Instrumentation: for orator, alto, tenor and ensemble (1.1.1.0/1.1.1.0/2perc/2.1.1.1)

Texts: Heinz Zimmermann

A melodrama based on a text by Heinz Zimmermann. The theme of this piece concerns outer and inner captivity.

CHF: 57.00

Instrumentation: für Fagott und Orchester

CHF: 50.00

Musical theatre piece

Instrumentation: for childrens group and piccolo, bass clarinet, tuba, accordion, mandolin (guitar), violin and four percussion

Texts: Volkslied

Can be played individually: 'kinderspiele' for 2 percussionists (glock.vib.cym) [2']. 'le ranz des vaches' for 6 tuned cow bells (f#+2,g2,d2,g#+3,a3,e4), one player [2'].

Duration: 45' 00"

CHF: 16.70

Instrumentation: for solo ensemble (nineteen instruments): (fl(pic,afl).ob(ca).cl(Ebcl).bcl.bn(cbn)/hn.tpt.tbn.tba/2perc/cel.hp.pf/2vn.va.vc.db)

The nineteen instruments in this piece are split twice into five groups. The first is grouped traditionally (woodwind, brass, keyboard instruments / harp, percussion and strings) and are known in this instance as homogenous groups.During the course of the piece new instrumental groups are gradually formed, each of these new groups contains one instrument from each of the above mentioned categories and are known in this instance as heterogenic groups. Both the homogenous and heterogenic groups have their own expressive repertoire, bound together by a specific number of tones and a specific rhythm.

Duration: 15' 00"

CHF: 42.60

Instrumentation: for instrumental ensemble (fl.ob.bcl/hn/hp/vn.va.vc)

Inconclusive, trembling and weighed down with emotion, the minstrel attempts to enter through the gate of virtual reality. He fulfils his aim in the second movement; his physical trembling becomes a psychological one.

Duration: 8' 00"

CHF: 22.80

Instrumentation: for nine instruments (fl(pic,afl,woodblock).ob(ca,claves).cl(bcl,claves)/perc/hp.pf (or two wood blocks)/vn.vc.db)

The instruments are split into three groups: woodwind, harp/piano/percussion and strings.

Duration: 10' 00"

CHF: 35.40

Instrumentation: for ensemble (1.1.1.1/1.1.1.0/2perc/hp.pf/2.1.1.1)

"TON" is actually a passacaglia within which the bass can not initially be heard ... E - Eb - D - C# are the key notes in this piece, modulating within their partial tones throughout the different voices while the progression is defined by the upward trend of the voices (partial tones). When looking at the intervals' overtone structure up to the 16th partial tone and then putting the overtones into an order from low to high frequencies, a series evolves which is very much like an overtone series itself - though having smaller intervals towards the heighs. From the 12th partial onwards the key notes modulate chromatically to the low: E - Eb - D - C#.
While the high voices continue to go higher, ever searching for the next tone pitch, the bass (being the fundament) stays within the realm of the chromatic world.
Within the world of micro tones, the spectrum glides upwards like a filter independently of the 12 tone system, but remains connected to its origin. An investigation of the phenomenon "sound". Something continuously changing and at the same time persisting because of these changes.
Laozi, Tao The King, 11:
Therefore, what has a (positive) existence serves for profitable adaptation, and what has not that for (actual) usefulness.

Duration: 10' 00"

CHF: 31.20

Instrumentation: for choir, soprano, alto and chamber ensemble (fl(picc).ob.cl.bcl.bn/timp/perc/vibr.synth)

Texts: Lord Byron

'Darkness' is based on a poem by Lord Byron.

Duration: 11' 00"

CHF: 33.00

Instrumentation: for instrumental ensemble (pic.fl.ob.Bbcl/hn-f.Bbtbn.tbn-c/2perc/pf/vn.va.vc)

An experiment in using various procedures but avoiding the stylistic lapses of postmodernism.

