Instrumentation: for electronic tape (CD/DAT or MD) and orchestra (1.2(ca).2(bcl).2(cbn)/2.2.1.1/hp/str)

Texts: Christina Thürmer-Rohr

A version for chamber orchestra (wind quintet, strings, piano and electronic tape) is also available (1994).

Duration: 13' 00"

CHF: 25.20

Symphonic poem

Instrumentation: for orchestra (pic.2.2.ca.2.bcl.2.cbn/4.3.3.btbn.0/timp.1perc/str)

Our life experience constitutes the eighth day. The discovery and expression of our strengths and the acceptance of our joys and sorrows are the building blocks for our eighth day, our myths, and our individual life histories.

Duration: 10' 25"

CHF: 28.20

Orchestral study

Instrumentation: for large orchestra (3(pic, afl).2.3(bcl).3(cbn)/2.2.2.0/3perc/10.8.6.6.4)

Duration: 12' 00"

CHF: 42.70

Instrumentation: for orchestra (2(pic).2(ca).2(bcl).2(cbn)/2.2.1.0/2perc/14.4.4.2)

Searching for the subtlest sound track, fearful eruption, internalised epilogue.

Duration: 17' 00"

CHF: 38.70

Instrumentation: for orchestra (2.2.2.2/4.2.1.0/timp/str)

Duration: 29' 00"

CHF: 94.40

Symphonic movement over an Italian folksong

Instrumentation: for orchestra (2(pic).2.2.2/4.2.3.1/timp/str)

Reworking of 'Variationen und Fantasie' from 1959.

Duration: 11' 21"

CHF: 31.30

Concerto

Instrumentation: for violin and large orchestra (3.3.3.3/4.3.3.1/3perc/hp/30.12.10.8)

This piece is inspired by a Chinese drama of the 12th century. A woman is unjustly exectued, nature testifies her innocence: her blood doesn't drop to the ground but flies away on a white blanket; a heavy snow falls in the middle of summer and the winds begin to howl.
The rhythm is influenced by the poetic form of the Song dynasty (960-1279). The organisation of the musical material is inspired by certain codes which allow one to understand the taoistic texts.


Duration: 16' 00"

CHF: 50.70

Instrumentation: for orchestra (2.2.2.2/2.2.2.0/3perc/5.5.5.5.3)

This whole five-part piece is developed from a pentatonic group core.

Duration: 10' 00"

CHF: 26.70

Instrumentation: for orchestra (pic.1.1.ca.1.acl-f.bthn.bcl.1/1.1.tbn-c.tba-c/3-4perc/str)

Several time phases blend together to form a whole.

Duration: 8' 00"

CHF: 16.70

Instrumentation: for violin and symphony orchestra (3(2 pic).3(ca).3(bcl).3(cbn)/4.3.3.1/3perc/hp.pf/10.8.6.5.4)

A work in three movements, written for the Tibor Varga Competition in 1996. Notation is traditional. The soloist's part contains a few cadenzas, which are written without bar lines.

Duration: 20' 00"

CHF: 44.70

Instrumentation: (3(2pic).3.3(bcl).2/3.2.3.1/vib.cel.hp/str)

The orchestra is used throughout in a chamber music fashion.

Duration: 18' 00"

CHF: 19.20

Concert

Instrumentation: for flute and orchestra (Solo: pic.fl-c.fl-g.bfl/ 2(pic:fl-g).1(ca).2(bcl).1(cbn)/1.0.0.btbn.0/3-5perc/hp.pf/6.0.4.4.2)

Based on Jean Gebsers idea of the five-phase conscience changes of humanity (archaic, magic, mythic, mental, integral) the soloist personifies the individual changing in its environment.

Duration: 26' 00"

CHF: 51.30

Instrumentation: for orchestra (2.2(ca).2.2(cbn)/2.2.0.0/timp.perc/pf/8.6.4.4.3)

Duration: 15' 00"

CHF: 39.00

Ergon 6

Instrumentation: (3(3pic).2(2.ca).3(3.bcl).2/2.2.2.0/3perc/hp.pf/12.12.8.8.4)

Eleven elaborated compositional ideas in the realm of sound surfaces and sound-combinations are in a field of conflict between static and dynamic. The atmosphere is inspired by the unrolling of Ariadnes thread from the cave allegory by Plato, the imaginary land of Uqbar by Borges and "schwarze Milch der Frühe" - the first line of a poem by Paul Celan.

Duration: 10' 00"

CHF: 40.00

Instrumentation: for a large orchestra

Comical variations on two Swiss folk song themes for diverse instrumental groups, sometimes playing register-like and sometimes as a whole orchestra.
Of a medium level of difficulty, can also be played, relatively easily, by a student or amateur orchestra.


Duration: 4' 00"

CHF: 18.00

Instrumentation: for orchestra (pic.2.2.ca.2.2(bcl)/2.2.2.1(btba)/1perc/hp.gtr.man.cel/str)

Am Grabe Richard WagnersCaroussel de Madame P-NResignazioneTrübe Wolken - Nuages gris

Duration: 12' 00"

CHF: 33.60

Instrumentation: for violoncello and orchestr (2.2.2.2/4.2.2.1/2perc/str)

Duration: 9' 00"

CHF: 17.30

Instrumentation: for trumpet and orchestra (2,1,2,1 - 2,1,0,0 - perc, pno - str)

Duration: 6' 00"

CHF: 27.00

Cycle

Instrumentation: for large orchestra and piano solo (2.2.3.2/3.2.3.1/4perc/hp/24.6.6.4(five stringed))

'Vom Klang der Bilder' (from the sound of images):
An orchestral cycle based on pictures by Buchholz, Klee, Kandinsky, Klein and Fruhtrunk. The five pieces span a cyclic arch that is anchored in the laws of life.
I. 'Blutgesang' (blood song): destruction, swan song, tears, sadness, grievance
II. 'Choral und Landschaft' (choral landscape): hope, confidence, humbleness, belief, nature
III. 'Gegenklänge' (a mediant): re-polarisation, existence of contradictions
IV. 'Monochromes Blau' (monochrome blue): Movement in statics, pause, mediation, illusion, paradise on earth
V. 'Orgelpunkt' (pedal point): painful recurrence of the same in being different.


