von Autoren, die mit mindestens 3 "Auftritten" im gesamten Festivalverlauf vertreten waren
sortiert nach Namne /Vornamen / Titel
| Name | Vorname | Titel1 | Funktion | Dauer | Jahr | Commission Inventionen | Inventionen |
|---|---|---|---|---|---|---|---|
| Barrett | Richard | M87 (Solo) | C* | 28 | 2002 | 2002 | 2002 |
| SIMORGH | C | 10:59 | 2010 | 2010 | 2010 | ||
| Tutti 1 und Tutti 2 und Zugabe | C* | 45 | 2002 | 2002 | |||
| Bayle | François | Erosphère | C | 1979 | 1984 | ||
| L’ invention du son | Vortrag | 1998 | 1998 | ||||
| La fin du bruit | C | 31 | 1978/79 | 1998 | |||
| la forme du temps est un cercle: Si loin, si proche | C | 22 | 1999 | 2000 | |||
| La Main Vide | C | 42:41 | 1993/95 | 1996 | |||
| Les couleurs de la nuit | C | 1982 | 1984 | ||||
| Motion - Émotion | C | 22 | 1985 | 1998 | |||
| Univers nerveux in memoriam K. Stockhausen | C | 22:30 | 2005 | 2008 | |||
| Behrman | David | A Migratory Tale | C* | 9:30 | 1989 | ||
| All Thumbs | C* | 6:00 | 1989 | ||||
| Figure in a Clearing | C* | 14:40 | 1977 | 1989 | |||
| Homemade Synthesizer Music with Sliding Pitches | C* | 21:20 | 1972/2002 | 2002 | |||
| Interspecies Smalltalk | P* | 31:00 | 1989 | ||||
| Leapday Night | C* | 32:37 | 1989 | ||||
| Pen Light | SA | 1998 | 2002 | ||||
| View Finder | SA | 2001 | 2002 | ||||
| Berio | Luciano | Circles | MI | 19:00 | 1960 | 1986 | |
| Diffèrences | C+ | 1959 | 1994 | ||||
| Thema (Omaggio a Joyce) | C | 1959 | 1986 | ||||
| Bertoncini | Mario | Alleluia | MI | 1982 | 1984 | ||
| Chanson pour instruments à vent | P* | 10:50 | 1974 | 1982 | |||
| Pagine per Dieter | MI | 1985 | 1985 | ||||
| Tune | MI | 9:20 | 1965 | 1994 | |||
| venti | C* | 1982 | 1985 | ||||
| Beyer | Frank Michael | de lumine | MI | 11:57 | 1978 | 1992 | |
| Echo | MI | 16:28 | 1985 | 1986 | |||
| Sinfonien für acht Stimmen | MI | 16:33 | 1988 | 1992 | |||
| Streichquartett Nr. 3 "Missa" | MI | 25:43 | 1985 | 1989 | |||
| Action | MI | 1991 | 1994 | ||||
| Bianchini | Laura | Happening | C* | 1989 | 1990 | ||
| NO. DI. - Note difference | C+ | 9:38 | 1987 | 1990 | |||
| Voix d’ailleurs | C+* | 2000 | 2002 | ||||
| Bodin | Lars Gunnar | Epilogue - Rhapsodie de la seconde récolte | C | 11:27 | 1979 | 1982 | |
| For Jon III; They extricated their extremities | C | 10:35 | 1982 | 1986 | |||
| Hälsnigar från syrenbersån | C | 11 | 1994 | 2002 | |||
| Mémoires du temps d'avant la Destruction | C | 19:30 | 1982 | 1984 | |||
| Text zum EMS Stockholm | Textbeitrag | 1983 | |||||
| Boulez | Pierre | Dérives | MI | 5:00 | 1984 | 1990 | |
| Explosante fixe | C+* | 18:52 | 1985 | 1989 | |||
| Livre pour Quatuor | MI | 12:40 | 1949 | 1989 | |||
| Structures - Livre II | MI | 12 | 1961 | 2008 | |||
| Brown | Earle | Corroboree | MI | 1964 | 1985 | ||
| Folio | MI | 9:40 | 1953 | 1986 | |||
| Four Systems | C+* | 4:22 | 1954/97 | 2002 | |||
| Octet I | C | 3:22 | 1952/53 | 2008 | |||
| Times Five | C+ | 15:00 | 1963 | 1985 | |||
| Tracer | C+ | 3:10 | 1985 | 1985 | |||
| Brümmer | Ludger | Ambre, Lilac | C | 21:45 | 1994 | 1996 | |
| Gestalt | C | 5:09 | 2002 | 2006 | |||
| Glasharfe | C | 19:01 | 2006 | 2006 2008 |
|||
| Inferno der Stille | C | 23:38 | 2000 | 2002 | |||
| Move | AV+* | 17:04 | 2006 | 2008 | |||
| Physikalische Modelle zur Partitur-, Klang- und Bildsynthese | Vortrag | 2006 | 2006 | ||||
| Repetitions | C | 21:40 | 2005 | 2006 | |||
| The Gates of H. | C | 18:03 | 1993 | 2000 | |||
| Thrill | C | 1998 | 1998 | ||||
| Xronos | AV | 17:54 | 2002 | 2006 | |||
| Cage | John | 1st Construction in metal | MI | 9:55 | 1939 | 1992 | |
| 27'10,554 | MI | 27:10 | 1964/65 | 1994 | |||
| 3rd Construction | MI | 14:03 | 1941 | 1992 | |||
| 4 | MI | 30:05 | 1989 | 1992 | |||
| 4'33'' | P | 4:33 | 1952 | 1991 | |||
| A book of music | MI | 1944 | 1985 | ||||
| But what about the noise of crumpling paper which he used to do in order to paint the sries of "papiers froissés" or tearing up paper to make "papiers déchirés"? Arp was stimulated by water (sea, lake, and flowing waters like rivers), forests |
C* | 39:44 | 1985 | 1992 | |||
| Cartridge Music | C* | 25 | 1960 | 1984 | |||
| Concert for Piano and Ensemble | MI | 19:00 | 1958 | 1986 | |||
| Eight Whiskus | P* | 26:50 | 1978 | 1989 | |||
| Etudes Boréales I - IV | MI | 17:00 | 1978 | 1990 | |||
| Four Walls | MI | 65:00 | 1944 | 1991 | |||
| Freeman Etudes | MI | 97:33 | 1977/80 | 1992 | |||
| Imaginary Landscape No. 2 | C* | 6:10 | 1942 | 1994 | |||
| Imaginary Landscape No. 3 | C* | 3:30 | 1942 | 1994 | |||
| In a landscape | MI | 8:00 | 1948 | 1986 | |||
| In the Name of the Holocaust | MI | 6:00 | 1942 | 1991 | |||
