List of Compositions
| Title | Orchestration | Duration | Year |
|---|---|---|---|
|
Orchestration:
Solo Drum Set, Symphony Orchestra,
Duration:
28:00,
Year:
2021
Commissioned by Basel Sinfonietta and first performed by Jojo Mayer, solo drumset, and Basel Sinfonietta conducted by Baldur Brönnimann.
For details see entry under "Solo Concertos". |
Solo Drum Set, Symphony Orchestra | 28:00 |
2021
 |
|
Orchestration:
Solo Trombone and Symphony Orchestra,
Duration:
17:00,
Year:
2017
Commissioned by Menuhin Festival Gstaad and premiered by Lucas Tiefenthaler, solo trombone, and the Gstaad play! Orchestra conducted by Kevin Griffiths.
For details see entry under "Solo Concertos". |
Solo Trombone and Symphony Orchestra | 17:00 |
2017
|
|
Orchestration:
Four solo horns, Symphony Orchestra,
Duration:
24:00,
Year:
2017
Commissioned by Horntage Sarnen, premiered by Lukas Christinat/Richard Watkins/Florian Abächerli/Radovan Vlatkovic, solo horns, and the Symphony Orchestra of Horntage Sarnen conducted by Philippe Bach.
For details see entry under "Solo Concertos" |
Four solo horns, Symphony Orchestra | 24:00 |
2017
|
|
Orchestration:
Symphony Orchestra and Brass Band,
Duration:
24:00,
Year:
2015
Commissioned by the Jenaer Philharmonie, City of Jena (Germany). OIiver Waespi Program note “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 …
|
Symphony Orchestra and Brass Band | 24:00 |
2015
|
|
Orchestration:
Solo Euphonium and String Orchestra,
Duration:
21:00,
Year:
2013
Commissioned by Zuger Sinfonietta, premiered by Thomas Rüedi, solo euphonium, and the Zuger Sinfonietta conducted by Philippe Bach.
For details see entry under "Solo Concertos" |
Solo Euphonium and String Orchestra | 21:00 |
2013
|
|
Orchestration:
Chamber Orchestra,
Duration:
15:30,
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. Reviews of the CD recording "Grischuns dal Cor" with the Kammerphilharmonie Graubünden conducted by Philippe Bach, released by claves records:
... Zurich-born Oliver Waespi is only living composer represented on the disc. His 2011 work La Partenza (The Parting) might be described as a symphonic poem in the sense that it derives from an ancient Grisonais folk song (the oldest in the Romansh tongue, apparently) which describes the story of St Margriata, who according to local legend worked on the mountains for seven years dressed as a man until her secret was discovered by a young shepherd (we are not told how); despite her pleas and offers of gifts to the boy he still spilled the beans to the authorities and she was forced to leave the mountain. The booklet note, perhaps wisely, spares us the detail and meaning of the legend, and instead focuses on Waespi’s deployment of the original melody. Ominous tremolando strings. distant fanfares and bracing flute interjections immediately suggest a rugged open-air setting and Waespi builds the tension most skilfully as the work proceeds. The main presentation of the folk theme is obvious even to a listener who has never heard the tune in their life (I am one); it is beautifully managed. The piece is colourful, structurally convincing and the presence of the folk melody renders it readily memorable. Whilst it is mildly cinematic, Waespi succeeds in avoiding cliché. La Partenza inevitably concludes on a note of melancholy, even tragedy, the composer recycling the piece’s earlier ideas with considerable imagination. It’s a strange, rather lovely piece. It’s perhaps not the kind of music one might expect from a composer born in 1971. ...
... Waespis Orchesterstück «La Partenza» reflektiert einen der ältesten rätoromanischen Gesänge, das Lied «Sontga Margriata» aus dem 15. Jahrhundert. Die Sage von der Hirtin in Männerkleidern, die nach ihrer Enttarnung die fruchtbare Grossalp am Kunkelspass verdorrt und öd zurücklässt, dient dem Komponisten als Tableau für seelische Erregungen, die es mit der zerklüfteten Landschaft durchaus aufnehmen können. Ein bisschen Pathos sei da erlaubt, insbesondere beim Margriata-Thema. Zumindest, wenn es so wohldosiert daherkommt wie in dieser Einspielung. ...
