Bassoon / Contrabassoon

8515 Thüring Bräm: Quasi notturno (1993) 6'
for bassoon solo
sFr. 13.00
Requires experimentation on ones own instrument. Even single parts of the bassoon are used for playing.

17911 Andreas Brenner: Hommage à – Adolf Wölfli (2013) 7'
for flute or alto saxophone or bassoon
sFr. 18.00
(Preis pro Version)
Hommage à – Adolf Wölfli, a piece for soloist, exists in three versions: for flute, for alto saxophone and for bassoon. Because the three versions differ in their musical material (not counting the transposition) they each represent a kind of variation - comparable to a single object under different lighting conditions. When two or even all three versions are performed at the same concert, they should not be performed in immediate succession and always from high to low (that is to say alto saxophone and bassoon always comes after flute, bassoon always after alto saxophone).

2918 Josef Kost: In monte oliveti - zwei Sätze (2002) 9'
Music for the Maundy Thursday liturgy
for bassoon solo
sFr. 18.00
Intermediate level of difficulty with no particularly special playing techniques.

piano and instrument
9208 Michel Hostettler: Ballade (1986) 7'30
for bassoon and piano
sFr. 21.00
(Avec partie de basson)
26161 Max E. Keller: zusammenwachsen (2012) 4'
for bassoon and piano
sFr. 16.00
For teaching purposes. This short composition was created for Dieter Hähnchen's collection for teaching purposes. It begins with a stark contrast between the two dissimilar instruments: a quick, quiet piano motion in the middle register is followed immediately by a deep, loud and long tone from the bassoon. The motives are interchanged, successive becomes simultaneous, and other motives appear. An amalgamation process develops that finally plays out on a noise sound, multiphonic and rhythmical pulse level: the merging of that which does not immediately appear to belong together.

Bassoon / Contrabassoon with instruments
6204 Heidi Baader-Nobs: Session (1988) 17'
for two violins, viola, violoncello, double-bass, flute (pic), oboe (ca), clarinet (Ebcl, bcl), bassoon (cbn), piano and marimba
sFr. 47.00
6420 George Barcos: Piezas Íntimas (1999) 9'30
for flute, bassoon and harp
sFr. 31.00
Nocturnal - Danzón - Poema Místico.

6423 George Barcos: 4 Pièces (2005) 10'
for mixed voices (SATB), piano, violoncello and bassoon
sFr. 34.00
Texts: Antoine de Saint Exupéry, Alfonsina Storni, Beaucarné, Théophile Gautier Passarelles dans a nuit - Maisons alignées - Une triste boutique - Les batôns.

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.

0517 Nicolas Bolens: Suite pour Neuf Instruments (suite for nine instruments) (1999) 11'
for wind quintet and string quartet
sFr. 31.00
8526 Thüring Bräm: "... dass es nichts Neues gibt unter der Sonne..." (1970) 6'
for soprano, viola and bassoon
sFr. 21.00
Texts: Dieter Fringeli Four songs in the original scoring: Soprano, viola and bassoon. Text by the Basel poet Dieter Fringeli. There are some free passages in addition to the through-composed parts.

17914 Andreas Brenner: Trio (2014) 18'
für Oboe, Klarinette und Fagott
sFr. 44.00
Das Trio besteht aus einem knapp zwanzigminütigen Satz in elf kontrastierenden Abschnitten. Aus kompositionstechnischem Gesichtspunkt sind vor allem die sorgfältig austarierten Gewichtungen der einzelnen Tonhöhen interessant. Sie führen zu feinen Verschiebungen von Mustern, die in kanonische Texturen münden – ein Prozess, der in immer neuen Varianten durchgespielt wird und die elf Abschnitte unter der kontrastierenden Oberfläche eng zusammenschliesst. Es entsteht eine Klanglichkeit, in deren Vordergrund sparsam eingesetzte harmonische Farben und deren allmähliche Veränderung stehen.

1051 Jean-Jacques Dünki: Cas obliques I, II, III (1993-2004) 6'
for oboe, bass clarinet, bassoon, horn and piano
sFr. 34.00
11920 Claude Ferrier: 4 petites pièces (1999) 6'
for eight instrumentalists (
sFr. 26.00
11923 Claude Ferrier: In Anno Jubilaei (2000) 5'
for 2pic.2cbn and twelve-part mixed choir
sFr. 29.00
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
8823 Rico Gubler: Ortswechsel, eine Winteroper (2001) 45'
19 songs
for clarinet, bassoon, horn, string quartet and speaker
sFr. 57.00
Text: Gert Loschütz.

