Viola
Mela MeierhansAbscheu vor dem Paradies (1991)
Instrumentation: for soprano, alto and viola
Texts: Karoline von Günderrode, Christina Thürmer-Rohr
Duration: 20' 00"
SME/EMS
Mela MeierhansVagabundinnen (1992)
Instrumentation: for flute, string trio, harp (or bass), piano and electronic tape (CD/DAT or MD)
Texts: Christina Thürmer-Rohr
Duration: 13' 00"
SME/EMS
Mela MeierhansSec''ondes (1995)
Instrumentation: for wind quintet (fl.ob.cl.hn.bn), viola and piano
Duration: 12' 00"
SME/EMS
De-Qing Wenvent et neige dans la nuit
Instrumentation: for pipa and string quartett
SME/EMS
Regina IrmanInstrumentation: for two violas and double-bass (other string score possible)
A structure derived from a chain of pure intervals with no fixed pitch, but beginning low with a foundation tone, and later running freely. Intonation and listening carefully to each other is paramount in this piece. Graphic notation. Sponsored by SME Lucerne.
Duration: 10' 00"
SME/EMS
Stephan LaufferPetit valse pour flûte et alto (1988)
Instrumentation: for flute and viola
Duration: 2' 30"
SME/EMS
Felix FalknerSolitude (1990)
Instrumentation: for string quartet with bass clarinet
Duration: 22' 00"
SME/EMS
incl. Parts
Azumi OkamuraSonatine (1994-2010)
Instrumentation: for viola solo
An early work revised in 2010. It is written in the form of a sonatina and contains some parts of a deformed waltz.
Although there is no contemporary writing it is rather difficult because of constant double stops.
Duration: 4' 00"
SME/EMS
Josef KostCinq Poèmes (1985-1995)
Instrumentation: for flute, clarinet, bass clarinet, violin, viola and violoncello
The sextet musicalises five poems through various means e.g. the metre offers a background of incessant rhythmic variation, the rhyming scheme dictates the form even aspects of the content form the base of the instrumentation. Medium level of difficulty. Requires a conductor.
Duration: 11' 00"
SME/EMS
Maria A. NiederbergerInferences (Rückschlüsse) (1985)
Instrumentation: for fl(afl).cl(bcl)bn/2perc/pf/vn.va.vc
Accentuated piano part.
Duration: 8' 00"
SME/EMS
Eliane Frances GeorgeAdventure (1987)
Instrumentation: for soprano, viola and lute
Texts: Alltags- Werbe- Mediensprache
'Adventure' is a journey in which joyful anticipation is transformed in a tumult, before man can again reach safe haven. With its sparse instrumentation, the piece requires a very sensitive approach. Sponsored by SME Lucerne.
Duration: 4' 00"
SME/EMS
Thomas David MüllerTrauerarbeit (1978)
Instrumentation: for viola, double-bass, harp, piano and percussion (six players in total)
Quite quiet music, easy to perform.
Duration: 7' 00"
SME/EMS
Andreas Stahlas a kind of echo (1985)
Instrumentation: for flute and viola
Albumleaf based on a bar from the Concord Sonata by Charles Ives.
Duration: ' 28"
SME/EMS
Alfons Karl ZwickerNachtduett (1989-1990)
Cycle with poems by Georg TraklInstrumentation: for mezzo-soprano, bass, flute, harpsichord, four violins, viola, violoncello and double-bass
Texts: Georg Trakl
An erotic, sticky piece that takes the incestuous relationship between Trakls and his sister as its theme. 'Nachtduett' is a series of scenic poems predestined for the stage.
Duration: 20' 00"
SME/EMS
Stephan LaufferDrei Quartettsätze (1995-1996)
Instrumentation: for flute, violin, viola and violoncello
Pastorale - Ballad - Dance
Duration: 6' 30"
SME/EMS
(Parts: CHF 20.-)
Mischa KäserTombeau (1985)
Instrumentation: for female voice, clarinet and viola
A piece dealing with failure.
Duration: 2' 00"
SME/EMS
Alfons Karl ZwickerErfrorene Träume (1990-1992)
Cycle based on poems by Josef KopfInstrumentation: for mezzo-soprano and ensemble (fl(pic).cl(bcl)/hp.pf.hpd/2vn.va.vc.db)
Texts: Josef Kopf
Large-scale song cycle in which the metaphors of ice, cold and freezing are centralised. The leading part for the mezzo-soprano is extremely demanding in the emotional and technical areas. (Vocal range e# - b").
Duration: 29' 00"
SME/EMS
Felix BaumannQuintet (1992)
Instrumentation: for oboe, horn and string trio
Opposing elements growing increasingly apart.
Rights of performance reserved.
Duration: 22' 00"
SME/EMS
Marc KilchenmannManie - oder von der Tröstlichkeit eines Volksliedes (1993-1995)
Instrumentation: for twenty-two string instruments
Duration: 3' 00"
SME/EMS
Stephan LaufferChinesisches Sprichwort (1997)
Instrumentation: for choir (SATB), flute, clarinet, three violins viola and violoncello
Texts: Chinesisch
It is better to light a candle than to complain about the darkness.
Duration: 2' 00"
SME/EMS
(Parts: CHF 14.00)
Balz TrümpyLuzifer (1973/75)
Instrumentation: for string quartet and double-bass
The musical development of the string quartet is in conflict with the hecklings of the double-bass.
Duration: 18' 00"
SME/EMS
Hans-Jürg Meieretwas quintlastig (1993)
Instrumentation: for recorder, bass clarinet, viola, violoncello and two percussionists
The melody is expanded in a tower of quints. A row of variations in three parts where the melody sounds as a whole only in the second part.
Conductor is of use.
Duration: 6' 00"
SME/EMS
Valentin MartiEuphotic Circles (1996)
Instrumentation: for soprano saxophone solo and ensemble (fl.cl/tpt/perc/pf/vn.va.vc.db)
"The fascinating colours, the successful combination of the three wind players and their perfect connection with the string players are very well mastered from a formal point of view, they let arise an ensemble piece in the truest sense of the word. (S. Palm)
World premiere: 31.7.97, Klagenfurt, Janus-Ensemble Wien Robert HP Platz (cond.).
Duration: 12' 00"
SME/EMS
Rico Gublertaglio (1996)
Instrumentation: for violin, viola, violoncello and double-bass
Duration: 10' 00"
SME/EMS
Stephan LaufferDrei Bicinien (1997)
Instrumentation: for violin and viola
Allegro marcato - Tempo di Valse - Thema con variazioni.
Duration: 10' 00"
SME/EMS
Ursula GutPostludium (1998)
Instrumentation: for violin, viola, violoncello and percussion
Duration: 17' 00"
SME/EMS
Sarah HaessigDie Geister am Mummelsee (2008)
MelodramaInstrumentation: for voice, string quartet, flute and harp
Over a poem by Eduard Mörike.