Duration: 13' 00"

CHF: 51.30

Instrumentation: for orchestra (pic.1.1.ca.1.bcl.1/1.1.1.tb-c/3perc/org.cel/str)

Stories of everyday life. This fantastic bazaar of sounds is set in a hermetic sound world.

Duration: 12' 00"

CHF: 29.40

Instrumentation: for symphony orchestra (3(pic)2.2.bcl.2/4.4.3.1/hp.hpd.pf.toypiano/4perc/10.8.6.6.4) and electronic metronome

Duration: 11' 00"

CHF: 53.30

Instrumentation: for chamber orchestra (1.1.1.1/1.1.1.0/2perc/1.1.1.1.1) or orchestra (1.1.1.1/1.1.1.0/2perc/8.8.6.4.2)

Duration: 10' 00"

CHF: 35.40

Instrumentation: for high voice (soprano or tenor) and orchestra (3(3pic).2.ca.2.bcl.2.cbn/4.3.3.1/1perc/cel/hp/str)

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"

CHF: 64.70

Cycle

Instrumentation: for large orchestra and piano solo (2.2.3.2/3.2.3.1/4perc/hp/24.6.6.4(five stringed))

'Vom Klang der Bilder' (from the sound of images):
An orchestral cycle based on pictures by Buchholz, Klee, Kandinsky, Klein and Fruhtrunk. The five pieces span a cyclic arch that is anchored in the laws of life.
I. 'Blutgesang' (blood song): destruction, swan song, tears, sadness, grievance
II. 'Choral und Landschaft' (choral landscape): hope, confidence, humbleness, belief, nature
III. 'Gegenklänge' (a mediant): re-polarisation, existence of contradictions
IV. 'Monochromes Blau' (monochrome blue): Movement in statics, pause, mediation, illusion, paradise on earth
V. 'Orgelpunkt' (pedal point): painful recurrence of the same in being different.


Duration: 13' 00"

CHF: 38.70

Instrumentation: for tenor saxophone and orchetsra (3(pic).3.ca.3(bcl).2.cbn/4.3.2.btbn.0/2-3perc/hp/min8.6.4.4.2)

Duration: 16' 00"

CHF: 30.70

Instrumentation: for orchestra (2.2.2.2/2.2.0.0/timp/str)

What did he leave us? A few poems, a few drinks, a few rooms around town, a few friends (Morton Feldman on Frank O'Hara). The piece pays tribute to the mutual affection and rapport between these two men.

Duration: 16' 00"

CHF: 22.00

Instrumentation: for orchestra (3.2.3.2/2.2.2.0/3perc/10.8.6.6.4)

wave trip is the final piece of a four-part cycle.
Two orchestral pieces frame a violin concert and a piece for solo violin. wave trip refers on the one hand to the first orchestral work, from which mainly gestural elements are extracted and continued. The focus here is on the wave-like continuation gesture of the music. On the other hand, this piece attaches itself to the violin concert and the violin solo, from which sound elements are extracted and further developed in wave trip. The focus here is a central sound which characterises the whole of the violin concert. Two intervals (thirds and quints) are extracted from this sound and used in wave trip as the basis for new development possibilities.
Thus the piece begins with the development of a third, which undergoes lineal absorbtion into a dense mesh of sound texture before re-emerging as a pure third. The fifth sound appears with a preference for the register nuances of the brass section, which is guided mainly by a duet but also once by a quartet.
In the 2nd half of the piece, the strings for example, form a melodic structure comprised mainly of thirds, the vertical sound structure is, however, composed of fifths. Furthermore, veil-like

Duration: 16' 00"

CHF: 39.30

Instrumentation: for choir, soli, and orchestra

Texts: Elisabeth Wandeler-Deck, Sophokles, S. Rotenberg, F. Nietzsche, M. Schmidt-Salomon, W. Shakespeare, Lukrez

"Seit Jahrhunderten hat die abendländische Musik geistliche Messen hervorgebracht - teils basierend auf religiöser Überzeugung, teils die bewährte sakrale Tradition fortschreibend. Einem solchen Werk begegnet die Missa de homine mit einem zeitgenössischen und gegensätzlichen Zugriff: "Nicht Gott, sondern der sterbliche Mensch mit seinen positiven wie negativen Eigenschaften steht im Mittelpunkt."

Der Cantate Basel Kammerchor brachte die Missa de homine im Wechsel mit Joseph Haydns Harmoniemesse zur Uraufführung.
"

Duration: 38' 00"

CHF: 81.20

Instrumentation: for orchestra (pic.2.2.ca.2(piccl).bcl.2.cbn/3.3(pictpt,cnt).2.1/3perc./pf.cel/str)

In four acts: Image d'hiver, Ville pavoisée, Paysage aux oiseaux jaunes, Sacrifice barbare.The work is a meditation based on the following cocepts: Universe (movements one and three), Man (movements two and four).

Duration: 20' 00"

CHF: 74.50

Instrumentation: for choir, soloists (Soprano, Baritone) and orchestra (0.0.2.2/0.2.0.0/str)

Texts: William Shakespeare

Based the sonnet 154 by William Shakespeare.

