.mw-parser-output .hidden-begin{box-sizing:border-box;width:100%;padding:5px;border:none;font-size:95%}.mw-parser-output .hidden-title{font-weight:bold;line-height:1.6;text-align:left}.mw-parser-output .hidden-content{text-align:left}@media all and (max-width:500px){.mw-parser-output .hidden-begin{width:auto!important;clear:none!important;float:none!important))You can help expand this article with text translated from the corresponding article in German. (March 2023) Click [show] for important translation instructions.
Machine translation, like DeepL or Google Translate, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia.
Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing German Wikipedia article at [[:de:Armin Schibler]]; see its history for attribution.
You may also add the template ((Translated|de|Armin Schibler)) to the talk page.
For more guidance, see Wikipedia:Translation.
After attending high school in the town of Aarau, he studied music under Walter Frey and Paul Müller in Zurich. From 1942 to 1945, he was the pupil of Willy Burkhard. He later went to England to perfect his training where he would meet notable contemporaries Benjamin Britten, Edmund Rubbra and Michael Tippett. In 1948 and 1953, Schibler attended the Summer Courses at Darmstadt, where he met and worked with Wolfgang Fortner, Ernst Křenek, René Leibowitz and Theodor W. Adorno. From 1944, he was the professor of music at the Zurich Literary School.
Selected works
As a composer of operas, orchestral choirs, Lieder and chamber music, his works are characterized by harmonious pacing and a preference for counterpoint. He also used serial composition.
Fantasie for viola and chamber orchestra, Op. 15 (1945)
Der spanische Rosenstock (Le rosier espagnol) (1947–1950), opera in 3 acts after the novel by Werner Bergengruen; libretto by Max Allenspach
Kleines Konzert for viola solo, Op. 9d (1951)
Weil alles erneut sich begibt for low voice, viola and piano, Op. 23 (1949)
Ballade for viola and piano, Op. 54 (1957)
Klavierkonzert for piano and orchestra, Op. 71 (1961)
Konzertante Fantasie for alto saxophone and small orchestra, Op. 95 (1978)