Difficult interplay.
Duration: 9' 00"
SME/EMS
Maria A. NiederbergerTandem Points (1993)
Instrumentation: for flute, oboe, bass clarinet, horn, two percussion, violin, viola, violoncello and double-bass
Horn and percussion accentuated.
Duration: 9' 00"
SME/EMS
Ursula GutKlagegesang (1999)
Instrumentation: for alto, viola, bass clarinet and didgeridoo
Duration: 15' 00"
SME/EMS
Felix SchüeliSieben Geheimnisse (2000-2001)
Instrumentation: for mixed choir, orator, CD playback and ensemble (piano quartet and one percussionist: marimbaphone, vibraphone, large drum, small drum, flexatone, whip, cipher)
Texts: Alltags- Werbe- Mediensprache
Text: Commentary from the French national football team winning the world championships: "Aux larmes citoyens!", "La victoire est en eux!", "Ils iront tous aux paradis!".
Duration: 8' 00"
SME/EMS
parts: CHF 22.-
Cécile MartiStreifen (2007)
Instrumentation: for quartet (vn, va, vib, pf
"Klänge streifen, Rhythmen streifen, Melodien streifen, Streifen schichten, Streifen verweben,
Streifen verdichten. Streifend durch Klanglandschaften ziehen, streifend Klangfarben berühren,streifend Streifen streifen......."
Two string instruments stand face on with two percussion instruments whereby the "percussion's" primary objective is to attempt tonal alignment with the strings. The vibraphone plays a coupling role between the two parties. Polar oscillating movements, stratifying and sometimes recolouring, flowing sound bands and flitting pulsations alternate throughout the piece.
Duration: 9' 00"
SME/EMS
parts: CHF 22.-
Heidi Baader-NobsSession (1988)
Instrumentation: for two violins, viola, violoncello, double-bass, flute (pic), oboe (ca), clarinet (Ebcl, bcl), bassoon (cbn), piano and marimba
Duration: 17' 00"
SME/EMS
Martin ImholzPotenz (Oratorium) (1989)
Instrumentation: for clarinet, string quartet, orator and scenery
Four strophes with extremely differentiated parts, based on the principles of homoeopathy. For Joseph Beuys.
Duration: 10' 00"-15' 00"
SME/EMS
Eliane Frances GeorgeMirage (1991-1992)
Instrumentation: for soprano, oboe, viola, violoncello and cymbalum (or soprano and piano)
A piece dealing with the transparency of life. An adventure into the essence of our elements: The moon - the soul - the sea - the sky - the guardian angel. The perfect man.
Duration: 5' 25"
SME/EMS
Parts: CHF 20.-
piano reduction: 15.-
Bruno StöckliBribes (2001)
Instrumentation: for viola, violoncello, trombone, tuba and piano
Duration: 10' 00"
SME/EMS
Martin WendelTrio für Flöte, Viola und Harfe, op. 8 (1956)
The sounds of this instrumentation almost always calls associations with "Once upon a time…." The fairy tale begins…
Duration: 13' 00"
SME/EMS
Edu HaubensakTiefer & Tiefer (1983)
Instrumentation: for quintet (fl/vn.va.vc/pf)
Duration: 20' 00"
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Alfons Karl ZwickerTropfen auf Stein (1995)
Cycle based on poems by Elisabeth HeckInstrumentation: for baritone, flute (pic, afl, bfl), harp, piano, one percussion and viola
Texts: Elisabeth Heck
Very introspective and contemplative song cycle with an increasingly ruminant character. A very subtle and diversified sound world whose centre is the metaphor of stone in all its varieties.
Duration: 30' 00"
SME/EMS
Marc KilchenmannDivertimento barbaro (1995)
Instrumentation: for violin, viola and electronic tape
Duration: 8' 00"
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Raphael StaubliDionysos und Apollon (1995)
Instrumentation: for viola, lire, overtone singing and eurythmics
SME/EMS
Rico GublerNetwork (1997)
Instrumentation: for flute, viola and harp
Duration: 7' 00"
SME/EMS
Thüring Bräm"... dass es nichts Neues gibt unter der Sonne..." (1970)
Instrumentation: for Soprano, viola and bassoon
Texts: Dieter Fringeli
Four songs in the original scoring: Soprano, viola and bassoon. Text by the Basel poet Dieter Fringeli. There are more free passages in addition to the through-composed parts.
Duration: 6' 00"
SME/EMS
Daniel Ott17 1/2 (1995)
Scenic compositionInstrumentation: for four guitars, two mandolins, dulcimer, viola, 2 double-bass, saxophone, trombone, tuba, accordeon and three percussion instruments
Spatial composition based on the sound memories of the musicians/singers.
Duration: 25' 00"
SME/EMS
Stephan LaufferTränen... Für die unschuldigen Opfer eines sinnlosen Krieges (2003)
Instrumentation: for viola and organ (possibly piano)
Duration: 4' 00"
SME/EMS
Lars WerdenbergInstrumentation: for viola solo
- Notturno I "Aria"
My aria material comes from an Italian lullaby, which is actually quoted in this piece. The title "Aria" is also meant literally (aria = air) as the song alternates between being "breathed" and being played on the strings.
- Notturno II "Siciliano"
A play with the rhythmns of the Baroque dance bearing the same title. Each one is danced from top to bottom.
- Notturno III "Labyrinth Musick"
The violin strides through a tonal labyrinth of 3 intervals and 5 durations. It finally finds its way out - via the octaves.
- Notturno IV "Heaven and Hell"
A high (heaven) and a low (hell) sound landscape slowly merges. The begining and the end of the piece, however, is played on the earth.
- Notturno V "When the Shantyboy comes down"
Zapping through 18 radio stations (all played by the viola) searching for the song which lends its name to the title of this piece. Shortly before the end the composer believes he has found the right station - or is he mistaken?
Duration: 11' 00"
SME/EMS
Cécile MartiInstrumentation: for string quartet and horn quartet
Four horns stand face on with a string quartet. These two close and self-contained sounding groups are led into a kind of duet. It begins with the construction of two sounds before developing into a back and forth oscillation between the two sounding groups. There follows a mutual attempt at tonal alignment and then fine variations where the groups enter an area of wavering tones. Re-colouring moments of the horizontal figurations or a hocket-like interplay between the two parties arises. The themetization of the instrument-specific base elements, the fifths tuning of the strings and the natural spectrum of the horn become the harmonic culture medium for the whole piece.
Duration: 12' 30"
SME/EMS
Martin WendelQuartettino for oboe, violin, viola and violoncello, op. 10 (1957-1980)
Three movements as steps in a metamorphosis of a melodic material which stays strongly connected on the level of intervals.
Duration: 8' 00"
SME/EMS
Thomas K. J. MejerLe chant des livrées (1992) Instrumentation: for flute, viola and harp
In 'Le chant des livrées', two old "chansons du mariage" were combined, rhythmically superimposed and their sounds distilled.
