Basset horn


solo
8410 Felix Baumann: entgegen (1998) 7'
for basset horn solo
sFr. 13.00
The contrast between different energy forms acts as a catalyst enabling the static to become fluid.

8425 Felix Baumann: entgegen 2 (1998) (1998) 8'
for basset horn solo
sFr. 16.00
'entgegen 2' differs from 'entgegen' by a more open cadence.


Basset horn with instruments
0212 Walter Baer: Babel (1996) 14'
Quartet
for clarinet in E-flat, basset horn and bass clarinet
sFr. 26.00
As well as a symbol of self-indulgence (building of the tower) and speechlessness (confusion of speech) Babel also stands for hope and a longing for happiness. The musical core is created by the melody B-A-B-E-soL (sol = G).

0257 Walter Baer: Klarinetten-Oktett (clainet octet) (2010) 10'15
for Eb clarinet, 3 clarinets in B, 2 basset horns, 2 bass clarinets
sFr. 34.00
(Partitur klingend oder transponiert)
8413 Felix Baumann: Poren (1999) 9'
for three basset horns
sFr. 21.00
An attempt at writing a music which is, on the one hand, corporal even crystal clear and on the other hand dismantled from every fixation: a music which is flowing and simultaneously clear.

8421 Felix Baumann: Sprayerspruch II (2002/03) 15'
for five-part choir and three basset horns
sFr. 31.00
Texts: Mahatma Gandhi, Alltags- Werbe- Mediensprache Attempting to make the choral version even more radical by including instruments.

9304 Vladislav Jaros: "Re-Ra" (1988) 13'
for four clarinets (two clarinets, basset horn, bass clarinet)
sFr. 26.00
An amusing virtuoso piece with musically playful surprises and merry moments.

9349 Vladislav Jaros: Habanera y Bossa Nova (2010) 4'30
for four clarinets (2cl, btnhn, bcl)
sFr. 21.00
7119 Valentin Marti: Expansion of a Verse (2000) 9'45
for alto flute, basset horn, violoncello and harp
sFr. 29.00
A further independent version of ‘Re-version of a Verse’ which was left open for harmonic and formal additions. Intertwining structured sound surfaces; timbral changes. World premiere: 12.5.00 in Zumikon by I.Bende (fl), V.Wandeler (bhn), B.Göttert (vc), I.-L. Stettler-Jansen (hp), Philipp Hefti (cond.).

10218 Michael Schneider: Licht bei Vermeer (1997/98) 12'
for eight-part choir (SSAATTBB), basset horn and vibraphone
sFr. 36.00
Texts: Vincent van Gogh, Pieter Teding van Berckhout, Dirk Hannema, Catharina Bolnes, everyday language A secretive choral study about light and colour in seven pictures by Jan Vermeer. Demanding intonation in the chorus parts iridescently combined with the basset horn and vibraphone.

10240 Michael Schneider: Gran Partita (2011) 13'
for wind septet (fl, ob, cl, bh, bcl, bn, hn)
sFr. 42.00
"The seagull continues to play. But she is no longer alone. They came one after the other, against the wind. A bassoon is here, a long, thin lament; an oboe, guttural; a horn, horns, various colours, dry in the brass; a deep voice, a sonorous bass draws long, thick threads through the sound carpet. Above me on the craggy ledge sit thirteen seagulls, each with a tone of its own. Highs and lows, warmth and coolness, a mystical choir, a serenade from within the wind." The number of seagulls in this excerpt from a short story by the Swiss author Andreas Neeser makes reference to the number of instruments in Mozart's famous wind serenade 'Gran Partitia', which also lends its name to Neeser's short story. Published in a volume of stories entitled 'Unsicherer Grund' or 'Unsafe Ground' (Haymon, 2010), Neeser's 'Gran Partita' pays homage to nature and the legends of Bretagne: An observation made at the westernmost side of Bretagne and a metaphor within which man and his emotions are mirrored. Commissioned by the Bläsersolisten Aargau, my 'Gran Partita' reflects the music in Neeser's text and the nature it evokes - the structural elements of the short story and also the geology and fauna of Bretagne. The instrument's scales symbolise granite, the predominant stone in this area, and the vegetation and topos of the sea and the call of the seagulls. Non-musical parameters define the musical material, the form of which offers absolute priority to the melodic line. This leads to an autonomous sound metaphor comprising lines and colours, that makes the underlying substance as an explanation no longer necessary.


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automatically generated. last update: 28.08.2015 / 2004 Theo Lustenberger