LAURENT METTRAUX
Route Principale 160, CH-1791 Courtaman (Switzerland),
tel. + fax: (+41) 26/684.18.65, E-mail : laurent.mettraux(at)bluewin.ch
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CATALOGUE
(catalogue from August 31st, 2010)
FOR ORDERING A SCORE - PRICE
LIST
SEE ALSO THE SEPARATE CATALOGUES FOR EACH INSTRUMENT
Other works for choir and orchestra
Orchestra without soloist
M.466 :
Symphony for chamber orchestra (1992)
[14']
for chamber orchestra (2*-2*-2*-2* 2-2-0-0
Timp. Strings)
37 (+2) pages
Performing material to be asked from the composer.
CD recording
Presentation, score excerpts and audio excerpts
This
work, first performed very successfully by the Lausanne Chamber Orchestra,
conducted by Jesus Lopez-Cobos, has got the first prize and public prize of
the first competition for young composers in 1993. Tragic and passionate
work, taking advantage of all the resources of a chamber orchestra. A slightly
revised version has been first performed in 1999 by the Philharmonic Orchestra
of Volgograd, conducted by Emmanuel Siffert.
M.515 : Ombre (Shadow) (1995-8) [14']
for full orchestra (3*-3*-3*-3* 4-3-3-1
4Perc. Strings)
36 (+4) pages
Performing
material to be asked from the composer.
Presentation — score excerpt (pdf)
Impressive work, based on a tale by Edgar Poe, where
terror and anguish mix together, with sometimes strange sonorities, from the
imperceptible to the imposing ffff. This work won 1998 the prize of the Donaueschinger
Musiktage, awarded for the first time. First performance by the SWR Symphony Orchestra
Baden-Baden-Freiburg, conducted by Sylvain Cambreling, Donaueschingen,
17.10.1999.
M.603 :
Le Cocyte (1999) [11’]
for
full orchestra (3**-3*-3**-3* bar. sax.
4-3-3-1 4/5Perc. Strings)
15 (+4) pages
Performing material to be asked from the composer.
Presentation, score excerpt and audio excerpt
Describes the freezy and anxious atmosphere of the
frosty lake called up by Dante in his Divine Comedy. Ordered by Pro Helvetia
for the Festival of Arts on the occasion of the 100th anniversary of
the Association of Swiss musicians. First performed by the Symphony Orchestra
of Bern, conducted by Luca Pfaff, St. Moritz,
2.9.2000.
M.458 : Lacrimosa (1990, rev. 2006) [8']
for orchestra or chamber orchestra (2-2-2 (2 basset
horns ad libitum)-2 2-2 3Perc.
Strings)
20 (+4) pages
Performing material to be asked from the composer.
This
work, conceived as a « Tomb of Mozart », draws its thematic substance from two
quotations, one taken from the Masonic Funeral Music KV 477, and the other from the
Lacrimosa of the Requiem. Erected like a funeral monument with granite walls,
this dramatic work contains a more elegiac central part.
M.464 :
Vision Immanente (1992, rev. 2006) [7']
for full orchestra (3*-3*-3-3* 4-2-3-1
Hp Timp. Strings)
19 (+4) pages
Performing material to be asked from the composer.
This work, of epic character,
contains also more agitated passages, contrasting with calm moments.
M.654b : Le Tombeau de Ravel (2006, orch. 2006-7) [6']
for chamber orchestra (2*-2*-2-2* 2-0-0-0
1Perc. Strings)
23 (+5) pages
Performing material to be asked from the composer.
Presentation, score excerpt and audio excerpts
of the original
version for ensemble
This work has been written for a project of the Compagnie CH.AU, for which six composers have written one movement each, corresponding to one of the parts of the Tombeau de Couperin by Ravel. This piece inspires itself of the Menuet of the Tombeau de Couperin, and has principally an elegiac, tender and nostalgic character. The original version of this work is written for an ensemble of 7 instruments.
M.662 : La
Mort sur un Cheval Pâle (Death on a Pale Horse) (2007)
[11’]
for full orchestra (3*-2*-2*-3* 4-4-3-1 2Perc.
Strings)
30 (+6) pages
Performing material to be asked from the composer
Presentation, score excerpt and audio
recording
Commission
by Pro Helvetia for the Basel Sinfonietta. The work is inspired by the episode
of the apparition of the 4th Rider of the Apocalypse and describes the frightful atmosphere and the sensations of
terror it inspires. In order to obtain this, the work uses all the
potentialities of the orchestra, among which, at some places, strange sounds.
The dramatic tension is ensured by the opposition between, on one hand, the
dynamism of the baneful action of the Rider and of his lightning ride, and, on
the other hand, the anguished awaiting and the static pictures of the
desolation following the sudden arise of Death. The
first performance took place on May 31st, 2008, at the Basel Cathedral, with the Basel
Sinfonietta conducted by Winfried Toll.
M.610 : Offrande (1999, rev. 2008) [15’]
for orchestra (2-2-2-2* 2-2-3-1 2Perc.
Strings)
88 (+3) pages
Performing material to be asked from the composer
This work is based on the theme of the Musical Offering, proposed to Bach by Frederic II of Prussia. Several appearances of the theme in canon (generally from 8 to 12 voices, and 20 voices at the end) follow one another with many countersubjects. A rhythm counterpoint forms itself by the adding of various formulas, with a great independence of the voices. A progressive densification in stages exalt the « thema regium » until the final height.
In
project :
-
Orchestration of the Swiss Dances, M. 635
M.481 :
Concerto for 15 soloist strings (1994)
[20']
for 8 violins, 3 violas, 3 cellos and double bass
103 (+1) pages
Performing material to be asked from the composer.