Duration: 6' 20"
SME/EMS
parts: CHF 20.00
Vladislav JarosCum grano salis (1992)
Instrumentation: for wind quintet and strings
A polyphonic tonal meshwork - fluctuations between chromatic and polypentatonic - irridescent sound surfaces. For chamber musical performances: wind quintet and string quartet.
Duration: 14' 00"
SME/EMS
Eliane Frances GeorgeGossamery Dreams (1993)
Instrumentation: for electronic, flute, violin, viola percussion, and dance (ad lib.)
A combination of live music, electronic tape and dance. This piece evokes the inside of archetypal images, images that, throughout time and evolution, have expressed to us the hope of a world of communication that lies beyond our illusory daily lives.
Duration: 17' 00"
SME/EMS
Parts incl.
Claude FerrierLe Chemin sans traces (1996)
Instrumentation: for baritone and instrumental quintet (fl.cl/hp/va.vc)
Texts: Henri Gaberel
Based on the poem by Henri Gaberel.Version for orchestra (2(pic).2(ca).2(bcl)2(cbn)/4.2.3.1/4perc/hp.cel/str) available from the composer.
Duration: 16' 00"
SME/EMS
Rico GublerIn Sand gemeisselt (1998)
Instrumentation: for viola, violoncello and percussion
Duration: 6' 00"
SME/EMS
Stephan Laufferen dankopfergsang - dä hundertschti psalm (2003)
Instrumentation: for choir (SATB), oboe, viola, xylophone, percussion, organ and double-bass
Texts: Bibel / Liturgie
Musical setting of the 100th Psalm.
Duration: 7' 00"
SME/EMS
Instrumental parts CHF. 16.-;
choir score CHF. 14.-
Martin WendelKonzert für Viola und kleines Orchester, op. 11 (1958-1978)
Instrumentation: (va solo; pic.1.ca.0.0/1.1.0.0/xyl/str)
Especially written for the dominating solo instrument.
Duration: 16' 00"
SME/EMS
Martin ImholzPotenz II (1994)
Instrumentation: for clarinet and string quartet
Version for clarinet quartet.
Duration: 10' 00"-15' 00"
SME/EMS
De-Qing WenTraces II (1996)
Instrumentation: for nine instruments (fl.cl/2perc/pf/vn.va.vc.db)
Chinese calligraphy is the essence of Chinese art. For me personally, it stands as an original score. From written characters, sounds emerge. With the words, music is created.
Duration: 12' 00"
SME/EMS
Paul Cliftobjets à réaction poétique (2015-2016) Instrumentation: for nineteen instruments
Texts: Duineser Elegien
with texts from Duineser Elegien: Die erste Elegie by Rainer Maria Rilke and citations from Maurice Ravel's Concerto for Piano in G Major
Duration: 12' 00"
SME/EMS
Gary Bergerunter Reibung (2000)
Instrumentation: for flute, viola and percussion
Duration: 3' 00"
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Alfred FelderDschen (1989)
Instrumentation: for viola
Duration: 7' 00"
SME/EMS
Mathias SteinauerUndici duettini, op. 11.1 (1991)
Instrumentation: for violin and viola
Very intimate music. Individual duets can be performed in any combination. Varying degrees of difficulty.
Duration: 18' 00"
SME/EMS
Thomas K. J. MejerFish and Hips (1993)
Instrumentation: for viola solo
This composition was written for 'The International Viola Book' and is dedicated to Andrew Toovey. In this piece, loosely based on the blues, the viola must alternate (and increasingly during the piece) fulfill all instrumental functions inherent in a jazz combo.
Duration: 4' 50"
SME/EMS
Rico GublerInstrumentation: for bass clarinet / Eb clarinet, bassoon, horn, two violins, viola, violoncello and double-bass
Duration: 7' 00"
SME/EMS
(Parts avasilable from SME/EMS: CHF 40.-)
Balz TrümpyAnima (2. Fassung) (1977/78)
Instrumentation: for high voice, clarinet, horn, string quartet and piano
Texts: Anonymus, Heinrich von Morungen, Walter von der Vogelweide
This three-part work is based on text from a minnelied. The vocal line, which uses various sound modulations, is harmonically, melodically and rhythmically interwoven with the accompaniment.
Duration: 17' 00"
SME/EMS
Gary Bergerlichtempfindliche Erinnerungen (2000)
Instrumentation: for bass flute, viola, alto saxophone, guitar, percussion and live electronic
Duration: 6' 00"
SME/EMS
Stephan LaufferNiobes Klage (2006-2009)
Instrumentation: for oboe, viola I and II, violoncello and double bass
Duration: 7' 00"
SME/EMS
(Parts: CHF 13.-)
Vladislav JarosLapis Miraculum (1993)
Instrumentation: for English horn (violin, viola, violoncello) and guitar
A relatively easy to play, slow, transparent and colourful piece.
Duration: 6' 00"
SME/EMS
Laurent Mettraux5 microludes, M. 525, 479, 550, 558 et 570 (1993-1997)
Instrumentation: for viola solo
These five pieces can be played separately or in any order. They must accentuate the qualities of the viola.
Duration: 10' 00"
SME/EMS
Stephan LaufferChoral fantasy "O Traurigkeit, o Herzeleid" (2007)
Instrumentation: for viola and organ
Duration: 3' 30"
SME/EMS
(Part incl.)
Michael SchneiderShark Turtle Ray (1998-1999)
Instrumentation: for oboe, viola and guitar
I was spending a year in Sydney when I recieved an offer by Mid-German Radio (MDR) to write a piece after Paul Klee for the 1999 MDR Summer. Being surrounded by such unique flora and fauna reminded me of the strong affinity to life on and in water expressed in the paintings of Paul Klee, his numerous harbour scenes, and above all his fish pictures. What would Paul Klee have painted on a visit to the 5th Continent? "Shark", "Turtle", "Ray" are three such imaginary images, Australian scenes after Paul Klee and inspired by Klee's own related motives. Each of the three movements begins with a core instrument and a specific musical material. The multiple oboe tones in "Shark", the guitar's natural flageolet tones in "Turtle" and the viola's tight chord glissandi in "Ray" initiates the character and development of each respective movement.
Duration: 7' 00"
SME/EMS
Josef KostUn Quatuor d'airs dialogués (1999)
Instrumentation: for flute, violin, viola and violoncello
This very difficult piece is based on the flute quartet by W.A. Mozart.
Duration: 14' 00"
SME/EMS
Daniel WeissbergDuett (1992-1997)
Instrumentation: for clarinet and viola
Tonally sensitive, soft concert piece.
Duration: 5' 00"
SME/EMS
Nicolas BolensSuite pour Neuf Instruments (1999)
Instrumentation: for wind quintet and string quartet
Duration: 11' 00"
SME/EMS
Alfred FelderCercles (1992)
Instrumentation: for flute, clarinet, harp, string quartet and double-bass
Duration: 12' 00"
SME/EMS
Hans-Jürg Meierat (1998)
Instrumentation: for alto flute, trombone, violin, viola and violoncello
In the middle of the players sits a tub of water into which small pebbles are thrown. This triggers musical actions from the players.