Duration: 8' 00"

CHF: 17.40

Instrumentation: for large amateur choir, vocal ensemble, (amateur) youth choir, solo (T and speaking role), orchestra (1.1.1.1/1.1.1.1/2perc/hp/str) and organ

Texts: Bibel / Liturgie

Music for the Pentecostal Liturgy with Latin text. Seven parts distributed throughout the service. The choir and instrumental groups are distributed throughout and incorporate the whole church room. The congregation sings (with accompaniment) four integrated Gregorian chants. Easy to intermediate level of difficulty. Liturgical performance duration: 65'.

Duration: 26' 00"

CHF: 34.00

Instrumentation: 3.3.3.3/4.3.3.1/4 Perk./12.10.8.6.6



Duration: 18' 00"

CHF: 42.00

Instrumentation: for orchestra

Die 4 Orchesterstücke standen im Finale des ersten Basel Composition Competition 2017 und wurden vom Kammerorchester Basel uraufgeführt.Uraufführung: 16. Februar 2017, Theater Basel (Foyer); Dirigent: Frank Ollu; Kammerorchester Basel Basel Composition Competition 2017

Duration: 17' 00"

CHF: 56.70

Instrumentation: for three improvising musicians (any instruments) and orchestra (2(pic).2(ca).2(bcl).2/2.2.1.0/1perc/10.6.5.3)

The improvised part is composed for wind instruments cello and drums, but can just as easily be realised using other instruments.

Duration: 30' 00"

CHF: 68.00

Instrumentation: for piano/percussion and orchestra (2(pic).3(3ca).2.2/4.2.2.1/1perc/14.12.10.10.3)

An attempt at a musical commentary on the poetry of the Sarabande - its presumed Aztec origins and its almost 200 year long chastisement. Spatial music. Can also be performed by a good amateur orchestra. Parts material, small additional instruments, and preparation devices for the piano (Steinway D-274) are available on loan.

Duration: 26' 00"

CHF: 56.70

Instrumentation: 3.3.3.3/4.3.3/Akkordeon/12.10.8.6.6

Seven Towers 1-7 - ein Orchesterzyklus in sieben aufeinanderfolgenden Teilstücke von 80 Minuten Dauer. Die sieben Teile gestalten sich durch musikalische Verlaufsprozesse, die sich in jedem Satz anders formulieren. Verlaufsprozesse beschreiben das musikalische Geschehen beim aktiven Hören im Moment der Wahrnehmung. Sieben musikalische Klangräume wurden erstellt, um die Verläufe deutlich von einander abzuheben. Die Musik möchte innere Räume öffnen, ja vielleicht sogar an äussere Räume erinnern. Die Teilstücke sind so geschrieben, dass sie als ein einziges Kontinuum spielbar sind. Die einzelnen Teilstücke können aber auch einzeln gespielt werden. Das erste Teilstück bildet die Grundstruktur des gesamten Zyklus. Es stellt eine Mikrostruktur dar, die sich in der Makrostruktur des Gesamtwerkes wiederspiegelt: es gründet auf sieben aufeinander folgenden Klangräumen, welche die musikalischen Elemente vorstellen. Jedes der darauf folgenden Teilstücke bezieht sich auf die Materialien und entwickelt die Ideen weiter.

Duration: 10' 00"

CHF: 26.70

Instrumentation: for split orchestra (2.2.bcl.1/2.0.0.0/hpd/str)

Duration: 15' 00"

CHF: 34.20

Instrumentation: 3.3.3.3/4.3.3.1/1 Harfe/Celesta/4 Perk./Akkordeon gestimmt in Vierteltöne/12.10.8.6.6

Seven Towers 1-7 - ein Orchesterzyklus in sieben aufeinanderfolgenden Teilstücke von 80 Minuten Dauer. Die sieben Teile gestalten sich durch musikalische Verlaufsprozesse, die sich in jedem Satz anders formulieren. Verlaufsprozesse beschreiben das musikalische Geschehen beim aktiven Hören im Moment der Wahrnehmung. Sieben musikalische Klangräume wurden erstellt, um die Verläufe deutlich von einander abzuheben. Die Musik möchte innere Räume öffnen, ja vielleicht sogar an äussere Räume erinnern. Die Teilstücke sind so geschrieben, dass sie als ein einziges Kontinuum spielbar sind. Die einzelnen Teilstücke können aber auch einzeln gespielt werden. Das erste Teilstück bildet die Grundstruktur des gesamten Zyklus. Es stellt eine Mikrostruktur dar, die sich in der Makrostruktur des Gesamtwerkes wiederspiegelt: es gründet auf sieben aufeinander folgenden Klangräumen, welche die musikalischen Elemente vorstellen. Jedes der darauf folgenden Teilstücke bezieht sich auf die Materialien und entwickelt die Ideen weiter.

Duration: 9' 00"

CHF: 26.00

Instrumentation: für Bariton, Mezzosopran, Violine solo und grosses Orchester

Texts: Samuel Pepys

"Auszüge aus den Tagebüchern des englischen Tagebuchschreibers und Chronisten Samuel Pepys (1633 – 1703). Staatssekretär im englischen Marineamt (Chief Secretary to the Admiralty), Präsident der Royal Society und Abgeordneter des englischen Unterhauses.
Das Tagebuch, das Pepys [piːps] von 1660 bis 1669 führte, gehört zu den wichtigsten Quellen für diese Zeit und zu den am häufigsten zitierten literarischen Werken des englischen Sprachraums.
"

Duration: 45' 00"

CHF: 85.60

Instrumentation: for orchestra (2.2.2.2.sx/3.2.2.2/3perc/hp.pf.acn/18.8.5.4)

A spatially distributed orchestra, with ever changing group assemblage who (independent of the conductor) move between individual solo and various tutti-attempts. Critical questions of identity, individuality, coherence and unity are central in this composition.