Les compositeurs réunis sur ce nouveau disque Claves ont tous un rapport aux Grisons. Avec ses puissantes timbales, la Symphonie No. 2 de Raffaele d'Alessandro rappelle les élans percussifs d'un Stravinsky. La Burletta de Paul Juon donne une partition lumineuse et joueuse au violon solo. Et après le XXe, le XXIe siècle: la 9e Symphonie de Gion Antoni Derungs fait sortir la harpe ou le cor des rangs, pour poser un cadre impréssioniste. Au final, Oliver Waespi, bien connu du monde des vents, livre La Partenza, aux athmosphères dynamiques et changeantes. Par la Kammerphilharmonie Graubünden et son chef Philippe Bach.
Le programme établi par l'Orchestre de chambre des Grisons et dirigé par Philippe Bach offre une découverte musicale en rapport avec le canton suisse. Quatre compositeurs : Derungs, D'Alessandro, Juon et Waespi. Tous ont composé de la musique pour violon et orchestre et sont donc réunis dans ce disque. Un véritable voyage entre fantaisie, tension et poésie porté par le violon de Sebastian Bohren. Ce disque se présente comme une généreuse carte de visite ainsi qu'une occasion de découvrir des oeuvres rares. Francemusique, 19 janvier 2022, https://www.francemusique.fr/emissions/le-disque-classique-du-jour/grischuns-dal-cor-sebastian-bohren-philippe-bach-kammerphilharmonie-graubuenden |
Chamber Orchestra | 15:30 |
2012
|
|
Orchestration:
Solo Guitar, Solo Flute and Chamber Orchestra,
Duration:
24:00,
Year:
2009
Awarded 2nd prize at the 2009 Uuno Klami Composition Competition in Finland, premiered by Petri Kumela, solo guitar, Auli Kontinen, solo flute, and the Kymi Sinfonietta conducted by Yasuo Shinozaki.
For details, see entry under "Solo Concertos". |
Solo Guitar, Solo Flute and Chamber Orchestra | 24:00 |
2009
|
|
Orchestration:
Symphony Orchestra,
Duration:
14:30,
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 | 14:30 |
2008
|
|
Orchestration:
Symphony Orchestra,
Duration:
15:30,
Year:
2003
Awarded the International George Enescu Prize for Composition in 2003 ( Link).
First performed at the George Enescu Festival in Bucharest (Rom) in 2005 by the Iasi Philharmonic Orchestra conducted by Alexandru Lascae. For performance material, contact |
Symphony Orchestra | 15:30 |
2003
|
|
Orchestration:
Chamber Orchestra,
Duration:
15:00,
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 Oliver Waespi
Nachtferne Programmnotiz "Nachferne" entstand im Auftrag des Berner Kammerorchesters, welches das Stück um Mai 2003 im Kultur Casino Bern unter der Leitung von Johannes Schlaefli zur Uraufführung brachte. Im Herbst 2005 wurde das Stück durch das Orchestra della Svizzera Italiana, ebenfalls unter der Leitung von Johannes Schlaefli aufgenommen und später auf Rete Due ausgestrahlt. Die formale Struktur des Werks charakterisiert sich durch eine Abfolge von Episoden, in denen bestimmte Solisten exponierte Rollen haben, und solchen, die eher von Klangtexturen geprägt sind, wobei sich die Unterschiede oft verwischen. Im ersten Teil treten Viola, Violine, Fagott und Marimba sowie die Trompete besonders hervor. Nach einem bewegteren Abschnitt entwickeln sich solistische Fragmente zu einem breiten Klangfeld hin. Anschliessend führt ein klagender Gesang der Klarinette zu einer Art Wandlung, aus der sich eine zugleich ruhige und ekstatische Musik entfaltet, zuerst im Violoncello, begleitet durch die Holzbläser, danach im Horn unter Begleitung der Streicher. Das Stück endet in einem fast symmetrischen, weitest möglich aufgespannten Akkord. ... 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 ...
|
Chamber Orchestra | 15:00 |
2003
|
|
Orchestration:
Symphony Orchestra,
Duration:
18:30,
Year:
1999
Commissioned by the Wind Music Federations of the Cantons of Fribourg, Nidwalden, Schwyz in 1999.