Duration: 14' 00"
SME/EMS
Valentin MartiPassages (2000)
Instrumentation: for viola, piccolo/bass flute, baritone saxophone, guitar and percussion
'Passages' is determined by a hugely formal changing process, beginning with block-like, vertical melodies of the solo viola, leading to a linear, horizontal notation with five equal instrumental parts. Quarter tonal.
First performed: 28..8.00 in St.Moritz by the Ensemble Cattrall under the direction of Marc Kissoczy.
Duration: 12' 30"
SME/EMS
Felix SchüeliPrélude, Scherzo, Choral und Fuge (2006)
Instrumentation: for flute, violin, viola and violoncello
Duration: 11' 00"
SME/EMS
(Parts: sFR. CHF 28.-)
Frédéric BolliPentagramm (1988)
Instrumentation: for five strings (2vn.va.vc.db) and tansverse flute
Duration: 20' 00"
SME/EMS
Alfred FelderNachtgesang (1993)
MusicInstrumentation: for flute, viola and harp
The spirit of the healing ritual "night song" of the Navajo Indians translated into music.
Duration: 17' 00"
SME/EMS
(Parts incl)
Rico GublerKOR (2000-2001)
Instrumentation: for string quartet, tenor saxophone, percussion, bass clarinet and double-bass
Duration: 9' 00"
SME/EMS
(Parts available from the composer)
Rico GublerZIR (2000)
Instrumentation: for clarinet, violin, viola and violoncello
Duration: 7' 00"
SME/EMS
Michael SchneiderEs werde Licht (2000)
Instrumentation: for viola solo
"Es werde Licht", after a photograph by Silvia Kamm, relates to the situation immediately before (and during) a concert: From tuning the strings, the soloist is catapulted into the musical stream and simultaneously 'explores' the instrument in a quasi '3-dimensional' manner (longitudinal: chords; latitudinal: glissandi; vertical: pizzicato). A theatrical gesture throughout the performance is desirable. Like the photograph of Silvia Kamm, with the lit note stands in an empty, darkened room, the title of the piece symbolises this polarity (pre concert/during concert). With the piece's increasing 'internalisation', an additional content-related level picks up on the aspect of light. The frequency of the individual tones found in the melodic gestures of the final part are taken directly from the wavelengths of visible light (red, orange, yellow, green, blue, violet).
Duration: 7' 00"
SME/EMS
René WohlhauserErgon 11Instrumentation: for flute and viola
A miniature with an extremely dense timing and concentrated structural complexity, meant as a metaphor for the fury of the disappearance of short and intensive listening experiences.
Duration: 2' 00"
SME/EMS
Roland MoserBased on popular German songs (1984-2002)
Strophes from the 'Knaben Wunderhorn'Instrumentation: for soprano, flute, clarinet, violin, viola and violoncello
Texts: Volkslied
Also in a version for mezzo-soprano and the same instrumentation. Mutations in the same edition. Seven songs: ABC-Schützen - Papiers Natur ist Rauschen - Ein Musikant wollt fröhlich sein - Ich sass auf einem Birnenbaum - Das Vöglein Butschli Butschli Bu (Brentano) - Letzter Zweck aller Krüppelei - Ich hört ein Sichlein rauschen.
Duration: 17' 00"
SME/EMS
Alfred KnüselSechs Miniaturen als Tafelmusik (1994)
Instrumentation: for recorder quartet, string quartet, harpsichord and singing voice
Duration: 10' 00"
SME/EMS
Maria A. NiederbergerSonnenspur: Tonbilder aus Kalifornien (1996-1997)
Instrumentation: for flute, oboe, clarinet, bassoon, two percussion, piano, string quartet and double-bass
Fantasy, prelude, I. Nächtlicher Kojotentanz, II. Morgensonn' das Meer enthüllet, III. Purple Horses, IV. Yosemite.
Accentuated percussion.
Duration: 11' 00"
SME/EMS
Jannik GigerInstrumentation: Violine, Viola, Violoncello
Duration: 11' 00"
SME/EMS
incl. parts
Thomas David MüllerHowl (2000)
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"
SME/EMS
Frédéric BolliIm Anfang war das Wort (1990-1991)
Instrumentation: for male choir and string quintet (2vn.va.vc.db)
Duration: 15' 00"
SME/EMS
Mischa KäserSix Pieces (1992)
Instrumentation: for flute, viola and harp
Also required for one of these pieces: a pedal bass drum, some glasses and stones.
Duration: 16' 00"
SME/EMS
Hans-Jürg Meierraum (1999-2000)
Instrumentation: for percussion, tenor recorder, viola and violoncello
A music that evolves in extended development, for a performance location with a lot of reverberation. An additional tone installation can sound simultaneously.
Duration: 18' 00"
SME/EMS
Rico GublerOrtswechsel, eine Winteroper (2001)
19 SingingsInstrumentation: for clarinet, bassoon, horn, string quartet and speaker
Texts: Gert Loschütz
Duration: 45' 00"
SME/EMS
De-Qing WenSilk Bamboo (2001)
Instrumentation: for flute and string quartet
This piece is inspired by 'Sizhu' (silk and bamboo). 'Sizhu' is a traditional Chinese musical form used popularly in Central-East and Southern China. The silk bamboo ensemble consists of "soft" instruments with si silk strings (pipa, erhu, zheng) and zhu bamboo instruments (bamboo flutes, dizi). In this work the composer tries to integrate the ideas of traditional Chinese music with modern Western composition techniques. The silk is soft - 'Yin' (feminine): pianissimo and lento. The bamboo is hard - 'Yang' (masculine): fortissimo and allegro. Although the instruments, the musicians, the way of composing and time have all been transformed the spirit of the music and the Chinese emphasis of the musical language remains unchanged.
Duration: 10' 00"
SME/EMS
(Material available from the composer)
Rajiv SatapatiGrido d'Amore (Bearbeitung 2013) (2013)
Instrumentation: 1 Fl, 1 EH, 1 Kl, 1 Bkl, 2 Fag, 1 Hrn, 2 Tpt, 2 Pos, 1 Tba, 2 Vln, 1 Vla, 1 Vlc, 1 Ktb
Duration: 1' 00"
SME/EMS
Henri ScolariLe Christ voilé (1948)
CatataInstrumentation: for baritone and instruments (1(pic).1(ca).1(bcl).1/hn/hp/vn.va.vc(db ad lib.))
Texts: Patrice de la Tour du Pin
Fusion of a series of twelve tones with a constant reference to tonality.
Very expressive French poetry.
