List of Compositions

Title Orchestration Duration Year
Orchestration: Symphony Orchestra and Brass Band, Duration: 24, Year: 2015

Commissioned by the Jenaer Philharmonie, City of Jena (Germany).

First performance on 12 March 2015 by the Jenaer Philharmonie and the Brass Band BlechKLANG under Philippe Bach at Volkshaus Jena.


OIiver Waespi
At the Crossroads
for Symphony Orchestra and Brass Band

Program note

 “At the Crossroads” explores how musical energies and orchestrations originating from different directions can be brought to interact with each other in order to create a new musical entity. Motives located in high registers of the orchestra and freely flowing sound fields are constrasted by heavy, earthbound gestures with a distinctive rhythmical gravitation. Whilst the orchestration presents a particular challenge in this project, the composer Oliver Waespi states that “… the more I advanced in the conception of this new piece, the more I discovered to what extent these two line-ups are completing rather than excluding each other. While band instruments such as the euphonium, flugelhorn or cornets bring new, warm tone colours into the symphony orchestra, the latter is characterized by the transparency and sonic space provided by the strings and woodwinds and the clarity of the orchestral brass with trumpets and French horns otherwise absent in the brass band.”

“At the Crossroads” was commissioned by the Jena Philharmonic Orchestra and Brass Band BlechKlang and was first performed on 12 March 2015 at the Volkshaus Jena under the baton of Philippe Bach.


… Doch was ist dies alles mit Blick auf die abschliessende Aufführung des grossartig wirkenden Auftragswerks für diese Besetzung aus der Feder des Schweizer Komponisten Oliver Waespi …! …«At the Crossroads» nennt er sein Opus. In der Tat: von der Flöte intoniert zu zierlichem Streichergeflecht und Schlagwerk entwickelt sich ein Geschehen von Kreuzungswegen, das sich in die unterschiedlichsten Richtungen und Sichten öffnet. Die Brass Band fungierte neben den traditionellen Instrumentengruppen im Sinfonieorchester nun als ein zusätzliches Instrumentarium, um thematisch und vor allem auch klanglich zu agieren. Man ist immer wieder überrascht vom Einfallsreichtum des Komponisten beim Wechsel des beinahe literarisch anumtenden Geschehens bis ins Hymnische hinein. Schwer zu beschreiben, man muss es im wahrsten Sinne des Wortes erlebt haben – dank des souveränen Dirigates von GMD Philippe Bach, ebenfalls ein Schweizer, und in Meiningen wirkend. Die Ausführenden und der anwesende Komponist wurden lebhaft gefeiert …
Rezension von Dietmar Ebert, Ostthüringer Zeitung, 14. März 2015


Symphony Orchestra and Brass Band 24 2015
Orchestration: Chamber Orchestra, Duration: 15, Year: 2012

Awarded the 1st prize at the Composition Competition of the Swiss Federation of Orchestras (EOV) in 2012.
First performed in April 2012 by an EOV project orchestra under the baton of Christof Brunner in Heiden, Tallin (Est) and the Philharmonic Hall in St Petersburg (Rus).
Recorded in 2021 by the Kammerphilharmonie Graubünden conducted by Philippe Bach on the CD CD "Grischuns dal cor" , released in September 2021 by the label claves records, Thun (CH).
Sound sample "La Partenza"


For performance material, get in touch with

Oliver Waespi
La Partenza
Programmnotiz

Das Stück «La Partenza» entstand im Auftrag des Eidgenössischen Orchesterverbandes (EOV) aufgrund des ersten Preises beim Projektwettbewerb des EOV. Es wurde im April/Mai 2012 durch ein Ad hoc-Orchester des EOV unter der Leitung von Christof Brunner in Heiden und St. Petersburg uraufgeführt.

„La Partenza“ bedeutet „Abschied“ oder „Weggang“ auf Rätoromanisch und bezieht sich auf die „Canzun da Sontga Margriata“. Dieses alte Versepos aus der Bündner Volkstradition handelt von einer Art weltlichen Heiligengestalt. Die heilige Margriata arbeitete sieben Jahre lang als Mann verkleidet auf einer Alpwirtschaft. Ein Hirtenbube, der ihr Geheimnis - ihre ldentität als Frau – zufällig entdeckt, will sie dem Senn verraten. Sie bittet den Hirten, ihr Geheimnis zu wahren, verspricht ihm für sein Schweigen reiche Schätze, doch vergeblich, der Hirte verrät sie. Da verlässt Margriata die Alp, traurig und wütend zugleich, und mit ihr verschwinden auch die Kräfte, welche der Alp lange Jahre eine blühende Fruchtbarkeit beschert hatten. Die Quellen versiegen, die Alp verdorrt, die Tiere sterben, und die Wiesen werden wieder zur Bergwüste.

Die Musik von „La Partenza“ kreist um zwei zentrale emotionale Zustände dieses Dramas: Das Drängen des Hirten und das Bitten der Sontga Margriata. Dabei spielt die mündlich überlieferte Melodie der Canzun da Sontga Margriata eine zentrale Rolle. Aus ihr entwickelt sich im Verlauf des Stücks kontrastierendes musikalisches Material. Dabei tritt sie oft hintergründig, zuweilen aber auch unverstellt in Erscheinung. Zu Beginn treiben die Pauken das Orchester zu vehementen Gesten an. Danach entwickelt sich, ausgehend von suchenden, gesanglichen Gesten der Klarinette, eine getragene, unmittelbar von der Canzun abgeleitete Melodik in den Streichern. Diese wird aber in der Folge zunehmend von harmonisch verzerrten Klangschichten überlagert. Anschliessend tauchen die vehementen Gesten des ersten Teils erneut auf, noch rauer und akzentuierter als zuvor. Ein langer Abgesang in den Streichern, durchsetzt mit melodischen Fragmenten in den Holzbläsern beschliesst das Werk.

Chamber Orchestra 15 2012
Orchestration: Symphony Orchestra, Duration: 14, Year: 2008

Selected for performance for the 2008-2009 spnm's season of events.
First performed and recorded by the BBC Philharmonic Orchestra conducted by James MacMillan at the (old) BBC Studio 5 in Manchester (GB).
Broadcast by BBC Radio 3 on 15 August 2009

For performance material, get in touch with

Oliver Waespi
VIADUCT
Program note

"Viaduct" deals with the poetry and reality of urban landscapes and architectures, with towering emblems of power on one side, wastelands between decay and growth on the other, and in the midst of it all viaducts, vital nerves of the cities, bridges between different worlds, carrying humans moving at various speeds, in many directions, each of them towards another life, driven by hopes and fears. Although inspired by such imagery, Viaduct is also a purely musical drama for orchestra, a piece of architecture in its own right. It forms a kind of arc whose symmetry, however, becomes more and more distorted as the piece progresses towards an epilogue and a quite abrupt ending.

"Viaduct" was premiered by the BBC Philharmonic Orchestra, conducted by James MacMillan at the BBC Studio 7, Manchester, on 28 October 2008 as part of spnm's season of events 2008/2009. It was broadcast on BBC Radio 3 on 15 August 2009.

