Katharina Rosenberger’s music is available at Project Schott, New York, USA: https://www.eamdc.com/psny/composers/katharina-rosenberger/ 
and Edition Musicale Suisse, Lucerne, Switzerland: http://www.musicedition.ch/sme/index_e.htm
for self-published work please contact me directly: [email protected]

Stage

Meeresgesänge
for 12 choreographed solo voices and three percussionists 8'
2018

commissioned by Fritz Hauser / Chortrommel Project

Premier of the concert version August 18, 2018, Festival Lucerne, KKL Lucerne, featuring the Basler Madrigalisten and Trio Klick

"Meeresgesänge" combines vocal sounds with physical gestures and presents a choir sculpture that slowly moves across the stage. The three percussionists are positions in a triangle shape around the audience.

Based on Homer's Odyssey, Cantos 9 - 12 (Project Gutenberg)

Late Nite
soundscape 65'-75'
2005

a play Matthias Lehmann 
premiered September 17, 2005, Theater Tuchlaube, Aarau, Switzerland

WAX
soundscape 55’25
2002

in collaboration with Mela Meierhans for “Sogni – Più belli della realtà svelata”, a music theater by Esther Flückiger after “Die Wachsflügelfrau” by Emily Hasler
premiered January 31, 2003, Teatro Sala Uno, Rome, Italy

le 11 passioni dell’anima
music for brass quintet, 11 sculptures and a mime 28’
2000

inspired by St. Thomas of Aquinas and his studies on the human soul 
commissioned by the ensemble Clangore, premiered as part of the exhibition "Mostra Internazionale G'99", September 3, 2000, Vira Gamborogno, Switzerland

Camino de Estrellas
music for theatre 12' to 60‘
1999

a play by Nuria Alcorta for string quartet and electronics commissioned by the Institutes Cervantes, New York, USA

Iphigenia in Aulis
lyrical drama in one act 50’
1997

after Euripides, libretto K.Rosenberger / Steven Dooner for 4 soloists, narrator, choir and orchestra premiered by the Synergon Orchestra & Chorus, under the direction of Tibor Pusztai, December 8, 1997, St. Cecilia Church, Boston, USA

Orchestral

PERIPHER
2.2.2.2, 2.2.1, pn, hp, 8.4.4.4.2. and solo percussion 10’
2011 / 2012 has audio

commissioned by the Société de Musique de la Chaux-de-Fonds, pemiered by the L'Orchestre de Chambre de Genève, François Volpé (solo percussion), David Greilsammer, March 18, 2012, Salle de Musique de L'heue bleue, La Chaux-de-Fonds, Switzerland

parcours III
fl (bass-fl), ob, cl (bass-cl), alto sax, bn (contra-bn), hn, trp, tbn, 1.1.1.1.1. and electronics 15'
2007 / 2008 has audio

premiered by the Manhattan Sinfonietta under the direction of Jeffrey Milarsky, May 6, 2008, Merkin Concert Hall, New York, USA

parcours III (excerpt)
mokume gane
large ensemble, 2fl, ob, cl, alto sax, bn, hn, 2trp, tbn, tb, perc, pn, hp, 5.4.0.4.1. 14’
2005

commissioned by the City of Nîmes, premier in November 2005, Orchestre de Nîmes, under the direction of Jean Deroyer

mokume gane
for string orchestra 15'15
2002 / 2003

commissioned by the Hans Scheuble Stiftung, Zurich, Switzerland

Anunit
for small orchestra (fl, cl, sax, bn, hn, trp, tb, 2perc, pn, 1.1.1.1.1.) and improvised electric guitar 14’
2001

premiered by John Bisset, mo ensemble, under the direction of Christopher Austin, June 27, 2001, Red Rose, London, UK

white with rectangular objections
for small orchestra (fl, ob, cl, bn, hn, trp, tb, perc, hp, pn, 1.1.1.1.1.) 7'30
2000

premiered by the Manson Ensemble, under the direction of Simone Fontinelli,
November 3, 2000, Duke's Hall, London, UK

nucleus
for 15 solo strings 7'30
2000

premiered by the RAM soloists, under the direction of Clio Gould, Duke's Hall, London, UK

Chamber music

SCHICHTUNG
organ and multichannel electronics 45'
2018
Lightinstallation Münster Bern
Photo: Annette Boutellier

premiered September 8, 2018 Musikfestival Bern, "Nachtgezeiten / Zeitinseln" Münster Bern by organist Daniel Glaus, diffusion electronics Beat Müller, Katharina Rosenberger