Duration: 19' 00"
SME/EMS
(Reduction: CHF 30.-)
Edu HaubensakSchöner Wolf (1995)
DuoInstrumentation: for alto saxophone and viola (scordatura)
Duration: 8' 00"
SME/EMS
Marie-Cécile ReberTwiriwir (2002)
Instrumentation: for viola and electronic
Duration: 8' 00"
SME/EMS
(CD available from the composer.)
Mischa Käser7 little Pieces (1993)
Instrumentation: for viola and piano
Duration: 8' 00"
SME/EMS
Urban MäderWindstriche I (1998)
Instrumentation: for shakuhachi, string trio and percussion
Fine, transparent sound piece using the Japanese Zen flute, the shakuhachi. An attempt to converge.
Duration: 18' 00"
SME/EMS
Martin WendelRailways, op. 30 (1975-1982)
TrioInstrumentation: for clarinet, viola and piano
Bits of this four-movement chamber music piece were drawn-up on train journeys, hence the title.
Duration: 14' 00"
SME/EMS
Thüring BrämChildren Songs of the American Indian (1979)
Instrumentation: for solo soprano, vocal ensemble (SATB), oboe, viola, violoncello, and marimbaphone
Texts: Indianische Texte
The Children Songs (which received a prize from the University of California in 1973) are a kind of half scenic cantata based on Indian text.
Duration: 8' 00"
SME/EMS
Maria A. NiederbergerConcerto for Oboe and Instrumental Ensemble (1999-2000)
Instrumentation: for oboe solo, flute (piccolo), clarinet, horn, harp, two violins, viola, violoncello and double-bass
This piece is suitable for oboe and ensemble but oboe and a small orchestra is preferable. The oboe is very demanding but the harp and horn also play important parts.
Duration: 20' 00"
SME/EMS
De-Qing WenWind and Snow in the Night (2002)
Instrumentation: for pipa (Chinese lute) and string quartet
Duration: 8' 00"
SME/EMS
Werner BärtschiRotondo (1999-1999)
Ein musikalisches Patchwork oder die Kunst des FügensInstrumentation: for nonet (oboe, bassoon, trumpet, trombone, viola, double-bass, accordion, piano and percussion)
A collaboration between members of the 'Komponistensekretariats Zürich' (Werner Bärtschi, Ulrich Gasser, Max Eugen Keller, Martin Sigrist und Peter Wettstein): The score is sent back and forth between the five composers, each fills in a 50-second section before sending it on to the next.
Duration: 50' 00"
SME/EMS
Hans-Jürg Meierdie ganze übrige spanne ist nicht leben, sondern zeit (2001-2002)
Instrumentation: for voice (alto), flute (pic, afl)bassoon, trumpet, vioal, violoncello and piano,
Texts: Johann Peter Hebel, Hans-Jürg Meier
Music to the story 'Unverhoffte Wiederbegegnung' by Johann Peter Hebel. Composed partly rhythmically open.
Duration: 17' 00"
SME/EMS
Rico GublerIR (2003)
Instrumentation: for clarinet, viola and piano
Alpsegen - Choral and Waltz - Choral and New Year's Song - Choral, Scottish and Choral.
Duration: 7' 00"
SME/EMS
Urban Mäderorten (2000)
Instrumentation: for tenor recorder, viola, violoncello and percussion
These three studies of intermediate difficulty are composed for a small resonant room.
Duration: 17' 00"
SME/EMS
Rico Gublervariationen für viktor, fiori per luigi (2003)
Instrumentation: for clarinet, bassoon, horn, violin, viola, violoncello and double-bass
Including the fourth movement of the septet op. 20 by Ludwig van Beethoven.
Duration: 18' 00"
SME/EMS
(Parts: CHF 50.-)
Kit PowellSextett (2000)
Instrumentation: for clarinet, bass clarinet and string quartet
Duration: 11' 00"
SME/EMS
(Parts: CHF 42.00)
Edu HaubensakLocomozione (2000)
Instrumentation: for violin, viola and percussion
Duration: 16' 30"
SME/EMS
Victor Alexandru ColteaHyper Atom (2016)
Instrumentation: for flute, clarinet, violin, viola, cello, percussion, piano
Duration: 12' 00"
SME/EMS
Jürg FreyDer 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"
SME/EMS
Rico GublerTurnaround (2005)
Instrumentation: for wind and string quintet (fl.ob.cl.bn/hn/2.1.1.1)
Evening News - Summertime - Today Special - Meteo - Sonntag 03.17 Uhr MEZ - Breaking News.
Duration: 12' 00"
SME/EMS
Max E. KellerKreisen in den Tiefen (1988)
Instrumentation: for viola, violoncello and double-bass
Composed after the idea of monophonic lines with nuances in colour such as rotary movement and superimposition of rhythmical and melodic sequences.
Duration: 13' 00"
SME/EMS
Alfred Felder... zu den Rändern ... (2002-2003)
MusicInstrumentation: for viola, bass clarinet and piano
Based on a picture by the Lucerne painter Thyl Eisenmann. Delicate, subtle colour tones possessing an intensive force.
Duration: 20' 00"
SME/EMS
(Parts: CHF 20.-)
Burkhard KinzlerFragment & Entrückung (2011)
Instrumentation: for mixed choir, transverse flute, 2 oboes, bassoon, 2 violins, viola, cello, violone
Texts: Antonia Bertschinger
Duration: 25' 00"
SME/EMS
Rudolf JaggiConsolation (1978)
Instrumentation: for clarinet and string quartet
Duration: 3' 00"
SME/EMS
incl parts
Jean-Jacques DünkiInstrumentation: for violin (viola) and ten instruments (1(pic).1(obda,ca).2(Ebcl,bthn).1/1.0.1.1/1perc/pf)
In the first and at the end of the fifth movement the solo violin switches to viola.
Duration: 21' 00"
SME/EMS
René WohlhauserErgon 23Instrumentation: for flute, viola and harp (harp trio)
'Quantum streaming' is defined by Gilles Deleuze as the transition of one energy state to another. In this piece I am mainly interested in the different energy forms, primarily potential energy and kinetic energy: What is the nature of the positional condition and the positional orientation, resp. energy density and energy transformation capabilities which charge a potential energy and set a process in motion.
Duration: 10' 00"
SME/EMS
Balz TrümpyPassacaglia und Walzer (1997)
Instrumentation: for tuba, string quartet and piano
A series of variations over a bass result in a cathartic waltz.
Duration: 7' 00"
SME/EMS
Nicolas BolensSOLI (2009)
Instrumentation: for alto solo and string orchestra
Duration: 18' 00"
SME/EMS
De-Qing WenSound Gone to The Heaven (2009)
Instrumentation: for viola solo and six violas
This piece is dedicated to my beloved elder uncle.
My elder uncle had been offering the five children in my family with parental care and financial help since my father died early when I was young. Now he has gone to the heaven but his figure seems even greater and clearer just as sound is while rising high up the earth, revealed by the Buddha.