8830 Rico Gubler: variationen für viktor, fiori per luigi (2003) 18'
for clarinet, bassoon, horn, violin, viola, violoncello and double-bass
sFr. 18.00
(Stimmen: sFr. 54.-; € 36.00)
Including the fourth movement of the septet op. 20 by Ludwig van Beethoven.

8833 Rico Gubler: Turnaround (2005) 12'
for wind and string quintet (
sFr. 60.00
Evening News - Summertime - Today Special - Meteo - Sonntag 03.17 Uhr MEZ - Breaking News.

14802 Ursula Gut: Teddybear's Dream (1993) 10'
for violin, violoncello, bassoon, harp, percussion and celesta
sFr. 18.00
18002 Sarah Haessig: Ueber den Namen Anne Frank (2006) 5'30
for 3 bassoons
sFr. 21.00
Not exactly easy.

9212 Michel Hostettler: Fantaisie épidermique (1988) 7'
for flute, oboe and bassoon
sFr. 18.00
(Parties chez EMS: Sfr. 14.-; € 14.-)
9215 Michel Hostettler: Phylactères (1989) 10'
for flute (piccolo, flute-G), bassoon, harpsichord and crotales
sFr. 31.00
(Parties chez EMS: Sfr. 22.-; € 22.-)
9256 Michel Hostettler: Schegge d'ambra (2006) 8'
for oboe, clarinet and bassoon
sFr. 29.00
(Parties: 22.-)
15179 Rudolf Jaggi: Bin alben e wärti Tächter gsi (Paraphrase) (1996) 4'
for choir (SAB), clarinet, oboe and bassoon
sFr. 23.00
(Stimmen: sFr. 16.-; € 10.50)
9306 Vladislav Jaros: Cum grano salis (1992) 14'
for wind quintet and strings
sFr. 26.00
A polyphonic tonal meshwork - fluctuations between chromatic and polypentatonic - irridescent sound surfaces. For chamber musical performances: wind quintet and string quartet.

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 -

2657 Max E. Keller: Konfigurationen III - January 1991 (1991) 8'
for oboe (or flute), bassoon, guitar and piano
sFr. 18.00
The musicians also perform scenic actions and speak a couple of sentences.

2609 Max E. Keller: zerblasen (1992/93) 11'
for instrumental ensemble (
sFr. 26.00
An obsessive, pulsating sequence is stopped down again and again and shortened whenever some sound fields establish themselves in the interstitial. A new multifaceted music replaces the worn down rhythm.

2664 Max E. Keller: Ritardando (1995) 3'
for three bassoons
sFr. 13.00
2682 Max E. Keller: Rotondo (1999) 50'
for nonet (oboe, bassoon, trumpet, trombone, viola, double bass, accordion, piano and percussion)
sFr. 122.00
A composition in cooperation with Werner Bärtschi, Ulrich Gasser, Max Eugen Keller, Martin Sigrist and Peter Wettstein ('Komponistensekretariat' Zurich) with sixty segments, each fifty seconds long. Cyclic composition.

2692 Max E. Keller: Sans cesse (2001) 9'
for oboe, bassoon, horn, trombone, violin, viola, violoncello and double bass
sFr. 18.00
26114 Max E. Keller: Schlaglichter (2006) 4'
for oboe, clarinet, bassoon, double bass and percussion
sFr. 21.00
These three miniatures are the reshaping of the structure and instrumentation of three laconic parts of my opera "Die Axt" after "Graf Öderland" by Max Frisch, which I composed as a commission for the Komischen Oper Berlin. Schlaglicht I is taken from the end of the 2nd act. In Schlaglicht II, the wind instrumentalists play excerpts from the three trumpets in the 1st act, while the percussion and double bass develop a new oppositional layer. Schlaglicht III transposes almost the entire 5th act where the bassoon and oboe intonate the duet between the central character and his partner, while the clarinet and double bass play the accompanying trumpet and tuba and the percussion brings in a new line.

26120 Max E. Keller: Wie Kraut und Rüben (2008) 6'30
After the picture bearing the same title by Paul Klee
for oboe, bassoon, guitar and viola
sFr. 16.00
In the painting "Wie Kraut und Rüben" by Paul Klee transparent white dots are spread over a red background in irregular rows and create thereby a subtle pulsation within a regular grid. By painting over the dots with the brush, these dots turn into lines, spots and signs. This technique, which Klee called "pointillate", has been transposed to dots of sound, arranged in rows, superimposed in irregular, free rhythms by the four instruments.