Version for symphony orchestra first performed by Jugendsinfonieorchester Tifico conducted by Christoph Brunner. Further performances by the Lucerne University Symphony Orchestra conducted by Armin Renggli and the Hofkappelle Meiningen under the baton of Philippe Bach. For the performance material contact Sound sample |
Symphony Orchestra | 18:30 |
1999
|
| 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. Live recording "Volatile Gravity" Oliver Waespi
Volatile Gravity Programmnotiz «Volatile Gravity» ist einerseits ein Konzert für Drumset und Orchester im klassischen Sinn, bestehend aus drei miteinander verbundenen Teilen. Gleichzeitig symbolisiert es eine Art musikalische «Urban Exploration». So artikuliert sich die Form des Stücks entlang einem imaginären urbanen Raum mit mehreren Zentren, gleichsam aufgespannt zwischen bebauten und unbebauten, strukturierten und offenen Bereichen. Der erste Teil, «High Frequency Trading», ist von frenetischen Tempi und einem schroffen, oft blockartig gestalteten Orchesterpart geprägt, dem der Solist eine energische, groove-orientierte Rhythmik gegenüberstellt. Nach Momenten des Zerfliessens und erneut vorwärts treibenden Beats wird der erste Teil durch eine freie Kadenz des Solisten abgeschlossen. Darauf folgt ohne Unterbruch der zweite Teil, «Wastelands». Fragmentarische Motivzellen verdichten sich hier allmählich zu weiträumig angelegten Klangflächen über freien, improvisatorischen Gesten des Solisten. Aus musikalischem Brachland entwickeln sich dabei allmählich neue musikalische Energien. Später verdichten sich freie Einwürfe der Holzbläser mithilfe der Solo Drums zu einem gemeinsamen Pulsieren, worauf sich der dritte Teil, «New Towns», anschliesst. Anders als im ersten Teil wird hier der Part der Solo Drums enger mit der orchestralen Struktur verwoben, die sich hier weniger in kompakten Klangblöcken artikuliert als vielmehr in pulsierenden Schichten und stets sich wandelnden rhythmischen Zellen. Eine Entwicklung hin zu einer helleren, offeneren Harmonik mündet in eine weitere, freie Solokadenz, bevor das Stück in einem geisterhaft flirrenden Epilog zu Ende geht. ... 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. ... 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. Rating: ★★★★★ — A fascinating masterpiece, no doubt!
Oliver Waespi’s composition with Jojo Mayer’s solo were the clear highlight of the concert. Interesting: I noted people with earplugs in the audience. Obviously in the expectation that the concert would / might be loud, noisy. This fear proved pointless: never, the solo (nor the orchestra) were ever just “loud” or “noisy”. There was power, but it remained controlled at all times. The applause once again revealed Jojo Mayer’s open and modest personality. He skated to the front of the podium, with a friendly smile. Drummers aren’t just loud! It felt as if Jojo Mayer wanted to prove this in the solo encore. He placed his snare drum on the conductor’s podium. The drummer “painted” a fascinating piece, just with two metal brushes. “Stirring in a pan”, subtle, tension, suspense. Rain, the waves at a seashore, disruptions with sudden, stomping beats, emerging rhythm, returning to whooshing noise… |
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. Live recording "Aus Schatten" 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. |
Horn Quartet Concerto | 24:00 |
2017
|
|
Orchestration:
Solo Trombone with Symphony Orchestra,
Duration:
17:00,
Year:
2017
Concerto for Trombone and Orchestra 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....
|
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. …
|
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 ( Live recording ). Feature about the premiere on art.tv.ch 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). Live excerpts with David Talamante, solo guitar, Caroline Werba, solo flute, and the Sinfonieorchester Kanton Schwyz, conducted by Urs Bamert. For performance material, contact ... 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. 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. |
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: 6, Orchestration:
CB,
Duration:
43',
Year:
2023
Commissioned by Concordia de Fribourg.