Presentation, score excerpt and
audio recording
Each instrumentalist is at the same time soloist, chamber
musician and member of the orchestra. 3 movements: passionate, elegiac, and the
third more rhythmical, with successive cadenzas for each of the 15 soloists.
First performed during the opening concert of the Tibor Varga Festival 1994, by
the members of the Festival Orchestra,
conducted by Tibor Varga.
M.505 : Concerto (1994) [17']
for piano and orchestra (3*-2*-3*-3* 4-2-3-1
3Perc. Strings)
Full score: 51 (+2) pages
Reduction for 2 pianos: 57 (+1) pages
Work yet to be
first-performed (!! please
contact the composer for first performance)
Impressive work, with a great variety of colours. Slow
introduction, virtuoso part followed by a slow movement altogether of great tenderness
and great sadness. The end is a slow rise towards the light, going through
various stages.
M.544 : Concerto n.1 (1996) [13']
for violin and orchestra (2*-2*-2*-2* 2-0-0-0
Strings)
Full score: 20 (+4) pages
Reduction violin and piano: 11 (+1) pages
Solo violin part: 5 (+1) pages
Work yet to be
first-performed (!! please
contact the composer for first performance)
In two parts, the first one desolated and tragic, with
the cadenza almost at the beginning of the work, and the second one meditating
and profound, going away at the end towards high sounds (soloist part), towards
deep sounds (orchestra), and towards silence.
M.579 : Concerto n.2 (1998) [19’]
for violin and string orchestra (6-6-4-4-1/ 2)
M.579: Full score: 58 (+3) pages
M.579a: Reduction with piano: 32
(+2) pages
Solo violin part: 12 (+2) pages
Performing material to be asked from the composer.
score excerpt (pdf)
First movement virtuoso and passionate, the second
calm and meditative, the third energetic. The cadenza, particularly expressive,
is to be found at the end of the second movement. First performance in
Budapest, conducted by Tibor Varga, with Isabelle Lambelet as soloist.
M.607 : Concerto n.3 (1999) [20']
for violin and full orchestra (3**-3*-3*-3* 4-3-3-1
T.-t. Strings)
M.607: Full score: 51 (+2) pages
M.607a: Reduction with piano: 43
(+2) pages
Solo violin part: 17 (+1) pages
Performing material to be asked from the composer.
Presentation, score excerpts and audio
recording
In two
parts. The first virtuoso and dramatic, the second elegiac, tristamente
semplice. Ordered by the Radio Suisse Romande - Espace 2, compulsory piece
of the International Violin Competition Tibor Varga - 2000. First performed by
Ryoko Yano, winner of the interpretation prize and 1st prize of the
Competition, and the Chamber Orchestra of Lithuania, conducted by Gilbert
Varga.
M.628 :
Concerto for organ and orchestra (2002-3)
[18']
for great organ and orchestra (2*-2*-2*-2* 2-2-2-0
3Perc. Str.)
40
(+4) pages
Solo
organ part (B4) : 35 (+3) pages
Performing material to be asked from the composer.
Presentation, score
excerpts and audio recording
First
performed on the occasion of the inauguration of the new great organ of the
Cathedral of Lausanne (December 2003). German first performance : June 2010 at
the Gewandhaus of Leipzig, with Michael Schönheit and the Gewandhaus orchestra,
conducted by Riccardo Chailly. Alternately virtuoso, thoughtful, fiery or
majestic. The organ has a dialogue with the instruments or opposes the
orchestra.
M.629 : Double Concerto for pipa, violin and orchestra (2002-5) [21']
(2*-2*-2*-2*
2-0-0-0 2Perc. Strings)
64 (+6) pages
Pipa and violin part : 40 (+4) pages
Performing material to be asked from the composer.
To be first performed soon !
Work written for the famous pipa (chinese lute) player
Yang Jing, and the violinist Boris Livschitz. In three movements : the
first one alternates mysterious and energetic passages, the second one is
meditative. The third, Eruptivo, contains an important cadenza for the
soloists.
In
project :
-
Concerto for percussion and orchestra (for Pedro
Carneiro)
-
Concerto for four-handed piano (for
the Silver-Garburg Duo)
-
Concerto for Harp (for Chantal Mathieu)
Instrumental and Chamber Music
M.463 : Sonata in 1 movement (1991) [8']
for piano
12 (+1) pages
score excerpt (pdf)
Tragic and pathetic work, of a great variety of
shades. Very passionate.
M.566 : Sonata (1997) [8']
for pianoforte (Fortepiano), also to be played on a
modern piano
10 (+2) pages
Brings the clearness of the low sounds of ancient pianos
to the fore. Nevertheless, also to be played on a modern piano.
M.621 :
Déploration (2001) [1'30]
for piano
2 (+1) pages
This
short and grave piece shows in particular fragments of desolated melodies, also
in dialogue or in canon, and the muffled hammering of a very low chord.
Commission of the Association Jeune Musique, for the 1st
International Piano Competition of Fribourg.
M.670 : Stèles (2007-8)
[13']
for piano
20 (+3) pages
CD recording
Presentation, score excerpts and audio recording
Cycle of five pieces after poems taken from the
collection « Stèles » by Victor Segalen : Écrit avec du Sang / Written
with Blood (granitic, tensed and terrifying), Joyau mémorial / Memorial
Jewel (enigmatic, from serene joy to
anguish), Éloge du Jade / Eulogy on Jade (bright, cold and sharp like the
jade), Miroirs / Mirrors (made of sparkling reflections, written in a
mirrorlike mode), Juges souterrains / Underground Judges (inexorable,
peremptory and terse).The first performance took place in Lausanne on March 23rd,
2009, by Dana Ciocarlie.