26121 Max E. Keller: Cinque (2008) 5'
for five bassoons
sFr. 16.00
How can a quartet arrive at the title "Cinque" (five)? The form is made up of five basic structures, which are repeated in sequence a total of five times. The temporal structure overlying this form comprises five different durations, which occur quasi-on average five times. Only the outer pattern of the music is thus written, the 'barrel' so to speak. What the wine has to offer is only apparent while drinking it. And as the 4 bassoons work intensely together, something new is created, from the four comes a fifth.

26151 Max E. Keller: Der Rutengänger (2012) 6'
for oboe, bassoon, guitar and viola
sFr. 23.00
Nach dem Gemälde "Landschaft mit dem Rutengänger"(1923) von Paul Klee im Kunstmuseum Winterthur (Auftrag musica aperta Winterthur). Paul Klee lässt einen stoppelhaarigen Rutengänger mit merkwürdig grossen, blauen Augen durch eine bizzar-kindliche Landschaft gehen. Über seinem Kopf ein riesiges, spiralförmiges Gebilde, in seinem Rücken ein fünfstöckiges Haus, ...... Die Komposition lässt soz. den Blick frei über das Bild schweifen, heftet sich an die eine und dann an die andere Form und übersetzt sie ziemlich direkt in musikalische Figuren und Prozesse. Diese werden dann neu, nach musikalischen Gesichtspunkten in einen Formablauf gebracht.

19406 Burkhard Kinzler: Fragment & Entrückung (2011) 25'
für gemischten Chor, Traversflöte 2 Oboen, Fagott, 2 Violinen, Viola, Cello, Violone
sFr. 86.00
Text: Antonia Bertschinger. "Fragment" ist eingewoben in die Bachkantate "Herr, deine Augen sehen nach dem Glauben" BWV 102. "Entrückung" ist als Einzelsatz unter dem Titel "Paradies" aufführbar (10'). Besetzung von Entrückung: gemischter Chor, Traversflöte.

19407 Burkhard Kinzler: round about Haydn (2012) 6'
a roundabout
für 2 Flöten, 2 Oboen (beide auch Engl-Hn), 2 Fagotte, 2 Naturhörner und 2 Naturtrompeten
sFr. 29.00
2838 Alfred Knüsel: gezogene Klänge (2000) 20'
Six-part work block
for double bass solo and chamber ensemble (1(pic).1.1.1(cbn)/
sFr. 65.00
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
9501 Louisa Lasdun: "Jabberwocky" (1978) 10'
for orator (most suitable would be a voice from the media known by children), piccolo, 2 bassoons, contrabassoon, amplified harpsichord (or synthesizer), piano, four percussion, mixed choir ( also possible
sFr. 34.00
Text: Lewis Carroll Entertainment for anybody between the ages of four and ninety-nine. Suitable for a children's programme. The text is from ‘Alice Through the Looking Glass’ by Lewis Carroll, also available in French and German. The original is in English gibberish but is easily transferable to German or French gibberish.

3140 Urban Mäder: Kulm (2013) 14'
for flute, oboe, clarinet, horn, bassoon and string quintet
sFr. 57.00
After a radio protocol on Pilatus. Commissioned by the Ensemble Montaigne, Lucerne.

9715 Hans-Jürg Meier: gar vorgang hat (1998) 12'
for bassoon, violoncello, mezzo-soprano and everyday objects
sFr. 29.00
Text: John Cage (Ernst Jandl) A five-part piece where the first (chaste) parts are based on an identical time structure, the later parts are much less restricted.

9726 Hans-Jürg Meier: abermals (2000) 10'
for tenor recorder, oboe, soprano saxophone and bassoon
sFr. 34.00
Four conversational partners embroil, increasingly dramatically and then calm down in a multi-sounding room.

9727 Hans-Jürg Meier: die ganze übrige spanne ist nicht leben, sondern zeit (2001/02) 17'
for voice (alto), flute (pic, afl)bassoon, trumpet, vioal, violoncello and piano
sFr. 49.00
Text: Johann Peter Hebel, Hans-Jürg Meier Music to the story 'Unverhoffte Wiederbegegnung' by Johann Peter Hebel. Composed rhythmically open in parts.