 

 

unzeitig – Zeitdehnung / Zeit(ent)faltung / Zeitinseln – dies sind alles Begriffe, welche sich bei einer Betrachtung von imposanten alpinistischen Gesteinsstrukturen in meinen Gedanken wiederfinden. So beherbergen gewaltige Felsformationen eine Vielzahl von Schichten und Materialien aus verschiedenen geologischen Zeiträumen. Monolithisch und scheinbar unveränderlich thronen sie über den Tälern, doch klimatische Veränderungen infiltrieren das Sediment und schmelzen kurzfristig lang bestehende Gesteinsschichten, glätten Felsfalten und waschen Eisinseln weg.

 

Schichtung für Orgel und Elektronik orientiert sich nach diesen geologischen Entwicklungen. Die dreiteilige Komposition alteriert zwischen sich langsam etablierenden harmonischen- sowie klangfarblichen Schichtungen und schnell verlaufenden chromatischen Strängen. Gewaltig brechen die vertikalen Strukturen auseinander, dann wiederum kaum hörbar reihen sich raunende Säulen  vor und unter linearen Schichtungen ein. Die Elektronik dient als subtiles Bindeglied zwischen der spielenden Orgel auf der Empore und dem lauschenden Publikum. So greift die Elektronik mikroskopische Elemente einer dichten Klangtextur auf und drapiert diese gezielt um die Zuhörerschaft herum. Schwingungen, Klangfarben und Rhythmen werden näher an die Ohren und an die Körper der Lauschenden herangetragen und unterstreichen so die physische Einbindung des Publikums in die Entfaltung eines Tons, einer harmonischer Struktur und von Klangfeldern oder Klangschichtungen.

 

Ich danke für die inspirierende und enge Zusammenarbeit mit dem Organisten Daniel Glaus. Komposition und Bearbeitung Elektronik: Katharina Rosenberger, Programmierung Max/MSP: Elliot Patros, Klangregie: Beat Müller.

audience münster bern
Photo: Annette Boutellier
surge
bass clarinet, prepared piano, violoncello 13'
2018

commissioned by Wittener Tage für neue Kammermusik with the great support of the Swiss Arts Council Pro Helvetia

premiered by Trio Catch, April 28, 2018, Wittener Tage für neue Kammermusik, Saalbau, Witten, Germany

 

 

Bögen
four hand piano 3'
2017

commissioned by Bugallo-Williams Piano Duo, premiered on May 22, 2017, Gare du Nord, Basel, CH

Part of Amy Williams' and Helena Bugallo's "Microludes, György Kurtág Program"

 

trio (quasi) en sol
string trio 11'
2017

commissioned by Swiss Chamber Music thanks to the great support of Swiss Arts Council Pro Helvetia

Re-SHIFT
for two trombonists 2'30
2016 has audio

premiered by RAGE THORMBONES, Matt Barbier and Weston Olencki, January 12, 2016, Beta Level, Los Angeles, USA

Ragethormbones

On SHIFT hat [now]ART 199, 2017

Katharina Rosenberger
SHIFT
WasteLAnd with
RAGE THORMBONES
Nicholas Deyoe, e-guitar, conductor

Re-SHIFT is performed by RAGE THORMBONES, Matt Barbier and Weston Olencki

modules
t-sax, e-guit, perc, pno, all amplified with effect pedals (volume, distortion, overdrive, pitch-shift)
2015 has audio
one sees the set up of the saxophone and all its effect pedals

modules is a composition, which can be performed from top to end without interruption, or alternatively the piece can be split up in five smaller sections. These sections I call modules. The composition is conceived for a spatialized set up that invites the audience to dwell in the middle surrounded by the geometry of the ensemble's sonic calls and textures.

modules has been commissioned by Gare du Nord, Basel, for the 2014/2015 Ensemble Nikel Residency.
World premier, March 12, 2015, Gare du Nord, Basel, Switzerland.