First performed by Concordia de Fribourg conducted by Jean-Claude Kolly at the Théâtre l'Equilibre in Fribourg (CH) on 4/5 February 2023 Oliver Waespi
SCORPIUS Symphony for Winds Program note Der Titel von “Scorpius» leitet sich vom gleichnamigen Sternbild am südlichen Sommerhimmel ab. «Scorpius» ist als Sinfonie in vier Sätzen angelegt, von denen sich jeder auf ein anderes Sternsystem innerhalb des Sternbildes bezieht. Der erste Satz ist von Energiebewegungen in «U Scorpii» beeinflusst, ein rasch pulsierendes System von Novae, das heisst Doppelsterne, von denen einer dem anderen Masse abgibt, was von regelmässigen Helligkeitsveränderungen begleitet wird. Dies wird durch zwei kontrastierende Themen symbolisiert, von denen das eine zunehmend durch das andere absorbiert wird. Der zweite Satz handelt von «Antares», dem hellen Zentralstern von Scorpius. Einzelne Klangstriche in Soloinstrumenten fügen sich darin allmählich zu breiten Klangfeldern zusammen, bevor sich die Musik wieder im interstellaren Raum verliert. Das anschliessende Scherzo ist vom «Butterfly Cluster» beeinflusst, ein System mit zahlreichen parallel sich bewegenden Sternen. Dies widerspiegelt sich in vielen harmonischen und motivischen Parallelbewegungen sowie rhythmischen Überlagerungen, die den klassischen Dreierpuls des Scherzos auf verschiedene Weise varieren. Der letzte Satz schliesslich gründet auf dem Doppelsternsystem «Sargas», in dem zwei Sterne um ein gemeinsames Gravitationszentrum kreisen. Letzteres wird durch Fragmente aus dem Choral «Stern « von J.S. Bach symbolisiert, der im übrigen in allen vier Sätzen versteckt oder offen eine bedeutsame Rolle spielt. |
6 | CB | 43' |
2023
|
|
Difficulty: 4, Orchestration:
CB,
Duration:
11:30,
Year:
2022
Commissioned and premiered by Orchestre d'harmonie municipal de Vesoul (F), on 25 June 2022 under the baton of Mathieu Anguenot at the Théatre Edwige Feuillère in Vesoul.
Published by Beriato / Hal Leonard Europe, available here . Full recording by the The Royal Symphonic Band of the Belgian Air Force, conducted by Matty Cilissen |
4 | CB | 11:30 |
2022
|
|
Difficulty: 4, Orchestration:
CB,
Duration:
7:30,
Year:
2022
Commissioned by WASBE Switzerland.