Duration: 15' 00"

CHF: 52.00

Instrumentation: for orchestra (2(pic).1(obda).ca.1(bthn).bcl.2(cbn)/2.2(pictpt).1.0/1perc/pf/str)

Dans un an et un jour... - La quête suprême - Joie de la Cort.

Duration: 16' 00"

CHF: 70.00

Instrumentation: 3.3.3.3/4.3.2.1/1 Harfe/Celesta/Akkordeon gestimmt in Vierteltöne/4 Perk./12.10.8.6.6



Duration: 7' 00"

CHF: 20.00

Composition

Instrumentation: for orchestra (I-III)

Duration: 26' 00"

CHF: 54.70

Instrumentation: für Bariton und Orchester (4,4,4,4 - 4,4,3,1 - Schlgz(4), Pk - Str)



Duration: 17' 00"

CHF: 49.20

Orchestral sounds in six parts

Instrumentation: (2.2.2.2/2.2.2.1/timp/str)

Written for Toni Mummenthaler and the 'Bern Mediziner Orchestra'. The six parts vary in character from full orchestra tutti to delicate chamber music. Created for a very good amateur orchestra.

Duration: 10' 00"

CHF: 37.30

Instrumentation: (2(pic).2(ca)2(bcl).2/2.2.2.0/timp/3perc/hp.cel/str)

This composition was awarded the 'Primo Premio Città di Trieste' in 1967.

Duration: 14' 00"

CHF: 49.30

Instrumentation: grosses Symphonieorchester; Kurzfilm

Duration: 6' 15"

CHF: 15.30

Instrumentation: for symphony orchestra (2(pic).2.2.1.cbn/4.2.2.btbn.0/timp.2perc/hp.pf/str)

Duration: 4' 30"

CHF: 36.00

Instrumentation: for a large orchestra (3.3.3.3/4.3.3.1/5perc/pf.hp/14.12.10.8.6)

Three movements attacca: I nebel; (haze) II schleier; (mist) III blendung (glare). The simple basic idea of 'Blendung' is the process of constant accentuation in the musical course of action, to lurid density during the third movement.
First performed on 26.04.02 in Bern by the Bern Symphony Orchestra under the direction of D. Kitajenko.


Duration: 16' 30"

CHF: 44.00

Instrumentation: for two rap voices and orchestra (pic.2.2.ca.2.bcl.2/2.2.0.0/2timp.1perc/jazzdms/str)

Duration: 8' 00"

CHF: 31.80

Instrumentation: Opera



Duration: 1h 57' 00"

CHF: 82.00

Instrumentation: 3 Flutes, 1-3 doubling Piccolo; 3 Oboes; 3 Clarinets in Bb, 2nd doubling Clarinet in Eb, 3rd doubling Bass Clarinet; 3 Bassoons, 3rd doubling Contrabassoon; 4 Horns in F; 3 Trumpets in C, 3rd doubling Piccolo Trumpet in Eb; 3 Trombones; 1 Tuba; 4 Percussionists; Harp (1 player, 2 Harps, one tuned in quarter tones); Piano/Celesta (piano, six pitches are tuned in quarter tones); Accordion, tuned in quarter tones; Strings (12-10-8-6-6); Choir: S-A-T-Bar-B (approx. 40 singers)



Duration: 78' 00"

CHF: 115.20

Instrumentation: for orchestra (2.2.2.2/2.2.0.0/1perc/8.6.4.4.3)

Initially planned as a constituent piece of a ballet, this piece accentuates the rhythmical arrangement of time and highlights the first violin and the percussion as soloists.

Duration: 5' 00"

CHF: 29.00

Instrumentation: (4.3.3.3/4.4.3.1/4perc/hp/14.12.10.8.6)

This work is inspired by the promenades and talks in the gardens of Jinan, capital of the chinese province Shandong. This is especially apparent in the pianissimi and the big divisi of the strings and sounds and its alternating impression.

Duration: 15' 00"

CHF: 42.00

Instrumentation: for large orchestra (3.3.3.3/4.3.3.1/3perc/hp/pf/16.14.12.10.8)

The theme of the work is borrowed from a folk song of Xianjiang province (China) "A lovable rose".
How deep love is, how deep it hurts.

Duration: 14' 00"

CHF: 32.00

Instrumentation: 1 Fl, 1 Ob, 1 Bkl, 1 Kfg, 1 Hrn, 2 Perk, 1 Git, 1 Akk, 1 Bakk, 1 Vln, 1 Vlc, 1 Ktb, 1 Sprecher, 1 Tänzerin; Théâtre Musical

Duration: 10' 00"

CHF: 20.40

Instrumentation: for violin and orchestra (2(pic).1.ca.2(cbl).2(cbn)/1.1.1.0/timp.2perc/cel.hp/str)

Duration: 11' 00"

CHF: 34.80

Instrumentation: for large orchestra (3.2.ca.2.2/4.0.0.0/2hp/str) and two percussion

Melody and counter-melody. A piece rich in contrast and full of distinguished sounds.

Duration: 12' 00"

CHF: 49.00

Instrumentation: for orchestra (3(1pic).2.3(1bcl).3(1cbn)/4.2.3.1/perc/str)

Duration: 4' 00"

CHF: 13.30

Short pieces

Instrumentation: for orchestra (2.2.2.2./2.2.0.0/perc/pfstr)

A piece for the 80th birthday of Paul Sacher. The symbolic 'S' appears in the notation of the wind instruments. Quotations of works commissioned by Sacher can be heard in the strings.

Duration: 1' 40"

CHF: 10.80

Instrumentation: (2.2.2.2/2.2.1.0/timp/hp/str)

The violin concerto succeeds thanks to its sonorous and atmospheric sound world, and without a need to rely on traditional forms and structures.