M.673 : Traces gravées dans le Sable (Tracks drawn in the Sand)
(2009) [12']
for piano
12 (+6) pages
CD recording
Presentation, score excerpts and
audio excerpts
The six pieces of this cycle are inspired by texts of
the Chan tradition. These pieces are more meditations on texts rather than a
single description. These appeased contemplations are voluntarily bare and
sober. The first performance has taken place by See Siang Wong in Zurich on
September 9th, 2009.
See also
piano four hands
In
project :
-
Collections of pieces for solo piano
M.456 : Gethsemané (1990) [4']
for organ
6 (+1) pages
CD recording
Presentation, score excerpt
and audio excerpt
Sorrowful evocation as well as
resigned. At least double manual and pedal keyboards. Sounds particularly well
on great organs of romantic style. Has already been played in different places,
two of them being the Kreuzkirche of Dresden and the Braunschweig Cathedral.
First performance in 1994, by Erwin Messmer.
M.465 :
Hommage à Olivier Messiaen (1992) [4’]
for organ
3 (+1) pages
Freely inspired by the poetical
atmosphere of the great French composer. Soft deploration ending in serenity,
composed upon the news of Messiaen’s death. First performance in 1999, by René
Oberson.
M.614 : Lux Mundi (2000) [22']
for organ
26
(+14) pages
Written in such a way it can be played
on different types of organs. To be played either on concerts or during the
liturgy, suitable for the Holy Week or any other occasion. Very meditative
work, alternatively dark or bright, tensed or oppressed. Commissioned by the
European Music Month 2001. First performed by more than ten organists of Basel
and the surroundings, during the Holy Week of 2001.
M.640 :
Veilleur, où en est la nuit ? (2004-5) [5']
for organ
5 (+3)
pages
score
excerpt (pdf)
The title « Veilleur, où
en est la nuit ? » (“Watchman, what of the night?”) is taken from the book
of Isaiah. Between the anguish of the dark night and the hope, inspired by the
watchman, that the day shall rise again.
M.650 : Serenata in chiaroscuro (2005-6) [6']
5 (+1) pages
This
work has been commissioned on the occasion of the 20th Concert
Season of the Orgelserenaden of Berne-Bümpliz. In one single movement, the
piece goes often from brightness to obscurity, and vice versa. It is elliptical
and interrogative. The principal theme, hesitating, alternates with rich
harmonies.
In
project :
- Work for
solo accordion (for Pascal Contet)
M.497 : Fantasia (1994-5) [10']
for solo violin
8 (+1) pages
Very virtuoso work in its middle part (fantastico),
very expressive starting and ending. Contains a fugue on the name of BACH.
Ordered by the Radio Suisse Romande - Espace 2, compulsory piece of the
international violin competition Tibor Varga - 1995.
M.585 :
Soliloque (1998) [6']
for
solo violin
2
(+1) pages
score excerpt (pdf)
Work of great inner contemplation,
between melancholy and serenity. First performance in Morgins, 2002, by Jan
Dobrzelewski, during the festival “Flâneries Musicales de Champéry”.
M.633 :
Complainte (2003) [6']
for solo violin
5 (+2) pages
Presentation, score excerpt
and audio excerpts
Written at the request of Shlomo
Mintz to be the compulsory piece of the International Violin Competition of
Sion (2003). Between rage and resignation, lamentation and anger.
M.639 :
Microlude (2004) [1'40]
for solo cello
1 (+2) pages
score excerpt (pdf)
This short
piece, ordered on the occasion of the inaugural concert of the Compagnie CH.AU,
has an elliptical and enigmatic character.
M.647 : Le Sommeil de la Raison produit des monstres
(2005) [5']
for solo arpeggione
4 (+2) pages
Presentation, score
excerpt and audio recording
After an engraving taken from the Caprichos by Goya. This short piece, concentrated, installs a mysterious and elliptic climate of wait and fear.
M.653 :
Les Espaces Insoupçonnés (2006) [11’]
4 (+2) pages
This work
begins in an elegiac manner, and is followed by a wild passage. A lyrical
melody leads to the central, ecstatic passage, that uses the different kinds of
vibratos in the high and the highest tones of the instrument. Leaving these
« espaces insoupçonnés » (unsuspected spaces), the work returns
progressively to a dramatic and bitter mood, like a come back to earth after an
out of time vision.
5
Microludes M.525, 479,550,558 et 570 (1993-7) [10']
for solo viola
7 (+1) pages
5 works which might be performed separately or
together, as one likes. Sets off the distinctive qualities of the viola.
M.560 : Sonata (1997-8) [12']
for solo viola
6 (+1) pages
Work yet to be
first-performed (!! please
contact the composer for first performance)
3 movements: elegiaco, con passione and meditativo.
In
project :
- Work for
solo double bass
M.451 : Sonata (Nachtmusik) (1990) [11']
for solo flute
4 (+2) pages
Work yet to be
first-performed (!! please
contact the composer for first performance)
The subtitle points out an atmosphere, without any
descriptive indication. Use of contemporary sounds (multiphonics, aeolian
sounds, Tongue-ram, ... ) in alternation with more lyrical passages.
M.511 : Invocation (1994-6) [4']
for solo alto flute (in G)
2 (+1) pages
Work yet to be
first-performed (!! please
contact the composer for first performance)
Contains quarter tones. Inspired
by Middle East music.