Symphony Orchestra 14 2008
Orchestration: Chamber Orchestra, Duration: 15, Year: 2003

Commissioned by the Berne Chamber Orchestra.
Premiered by the Berne Chamber Orchestra conducted by Johannes Schlaefli at Kultur Casino Berne in May 2003.
Recorded by the Orchestra della Svizzera Italiana conducted by Johannes Schlaefli: Recording for classical radio Rete Due.

For performance material, contact 

... Stimmungslandschaft in "Nachtferne" ... Oliver Waespi lässt über einem unwirklichen Klangstrom Einzelstimmen wie Traumbilder aufflackern und formt damit einen suggestiven Ideenkosmos, der sich an seiner eigenen Sinnlichkeit erhitzt und abkühlt - und nie ganz greifbar wird ...
Marianne Mühlemann, Der Bund, 8. Mai 2003

Chamber Orchestra 15 2003
Orchestration: Symphony Orchestra, Duration: 14, Year: 2003

Awarded the International George Enescu Prize for Composition in 2003.
First performed at the George Enescu Festival in Bucharest (Rom) in 2005 by the Iasi Philharmonic Orchestra conducted by Alexandru Lascae.

Symphony Orchestra 14 2003

Title Orchestration Duration Year
Orchestration: Solo Drumset and Orchestra, Duration: 28:00, Year: 2021

Commissioned by Basel Sinfonietta
First performed by Jojo Mayer, Solo Drumset, and the Basel Sinfonietta conducted by Baldur Brönnimann, on 27 June 2021 at Stadtcasino Basel (CH).
Broadcast on 7 July 2021 by Swiss classical radio SRF 2.
Sound sample "Volatile Gravity"

... Eine organische Weiterentwicklung von Frank Zappas Versuchen einer vornehmlich spirituellen Verschmelzung von Klassik und Pop zum Beispiel in «Get Whitey» bot schliesslich Waespis Volatile Gravity – mit Jojo Mayer, einem der gegenwärtig begnadetsten Schweizer Perkussionisten, am Schlagzeug. Dem Komponisten gelang darin das Kunststück, eine übergeordnete klassische Architektonik zu schaffen, die ungezwungen Freiräume für Schlagzeugimprovisation lässt. Diese nutzte Mayer am Sonntag für beeindruckende, fulminante Soli, die sich zeitweise wie ein polyrhythmisches Sommergewitter anhörten.

Noch erstaunlicher als die Soli war aber die Tatsache, dass es das Orchester auf überzeugende Art und Weise schaffte, sich mit den verschiedenen Grooves Mayers zu synchronisieren. Die daraus resultierende Musik war geladen mit Energie, die das geistige, emotionale und körperliche Potenzial der aufeinandertreffenden Kräfte in sich stimmig vereinte. So macht Klassik und Pop Spass – und definitiv Lust auf (noch) mehr Abweichen von der Normalität.
Lukas Nussbaumer, Basler Zeitung 28. Juni 2021

... Während die Bühne für den letzten Programmteil umgebaut wird, finden sich darauf nebst dem Dirigenten auch Komponist Oliver Waespi und Drummer Jojo Mayer ein, um sowohl über Frank Zappa als auch ihre eigene Zusammenarbeit zu sprechen. ... Sein dreiteiliges Werk für Drumset und Orchester versteht sich als eine Art musikalische Erkundung einer Stadt. Die Form des Stücks artikuliert sich dabei entlang eines imaginären urbanen Raums mit mehreren Zentren – aufgespannt zwischen bebauten und unbebauten, strukturierten und offenen Bereichen. Live spiegelt sich das im ersten Teil mit dem Titel High Frequency Trading wider, der in Nullkommanichts von 0 auf 100 schaltet und sowohl für Dynamik als auch Dramatik besorgt ist.

Zunächst geht das Schlagzeug von Jojo Mayer im Orchestermeer zwar schier unter, doch kraft seiner Beharrlichkeit und Virtuosität gelingt es dem in New York wohnhaften Künstler, sich zunehmend in den Mittelpunkt zu spielen und die sich bietenden Improvisationsmöglichkeiten zu nutzen. Bisweilen wirkt die Musik wie ein Hochseilakt ohne Sicherheitsnetz: Mayers Patterns tänzeln über den wogenden Wellen, die das Orchesters unablässig aufwirft. Man spürt: Der Schiffsbruch ist nur einen Ruder- respektive Schlagzeugschlag entfernt, doch gemeinsam wird die Herausforderung gemeistert. Auch, weil es Mayer versteht, in seinen Solos die Einwürfe der Orchestermusiker aufzunehmen und mit Wucht und Präzision darauf zu antworten. Die aufeinandertreffenden Kräfte von Orchester und Solist sind nicht nur ebenbürtig, sondern es gelingt den Beteiligten, sich je länger je mehr zu finden – und zu vereinen. Das Resultat ist pulsierende Musik, die gleichermassen aus Rock und Klassik schöpft und den geschaffenen Spannungsbogen bis zum Schluss hochhalten kann.
Michael Gasser, Schweizerische Musikzeitung, 8. Juli 2021


Solo Drumset and Orchestra 28:00 2021
Orchestration: Horn Quartet Concerto, Duration: 24:00, Year: 2017

Commissioned by Lukas Christinat and the International Horn Festival Sarnen (CH).
First performed by Lukas Christinat, Florian Abächerli, Richard Watkinds and Radovan Vlatkovic and the Symphony Orchestra of the International Hornfestival conducted by Philippe Bach.

For performance material, contact

Ein Höhepunkt des 11. Hornfestivals Obwalden war das Sinfonische Konzert am Samstagabend in der Aula Cher in Sarnen. Die Auftragskomposition, die von der Horngruppe Obwalden zum Jubiläum 600 Jahre Bruder Klaus an den Schweizer Oliver Waespi vergeben worden war, wurde zum umjubelten Ereignis.

Mit dem Titel «Aus Schatten» verknüpfte der Komponist die Schatten der Ranftschlucht mit den Schatten der inneren Konflikte und Begegnungen, die das Leben des Niklaus von Flüe bestimmten. Oliver Waespi gab eine Einführung in sein Werk, in dem die vier Solohörner gleichberechtigt das Leben dieser spirituellen Persönlichkeit in Töne umsetzen. Das Sinfonieorchester des Internationalen Hornfestivals, das seit seinem Einstand am 9. Hornfestival mit Berufsmusikern und Musikstudenten zum festen Bestandteil des Festivals gehört, meisterte die Anforderungen der Uraufführung hervorragend.