Duration: 8' 00"

CHF: 26.40

Seven small pieces (three trios, three sextets, one nonet)

Instrumentation: for instrumental ensemble (fl.cl/hn.tpt.tbn/hp/3str)

After the trios finish playing their piece, a meeting is brought about whereby three sextets and a nonet are formed - their parts are then played simultaneously. In this way the musical character of the individual parts is heard in relation each other. Only moderately difficult to play but does require the help of a conductor.

Duration: 35' 00"

CHF: 18.00

Instrumentation: for flute solo & ensemble of eight musicians

Duration: 8' 30"

CHF: 30.70

Instrumentation: for alto, clarinet and chamber orchestra (flute, horn and strings)

Texts: Max Bolliger

Based on a text by Max Bolliger from the collection of poems 'Schweigen, vermehrt um den Schnee' (Silence multiplied by the snow). On the theme of nature and death.

Duration: 25' 00"

CHF: 63.60

Instrumentation: for alto, baritone and instrumental ensemble (rec[=pic].fl/hpd.org/vadg[=va]/perc)

Texts: Ernst Jandl

Absurd text set to absurd music in conventional notation.

Duration: 9' 00"

CHF: 29.40

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 solo violin and ensemble (1.1.1.1/1.1.0.0/pf/3.1.1.1)

I have shared a deep emotional passion for the violin concert since childhood. I was initially swept away by the multifaceted 'classics' repertoire until, with breath-taking surprise, I discovered new creations, the dynamics of which repeatedly nourished my creative side. Bettina Boller, my violin teacher at the time, led me like a guide to this precious resource. A balanced synthesis between strong emotions and structural thought processes is necessary to express this veneration. The soloist-tutti phenomenon, as a mirroring of the real-life situation individuum-collective, is of great interest to me: the transition phase from the solo into the multiplicity of the tutti movements and vice versa. This can, for example, be expressed over a single tone, which is gradually compressed until it disappears into the thicket of a neighbouring tone. Or the other way round: a compact sound structure becomes more and more refined until it dissolves into a single tone. The solo violin is understood as the impulse carrier of various such compression and refining processes. It is apparent throughout the piece, with which instrumental partner the violin enters into dialogue. This piece is based on a spectrally aligned central tone, which expands, contracts, changes colour, swells up or resigns...

Duration: 20' 00"

CHF: 61.30

Instrumentation: for ensemble (1.0.1.0/1.0.1.1/pf.vib/str trio)

Uses the quarter-tone system.

Duration: 15' 00"

CHF: 53.30

Instrumentation: for four instrumental groups (0.2.2.0/1.1.1.0/4-5perc/hp.pf/2vc.db)

This piece features differing instrumental groups manifesting three timbres. Together they form a connection with, and at the same symbolise, the various aspects of human behaviour. A fourth, less homogeneous group, gradually prevails.

Duration: 9' 30"

CHF: 34.00

Instrumentation: 1 SS, 1 Sopr, 1 Euph, 1 Vlc, 3 Akk, 1 Perk, 1 Tänzerin, 6 Kinder, Video, Licht

Duration: 15' 00"

CHF: 24.60

Instrumentation: 1 Flg-Hrn, 1 AS, 1 TS, 1 E-Git, 1 Pf, 1 E-Bass, 1 Drums

Duration: 2' 30"

CHF: 12.60

Instrumentation: for instrumental ensemble (fl.cl/pf/perc/vn.vc)

Alternating solos for the wind and strings are concurrent with the transparent, fragile playing of the ensemble. Based on the ‘Stimmen’ - texts by Paul Celan.

Duration: 9' 00"

CHF: 47.00

Instrumentation: for instrumental ensemble (fl.ob.cl(bcl).bn/perc/pf/2.1.1.1)

Bright and dark sounds in numerous forms are set in motion in a fragmentary way. This piece was inspired by the 'Stimmen' texts by Paul Celan.

Duration: 7' 00"

CHF: 29.40

Instrumentation: for instrumental ensemble (cl.bn/hn/vn.va.vc.db)

First movement: a wide-reaching arch. Second movement: small-scale, two-voice experiments.