| Music for Four | MI | 29:40 | 1984 | 1992 1994 |
|||
| Music for piano No. 1 - 84 | MI | 88:30 | 1952/56 | 1992 | |||
| One | MI | 9:50 | 1987 | 1991 | |||
| Sixteen Dances | MI | 1951 | 1994 | ||||
| String Quartet in Four Parts | MI | 22:25 | 1950 | 1992 | |||
| Thirty Pieces for String Quartet | MI | 30:45 | 1983 | 1989 | |||
| Water Music | MI | 6:40 | 1952 | 1991 | |||
| Calon | Christian | La disparition | C | 22:04 | 1987-88 | 1992 | |
| The Standing Man | C | 42:10 | 1996 | 1996 | 1996 | ||
| Time well | C | 17 | 2006 | 2006 | |||
| Chin | Unsuk | allegro ma non troppo | C / C+ | 13:05 | 1994 | 1998 | 1994 1998 |
| El Aliento de la Sombra | C | 18:30 | 1992 | 1992 | 1992 | ||
| Gradus ad infinitum I | C | 10:05 | 1989 | 1990 | |||
| Gradus ad infinitum II | C | 11:11 | 1990 | 2008 | |||
| Chion | Michel | Gloria | C | 1994 | 1996 | ||
| La Tentation de Saint Antoine | C | 1984 | 1986 | ||||
| Michel Chion präsentiert einen Querschnitt durch die Musik/Sprach-Produktionen der Groupe de Recherches Musicales (GRM), Paris |
Vortrag | 1986 | 1986 | ||||
| Requiem | C | 1973 | 1984 | ||||
| Christiansen | Henning | "als die Sprache platzte und die Musik abfuhr - und der Mond erscheint" | P | 1986 | 1986 | ||
| Nach Wyschnegradsky, op. 185 | MI | 20:35 | 1989 | 1989 | |||
| Umwälzung: fluxorum organum - EURASIENSTAB ist immer noch Angelpunkt | P*+ | 60:00 | 1989 | 1990 | |||
| Daske | Martin | Foliant 14 | MI | 9:16 | 1988 | 1990 | |
| Foliant 25 | MI | 11:36 | 1989 | 1990 | |||
| Foliant 2b | C* | 6:14 | 1989 | 1990 | |||
| Foliant 6 | C* | 4:00 | 1987 | 1990 | |||
| Folianten 9, 10 | MI | 5:40 | 1987 | 1990 | |||
| Folianten 18 / 19 | MI | 7:51 | 1988 | 1990 | |||
| DeMarinis | Paul | Buried in Noise | Katalog | 2010 | 2010 | ||
| Dust | SA | 2009 | 2010 | ||||
| Firebirds | SA | 2004 | 2004 | ||||
| Pneuma | SA | 2010 | 2010 | ||||
| Tongues of Fire | SA | 2004 | 2004 | ||||
| Dhomont | Francis | Les travail du rêve | C | 17:12 | 1986/2010 | 2010 | |
| Novars | C | 19:07 | 1989 | 1996 | |||
| Phonurgie | C | 12:30 | 1998 | 1998 | 1998 | ||
| Vol d'Arondes | C | 11:28 | 1999/2002 | 2006 | |||
| Voyage-miroir | C | 14:50 | 2004 | 2005 | |||
| Di Scipio | Agostino | Audible EcoSystemics n. 1 (Impulse Response Study) | C* | 8 | 2002 | 2004 | |
| Audible EcoSystemics n. 2 (Feedback Study) | C* | 6 | 2003 | 2004 | |||
| Audible EcoSystemics n. 3a (background noise Study) | C* | 2002/03 | 2005 | 2005 | |||
| Audible EcoSystemics n. 3b (backgroundnoise Study with mouth performer) | C* | 2002/03 | 2005 | 2005 | |||
| Der Komponist als Rauschgenerator | Textbeitrag | 2002 | 2002 | ||||
| ohne Titel | SA* | 2008 | 2008 | ||||
| Paysages Historiques n.4 | C* | 2005 | |||||
| Texture-multiple | C* | 12:25 | 1993/2000 | 2002 | |||
| Donato | François | Annam | C | 20:06 | 1993 | 1996 | |
| Corps de Compassion | C | 15:42 | 1999 | 2000 | 2000 | ||
| Sept Jours | C | 10 | 1998 | 1998 | |||
| The Lights of B. | C | 15 | 2004 | 2005 | |||
| Donatoni | Franco | Cloches | MI | 1991 | |||
| Darkness | MI | 10:05 | 1984 | 1994 | |||
| Das Auge des Herzens | MI | 6:45 | 1981 | 1989 | |||
| Quartetto III | C | 5:00 | 1961 | 2008 | |||
| Dubrovay | Laszlo | Harmonics II | C | 1983 | 1984 | ||
| Parte con moto | C | 1984 | 1985 | ||||
| Symphonia | C | 24:12 | 1985 | 1986 | |||
| Ebbeke | Klaus | Aber die Musik braucht ständig eine Krise | Textbeitrag | 1990 | 1990 | ||
| Berlin – und der Rest der Welt | Textbeitrag | 1992 | 1992 | ||||
| Eine Überlegung zur Rolle des Schlagzeugs in unserem Jahrhundert | Textbeitrag | 1985 | 1985 1994 |
||||
| Elektroakustische Musik im deutschsprachigen Raum nach 1945 | Textbeitrag | 1988 | 1989 | ||||
| Ich will keine spiritistische Sitzung - ich will Musik! | Textbeitrag | 1990 | 1990 | ||||
| Julius | Textbeitrag | 1985 | 1994 | ||||
| Luigi Nono | Textbeitrag | 1986 | 2000 | ||||
| Musik für ca. 16 Saiten | Textbeitrag | 1988 | 1989 | ||||
| Zu den Klanginstallationen von Julius | Textbeitrag | 1985 | 1985 | ||||
| Zum Komponieren heute | Textbeitrag | 1984 | 1984 | ||||
| Eloy | Jean Claude | Vortrag über sein Werk | Vortrag | 1992 | 1992 | ||
| Anâhata III | C+ | 106:00 | 1984/86 | 1992 | |||
| Gaku-no-Michi | C | 240 | 1977/78 | 1992 | |||
| Libérations | C+* | 137:00 | 1989/91 | 1992 | |||
| Libérations | C+ | 137:00 | 1989/91 | 1992 | |||
| Libérations | C+ | 137:00 | 1989 | 1992 | |||
| YO-IN | P+ | 210:00 | 1981 | 1985 | |||
| Enström | Rolf | Dagbrott | C | 7:51 | 1983 | 2010 | |
| Directions | C | 7:20 | 1979 | 1982 2008 |
|||
| Fractal | Bildspeel | 20 | 1984 | 1984 | |||
