Bassclarinet / Contrabassclarinet

3429 Thomas K. J. Mejer: Uroboros Awake (1997) 10'
for bass clarinet solo
sFr. 16.00
5011 Peter Streiff: Melodien Bd. II (1983) 13'
for bass clarinet or another reed instrument (e.g. oboe, English horn, bassoon, saxophone)
sFr. 18.00
Thirty-one strophes bound in an enormous arch form. A piece with a flowing, rhythmic metre; not fast.

piano and instrument
1023 Jean-Jacques Dünki: Duetto for Bassclarinet and Piano (1983) 5'
sFr. 21.00

Bassclarinet / Contrabassclarinet with instruments
8307 Dieter Ammann: Short Variation (1996) 3'
for 7 clarinets and bass clarinet
sFr. 16.00
0212 Walter Baer: Babel (1996) 14'
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)
6406 George Barcos: Danzas del Caribe (1990) 7'
for three clarinets, bass clarinet and piano
sFr. 36.00
Molto animato - Moderato con brio - Andante con ánima.

8431 Felix Baumann: Übergang (2005) 10'
for bass clarinet (in B), bassoon and violoncello
sFr. 26.00
Through the elongation of time in the deeper and darker register, the music (or rather the perceiving ear) nestles in an intermediate area between process and static, as if observed through a magnifying glass. From the abundance of innumerable possibilities emerges the presence of a singular transition.

12827 Gary Berger: Encode (2012/13) 9'
for ensemble (fl, bcl, tsx, pf, perc I and II, vn, vc) and live electronics
sFr. 57.00
8509 Thüring Bräm: For the Birds (1987) 8'
for flute and bass clarinet
sFr. 21.00
Requires an interest in experimentation and practice.

1051 Jean-Jacques Dünki: Cas obliques I, II, III (1993-2004) 6'
for oboe, bass clarinet, bassoon, horn and piano
sFr. 34.00
14301 Felix Falkner: Solitude (1990) 22'
for string quartet with bass clarinet
sFr. 26.00
(Stimmen: sFr. 14.-; € 9.50)
6611 Alfred Felder: Regen über der Wüste (1997) 6'
for clarinet, bass clarinet, percussion and speaker
sFr. 13.00
Text: Eva Eisenmann-Westphal.

6645 Alfred Felder: ... zu den Rändern ... (2002/03) 20'
for viola, bass clarinet and piano
sFr. 23.00
(Stimmen: sFr. 20.-; € 13.50)
Based on a picture by the Lucerne painter Thyl Eisenmann. Delicate, subtle colour tones possessing an intensive force.

12421 Fortunat Frölich: Spruch (2000) 1'30
for soprano (with hand cymbals), bass clarinet and percussion
sFr. 16.00
1495 Eric Gaudibert: 2'35" (2007) 3'40
for bassoon solo, bass flute, bass clarinet and trumpet
sFr. 26.00
This piece was composed for the 30th anniversary of the ensemble Contrechamps. The title corresponds to the timing which Bartók set for his Allgero Barbaro. The trio (flute, clarinet, trumpet) play some extracts of this work with breathing sounds only, while the solo bassoon "sings" the beginning of the Music for Strings, Percussion and Celesta, also by Bartók. It is possible to use other wind instruments than the ones chosen here.

8812 Rico Gubler: FAL (1999) 7'
for bass clarinet / Eb clarinet, bassoon, horn, two violins, viola, violoncello and double-bass
sFr. 34.00
(Stimmen bei SME/EMS: sFr. 28.-; € 28.-)
Listen: Youtube Youtube
8822 Rico Gubler: KOR (2000/01) 9'
for string quartet, tenor saxophone, percussion, bass clarinet and double-bass
sFr. 70.00
(Stimmen beim Komponisten)
14806 Ursula Gut: Klagegesang (1999) 15'
for alto, viola, bass clarinet and didgeridoo
sFr. 23.00
14807 Ursula Gut: Hymnus (2000) 6'
for bass clarinet and didgeridoo
sFr. 18.00
15174 Rudolf Jaggi: Flucht (1977) 15'
for choir (SAB), oboe, alto saxophone and bass clarinet
sFr. 34.00
Text: Hans Häring.