Duration: 7' 00"

CHF: 18.70

und kleines Ensemble

Instrumentation: Solo-Klarinette, Flöte, Violine, Violoncello, Klavier, Percussion

Teilweise in Vierteltontechnik

Duration: 13' 00"

CHF: 34.20

Five movements over Hölderlin für Bariton und 12 Instrumente

Instrumentation: for baritone, 4 Vla, 4 Kb, 4 Schlagz

Texts: Friedrich Hölderlin

Instrumental introduction and sequence of four songs: Curriculum Vitae - To Edward - Age - Mankind.

Duration: 17' 00"

CHF: 34.00

Instrumentation: for soprano and instrumental ensemble (1.1.1.1/1.1.0.0/man.gtr/1.1.1.1)

Duration: 22' 00"

CHF: 46.70

Instrumentation: 1 Fl, 1 Ob, 1 Kl, 1 AS, 1 Euph, 1 Git, 1 Akk, 1 Cemb, 1 Pf, 1 Sopr, 1 Mezzo, 1 Ten, 2 Vln, 1 Vla, 1 Vlc, 1 Ktb

Duration: 12' 00"

CHF: 25.30

Instrumentation: for twelve wind (fl(pic).ob.ca.cl.bcl.2bn.cbn/hn.tpt.tbn.tba) 2 percussionists and conductors

Musical theatrical play from the entrance to the bow.
DVD available from the composer.

Duration: 10' 00"

CHF: 27.00

Instrumentation: 1 Fl, 1 Ob, 1 Kl, 1 Fag, 1 Hrn, 1 Tpt, 1 Pos, 1 Perk, 1 Pf, 2 Vln, 1 Vla, 1 Vlc, 1 Ktb

Duration: 1' 45"

CHF: 10.80

Instrumentation: for soprano and instrumental ensemble (fl/perc/acn/man/2vn.2va.2vc.db)

Texts: W. C. Williams

A cycle of songs based on texts by W. C. Williams.

Duration: 28' 00"

CHF: 61.80

Instrumentation: for ensemble (flute, bass clarinet, trumpet, trombone, electric guitar, drum set, piano and amplified/electric cello)

Duration: 6' 00"

CHF: 20.40

Instrumentation: for soprano and instrumental ensemble (flute/melodica, clarinet, piano/melodica, accordion, mandolin, violin/viola, violoncello)

Texts: Ernst Herbeck

Twenty-seven songs and four intermezzi based on the schizophrenic lyrics contained in the poems of Ernst Herbeck (Alexander). Relatively simple for the instrumentalists. In some sections, the musicians have to sing and whistle as well.

Duration: 36' 00"

CHF: 40.70

Instrumentation: for ensemble and 2 Violas

The composition is closely linked to a series of five stone sculptures. The sculptures represent the process of becoming form within five stages. When we look at a form, it usually does not reveal its process of creation. Music, on the other hand, unfolds its formal structure in a certain time. The sculptures visualise the forming process from the naturally broken rough stone to the final shape. Each movement of the piece is dedicated to one of the states of the sculptures.

CHF: 63.30

Instrumentation: Harmoniemusik

Dieses Stück wurde durch das Spiel des Inf. Reg. 15 uraufgeführt. Klingt völlig anders als die üblichen Werke für eine Militärmusik.
Bei diesem Werk haben die Spielenden viele Freiheiten, z. B. wann genau sie die Töne innerhalb eines Klangfeldes spielen.

Duration: 5' 00"

CHF: 9.00

Instrumentation: for horn, piano and thirteen instruments (2.(pic,afl).2(obda,ca).2(Ebcl).bcl.asx(ssx).1/1.1.1.1/pf(clavichord))

The solo horn is scored also for an authentic 19th century invention-horn, and the solo piano part (normal tuning) also plays a hammer piano (five octaves F - f4, sounding a quarter tone lower). The second piano in the ensemble is tuned a quarter tone lower. A discourse with Robert Schumann's music.