 

Photo: Ensemble Nikel at the Felicja Blumental Festival, Tel Aviv, Israel, April 2016

Ensemble Nikel playing modules in Israel

Recording:

wasteLAnd
Brian Walsh, saxophone
Nicholas Deyoe, e-guitar
Justin DeHart, percussion
Richard Valitutto, piano

for the Portrait CD SHIFT, Hat Hut Records, hat [now] ART 199

shift
flutes, ob, clarinets, 2 trombones, perc, piano, 2 vln, vla, vcl, cb 11'30
2014 has audio

commissioned by AMS, Lausanne, premiered by the Nouvel Ensemble Contemporaine, August 26, 2014, Festival des Jardins Musicaux, Cernier, Switzerland under the direction of Pierre-Alan Monot

Recorded on SHIFT at hat [now]ART 199, 2017

with WasteLAnd and RAGE THORMBONES (Matt Barbier and Weston Olencki)
Nicholas Deyoe, e-guitar, conductor

Members of ensemble WasteLand
Members of WasteLAnd during recording SHIFT, photo: K. Rosenberger
Erzählung
bass flute, bass clarinet, percussions, piano, violin, violoncello 11'30
2013 has audio

commissioned by Musik & Wort, Lucerne, premiered by the Moscow Contemporary Music Ensemble, October 7, 2013, Moscow, Russia

After Igor Stravinsky's "L'Histoire du Soldat"

éventer I + II
bass flute, bassoon, harp, violoncello 2'45 / 2'30
2012

premiered by ensemble Reflexion K premiered November 2012, Neue Musik Eckernförde, Germany / Festival Bernaola, Victoria, Spain

 

éventer I + II was originally written for flute, alto saxophone, violin, and violoncello as part of the video-opera "X - suite filante" (2007)

Tinguely Machine 2.0
cb flute, cb sax, tuba 8'55
2010 / 2011

commissioned by KONTRA TRIO premiered March 20, 2011, "akku" Emmen, Lucerne, Switzerland

La Chasse
for two alto saxophones
2010 has audio
„C’est pourquoi les moments violents du récit, les moments dramatiques sont ceux où la personne suivie fait demi-tour, prise d`une inspiration soudaine, faisant volte-face comme une bête pour vendre chèrement sa vie. Le système se renverse immédiatement, et le suiveur est suivi...
suivre pour être suivi, se masquer pour être démasqué, apparaître pour disparaître, deviner pour être deviné ... „

La Chasse is a re-orchestration of the vocal duet “Voc_1b” initially written for the video opera X – suite filante by Katharina Rosenberger and Ivan Talijancic (WaxFactory), premiered August 18, 2007, Zürcher Theaterspektakel, Rote Fabrik, Aktionshalle, Zurich, Switzerland.

 

Scene: Day 5 “ ... prendre sa revanche ... ”

 

Text: Iva Sanject / Ivan Talijancic after “Suite Venitienne” (Please Follow me) by Sophie Calle and written responses by Jean Beaudrillard

Recorded by the Landman/Stadler Saxophone Duo, February 2018, 940 St. Nicholas Ave, NYC
the picture shows the Landman/Stadler Saxophone Duo
scatter 2.0
fl, cl, pn, perc, vln, vcl 9'45
2010

commissioned by ensemble für neue musik zürich, version 2009 premiered Nov 19, 2009, Forum Siegfried, Zofingen, CH

parcours III
version for octet - fl, cl, alto sax, tbn, vln, vla, vcl, cb and electronics 12'10
2010 has audio

premiered July 27, 2010, Millers Theatre, New York, USA by Wet Ink Ensemble under the direction of Carl Christian Bettendorf

Recorded on hat [now] ART 186

WET INK ENSEMBLE & guests
Ariana Lamon-Anderson (clarinets), Eliot Gattegno (saxophones), Ian Carroll (trombone), Andrew McIntosh (viola), Eric Moore (cello), Scott Worthington (contrabass)

Carl Christian Bettendorf - conductor

Recording parcours III
Recording parcours III with Wet Ink Ensemble and guests
torsion
piano 9’15
2008 has audio

comissioned by Simone Keller, premiered April 24, 2009, Kunstraum Walcheturm, Zürich, CH

miroir
flute, soprano saxophone
2007 / 2007 has audio

performed by Erin Lesser, Eliot Gattegno WET INK ENSEMBLE

on hat [now] ART 186

 

miroir exists also for
flute and alto saxophone
bassflute and bassoon

Octuor Nº 3
fl, cl, alto sax, tbn, vln, vla, vcl, cb and handpercussion 12’
2006 / 2007

premiered May 5, 2006 by Ensemble Polychronie, Galerie District, Marseille
under the direction of Laurent Melin

fünf Bilder für Oktett - Bild 3A
fl, cl, alto sax, tbn, vln, vla, vcl, cb 5'30
2006 has audio

premiered March 26, 2006 by the Columbia Composers Ensemble at Merkin Hall, New York under the direction of Carl Christian Bettendorf

fünf Bilder für Oktett - Bild 3A (excerpt)
ocean greyness
alto saxophone 12’
2003 / 2004