Duration: 17' 40"

CHF: 49.30

Instrumentation: Symphonieorchester und Big Band

Orchesterwerk

Duration: 25' 00"

CHF: 52.00

Instrumentation: for four soli (SATB), children's choir or girl choir, mixed choir and orchestra (0.0.acl.2bthn.2/0.2.3.0/2perc/vn&vcsoli/str)

Texts: Gilgamesh-Epos, Emily Brontë, Vedas (indisch), Guillaume Apollinaire

Numerous, equally overlapping texts regarding the problem of death: from the epic of Gilgamesh to E. Brontë, from the Vedas to Apollinaire. A very impressive work in its expressivity and its musical and philosophical progression, with a multitude of climates and a very serene ending.

Duration: 42' 00"

CHF: 122.00

Instrumentation: for orchestra (2.2.2cl-B.2/2hn-F.2tpt-B/2perc/strquintet)

Two slow outer movements, deep-rooted with partly sad partly emphatic expression. The middle part, in contrast, is a lively, wild music with an almost over-the-top existence. Postmodern, harmonic structure: augmented tonality and free atonality.

Duration: 10' 00"

CHF: 44.70

Instrumentation: Symphonieorchester, Chor, Tenor-Solo

Duration: 10' 00"

CHF: 16.20

Ergon 19

Instrumentation: for orchestra (afl.bfl.ob.ca.bcl.cbcl.bn.cbn/3.2.2.1/2perc/8.6.4.4.2)

Almost in the spirit of the fast growing theory of complex, physical conditions, a stubborn dialectic between chaos and order which touches on the experience of the perception of the transition between stillness, noise and an unstable developing microtonal area.

Duration: 8' 00"

CHF: 25.30

Concerto

Instrumentation: for suo-na, calligraphy and large orchestra (3,3,3,3- 4,3,3,1 - perc(4), hp, pno - 12,10,8,8,6)

Duration: 16' 00"

CHF: 54.70

Instrumentation: (2.2.2.2/2.2.1.0/3perc/str

Walking in the Paths of the Warrior (fire)Teacher (water)Visionary (air)Healer (earth).

Duration: 35' 00"

CHF: 63.60

Instrumentation: for orchestra (2.2.2cl-B.2/2hn-F.2tpt-B/3perc/harp/strquartet)

Seven pictures (character pieces) from 'Das Burgfest' (a musical fairytale for children set for speaker and orchestra). Full of colours and surprises, accessible and easy to play. Postmodern, augmented tonality, partly 10-tone structures.

Duration: 16' 00"

CHF: 99.00

Instrumentation: for orchestra (pic.2.3.3.3/4.3.3.1/3perc/hp/str)

Pentatonic music is a yoke for a Chinese composer. I want to shake it off, but at the same time I want to keep some trace of this "yoke".
The first song is based on the folk song "Small Road". The original song contains a deep helplessness. The melody is continually descending, perfectly expressing the sense of the lyrics. In China, love between the young was taboo in the past.
I composed the second song myself - it imitates the style of a river chant. The song conjures up the image of the incredible manpower required for this task.

Duration: 9' 00"

CHF: 30.70

Instrumentation: for large orchestra (3.2.3.2/4.2.3.1/timp.2perc/hp/16.14.12.10.8)

In "Schimmer" wird das Ohr einer vordergründigen Reizarmut ausgesetzt, um das Hören mittels Dehnvorgängen zu beleben. Dabei kreist das kompositorische Denken um Fragen, was es braucht, damit Musik greift und Resonanz erzeugt.

Duration: 16' 00"

CHF: 38.70

3 Movements

Instrumentation: for large orchestra (2(2pic).2.2.1/2.2.2.1/4perc/hp/str)

Duration: 15' 30"

CHF: 32.00

Instrumentation: for mixed choir and orchestra (3.2.2.2/4.2.3.1/perc/str)

Duration: 11' 00"

CHF: 29.30

Instrumentation: for violin and orchestra (2(pic).2(ca).2(bcl).2(cbn)/2.0.0.0/str)

In two parts, the first is sad and tragic, with a cadenza almost at the beginning; the second ruminant and deep. It disappears in the end towards the high in the solists part, towards the low in the orchestral and towards silence.

Duration: 13' 00"

CHF: 34.00

Musical fairytale

Instrumentation: for speaker and orchestra (2(pic)2.2.2/2.2.0.0/cel.3perc/str)

Texts: Vladislav Jaros

Also versions for:
speaker and string orchestra
speaker and wind quintet
speaker and piano
An amusing, modern and completely atypical fairytale in which, for once, the woman plays the active role and takes her destiny into her own hands. A diversified, colourful story with lively music.

Duration: 35' 00"

CHF: 37.30

Instrumentation: for orchestra (2.2.2.0/3.2.0.0/1perc/str)

Duration: 11' 00"

CHF: 42.00

Instrumentation: for large orchestra (pic.2.2.ca.2.bcl.2.cbn/4.3.3.cbtba/perc.timp/2hp/str)

A piece for the fictive re-opening of the bricked up Golden Gate in Jerusalem. This gate plays a different role in the myths of Christianity, Judaism and Islam.

Duration: 15' 00"

CHF: 32.00

Instrumentation: for symphony orchestra (3.3.3.3/4.3.3.0/hp/4perc/str)

The title relates partly to the timbre of the individual instruments (they remain side by side largely unmixed) and partly to the multifaceted 'colours' audible in the chords.