| Io | Bildspeel | 17 | 1996 | 2002 | |||
| Skisser från Berlin | C | 17:00 | 1991 | 1992 | |||
| The Dulcimer Report | C* | 12:11 | 1991 | 1992 | |||
| Feldman | Morton | Clarinet and String Quartet | MI | 43:15 | 1983 | 1989 | |
| Intersection IV | MI | 5 | 1953 | 1990 | |||
| Principal Sound | MI | 1980 | 1996 | ||||
| Projection I | MI | 3:25 | 1950 | 1990 | |||
| Structures | MI | 22:22 | 1951 | 1989 | |||
| The King of Denmark | MI | 1964 | 1994 | ||||
| Ferneyhough | Brian | Bone Alphabet | MI | 7:52 | 1991 | 1994 | |
| Intermedio alla Ciaccona | MI | 7:35 | 1986 | 1989 | |||
| Mnemosyne | C+ | 1986 | 1990 | ||||
| Third String Quartet | MI | 18:04 | 1987 | 1989 | |||
| Finnendahl | Orm | In Anbetracht | C+ | 9:20 | 1985 | 1986 | |
| Jericho | C+* | 11:00 | 1988 | 1989 | |||
| Wheel of Fortune | C* | 1994 | 1994 | 1994 | |||
| Fulkerson | James | Elective Affinities | C* | 25 | 1985 | 1985 | |
| Fields und Traces | C* | 1979 | 1985 | ||||
| Force fields and spaces II | C+ | 7:45 | 1981 | 1985 | |||
| suite for cello solo | C* | 15:00 | 1979 | 1985 | |||
| Glandien | Lutz | … die, die abgestürtzt sind | C+* | 1993 | 1994 | 1994 | |
| Es lebe | C+ | 12:08 | 1989 | 1990 | |||
| turbo mortale | C+* | 20:00 | 1992 | 1992 | |||
| Gobeil | Gilles | castalie | C | 10:35 | 2008 | 2008 | 2008 |
| Derrière la porte la plus éloignée | C | 12 | 1998 | 1998 | |||
| Les lointains noirs et rouges | C | 10:43 | 2009 | 2010 | |||
| Nuit Cendre | C | 12:21 | 1995 | 2006 | |||
| Point de passage | C | 11:44 | 1997 | 2000 | |||
| Trilogie d’ondes | C+ | 13:02 | 1988-89 | 2008 | |||
| Trilogie d’ondes | C+* | 11:20 | 1990-91 | 2008 | |||
| Trilogie d’ondes | C+ | 23 | 1999-2002 | 2008 | |||
| Goldstein | Malcom | Evening Music I October | P | 17:20 | 1989 | 1989 | |
| Sounding the Fragility of Line | P | 1989 | |||||
| Soundings - Improvisationen | P* | 6:30 | 1989 | ||||
| Grillo | Fernando | Arcana | C+ | 21:40 | 1988 | 1996 | |
| Gstüss | MI | 1975 | 1996 | ||||
| Itesi | MI | 1972 | 1996 | ||||
| Soror mystica | MI | 1978/79 | 1996 | ||||
| Grisey | Gerard | Jour, contre-Jour | C+* | 21:20 | 1978/79/81 | 1992 | |
| Le Noir de l’Etoile | C+ | 62:42 | 1989/90 | 2002 | |||
| Prologue | C* | 14:57 | 1976 | 1990 | |||
| Talea ou la machine et les herbes folles | MI | 1986 | 1994 | ||||
| Haller | Hans Peter | Erinnerung an Venedig – Wege zu Nonos Prometeo | Textbeitrag | 1984 | 2000 | ||
| Wir sollten studieren den Klang - suchen - probieren | Textbeitrag | 1991 | 1991 | ||||
| Workshop „Elektronische Klangumformung“ | Workshop | 1985 | 1985 | ||||
| Harrison | Jonty | BEAST @ Inventionen | Textbeitrag | 2000 | 2000 | ||
| BEASTory | C | 8:07 | 2010 | 2010 | |||
| CQ | C* | 1989/90 | 1990 | ||||
| Klang | C | 9:02 | 1982 | 1985 2002 |
|||
| Streams | C | 16:11 | 1999 | 2000 2006 |
|||
| Hein | Folkmar | Bemerkungen zu den Inventionen | Textbeitrag | 1985 | 1985 | ||
| Das Festival INVENTIONEN | Textbeitrag | 1998 | 1998 | ||||
| Inventionen-Akusmonium | Textbeitrag | 1998 | 1998 | ||||
| Klangkunst <-> Inventionen | Textbeitrag | 2008 | 2008 | ||||
| Spiel oder Ernst? | Textbeitrag | 2002 | 2002 | ||||
| Hindemith | Paul | 6. Streichquartett | MI | 1945 | 1989 | ||
| 7 Triostücke für 3 Trautonien | C* | 9:50 | 1930 | 1990 | |||
| Langsames Stück und Rondo | C | 5:24 | 1935 | 1990 | |||
| Humel | Gerald | Die Folterungen der Beatrice Cenci Konzertfassung des Ballets |
MI | 29:40 | 1971 | 1986 | |
| Jeté | MI | 1980/81 | 1985 | ||||
| Sinfonia avanti il lieto fine | MI | 17:39 | 1989 | 1990 | |||
| Universe | MI | 50:51 | 1981-87 | 1992 | |||
| Jeney | Zoltan | Kalah | F C* | 9:25 | 1988 | 1989 | |
| Ricercare 8+8 | C* | 10:00 | 1989 | 1990 | |||
| Sostenuto | MI | 19:42 | 1988 | 1989 | |||
| Johnson | Tom | Die Schubladen | P | 15:00 | 1978 | 1986 | |
| Eine Oper nach Riemann | P | 40:00 | 1986 | 1986 | |||
| Galileo | P | 11 | 2000 | 2000 | |||
| Naranayas Kühe | MI | 12:42 | 1989 | 1990 | |||
| Wie soll man John Cage aufführen? | Textbeitrag | 1992 | 1992 | ||||
| Jones | Joe | Confrontations | P* | 26:30 | 1989 | 1990 | |
| Fluxus Home Movies The Music Store and other Stories |
Ausstellung | 1990 | |||||
| Joe Jones, Music Machines from the sixties until now | Ausstellung | 1960, 1989 | 1990 | ||||
| The Music Store | Ausstellung | 1969-71, 1989 | 1990 | ||||
| Julius | Rolf | Cello-Stück II | C+* | 11:50 | 2004 | 2004 | |
| Konzert für vier leere Flächen (percussion) | P | 1994 | 1994 | ||||
| Monochrom bewegt | C | 2002 | 2002 | 2002 | |||
| Wanderung durch eine weite Ebene Musik für eine Landschaft |
SA | 1985 | 1985 | ||||
