Paul Müller-Zürich

Edited from the autograph.

Composed in 1954 for the Louisville Philharmonic Society, this concerto is one of Müller's most important works. Late Romantic echoes facilitate access to Müller's distinctive tonal language.

Written in 1952, this tonal work is captivating for the esprit of its 'programmatic' movements: Aubade, Capriccio, Cortège triste and Sérénade.

Written in the 1930s, the concerto was inspired by the Zurich Chamber Orchestra and has since been undeniably regarded as 'a throw in invention, powerful in design and of pithy modernity'.

Composed in 1972, the quintet is aimed at all house musicians who enjoy playing in mixed ensembles, thanks to its modest technical demands, especially the very light violin part.

The technically easy to master work (2nd violin and viola executable in the 1st position) is a choral version of the Quintet op.74 for violin, clarinet, bassoon, cello and piano (BP 1276).

Songs 'Das große Licht' by Simon Dach and 'Trost der Nacht' by Grimmelshausen set to music in the late Romantic style of 1941. Of particular charm: the darkly colored clarinet part.

In the 1933 nonet (Praeludium, Aria and Fugue), in which late Romantic echoes are clearly audible, the strings can also be chorally scored.

The combination of the basset horn, which belongs to the Ternor family of wind instruments, with a 'low' string duo promises an inimitable sonorous sound experience still largely indebted to the tonal...

The 1st movement bears unmistakable neo-baroque traits. In the tarantella-like 2nd movement, one is so carried away by the 'contrapuntal' momentum that one hardly notices the inversions, canons and te...