In this piece, harmonic series sequence based on the note of C serves as a symbol of death and heaven, and subharmonicity series sequence based on the note of E as a symbol of life and the earth. Interpolation is also used to make additions, blending and transition. Added to this, the spectrum music technique and the music-making software Open Music help me discover a fresh way to express my emotions.
Duration: 8' 00"
SME/EMS
Burkhard KinzlerIn nomine (2012)
Instrumentation: for mixed vocal / instrumental ensemble (SATB, 3rec, acn, vn, va, vc, db)
Five compositions by Old English composers (Taverner, Picforth, Bull) are adapted and partly altered compositionally.
Duration: 25' 00"
SME/EMS
Gary Bergersubstrat für Ensemble (2016)
Instrumentation: Flöte/Bassflöte, Bassklarinette, Schlagzeug, Klavier, Violine, Viola und Violoncello
Auftragswerk des Schweizerischen Tonkünstlervereins STV/ASM
UA 4. September 2016, LUCERNE FESTIVAL – Moderne 3, KKL Luzern
Ensemble der LUCERNE FESTIVAL ALUMNI
Leitung: Lin Liao
Duration: 8' 00"
SME/EMS
Parts CHF 42.00
Laurent MettrauxDuo, M. 554 (1997)
Instrumentation: for two violas
Accentuates the timbre of the viola. Alternates between passionate, ruminant and energetic passages.
Duration: 12' 00"
SME/EMS
Alfred Knüselgezogene Klänge (2000)
Six part work blockInstrumentation: for double-bass solo and chamber ensemble (1(pic).1.1.1(cbn)/1.0.0.0/perc/pf/2vn.va.vc)
Duration: 20' 00"
SME/EMS
Laurent MettrauxSonate, M. 560 (1997-1998)
Instrumentation: for viola solo
Three movements: elegiaco, con passione et meditativo.
Duration: 12' 00"
SME/EMS
Eric GaudibertChant de l'aube (1993-1995)
Instrumentation: for viola solo
An adaptation of the piece for horn solo.
Duration: 5' 00"
SME/EMS
De-Qing WenInk Splashing IV (2018)
Instrumentation: for eight instruments
Duration: 11' 00"
SME/EMS
Parts CHF 36.00
Burkhard KinzlerIch & Ich (2015)
Vier kleine Tänze mit sich selberInstrumentation: für singende Bratschistin / bratschende Sängerin
Duration: 12' 00"
SME/EMS
Alfred Felder9ten Novemb. 1828 Tagebuch Robert Schumann (2009)
MusicInstrumentation: for clarinet, viola, piano and percussion
Duration: 16' 00"
SME/EMS
Martin WendelMusik für Viola und Klavier, op. 56 (1991)
The separate tones in this traditional three-movement composition search each other out and feel for worthy connections. Shrill aplenty but not without euphony.
Duration: 17' 00"
SME/EMS
De-Qing WenLament of the Grassland (2019)
Instrumentation: for string quartet
Duration: 12' 40"
SME/EMS
Score incl. Parts
Score also available individually
Balz TrümpySeven duosInstrumentation: for two violas
Gespräch (1')
Uneins (1'40)
Vexierspiegel (0'50)
Wechselgesang (2')
Schatten (1'20)
Fantasie (5'30)
Kreisel (2')
Duration: 15' 00"
SME/EMS
Jacques DemierreMax and Moritz (1996)
Instrumentation: for speaker, flute, clarinet, violin, viola and violoncello
Texts: Wilhelm Busch
Musical version of the adventures of those two likeable rascals...
Duration: 20' 00"
SME/EMS
Stefan WerrenHerbstlicht (2012)
NeufassungInstrumentation: für Flöte, Violine, Viola und Violoncello
SME/EMS
Hans-Jürg Meierlocus (2012)
Instrumentation: for melodica and objects, saxophone (bar, a) trombone, violin, viola, double bass and voice (soprano)
Texts: Hadrian
A trip to and into the Pantheon in Rome in four parts: Tympanon,
Pronaos, Innenraum, Opaion. The performance places the Endless Column in Targo Jiu by Constantin Brancusi into the Pantheon.
Duration: 14' 00"
SME/EMS
Edu HaubensakOctaves for Four (2013)
Instrumentation: for piano quartet
Violin, viola and violoncello in scordatura.
Piano in tempered tuning.
Duration: 19' 00"
SME/EMS
Bernhard SieberFantasie für Viola (2017-2018)
Transposition und Umarbeitung der Fantasie für 5-saitigen KontrabassDer fünfsaitige Kontrabass - sonst nur als Orchesterinstrument gehandhabt - braucht endlich auch Sololiteratur! Das hat mich, seit ich vor 2 Jahren einen günstig kaufen konnte, zu dieser Fantasie für das faszinierende Instrument inspiriert. Das gleiche Stück kann man, dank der Computernotenschrift mit ein paar Klicks einen halben Ton höher transponiert, auch auf dem Cello spielen. Für Bratsche und Violine musste ich wegen des kleineren Tonumfangs dieser Instrumente einige Anpassungen vornehmen - siehe die entsprechenden Anmeldungen.
Duration: 6' 00"
SME/EMS
Thomas K. J. MejerTowards Capillary Attraction (2014)
Instrumentation: für tentet (fl, ob, cl, bn, hn, 2vn, va, vc, cb)
Duration: 20' 00"
SME/EMS
parts: CHF 70.00
Thüring BrämStreichquartett Nr. 2 LITANIA (1992)
LITANIAIn one movement. A harmonic work in memory of Carl Phillip Emanuel Bach, with a solo viola part (cadenza), which can be performed as an individual piece.
Duration: 13' 00"
SME/EMS
Eric GaudibertFantaisie concertante (1998-1999)
Instrumentation: for pianoforte and baroque string quartet
This work in one movement is a homage to Carl Philipp Emanuel Bach. It contains quotates from the Fantaisies and from a Rondo by this composer. The pianoforte part is either in a free style, concert-like or very rhythmic and demands an advanced level of play. The quartet is written in traditional notation. The piano which was used for the world premiere was a copy of an instrument of 1815.
Duration: 16' 00"
SME/EMS
Max E. KellerIntegration I (1998)
Instrumentation: for string quartet and improvisations trio
This work leaves behind the identity of the classical tradition and its strengths (string quartet is widely notated; frequent free improvisation from the jazz tio (saxophone, piano and percussion)) and brings them together only there where real points of contact exist. Integration II and III are conceived in a similar way.
Duration: 14' 00"
SME/EMS
Michel HostettlerKhourounk Deghere (2000)
Psalm 130 (129) in ArmenianInstrumentation: for soprano solo, English horn and four strings
Duration: 8' 00"
SME/EMS
(Parts available form SME: CHF 18.-)
Hans Eugen FrischknechtQuartett (2005)
Instrumentation: for flute and three strings (vn, va, vc)
This work lives for the most part from the contrast between the flute and the three string instruments. The string players sit during the performance and the flutist stand behind them.