Duration: 15' 00"

CHF: 24.00

Instrumentation: for violin and orchestra (3.3.3.3/4.3.3.1/hp/10.8.6.8.4)

Duration: 27' 00"

CHF: 79.60

Concertino

Instrumentation: for orchestra (2.2.2.2/2.1.0.0/perc/8.7.6.4.2)

Inspired by the Chinese translation for the theme "in competition".
I composed this concertino, commissioned by the Young •Euro •Classic •Festival Orchestra with the theme "In Competition" . This theme, though exactly appropriate for the spirit of the Olympic Games, posed a really tough task in music, for it is impossible to evaluate music works through competition. But inspired by the sound of the character "zheng" in the Chinese translation for "In Competition", I associated the theme with the Chinese instrument Zheng, a zither with 25 strings, because the two characters share the same sound in Chinese, and came up with the idea of composing a Zheng concerto in respect that concertos imply competition between the solo instrument and the orchestra. Unfortunately this idea was rejected by the commissioner for the sake of a solo instrument not included in the budget. With no alternatives, I composed this Zheng concertino without a Zheng by imposing some unique features of Zheng, like plucking, arpeggio, glissando, and grace notes, on all the instruments. To my great joy, it not only produced a strikingly fresh orchestra sound effect, which is totally different from any other orchestral music works of my own, but also gave me a new train of thoughts to combine western and eastern music styles, for which I owed my hearty gratitude to the music theme commissioned by the Young •Euro •Classic •Festival Orchestra and its demanding restrictions.

Duration: 9' 00"

CHF: 28.70

Instrumentation: (3.3.3.3/4.3.3.1/cel.hp/timp.3perc/12.10.8.10.6)

1. Aufschwung2. Abgesang

Duration: 25' 00"

CHF: 76.70

Instrumentation: for orchestra (2.2.ca.2.2/2.2.1.0/4perc/hp/str)

Easily accessible character pieces with a very dense atmospheric and emotional content.
Tonality, bitonality and quintal harmony.

Duration: 17' 00"

CHF: 50.00

Instrumentation: for improvisation trio (reeds, cello percussion) and symphony orchestra (4pic.4.3bcl.cbcl.3.cbn/4.4.4.1/3perc/16.14.12.10.8)

For the 'Koch-Schütz-Studer' trio, a commission for the Lucerne Festival.

Duration: 22' 00"

CHF: 58.70

Instrumentation: für Orchester (3.3.3.3/4.3.3.1/timp.2perc/hp.pf.xyl/str)

4 Variations with 3 Interludes, inspired by the pictures of Marc Rothko.

Duration: 17' 00"

CHF: 61.30

Instrumentation: for euphonium and orchestra (pic.2.2.2.2/2.2.1.0/perc/cel/str)

A colourful concertino in one movement, playful and blithe, dancey. Extended tonality throughout, middle part is atonal. An easily comprehensible and rewarding piece for both musicians and audience alike.

Duration: 11' 30"

CHF: 42.70

Piano concert in eight parts

Instrumentation: (2.2.2(2bcl).2/2.2.1.0/perc/7.7.4.4.2)

To explore the whole of vastness is the utopic aim, and yet the whole can only be seen in part. Dialectic between part and whole is expressed in terms of the exploration to extremities of a dimension and the freezing of other parameters. A simple orchestral part with aleatoric passages in which each individual plays independently.

Duration: 15' 00"

CHF: 30.00

Instrumentation: for orchestra groups (2.1.1.1/2.1.1.1/perc/pf/str)

A collection of non-cyclic orchestral pieces.

Duration: 28' 00"

CHF: 85.20

Instrumentation: for large orchestra (3.3.3.3, 4.3.3.1, 3perc, 1harp, 14.12.10.8.6)

With the title "Daybreak", we needn't any specification for the piece in the concert program as the title explains itself explicitly.

Duration: 11' 00"

CHF: 39.30

Instrumentation: für Sopran, Bariton und Orchester (4,4,4,4 - 4,4,3,1 - Schlgz(4), Pk - Str)

Texts: Sappho, Alkaios



Duration: 12' 00"

CHF: 40.80

Instrumentation: for large orchestra (3.3.3.3/4.3.3.1/4perc/hp/str)

One day, Wendy, my three-year-old daughter, came to me and said, "Daddy, I was listening to the sound of flowers"and I was really astonished by her poetic language. I know she is fond of flowers but what I don't know is that she has a potentiality to be brought out as an obscure poet. Then I asked, "How is the sound like?" She sang, "Do----". I couldn't believe my years that I asked her repeatedly and there came the same answer as before. That touched off a train of my thoughts and I wrote this new piece by using the technique of distorting the spectrum based on note C and E as well as interpolation. And I decided the copyright of this piece is reserved for myself and its author royalties go to my daughter.
This piece was commissioned by "Hu Jingmin" Contemporary Music Foundation.

Duration: 13' 00"

CHF: 44.00

Instrumentation: for orchestra (2(2.pic)2.2.2/2.2.2.0/timp.perc/str)

Homage to Armin Jordan on his 60th birthday, composed with quotations of works from the 19th and 20th centuries.

Duration: 4' 00"

CHF: 19.20

Song

Instrumentation: for mezzo-soprano and orchestra (fl, ob, cl, bn, drm, drmset, bongos, piano, bassgtr, str) or mezzo and pf

Texts: Vladislav Jaros

Tonally composed in the Musical style.
Second version is without bass guitar and drum set.

Duration: 4' 00"

CHF: 18.70

Instrumentation: for orchestra (3.3.3.3/4.3.3.1/4perc/hp/14.12.10.8.6)

I can safely say "The Peony Pavilion", a Kun Opera by Tang Xianzu, is the most audacious play in the Chinese opera history for trying to smash the bonds of feudal ethics by glorifying a brave pursuit of love. Picking up the pitch materials from one measure of this opera and the elements of Luogu Jing, a Chinese traditional vocal notation for percussion, I hope this piece would serve as a grand respect for Tang Xianzu through weaving an adventurous but organic fabric of heaven and hell, man and ghost, love and lust, dream and reality, merit and demerit as well as tranquility and bustle, just like a reflection in a mirror.

