Clarinet


solo
8424 Felix Baumann: entgegen (2002) (2002) 7'
for clarinet in B
sFr. 13.00
17913 Andreas Brenner: Rotationen (2014) 5'
for clarinet solo
sFr. 16.00
Aus dem Trio für Oboe, Klarinette und Fagott. Drei "Kadenzen" – einstimmige Abschnitte, die das Trio (für Oboe, Klarinette und Fagott) grossformal strukturieren – wurden zu einem Solostück für Klarinette zusammengefügt. Die Tonhöhen werden durch eine festgelegte Dauer gewichtet und einem Rotationsverfahren unterworfen. Dabei wird im ersten Abschnitt von einem einstimmigen, im zweiten Abschnitt von einem zweistimmigen, und im dritten Abschnitt von einem dreistimmigen Gerüstsatz ausgegangen, der in der Melodie abgebildet wird.

1010 Jean-Jacques Dünki: Trois miniatures pour clarinette seule (1988) 4'
sFr. 13.00
Highly virtuosic and concentrated.

6612 Alfred Felder: Apache Clown Dance (1998) 10'
music
for clarinet solo (in Bb)
sFr. 16.00
Clowns are very important in the dance rituals of the Apache Indians. They can be jocular but are also holy. Attempt to be the ‘holy clown’ while you play the ‘Apache Clown Dance’.

9247 Michel Hostettler: Monologue (1996) 4'
for clarinet
sFr. 13.00
15006 Martin Imholz: Vier Klarinettenstücke (four pieces for clarinet) (1988) 7'
sFr. 13.00
Vorderundnachsätzen - Gebannt - Inneres (als Antwort an Igor) - voces liquescentes (klar). Aphorismen um reine Intervalle und einige grundlegende musikalische Phänomene.

2207 Regina Irman: Passacaglia (1989/90) 15'
for clarinet in A
sFr. 21.00
A solo piece with a steady gait, in which tempered intervals from the lower and middle registers confront just intonated intervals in the higher register. Commissioned by Jürg Frey, Aarau.

7118 Valentin Marti: Wurzelholz (2000) 6'20
for tenor recorder or any other woodwind instrument (alto flute, oboe, tenor saxophone...)
sFr. 16.00
For a different woodwind instrument to the recorder, a somewhat smoother effect because the extreme registers of the recorder have a greater influence on the tone than other instruments with a wider range. World Premiere: 04.02.01 in Wädenswil by Rico Gubler (tsx).

3409 Thomas K. J. Mejer: Uroboros Sends You His Regards (1993) 4'20
for clarinet solo
sFr. 13.00
"...a kind of meditation on chaos and calm. Besides the instruments, the application of the body, stamping, bells and drawn out pauses are brought together in a dramaturgical coherence..." (LZ, May 1994).

16310 Felix Schüeli: 15 Steps (2001) 5'
for clarinet in B
sFr. 16.00
10306 Henri Scolari: Arghoul 4 (1994) 8'
for clarinet in Bb solo
sFr. 29.00
Virtuoso solo piece based on a series of intervals.

10308 Henri Scolari: Arghoul 5 (1998) 13'
Proportional variations
for clarinet in Bb solo
sFr. 21.00
Demanding structural combination of space and time.

5249 Balz Trümpy: Introduktion und Aria (2002/03) 12'
for clarinet solo
sFr. 16.00
This virtuosic solo piece unites the complete palette of the clarinet's classical expressionistic possibilities.

Listen: Youtube
5801 René Wohlhauser: Souvenirs de l'Occitanie (1977/78) 9'
Ergon 4
for clarinet solo
sFr. 23.00
A musical unearthing of Kafkaesque and surrealist expressive moments, the source of the initial inspiration being hinted at by the title.


piano and instrument
6523 Frédéric Bolli: Rülpsodie, schon blau (1992) 5'
for clarinet (alternating cl-b and bcl) and piano
sFr. 26.00
8505 Thüring Bräm: Album Goodbye Seventies (1979/80) 17'
for clarinet or violin (or any other melodic instrument) and piano
sFr. 26.00
This cycle of seven pieces encompasses mostly notated memories: a (quasi) summary of the seventies. Where one movement requires the courage to improvise, another contains a sung alternative version.