premiered by Massimo Mazzoni, April 14, 2004, Merkin Hall, New York, USA

fünf Bilder für Oktett - Bild 1
fl, cl, alto sax, tbn, perc, vln, vcl, cb 8'30
2004

premiered January 9, 2005 as part of the "Portrait Concert" Katharina Rosenberger and Kaspar Ewald, Forum für Neue Musik, Lucerne, Switzerland

zsOom
amplified contrabass 7'15
2003

Bewegungsstudie III (study on movements III) 
commissioned by Cristin Wildbolz as part of the "K9+one" tour, premiered May 3, 2004, Electronic Music Foundation @ Chelsea Art Museum, New York, USA

s(S)treifen
violin, contrabass, piano 5’30
2002

Bewegungsstudie I (study on movements I)
premiered by Ensemble Sonata Concert, May 2002, Paris, France

ahom
piano 4'30
2002 has audio

performed by the great Hsing-ay Hsu at the Pendulum New Music Festival, Boulder, CO, USA
February 22, 2017

And also a wonderful interpretation by Los Angeles based pianist Richard Valitutto

ahom Richard Valitutto
Xylodessia
percussion quartet 10’
2001

premiered by So Percussions, January 2002, Casa Italiana, New York, USA

Vocal

oh... n(o)w, roar all over and over again
for speaking and singing percussionist 3'00
2017

based on E.E.Cummings "n(o)w"

punti allontanarsi
for britone and bass
2015
tratti confluenti
for two sopranos
2013
vive faville
2 sopranos, 2 mezzo sopranos
2013
the sky
voice and piano
2012

from the series "E.E. Cummings Miniatures"

premiered by Tiffany DuMouchelle and Stephen Solook, August 2012, Conrad Prebys Music Center, University of California San Diego

n(o)w
voice and percussion
2012

from the series "E.E. Cummings Miniatures"

premiered by Tiffany DuMouchelle and Stephen Solook, August 2012, Conrad Prebys Music Center, University of California San Diego

 

TEXTUREN
soprano, fl, sax, perc, pn, vln, electronics 8’40
2010 has audio

premiered by Wet Ink Ensemble, January 12, 2011, Conrad Prebys Concert Hall, UCSD, San Diego, US

Libretto based on botanist Michael Sundue's "A monograph of Ascogrammitis, a new genus of grammitid ferns (Polypodiaceae)". Brittonia 62(4): 357-399. © 2010 The New York Botanical Garden Press, Bronx

Recorded on hat [now] ART 186

WET INK ENSEMBLE & guests
Ariana Lamon-Anderson (clarinets), Eliot Gattegno (saxophones), Ian Carroll (trombone), Andrew McIntosh (viola), Eric Moore (cello), Scott Worthington (contrabass)

Carl Christian Bettendorf - conductor

Rozalie Hirs - poetry
Michael Sundue - taxonomy

und die Gravitation verschwindet darin
tenor, pn, ambisonic surround sound 5’30
2009

premiered April 18, 2009, Weimarer Frühlingstage, Weimar, Germany

Tinguely Machine
mezzo soprano, tuba 5’30
2008 / 2009

commissioned by Welti/Bachmann, premiered April 1, 2009, Imprimerie Basel, CH

aPhasis
mezzo soprano, bassflute, bassclarinet 6’30
2002

premiered by Ensemble Accroche Note, July 24, 2002, Centre Acanthes, Chartreuse Villeneuve lez Avignon, France

Kaspar Studien
mezzo soprano, bass clarinet, piano, violoncello (2000) 12’
2000 / 2001

improvised speaking voice, bass clarinet, piano, violoncello (version 2001) 14’

Von Verrückten und Verdrückten
soprano, fl, cl, hp, vln, vla, vcl 10’
1999 / 2000

Kapitel 19 - Die Unbekannte

after “Weymouth Sands” by John Cowper Powys
premiered February 26, 2000, TransArt Festival, Musikforum Zug, Spinnihalle, Baar, Switzerland

Mutlimedia

In the dream that I dreamed, you awoke
sop, fl, b-cl, t-sax, tbn, vcl, electronics and 3D hologram projections 15'
2018
3D projection for In the dream...
3D projection: Achim Stromberger / Photo: Wen Liu

In Jorge Luis Borges’ “The Circular Ruins” a stranger, maybe a magician withdrew himself into the thickness of a forest, into a circular temple that had been devoured by ancient fires. There at the food of a stone tiger or a horse, his sole task was to sleep and dream. He wanted to dream a human; he wanted to dream a human in every detail to eventually expose them to reality. 