Duration: 17' 00"

CHF: 49.30

Instrumentation: (2.2.2.2/2.2.0.0/timp/hp/str)

Demands an exceptional level of virtuosity for the solo flute. Written for Aurèle Nicolet.

Duration: 21' 00"

CHF: 70.60

Instrumentation: version for orchestra (3.2.3.2/4.2.3.1/4perc/pf.hp/str)

Duration: 8' 00"

CHF: 29.30

Six songs

Instrumentation: for bass and orchestra (2(pic).2.2.(bcl).2(cbn)/2.2.0.0/timp.perc/str)

Texts: John Donne

Orchestral version of the six songs for bass and piano.
In 'A Valediction' I have taken six poems by the Baroque poet John Donne with one prevailing theme: the saying of farewells, the leaving of loved ones. The theme is circumscribed in Donne's picturesque language in a multitude of modes ranging from tender pain to powerful and reckless claims of freedom, and on further to ecstatic delirium in the knowledge that physical separation is revoked by spiritual unification.
In a similar manner to the text, the music circles around a complex nucleus of themes that merge into great lines and trace the various shades of feeling.
'A Valediction' is dedicated to Ute and Susanne Stoecklin.

Duration: 24' 00"

CHF: 85.20

Himno por la Paz

Instrumentation: for symphony orchestra (2.2.2.2/4.2.3.1/timp.perc/str)

Multi-part work in one movement.

Duration: 15' 30"

CHF: 29.40

Konzert

Instrumentation: für Cello und Orchester

CHF: 45.30

Instrumentation: (pic.2.2.ca.2.bcl.cbn/4.4.3.1/timp.vib.2perc/str)

A professional orchestra will encounter no particular difficulties here.

Duration: 23' 00"

CHF: 76.00

Instrumentation: for mezzo-soprano and orchestra (fl, ob, cl, bn, timp, gong, hp, gtr, pf, str) (also for mezzo and pf)

Texts: Vladislav Jaros

In the Musical style.

Duration: 4' 00"

CHF: 18.70

Instrumentation: for piano and large orchestra (2(2.pic).2.ca.2.bcl.2.cbn/4.3.3.1/timp.perc/hp/str)

Multi-part, single-movement piece with solo cadence.

Duration: 20' 00"

CHF: 49.30

Song

Instrumentation: for mezzo-soprano and orchestra (2fl, 2ob, 2cl, 2hn, 2tpt, tbn. drm, drmset, bassgtr, str)

Tonally composed in the Musical style.

Duration: 7' 00"

CHF: 19.30

Instrumentation: for Soprano, piano and orchestra

Midnight Tune is inspired by the poem Midnight Piano Tune by Xi Chuan, a China's modern poet, who was provoked by a piano tune he heard at midnight into deep reflections on the nature of life. The poet stunned me so much with his mind-blowing imagination of images, otherworldly and creative use of words, and the rich musicality and distinct rhythm in the poem that I could not tell whether I was lost in the extra-powerful magic power of the modern poetic language or overwhelmed by the glass sky-walk built by the modern poem between reality and fantasy, or whether my music gave his poem wings or his poem brought my music to life.

Duration: 12' 30"

CHF: 47.30

Instrumentation: for mezzo-soprano and orchestra (2fl, 2ob, 2cl(bcl), 2hn, 2tpt, tbn. drm, drmset, pf, bassgtr, str) or mezzo, baritone and pf

Duration: 5' 00"

CHF: 34.00

Instrumentation: for solo Chinese guqin and orchestra

Ink Splashing is one of the techniques for traditional Chinese painting. This painting technique was accidentally innovated by Wang Qia, an artist in the Tang Dynasty, who, in an inebriation, threw ink onto a piece of silk on a desk, and turned the traces of seeping ink into an unexpectedly remarkable landscape painting in an impressionistic manner. It was later developed into a methodical and systematic formula with a combination of washy and thick ink.

Duration: 13' 20"

CHF: 36.70

Instrumentation: for violin and orchestra

Duration: 17' 00"

CHF: 53.30

Instrumentation: for symphonic orchestra (2(pic).2.2(bcl).2/2.2.0.0/timp/12.10.8.6.4)

Duration: 14' 30"

CHF: 64.00

Instrumentation: for orchestra (3.3.3.3/4.3.3.1/3perc/hp/cel/str)

Duration: 15' 00"

CHF: 30.70

Duration: 15' 00"
Manuscript

CHF: 18.70

Instrumentation: for orchestra (3(afl-g,pic).3(ca).3cl-a(bcl).3(cbn)/4.3.3.1/4perc/hp.cel.pf/12.10.7.6.4)

Movement order: "In Catene - in Fuga - In Scioglimento". In a self-explanatory way, the title and movement order show that the piece does not try to follow classical and romantic form, even if it makes use of a large orchestral setting. The movement titles are merely a starting point for the compositional process, not a programme. In the final movement a theme from a motet by Felice Anerio (1560-1614) is re-worked and a Gregorian melody incorporated.
Work series A: Music for concerts.


Duration: 17' 00"

CHF: 41.30

Eight pieces from the piano cycle 'Im Labyrinth' scored for orchestra

Instrumentation: for symphony orchestra (pic.2.2.3.2/4.0.0.0/hp.perc/str)

These eight short pieces are orchestrations from the piano cycle 'Im Labyrinth'. This collection, similar in form to Schumann's Album for the Young, contains 21 piano pieces of varying degrees of dificulty. The titles can be understood as romantic miniatures even though they are written in a contemporary musical language.

