Instrumentation: for four clarinets (two clarinets, basset horn, bass clarinet)

A virtuosic, amusing piece with musically playful surprises and merry moments.

Duration: 13' 00"

CHF: 17.40

Instrumentation: for basset horn solo

The contrast between different energy forms acts as a catalyst enabling the static to become fluid.

Duration: 7' 00"

CHF: 12.70

Instrumentation: for eight-part choir (SSAATTBB), basset horn and vibraphone

Texts: Vincent van Gogh, Pieter Teding van Berckhout, Dirk Hannema, Catharina Bolnes, Alltagssprache

Very little is known about the life of Jan Vermeer (1632-1675). There exists nothing but a scattering of contemporary articles and absolutely no personal testimonials with regard to the artist, who rarely left his hometown of Delft. Despite this, and a relatively small oeuvre of approximately 35 paintings known to exist, Jan Vermeer exposed new dimensions in the field of light, perspective and colour, and is regarded as one of the most outstanding painters of his era. Using compositional methods, 'Licht bei Vermeer' attempts to transpose the characteristic light and colour concepts of seven Vermeer paintings onto a musical level. While the basset horn and vibraphone generally represent the only painting depicting a view of Vermeer's hometown (View of Delft, ca. 1660/61), the choir tackles six genre scenes situated within this city: Woman with a Lute [ca. 1659-60], Lady and Gentleman Drinking Wine [undated] The Girl with the Wine Glass [ca. 1659-60], A Lady Standing at a Virginal [ca. 1672-1673], Woman with a Pearl Necklace [ca. 1664] and Woman Holding a Balance [ca. 1664]. Each of these genre scenes is assigned a text fragment, like tesserae in the mosaic of Vermeer-reception, where the musical reference to the picturesque work of Vermeer is coupled with exemplary statements about his life and impact.


Duration: 12' 00"

CHF: 24.60

Instrumentation: for basset horn solo

'entgegen 2' differs from 'entgegen' by a more open cadence.

Duration: 8' 00"

CHF: 12.70

Instrumentation: for three basset horns

An attempt at writing a music which is, on the one hand, corporal even crystal clear and on the other hand dismantled from every fixation: a music which is flowing and simultaneously clear.

Duration: 9' 00"

CHF: 17.30

Instrumentation: for alto flute, basset horn, violoncello and harp

A further independent version of 'Re-version of a Verse' which was left open for harmonic and formal additions. Intertwining structured sound surfaces; timbral changes.
First performed: 12.5.00, Zumikon by I.Bende (fl), V.Wandeler (bhn), B.Göttert (vc), I.-L. Stettler-Jansen (hp), Philipp Hefti (cond.).


Duration: 9' 45"

CHF: 18.00

Instrumentation: for five-part choir and three basset horns

Texts: Mahatma Gandhi, Alltags- Werbe- Mediensprache

Texts: Mahatma Gandhi, Alltags- Werbe- Mediensprache
Attempting to make the choral version even more radical by including instruments.

Duration: 15' 00"

CHF: 33.60

Instrumentation: for wind septet (fl, ob, cl, bh, bcl, bn, hn)

"The seagull continues to play. But she is no longer alone. They came one after the other, against the wind. A bassoon is here, a long, thin lament; an oboe, guttural; a horn, horns, various colours, dry in the brass; a deep voice, a sonorous bass draws long, thick threads through the sound carpet. Above me on the craggy ledge sit thirteen seagulls, each with a tone of its own. Highs and lows, warmth and coolness, a mystical choir, a serenade from within the wind."
The number of seagulls in this excerpt from a short story by the Swiss author Andreas Neeser makes reference to the number of instruments in Mozart's famous wind serenade 'Gran Partitia', which also lends its name to Neeser's short story. Published in a volume of stories entitled 'Unsicherer Grund' or 'Unsafe Ground' (Haymon, 2010), Neeser's 'Gran Partita' pays homage to nature and the legends of Bretagne: An observation made at the westernmost side of Bretagne and a metaphor within which man and his emotions are mirrored.
Commissioned by the Bläsersolisten Aargau, my 'Gran Partita' reflects the music in Neeser's text and the nature it evokes - the structural elements of the short story and also the geology and fauna of Bretagne. The instrument's scales symbolise granite, the predominant stone in this area, and the vegetation and topos of the sea and the call of the seagulls. Non-musical parameters define the musical material, the form of which offers absolute priority to the melodic line. This leads to an autonomous sound metaphor comprising lines and colours, that makes the underlying substance as an explanation no longer necessary.

Duration: 13' 00"

CHF: 28.70

Quartet

Instrumentation: for clarinet in E-flat, basset horn and bass clarinet

As well as a symbol of self-indulgence (building of the tower) and speechlessness (confusion of speech) Babel also stands for hope and a longing for happiness. The musical core is created by the melody B-A-B-E-soL (sol = G).

Duration: 14' 00"

CHF: 18.60

Trio

Instrumentation: for two clarinets and a basset horn

"The dream of a man is all that he possesses."

Duration: 15' 00"

CHF: 17.40

Instrumentation: for Eb clarinet, 3 clarinets in B, 2 basset horns, 2 bass clarinets

Nach Wahl transponierend oder klingend

Duration: 10' 15"

CHF: 22.20

Instrumentation: for four clarinets (2cl, btnhn, bcl)

Duration: 4' 30"

CHF: 15.00