M.513 :
Thrène (1995) [5']
for solo alto saxophone
3 (+2) pages
Work yet to be
first-performed (!! please
contact the composer for first performance)
Use of numerous peculiarities of contemporary writing
at the service of a passionate and dreamy atmosphere.
M.637
and 638 : Appel I and Appel II (2004)
[1']
for any wind instrument (wood or brass)
4 (+2) pages
Appel means Call. Both Appels have
been composed within the context of the ORB_IT project of the World New Music
Days 2004. These two short pieces, like miniature fanfares, are written in
order to be playable by any wind instruments (wood or brass).
In
preparation :
-
Work for solo bassoon
M.514 : Miroir du silence (Mirror of silence) (1995) [10']
for harp
5 (+2) pages
Work yet to be
first-performed (!! please
contact the composer for first performance)
Mysterious and meditating work, almost oriental. At
the middle of the score, return to the starting-point by retrogradation.
M.671 : Sonata (2008)
[10']
for guitar
12 (+2) pages
Several episodes linked together : misterioso, presto
(virtuoso), furioso and meditativo. First performance on May 1st,
2009 with Olivia Steiner during the International Guitar Festival of Fribourg.
M.657 : Cloches
du Crépuscule et de l’Aube (2007) [3'40]
for carillon or tubular bells
2 (+ 2) pages
This
piece is written for a 8 notes carillon (c, d, e, f, g, a, b flat, b natural), and can be transposed according to the bells of each carillon. It can also be played on tubular bells. It is based
on thematic cells, some of which use semitone frictions.
M.635 :
Swiss Dances (2003-4) [15']
for piano four hands
40 (+3) pages
Presentation, score excerpts and audio excerpts
This series of 6 Swiss Dances is
made of the following pieces : Ländler, Coraules, Polka, Dwarves Gallop,
Totentanz (Dance of Death) and Dance of the wild man. The first three are
written on themes inspired by the Swiss Folklore, whereas the last three are
more freely inspired, though referring to traditional elements of Switzerland.
M.473 : Adagio (1993) [5']
for violin and piano
8 (+1) pages with violin part : 3 pages
Work of classical aspect, of bright simplicity. Very
melodious violin part.
M.533 : Sonata (1996) [14']
for flute and piano
18 (+1) pages with flute part: 7 (+1) pages
score excerpt (pdf)
3 parts linked together, with a scherzo inspired by
Andine music and a meditative finale, more and more inner. Order of the
Jeunesses Musicales of Gruyères, destined to celebrate their 25th anniversary.
M.551 :
Lied (1997) [6']
for soprano saxophone and piano
9 (+1) pages with saxophone part : 3 pages
Presentation and audio excerpt
Very singing work, showing up the expressive
properties of the saxophone.
M.553 : Sonata (1997) [16']
for cello and piano
22 (+1) pages with cello part: 6 (+1) pages
Work yet to be
first-performed (!! please
contact the composer for first performance)
Epic and dark work, with a slow and elegiac movement
in the middle.
M.655 : Petite
Suite de Danses (2006-7) [8’]
for violin and piano
22 (+ 3) pages with violin part : 10 pages
This little dance suite consists
of four movements (Polka, Dwarves Gallop, Totentanz - Dance of Death - and
Dance of the wild man). It is a transcription of four of the Swiss Dances, originally written for four
handed piano.
In
project :
-
Sonata for violin and piano
M.470 : Sonata (1993) [6']
for trumpet and organ
12 (+1) pages with trumpet part: 2 (+1) pages
Takes advantage of the expressive possibilities of the
trumpet. Organ part without difficulty.
M.529 :
Elégie (1995/7) [5']
for trombone and organ
9 (+2) pages with trombone part: 2 (+2) pages
Work of noble character. Suits the character of the
trombone.
M.473b : Adagio (1993)
[5']
for violin and organ
6 (+1) pages with violin part : 3 pages
Transcribed from the Adagio for violin and piano. Work
of classical aspect, of bright simplicity. Very melodious violin part.
In
project :
- Work for
percussion and organ
M.537 :
Duo (1996) [9']
for violin and cello
10 (+1) pages
Energetic work. Free polyphony and imitation
techniques at the service of a work full of life and invention.
M.540 : Duo
(1996) [11']
for violin and alto saxophone
13 (+1) pages
score excerpt (pdf)
Well level-headed parts, to avoid the saxophone
covering the violin. 4 movements: appassionato, dreamy, energico and inner. An
order of the Jeunesses Musicales of Fribourg.
M.554 : Duo
(1997) [12']
for 2 violas
9 (+1) pages
Presentation of the CD, score excerpts and
audio excerpts
Brings into light the colour of the viola. Alternates
passionate, meditative and energetic parts.
M.576 : Duo
(1998) [13']
for alto flute and guitar
11 (+1) pages
In 3 movements. Elegiaco with subtle sonority, presto
malinconico, mirror-like scherzo, and estaticamente lento, of great
expressive purity.
M.598 : Duo for flute and clarinet (1999) [9’]
9 (+1) pages
CD recording
Work written for the Wiener
Klangforum (first performed 1999 in Boswil). Rather virtuoso and complex,
including among others quarter tones. Very contrasted, from the serene calm to
the pathetic dramatism.
M.609 : Duo for 2 alto saxophones (1999-2000) [10’]
8 (+1) pages
Piece
asking a special effort for breathing. First performed during the 12th
World Congress of Saxophone by Philippe Savoy and Elie Fumeaux.