Listen: Youtube
1472 Eric Gaudibert: Vernescence (1973) 18'
for clarinet (basset horn or bass clarinet), piano and electro-acoustic slide show
sFr. 26.00
The title is a neologism evoking spring or birth. The notation is graphic and rules define its interpretation. Accessories for the piano: a glass with a stem, claves, a percussion stick and a screw. The electro-acoustic device consists of 4 or 6 loud speakers divided in the room, two microphones for direct amplification and 2 Revox, the second of which reproduces, with a delay of about 10", that which is recorded by the first.

9225 Michel Hostettler: Aubade (1993) 3'
for clarinet and piano
sFr. 18.00
(Avec partie pour clarinette)
7122 Valentin Marti: Nachtschatten (2001) 6'30
for clarinet and piano
sFr. 34.00
The work with under blown tones is an essential part of this composition. The fingered overblown tones sound merely as a reflection of the under blown shadow-sound. World premiere: 26.5.02 in Zollikon by Sarah Chardonnens-Lehmann (clar.), Eriko Kagawa (piano).

10303 Henri Scolari: Arghoul 2 (1977) 8'
Ballad
for clarinet in Bb and piano
sFr. 21.00
Requires a very high degree of virtuosity by the clarinet player. Written for Michel Lethiec.

10708 De-Qing Wen: Traces I (1996) 6'
for clarinet and piano
sFr. 26.00
Inspired by Chinese calligraphy. As a way of reaching a fusion of the visual and the auditory - while the two instruments play I do some calligraphy.


Clarinet with instruments
8308 Dieter Ammann: The Freedeom of Speech (1995/96) 18'
for flute (also bfl), clarinet (also bcl), violin, violoncello, percussion and piano
sFr. 49.00
(Stimmen: SME sFr. 70.-; € 47.-)
8307 Dieter Ammann: Short Variation (1996) 3'
for 7 clarinets and bass clarinet
sFr. 16.00
8312 Dieter Ammann: Violation (1999) 15'
for violoncello and ensemble (fl(pic).cl(bcl)/vn.vc/perc/pf)
sFr. 49.00
(Stimmen SME: sFr. 120.-; € 120.-)
8328 Dieter Ammann: Cute (2011) 11'
for flute and clarinet
sFr. 18.00
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
0202 Walter Baer: From Unreality to Unreality (1972) 10'
for soprano, three flutes and three clarinets
sFr. 34.00
Texts: Jorge Manrique, Paul Eluard, Georg Philipp Harsdörffer, T.S. Eliot In this composition, four texts from different authors, languages and historical origin have been used, but all bear on the same theme: the fragility of existence, the problem of the concept of reality. A work of meditation, floating and fragile, it hints at the irrational in both ist vocal and instrumental sounds. The Soprano sings in Spanish, French, German and English.

0203 Walter Baer: Fünf Sätze für Klarinette, Violine und Violoncello (five movements for clarinet, violin and violoncello) (1974) 8'
sFr. 18.00
These five short movements require a very sensitive interpretation - already obvious from the detailed notation. Composed in an atonal style, it features rhythmic and articulatory differentiated structures.

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)
6405 George Barcos: Homenaje a la Selva (1989) 7'30
for flute, clarinet, violoncello and vibraphone
sFr. 29.00
Diálogo de las flores - Danza de las abejas - Resurección de los árboles.

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.

6416 George Barcos: Cinco Piezas Recreativas (1996) 12'30
for flute, violin, clarinet and piano
sFr. 31.00
(Stimmen bei SME sFr. 32.-, € 32.-)
Danza Idilica - Ikebana - Caja de recuerdos - Nieve - El Ángel de la Guardia Civil.

8406 Felix Baumann: Le guetteur mélancolique (1994) 16'
for two clarinets, two harps, piano, six percussion, two orators and four choir groups
sFr. 49.00
Texts: Guillaume Apollinaire For the 'Stadelhofer Death Dance'. A spatially performable score based on texts by Guillaume Apollinaire about the transition from this world to the next. Speechlessness in the face of death, a dance around the grave and the crossing of the threshold.