151118 Rudolf Jaggi: Hommages (2007) 9'
for 2 clarinets in B and bass clarinet in B
sFr. 23.00
(Stimmen bei SME: sFr. 22.-; € 22.-)
151125 Rudolf Jaggi: Lobgesang (2009) 7'
for mixed choir (SATB), 2 clarinets and bass clarinet
sFr. 21.00
Texts: Abraham Emanuel Fröhlich.

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.

9334 Vladislav Jaros: Ungarische Rhapsodie (2006) 12'
for flute (or violin), bassoon (or bass clarinet or violin) and piano (or harp)
sFr. 36.00
A varied music full of life with an Hungarian rhythm. Instrumentation: 1 - 2 - 3 - 4 -

9349 Vladislav Jaros: Habanera y Bossa Nova (2010) 4'30
for four clarinets (2cl, btnhn, bcl)
sFr. 21.00
26124 Max E. Keller: accent - figure - layer (2008) 58'
A project between improvisation and composition
for bass clarinet/tenor saxophone, percussion, piano, violin, viola and double bass
sFr. 26.00
The wide scope between improvisation and composition is calibrated. There are, however, no long notated passages but form sequences, short notated phrases as starting points, verbal instructions and graphics - right through to improvisation as one extreme. The musical material is based on the archetypal elements 'accent', 'figure' and 'layer' as mentioned in the title. The through-composed parts "unione e tremolo" for violin and viola (movement II) and the violin solo "NONONONO" (movement VII) are inserted between the six movements as the other extreme.

Listen: Youtube
26155 Max E. Keller: mit Pfiff (2012) 2'
for flute, bass clarinet, piano, violin, viola and violoncello
sFr. 13.00
The leitmotif of this piece is indeed, as the title suggests (Pfiff = whistle), an instrumental whistle by the whole ensemble, which is followed in each case by a kind of echo - be it hard and loud accents or soft chords. (Trans.: mit Piff also translates as 'with flair' or 'with zing'). Dedicated to the Ensemble Theater am Gleis Winterthur for it's 20th anniversary.

26152 Max E. Keller: Keim - con sorpresa (2013) 12'
for flute clarinet (bcl), piano, violin, viola, violoncello
sFr. 34.00
This work develops from a simple kernel on the one hand, and displays surprising aspects on the other. And so the kernel grows exuberantly, quasi-uncontrolled, in unpredictable directions, notes remain surprising - like mistakes - enduring to form a surface of contrasts. Suggestions expand into preludes, after beats into codas; the surfaces become noise-like. These surfaces dominate from the middle part onwards, and the kernal fragments and repeats, simultaneously rising up as a pulse. In addition to the little surprises, four structures are spliced in, none of which have anything to do with the kernel: sorpresa.

2868 Alfred Knüsel: inmitten der Fülle das Verschwinden als verbindendes Element (2008) 8'40
for wind instruments (pic, fl, bcl, bn), string instruments (vn, db, hp) and percussion
sFr. 49.00
Listen: Youtube
2909 Josef Kost: Cinq Poèmes (1985/95) 11'
for flute, clarinet, bass clarinet, violin, viola and violoncello
sFr. 34.00
The sextet musicalises five poems through various means e.g. the metre offers a background of incessant rhythmic variation, the rhyming scheme dictates the form, even aspects of the content form the base of the instrumentation. Medium level of difficulty. Requires a conductor.