Duration: 11' 00"
SME/EMS
Eric GaudibertMessage(s) (2004)
Instrumentation: for violoncello solo and string quartet
This is an enriched version of 'Message' for violoncello solo. The solo part is exactly the same but divided up into four episodes. The viola also remains in the role it played in the first version. The notation for the strings is relatively easy.
SME/EMS
Max E. KellerSans cesse (2001)
Instrumentation: for oboe, bassoon, horn, trombone, violin, viola, violoncello and double-bass
Duration: 9' 00"
SME/EMS
Eric GaudibertAu delà (2005)
Instrumentation: for flute, viola and violoncello
The fourth string of the viola is lowered to G (one octave lower than the third string). The fourth string of the violoncello is lowered a minor third to A. Accessory: a bow for the flutist. At the end of the work the violist and the flutist both play on the strings of the violoncello. A discreet quotation appears in the middle of this trio: the beginning of the 'Gesänge der Frühe', op. 133 by Robert Schumann.
Duration: 15' 00"
SME/EMS
Eric GaudibertImages japonaises (2005)
Instrumentation: for horn and string quartet
This work quotes a Haiku recited once by the hornist. It is inspired by the acidic sounds of Gagaku (music of the imperial court of Japan) and by the tense melismas of Nô. The string quartet's tempo is generally independent of the horn's. The five instrumentalist need to have a good command of micro intervals. The particular timbre of the quartet derives from researching the "fake" unisons.
Duration: 18' 00"
SME/EMS
Max E. KellerSchnitt-Muster (2002)
Instrumentation: for flute, clarinet, piano, percussion and string trio
Sometimes completely different musical types or structural samples are set aside each other in a similar way to the effect achieved while zapping through television channels, sharp cuts which seem at first random are yet intentional. Even the other meaning of 'cut-sample', the prefabrication of something based on a template or the stereotypical also receives acknowledgement through the mimicry of musical styles. In this manner various fields of popular music are touched upon - even contemporary music cannot escape.
Duration: 7' 00"
SME/EMS
Max E. KellerInstrumentation: for violin and viola
Conceived for a world premiere in the Gobi desert, this piece must be extremely desert-proof. Unisono and octavel sound doubling forms the initial starting point. This, on the one hand side, turns a contemporary music taboo into material and brings the sound and the drifting apart of the duo into play on the other.
Duration: 5' 00"
SME/EMS
Max E. KellerInseln (2002)
Instrumentation: for viola and violoncello
World premiere: October 2002 in Reutlingen.
Duration: 7' 00"
SME/EMS
Ernst Pfiffner"... ahnten sie nicht" (1992)
Instrumentation: for alto, flute, English horn, viola, violoncello, small percussion
Texts: Karl Mittlinger
Work series A: Music for concerts.
Duration: 16' 00"
SME/EMS
Michel HostettlerTrio (2009/12)
Instrumentation: for violin, viola and violoncello
Janus — Oiseau-lune — Petite pomme rouge.
Duration: 17' 00"
SME/EMS
Parts: CHF 25.-
Ernst PfiffnerTrio sine nomine (1992)
Instrumentation: for flute, viola and harp
The title alludes deliberately to the custom of the 16th century, without revealing its associated theme.... The composer took another impulse from the tradition: the use of the modal method, particularly in view of one of the harp's peculiarities.
Work series A: Music for concerts.
Duration: 15' 00"
SME/EMS
Max E. Kellernel pomeriggio (2006)
Instrumentation: for baritone saxophone and string quartet
A comfortable afternoon in a dusty café: as in times past, a string quartet plays a waltz that nobody listens to, a never-ending, continuously repetitive violin melody and an almost imperceptibly shifting accompaniment. Added to this is a completely inappropriate baritone saxophone - sometimes blending in, sometimes detached and sometimes obstinately defiant. Suddenly a bang! And everything collapses into shadowy ruins.
Duration: 7' 00"
SME/EMS
(Parts available from the composer)
Max E. KellerEingriffe (2006)
Instrumentation: for flute, clarinet, piano, violin, viola and violoncello
The initial material consists of two melodies and two rhythmical sequences; these can be varied causing their superposition's to result in a countless number of related musical forms. The recurring formal idea is the "undampered clew": a dense, wide mesh that thins out then squeezes itself into the centre of the sound space. In this clear, goal-orientated process, diversity is encroached upon: three instruments temporarily break out of the process, colourful accents engage with the continuous mezzo forte, the process stops momentarily, the residual viola tips over into the realms of noise etc.
Duration: 12' 00"
SME/EMS
(Parts available from the composer)
Ernst Pfiffner"Da der Tod" (1991-1993)
Instrumentation: for monophonic choir, alto, orator, flute, English horn, viola, violoncello and small percussion
Texts: Karl Mittlinger und W.A. Mozart
Work series A: Music for concerts.
Duration: 25' 00"
SME/EMS
Max E. Keller12-06-07 (2007)
Instrumentation: for soprano, oboe, alto saxophone, horn and viola
A text about statistically the most frequent causes of death in Switzerland takes its course and is interspersed by ten extremely varied newsflashes from real life, all of them objets trouvés from two daily newspaper of 12th June, 2007. The statistical information is set to music in a recitative manner with very few, primarily sustained notes. This is in contrast to the ten newsflashes whose music is composed with lively movements and a tangible pulse in various structures. The somewhat macabre text montage reflects the apparent phenomenon of the sometimes-grotesque contrast of various themes and texts, which seems to magically attract humans.
Duration: 10' 00"
SME/EMS
Max E. Kellerconcertare e improvvisare (2007)
Instrumentation: for flute, oboe, clarinet (bcl), violin, viola, violoncello and improvising piano
This work contrasts notated music with improvised music. The sextet is extensively notated; the piano merely has several verbal suggestions. There are, however, also moments of improvisation in the sextet where, for example, each instrument initially and independently of the others repeats a phrase, which gradually changes following verbal instructions. Each begins this process with great intensity, playing as loud and as quickly as possible – very much in the style of early free jazz.
Duration: 14' 00"
SME/EMS
Max E. KellerWie Kraut und Rüben (2008)
After the picture bearing the same title by Paul KleeInstrumentation: for oboe, bassoon, guitar and viola
In the painting "Wie Kraut und Rüben" by Paul Klee transparent white dots are spread over a red background in irregular rows and create thereby a subtle pulsation within a regular grid. By painting over the dots with the brush, these dots turn into lines, spots and signs. This technique, which Klee called "pointillate", has been transposed to dots of sound, arranged in rows, superimposed in irregular, free rhythms by the four instruments.
