Altus / Counter-tenor
Mela Meierhans
Instrumentation: for soprano, alto and viola
Texts: Karoline von Günderrode, Christina Thürmer-Rohr
Text by Karoline von Günderrode and Christina Thürmer-Rohr.
Duration: 20' 00"
Abscheu vor dem Paradies (1991)
Instrumentation: for soprano, alto and viola
Texts: Karoline von Günderrode, Christina Thürmer-Rohr
Text by Karoline von Günderrode and Christina Thürmer-Rohr.
Duration: 20' 00"
Louisa Lasdun
Instrumentation: for piano trio, counter tenor, girl voice (twelve to sixteen years old)
Texts: James Lasdun
This work (inspired by Paula Regos' etchings based on English nursery rhymes) was originally conceived as a dance piece, but can also be performed as a concert piece. The text by James Lasdun was adapted from traditional children's rhymes.
There are four movements: Dramatis Personae - Questions - Requiem for Cock Robin and Journey Dance.
The piece received an award at the 'Ballet Gulbenkian', Lisbon in November 1998.
Duration: 34' 00"
There and Back Again (1993)
Instrumentation: for piano trio, counter tenor, girl voice (twelve to sixteen years old)
Texts: James Lasdun
This work (inspired by Paula Regos' etchings based on English nursery rhymes) was originally conceived as a dance piece, but can also be performed as a concert piece. The text by James Lasdun was adapted from traditional children's rhymes.
There are four movements: Dramatis Personae - Questions - Requiem for Cock Robin and Journey Dance.
The piece received an award at the 'Ballet Gulbenkian', Lisbon in November 1998.
Duration: 34' 00"
Andreas Stahl
Instrumentation: for altus, three recorders and percussion
Duration: 18' 00"
sonnetts VIII and LXIV by shakespeare (1990)
Instrumentation: for altus, three recorders and percussion
Duration: 18' 00"
Mathias Steinauer
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"
Speculum sibyllinum, op. 9 (1992)
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"
Urban Mäder
Instrumentation: for orator, soprano, alto, countertenor, flute, guitar and bass clarinet
Texts: Samuel Backett
An audio play after a quote from Samuel Beckett's "Mal vu mal dit" (Badly seen badly said).
Duration: 55' 00"
L'absence de vent (1992)
Instrumentation: for orator, soprano, alto, countertenor, flute, guitar and bass clarinet
Texts: Samuel Backett
An audio play after a quote from Samuel Beckett's "Mal vu mal dit" (Badly seen badly said).
Duration: 55' 00"
Felix Falkner
And if thou wilt, remember (2002)
Epitaph
Instrumentation: for counter-tenor or alto voice and tuba
Texts: Christina Georgina Rossetti
Text: Christina Georgina Rossetti.
Duration: 12' 00"
Instrumentation: for counter-tenor or alto voice and tuba
Texts: Christina Georgina Rossetti
Text: Christina Georgina Rossetti.
Duration: 12' 00"
Andreas Stahl
Instrumentation: for altus, bass clarinet, double-bass and piano
This piece, without text, was written for the altus Luiz Alves da Silva. It works primarily with oscillating, non transition forming elements such as register change, upbow - downbow, to and fro movements etc. Continually changing parameters such as dynamics and tempo transitions are to be avoided in so far as they are not induced by the instrument or the human being itself.
Duration: 8' 00"
rufen wir charon? - und wenn er nicht kommt? (1997-1998)
Instrumentation: for altus, bass clarinet, double-bass and piano
This piece, without text, was written for the altus Luiz Alves da Silva. It works primarily with oscillating, non transition forming elements such as register change, upbow - downbow, to and fro movements etc. Continually changing parameters such as dynamics and tempo transitions are to be avoided in so far as they are not induced by the instrument or the human being itself.
Duration: 8' 00"
Andreas Stahl
Instrumentation: for Altus and violin
Texts: Cecilia Meireles
A soft, short duet based on a text by Cecilia Meireles. Also for female voice possible.
Duration: 5' 00"
o vento voa (1999-2000)
Instrumentation: for Altus and violin
Texts: Cecilia Meireles
A soft, short duet based on a text by Cecilia Meireles. Also for female voice possible.