Wie ... die Klangmöglichkeiten des Orchesters in Waespis Komposition ausgeweitet wurden, wie sich die vier Hörner abhoben und wieder ganz hineingewoben wurden, führte in irdische wie auch in geradezu himmlische Dimensionen. Die weit ausgespannten Melodien wurden von einem Horn zum nächsten gereicht, Radovan Vlatkovic, Richard Watkins, Lukas Christinat (künstlerischer Leiter des Festivals) und Florian Abächerli zauberten irisierende Tonfolgen, die sich im Orchester spiegelten. In den anfänglich rhythmisch betonten, aufwühlenden Dissonanzen, die unerbittlich von Flucht aus der grellen Aussenwelt und inneren Konflikten geprägt schienen, mischten sich immer wieder besinnliche Ruheinseln, in denen Orchester und Solisten in feine Dialoge traten. Dass Oliver Waespi zwei Bach-Choräle in seine Komposition einbezog, die sich in fast unmerklich verschobenen Klangteppichen zu dissonanten Flächen vereinten, fügte sich in das Suchen und die Visionen des Bruder Klaus ein. Wie ein heller Schein klangen Celesta und Flöte, bis über ein sich stets wiederholendes Motiv das ganze Orchester in reinem Wohlklang endete. Das Publikum spürte dem zunächst ergriffen nach, bevor es in Jubel ausbrach.
Gerda Neunhoeffer, Luzerner Zeitung, 29. Mai 2017

Horn Quartet Concerto 24:00 2017
Orchestration: Solo Trombone with Symphony Orchestra, Duration: 17:00, Year: 2017

Concerto for Trombone and Orchestra
Commissioned by the Gstaad Menuhin Festival
First performed on 6 August 2017 by Lucas Tiefenthaler, solo trombone, and the Gstaad Play! Orchestra conducted by Kevin Griffiths.

https://www.youtube.com/watch?v=-_hnMYbPaq4

For performance material, contact contact@oliverwaespi.ch


Oliver Waespi

SCENE CHANGE

Concerto for Trombone

Program note

The trombone concerto „Scene Change“ is structured in several episodes, some of them related, others contrasting with each other, forming some sort of theatrical narrative. The piece refers to the programme of its first performance, insofar as the initial musical material is derived from the main motives of the second movement of Johannes Brahms’ Fourth Symphony.

These motives are being presented with a feel of harmonic distortion from the very beginning, whilst the solo trombone develops its own expressive language which gradually gains in rhythmical and virtuosic attitude. The orchestra follows the soloist in presenting new, groove-related material which the solo trombone further explores in its own terms.

After this rather dynamic second section, the calm, initial motives make their reappearance, trying to give the musical narrative a more lyrical turn. At first, the solo trombone takes up this lead and deploys an extended chant. Later on however, it verges yet again into an increasingly rhythmical and virtuosic inflection in the last part of the concerto. In the ensuing cadenza, some of these elements are being presented in different colours, after which a short stretta brings the piece to a close.

„Scene Change“ was commissioned by the Gstaad Menuhin Festival and was first performed by Lucas Tiefenthaler, solo trombone, and the Play@Gstaad Orchestra under the baton of Kevin Griffiths on 6 August 2017 in Gstaad/CH.

... Brett Baker’s bravura performance of Oliver Waespi’s ‘Scene Change’ concerto saw him delve deep into his locker of musical experience. The narrative episodes derived from material from Brahms ‘Fourth Symphony’ made for absorbing listening, the suppleness of the writing tautly tethered between soloist and ensemble....
Iwan Fox, 4barsrest.com

Solo Trombone with Symphony Orchestra 17:00 2017
Orchestration: Harp/Piano Concerto, Duration: 27:00, Year: 2014

Commissioned by Duo Praxedis.
Premiered by Duo Praxedis with Stadtharmonie Oerlikon-Seebach conducted by Carlo Balmelli in February 2014 at Tonhalle Zurich (CH).

For performance material, contact 

… Der 1971 geborene Oliver Waespi gehört mittlerweile zu den profiliertesten Komponisten der Schweiz. Mit dem für das Mutter-Tochter-Duo Praxedis (Praxedis Hug-Rütti, Harfe, und Praxedis Geneviève Hug, Klavier) und eine sinfonische Blasorchesterbesetzung komponierten Doppelkonzert stellte er sich eine anspruchsvolle Aufgabe, deren Schwierigkeiten naturgemäss im Bereich der Klangbalance bestehen. Waespi setzt die Soloinstrumente in den Ecksätzen als quasi perkussive Ergänzung zum Geschehen im Orchester ein, während er ihnen im Mittelsatz «Air» breiten Raum für spärlich und kontrastierend begleitete Kadenzen einräumt. Eine tolle, inspirierte Neukomposition in einem avancierten Stil von gefühlten 20 Minuten, tatsächlich aber einer guten halben Stunde Dauer. …
Daniel Willi, Neue Zürcher Zeitung, 4. Februar 2014

Harp/Piano Concerto 27:00 2014
Orchestration: Solo Euphonium and Strings, Duration: 21:00, Year: 2013

Commissioned by Zuger Sinfonietta, with funds provided by the UBS Kulturstiftung, the Kulturstiftung Landis&Gyr and a successful wemakeit crowdfunding campaign.
Premiered by Thomas Rüedi, solo euphonium, and the Zuger Sinfonietta under the baton of Philippe Bach, in April 2013 in Zug.
Broadcast on Swiss classical radio SRF2 on 21 May 2013 ( premiere recording ).

Version for solo euphonium and concert band, commissioned by Adrian Schneider for the Dunshan Symphonic Wind Orchestra, and premiered  by Thomas Rüedi, solo euphonium, and Sinfonisches Blasorchester Bern under Rolf Schumacher.

Version for solo euphonium and piano premiered in November 2014 by Thomas Rüedi, solo euphonium, and piano, at the Auditorium Stravinsky Montreux (CH).
Recorded by Ayaka Sato, solo euphonium, and Hatsumi Shimizu, piano ( CD "Nokishita Lamp" )

For performance material, contact

Solo Euphonium and Strings 21:00 2013
Orchestration: Tuba Concerto, Duration: 19:30, Year: 2011

Commissioned by Perry Hoogendijk, solo tuba player of the Royal Concertgebouw Orchestra Amsterdam, with funds provided by Eduard van Beinum Foundation and Schweizer Kulturstiftung Pro Helvetia.
First performed by Perry Hoogendijk, Solo Tuba, with the Johan Willem Friso Kapel under Major Arnold Span on 25 November 2011 in Steenwijk (NL) as well as with the Stadtmusik Luzern conducted by Franz Schaffner in 2012 at the Salle Blanche, KKL, Lucerne (CH).
Recorded by the said performers CD "Quicksilver"

For performance material contact

Tuba Concerto 19:30 2011
Orchestration: Guitar/Flute Concerto, Duration: 24:00, Year: 2009

Awarded a 2nd prize at the 2009 Uuno Klami Composition Competition in Finland.
Premiered by Petri Kumela, Guitar, Auli Kontinen, Flute, and the Kymi Sinfonietta under Yasuo Shinozaki in Kotka and Kouvola (Fin).