Duration: 17' 00"

CHF: 62.70

Instrumentation: for small ensemble (fl, ob, cl, bn, hn, vn, va, vc)

Attempting to describe the sacred or the holy is captious and can easily miss that which is actually meant. The sacred is not easily articulated. Maybe the sacred simply arises through musical means like an uncontrolled accordance of interior and exterior, conscious and preconscious facts?
Maybe Bidott and Padott are two Patron Saints yet to be discovered.

Duration: 5' 00"

CHF: 22.80

Instrumentation: for ensemble ad lib.

Conceptual piece for the 'Ensemble für neue Musik Zürich' (for its 25th anniversary). The concept effectively comprises all the music ever played over the past 25 years performed at a lightening speed agreed upon in advance (not less than 15 seconds).

Duration: 1' 00"

CHF: 9.00

Instrumentation: for ensemble (fl, cl, bcl, tsx, tbn, 2 perc, pf, vn, va, vc, db)

"White Screen" is the music to a film playing on an empty screen, that is to say, a series of images, colours or movements that takes place solely in the imagination of the listener. The initial starting point of this composition was a tale that (for me) still haunts music, a tale I would rather not tell…
World premiere: 5.11.09, Zurich, Ensemble Laboratorium, Pierre-André Valade

Duration: 13' 00"

CHF: 37.30

Instrumentation: for ensemble (fl, cl, hn, tbn, perc, pf, vn, va, vc)

This piece deals with intensity, how it is able to continually change or increase and to what degree the listening experience differs from the compositional approach.

Duration: 12' 00"

CHF: 33.00

Seven traces through spaces

Instrumentation: for instrumental ensemble (fl.ob.cl.bn.asx/hn.tbn/perc/va.vc.db)

A delicate piece which touches, crisscrosses repulses and ignores on different levels. Commissioned by 'Moments Musicaux Aarau'.

Duration: 12' 00"

CHF: 26.00

Instrumentation: for nine instruments (fl.ca.bcl/tbn/perc/pf/v.va.vc

In light of this traditional Chinese painting technique, this music represents breathtaking movements of ink in different shades ranging from thickening (using intensification of texture and crescendo) through diluting (lessening texture and diminuendo), interweaving and mutual penetration of dry and washy ink (abundant timbres and minimum variation), saturated and forceful strokes (tutti of multiphonic sounds), light and hollow strokes (harmonic glissandos), and finally fading or settling into an enchanting fairyland (wreathing of after-sounds).

Duration: 13' 00"

CHF: 49.20

Instrumentation: 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"

CHF: 48.00

Instrumentation: for four female voices (OratorSMezA) and ensemble (fl.ob.cl/perc/pf.cel/vn.va.vc)

A short musical theatre in three parts to be handled as a non-stop performance.

Duration: 9' 00"

CHF: 24.00

Instrumentation: for flute, clarinet, violin, viola, vioncello, two marimbas and imrovised piano

Dialectic between the pianist and ensemble involving the discovery of the unanticipated improvised moment within the notated musical gestures.

Duration: 12' 00"

CHF: 43.30

Instrumentation: for erhu and ensemble (erhu, fl, cl, ob, tbn, perc, pf, 2v, va, vc)

Sun Wenming (1928-1962) was a blind but great Chinese folk erhu player and Avant-garde composer, whose playing techniques and cutting edge ideas in timber can hardly be matched even in the modern times and whose composition based on the harmonic series was fully 20 years earlier than the Spectral Music in France.
His erhu Solo The Double Erhu Sounding is quoted in this piece as its second theme while its pitch materials derive from its erhu tuning tones of G and D and their harmonic series and distortions.

Duration: 12' 00"

CHF: 64.20

Instrumentation: for double bass solo, string quintet, wind quintet, piano and percussion

Duration: 38' 00"

CHF: 74.90

3 Songs

Instrumentation: for mezzo-soprano and orchestra (1.1.1.0/gtr/str)

Texts: Vladislav Jaros

Instrumentation:
1. Dreams: fl, ob, mezzo, gtr, str
2. Recuerdos de la Alhambra: mezzo, gtr, str
3. Tears: fl, ob, kl, mezzo, gtr, str
The composer has written an English text and a melodie to the well-known pieces by Francisco Tàrrega and intrumented the pieces for chamber orchestra. In he orchestral version, the music of Francisco Tàrrega sounds in an unknown colour, intensity and musical quality that must be heard.