| Kagel | Mauricio | 2. Streichquartett | MI | 13:44 | 1967 | 1989 | |
| 4. Streichquartett | MI | 24:35 | 1993 | 1994 | |||
| Antithese | F | 19:00 | 1965 | 1990 | |||
| Aus dem Nachlaß | MI | 11:07 | 1990 | ||||
| Blue's Blue | F | 31:00 | 1981 | 1990 | |||
| Dressur | F | 36 | 1985 | 1990 | |||
| Duo | F | 41 | 1967/68 | 1990 | |||
| Er | F R | 40 | 1984 | 1990 | |||
| Exotica | MI* | 1994 | |||||
| Generalbaß | MI | 7:25 | 1990 | ||||
| Halleluja | F | 47 | 1968 | 1990 | |||
| Kantrimiusik | F | 50 | 1976 | 1990 | |||
| Ludwig van | F | 100 | 1969 | 1990 | |||
| Match | F | 21 | 1966 | 1990 | |||
| Mirum | MI | 13:17 | 1965 | 1990 | |||
| Mitternachtsstück | F | 32 | 1986/87 | 1990 | |||
| MM 51 | F | 10 | 1983 | 1990 | |||
| Pas de cinq | MI | 1965 | 1990 | ||||
| Phonophonie | F | 38 | 1979 | 1990 | |||
| Prima Vista | C+* | 11:00 | 1962/64 | 1986 | |||
| Repertoire | F | 55:00 | 1989/90 | 1990 | |||
| Solo | F | 26 | 1967 | 1990 | |||
| Szenario | F | 15' | 1928/1983 | 1990 | |||
| Transición II | C+ | 1958/59 | 1994 | ||||
| Unter Strom | F | 20 | 1975 | 1990 | |||
| Zwei-Mann-Orchester | F* | 71 | 1973 | 1990 | |||
| Kang | Sukhi | Aniri II | C+ | 24:12 | 1983 | 1983 | |
| INVENTIO musicae clavichordii et sonorum artificiosorum | C+ | 24:00 | 1984 | 1984 | |||
| Klangspuren | F | 12:00 | 1981 | 1982 | |||
| Man Pa | C+ | 13:10 | 1981 | 1982 | |||
| Katzer | Georg | Aide-memoire | C | 14:30 | 1983 | 1986 | |
| Dialog imaginär 3 | C+* | 16:30 | 1990 | 1991 | 1991 | ||
| Dialog imaginär 6 | C+ | 10 | 1997 | 2002 | |||
| La Mettrie | MI | 1992 | |||||
| Musica oscura | MI | 11:55 | 1988 | 1992 | |||
| odd and even | MI | 1994 | 1994 | 1994 | |||
| Schlagmusik 2 | MI | 14:00 | 1992 | ||||
| Trio avec Rimbaud | MI | 1992 | |||||
| Kessler | Thomas | Drum Control | C* | 22:00 | 1983 | 1986 | |
| # Einführung in seine Technik voices (1. Version), voices (2. Version) |
Vortrag | 1983 | |||||
| Kontrabaß-Control | C* | 8:00 | 1990 | 1991 | |||
| Violin control | C* | 1978 | 1983 | ||||
| Voices | C* | 1983 | 1983 | ||||
| Kosk | Patrick | Das Kästchen & Tripitaka | C | 9:47 | 2005 | 2005 | 2005 |
| Der Raum Traum (der Najade) | C | 7:32 | 1992/93 | 1994 | 1994 | ||
| Distrak - Sillalla | C | 11:37 | 1985/92 | 1992 | |||
| Ice Bice | C | 12 | 1998 | 1998 | 1998 | ||
| Mondweiß | C | 13:24 | 2007/08 | 2008 | |||
| Vortrag über sein Werk | Vortrag | 1992 | 1992 | ||||
| Kosugi | Takehisa | Fly | C | 13 | 1981 | 1986 | |
| Klanginstallationen | SA | 1992 | 1992 | ||||
| Violin - plus - minus | P* | 16:50 | 1989 | ||||
| Kuivila | Ron | Engel in Erdton | SA | 6:44 | 2000 | 2000 | 2000 |
| Impulsive Arcs | P | 6:54 | 2000 | 2000 | |||
| Outgoing Message / The Beatification of the Facsimile Tone | C* | 30 | 2002 | 2002 | |||
| Spark Vault | SA | 2002 | 2002 | 2002 | |||
| Study (in gray) | C | 12:02 | 2010 | 2010 | |||
| Lachenmann | Helmut | Allegro Sostenuto | MI | 35:05 | 1986-91 | 1992 | |
| Gran torso | MI | 20:32 | 1972 | 1989 | |||
| Interieur I | MI | 15:40 | 1966 | 1994 | |||
| Pression | MI | 1969 | 1985 | ||||
| Leeuw | Ton de | Clair obscur | C | 17:00 | 1982 | 1985 | |
| Midare | MI | 7:00 | 1972 | 1985 | |||
| Mountains | C+ | 18:00 | 1977 | 1985 | |||
| Syntaxis | C | 18:00 | 1965/66 | 1985 | |||
| The magic of Music | C+ | 6:00 | 1977 | 1985 | |||
| Leitner | Bernhard | HörSaal | SA | 27:00 | 2010 | 2010 | |
| sound : space | Vortrag | 1968-2008 | 2008 | ||||
| Ton-Raum TU Berlin | SA | 1984 | 2002 2008 2010 |
||||
| Ton-Raum-Variationen | SA | 1984 | 1984 | ||||
| Ligeti | Györgi | Poeme symphonique | MI | 1992 | |||
| 1. Streichquartett | MI | 22:00 | 1954 | 1989 | |||
| Streichquartett No. 2 | MI | 17:15 | 1968 | 1989 | |||
| Lucier | Alvin | Amplifier and Reflector I | C* | 13:00 | 1991 | 1991 | |
| I am sitting in a room | C* | 56:00 | 1970/86 | 1986 | |||
| Klangskulpturen | Ausstellung | 1991 | 1991 | ||||
| Music for piano with amplivied sonorous Vessels | C* | 1991 | 1991 | ||||
| Music for Solo Performer | C* | 7:00 | 1965 | 1991 | |||
| Nothing is Real | C* | 22:00 | 1991 | 1991 | |||
| On the Carpet of Leaves illuminated by the Moon | C* | 12:14 | 2000 | 2000 | 2000 | ||
| The Queen of the South | AV* | 1972 | 2004 | ||||
| Lutoslawski | Witold | Konzert für Klarinette, Harfe und Streicher | MI | 19:18 | 1973/80 | 1990 | |
| Mini Overture | MI | 3:13 | 1982 | 1990 | |||
| Streichquartett | MI | 24:10 | 1964 | 1989 | |||
| Makino | Yutaka | Ephemera | C | 10:10 | 2008 | 2008 | |
| Pulsar | SA* | 2010 | 2010 | 2010 | |||
| Systema | C | 2010 | 2010 | ||||
| Mandolini | Ricardo | Andromeda | C+ | 12:00 | 1983 | 1984 | |