For performance material, get in touch with

... As the soloists for his Concerto, Waespi had chosen a brittle-sounding guitar and its "best friend", a light, lyrical flute. Petri Kumela's guitar and Auli Kontinen's flute constituted and ensemble of its own within the orchestra. The flute soared in the clear upper air and the guitar accompanied it with quick, sharply flashing rhythms. Sometimes the soloists paused to relish the crisp alpine landscapes.

Various controversies and tensions prevailed at the beginning between the soloists and the orchestra, but the slender-voiced flute and guitar won the orchestra over. The work ended in Baroque-like concerto grosso spirit, in dialogue conducted in perfect harmony, in a balance between fragile and strong.
Hannu-Ilari Lampila, Helsingin Sanomat, 21. September 2009

The Double Concerto for Guitar and Flute by Swiss Oliver Waespi is a Concerto grosso-type composition in which the solo instruments alternate with the
orchestra. The composer's guitarist background and blues influences gave the work its characteristic features. Petri Kumela's sovereign handling of the guitar did justice to the composer's ideas. The Kymi Sinfonietta's own flutist Auli Kontinen, standing in for ailing Mikael Helasvuo at only a few day's notice, displayed an astounding skill and ability to stretch herself. The sinuous solo work and characterful sound of Kumela and Kontinen created an intimate but strong contrast to the orchestral line reflecting the composer's fine craftsmanship. The expressive vistas and kinetic energy created intersting contrasts between the orchestra and the soloists.
Reijo Paavola, Kymen Sanomat, 21 September 2009 (translation by the Uuno Klami Competition Office).

Guitar/Flute Concerto 24:00 2009
Orchestration: Horn Concerto, Duration: 16:00, Year: 2001

Commissioned by Lukas Christinat.
First performed by Lukas Christinat and Feldmusik Sarnen conducted by Rolf Schumacher at the International Hornfestival in Sarnen in 2001.

Premiere of the version for Solo Horn and Symphony Orchestra by Olivier Darbellay, solo horn, and the Südwestdeutsche Philharmonie Konstanz under Marc Kissoczy at the Schweizer Tonkünstlerfest 2005 in Kreuzlingen (CH).

For performance material contact

Horn Concerto 16:00 2001

Title Difficulty Orchestration Duration Year
Difficulty: 5, Orchestration: CB, Duration: 8, Year: 2019

Commissioned by the Siena Wind Orchestra of Tokyo, Japan.
First performed by the Siena Wind Orchester conducted by Keitaro Harado on 19 June 2019 at Bunkyo City Hall, Tokyo.
Publication and recording impending.

5 CB 8 2019
Difficulty: 5, Orchestration: CB, Duration: 27, Year: 2019

Commissioned by KulturSchwyzPlus for their "Kommentierte Konzerte" concert series in 2019.
First performed by Blasorchester Siebnen under Blaise Héritier in Lachen and Schwyz (CH) in December 2019.
Publication impending. In the meanwhile, contact
for performance material inquiries.
Sound sample 1 Sound sample 2 with score excerpts

5 CB 27 2019
Difficulty: 5, Orchestration: CB, Duration: 14, Year: 2019

Commissioned by the Music Federations of the Cantons of Thurgau and St Gall for their Cantonal Wind Music Conventions (Kantonalmusikfeste) in 2019.
Published by Beriato Music / Hal Leonard Europe
Sound sample

5 CB 14 2019
Difficulty: 3, Orchestration: CB / BB / FB, Duration: 10:00, Year: 2016

Commissioned by the Swiss Wind Band Federation for the Swiss National Band Convention (Eidgenössisches Musikfest) 2016 in Montreux (CH).
Published by Beriato Music / Hal Leonard Europe
Score and Sound sample

3 CB / BB / FB 10:00 2016
Difficulty: 6, Orchestration: CB, Duration: 40, Year: 2015

Commissioned by aulos Blasorchester.
Premiered by aulos Blasorchester conducted by José Rafael Pascual Vilaplana in October 2015.
Published by Beriato Music / Hal Leonard Europe
Recording by aulos Blasorchester:
I. Largo - Agitato
II. Adagio
III. Energico

6 CB 40 2015
Difficulty: 4, Orchestration: CB / BB, Duration: 12:00, Year: 2014

Originally commissioned by Corsin Tuor and Lucerne Music Edition.
Version for concert band commissioned by Rolf Schumacher and the Sinfonisches Blasorchester Bern (SIBO).
Premiered by SIBO conducted by Rolf Schumacher at the WASBE Regional Conference 2014 in Debrecen (Hun).
Published by Beriato Music / Hal Leonard Europe
Sound and score sample

4 CB / BB 12:00 2014
Difficulty: 6, Orchestration: CB / BB, Duration: 18, Year: 2013

Commissioned by the Swiss Brass Band Association for the European Brass Band Championships 2011 at the Auditorium Stravinsky Montreux (CH).
Awarded the 2013 NBA Revelli Award in the USA.
Recording of the version for concert band by the Marine Band of the Royal Netherlands Navy conducted by Jan Cober ( CD "Audivi Media Nocte" )
Published by Beriato Music / Hal Leonard Europe
Sound and score sample

6 CB / BB 18 2013
Difficulty: 4, Orchestration: BB / CB / FB, Duration: 9, Year: 2013


4 BB / CB / FB 9 2013
Difficulty: 5, Orchestration: CB, Duration: 15, Year: 2010

Commissioned by the Swiss Wind Band Federation for the National Wind Band Convention (Eidgenössisches Musikfest) 2011 in St Gallen.
Recorded by the Royal Guides Wind Symphony under Yves Segers CD "The Big Bang"
Published by Beriato Music / Hal Leonard Europe

5 CB 15 2010
Difficulty: 4, Orchestration: CB, Duration: 12, Year: 2008

Awarded a 3rd prize at the 2008 Composition Competition of the Vorarlberger Blasmusikverband
Recorded with Sächsische Bläserphilharmonie under Jan Cober CD "Biberussa"
Published by Beriato Music / Hal Leonard Europe

4 CB 12 2008
Difficulty: 5, Orchestration: CB, Duration: 14, Year: 2008

Commissioned and first performed by the Stadtmusik Saltina Brig under the baton of Edo Zurwerra in September 2008 in Brig (CH).
Recorded by Musikkorps der Bundeswehr conducted by Walter Ratzeck CD "Berglicht"
Published by Beriato Music / Hal Leonard Europe
Sound sample

5 CB 14 2008
Difficulty: 3, Orchestration: CB, Duration: 10, Year: 2007

Recording by Sächsische Bläserphilharmonie under Jan Cober ( CD "Catedrales" )
Published by Beriato Music / Hal Leonard Europe
Score and sound sample

3 CB 10 2007
Difficulty: 3, Orchestration: CB / BB, Duration: 5, Year: 2007

Commissioned by the Musikverlag Frank
First performed and recorded by Brass Band Berner Oberland under Corsin Tuor
Published by Musikverlag Frank
Sound Sample