Duration: 10' 00"

CHF: 43.30

Instrumentation: for soprano and instrumental ensemble (flute, clarinet (bass clarinet), violin, violoncello and piano)

Texts: Kurt Marti

The poems are taken from different collections to form a cycle, the inner and outer components of which convey particularly Swiss characteristics: weighty burden, efficiency, precision as a substitute for happiness, and indifference. The soprano's phraseology encompasses both recitative and flamboyant melodies.

Duration: 16' 00"

CHF: 20.70

Instrumentation: for instrumental ensemble (fl.ob.cl(bcl).bn/hn.tpt.tbn/db)

An obsessive, pulsating sequence is stoped down again and again and shortened whenever some sound fields establish themselves in the interstitial. A new multifaceted music replaces the worn down rhythm.

Duration: 11' 00"

CHF: 19.20

Instrumentation: for bass, baritone, three tenors and instrumental ensemble (0.0.2.2/4.2.3.0/4perc)

Texts: Bibel / Liturgie

In this piece the Latinate poetry of the blind born from the gospel according to John, is set to music. In the first part, the wonderment of the event, in the second the interrogation and in the third the words of Jesus to the healed are set forth. The disciples in the first part and the Pharisees in the second are written for a group of three tenors (traditionally called 'Turba') who, according to the dramatical situation, speak, whisper or scream.
Work series A: Music for concerts.


Duration: 15' 00"

CHF: 32.00

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"

CHF: 108.00

Instrumentation: for flute, oboe, clarinet, horn, bassoon and string quintet

After a radio protocol on Pilatus. Commissioned by the Ensemble Montaigne, Lucerne.

Duration: 14' 00"

CHF: 40.70

Instrumentation: for vocal ensemble (2.2.2.2) and instruments (1.1.2.0/2.0.2.0/2perc/2.2.2.2.0)

Texts: Eduard Mörike

The music of my piece 'Die Elemente' refers in a simple and immediately understandable way to the text in the poem of the same name by Eduard Mörike. This poem impressed me with its combination of raging elemental force and naive tenderness. Despite the biblical citation that Mörike adds as a motto, I find the essence of his poem more archaic-antique, like a Greek or Germanic myth.

Duration: 17' 00"

CHF: 55.80

Instrumentation: for wind instruments (pic, fl, bcl, bn), string instruments (vn, db, hp) and percussion

Duration: 8' 40"

CHF: 31.80

Scenes of humility

Instrumentation: for choir voices and orchestral groups

A cycle based on savage and partly lost writings; "Die schöne Frau von Thun" uses six instruments, which can be relatively freely chosen; "Tobold" is a compositional concept, formal and extremely variable in its instrumentation (the composer has arranged one version); "Das Mädchen mit den schönen Augen" is the last work before the composer's non-composing phase, maliciously simple, supposedly humorous - it is dedicated to the performer Marion Leyh.

Duration: variabel (Ausarbeitung durch den Komponisten: 10'00")

CHF: 27.60

Oper in zwei Akten

CHF: 189.20

Instrumentation: for soprano, tenor, 2 baritones, speaker and instrumental ensemble (1.1.1.1/1.1.1.0/perc/2.2.1.1)

After a scene from Shakespeare's "Troilus and Cressida". The psychological complexity of the scene is realised musically in polyphonic layers.

Duration: 18' 00"

CHF: 70.70

Instrumentation: für Kontrafagott und Orchester

Duration: 15' 59"

CHF: 22.70

Scenes of Grace

Instrumentation: for speaking voice and chamber ensemble

A last cycle, which mirrors the first in many ways, based closely on restructured texts by the poet. "Die Liebe in den leichten Worten" continues semantic distraction in unsophisticated seconds, deceptive and beautiful; "Kanal" is a conceptual composition, creating artificial folklore, and sentences of a piece of prosa, quasi idyllic continuation (the composer himself has created one version); "Das leichte End in Bern" is to be scored in a monochrome fashion with six identical instruments. It tells of disappearance into anonymity, of poltergeists and much more; it is dedicated to the performer Eva Fuhrer.