First performed on 22/23 January 2022 by Feldmusik Sarnen conducted by Sandro Blank, at Aula Cher Sarnen (CH). Oliver Waespi
DEEP SPACE Programmnotiz „Deep Space“ entstand im Auftrag des Vereins WASBE Schweiz. Das Stück ist eine musikalische Meditation über den nächtlichen Sternenhimmel, genauer: über jene weit entfernten, tief im Weltraum liegenden Himmelskörper, die von blossem Auge kaum mehr erkennbar sind. Über langsam rotierenden, dunklen Klängen steigen musikalische Gedanken auf und versinken wieder, Sternbildern gleich, oder Ahnungen und Erinnerungen des betrachtenden Menschen. Musikalischen Zusammenhang stiftet dabei das Motiv ces-es-b, das in vielfachen Gestaltformen die Grundlage für weitgespannte melodische Entwicklungen bildet. Während das Grundtempo langsam bleibt, verändern sich ständig die Klangfarben, wodurch die Musik gleichzeitig einen statischen und bewegten Charakter hat. Das Stück ist insofern ein ruhiger Hymnus mit bewegtem Innenleben. |
4 | CB | 7:30 |
2022
|
|
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 "The Spell" |
5 | CB | 14 |
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:
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. Published by Beriato Music Publishing / Hal Leonard Europe |
5 | CB | 8 |
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:
18:00,
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 Oliver Waespi
Audivi Media Nocte Program note Whilst composing Audivi Media Nocte I was driven by several conflicting musical ideas. On the one hand, I was partly inspired by the sixteenth-century motet by Thomas Tallis from which the piece draws its title. Tallis’s motet is sung primarily on All Saints’ Day, and its title means “I heard, at midnight …”. Having remembered and cherished this motet for many years, I felt it was time to let it finally have an influence on my own music. On the other hand, I experienced the need for a considerable kinetic energy in order to outweigh the calm, contemplative flow of the motet and to place Tallis’s music into a more contemporary context. Hence, various rhythmical motifs began to emerge, some of which were in turn secretly related to the rhythmical structure of the motet. Moreover, I developed a series of chords whose harmony constitutes a counterpoint to the modal background of the motet. Gradually, the piece developed a character of its own, loosely connected to the mystical imagery of the night, hiding our secret passions and regrets. It evolved into an instrumental drama rather than a set of variations, including elements of a concerto grosso, as groups of soloists are featured in quite unusual ways. Audivi Media Nocte thus became a musical tale that oscillates somehow between past and present, between contemplation and frivolity, between prayer and rave. Audivi Media Nocte was commissioned by the Swiss Brass Band Association for the 2011 European Brass Band Championships at the Auditorium Stravinsky in Montreux (CH). It was transcribed for concert band by the composer. In the years to come, Oliver Waespi’s ‘Audivi Media Nocte’ may well be seen as a seminal work for brass band. It is a composition from an amazingly intelligent, febrile mind; an audacious concoction of conflicting music imagery. Waespi himself describes it as oscillating, ‘…somehow between past and present, between contemplation and frivolity, between prayer and rave. ...
Passion and drama is exposed and revelled in, repressed regret pushed back to the darker recesses of the mind – although never quite obliterated. The original motet reference does return in glory at the conclusion of the work, but only after it has been totally and utterly transformed – not through pastiche variation however, but by compellingly fresh osmosis. ...Musically, it is one of the most satisfying contemporary brass band test pieces you are likely to ever hear ... Oliver Waespi deserves all the plaudits that will surely come his way ... His test piece has iconic status already written all over it.
... With Audivi Media Nocte Waespi has created a work that is musically poignant and technically enthralling. The members of the Revelli Composition Contest believe that this piece is worthy of attention from outstanding bands throughout the world, and ensembles that program the work will be challenged, and ultimately rewarded with an outstanding work that should appeal to performers and audiences alike.
|
6 | CB / BB | 18:00 |
2013
|
|
Difficulty: 4, Orchestration:
BB / CB / FB,
Duration:
9,
Year:
2013
Commissioned by the 'Stichting Nederlandse Brassband Kampioenschappen' for the 3rd division of the 2013 Dutch National Brass Band Championships. Arranged for concert band by the composer.
Published by Beriato / Hal Leonard Europe Sound and score sample "The Graces of Love" |
4 | BB / CB / FB | 9 |
2013
|
|
Difficulty: 5, Orchestration:
CB,
Duration:
16:30,
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 Live recording "Divertimento" |
5 | CB | 16:30 |
2010
|
|
Difficulty: 4, Orchestration:
CB,
Duration:
9:00,
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 Sound sample "Canzun" by Singapore Philharmonic Winds, conducted by Leonard Tan, at the 2011 WASBE World Conference in Chiayi City, Taiwan |
4 | CB | 9:00 |
2008
|
|
Difficulty: 5, Orchestration:
CB,
Duration:
14:00,
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 Full Recording of "Berglicht" |
5 | CB | 14:00 |
2008
|
|
Difficulty: 3, Orchestration:
CB / BB,
Duration:
4:30,
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 | 4:30 |
2007
|
|
Difficulty: 3, Orchestration:
CB,
Duration:
9:00,
Year:
2007
Recording by Sächsische Bläserphilharmonie under Jan Cober ( CD "Catedrales" )
Published by Beriato Music / Hal Leonard Europe Score and sound sample |
3 | CB | 9:00 |
2007
|
|
Difficulty: 6, Orchestration:
CB,
Duration:
27:00,
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 "Temples" ... The major work of the concert if not of the conference, opened the second half. Temples is Oliver Waespi's most recent work and shows a wonderful grasp of sonorities and control of structure. Over twenty minutes long, this is a symphonic work, which I think will prove to be a tremendous addition to the repertoire for the large symphonic band ...