M.630 : Reflets (2003-4) [12']
for violin and percussion (1 percussionist)
22 (+4) pages
Presentation, score excerpt
and audio excerpt
Violin and percussion give answer
to one another, imitate, call, influence, attract or repulse each other, as
reflections of one another. The percussion part requires a lot of timbres and
ways of playing.
M.652 :
Émergences (2006) [7']
for violin and accordion
10 (+3) pages
CD recording
Presentation,
score excerpt and audio excerpt
This
work has been written for Marianne Piketty and Pascal Contet, on request of the
Festival des Musicales d’Auberive (France). It is a little enigmatic work,
basing itself on one hand on threatening, or even stormy clusters, and on
impassive tritones, and, on the other hand, on lyrical of dreamy passages. The
title can evoke the emergence of forces of the Subconscious, the emergence of
physical or meteorological phenomena, or also the emergence of sonorous events,
for instance the pianissimo apparition of the violin under a forte of the
accordion.
M.669 : Inventio (2008)
[2'30]
for 2 oboes, or 2 oboes d’amore, or 2 english horns,
or 2 heckelphones
2 (+2) pages
Can also be interpreted by an oboe and an oboe
d’amore, or an oboe d’amore and an english horn, in playing the written notes :
the intervals are thus different, but the musical result remains coherent. The
work is very contrapuntal and full of imitations, both voices having the same
importance.
In
project :
- Duo for
two harps
M.520 : Trio (1995-6) [17']
for violin, cello and piano
35 (+1) pages ; violin and cello parts: 20 (+1) pages
– 20 (+1) pages
Presentation, score excerpts and audio excerpts
Tragic
work, with tensed climates, sometimes mysterious, even terrifying, a scherzo
furioso and a more calm ending. Commission of the Animae Trio, which first
performed it in Fribourg and at the Melos-Ethos Festival of Bratislava.
M.552 : String trio (1997-8) [18’]
for violin, viola and violoncello
26 (+2) pages
M.552a: performing material : 9 (+2), 10 (+1), 11 (+1)
pages
Presentation, score excerpts and audio excerpts
Meditating work. The central part
alternates growls of revolt and of resignation, even grief. The appeased end
moves off to inner silence. Commission of Pro Helvetia for the Zurich String
Trio, which first performed it during August 2000 on the occasion of a tour in
India and Sri Lanka.
M.569 :
Trio for flute, viola and harp (1997-9)
[11’]
10 (+1) pages
M.569a: flute and viola parts : 2 x 2 (+1) pages
score excerpt (pdf)
In a single movement, slow and melancholic, written in
a funeral way.
M.573 :
Trio for alto saxophone, violoncello and piano (1998-9) [17’]
17 (+2) pages
M.573a: saxophone and cello parts: 2 x 12 (+2) pages
CD recording
Presentation, score excerpt and audio excerpts
2
contrasted movements: the first passionate, ending in distress, and the second
meditating, ending in serenity. Simultaneous performance, on February 11th,
2000, during concerts organized by the “Association for the Development of the
Classical Saxophone”, which commissioned the work, in more than ten cities in
Switzerland and abroad.
M.580 : Paremboles
(1998) [11']
Version
for flute, clarinet (B flat) and saxophone (soprano in B flat and alto in E
flat) : you can find more information about this work in the rubric variable
ensemble
M.632 :
Trio for clarinet, cello and piano (2003)
[14’]
24 (+3) pages
M.632a : separate parts : 16 (+3) pages – 15
(+2) pages
Ordered
by the Avalon Trio, first performed in April 2004 during the « 2 days
& 2 nights of modern music » Festival of Odessa and during a concert
tour in Ukraine. In three movements : angoscioso, where the lyricism of the clarinet
and of the cello contrasts with the implacable rhythms of the piano ;
scherzo furioso, followed by a more calm ending. This work is inspired, among
others, by elements of the Klezmer music.
M.649 : Suite for three flutes (2005-6) [13']
for three flutes (also piccolo, alto flute in G and
bass flute)
20 (+3) pages
Presentation, score excerpts and audio
recording
This Suite is made of four
movements, each of which puts into light a different instrument. The first
movement, with alto flute, is mysterious and of changing mood. The second, with
piccolo, is spontaneous, skipping along and almost carefree. The third, very
serene, is near to a Zen meditation, and puts into light the bass flute. The
last movement, written for the three flutes in C, is voluble and dynamic.
In
preparation :
-
Trio for three basset horns
M.474 : Quartet of saxophones (1993) [22']
For 4 saxophones (s., a., t., bar.)
62 (+1) pages
M.547a : performing material: 12 (+1) pages and 3 x 10
(+1) pages
In 4
movements, the third being a scherzo furioso. Well level-headed between
the 4 instrumental parts (with solos for each part) and particularly well
fitting to the tone and very expressive character of the saxophone family.
First performance in 1994 by the Saxophone Quartet of Geneva, within the
context of the Musical Youths of Fribourg.
M.484 :
Exils (1994/7) [9']
for violin, cello and 2 percussionists
17 (+3) pages
Work yet to be
first-performed (!! please
contact the a composer for first performance)
Non-traditional writing, but easy to understand.
Mystery, spelling passages, with superimposed tempi. Lyrical and nostalgic end,
during which the violinist goes away and leaves the hall while still playing.
M.547 :
Flute quartet (1996) [9']
for 4 flutes (first one also piccolo, fourth one also
alto flute in G)
19 (+1) pages
M.547a : separate parts for the second and the third
flute : 2 x 5 (+1) pages. The first and the fourth flutes use a copy of the
whole score.