8414 Felix Baumann: spöttisch leicht (1999/00) 15'
5 songs after poems by Sarah Kirsch
for singing voice (mezzo-soprano), clarinet, violin, violoncello and piano
sFr. 34.00
Texts: Sarah Kirsch The line skips by Sarah Kirsch turn the readers into stumblers. Stumblers have to re-read the text if they want to understand its content. They gain, thereby, unexpectedly in time and fall to a deeper level.

8416 Felix Baumann: "nah / hautnah" (2000/01) 45'
"Radio play"
for orator, solo soprano, violoncello and ensemble (fl.cl/perc/pf/vn.vc)
sFr. 70.00
(Stimmen beim Komponisten)
Texts: Sarah Kirsch, Sappho, Michel Serres, Stefan Buri, Hans Magnus Enzensberger Commissioned by and with the support of 'Pro Helvetia', (the Swiss culture foundation) for the 50th anniversary of the Zurich Chamber Voice Choir. First performed in Zurich on the 20th November, 2001 by the Chamber Voice Choir Zurich, Martina Fausch, Martina Schucan and the Ensemble for New Music Zurich (Bernhard Erne). A piece dealing with the proximity of music and speech, the border area between commutation and murmuring, exactly there where the word is weak and the music has already begun.

0517 Nicolas Bolens: Suite pour Neuf Instruments (suite for nine instruments) (1999) 11'
for wind quintet and string quartet
sFr. 31.00
0519 Nicolas Bolens: A Due (2000) 7'30
for oboe, clarinet, violin and double bass
sFr. 16.00
Composition by Eric Gaudibert / Nicolas Bolens. This work is written by two hands, by two different composers who experimented in equally sharing the single instruments: the oboe and double-bass on the one hand side and the violin and the clarinet on the other. The precisely written violin is the conducting element and the three other instruments are grouped accurately around it. A description of the tempi allows easy playing. This piece has a medium level of difficulty.

6522 Frédéric Bolli: Pirouetten für fünf Klarinetten (1989) 7'
for small Eb clarinet (poss. clar-b), clarinet in B, 2 Eb alto clarinets and bass clarinet in B
sFr. 16.00
8506 Thüring Bräm: Quiet Music I-III (1980/81) 8'
for piano, flute, clarinet, oboe, violin and violoncello
sFr. 29.00
No. III is a markedly beautiful piece to commemorate Berio's 'O King'. No. I and II are confined to the piano and a melodic instrument of choice.

8507 Thüring Bräm: Zeitlupenstücke (1983) 17'
for clarinet, violoncello and piano
sFr. 26.00
A single musical idea or gesture is explored in quasi slow motion.

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.

18710 Ruedi Debrunner: Im Wasserspiegel (2009) 8'
for clarinet and piano
sFr. 31.00
(Stimme: sFr. 29.-; € 22.-)
Listen: Youtube
0906 Jacques Demierre: Outward (hommage à Eric Dolphy) (1988) 15'
for flute and clarinet
sFr. 39.00
"Rhythm, is in fact, the only art or system in which the various energies can be ordered and sustained. The basis of a vital and psychological dynamic is rhythm." (G. Bachelard).

0923 Jacques Demierre: Quelques remarques (1991) 13'
for flute, clarinet, horn, trombone and four-handed piano
sFr. 57.00
(Parties: sFr. 90.-; € 90.-)
0913 Jacques Demierre: Nous ici (1993) 13'
for voice, flute, clarinet, violin, violoncello and piano
sFr. 70.00
Texts: Jacques Roman Three main 'characters'. A text by Jacques Roman based on African rhythm organisation and inspired by the solo fragments of jazz saxophonist Charlie Parker.

0917 Jacques Demierre: Max und Moritz (1996) 20'
for speaker, flute, clarinet, violin, viola and violoncello
sFr. 57.00
Texts: Wilhelm Busch Musical version of the adventures of those two lovable rascals…

1011 Jean-Jacques Dünki: Cinq Morceaux (1988) 6'
for two clarinets
sFr. 18.00
Playful but not easy.

1028 Jean-Jacques Dünki: Mouvement (1992) 4'
for three clarinets
sFr. 13.00
1015 Jean-Jacques Dünki: Pessoa - Moment (1992) 48'
for soprano, clarinet (also Ebcl, bcl), violoncello (also viola), piano (also clavichord) and DAT play-back
sFr. 65.00
Texts: Fernando Pessoa Eight scenes from the poems of Portuguese writer Fernando Pessoa (1888-1935). The Soprano sings and recites in Portuguese, German and French. Very demanding for all performers.