|
6 | CB | 27:00 |
2006
|
|
Difficulty: 4, Orchestration:
CB / BB / FB,
Duration:
9:20,
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 | 9:20 |
2006
|
|
Difficulty: 4, Orchestration:
CB / BB,
Duration:
11:00,
Year:
2006
Commissioned by Lucerne Music Edition
Version for concert band published by Hal Leonard Europe (Beriato) https://www.bandmusicshop.com/de-de/product/bmp8031403/legenda-rumantscha.aspx Sound sample "Legenda rumantscha" Oliver Waespi
Legenda Rumantscha Programmnotiz „Legenda rumantscha“ entstand im Auftrag der Brass Band Bürgermusik Luzern und der Lucerne Music Edition im Rahmen eines CD-Projekts mit Bearbeitungen rätoromanischer Volksmusik und wurde durch den Komponisten auch für sinfonisches Blasorchester eingerichtet. Sechs romanische Volkslieder sind diesem Stück zu einer Rhapsodie verarbeitet. Einige davon sind weit verbreitet, wie etwas „Lingua materna“ gleich zu Beginn. Andere sind weniger bekannt, in ihrer schlichten Schönheit aber eigentliche Perlen der Liedkunst. Hierzu gehören „Bin san tu meis cour char“, ein melancholisches Liebeslied, oder auch ein Gesang aus der „Consolaziun del olma devoziusa“, einer Sammlung alter geistlicher Lieder aus der Surselva. Alle diese Lieder werden in eine musikalische Erzählung eingebettet, behalten dabei aber meist ihre ursprüngliche Form bei. Die Verwandschaft vieler Liedmotive untereinander stiftet musikalischen Zusammenhang und ermöglicht eine sinfonische Entwicklung, die sich durch die ganze Rhapsodie zieht. Oliver Waespi Legenda rumantscha Program note This rhapsody was commissioned by Bürgermusik Lucerne and Lucerne Music Edition and is based on six folksongs from Graubünden. Some songs are widely used, such as "Lingua materna" at the beginning of the work. Other songs are less known. But their simple beauty reveal them as true pearls of the art of folksong, as can easily be heard in the melancholic lovesong "Bin san tu meis cour char" for instance, or in a chant from the "Consolaziun del olma devoziusa", a collection of old spiritual songs of the Surselva. These songs are integrated into a musical tale while mostly keeping their original form. Many motives of the songs are related to each other, contributing thereby to musical coherence and permitting a symphonic development which leads the listener through the whole work. |
4 | CB / BB | 11:00 |
2006
|
|
Difficulty: 5, Orchestration:
CB,
Duration:
12:00,
Year:
2005
Commissioned and first performed by Musikgesellschaft Cham, conducted by Jörg Dennler, at Lorzensaal Cham/CH in 2005.
Recorded by Deutsche Bläserphilharmonie under the baton of Walter Ratzeck ( CD "Saturnalia" ) Live recording "2nd Sinfonietta" Published by Beriato Music / Hal Leonard Europe |
5 | CB | 12:00 |
2005
|
|
Difficulty: 5, Orchestration:
CB,
Duration:
16:00,
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 Sound sample "Il Cantico" Das Orchester eröffnete mit der selbst in Auftrag gegebenen und in Singapur uraufgeführten Komposition «Il Cantico» des jungen Zürchers Oliver Waespi. Das rund 15-minütige Werk packt durch den zeitlosen ideellen Hintergrund - der Sonnengesang des heiligen Franziskus - und Waespis gemässigt moderne Tonsprache. Sie kommt auch als absolute Musik raffiniert und spannungsgeladen daher. Zudem war die Interpretation durch das in allen Registern mit besten Berufs- und Amateurmusikern besetzte Orchester schlicht begeisternd.