9508 Louisa Lasdun: Gespräch(e) im Gebirg (2002) 16'45
for seven players (fl[=pic].bcl.Ebcl/ and sound technician
sFr. 34.00
A single movement in eleven parts with play-back sound commissioned by the 'Luzerner Kammermusiker'. The recorded material is comprised of text fragments from Paul Celans prose 'Gespräch im Gebirg', read by the author; fragments of a prayer-call from canton Uri, an English nineteenth century hymn and Hebrew lyrics from Bialik. This piece takes Jewish identity in German speaking areas as ist theme.

3103 Urban Mäder: Drei Versuche über ein Morgenrot (1988) 10'
for three bass clarinets
sFr. 23.00
Concertante performance or with simple parodic scenery.

3108 Urban Mäder: L'absence de vent (1992) 55'
for speaker, soprano, alto, countertenor, flute, guitar and bass clarinet
sFr. 47.00
Text: Samuel Backett An audio play after a quote from Samuel Beckett's “Mal vu mal dit” (badly seen badly said).

7107 Valentin Marti: Rainshadows (1996/99) 10'30
for bass clarinet, trombone, violoncello and percussion
sFr. 42.00
Shadowy diffused sounds are generated below the sound spectrum of the rainstick. Sounds which, the stronger and more corporeal they appear, the more fragile they really are. Requires three rainsticks. World premiere: 25.02.00 in Baden by the 'Ensemble Avance'.

9704 Hans-Jürg Meier: etwas quintlastig (1993) 6'
for recorder, bass clarinet, viola, violoncello and two percussionists
sFr. 13.00
The melody is expanded in a tower of quints. A row of variations in three parts where the melody sounds as a whole only in the second part. Conductor is of use.

7211 Mela Meierhans: RéSONANCE?! (1996/97) 21'
for bass clarinet, horn (Alphorn), violoncello and electronic (CD/DAT or MD)
sFr. 21.00
After texts by Hannah Arendt. This piece uses a half conventional score with 'cell' improvisation. All instruments are to be amplified where possible.

3417 Thomas K. J. Mejer: Recurrence of the Nymphs (1997) 18'
for oboe (also English horn), alto saxophone, bass clarinet and bassoon (also contra bassoon)
sFr. 42.00
Structured in four consecutive tonal images, each one takes its inspiration from a species of nymph: Orestiads, Dryades, Naiads and Nereids.

9909 Maria A. Niederberger: Tandem Points (1993) 9'
for flute, oboe, bass clarinet, horn, two percussion, violin, viola, violoncello and double bass
sFr. 60.00
Accentuated horn and percussion.

4002 Daniel Ott: im museum (1987) 45'
Musical theatre piece
for a group of children and piccolo, bass clarinet, tuba, accordion, mandolin (guitar), violin and four percussion instruments
sFr. 31.00
Texts: Folksong Can be played individually: ‘kinderspiele’ for 2 percussionists (glock.vib.cym) [2'] ‘le ranz des vaches’ for 6 tuned cow bells (f#+2,g2,d2,g#+3,a3,e4), one player [2']

4007 Daniel Ott: skizze - 7 1/2 bruchstücke (1992) 11'
Scenic composition
for bass clarinet, percussion and string trio
sFr. 23.00
A portrait study, ‘Bilderbogen’, developed from discussions with members of the ‘Ensemble Recherche’ concerning their relationship with their instruments; also available as a film version: ‘7 ½’ (together with Reinhard Manz) Distribution: Video-Genossenschaft Basel, Postfach 511, CH-4005 Basel.

10031 Kit Powell: Sextett (2000) 11'
for clarinet, bass clarinet and string quartet
sFr. 39.00
(Stimmen bei SME/EMS: sFr. 38.-; € 38.-)
10048 Kit Powell: Das Ausland (2003) 7'
for soprano, bass clarinet and percussion.
sFr. 31.00
(Stimmen: sFr. 42.-; € 32.-)
Setting of a short story by Jürg Schubiger.