Duration: 5' 00"
Regina Irman
Instrumentation: for altus solo
Texts: Cecilia Meireles
A meditative song based on a text by the Brazillian poet Cecilia Meireles. Commissioned by 'Pro Helvetia.'
Duration: 7' 00"
Surdina (1999-2000)
Instrumentation: for altus solo
Texts: Cecilia Meireles
A meditative song based on a text by the Brazillian poet Cecilia Meireles. Commissioned by 'Pro Helvetia.'
Duration: 7' 00"
Urban Mäder
Instrumentation: for a baroque ensemble (altus, tenor recorder, baroque violin, viola da gamba, harpsichord)
Texts: Thomas Locher
Based on text clippings from 'Das Eine. Das Selbe. Das Gleiche' by Thomas Locher. Introduction and dance that allow the baroque elements to shine through. Tonally subtle and transparent music. Typical baroque performance technique combined with a variety of contemporary experimental (noisy, brittle) playing methods.
Duration: 8' 00"
anhaltend (2000)
Instrumentation: for a baroque ensemble (altus, tenor recorder, baroque violin, viola da gamba, harpsichord)
Texts: Thomas Locher
Based on text clippings from 'Das Eine. Das Selbe. Das Gleiche' by Thomas Locher. Introduction and dance that allow the baroque elements to shine through. Tonally subtle and transparent music. Typical baroque performance technique combined with a variety of contemporary experimental (noisy, brittle) playing methods.
Duration: 8' 00"
Balz Trümpy
Instrumentation: for solo voice (version 1: alto solo; version 2: Countertenor solo)
Texts: Indianisch
Based on a text by the Laguno Pueblo Indians.
Duration: 3' 00"
Indianisches Lied (1994)
Instrumentation: for solo voice (version 1: alto solo; version 2: Countertenor solo)
Texts: Indianisch
Based on a text by the Laguno Pueblo Indians.
Duration: 3' 00"
Jürg Frey
Instrumentation: for counter-tenor, recorder, viola, violoncello, double-bass and organ
Texts: Bibel / Liturgie
Text: Psalms 144,4.At the heart, danger, desolation, and fragility are what most characterise this piece. The choice of notes is limited, and only collectively can their meaning be known.
Duration: 5' 00"
Der Mensch gleicht einem Hauche (1993-1994)
Instrumentation: for counter-tenor, recorder, viola, violoncello, double-bass and organ
Texts: Bibel / Liturgie
Text: Psalms 144,4.At the heart, danger, desolation, and fragility are what most characterise this piece. The choice of notes is limited, and only collectively can their meaning be known.
Duration: 5' 00"
Urban Mäder
Instrumentation: for voice (altus), recorder(s), violin, gamba and doublebass
This project is a collaboration between video art and a musically open play disposition in the room. Based on a text by Thomas Locher, with the Scappatella Ensemble and the video artist Judith Albert.
CD and video with the composer.
Duration: 50' 00"
Das Eine. Das Selbe. Das Gleiche (2002)
Instrumentation: for voice (altus), recorder(s), violin, gamba and doublebass
This project is a collaboration between video art and a musically open play disposition in the room. Based on a text by Thomas Locher, with the Scappatella Ensemble and the video artist Judith Albert.
CD and video with the composer.
Duration: 50' 00"
(CD and Video available from the composer)
Thomas K. J. Mejer
Instrumentation: for counter tenor, recorder, violin and viola da gamba
Duration: 8' 00"
Barockengel im Schuss (2001)
Instrumentation: for counter tenor, recorder, violin and viola da gamba
Duration: 8' 00"
Hans-Jürg Meier
Instrumentation: for soprano, altus and 9 instruments (recorder (or aulos), flute, clarinet, saxophone, violin, viola, violoncello, bandoneon, percussion)
Texts: Hans-Jürg Meier, Rainer Maria Rilke, Hilde Domin, Virginia Woolf, William Butler Yeats, Mona van Duyn, Dante Alighieri, antike A
Profane consideration of the Annunciation scene. Sacred music in a double proscenium and a three-part main piece.
