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(catalogue from August 1st, 2010)






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.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.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.620 : Septet (2001)  [18']

for flute, clarinet, horn, bassoon, violin, cello 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.632 : Trio for clarinet, cello and piano (2003)  [14’]

24 (+3) pages

M.632a : separate parts : 16 (+3) pages – 15 (+2) pages


Presentation, score excerpts and audio excerpts


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.637 and 638 : Appel I and Appel II (2004)  [1']

for clarinet or any other wind instrument

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).




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 ΰ 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.



In preparation :       


Trio for three basset horns



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