 

"In the dream I dreamed, you awoke" has been commissioned by M.A.R.S. Music & Arts ReSound and saw its first performance at the Los Angeles M.A.R.S. Festival, October 5, 2018, The Vortex, featuring Laurel Irene (Soprano), the MARS Collective under the direction of David Harris, and Achim Stromberger of ThisPlay, who designed the 3D hologram projections.

"He understood that modeling the incoherent and vertiginous matter of which dreams are composed of was the most difficult task that a man could undertake..." (Borges)
photograph of the projections of "In the dream..."
3D projection: Achim Stromberger / Photo: Katharina Rosenberger
if they bite with all their might
hn, korg MS20 mini, vcl, spoken text and 18 live activated light bulbs
2016

Faust’s level of frustration is peaking. His monumental invention, the electric light, does not cause him any satisfaction anymore. Even though, this deal had cost him his soul. But to stand up against Mephisto, he knows, is a futile act.

But then, he meets a woman of iridescent appearance and a multiplicity of names: Ms Marguerite Ida and Helena Annabel. It is this enigmatic female figure who beguiles the audience. Based on fragments of Getrude Stein’s “Doctor Faustus Lights the Lights” Ms Marguerite Ida and Helena Annabel reflects on herself and the world. In her company a dog who says “thank you”. Less pleasing is the arrival of a viper that shakes up Ms Marguerite Ida and Helena Annabel’s world.

The musicians too, are pretty freaked out by the reptile’s appearance. More than just interpreters of a fixed score, the performers are entangled in the unfolding of the story. The score calls for improvisatory and temporarily freely interpreted passages.
Also, through their voices we hear Getrude Stein’s vivid characters. And not only Faust, the trio too, loves to play with the lights. They do so quite successfully. Yet, the 18 live activated light bulbs are stubborn and like to play their own game.

The audience is witnessing a performance that responds to the spur of the moment, to Ms Marguerite Ida and Helena Annabel’s mood swings, to the appearance of all sorts of treacherous wild creatures and shadowy figures and ultimately, to the tussle of who now gains control over the technology and the lights.

 

World premier June 24, 2016, Kunstraum Walcheturm Zurich

Retro Disco
Samuel Stoll, horn
Reto Staub, korg MS20 mini (for Simone Keller)
Moritz Müllenbach, cello

Ljubo Majstorovic, programming, design and building of the live light interaction

Video: Franz Bannwart

SABre
Sensor Augmented Bass Clarinet 10’30
2012 / 2013

commissioned by ICST Zürich, premiered by Matthias Müller, April 3, 2014, Kunstraum Walcheturm, Zürich, Switzerland

www.icst.net

The_Line
video / sound art piece 8'
2007

Commissioned by Jean-Marc Montera, Montevideo, Marseille, France. 
With inclusion in the art publication "Le son d'amour", DOC(K) 4th edition, w/DVD, Akenaton, Campbell, France, Spring 2008.

Video and sound: Katharina Rosenberger

then
video and sound installation with two phone booths 20’ in loops
2005

Maria Mayer - concept, video
Matthias Lehmann - concept, programming
Katharina Rosenberger - surround sound
premiered May 10+11, 2005, ITP Final Show 2005, Tisch School of Arts, New York, USA

Room II
interactive sound installation (2004) 14’
2004

Katharina Rosenberger - idea / soundscape
Alfred Preisig - texts 
Luke DuBois - programming 
commissioned for the Tonkünstlerfest 2004 - Montey, Switzerland
on view 09.04-10.15.2004, Médiathèque du Valais, Martigny, Switzerland

Echo
performance art piece for a spinet and tape, choreography, light design 11'
2004

premiered October 21, 2004 as part of “spinet – an Experiment on Gesamtkunstwerk”, “Totalartwork” curated by Birgit Ramsauer, The Great Hall at The Cooper Union, New York, USA

kaspar – or n(one)
tape, one dancer and live video 15’
2003

Elyssa Dole - choreography 
Nina Hein - direction / light design 
Katharina Rosenberger - sound 
premiered April 6, 2003, WilliamsburgArtneXus, Brooklyn, USA

untitled
tape 7 ’
2002 has audio

... one of my inofficial favourites

untitled (excerpt)
urapa
tape 5’30
2001

in collaboration with Pedro Barboza
February 1, 2003 @ SCRIME 2003, Zoobizarre, Bordeaux, France