| Cancion de madera y agua | C | 8:24 | 1981 | 1983 | |||
| Charly | C | 1984 | 1985 | ||||
| Circulos fosforescentes en fondo negro | C | 8:36 | 1982 | 1983 | |||
| De mi huian los pajaros | C | 1983 | 1985 | ||||
| El cuaderno del Alquimista | C | 9:24 | 1979 | 1983 | |||
| El Juego de marionetas | C | 9:20 | 1979-80 | 1983 | |||
| Estallido breve I | C | 8:35 | 1980 | 1983 | |||
| Fabulas | C | 9:35 | 1979 | 1983 | |||
| Fabulas, 2. Teil | C | 10:23 | 1980 | 1983 | |||
| Poema reiterado | C | 1983 | 1984 1986 |
||||
| Presentimiento | C | 9:25 | 1982 | 1983 | |||
| Vox veterrima | C+ | 19:00 | 1988/90 | 1991 | |||
| C+* | 16:08 | 1988 | 2005 | ||||
| Messiaen | Olivier | Fête des belles eaux | C* | 1990 | |||
| Livre du Saint Sacrement | MI | 1984 | 2008 | ||||
| Méditations sur le Mystère de la Saint Trinité | MI | 21:20 | 1969 | 1986 | |||
| Quatre études de rythme | MI | 16:44 | 1949 | 1986 | |||
| Visions de l’Amen | MI | 47 | 1943 | 2008 | |||
| Minard | Robin | 4 Räume | C | 15 | 1998 | 1998 | 1998 |
| Das Buch der Räume | C | 36:21 | 2004 | 2005 | |||
| Expansion | C+ | 13:00 | 1994 | 1994 | |||
| Ré | C+ | 1991 | 1991 | ||||
| SoundBIts | SA | 2001-02 | 2002 | 2002 | |||
| Mitterer | Wolfgang | Labyrinth 4 | AV* | 27 | 2006 | 2006 | |
| Mixture | C+ | 1996 | 1996 | 1996 | |||
| string quartet 1.3 | MI | 20 | 2004 | 2004 | 2004 | ||
| string quartet 1.3 mit Live-Elektronik und Licht | C* | 40 | 2004 | 2004 | 2004 | ||
| uluru | C+* | 30 | 1998 | 1998 | 1998 | ||
| zeit vergeht | SA+ | 29:21 | 2000 | 2000 | 2000 | ||
| Monahan | Gordon | Etheric Theremin Harmonic | SA | 2002 | 2002 | 2002 | |
| Sound And The Machines That Make Them | P | 1994 | 1994 | ||||
| This Piano Thing | C* | 15:08 | 1989 | 1992 | |||
| When it Rains | SA | 2002 | 2002 | ||||
| Motte-Haber | Helga de la | 50 Jahre Musique concrète | Textbeitrag | 1998 | 1998 | ||
| Tongemische und Raumwirkungen in der Klaviermusik des frühen 20. Jahrhunderts | Textbeitrag | 2008 | 2008 | ||||
| Was ist neu an der Musique concrète? | Textbeitrag | 1998 | 1998 | ||||
| Zwei Arbeiten von Martin Riches und Tom Johnson | Textbeitrag | 2000 | 2000 | ||||
| Neuwirth | Olga | Metal / Pallas | C | 8 | 1996 | 1996 | |
| Pallas / Construction | C* | 27:30 | 1996 | 2000 | |||
| Permin III | C* | 9:53 | 2000 | 2000 | |||
| Nono | Luigi | Canciones a Guiomar | MI | 11:00 | 1962/63 | 1991 | |
| Con Luigi Dallapiccola | C* | 13:30 | 1979 | 1991 | |||
| Das atmende Klarsein | C* | 1980/81 | 1990 | ||||
| Der rote Mantel | MI | 2000 | |||||
| Epitaph auf Federico García Lorca 1 - España en el corazón | MI | 15:00 | 1952 | 1991 | |||
| Fragmente - Stille, An Diotima | MI | 35:48 | 1980 | 1989 | |||
| Guai ai gelidi mostri | C* | 33:00 | 1983 | 1991 | |||
| Ha venido, Canciones para Silvia | MI | 7:00 | 1960 | 1991 | |||
| La fabbrica illuminata | C+ | 16:45 | 1964 | 1986 1991 |
|||
| Omaggio a Emilio Vedova | C | 4:54 | 1960 | 1991 | |||
| Polifonica - Monodia - Ritmica | MI | 11:00 | 1951 | 1986 1991 |
|||
| Post-Prae-Ludium per Donau | C* | 13:38 | 1987 | 2002 | |||
| Prometeo - Tragedia dell'ascolto | C+* | 133 | 1981-85 | 2000 | |||
| Quando stanno morendo, Diario polacco Nr. 2 | C* | 40:00 | 1983 1991 |
||||
| Risonanze erranti - a Massimo Cacciari | C* | 37:00 | 1985/87 | 1991 | |||
| Sarà dolce tacere | MI | 7:20 | 1960 | 1991 | |||
| Skizen und Partituren | Ausstellung | 1991 | 1991 | ||||
| …sofferte onde serene… | C+ | 14:00 | 1976 | 1986 1991 |
|||
| Tre Voci B | C* | 1984/85 | 1990 | ||||
| Normandeau | Robert | Éden | C | 16:21 | 2003 | 2006 | |
| StrinGDberg | C | 18:20 | 2001-03 | 2005 | |||
| StrinGDberg | C | 18:20 | 2001-03 | 2006 | |||
| Tangram | C | 27:05 | 1992/93 | 2006 | |||
| Vortrag zu „deep-listening“ | Vortrag | 2006 | 2006 | ||||
| Obst | Michael | Metal drop music | C | 1981 | 1984 | ||
| Nachtstücke | C* | 29:30 | 1990 | 1991 | |||
| Visioni di Medea | C | 1983 | 1984 | ||||
| Olbrisch | Franz Martin | Ein Quadratmeter Schwärze | MI | 1999 | 2002 | ||
| studi and speaker | C | 11:39 | 1996 | 1996 | 1996 | ||
| Viele Menschen suchen den Ochsen, doch Wenige haben ihn je gesehen | P*+ | 81:00 | 1992 | 1992 | 1992 | ||
| Oliveros | Pauline | Ear Rings: Inventionen 2000 | MI | 45 | 2000 | 2000 | |
| Red Shifts | C* | 16:10 | 2000 | 2000 | |||
| The Wheel of Time | C+ | 29:00 | 1989 | ||||
| Orts | Jose Antonio | Territorio Estelado | SA | 2002 | 2002 | 2002 | |
| Boreal | P | 26:13 | 2000 | 2000 | |||
| Composición infinita | SA | 5:44 | 2000 | 2000 | 2000 | ||
| Osborn | Ed | Language Master - the early years | P | 15:38 | 1998 | 2000 | |
