Works
- 1943 Polyphone Studien for chamber orchestra
- 1944 Une des fins du monde, cantata for baritone and orchestra after Jean Giraudoux
- 1945 Chinese Love Songs; Furioso
- 1947 Swiss Folk Song Suite (Schweizerische Volksliedersuite)
- 1949 Music for Orchestra and Reciter; Chinese Song; Symphony No 1
- 1950 Streitlied zwischen Leben und Tod (Combat Song of Life and Death)
- 1951 Sonata for piano
- 1952 Leonore 40/45 (opera). First performance: Basle
- 1954 Penelope (opera). First performance: Salzburg Festival (George Szell/Schuh/Neher); Concerto for Jazzband and Symphony Orchestra. First performance: Donaueschingen, cond. Hans Rosbaud. American première: the Sauter-Finegan Orchestra with the Chicago Symphony Orchestra, cond. Fritz Reiner (also recorded for RCA at that time)
- 1955 The School for Wives (opera). First performance of the one-act version: Louisville, Kentucky
- 1957 Die Schule der Frauen (opera). European premiere: Salzburg Festival (Szell/Schuh/Neher)
- 1958 Geigy Festival Concerto for Basler drum and orchestra
- 1959 Capriccio for soprano, violin and orchestra
- 1964 Concert des Echanges, Swiss National Exhibition, Lausanne
- 1981 Essai 81 for cello and piano
- 1984 Ferdinand, parable for speaker and instruments
- 1987 La Forêt (opera). First performance: Geneva (Tate/Deflo/Orlandi)
- 1988 Herring Quintet; Cosmopolitan Greetings (Gruntz/Wilson/Ginsberg)
- 1989 Medea Monologue for soprano, female choir and orchestra
- 1990 3x1 = CH+X for mezzo-soprano, choir, and orchestra
- 1992 Freispruch für Medea (opera). First performance: Hamburg 1995
- 1994 Enigma; Violin Concerto
- 1995 Piano Concerto
- 1996 Die schlesischen Weber (text: Heinrich Heine) for mixed choir, string quartet, and piano
- 1997 Variations on a Theme from Appenzell for five instruments
- 1998 Mouvance for nine percussion players and piano
Read more about this topic: Rolf Liebermann
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—Brian Masters (b. 1939)
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—Bible: Hebrew, Proverbs 16:26.
“The mind, in short, works on the data it receives very much as a sculptor works on his block of stone. In a sense the statue stood there from eternity. But there were a thousand different ones beside it, and the sculptor alone is to thank for having extricated this one from the rest.”
—William James (1842–1910)