|
5 | CB | 16:00 |
2005
|
|
Difficulty: 6, Orchestration:
CB,
Duration:
17:30,
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 | 17:30 |
2004
|
|
Difficulty: 4, Orchestration:
CB,
Duration:
8:00,
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 | 8:00 |
2000
|
|
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 Scoreplay and recording by Brass Band Schoonhoven, conducted by Erik Jansen |
4 | CB / BB | 11:00 |
1999
|
|
Difficulty: 5, Orchestration:
CB,
Duration:
15:00,
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 (Corciano Competition Roll of Honour) For performance material contact |
5 | CB | 15:00 |
1999
|
|
Difficulty: 5, Orchestration:
CB / SO,
Duration:
18:30,
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 Scoreplay and Recording by ESML Wind Orchestra conducted by Alberto Roque |
5 | CB / SO | 18:30 |
1999
|
|
Difficulty: 4, Orchestration:
CB / BB,
Duration:
7:30,
Year:
1998
Commissioned and first performed by Brass Band Henggart conducted by Andreas Buri in 1998.
Version for concert band first recorded by Sächsische Bläserphilharmonie under Jan Cober. Published by Beriato Music / Hal Leonard Europe Live recording by Jāzepa Mediņa Rīgas Mūzikas vidusskolas pūtēju orķestris, Latvia, conducted by Jānis Retenais |
4 | CB / BB | 7:30 |
1998
|
|
Difficulty: 5, Orchestration:
CB,
Duration:
17:00,
Year:
1996
First performed by the Swiss Army Wind Symphony conducted by Josef Gnos at the WASBE World Conference 1997 in Schladming (A), after beeing selected for performance by Alfred Reed.
I. Symphonic Movement II. Nocturne III. Toccata Published by Molenaar Edition Full Recording of "Suite Nr. 1" |
5 | CB | 17:00 |
1996
|
|
Difficulty: 4, Orchestration:
CB / BB,
Duration:
7:00,
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 Recording with Musikkapelle Auer under Arnold Leimgruber |
4 | CB / BB | 7:00 |
1996
|
|
Difficulty: 5, Orchestration:
CB,
Duration:
17:00,
Year:
1996
Commissioned and first performed in 1997 by Jugendblasorchester Dreiländereck under the baton of Beat Hofstetter.
I. Prelude II. Intermezzo III. Scherzo attacca: IV. Finale Recorded by the Wind Orchestra of the Escola Superior de Música de Lisboa conducted by Alberto Roque. Published by Molenaar Edition Scoreplay and recording with the Orquesta Sopros da ESML, conducted by Alberto Roque |
5 | CB | 17:00 |
1996
|
|
Difficulty: 3, Orchestration:
CB / BB,
Duration:
8:30,
Year:
1994
Awarded 2nd Prize at the Composition Competition of the Swiss Wind Band Federation in 1994.
First performed in Interlaken in 1994. I. Fanfare II. Elegy III. Dance Published by Molenaar Edition |
3 | CB / BB | 8:30 |
1994
|
| Title | Difficulty | Orchestration | Duration | Year |
|---|---|---|---|---|
|
Difficulty: 6, Orchestration:
BB,
Duration:
18'30'',
Year:
2023
Commissioned by Philip Pearson for Nicholas Childs and the Black Dyke Band.
Premiered by the Black Dyke Band, conducted by Nicholas Childs, at the European Brass Band Championships 2023 at the Malmö Live Concert Hall in Malmö (S). Premiere recording available on www.wobplay.com . Performance by Valaisia Brass Band under Arsène Duc at the KKL Lucerne, Salle blanche, available here . For performance material, contact ... My first ever 200 in 12 years of adjudication with this system . A real masterclass contest performance of a brand-new work. With difficulties at every turn, this band absolutely delivered today under the most severe test of pressure in this most auguste company. And this was a totally joyous performance of a real master work, ticking every box for musicality, for the audience, testing this extraordinarily fine band to the limit. What more can I say than the band hasn't already said. A really wonderful moment in the history of this contest.