3 CB / BB 5 2007
Difficulty: 4, Orchestration: CB / BB / FB, Duration: 7, Year: 2006

Commissioned by the Swiss Wind Band Federation for the National Band Convention (Eidg. Musikfest) 2006 in Lucerne
Recorded by Deutsche Bläserphilharmonie under Walter Ratzeck
Published by Beriato Music / Hal Leonard Europe
Sound Sample

4 CB / BB / FB 7 2006
Difficulty: 6, Orchestration: CB, Duration: 27, Year: 2006

Temples was commissioned by the Jungfrau Musik Festival Interlaken and first performed in 2006 during the said festival by the Swiss Army Wind Symphony conducted by Philipp Wagner at Kursaal Interlaken (CH).
Recorded by the Swiss Army Wind Symphony under the baton of Jan Cober ( CD "Temples" ).
Published by Beriato Music / Hal Leonard Europe
Sound sample

6 CB 27 2006
Difficulty: 4, Orchestration: CB / BB, Duration: 11, Year: 2006

Commissioned by Lucerne Music Edition
Version for concert band published by https://www.bandmusicshop.com/de-de/product/bmp8031403/legenda-rumantscha.aspx

4 CB / BB 11 2006
Difficulty: 5, Orchestration: CB, Duration: 12, Year: 2005

Commissioned and first performed by Musikgesellschaft Cham, conducted by Jörg Dennler, at Lorzensaal Cham/CH in 2006.
Recorded by Deutsche Bläserphilharmonie under the baton of Walter Ratzeck ( CD "Saturnalia" )
Published by Beriato Music / Hal Leonard Europe

5 CB 12 2005
Difficulty: 5, Orchestration: CB, Duration: 15, Year: 2005

Commissioned and first performed by Stadtharmonie Oerlikon-Seebach under the baton of Carlo Balmelli at the 2005 WASBE World Conference at the Esplanade Hall, Singapore.
Recorded by the Sächsische Bläserphilharmonie under Jan Cober ( CD "Rubicon" )
Published by Beriato Music / Hal Leonard Europe

5 CB 15 2005
Difficulty: 6, Orchestration: CB, Duration: 16, Year: 2004

Commissioned by a consortium of several federations on an initiative by Fritz Neukomm, to whom the piece is dedicated.
First performed by the Swiss Army Wind Symphony under Philipp Wagner at the MidEurope-Festival 2004 in Schladming/A.
Published by Beriato Music / Hal Leonard Europe

6 CB 16 2004
Difficulty: 4, Orchestration: CB, Duration: 10, Year: 2000

Commissioned by the Swiss Wind Band Federation for the National Wind Band Convention (Eidg. Musikfest) in 2001 in Fribourg.
Published by Ruh Musik AG

4 CB 10 2000
Difficulty: 5, Orchestration: CB / SO, Duration: 18, Year: 1999

Commissioned by the Wind Music Federations of the Cantons of Fribourg, Nidwalden, Schwyz in 1999.
First performed by several concert bands at Cantonal Band Conventions in 1999, including Blasorchester Siebnen, Concordia de Fribourg, Feldmusik Sarnen, Landwehr de Fribourg and Musique de Bulle.
Recorded by the Wind Orchestra of the Escola Superior de Música de Lisboa conducted by Alberto Roque ( CD "New Compositions for Concert Band 55" )
Published by Molenaar Editions
Sound sample

5 CB / SO 18 1999
Difficulty: 5, Orchestration: CB, Duration: 15, Year: 1999

Commissioned and first performed by Musikgesellschaft Cham under the baton of Jürg Dennler in 1999.
Awarded 2nd Prize at the Composition Competition in Corciano/I in 1999
For performance material contact

5 CB 15 1999
Difficulty: 4, Orchestration: CB / BB, Duration: 11:00, Year: 1999

Commissioned by the Cantonal Wind Music Associations of Berne and Thurgau (CH) in view of their respective Wind Band Conventions (Kantonalmusikfeste) in 1999
I. Cortège
II. Dialogue
III. Waves
Published by Molenaar Editions
Sound and score sample (BB)

4 CB / BB 11:00 1999
Difficulty: 4, Orchestration: CB / BB, Duration: 7, Year: 1998

Commissioned and first performed by Brass Band Henggart conducted by Andreas Buri in 1998.
Version for concert band recorded by Sächsische Bläserphilharmonie under Jan Cober.
Published by Beriato Music / Hal Leonard Europe

4 CB / BB 7 1998
Difficulty: 5, Orchestration: CB, Duration: 16, Year: 1996

I. Prelude II. Intermezzo III. Scherzo attacca: IV. Finale
Commissioned and first performed by Jugendblasorchester Dreiländereck under the baton of Beat Hofstetter
Recorded by the Wind Orchestra of the Escola Superior de Música de Lisboa conducted by Alberto Roque
Published by Molenaar Edition
Sound Sample

5 CB 16 1996
Difficulty: 5, Orchestration: CB, Duration: 16, Year: 1996

I. Symphonic Movement II. Nocturne III. Toccata
First performed in 1996 by the Swiss Army Wind Symphony conducted by Josef Gnos after beeing selected for performance by Alfred Reed.
Published by Molenaar Edition

5 CB 16 1996
Difficulty: 4, Orchestration: CB / BB, Duration: 8, Year: 1996

Commissioned and first performed by the Concert Band of Inf Rgt 16 conducted by Andreas Buri in 1996
Published by Ruh Musik AG

4 CB / BB 8 1996
Difficulty: 3, Orchestration: CB / BB, Duration: 8, Year: 1994

I. Fanfare II. Elegy III. Dance
Awarded 2nd Prize at the Composition Competition of the Swiss Wind Band Federation in 1994.
First performed in Interlaken in 1994.
Published by Molenaar Edition

3 CB / BB 8 1994

Title Difficulty Orchestration Duration Year
Difficulty: 6, Orchestration: BB, Duration: 19, Year: 2019

Commissioned by Valaisia Brass Band, first performed at the 2019 Swiss National Championships by Valaisia Brass Band under Arsène Duc at the Auditorium Stravinsky, Montreux (CH).
Published by Beriato Music / Hal Leonard Europe

Other Lives
by Oliver Waespi
Program Note

The dark chords at the beginning of the piece are derived from “Der Doppelgänger”, one of Franz Schubert’s late songs which is a haunting memorial to things past and lost. After a short development the music soon begins to accelerate and to find its own shape, gradually moving away from its point of departure. The entire first part entitled “Rage” has an intensely agitated character. The ensuing “Reflection” turns back to the initial chord progression, before a series of soloistic interventions explore time and usic almost sinks back to silence and gives way to the third part, “Redemption”. Here, a widely spaced sound field unfolds and culminates in a short, luminous reference to another song by Schubert, “Rückblick”.