19306 Katharina Rosenberger: aPhasis (2002) 6'30
for soprano, alto flute, bass clarinet
sFr. 23.00
The title stems from the Greek words "Aphasia" and "Apheresis". The original meaning of Aphasia is "speechlessness", this is often translated into English as "loss of language". The leaving out of a vowel or syllable at the beginning of a word, either for causes pertaining to language history or because of metric or articulation reasons, is referred to as "Apheresis". The dealing of language in aPhasis reflects these processes with the explosive, blurting out of word clusters, which are deconstructed as the piece progresses. This process is musically embedded by the voice in a sharply contrasting sound image comprising wordless, archaic sounding 'vocalese' passages, which are hummed or interpreted with a half-open mouth. The accompanying instruments - written here in a new version for bass clarinet and violoncello - negotiate the tonal space between these two dynamics. The libretto comes from the pen of British poet Rob Holloway.

4535 Martin Schlumpf: Rattaplasma 2 (Kapitel III im Buch der Proportionen) (2001) 11'45
for clarinet/bass clarinet and computer generated multi-channel ambisonic tape
sFr. 26.00
Listen: Youtube
10224 Michael Schneider: Im innersten Winter (requiem) (1999) 14'
for speaker, bass clarinet and guitar
sFr. 31.00
Text: Andreas Neeser Economically used filigree sounds and gestures by both instruments accentuate eight poems on death and transience.

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.

10301 Henri Scolari: Arghoul 1 (1971) 7'
Piece in the medieval stantipes form
for clarinet, bass clarinet, contrabass clarinet and vibraphone
sFr. 23.00
Fusion of medieval and contemporary notation.

4815 Andreas Stahl: rufen wir charon? - und wenn er nicht kommt? (1997/98) 8'
for altus, bass clarinet, double bass and piano
sFr. 26.00
This piece, without text, was written for the altus Luiz Alves da Silva. It works primarily with oscillating, non transition forming elements such as register change, upbow - downbow, to and fro movements etc. Continually changing parameters such as dynamics and tempo transitions are to be avoided in so far as they are not induced by the instrument or the human being itself.

4814 Andreas Stahl: again, sam! (1998) 20'
for violoncello, double-bass, baritone saxophone, bass clarinet, two tenor-bass trombones and two percussion instruments
sFr. 47.00
An initial piece based on repetition presented in such a way that the repeated elements, located on many different levels, are not always immediately recognizable. This gives the impression of a loosely fabricated form. It is sonorously very soft with lots of sounds and lots of interlocking rhythms. Requires a conductor.

10813 Martin Wendel: Quintett, op. 40 (quintet, op. 40) (1981) 18'
for three clarinets, bass clarinet and piano
sFr. 52.00
Five passages connected by various associations.

5805 René Wohlhauser: Duometrie (1985/86) 5'
Ergon 12
for flute and bass clarinet
sFr. 23.00
External time levels (as has been described by Stephen Hawking, with linear time comes an additional vertical imaginary time base out of which there exists a dependent area with no oppositional beginning and end and which is conceived as instantaneous) stands in relation to the piece's inner nature, its complex dramatic time organisation, which amongst other things is one of its products, and in which, for both players, time is not continuous - often with different tempi having to be played simultaneously. An expression of incompatible contradiction, so-called antimony, reminiscent of Kant's 'Transcendental Dialectic'.

Listen: Youtube
5829 René Wohlhauser: Die Auflösung der Zeit in Raum (2000-2001/11) 15'
Ergon 26f, work number 1607
for clarinet (bass clarinet), violoncello and piano
sFr. 57.00
A piece dealing with the volatility of temporal experience in the infinitude of room.

5836 René Wohlhauser: Iguur - Blay - Luup (2009) 16'
Ergon 40
for soprano solo, soprano and baritone duo, and soprano with small ensemble (bass flute, bass clarinet and violoncello)
sFr. 62.00
Based on own onomatopoeic text. In the emblematics of the virtual language Sulavedic the word "iguur" stands as a metaphor, which has been mystified into "blay" through an unexpected resonance in order to resurrect in "luup" in a changed, purified and contextually different form.

Listen: Youtube

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