14311 Felix Falkner: De Profundis (1999) 20'
Lament
for soprano, clarinet and horn
sFr. 29.00
Texts: Wilhelm Felix Swoboda, Georg von der Vring

Listen: Youtube
14314 Felix Falkner: Ich kehre in mich selbst zurück und finde eine Welt (2002) 12'
Intérieur
for speaking voice, two flutes, two clarinets and accordion
sFr. 31.00
(Stimmen: sFr. 24.-; € 16.00)
Texts: Johann Wolfgang von Goethe Text from ‘Die leiden des jungen Werthers’ (The sufferings of young Werther) by J.W. Goethe.

6618 Alfred Felder: Cercles (1992) 12'
for flute, clarinet, harp, string quartet and double bass
sFr. 26.00
6611 Alfred Felder: Regen über der Wüste (1997) 6'
for clarinet, bass clarinet, percussion and speaker
sFr. 13.00
Text: Eva Eisenmann-Westphal.

6647 Alfred Felder: Dreamlines (2004) 15'
Trio
for 2 clarinets and basset horn
sFr. 23.00
"The dream of a man is all that he possesses."

6648 Alfred Felder: all songs are good (2004) 30'
Trio
for flute (afl), clarinet (bcl) and piano
sFr. 42.00
(Flöten- und Klarinettenstimme: sFr. 30.-; € 30.00)
This piece is concerned with the journey into another reality, a reality where one can encounter various magical animals.

6652 Alfred Felder: 9ten Novemb. 1828 Tagebuch Robert Schumann (2009) 16'
Music
for clarinet, viola, piano and percussion
sFr. 23.00
11908 Claude Ferrier: Le Chemin sans traces (1996) 16'
for baritone and instrumental quintet (fl.cl/hp/va.vc)
sFr. 52.00
Texts: Henri Gaberel Based on the poem by Henri Gaberel.Version for orchestra (2(pic).2(ca).2(bcl)2(cbn)/4.2.3.1/4perc/hp.cel/str) available from the composer.

6728 Hans Eugen Frischknecht: Komposition für Flöte, Klarinette und Tonband (composition for flute, clarinet and recorded material) (1971) 9'
sFr. 16.00
A two-channel tape plays recordings of a variety of diversely processed piano sounds as a background to the live instruments (flute and clarinet (bass clarinet)).

Listen: Youtube
6715 Hans Eugen Frischknecht: Psalm der Hoffnung (1988) 12'
for soprano oboe and organ (or clarinet and piano)
sFr. 36.00
Texts: Anonymous The texts, ranging from sorrow to hope, are derived from political prisoners of various dictatorships. The Soprano voice is identical for both versions.

6758 Hans Eugen Frischknecht: Trio für Klarinette, Violoncello und Klavier (trio for clarinet, violoncello and piano) (1993) 11'
sFr. 29.00
Chamber music in fine sound shades. Space notation.

6760 Hans Eugen Frischknecht: Quintett (quintet) (1999) 16'
for flute, clarinet, violin, violoncello and piano
sFr. 39.00
A multi-part composition with contrasting parts.

19002 Elvira Garifzyanova: Phönix (2006)
for flute, clarinet and bassoon
sFr. 29.00
Listen: Youtube
1465 Eric Gaudibert: A Due (2000) 7'30
for oboe, clarinet, violin and double bass
sFr. 16.00
Composition by Eric Gaudibert / Nicolas Bolens. This work is written by two hands, by two different composers who experimented in sharing the single instruments equally: the oboe and double bass on the one hand side and the violin and the clarinet on the other. The precisely written violin is the conducting element and the three other instruments are grouped accurately around it. A description of the tempi allows easier playing. This piece has a medium level of difficulty.