| Recoil | SA | 4:23 | 1999 | 2000 | 2000 | ||
| Wandering Eye Studies | AV | 47:09 | 2006 | 2008 | |||
| Otte | Hans | Raum | C | 59:10 | 1993/94 | 1994 | 1994 |
| text für einen Schlagzeuger | MI | 7:00 | 1972/85 | 1986 | |||
| text für einen Flötisten | MI | 7:00 | 1972 | 1986 | |||
| Parmegiani | Bernard | Au gré du souffle...le son s’envole | C | 20 | 2006 | 2008 | |
| Dedans - Dehors | C | 1976 | 1984 | ||||
| Du pop à l'ane | C | 1968 | 1984 | ||||
| Outremer | C* | 1990 | |||||
| Stries | C | 1980 | 1984 | ||||
| Trilogie Plain-temps | C | 22:32 | 1992 | 1996 | |||
| Parmerud | Åke | Dreaming in Darkness | C | 11:30 | 2005/08 | 2008 | 2008 |
| Epilog | Bildspeel | 1981 | 1983 | ||||
| Les Flûtes en feu | C | 10:22 | 1999 | 2002 | |||
| Les objets obscure | C | 1991 | 1992 | ||||
| Out of sight | C | 10:55 | 1981 | 1982 | |||
| Renaissance | C | 1995 | 1996 | ||||
| Stringquartett | C | 1988 | 1989 | ||||
| Yan | C+ | 14:10 | 1984 | 1992 | |||
| Pfrengle | Roland | AASP | C* | 16:00 | 1984 | 1984 | |
| Coming up | C+ | 16:00 | 1991 | 1992 | |||
| Klaviermusik | C+ | 6 | 1985 | 1985 | |||
| Solo | C* | 14:00 | 1981 | 1984 | |||
| Vom Fallen | C+* | 35:00 | 1981 | 1982 | |||
| Raecke | Hans-Karsten | Biotron | MI C C+* | 8:30 | 1980 | 1985 | |
| Luft - Druck - Zonen | MI C C+* | 7 | 1982 | 1985 | |||
| Protonenaufgalopp | MI C C+* | 12 | 1984 | 1985 | |||
| So ...? ein Warnlied | MI C C+* | 7 | 1981 | 1985 | |||
| Technische Landschaft | MI C C+* | 11 | 1976 | 1985 | |||
| Wassermusik | MI C C+* | 5 | 1979 | 1985 | |||
| Zentrum | MI | 15 | 1983 | 1985 | |||
| Zu den Quellen | MI C C+* | 12 | 1984 | 1985 | |||
| Reith | Dirk | nested loops 1 | C | 12:00 | 1982 | 1984 | |
| Nested loops 3 | C+ | 3:40 | 1984 | 1985 | |||
| Programm 2 | C+ | 12:00 | 1977 | 1984 | |||
| Riches | Martin | Linear Percussion | SA | 1994 | 1994 | 1994 | |
| Percussion Piece No. 1 | SA | 1985 | 1985 | ||||
| Piece for Four Radios | SA | 1983 | 1985 | ||||
| Sound Machine | C* | 1985 | |||||
| Riedl | Josef Anton | epiphyt II zeichnen - klatschen / zeichnen - zeichnen lautgedichtfolge klangsynchronie II für trommeln - für sprechen |
MI P+* | 39:00 | 1977 | 1986 | |
| für trommeln - für sprechen | MI | 1984 | 1986 | ||||
| klangsynchronie II | C | 1965 | 1986 | ||||
| lautgedichtfolge b | MI | 1982 | 1986 | ||||
| zeichnen-klatschen / zeichnen-zeichnen | MI | 1985 | 1986 | ||||
| Risset | Jean Claude | Sud | C | 24 | 1985 | 2008 | |
| Huit esquisses en duo pour un pianiste | C* | 19:06 | 1989 | 1992 | |||
| Resonant Soundscapes | C | 14:30 | 2002/04 | 2005 | |||
| Röder | Klaus | Cloches imaginaires | C | 1983 | 1985 | ||
| Potpourri | C | 1985 | 1985 | ||||
| Spiegelungen | C+ | 54:46 | 1988 | 1989 | |||
| Rühm | Gerhard | Erinnerung und Gegenwart | P | 10:00 | 1979-1984 | 1986 | |
| Kitzel zwischen Käse und Kuchen - eine Völlerei (Sprecher & 20 Sektgläser) | P | 10:00 | 1979-1984 | 1986 | |||
| Kleine Geschichte der Zivilisation | P | 1979 | 1986 | ||||
| Melodramen vom deutschen Wald mit einem Abgesang nach R. Schumann | P | 10:00 | 1979-1984 | 1986 | |||
| musik als sprache und bildschrift grenzbereiche meiner künstlerischen arbeit |
Textbeitrag | 1986 | |||||
| Pornophonie (Tondichtung für Klavier) | P | 10:00 | 1979-1984 | 1986 | |||
| Ruschkowski | André | Autologous | C | 11:25 | 1991 | 1992 | |
| Das Phantom lebt | Vortrag | 1998 | 1998 | ||||
| Succubus-Quartett | C | 20:27 | 1994 | 1996 | |||
| Rzewski | Frederic | Force | MI | 1985 | 1990 | ||
| Lost and found | MI | 1985 | 1990 | ||||
| Whangdoodles | MI | 1990 | 1994 | ||||
| Sala | Oskar | Fantasie - Suite in 3 Sätzen | C* | ≈ 20:00 | 1988/89 | 1990 | |
| Rede des toten Christus vom Weltgebäude herab, daß kein Gott sei | C | 12:21 | 1986 | 1986 | |||
| Tanzstücke | C* | ≈ 27:00 | 1955/89 | 1990 | |||
| Zeichnungen von Oswin | F | 11:17 | 1962 | 1990 | |||
| Santos | Carles | La grenya de Pasqual Picanya, assessor juridic-administratiu | P* | 43:20 | 1991 | 1992 | |
| Performances mit Gesang, Mimik, Klavierspiel | P | 38:00 | 1986 | 1986 | |||
| # Santos, Interview (Santos - Mandolini, übersetzt) |
Radio | 55:00 | 1986 | 1986 | |||
| Sonderausstellung Inventionen 1992 | Ausstellung | 1992 | 1992 | ||||
| Scelsi | Giacinto | 20 Canti del capricorno | C* | 39:30 | 1962/72 | 1992 | |
| Anagamin | MI | 6:57 | 1963 | 1990 | |||
| Anahit | MI | 1965 | 1991 | ||||
| Quartetto No. 4 | MI | 9:25 | 1964 | 1989 | |||
| Schaeffer | Pierre | Etude aux chemins de fer | C | 16:12 | 1948 | 1996 | |
| Etude aux objets | C | 1959 | 1984 | ||||
| Etude aux sons animés | C | 4:12 | 1958/71 | 1996 | |||