7209 Mela Meierhans: Sec''ondes (1995) 12'
for wind quintet (, viola and piano
sFr. 31.00
3415 Thomas K. J. Mejer: Macula Matris (1995/96) 72'
for seven musicians (fl(pic,bfl,cbfl).cl(bcl,cbcl).bn(cbn)/tbn/hp/perc/vc), seven speakers and seven dancers.
sFr. 200.00
Texts: Hermann Berger, André Gide, Marisa Holder, Elfriede Jelinek, Milan Kundera, Irmgard Morgner, Karin Struck A stage work, somewhere between performance and installation.

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.

9908 Maria A. Niederberger: Inferences (Rückschlüsse) (1985) 8'
for fl(afl).cl(bcl)bn/2perc/pf/
sFr. 42.00
Accentuated piano part.

9910 Maria A. Niederberger: Sonnenspur: Tonbilder aus Kalifornien (1996/97) 11'
for flute, oboe, clarinet, bassoon, two percussion, piano, string quartet and double bass
sFr. 83.00
Fantasy, prelude, I. Nächtlicher Kojotentanz, II. Morgensonn’ das Meer enthüllet, III. Purple Horses, IV. Yosemite. Accentuated percussion.

9911 Maria A. Niederberger: Images (1997) 20'
for flute, oboe, clarinet, bassoon, horn, trumpet, trombone, double-bass, piano and percussion
sFr. 57.00
I. Fluid Shapes, II. Light and Shadow, III. Symmetries - Broken Symmetries. Piano and trumpet accentuated.

4317 Ernst Pfiffner: Sestetto d'Isissa (1995/96) 11'
for oboe, clarinet, bassoon, horn, trombone and percussion
sFr. 31.00
Work series A: Music for concerts.

10207 Michael Schneider: Über verwunschenen Ebenen (1994/95) 7'
for chamber ensemble (
sFr. 34.00
This piece evokes, magical, mystical (sound) landscapes - mostly in space notation.

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.

10310 Henri Scolari: Le Christ voilé (1948) 19'
for baritone and instruments (1(pic).1(ca).1(bcl).1/hn/hp/ ad lib.))
sFr. 86.00
(Réduction chez SME/EMS: sFr. 34.-; € 34.-)
Based on a poem by Patrice de la Tour du Pin. Fusion of a series of twelve tones with a constant reference to tonality. Very expressive French poetry.

10307 Henri Scolari: Trio d'anches (1997) 10'
for horn, Eb clarinet and bassoon
sFr. 23.00
Constructed on a series of intervals.

4919 Mathias Steinauer: Koren-Fantasien, op. 15 (1997) 45'
27 imaginations - studies on Greek antiquity (approaches to stone)
for double-reed quartet (double-reed instruments, heckelephone, bassoon), orator/singer (bass/baritone) and one percussion
sFr. 70.00
Texts: Aristoteles, Hippokrates, Ch. Mullack, Xenophon, Aristophanes, Hans Saner, Platon, Leonides von Tarent, Epikur

10717 De-Qing Wen: Piping and Drumming (2000) 12'
for wind and percussion instruments (
sFr. 62.00
(Matériel SME/EMS: sFr. 62.-; € 20.-)
'Piping and Drumming' is a traditional Chinese musical form that uses only wind instruments and percussion. It is often played at ceremonies.

Bassoon / Contrabassoon with orchestra
15178 Rudolf Jaggi: Petrus (Oratorium) (1989) 75'
for soprano, baritone, bass, choir (SATB), organ, flute, oboe, bassoon and strings
sFr. 130.00
I Jünger II Apostel III Märtyrer

9324 Vladislav Jaros: Konzert für Fagott und Orchester (concert for bassoon and orchestra) (2003) 40'
sFr. 156.00
A playful piece in three movements, full of vitality and Hungarian rhythm. Frolicsome parts alternate with melancholic parts. No. 1: Allegretto (13’) and No. 2: Adagio (15’) are self-contained and can be performed seperately.

19412 Burkhard Kinzler: Müthel-Brücken (2013) 20'
für Chor, Solisten, Streicher, Horn, Alphorn und Fagott
sFr. 62.00
Für ein komponiertes Programm mit Werken von Johann Gottfried Müthel.

Schweizer Musik - Home
Musique Suisse - Home
Swiss Music - Home

automatically generated. last update: 28.08.2015 / 2004 Theo Lustenberger