After this last moment of farewell, an abstract musi ascal transformation also triggers an emotional change, as the initial, gloomy motives, mostly in extended minor keys, are now presented in their inversed form, which leads to a much brighter harmonic landscape. Moreover, in the last part of the piece, “Renewal”, the grim, tense atmosphere of the first part is being transformed into an energetic exuberance, thereby presenting another face of the same musical material. This piece is as much a tale of imaginary lives – or maybe certain stages of a single life in its timeline – as it is an exploration of how opposed emotional states can be expressed by morphing the same basic musical material into different shapes.

"... A superb composition from the masterful Waespi, pitched halfway between his 'urban' and 'natural' major works so that it had all the throb, drive and deep seated torque of the former, contrasted with the wide expanses of natural lyrical beauty he evokes in the latter.

This was quite incredible technical as well as musical playing — quite brilliant in fact. The florid ensemble playing was breathtaking, the solo playing of rare artistry. ...

Quite something that on quite something of a composition..."

Iwan Fox, 4barsrest.com

6 BB 19 2019
Difficulty: 6, Orchestration: FB, Duration: 20, Year: 2017

Commissioned by the Koninklijke Fanfare Kempenbloei Achel (Belgium).
First performed by the Koninklijke Fanfare Kempenbloei Achel conducted by Ivan Meylemans at the 2017 World Music Contest at Kerkrade (NL) in July 2017.
For performance material, contact

Live recording
Sound sample

 


6 FB 20 2017
Difficulty: 6, Orchestration: BB, Duration: 17, Year: 2017

Commissioned by the Wereld Muziek Concours Foundation in Kerkrade (NL) as a test piece for the brass band top section competition of the WMC 2017.
First performed at the WMC 2017 with a winning performance by the Brass Band Willebroek under Frans Violet.
Published by Beriato Music / Hal Leonard Europe
Sound sample

6 BB 17 2017
Difficulty: 3, Orchestration: BB / CB / FB, Duration: 10:00, Year: 2016

Commissioned by the Swiss Wind Band Federation for the Swiss National Band Convention (Eidgenössisches Musikfest) 2016 in Montreux (CH).
Published by Beriato Music / Hal Leonard Europe
Score and Sound sample

3 BB / CB / FB 10:00 2016
Difficulty: 6, Orchestration: BB, Duration: 18:00, Year: 2016

Commissioned by Paris Brass Band with funds provided by the Association adiam94 (cultural promotion of Val-de-Marne, France).
First performed by Paris Brass Band conducted by Florent Didier at the National Brass Band Championships of France at the Auditorium du Nouveau Siecle in Lille on 17 January 2016.
Recorded by Paris Brass Band under the baton of Florent Didier at the Studio of Radio France, Paris, in 2016: CD "Hypercube"  Download
Published by Beriato Music / Hal Leonard Europe

6 BB 18:00 2016
Difficulty: 3, Orchestration: BB, Duration: 10:00, Year: 2015

Commissioned by the Luzerner Kantonalmusikverband for the Cantonal Band Convention of the Canton of Lucerne (Luzerner Kantonalmusikfest) 2015, 3rd section.
Recorded by the Cory Band under Philip Harper: CD "The Raid"
Published by Beriato Music / Hal Leonard Europe
Sound sample

3 BB 10:00 2015
Difficulty: 5, Orchestration: BB, Duration: 12:00, Year: 2014

Commissioned by Musikgesellschaft Sörenberg for their 75th anniversary.
First performed by the Musikgesellschaft Sörenberg conducted by Sigi Bieri at the Gala concert in Sörenberg (CH).
Recorded by the Cory Band conducted by Philip Harper on the CD "The Raid"
Published by Beriato Music / Hal Leonard Europe
Sound sample

5 BB 12:00 2014
Difficulty: 6, Orchestration: BB, Duration: 16:00, Year: 2014

Commissioned by the Swiss Brass Band Association for its 40th anniversary as a set test piece for the Swiss National Brass Band Championships 2014, Championship Section.
Published by Beriato Music / Hal Leonard Europe
Recorded by the Cory Band conducted by Philip Harper on the CD "Blackout"  Sound and score sample
Alternative sound sample "As if a voice were in them"

Set test piece at the National Championships in Switzerland (2014) and the United States (2018)

6 BB 16:00 2014
Difficulty: 3, Orchestration: BB / CB, Duration: 11:30, Year: 2013

Commissioned by the 'Stichting Nederlandse Brassband Kampioenschappen' for the 3rd division of the 2013 Dutch National Brass Band Championchips.
Recorded by the Cory Band, conducted by Philip Harper.
Published by Beriato Music / Hal Leonard Europe
Sound sample "The Graces of Love"

Numerous performances all around the world.
Set test pieces at several national brass band championship, e.g. Netherlands (2013), Great Britain (2015), USA (2016), Belgium (2016), Switzerland (2016), Denmark (2017), Australia (2018), Ireland (2019).

3 BB / CB 11:30 2013
Difficulty: 4, Orchestration: BB / CB, Duration: 12:00, Year: 2013


4 BB / CB 12:00 2013
Difficulty: 5, Orchestration: BB / CB, Duration: 12:00, Year: 2013

Commissioned by Corsin Tuor and Lucerne Music Edition.
First performed by the Brass Band Berner Oberland conducted by Corsin Tuor in 2013.
Recorded by the Brass Band Berner Oberland conducted by Corsin Tuor on the CD "Perlas Rumantschas II"
Sound and Score Sample

5 BB / CB 12:00 2013
Difficulty: 6, Orchestration: BB / CB, Duration: 18:00, Year: 2011

Commissioned by the Swiss Brass Band Association for the European Brass Band Championships 2011 at the Auditorium Stravinsky Montreux (CH).
Awarded the 2013 NBA Revelli Award in the USA.
Published by Beriato Music / Hal Leonard Europe
Sound sample "Audivi Media Nocte"

6 BB / CB 18:00 2011
Difficulty: 5, Orchestration: BB, Duration: 9:00, Year: 2009

Commissioned in 2009 by Regional Brass Band Bern, conducted by Daniel Bichsel.
Published by Beriato Music / Hal Leonard Europe
Recorded by Paris Brass Band under the baton of Florent Didier in 2015 on the CD "Hypercube" .
Sound sample "Intrada"

5 BB 9:00 2009
Difficulty: 3, Orchestration: BB / CB, Duration: 5:00, Year: 2007

Commissioned by Musikverlag Frank, recorded by Brass Band Berner Oberland conducted by Corsin Tuor in 2003.
Published by Musikverlag Frank
Sound sample "A Moléson"

3 BB / CB 5:00 2007
Difficulty: 4, Orchestration: BB / CB, Duration: 9:00, Year: 2006

Commissioned by the Swiss Wind Band Federation for the National Band Convention (Eidg. Musikfest) 2006 in Lucerne
Published by Beriato Music / Hal Leonard Europe
Sound Sample

4 BB / CB 9:00 2006
Difficulty: 3, Orchestration: BB / CB, Duration: 10:00, Year: 2006

Commissioned in 2006 by Lucerne Music Edition for the CD project "Perlas rumantschas", initiated by Corsin Tuor with support by RTR Radio Rumantsch, first performed and recorded by Brass Band Bürgermusik Luzern, conducted by Ludwig Wicki.
Version for brass band published by Lucerne Music Edition
Sound sample

Numerous performances in many countries.
Set test piece at National Championships in Switzerland (2008), Lithuainia (2013), Netherlands (2014) and Sweden (2016).