Duration: 14' 00"

CHF: 32.40

Instrumentation: for piano and orchestra (3.3.3.3/4.3.3.1/4perc.timp/hp.cel.mandoline/14.12.10.12.6)

My concert for piano and orchestra essentially follows the traditional idea of a solo concert.

Duration: 33' 00"

CHF: 84.20

Oper in zwei Akten

CHF: 189.20

Instrumentation: für Orchester

Duration: 18' 13"

CHF: 46.00

Oratorium

Instrumentation: für Solisten, Chor und Orchester

Duration: ca. 75 min

CHF: 106.80

Messe

Instrumentation: für Solisten, Chor und Orchester

Duration: 57' 38"

CHF: 86.40

Instrumentation: for solo voice (T possibly S) and orchestra (2.2.2.2/4.2.3.1/ timp.2perc/str)

Texts: Josef Freiherr von Eichendorff

Written for the 1000-year anniversary of the city of Danzig. A representation of five poems by the romantic poet Josef Freiherr von Eichendorff for high voice (tenor, at all events soprano) and orchestra with transparent texture.Todeslust - Im Alter - Die Zeit geht schnell - Memento - In Danzig.

Duration: 16' 00"

CHF: 49.00

Instrumentation: for symphony orchestra (2.2.2(bcl).2/4.2.1.0/timp.perc/8.6.4.4.2)

The regular beat is one initial point of departure, on the one hand side as a reference to the 'Winterthurer Musikfestwochen', a 25 year-young rock and pop festival, and on the other a reference to J.S Bach who died 250 years ago. The second point of departure is the fugal principle, in this instance, however, the fugal theme consists not of single tones but of total structures: clusters, sound surfaces, figures, punctual fields etc..

Duration: 11' 00"

CHF: 34.70

Instrumentation: für Kontrafagott und Orchester

Duration: 15' 59"

CHF: 22.70

Jan Hus Oratorium

Instrumentation: für Solisten, Chor und Orchester

Texts: Ivo Ledergerber



Duration: 90' 00"

CHF: 113.20

Instrumentation: for symphony orchestra (3.3.3(3bcl).3(3cbcl)/4.3.3(3btbn).1/3perc/min.10.min.8.6.6.4)

This work centres on the pulse and the tension between it and its opposite: sustained tone or sound.
Both poles of the musical process are shaped with a maximum colour and tonal spectrum. A third basic element is brisk, loud walking movements, which fly down unexpectedly like a bolt from the blue.
Commissioned by the 'Aargauer Kuratorium' for the 'Tonhalle-Orchester Zürich'.


Duration: 14' 00"

CHF: 40.00

Instrumentation: for orchestra (3.3(poss.4).3.3(poss.4)/4.2.2.0/timp.2perc.echopiano.cymbalom/hp/str)

Commissioned by the Basel Academy of Music. Variations on the choral from the 'Album für die Jugend' by Robert Schumann. This piece is relatively simple on the technical side and achieves differentiated sound effects through a spatial distribution of groups.

Duration: 16' 00"

CHF: 25.80

Oratorium

Instrumentation: für Solisten, Chor und Orchester

Duration: 73' 08"

CHF: 100.40

Violinkonzert

Instrumentation: für Violine und Orchester

Duration: 30' 46"

CHF: 82.80

Premiere Easter Sunday 2018

Duration: 34' 42"

CHF: 82.80

für Kammerorchester

Instrumentation: Fl, Kl, Bkl, Tr, 2 Schlgzg, Klav., Marimba, Str. (Vl, Vla, Kb)



Duration: 20' 00"

CHF: 37.30

Kinderoper

St. Gallen 6/5/2018 Complete

CHF: 100.80

Instrumentation: Ein volksliedartiges Orchesterlied für Sopran, Mezzosopran, Chor und Orchester

Duration: 4' 14"

CHF: 17.30

Instrumentation: for high voice and orchestra (2.2(2obda).2.2/ 2.2.0.0/perc/str)

Texts: Bibel / Liturgie

This piece is based on the story of the healing of the boy in Mark's gospel. The voice assumes the roles of Jesus, the Father and a chronicler, by singing, whispering, speaking, and humming. Four timpani and nine other percussion instruments (two players) enlarge the classical strings and wind orchestra. In the final section there is a Gregorian credo motive and Beethoven's credo motive from the 'Missa Solemnis'.
Work series A: Music for concerts.


Duration: 20' 00"

CHF: 42.70

Instrumentation: for soli (MezATBarB), choir and orchestra (2.2(2ca).2.2/4.2.2.0/perc/str)

Texts: Euripides, Karl Jaspers, Blaise Pascal, William Shakespeare, Bibel / Liturgie

Work series A: Music for concerts.

Duration: 45' 00"

CHF: 70.20

Christmas cantata

Instrumentation: for tenor solo, choir (SATB) and orchestra

Duration: 27' 00"

CHF: 70.20

Instrumentation: für Trio und Orchester

Duration: 20' 20"

CHF: 18.70

eleven folksongs from around the world

Instrumentation: for children's choir (1 part with canon) and orchestra (2.1.1.asx.1/2.2.0.0/metal.xyl.whip.3 timp, small dm/str/galoubet.srec.bamboo fl.shakuhachi.tamb.cong.taiko.largdm.shoko.gong.goat bell.cow bell.shamisen.lute

1. Tein minä pillin
2. Daldalan
3. Abendstille überall
4. Farigouleto
5. Janie Mama
6. Toryanse
7. Odvovjala
8. Wir reiten geschwinde
9. Fallealili
10. Mon papa
11. Gang rüef de Brune

Duration: 59' 00"

CHF: 77.30

Instrumentation: for vocal ensemble (SATB), choir, children's choir and large orchestra (2.2.1.1/2.3.3.0/hpd/2perc/str)

Duration: 35' 00"

CHF: 43.30