Duration: 6' 30"
SME/EMS
Max E. Kelleraccent - figure - layer (2008) A project between improvisation and compositionInstrumentation: for bass clarinet/tenor saxophone, percussion, piano, violin, viola and double bass
The wide scope between improvisation and composition is calibrated. There are, however, no long notated passages but form sequences, short notated phrases as starting points, verbal instructions and graphics - right through to improvisation as one extreme. The musical material is based on the archetypal elements 'accent', 'figure' and 'layer' as mentioned in the title. The through-composed parts "unione e tremolo" for violin and viola (movement II) and the violin solo "NONONONO" (movement VII) are inserted between the six movements as the other extreme.
Duration: 58' 00"
SME/EMS
Ernst PfiffnerMiniature d'Umbria IV (Il cantico delle creature) (1996)
Instrumentation: for viola solo
Work series A: Music for concerts.
Duration: 8' 30"
SME/EMS
Ernst PfiffnerTerzettino per Thebas (1996)
Instrumentation: for flute, viola and harp
Work series A: Music for concerts.
Duration: 7' 00"
SME/EMS
Max E. KellerPeanuts (2009)
Instrumentation: for flute, clarinet, violin, viola and violoncello
Peanuts are trivialities, in this case a 3-minute scherzo for the 30th birthday of the Theater am Gleis. The well-known bebop piece "Salt Peanuts" is quoted in this work.
Duration: 3' 00"
SME/EMS
Max E. KellerWendepunkte (2009)
Instrumentation: for piano, percussion and string quartet
For advanced amatuers.
This piece was composed for the music Matura. The education of young people is the same for all until the Matura stage. Here, at the first major turning point in their lives, individuals must decide which direction they wish to take. Thus the 'turning point' became one fundamental concept behind this work, walking together and walking alone became another. They are processed on various levels - both on the quasi-motif and the formal.
Duration: 13' 00"
SME/EMS
Max E. KellerGravuren (2010)
Instrumentation: for string quartet and percussion
This composition is based on a process or a figurative concept: one or several lines are engraved into a surface, derived from the opposing string surface and percussion line. Surfaces and lines exist in the most varied of forms, colours, intensities and mutations thereof, and the contrast traverses various grades and forms. By utilising three cardboard boxes, the percussion section is also able to play flat rubbing noises that create an approximation of everyday sounds. The spectrum expands at various points throughout the work when totally different elements are suddenly introduced.
Duration: 7' 00"
SME/EMS
Thüring BrämIch will lauschen... (2012-2013)
Instrumentation: for voice, violin and viola
SME/EMS
Rudolf JaggiUrkalabulie (2013)
Instrumental trioInstrumentation: for two flutes and viola
Duration: 1' 10"
SME/EMS
Max E. Kellermit Pfiff (2012)
Instrumentation: for flute, bass clarinet, piano, violin, viola and violoncello
The leitmotif of this piece is indeed, as the title suggests (Pfiff = whistle), an instrumental whistle by the whole ensemble, which is followed in each case by a kind of echo - be it hard and loud accents or soft chords.
(Trans.: mit Piff also translates as 'with flair' or 'with zing').
Dedicated to the Ensemble Theater am Gleis Winterthur for it's 20th anniversary.
Duration: 2' 00"
SME/EMS
Max E. KellerDas Tattoo blickt böse (2012)
Instrumentation: for soprano and string quartet
Texts: Max E. Keller
Duration: 10' 00"
SME/EMS
Max E. KellerDer Rutengänger (2012)
Instrumentation: for oboe, bassoon, guitar and viola
Duration: 6' 00"
SME/EMS
Max E. KellerKeim - con sorpresa (2013)
Instrumentation: for flute clarinet (bcl), piano, violin, viola, violoncello
This work develops from a simple kernel on the one hand, and displays surprising aspects on the other. And so the kernel grows exuberantly, quasi-uncontrolled, in unpredictable directions, notes remain surprising - like mistakes - enduring to form a surface of contrasts. Suggestions expand into preludes, after beats into codas; the surfaces become noise-like. These surfaces dominate from the middle part onwards, and the kernal fragments and repeats, simultaneously rising up as a pulse. In addition to the little surprises, four structures are spliced in, none of which have anything to do with the kernel: sorpresa.
Duration: 12' 00"
SME/EMS
Max E. KellerVom Elementaren her (2017)
Instrumentation: Flöte, Klarinette (Bassklarinette), Klavier, Violine, Viola, Violoncello
Unsere Existenz wird von Elementarem bestimmt: Macht, Hunger, Liebe, Kampf, Sexualität, Mitleid, Geld, Bewegung, Überzeugung, Veränderung, Tod ...
Auch in der Musik spielt Elementares eine wichtige Rolle, selbst wenn sie sich in komplexen Verästlungen und Verfeinerungen scheinbar weit davon entfernt. "Vom Elementaren her" geht dagegen in jedem der 6 Teile von einer einfachen Grundstruktur in aller Nacktheit aus, um sich dann in die eine oder andere Richtung zu bewegen.
Duration: 9' 00"
SME/EMS
Max E. KellerHolzschnitte (2017)
Instrumentation: Flöte, Klarinette in B (Bassklar.), Schlagzeug, Harfe, Violine, Viola, Violoncello
Holzschnitte sprechen einfache Wahrheiten ohne viel Beiwerk unzweideutig, unmissverständlich und bisweilen auch verletzend direkt aus. Nicht zuletzt deshalb sind Holzschnitt in der politischen Kunst des 20. Jahrhunderts oft verwendet worden. In der Komposition "Holzschnitte" geht es in diesem Sinne in 7 sehr unterschiedlich langen Teilen um einfache musikalische Archetypen, die durch Überlagerung der 7 Instrumente (also Polyphonie) und Variation durchaus eine gewisse Komplexität entwickeln können. Im 4. Teil werden analog dazu in Stichworten das Scheitern und die enorme Zahl menschlicher Opfer bei der Umsetzung sozialistischen Ideologie in der Realität verbal ausgesprochen. Nur Vietnam bleibt als positives Beispiel übrig.
Duration: 12' 00"
SME/EMS
Max E. KellerIns Freie (2017)
Instrumentation: Improvisationskonzept für Bassklarinette, Marimba oder Vibraphon & Schlagzeug ad libitum, Klavier, Violine, Viola und Violoncello
In den 68er-Jahren wurde in der Neuen Musik oft mit einem politischen Hintergrund improvisiert, quasi als antiautoritäre Praxis. Die Konzepte wollten nicht vorschreiben, was zu spielen sei, sondern zur Kreativität anregen. "Ins Freie" knüpft an meine langjährige Beschäftigung mit Improvisation an, ist aber nicht - wie viele Konzepte - für den Eigengebrauch im "inner circle" geschrieben, sondern versucht, allgemein gängige Wege "ins Freie" zu entwerfen.
Duration: 11' 00"
SME/EMS
Martin MetzgerSaitentänze Nr. 1-4 (2013)
Suite with 4 movementsInstrumentation: for viola and 2 violoncelli
Duration: 8' 00"
SME/EMS
Parts: CHF 24.-