences are attempts at reaching emptiness, and consequently to liberate space through non-speech and anti-speech methods respectively. The performers perform and as it were 'speak' on scrap metal texts taken from Thomas Bernhard's 'Gehen'.

Duration: 13' 00"

CHF: 33.30

Instrumentation: for saxophone, piano and percussion

The running motion that characterises the 'Gehen' pieces is here tapered to a musicianly progression, with associated imminent crash.

Duration: 12' 00"

CHF: 23.30

Instrumentation: for two violins and piano

From very easy to easy / intermediate progressing to intermediate and back again. The piano piece is to be freely interpolated (also when repeated) solo and / or colla parte. ‘Ansfelder Skizze’ refers to Bruckner’s theme in the VII. Symphony, first movement.

Duration: 17' 00"

CHF: 13.00

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

Elementary rhythm and sonority; little bass - uses Schubert's 'Ave Maria' as its structural reservoir. Very little instrumental alienation but it does alienate the usual techniques. Simple music, not particularly simple to play. The interplay (with conductor) is traditional.

Duration: 9' 00"

CHF: 16.80

Instrumentation: for piano solo

An informal reference to Schubert's version in the 'Winterreise'. Action notation. Once read the performance is of a medium level of difficulty. Tools: Steel slide for guitar and a lead bar of app. 3 x 15 cm.

Duration: 7' 00"

CHF: 9.00

Instrumentation: for flute, oboe and soprano saxophone

Traditional interplay and some dodgy rhythmic. Partly over-the-top high register. Reduced but colourful harmony.

Duration: 11' 00"

CHF: 16.80

Instrumentation: for one percussionist

A mobile composition requiring a virtuosic performance. Uses unusual instruments such as three steel drums, a deep G gong, kalimba and cheng cheng. Not obligatory.

Duration: ad lib.

CHF: 18.00

Instrumentation: for three bass recorders

Part I Partly very simple rhythm, but rich in blowing and fingering techniques. Concept notation.
Part II In space notation based on 'piangete, ochi miei lassi' by Sigismondo d'India. Intermediate level of difficulty. Circular breathing ad lbitum.


Duration: 14' 00"

CHF: 15.00

Instrumentation: for viola, violoncello, clarinet, piano counter tenor (or alto) CD player and short wave radio (possibly one actor)

Texts: Allen Ginsberg

Alternating score and part notation. The solo voice is simple to intermediate. The interplay is not bound throughout by time.

Duration: 16' 00"

CHF: 29.30

Nutzen des Redens

Instrumentation: for mezzo-soprano and piano

Texts: Robert Walser

Duration: 8' 00"
Manuscript

Instrumentation: for piano

Duration: 10' 00"
Manuscript

Chartres III

Instrumentation: for flute, clarinet, alto saxophone, violin, violoncello, piano, percussion and live electronic

Texts: Arthur Rimbaud

The central theme is the floor maze in the entrance area of Chartres Cathedral - with all it's geometric/geomantic properties.
Solo saxophone in parts, other instrumental parts are of intermediate difficulty. Electronic can be realised as samples.

Duration: 25' 00" (oder länger)
Manuscript

Instrumentation: for 2 pianos

Duration: 20' 00"-25' 00"
Manuscript

Instrumentation: for 2 violins

Duration: 12' 00"-15' 00"
Manuscript

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

Duration: 1' 00"
Manuscript

Instrumentation: für Ensemble

CHF: 19.30