Listen to and watch videos of my works

Listen to works I composed

The most recent extracts are at the bottom because I add them as I go along.

Opus 69, short and easy version, onanism version
And here is a piece for solo cello played by me. Alone. Isn’t it great? Isn’t it? The longer version is both below and in the “video” section (in few different versions).

Pérégrémotions (Percussions, Regressions, Emotions)
Written in 2003, this piece for three percussionists is the start of all my work on baby style. Since this historical recording by Richard Kuster, May Dazas and Pascal Stauffer, I added a minute to the piece just there, near the middle, no, a bit further up, yes, here.

Play Station 3: Ducks
Here is one of the many possible versions of my famous Play Station 3, here in a four tracks version, reduced to two to make it available for the plebs. For the anecdote, this was made in one take, with a duck bird call, without any editing. How? Thanks to my genius abilities. You will fulfill me by listening to it with your headphones, for which the piece has been mixed for (that’s called “binaural”). You can also find it on the comic book / CD “Opus 69” that we made with Baladi for La Cafetière Editions and that you can find (or order, depending) at the comic books dealers.

Agony II
This is a piece for nine cellists, aged, on this recording, from 9 to 28. The three main voices are performed by Aurélien Ferrette, Anna-Barbara Schaerer and Guillaume Berney (whom we loudly applaud). It’s a tragic piece considering they all die in the end (well, in the story, not in real life), and the last piece of my show “the extra-cellists”. The nice picture you can see here (admire it for a while, it will make time pass) comes from the show.
And here, because I like you, I also put Mayo, another piece from the show.

Sinusitis
So this is my first piece for solo electronic. I suggest you listen to it with your headphones, the sound will be way better than on the pathetic loudspeakers of your laptop, and you will enjoy more the magnificent stereophonic effect. You will say “the end is awesome”. I shall answer “yes, I know”.

TremaL
So this is a homage to Heinz Holliger’s Trema (that you can listen in the section listen to pieces I did not compose but played by the way). Here I’m playing it with the cello, but the piece also works with a violin or a viola, just like Trema, by the way.

Die Harfen
And here is a piece for harp and live electronic outstandingly performed by Aurore Dumas (whom we loudly applaud). “Live electronic” means that all the electronic sounds are generated instantly by the machine that transforms them thanks to a process that is too complicated for you to get (I am super clever), or that the few sounds that are pre-recorded are being gently recalled by the performer at the right time. Furthermore am I very proud of this piece because it is probably the first time in music history that a composer achieves to make a harp produce reluctant sounds. And you ‘ll be gratified to realized that I give you the three extracts (the full piece lasts for more than twenty minutes):
Extract 1: Yes, that’s a harp.
Extract 2: Yes, that’s a harp.
Extract 3: So, now you believe me it’s a harp.

Opus 69, long and hard version
After the short version of Opus 69 that some call “premature ejaculation version”, here is the Opus 69, long and hard version, that is named this way because it’s longer (15 minutes) and harder (technically speaking). Here is the recording of the premiere, by me. But this piece can also be performed in different versions: duet with voice, of double bass instead of the cello. How? Thanks to my genius abilities. You also can find it on the comic book / CD “Opus 69” that we made with Baladi for La Cafetière Editions and that you can find (or order, depending) at the comic books dealers. (In a later recording, must I must specify.)

Pérégrémotion II
Now it is in the singular form because it is for only one percussionist (here the unique, irreplaceable, priceless Cyril Regamey). I wrote this in 2005 considering the following facts: Pérégrémotions is a good piece but it is short. Let’s keep the spirit and develop. You are now in the presence of my maturity “Pérégrémotion”. If I dare to say so.

Love, passion and schizophrenia
This is again a piece from “the extra-cellists”, expect that this time it is a solo by the character called “the one in love”, performed here by Guillaume Berney.

Play Station 3: CH.au, version for solo saxophone
So this is one of the written versions of my Play Station 3, and it is for free ensemble and electronic. CH.au premiered it in January 2006, first in a version for septet, and then, on the last day, I asked the six colleagues to sit and prepare to play as usual, but to let their leader Laurent Estppey play alone without warning him. So here is a version “solo despite him”. It’s great.
The beginning: This is the first movement (it’s its title, yes). And yes, it doesn’t start loud at all. It’s how it is. If you don’t hear a thing, why didn’t you come to the concert instead of complaining?
It sounds like some Feldman: This is the second movement (it’s its title). It sounds a bit like some Feldman.
The middle and the end: These are the third and fourth movements (these are their titles).

Hypothetical prelude to a trivial suite
In June 2006, few pupils of Mrs Frey-Streiff’s cello class played a few pieces from “the extra-cellists”, and played really well on top of it. So here is Phillipine (8 years old) and Julien (9 years old) in this magnificent duet.

Life is made of joys and combs (I’m sorry, guys, in French this title is hilarious. Learn French. Now.)
Few minutes later, Magali Guillain (16 years old) played Life is made of joys and combs. Bravo.

Retrospective Brice Catherin, Eglise Saint-François, Lausanne, 15th of May 2010
Sometimes it’s enough to wait for seven years (two years and a half only for “number 3”), and all your pieces that have been badly or never premiered are performed all of a sudden by a bunch of great people:

1st, 2nd and 3rd movements of Erster Verlust version for baritone saxophone.

1st, 2nd and 3rd movements of Traumerei for voice, saxophone, cello and percussions, but this is the version we recorded at Fred’s two weeks after the concert.

Number 3, version for solo piano.

A symphony for bassoon and ensemble..

Number 3 version for violin and orchestra.

All this stuff was performed by Alexandra Bellon, percussions; Brice Catherin, cello; Frédéric Danel, voice; Vincent Daoud, saxophone; Aurélien Ferrette, conductor; Rachel Kolly d’Alba, violin; Viva Sanchez-Morand, piano; Ludovic Thirvaudey, bassoon.

The orchestra: Laetitia Tanner and Marie Roqueta, flutes; Lea Sangiorgio and Blaise Ubaldini, clarinets; Fanny Monjanel, bassoon; Yannick Barman, trumpet; Christophe Schweizer, tuba; Alexandra Bellon and Guy-Loup Boisneau, percussions; Viva Sanchez-Morand, piano; Noëlle Raymond, Enrique Soto, Jesus Chaidez and Lamberto Nigro, double basses.

Winterreise
Before the imminent official releasing (which is being negotiated) on the world’s greatest netlabel in a better quality version (here the file was compressed a lot for server reasons), and also before the arrival of the video (in HD format, yes Sir), here are the forty minutes of WINTERREISE, my concerto for cello and free ensemble. I am playing the cello, and, with and behind me, are: Marc Berman (accordion), Rodolphe Loubatiere (percussions), Raphaël Ortis (electric bass), d'incise (electronic),Vinz Vonlanthen (guitar), Magali Guillain (cello), Laurent Estoppey (saxophone), Alexandra Bellon (snare drum), Simon Aeschimann (guitar), lucie mauch (clavichord), Jamasp Jhabvala (violin), Richard Jean (homemade cithara), Yannick Barman (trumpet), Lea Sangiorgio (clarinet), Frédéric Danel (voice), Noémie Cotton (accordion), Antoine Lang (voice), Johann Bourquenez (synthesiser), Marie Schwab (violin), Navin Gopaldass (bass), Christophe Schweizer (trombone) et Claude Jordan (flute).

Note that most of my recent pieces are in the section listen to and watch videos of my works.