Mysterious sonorities and elegiac climate out of time,
punctuated by flashing outbursts of energy. The non-conventional use of triad
chords opens the way for intense sonorous landscapes.
M.580 :
Paremboles (1998) [11']
Version
for flute, clarinet (B flat), saxophone (soprano in B flat and alto in E flat)
and piano : you can find more information about this work in the rubric variable
ensemble
M.582 : Sonata a quattro (1998) [9']
for flute, horn and 2 trumpets
14 (+1) pages ; performing material: 2 x 9 (+1) pages – 2
x 8 (+1) pages
Subtle and delicate sonorities. Work which articulates
itself around perfect consonances, requesting a great purity of intonation.
M.587 : String quartet n.1 (1998-9) [17’]
for 2 violins, viola and violoncello
12 (+1) pages
M.587a: performing material : 10 (+1), 3 x 8 (+1)
pages
Presentation, score excerpt and audio excerpts
Ordered for the Talich Quartet,
which has declared to have “enjoyed playing this lovely, thoughtful piece”.
Single slow movement of a distress as extreme as its expressive density.
Feeling of resignation.
M.636 : Attente (2004) [11']
for saxophone, cello, piano and percussion (1 percussionist)
22
(+4) pages
M.636a:
performing material: 16 (+3) pages – 16 (+3) pages – 22 (+4) pages
Work yet to be
first-performed (!! please
contact the composer for first performance)
This work is in turn passive and resigned, or active
and revolted expectation. The saxophonist plays on three instruments :
successively baritone, soprano and alto.
M.648 :
Stimmungen (2005-6) [13']
for 4 cellos
16 (+5) pages
Presentation,
score excerpts and audio excerpts
The
five movements of this work, ordered by the Festival Viva Cello of Liestal,
have very contrasted atmospheres. The first movement is a contrapuntal
appassionato ; the second, a melancholy piece ; the third a macabre and
fear-inspiring movement. The fourth movement is wrathful and bases itself on
chords on the four strings and clusters ; the last movement is dreamy, with
suspended melodies and glissandi on the harmonics.
M.660 : Cyprès
(2007) [3’20]
for string quartet (2 violins, viola and violoncello)
5 (+ 2) pages
M.660a : performing material : 4x2 (+1) pages
This
short work has been written on the occasion of the first performance of the
complete song cycle « Cypresses » by Dvorak, out of which Dvorak
himself had transcribed for string quartet 12 of the songs. The work has a
nostalgic character, and uses the melodic cells taken from the 15th
song of the cycle, which Dvorak hasn’t transcribed for quartet.
M.675 : Offrande Funèbre en hommage à Bach (2010) [5']
for flute, violin, cello and organ
10 (+2) pages
M.675a : performing material : 3 x 3 (+1) pages
The Offrande Funèbre en hommage à Bach (Funeral
Offering in homage to Bach) is based on four themes : an omnipresent plaintive
and almost obsessive motive ; the theme of the Funeral Offering itself ; a
lyrical theme, at first played by the flute ; at last, a chromatic basso
ostinato, sometimes descending,
sometimes ascending. The four themes intermingle progressively, while
the organ plays the beginning of the Ricercar
a 3, which dissolves gradually after the entry of its 3rd voice.
Commissioned by the Schweizer Kammerensemble, which first performed it in
Lenzburg (Switzerland), on August 20th, 2010.
M.612 : Wind Quintet (2000) [16’]
For flute (also piccolo and alto flute), oboe,
clarinet (b), horn and bassoon.
31 (+2) pages
M.612a : Performing material : 31 (+2) pages – 31
(+2) pages – 30 (+2) pages – 29 (+2) pages – 26 (+2) pages
Presentation, score excerpt and audio recording
Every instrument is valued, in a
great variety of colours, work successively energetic, melancholic, mysterious,
desolated or contemplative. Order of the Eole Quintet, which first performed it
September 2001, in the “Espace Jean-Tinguely-Niki de Saint-Phalle” of Fribourg.
M.618 : String quintet (2001-2) [17']
for 2 violins, 2 violas and cello
28 (+1) pages
M.618a : performing material : 3 x 13, 12, 14 pages
Presentation, score excerpt and audio excerpts
Commissioned by the Zurich String Quintet, this work
has been first performed during a tour in Finland and Lithuania, in July 2003.
A great movement, slow and oppressive, out of which emerges a kind of running
to the abyss based on an implacable ostinato.
M.627 :
Quintet for flute and strings (2002-3)
[14']
for flute, violin, 2 violas and cello
33
(+2) pages
M.627a :
performing material : 16 pages + 4 x 12 pages
score excerpt (pdf)
Written
for Alexandre Magnin and the Janacek Quartet, full of dreamy nostalgia. The
sonority of the Quintet is more well-balanced, thanks to the use of a second
viola instead of a second violin. “There are to be found all human feelings in
this Quintet” (A. Magnin).
M.642 : Suite for wind quintet
(2005-6) [18']
for flute (also piccolo and alto
flute in g), oboe (also english horn), clarinet in b flat (also little clarinet
in e flat, bass clarinet in b flat and ad libitum clarinet in a), bassoon (also
contrabassoon) and horn
36 (+5) pages
This suite, taken from the scenic
work « Les Serrures à Secret », is made of four movements and two
short interludes. The first movement is mysterious and almost hypnotic, the
second ironical, grotesque and mocking, the third first grave and solemn, then
progressively more appeased, and the fourth, first like a dance on obsessive
rhythms, ends on a touch of nostalgia. As for the two interludes surrounding
the second movement, they are quite in the spirit of the Musiques d’ameublement
by Satie. The full score serves also as separate part for each instrumentalist.