3 BB / CB 10:00 2006
Difficulty: 6, Orchestration: BB, Duration: 14:00, Year: 2003

Commissioned by the Swiss National Brass Band Association for the 2003 Swiss National Brass Band Championships, championship section.
For performance material, contact

Oliver Waespi
Land's End
Programmnotiz

Noch vor dem ersten musikalischen Einfall bestimmten bildhafte Eindrücke die Entstehung dieses Werks, so der Anblick von Land’s End, eine eindrucksvolle Felslandschaft am Westende Cornwalls, wo die britische Insel über eine Reihe von Felsstufen im Atlantik versinkt – oder aus diesem ensteht, je nach Blickwinkel. Oft sind die Umrisse dieses gigantischen Abbruchs im Nebel nur schwer erkennbar, manchmal aber wird der Blick frei auf die dunklen Felsen und den in der Sonne gleissenden Atlantik. Dazu kam das Bild des freien Flugs der Seevögel, denen es vergönnt ist, sich über Land’s End hinaus in die Höhe zu schwingen, so dass für sie dieser Name noch eine tiefere Bedeutung erhält: jene eben, im Flug das Land hinter sich zurückzulassen. So finden sich auch in der Musik von „Land’s End“ immer wieder Gesten, Motive, harmonische Entwicklungen, die von der Bewegung des Fliegens und der schwunghaften Wegbewegung inspiriert sind – sowie, als Kontrast dazu, Klänge, die eher Erdenschwere ausdrücken.

Neben diesen Bildern hat das Werk „Land’s End“ aber auch einen rein musikalischen Hintergrund. In der Art, wie es zwischen solistischem, kammermusikalischem und Tutti-Klang oszilliert, stellt es ein Konzert für Brass Band dar. Es ist in vier untereinander verbundene Teile gegliedert. Im ersten Teil entsteht die Musik gleichsam aus einem „Klangnebel“ heraus, Motive und harmonische Gedanken sind in Entstehung begriffen. Der zweite, schnelle Teil ist von flirrenden, weiten Linien geprägt, die sich, Fluglinien gleich, oft überraschend gegen- und miteinander bewegen. Ein Übergang mit wuchtigen Akkorden leitet den dritten, langsamen Teil ein. Dort kommt die Musik zur Ruhe, nach nachdenklichen Rezitativen entfaltet sich ein leuchtendes Sonnenfeld. Später leitet ein kurzes Marimba-Solo eine wuchtige Eruption des gesamten Ensembles ein, die den Weg für den letzten, schnellen Teil freimacht. Dieser beginnt mit virtuosen solistischen Passagen der Posaunen und Euphonien. Nach einem lyrischen Thema entwickeln sich schnelle Linien, die an den zweiten Teil erinnern. Später erhöht sich das Tempo unvermittelt zu einem „Presto“, das Orchester, vom Schlagzeug angepeitscht, spielt immer rasantere Linien. Diese lösen sich vorübergehend in einem weit gespannten „Glockenfeld“ auf, bevor die wuchtigen Akkorde aus dem ersten Teil die Coda ankündigen. Das Werk endet in einem wilden Tanz.

Several further performances, e.g.: in 2004 by the Brass Band of the Royal Northern College in Manchester (GB), conducted by James Gourlay; in 2012 by the Eikanger Bjorsvik Musikklag (Nor), conducted by Philippe Bach; in 2018 by the Swiss Army Brass Band under the baton of Raphael Camartin.

6 BB 14:00 2003
Difficulty: 5, Orchestration: BB, Duration: 12:00, Year: 2001

Commissioned by the Swiss National Brass Band Association for the 2001 Swiss National Brass Band Championships.
Winner of the "Brass in Association" Competition organized by the British Trombone Society, the Black Dyke Band and the University of Leeds (GB) in 2002.
For performance material, contact

5 BB 12:00 2001
Difficulty: 5, Orchestration: BB, Duration: 12:00, Year: 2000

Commissioned by the Jugend Brass Band Forum Ostschweiz (JBBFO).
First performed by the JBBFO Brass Band conducted by Carlo Balmelli in 2001.
Awarded the 1st prize at the 2e concours de composition musicale 2004, organized by the centre culture de Comines-Warneton, performed by BB Nord-Pas de Calais in Mouvaux at this occasion.
For performance material, contact

Further performances:
- Brass Band Bürgermusik Luzern, conducted by Ludwig Wicki, at the MidEurope Festival in Schladming.

5 BB 12:00 2000
Difficulty: 3, Orchestration: BB, Duration: 9:00, Year: 2000

Commissioned by the National Youth Brass Band of Switzerland (NYBB).
First performed by the NYBB B-Band conducted by Edy Debons in 2000.

3 BB 9:00 2000
Difficulty: 3, Orchestration: BB / CB, Duration: 11:00, Year: 1999

Commissioned by the Cantonal Wind Music Associations of Berne and Thurgau (CH) in view of their respective Wind Band Conventions (Kantonalmusikfeste) in 1999
I. Cortège
II. Dialogue
III. Waves
Published by
Molenaar Editions
Sound and score sample

3 BB / CB 11:00 1999
Difficulty: 5, Orchestration: BB, Duration: 7:00, Year: 1998

Awarded a 3rd prize at the European Composition Competition of the European Brass Band Association in Kerkrade in 1998.
First performed by the Brass Band Willebroek conducted by Frans Violet.

5 BB 7:00 1998
Difficulty: 4, Orchestration: BB / CB, Duration: 8:00, Year: 1998

Commissioned by the Brass Band Henggart for their 75th anniversary.
Premiered by the Brass Band Henggart conducted by Andreas Buri in November 1998.
Recorded by the same performers on the CD "Festive Impressions".
Published by Beriato Music / Hal Leonard Europe
Sound sample

4 BB / CB 8:00 1998
Difficulty: 3, Orchestration: BB / CB, Duration: 8:00, Year: 1996

Commissioned and first performed by the Brass Band of Inf Rgt 16 conducted by Andreas Buri in 1996
Published by Ruh Musik AG

3 BB / CB 8:00 1996

Title Orchestration Duration Year
Orchestration: Brass Ensemble, Duration: 11:00, Year: 2019

Commissioned by the Lucerne Brass Ensemble

Brass Ensemble 11:00 2019
Orchestration: Clarinet Choir, Duration: 11:00, Year: 2015

Commissioned by the Klarinettenchor Wettingen conducted by Roland Käppeli

Clarinet Choir 11:00 2015
Orchestration: Soprano, Chamber Ensemble, Duration: 21:00, Year: 2015

On poems by Friedrich Dürrenmatt
Commissioned by Centre Dürrenmatt Neuchâtel
Premiered by Nouvel Ensemble Contemporain under Pierre-Alain Monot at Centre Dürrenmatt Neuchâtel in 2015.