Duration: 58' 00"
annunciazione / ánemos – vom wehen des windes im vorhang (2008-2009)
Instrumentation: for soprano, altus and 9 instruments (recorder (or aulos), flute, clarinet, saxophone, violin, viola, violoncello, bandoneon, percussion)
Texts: Hans-Jürg Meier, Rainer Maria Rilke, Hilde Domin, Virginia Woolf, William Butler Yeats, Mona van Duyn, Dante Alighieri, antike A
Profane consideration of the Annunciation scene. Sacred music in a double proscenium and a three-part main piece.
Duration: 58' 00"
Alfred Felder
Instrumentation: Countertenor, Flöte (+Altflöte), Klarinette (+Bassklarinette), Violine, Viola, Violoncello, Kontrabass, Klavier, Schlagzeug
1. Bereschith (hebräisch), 2. Abwun d'bwaschmâja (aramäisch), 3. Sura Al-Imran (arabisch), 4. Kadacit (sanskrit), 5. Essais (Montaigne, alt-französisch), 6. Phaidon (Platon, griechisch) 7. Vivamus (Catull, latein), 8. Leaves of Grass (Whitman, englisch) 9. Em-chet (Ptahhotep, alt-arabisch) dazwischen Sequentia I - VI
Duration: 59' 44"
Instrumentation: Countertenor, Flöte (+Altflöte), Klarinette (+Bassklarinette), Violine, Viola, Violoncello, Kontrabass, Klavier, Schlagzeug
1. Bereschith (hebräisch), 2. Abwun d'bwaschmâja (aramäisch), 3. Sura Al-Imran (arabisch), 4. Kadacit (sanskrit), 5. Essais (Montaigne, alt-französisch), 6. Phaidon (Platon, griechisch) 7. Vivamus (Catull, latein), 8. Leaves of Grass (Whitman, englisch) 9. Em-chet (Ptahhotep, alt-arabisch) dazwischen Sequentia I - VI
Duration: 59' 44"
Stimmenmaterial ist beim Komponisten erhältlich
Max E. Keller
Instrumentation: for tenor/countertenor and recorder
Texts: Max E. Keller
Three aspects of the 1968 movement in three sections: The USA War against Northern Vietnam caused worldwide protestation, which led in 1975 to the beaten withdrawal of the Americans. Today's united Vietnam is a thriving country and a rich source of mineral deposits. The Shah's visit to Berlin in June 1967 and the shooting of a protesting student by police triggered a further youth revolt in 1968. The Shah was soon forced to stand down and the Islamists picked up the sceptre in a dubious success. In its widest sense, the then ideal of a self-determined yet solidly life gave way to a new conformism and apathy and a bureaucratically regulated society. This setting does not make use of today's ready-made pop idiom, but explores a rather more independent, colourful and diversified musical implementation of this unconventional instrumentation. Voice and recorder often move on different levels by reacting to different textual dimensions. This sound world thus reflects the spontaneity, fantasy and abandon of 68 without the superficial duplication of the textual content.
Duration: 14' 00"
1968 – und heute? (2010)
Instrumentation: for tenor/countertenor and recorder
Texts: Max E. Keller
Three aspects of the 1968 movement in three sections: The USA War against Northern Vietnam caused worldwide protestation, which led in 1975 to the beaten withdrawal of the Americans. Today's united Vietnam is a thriving country and a rich source of mineral deposits. The Shah's visit to Berlin in June 1967 and the shooting of a protesting student by police triggered a further youth revolt in 1968. The Shah was soon forced to stand down and the Islamists picked up the sceptre in a dubious success. In its widest sense, the then ideal of a self-determined yet solidly life gave way to a new conformism and apathy and a bureaucratically regulated society. This setting does not make use of today's ready-made pop idiom, but explores a rather more independent, colourful and diversified musical implementation of this unconventional instrumentation. Voice and recorder often move on different levels by reacting to different textual dimensions. This sound world thus reflects the spontaneity, fantasy and abandon of 68 without the superficial duplication of the textual content.
Duration: 14' 00"