M.668 :
Quintet for clarinet and strings (2008)
[12']
for clarinet, 2 violins, viola and cello
37
(+2) pages
M.668a:
performing material : 10 (+1) pages – 10 (+1) pages – 12 (+1) pages – 11 (+1)
pages – 11 (+1) pages
Commissioned by the Davos Festival, first performed
2008 by Shirley Brill, clarinet, and the Terpsycordes Quartet. This work is
built on several short cells, developed, mixed and transmuted during the whole
work. The counterpointed work plays with the pitches (also in the extremes) and
the oppositions between diaphanous passages, nostalgic melodies, and more
clashed and violent moments, the whole generating progressively a mixing of the
themes, of the melodic lines and rhythms.
M.620 :
Septet (2001) [18']
for flute, clarinet, horn, bassoon, violin,
violoncello and piano
41 (+3) pages
M.620a : performing material : 25 (+2) pages – 25
(+2) pages – 25 (+2) pages – 27 (+2) pages – 26 (+2) pages – 27 (+2) pages
Presentation, score excerpt and audio excerpts
This septet has been especially written for the formation of the Mittelland Ensemble. Five movements linked together, mixing disquieting, tragic, mysterious or melancholic aspects.
M.654 : Le Tombeau de Ravel (2006) [6']
for tenor saxophone, bassoon, violin,
cello, piano, guitar and percussion
14 (+5) pages
M.654a : performing
material : 2 (+2) pages – 2 (+2) pages – 3 (+2) pages – 3 (+2) pages
– 2 (+3) pages
Presentation, score excerpt and audio excerpts
This work has been written for a project of the Compagnie CH.AU, for
which six composers have written one movement each, corresponding to one of the
parts of the Tombeau de Couperin by Ravel. This piece inspires itself of the
Menuet of the Tombeau de Couperin, and has principally an elegiac, tender and
nostalgic character. It has also been instrumented for a chamber orchestra.
M.580 : Paremboles
(1998) [11']
for flute, clarinet (B flat), saxophone (soprano in B
flat and alto in E flat), viola ad libitum and piano (2 or 4 hands) ad libitum
30 (+2) pages ; performing material : 7 (+2) pages – 9
(+2) pages – 6 (+2) pages – 4 (+2) pages
Work which might be performed in 6 different versions,
according to the principle of the adding or the retrenchment of one or more
voices. From granitic to deep emotion, following compositional forms of the Ars
antiqua, but with contemporary harmonies.
M.528 : Vers le soleil couchant (Towards the setting sun), oratorio (1995-6) [42']
for 4 soli (SATB), children's or young girl's choir,
mixed choir and orchestra (0-c.a.-2 basset horns-2 0-2-3-0
Perc.(2) Vl. and Vc. soli strings)
M.528 full score 148 (+15) pages
M.528a reduction voice/piano: 91
(+15) pages
Performing material to be asked from the composer.
CD recording
Numerous
texts, also superimposed, on the subject of death, from the epic of Gilgamesh
to E. Brontë, from the Vedas to Apollinaire (in English, French, German,
Italian, Latin and Sanskrit languages). Very impressive work in its
expressivity and its musical as well as philosophical development. Multitude of
climates and very appeased ending. An order from the choir of the Fribourg
University, which has first performed this work with great success in June
1996.
M.625 : Le
Nom Caché (The Hidden Name), oratorio (2001-2)
[48']
for 4 soli (SATB), mixed choir, solo cello, two pianos
and percussion (6 players)
M.625 full score 149 (+30) pages
M.625a reduction voice/piano:
197 (+26) pages
Performing material to be asked from the composer.
CD recording
Presentation, score excerpts and audio
excerpts — Text
Ordered by the National Swiss Exposition (2002). Work
based on texts stressing the anguish, and then the appeasement of the beings
facing the mystery of a hidden God, that can’t be named. The work develops
itself while following the various human feelings : questioning, rebellion,
despair, haunting doubts, acceptation of the limits of human comprehension,
contemplative silence.
Other works for choir and orchestra
M. 672 : Choral
Variations on the Christmas Carol « Vom Himmel hoch, da komm’ ich
her » (2009) [15']
for choir and orchestra (2-3*-0-3* 0-3-3-0
Hp. Vle-Db)
M.672 full score 40 (+8) pages
M.672a reduction voice/piano: 34 (+4) pages
Performing material to be asked from the composer.
Commissioned by the Gewandhaus Leipzig. First
performance June 2010 with the GewandhausChor and the Gewandhaus Orchestra
Leipzig conducted by Riccardo Chailly (during the Leipzig Bachfest and the
concert season of the Gewandhaus). Uninterrupted Variations,
often intermingled, on two themes (the choral and a chromatic theme) treated by
evolving modification and by numerous canons. The work is as well contrapuntal
and lyrical, fluctuating between anguished expectation and confident hope in
the divine coming. The passages for choir and orchestra, on a few verses of the
text by Luther, alternate with those written for orchestra only. The score is
written for the same instruments as in Stravinsky’s Chorale Variations.
M.471 :
mass for 8 voices (1993) [15']
for mixed choir (8 a capella voices)
76 (+1) pages
Work yet to be
first-performed (!! please
contact the composer for first performance)
Work difficult to perform, but also suitable for a
group of 8 soloist singers. Tormented and polyphonic Kyrie, tonic Gloria,
granitic Sanctus, melismatic Benedictus and melancholic Agnus Dei. In Latin language.