Soprano, Chamber Ensemble 21:00 2015
Orchestration: Trombone and Baritone Saxophone, Duration: 8:00, Year: 2012

Written for the ensemble bern modern and the Festival l'art pour l'Aar in Berne in 2012

Trombone and Baritone Saxophone 8:00 2012
Orchestration: eup/p, Duration: 22:00, Year: 2012

Transcription of the viola sonata "Pulse" for euphonium and piano first performed by Ueli Kipfer, euphonium, at the ITEC 2012 in Linz (A).
Recording of the 3rd movement "Pulse" by Fabian Bloch, euphonium, on the CD "Drive" in 2015

eup/p 22:00 2012
Orchestration: Ensemble, dancers, Duration: 25:00, Year: 2010

Commissioned by the Ensemble Theater am Gleis and artventure.
First performed in May/June 2010 by the Ensemble TaG in Winterthur under the baton of Steve Britt, with Jacqueline Pasanini and Andrea Fäh, dancers

Als Hauptereignis präsentierte das Ensemble TaG zum Schluss unter der Leitung von Steve Britt die Uraufführung von Oliver Waespis «Tanztheater». Die Komposition für zwei Tänzerinnen, Streichquartett, Flöte, Bassklarinette, Klavier und Perkussionsinstrumente bot gewissermassen die Zusammenfassung des ganzen Nachmittags. Aus Statischem entsteht hier Dynamisches, aus Amorphem rhythmisch durchpulste Tanzmusik. Die beiden Performerinnen Jacqueline Pasanisi und Tanja Büchel bewegten sich dazu auf der Bühne, als wären sie die zum Leben erweckten Statuen «Maya» und «Sitzender Akt».
Thomas Schacher, Neue Zürcher Zeitung, 1. Juni 2010

Ensemble, dancers 25:00 2010
Orchestration: Brass Ensemble, Duration: 6, Year: 2008

Commissioned and recorded by the Swiss Brass Consort on the CD "blää.ch"
For performance material please contact contact@oliverwaespi.ch

Brass Ensemble 6 2008
Orchestration: Viola, Piano, Duration: 23:00, Year: 2007

Commissioned by Pedro Meireles, with funds provided by Amt für Kultur Bern.
First performance of the 3rd Movement at the Gulbenkian Foundation Lisbon (Por) by Pedro Meireles, viola, and Sophia Rahman, piano, during the Gulbenkian Concert Season on 9 January 2007.
Premiere of the whole sonata on 8 May 2010 at the Le Cap, Berne, during the festival l'art pour l'Aar, mit Pedro Meireles, Viola, and John Reid, Piano.

Viola, Piano 23:00 2007
Orchestration: String Quartet, Duration: 8:00, Year: 2007

Premiere of the version for string trio by the ensemble bern modern during the L'art pour l'Aar Festival in Berne in 2007.
Version for string quartet selected for first performance by Sir Peter Maxwell Davies and premiered on 5 October 2008 at Kings Place, London, by the Brodsky Quartet during the opening festival of Kings Place, as part of spnm's season of events 2008/2009.

.

… works for string quartet, performed by the Brodsky Quartet … Oliver Waespi's Weisser Atem ["white breath"] … took as its starting point the experience of seeing a glacier, (something Maxwell Davies has had experience of himself, although his Antarctic Symphony is a very different beast from this), and floated lyrical lines over a slowly moving, almost static harmony. From simple materials, deployed with great economy, Waespi built a rich palette that conveyed an impressive sense of monumental space. ...Peter Nagle, The Londonist, October 2008 ...
Peter Nagle, The Londonist, Oktober 2008

...Weisser Atem by the Swiss composer Oliver Waespi (its title from Rose Auslanders poem White Breath) was more sustained, with astringent atonal clusters moving into and out of consonant chords. Supple melodic lines for each instrument symbolised humanity versus the vast icy glacier that inspired the work. It was fascinating to note how different was Waespi's response to a glacier from Maxwell Davies's Antarctic Symphony. Like short stories, these brief movements represented cutting edge explorations that affirmed the dynamic creativity of the quartet medium. ...
Malcolm Miller, Musical Opinion, November/December 2008

String Quartet 8:00 2007
Orchestration: Wind Sextet, Duration: 6:00, Year: 2005

Student work.
First performed by the London Sinfonietta, conducted by Christopher Austin, in May 2006 at the Queen Elizabeth Hall, London.

Wind Sextet 6:00 2005
Orchestration: String Quartet, Duration: 7:00, Year: 1999

Student work.
First performed by Wörmsbächer/Pinchetti/Cleemann/Bogarski in Zurich in 1999.
Further performances by the Hesse Ensemble (London) at the Park Lane Group Young Composers Symposium in January 2006 at the Warehouse London and by the Elysian Quartet at the University of York Spring Festival in May 2006.

String Quartet 7:00 1999

Title Orchestration Duration Year
Orchestration: BB, Choir, Duration: 8:00, Year: 2015

Composed on a text by Raphael Urweider.

Commissioned by the National Youth Brass Band of Switzerland for their 40th Anniversary in 2015.
First performed by the National Youth Brass Band of Switzerland and the National Youth Choir of Switzerland conducted by Michael Bach during their concert tour in summer 2015.

For performance material, contact

BB, Choir 8:00 2015
Orchestration: Mixed Choir SSAATTBB, Duration: 8:00, Year: 2015

On a text by Marie-Luise Kaschnitz
Selected by the jury of the 2015 International Sibelius Composition Competition for performance in November 2015 in Hämenlinna by the Helsinki Chamber Choir and subsequent broadcast on Finnish radio.

Mixed Choir SSAATTBB 8:00 2015
Orchestration: Mixed choir (SSAATTBB), chamber orchestra (2222-2-str), marimba, soprano, tenor, Duration: 8:00, Year: 2010

On fragments of the "Cantico di frate sole" by St Francis of Assisi.

Commissioned by the Neues Zürcher Orchester.
First performance in fall 2010 in Berne, Zurich and Basle with the Neues Zürcher Orchester conducted by Martin Studer and the chamber choir cantus firmus (cond. Andreas Reize).

Version for chamber group, marimba, soprano, tenor and choir commissioned by Rolf Schumacher. Performance at the Berner Musikfestival in September 2015 at the Französische Kirche Bern and Podium Düdingen, with players of HKB and SIBO and the choir canto classico, conducted by Willi Derungs.

Mixed choir (SSAATTBB), chamber orchestra (2222-2-str), marimba, soprano, tenor 8:00 2010
Orchestration: Mixed Choir SSAATTBB, Duration: 5:00, Year: 2006

On a poem by Charles Baudelaire.

Awarded the 3rd prize at the Laurenscantorij Foundation Composers Competition 2006, Rotterdam, first performed by the Laurens-Bachcollegium Rotterdam on 3 December 2006.

Mixed Choir SSAATTBB 5:00 2006











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