| Masquerage | C | 3:37 | 1952/71 | 1996 | |||
| Schnebel | Dieter | 2 Studien für Klavier und Live Electronic | C+* | 21:00 | 1988 | 1989 | |
| 61 Klänge für Klavier | MI | 3:00 | 1987 | 1989 | |||
| GEDANKENGÄNGE | P | 1984 | 1985 | ||||
| Glossolalie 61 | MI | 31:00 | 1959-61 | 1986 | |||
| Glossolalie 61 (Klavierstimme) | MI | 1961 | 1985 | ||||
| Monotonien I-V | C* | 1992-94 | 1994 | ||||
| Webern-Variationen | MI | 8:10 | 1992 | ||||
| Schönberg | Arnold | Ode to Napoleon Buonaparte | MI | 15:02 | 1942 | 1994 | |
| Sonett Nr 217 von Petrarca | MI | 3:20 | 1925 | 1994 | |||
| Streichtrio | MI | 19:00 | 1946 | 1994 | |||
| Sciarrino | Salvatore | Codex purpureus | MI | 7:05 | 1994 | ||
| Quartetto n. 7 | MI | 2000 | 2002 | ||||
| Sei quartetti brevi | MI | 2000 | 2002 | ||||
| Shi | Pei Yu | Fall aus der Zeit … | C | 10 | 2006 | 2008 | |
| Slow, slow tune | C* | 10 | 2008 | 2008 | |||
| Movements | C | 3:54 | 2010 | 2010 | |||
| Movements | C | 3:54 | 2010 | 2010 | |||
| Smalley | Denis | Empty Vessels | C | 12 | 1997 | 2000 | |
| Pentes | C | 12:30 | 1974 | 2008 | |||
| Resounding | C | 14:23 | 2004 | 2005 | |||
| Ringing down the Sun | C | 15 | 2004 | 2005 | |||
| Tides | C | 12:43 | 1984 | 1985 | |||
| Valley Flow | C | 16:57 | 1991-92 | 2010 | |||
| Sonde | Group | A piece of paper | P* | 1984 | 1984 | ||
| Dry WOR / L / DS | P* | 1984 | |||||
| Encephalo Sciffle | P* | 1984 | |||||
| Music with tensegrity sound source No. 5 | P* | 1984 | |||||
| Plastic Wood | P* | 1984 | |||||
| Sweet Gaspésienne | P* | 1984 | |||||
| The music you hear while entering | P* | 1984 | |||||
| Die Gruppe SONDE | Textbeitrag | 1984 | 1984 | ||||
| Souster | Tim | Elektroakustische Musik in Großbritannien | Textbeitrag | 1985 | 1985 | ||
| Heavy Reductions | C+ | 10:00 | 1977 | 1985 | |||
| The music room | C+ | 15:00 | 1976 | 1985 | |||
| The Transistor Radio of St. Narcissus | C+* | 25:00 | 1984 | 1985 | |||
| Stockhausen | Karlheinz | Aus den sieben Tagen | C* | 7:00 | 1968 | 1990 | |
| Awake 7. VII.70 | MI | 1975 | 1996 | ||||
| Chöre für Doris | MI | 1950 | 1994 | ||||
| Choral | MI | 1950 | 1994 | ||||
| Für kommende Zeiten | C* | 26:00 | 1968/70 | 1990 | |||
| Gesang der Jünglinge | C | 13:08 | 1955 | 1986 | |||
| Hymnen | C | 120 | 1966/67 | 1986 | |||
| In Freundschaft | MI | 15:23 | 1977/78 | 1990 | |||
| Kinntanz |
C* | 1989 | 1994 | ||||
| Klavierstück IX | MI | 1954, 1961 | 1994 | ||||
| Klavierstück X | MI | 1954, 1961 | 1994 | ||||
| Klavierstück I | MI | 1952/53 | 1994 | ||||
| Klavierstück II | MI | 1:40 | 1952/53 | 1994 | |||
| Klavierstück III | MI | 1952/53 | 1994 | ||||
| Klavierstück IV | MI | 1952/53 | 1994 | ||||
| Klavierstück V | MI | 1954 | 1994 | ||||
| Klavierstück VII | MI | 5:26 | 1954 | 1994 | |||
| Klavierstück VIII | MI | 1954 | 1994 | ||||
| Klavierstück XI | MI, C | 5:55 | 1956 | 1994 | |||
| Klavierstück XII | MI | 19:40 | 1979/83 | 1986 | |||
| Kontakte | C+ | 34:40 | 1960 | 1983 1994 |
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| Kontra-Punkte | MI | 1953 | 1994 | ||||
| Kreuzspiel | MI | 1951 | 1994 | ||||
| Kurzwellen | C* | 54:05 | 1968 | 1994 | |||
| Mantra | C+ | 65:00 | 1970 | 1989 1994 |
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| Mikrophonie 1 | C* | 26:27 | 1965 | 1994 | |||
| Mikrophonie 2 | C+* | 14:00 | 1965 | 1994 | |||
| Mixtur | C* | 1964 | 1994 | ||||
| Momente | F | 1962/64 | 1994 | ||||
| Nasenflügeltanz | C* | 1994 | |||||
| Plus-Minus | MI | 1963 | 1994 | ||||
| Refrain | MI | 11:36 | 1959 | 1994 | |||
| Schlagtrio | MI | 15:15 | 1952 | 1994 | |||
| Signale zur Invasion | C+* | 1994 | |||||
| Solo I Solo II |
C* | 23 | 1966 | 1990 | |||
| Spiel | MI | 16:01 | 1952 | 1994 | |||
| Spiral | C* | 8:35 | 1968 | 1985 1990 |
|||
| Synthi-Fou | C+ | 1992 | 1994 | ||||
| Telemusik | C | 17:29 | 1966 | 1994 | |||
| Tierkreis | MI | 20 | 1975/76 | 1990 | |||
| Zyklus | MI | 17:55 | 1959 | 1994 1994 |
|||
| Szalonek | Witold | Inside ? - Outside ? | MI | 29:00 | 1986 | 1989 | |
| Piernikiana per tuba sola | MI | 13:33 | 1977 | 1992 | |||
| Quattro monologhi per Oboe solo | MI | 12:36 | 1972 | 1992 | |||
| Tazelaar | Kees | Chroma | C | 12:00 | 2006 | 2006 | |
| Crosstalk | C | 16 | 2008 | 2008 | |||
| Phalanxes | C | 20:00 | 2005 | 2006 | |||
| Teitelbaum | Richard | Digital piano music für einen Flügel und zwei computergesteuerte Flügel | C* | 1984 | 1984 | ||
| Iro-Wa-Nihoedo | MI | 23:00 | 1986 | 1986 | |||
| Golem | P+* | 1989 | 1992 | ||||
| Teruggi | Daniel | Autumn Song | C+ | 17 | 2008 | 2008 | |
| Birds | C | 22:09 | 2006 | 2008 | |||