M.503 :
Nur noch kurze Zeit (1994) [2']
for mixed choir (4 voices)
8 pages
Rather chromatic and difficult. Polyphony bringing
savoury harmonies. Text taken from Isaiah (XXIX 17-19), in German language.
M.562 : 1ère
lamentation du Jeudi-Saint (1997) [10']
for mixed choir (4 voices)
11 (+2) pages
Work yet to be
first-performed (!! please
contact the composer for first performance)
In Latin language. Music with rhythmical scansion near
to Gregorian music, but chordal. Large phrases and atmosphere of deep
collectedness.
M.563 : Lucis Creator optime (1997) [9']
for children's choir (2 voices)
5 (+2) pages
Work yet to be
first-performed (!! please
contact the composer for first performance)
In Latin language. Very large phrases, with very pure
dissonances and bright consonances.
M.589 : Crucifixion (1998) [18’]
for mixed choir a capella
28
(+3) pages
Text — score excerpt (pdf)
On a
text by the composer, partly inspired by the Gospels. Alternates impressive
parts, because of their tension, and Gospel excerpts, where every shade of the
text is evoked. first performance by the Chamber Choir of the University of
Fribourg during the Festival “Greifswalder Bachwoche” on June 11th,
1999.
M.596 : Erhebt die Stimme (1998) [3’]
for mixed choir (4 voices)
3 (+1) pages
CD recording
score excerpt (pdf)
Piece with crafty harmonies. Text by Ben Sirach (XLIII
29-30)
M.611 : La plus belle des lumières
(2000) [15’]
for mixed choir (8 a capella voices)
67 (+4) pages
Text
— score excerpt
(pdf)
(The
most beautiful of the lights). Text by the composer after the Rig Veda. The
evocative harmonies inflate in two great successive waves, from the night, altogether
pacifying and disquieting, to the triumphal arrival of the light. First
performed by the New London Chamber Choir, conducted by James Wood, on the
occasion of the Festival of Sacred Musics of Fribourg, which commissioned the
work, on July 14th, 2000.
M.616 :
Messe pour chœur d’hommes a cappella
(2000-1) [6']
For men’s choir (4
voices : TTBB)
8 (+1) pages
Mass especially suitable for amateur choirs. In French language.
M.645 : Le Vent blesse les Branches des Cerisiers
(2005) [3']
for mixed a cappella choir (SATB)
5 (+2) pages
Text — score excerpt (pdf)
the
text of this song is inspired by a few haikus by Saigyo, Japanese Zen monk of
the 12th century. The music is simple and appeased , a little melancholic.
Relatively simple to sing.
M.651 :
Plus près de toi que tu ne l’es toi-même (2006)
[13']
for vocal ensemble (little choir of 8 soloists and 8
voices choir)
41 (+4) pages
Presentation, score excerpts and
audio excerpts — Text
Text by the composer, after texts of different spiritual
traditions. It has been written in 2006 for the Foundation for Universal Sacred
Music of New York, commission
awarded through competition. The work alternates
tensions and relaxations, as well on the agogical as on the harmonic level.
In
project :
-
Different choral works
M.462 :
Racines avides (1991-2) [17']
for middle voice and piano
23 (+5) pages
Work yet to be
first-performed (!! please
contact the composer for first performance)
7 poems in French language by Luce Péclard relating
the human search for the inside of his being. Polyphonic, subtle accompaniment
by the piano; more mystical and bare parts.
M.548 :
Auf die erniedrigende Erhebung und erhebte Niedrigkeit (1997) [5']
for high voice and piano
6 (+1) pages
Text in German language by Catharina Regina von Greiffenberg.
Conflict between mysticism and human torment. Appeasement during the coda,
played only by the piano.
M.549 :
Elògio della Nòtte (1997) [10']
for voice and piano
12 (+3) pages
CD recording
Presentation, score excerpt and audio excerpt — Text
Three versions : original version for bass voice,
version for alto voice, version for medium voice. On texts by Michelangelo, in
Italian language. Dark and tormented, then meditative and appeased.
particularly well-written for the bass-voice. The accompaniment is sober, which
is even more impressive.
M.559 : Al
cor di zolfo... (1997) [5']
for bass-voice and piano
5 (+2) pages
Between passion and thought. On a sonnet by
Michelangelo (in Italian language).
M.659 : Quelle terre est vide de toi ? (2007)
[3’]
for high voice and piano
7 (+ 3) pages
Text and audio excerpt from the
oratorio out of which this song is taken
This song is a transcription of a passage of the oratorio « Le Nom Caché » (The Hidden Name). The text, by the composer, is inspired by mystic poems of the sufi sage Hallaj ; it is a meditation on the unknowable nature of the Divinity.
In
preparation :
-
Work for voice, flute, viola and harp after haiku
texts
-
Collections of works for voice and piano: cycles on
words by V. Hugo, Shakespeare, etc...
In
project :
-
Works for voice and guitar, for voice and cello
M.478 :
Lysistrata (1993-4) [120']
for actors, choir and percussion ensemble
1170 pages
After Aristophanes. Uses more then a hundred of percussion instruments. First performance in 1994 during 11 performances, directed by the composer, in a place especially prepared for this spectacle.
M.634 :
Les Serrures à Secret (2003-5) [95']
For solo bass, actors, choirs and instrumental
ensemble
242 (+16) pages
On a libretto by Michel Gremaud. Explores the myth of Hephaestus, placed in our time. The instrumental ensemble is divided into different groups, among which a wind quintet and a percussion ensemble.
In
project :
Opera after a Japanese medieval stage work
Thyestes, after Seneca
Other projects on request
All commissions welcome!