Duration: variabel (Ausarbeitung durch den Komponisten: 10'00")

CHF: 18.00

Premiere Easter Sunday 2018

Duration: 34' 42"

CHF: 82.80

Instrumentation: for ensemble (1.1.1.1/1.1.1.0/pf.mar/2.1.1.1)

As a commission for the Swiss Expo 02 this piece takes the Swiss cross, apparent as pitch structures in the form of crosses, and places it at the centre of the composition. Initially as an interval-cross in quasi-negative form, it later appears manifold and differentiated in positive form.

Duration: 3' 00"

CHF: 16.80

Kinderoper

St. Gallen 6/5/2018 Complete

CHF: 100.80

A Chamber Opera with Tango Motives

Instrumentation: Tango Quintett, Mezzo-Soprano, Tenor, Dance Couple

Texts: Francisco Obieta

Odysseus doubts about returning home, about pledges, his wanderings in confrontation with the love of a young woman

Duration: 82' 30"

CHF: 89.60

Instrumentation: for soprano, flute, oboe, clarinet in B (basscl), percussion, piano, violin, viola, violoncello

Texts: Friedrich Gottlieb Klopstock, Max E. Keller

As disseminated throughout the Enlightenment, F. G. Klopstock also saw the beauty of nature as the work of God and exalted the creator with hymns of praise. When this is quasi secularised, we end up not a million miles away from today's 'green' understanding of nature being a force to be respected and preserved as the foundation of life. In this sense, a text montage of fragments from "Die Frühlingsfeier" and "Der Zürchersee" is set against current traffic reports - a conspicuous symbol of the modern destruction of nature. This conflict is played out as extremely contrasting base structures, which form the starting point of the musical process. Two of these structures initially undergo a block-like exposition, whereby a spoken traffic jam report is installed into a quiet and distant underlying sound highlighted by a noise surface. Transitions between one structure and another then take place to represent the process of degradation or destruction. The extremes are, however, never resolved as this would merely serve as an aesthetic reconciliation of what in reality remains oppositional.

Duration: 9' 00"

CHF: 20.40

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"

CHF: 22.80

Instrumentation: Flöte, Bassklarinette, Fagott, Klavier, Violine, Viola, Violoncello, Kontrabass

Gemeinsam war den Aktivitäten der 68-er Bewegung das Ziel, verkrustete, autoritäre Strukturen aufzubrechen und durch freie Formen zu ersetzen. Und dies versucht meine Komposition quasi nachzubilden, in 5 Sätze oder Anläufen, aber ohne das bequem Mittel von Rezitation einschlägiger Texte. Rigide Strukturen werden immer wieder aufgebrochen, zerfallen und werden durch frei kommunizierende, lockere Gebilde abgelöst.


Duration: 11' 00"

CHF: 21.00

Ergon 62, Nr. 2, Musikwerknummer 1808, auf ein Gedicht des Komponisten

Instrumentation: Sopran, Bariton, geschlagenes Klavier und Zuspiel-Klänge oder Live-Ensemble (sechsstimmiger (Zuspiel-)Chor, (Zuspiel-)Klavier, (Zuspiel-)Geräuschspur sowie ein Field recording

Duration: 4' 30"

CHF: 25.80

Ergon 78, Nr. 2, Musikwerknummer 2034

Instrumentation: für Klarinette und Ensemble

Verschiedene Kanonformen stellen der solistischen Klarinette die Gleichwertigkeit aller Instrumente entgegen.

Duration: 7' 00"

CHF: 28.20

Ergon 78, Nr. 1, Musikwerknummer 2020

Instrumentation: für Flöte und Ensemble

Die solierende Flöte akzeptiert ihre Einordnung in ein u?bergeordnetes Ganzes und darf dann ihre Kadenz vortragen.

Duration: 6' 30"

CHF: 22.20