| Faut - il encore faire du bruit? | Vortrag | 1998 | 1998 | ||||
| Fugitives voix | C | 17 | 1997 | 1998 | |||
| Gira, gira | C | 2000 | 2002 | ||||
| GRM Paris: 50 years of new msuic, 1948 - 1998 | Vortrag | 1998 | 1998 | ||||
| Instants d'hiver | C | 14 | 1993 | 1996 | |||
| Saxtenuto | C+ | 1994 | 1996 | ||||
| Spaces of Mind | C | 17:46 | 2004 | 2005 | |||
| Symphonische Träume | C | 26 | 2000 | 2005 | |||
| The GRM celebrates this year its 50th anniversary! | Textbeitrag | 2008 | 2008 | ||||
| Tutschku | Hans | Epexergasia - Neun Bilder | C | 12 | 2000 | 2000 | |
| Firmament-schlaflos | C | 20:25 | 2010 | 2010 | |||
| Les invisibles | C | 12:30 | 1996 | 1996 | |||
| memory - fragmentation | C | 11:49 | 2000 | 2002 | |||
| memory fragmentation | C | 12:50 | 1999 | 2002 | |||
| Object - obstacle | C | 12:28 | 2004 | 2004 | |||
| Zellen - Linien | C* | 18 | 2007 | 2008 | |||
| Zur Interpretation mehrkanaliger elektroakustischer Werke auf Lautsprecherorchestern – einige Gedanken zu GRM-Acousmonium und BEAST | Textbeitrag | 2000 | 2000 | ||||
| Zwei Räume | C | 21:08 | 2008 | 2008 | 2008 | ||
| Ungvary | Tamas | Akonel No. 2 | C+ | 7:09 | 1978 | 1982 | |
| Dis-Tanz | C+ | 10:00 | 1990 | 1991 | 1991 | ||
| Im EMS und ums EMS herum | Textbeitrag | 2002 | 2002 | ||||
| Istenem, Uram! | C | 12:32 | 1990 | 1992 | |||
| L'aube de flammes | C | 14 | 1984 | 1984 | |||
| Vaggione | Horacio | Arenas | C | 20 | 2007 | 2008 | |
| Fractal C | C | 1984 | 1985 | ||||
| Octuor | C | 1982 | 1985 | ||||
| Thema | C+ | 10:00 | 1985 | 1990 | |||
| Vande Gorne | Annette | Sie sagten »akusmatisch«? | Textbeitrag | 2002 | 2002 | ||
| Space Figures | C | 12:40 | 2004 | 2005 | |||
| TAO | C | 25:59 | 1990 | 2002 | |||
| Vox Alia | C | 25 | 1992 | 2002 | |||
| Verandi | Mario | Acariciando lo áspero | C+ | 10:36 | 2005 | 2005 | |
| Comme un jeu des images | C | 12:45 | 2006 | 2006 | 2006 | ||
| Evil Fruit | C | 10:25 | 2000 | 2000 | 2000 | ||
| Klang-Film | AV* | 12:12 | 2004 | 2004 | 2004 | ||
| unlike - untold | C | 14:45 | 2010 | 2010 | |||
| Webern | Anton | 5 Stücke für Streichquartett op. 5 | MI | 12:24 | 1909 | 1989 | |
| op. 28 | MI | 1937 | 1989 | ||||
| Quintett für Klavier und Streiquartett | MI | 11:20 | 1907 | 1994 | |||
| Wertow | Dsiga | Der Mann mit der Kamera | F | 1929 | 1986 | ||
| Die Donbass-Sinfonie (Enthusiamus) | F | 1930 | 1986 | ||||
| Ein Sechstel der Erde | F | 1926 | 1986 | ||||
| Wishart | Trevor | Encounters in the Republic of Heaven | C | 20:00 | 2010 | 2010 | |
| Globalalia | C | 29 | 2004 | 2004 | |||
| Two Women - Four Voiceprints | C | 23 | 1998 | 1998 | 1998 | ||
| Vox 5 | C | 6 | 1986 | 2008 | |||
| Wolff | Christian | Braverman music | MI | 8:55 | 1979 | 1990 | |
| Merce | MI | 26:50 | 1993 | 1994 | |||
| String quartet exercises out of songs | MI | 30:00 | 1976 | 1989 | |||
| Xenakis | Iannis | Bohor | C | 23:00 | 1962 | 1982 | |
| Idmen | MI | 14:10 | 1985 | 1991 | |||
| Ikhoor | MI | 10:37 | 1978 | 1992 | |||
| Kottos | MI | 1977 | 1985 | ||||
| La Légend d'ER | C | 43:00 | 1978 | 1982 | |||
| Morsima - Amorsima (ST / 4-1,030762) | MI | 8:54 | 1962 | 1990 | |||
| Mycènes Alpha | C | 12:00 | 1978 | 1982 | |||
| Persephassa | MI | 13:40 | 1994 | ||||
| Pléjades | MI | 50 | 1978 | 1984 1985 1994 |
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| Rebonds | MI | 1988 | 1994 | ||||
| Tetras | MI | 2:33 | 1983 | 1989 | |||
| Young | LaMonte | Five Small Pieces for String Quartet | MI | 6:12 | 1956 | 1989 | |
| Klaviermusik bis 1960 | MI | 1957/60 | 1992 | ||||
| The Melodic Version (1984) (UA) of The First Blossom of Spring from The Four Dreams of China (1962) | MI | 1962/1984 | 1992 | ||||
| Trio for Strings | MI | 60:00 | 1958/84 | 1992 | |||
| Zanési | Christian | Arkhéion, les mots de Stockhausen | C | 16:24 | 1994 | 1996 | |
| Les voix de Pierre Schaeffer | C | 16:48 | 1996 | 2002 | |||
| Saphir, sillons, silences | C | 18 | 1998 | 1998 | |||
| Zapf | Helmut | Canto del Aria | C+ | 12:55 | 1996 | 2002 | |
| Canzone da gran Cassa | C* | 1992/93 | 1994 | ||||
| Dreiklang II | MI | 20:33 | 1991 | 1992 | |||
| Wandlungen II | C+ | 13:20 | 1986 | 1990 | |||
| Zusammenklang III | MI | 1992 | |||||
| Zwedberg | Tommy | Face the music | C+ | 9:16 | 1977 | 1983 | |
| Like mother like child | F | 1979 | 1982 | ||||
| Slow Reflection | C+ | 17:16 | 2002 | 2002 | |||
| Zykan | Otto M. | Lehrstück am Beispiel Schönberg | F | 1974 | 1990 | ||
| Peripathese 1: Glauben Sie mir nichts Ich habe eine Erfindung gemacht Man muß auf der Hut sein / Vorherrschaft |
P | 10:15 | 1968 | 1990 | |||
| Peripathese 2: Klägerei | P | 3:54 | 1985 | 1990 |