Bravissimo. ... On a day when many of the new pieces have been of a somewhat dark nature, the opening of Oliver Waespi's Antiphonies on Themes of William Byrd comes as something of a joyous relief, the celebratory tones being despatched with celebratory abandon. ...The ensemble is crisp, clean and the balances allow the detail to shine through in radiant sound and colour, these little echoes of Byrd's music ever present within the textures but cleverly mutated by a composer whose music is always a joy to listen to in its intelligent construction and use of material. And what an ending! Utterly spellbinding!
Overall: Sheer class from Black Dyke…a masterclass throughout. |
6 | BB | 18'30'' |
2023
|
|
Difficulty: 6, Orchestration:
BB,
Duration:
19:30,
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 Live recording of the premiere by Valaisia Brass Band conducted by Arsène Duc 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 ... |
6 | BB | 19:30 |
2019
|
|
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: 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: 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 Live recording of "Hypercube" |
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 Live recording "As if a voice were in them" by Noord-Limburgse Brassband conducted by Ivan Meylemans 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 Championships.
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 piece 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: 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" In the years to come, Oliver Waespi’s ‘Audivi Media Nocte’ may well be seen as a seminal work for brass band. It is a composition from an amazingly intelligent, febrile mind; an audacious concoction of conflicting music imagery. Waespi himself describes it as oscillating, ‘…somehow between past and present, between contemplation and frivolity, between prayer and rave. ...
Passion and drama is exposed and revelled in, repressed regret pushed back to the darker recesses of the mind – although never quite obliterated. The original motet reference does return in glory at the conclusion of the work, but only after it has been totally and utterly transformed – not through pastiche variation however, but by compellingly fresh osmosis. ...Musically, it is one of the most satisfying contemporary brass band test pieces you are likely to ever hear ... Oliver Waespi deserves all the plaudits that will surely come his way ... His test piece has iconic status already written all over it.
|
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: 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: 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: 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: 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: 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 / 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.
Premiered by the Klarinettenchor Wettingen conducted by Roland Käppeli in January 2016 in Wettingen. Live recording "Notturno variabile" |
Clarinet Choir | 11:00 |
2015
|
|
Orchestration:
Soprano, Chamber Ensemble,
Duration:
21:00,
Year:
2015
Song cycle based 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. I. Antares II. Blick durchs Fenster III. Meteor (instrumental) IV. Ein Psalm Salomos, den Weltraumfahrern zu singen |
Soprano, Chamber Ensemble | 21:00 |
2015
|
|
Orchestration:
Chamber Ensemble,
Duration:
8:00,
Year:
2013
Written for and recorded by the Ensemble bern modern.
Premiered at the Festival "L'art pour l'Aar" in Berne (CH) in 2013. |
Chamber Ensemble | 8:00 |
2013
|
|
Orchestration:
Euphonium, Piano,
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 For performance material contact |
Euphonium, Piano | 22:00 |
2012
|
|
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:
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:
6:00,
Year:
2008
Commissioned and recorded by the Swiss Brass Consort on the CD "blää.ch"
For performance material please contact |
Brass Ensemble | 6:00 |
2008
|
|
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.
...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. ...
|
String Quartet | 8:00 |
2007
|
|
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:
Solo Violin,
Duration:
8:00,
Year:
2006
Written for Peter Sheppard Skaerved.
Premiered by Peter Sheppard Skerved in the Enlightenment Gallery of the British Museum, London (GB), in 2006. |
Solo Violin | 8:00 |
2006
|
|
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:
6:00,
Year:
2007
First performed and recorded on 25 July 2007 by the BBC-Singers under the baton of James Morgan at St Paul's Church, London for the BBC “Hear and Now”-concert series. Broadcast on BBC Radio 3.
|
Mixed Choir SSAATTBB | 6:00 |
2007
|
|
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
|