1499 Eric Gaudibert: Warum? (2009) 6'
for flute, oboe and clarinet
sFr. 18.00
This work is inspired by a piano piece with the same title by Schumann (Phantasiestücke op.12). It is a slow and tender piece of music which demands a great deal of concentration to master the contrapuntal lines.

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
8817 Rico Gubler: ZIR (2000) 7'
for clarinet, violin, viola and violoncello
sFr. 26.00
8818 Rico Gubler: 1. Suite für Viktor (first siute for viktor) (2000) 14'
for clarinet, saxophone, violin, violoncello and piano
sFr. 49.00
(4 Suiten für Viktor: sFr. 150.-; € 120.-)
Quartet for bass clarinet, violin, violoncello, and piano [vetro] (3') Quintet [incontro] (2') Quartet for clarinet, baritone saxophone, violin and violoncello [with bundled energy] (1'45) Solo violin with accompaniment [like eternally broken glass] (4') Quintet II [Melody granulated] (2'30)

Listen: Youtube
8819 Rico Gubler: 2. Suite für Viktor (2nd suite for Viktor) (2000) 13'
for clarinet, saxophone, violin, violoncello, and piano
sFr. 47.00
(4 Suiten für Viktor: sFr. 150.-; € 120.-)
Duo for violin and violoncello [battuto – roughly a dance] (2’) Trio for clarinet, soprano saxophone and violin [approximately] (2’15) Duo for clarinet and violoncello [mute ballet from billiard balls] (2’) Solo for clarinet (with additional instrumentation) [uneasy, murky] (2’) Trio for violin, violoncello and piano [inside pulsating] (2’) Quartet for bass clarinet, baritone saxophone, violoncello, and piano with poco solo violin [conspicuously quiet] (2’)

Listen: Youtube
8820 Rico Gubler: 3. Suite für Viktor (3rd suite for Viktor) (2000) 13'
for clarinet, saxophone, violin, violoncello and piano
sFr. 49.00
(4 Suiten für Viktor: sFr. 150.-; € 120.-)
Trio for clarinet, tenor saxophone, and violoncello [too coarsely assembled, rupturing] (2') Quartet for clarinet, tenor saxophone, violin and piano [inert, of stone and columns] (2') Quintet [somewhat course, in the interstice] (1'45) Duo for violoncello and piano [reserved, singing I] (2') Duo for clarinet and tenor saxophone [linear, with defiance] (2'30) Duo violin and piano [reserved, singing II] (2')

Listen: Youtube
8821 Rico Gubler: 4. Suite für Viktor (4th suite for Viktor) (2000) 13'
for clarinet, saxophone, violin, violoncello and piano
sFr. 47.00
(4 Suiten für Viktor: sFr. 150.-; € 120.-)
Quintet [Impulse, a choice] (2') Solo for violoncello [circling the resistance] (2'45) Quartet for clarinet, tenor saxophone, violoncello and piano [muted screaming] (2') Duo for baritone saxophone and violoncello [deep ground] (2') Duo for clarinet and piano [... and a waltz] (1'45) Duo for violin and soprano saxophone [exercise for the death of agogics] (2'30)

Listen: 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.

8825 Rico Gubler: En bref (2002) 10'
for violin, clarinet, saxophone and piano
sFr. 55.00
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.

8832 Rico Gubler: IR (2003) 7'
for clarinet, viola and piano
sFr. 36.00
Alpsegen - Choral and Waltz - Choral and New Year's Song - Choral, Scottish and Choral.

8833 Rico Gubler: Turnaround (2005) 12'
for wind and string quintet (fl.ob.cl.bn/hn/2.1.1.1)
sFr. 60.00
Evening News - Summertime - Today Special - Meteo - Sonntag 03.17 Uhr MEZ - Breaking News.

14801 Ursula Gut: Aquamarin (1992) 10'
for 2 violins, 2 clarinets, double bass and harpsichord
sFr. 26.00
Listen: Youtube
9045 Edu Haubensak: Vertikale Horizonte (1998) 8'
Quartet
for flute (bfl), clarinet (cl-A), violin and violoncello
sFr. 23.00
9226 Michel Hostettler: Kaïros (1993) 6'
for clarinet (bass clarinet) and percussion (marimba, vibraphone)
sFr. 21.00
(Partie pour clarinette chez EMS: Sfr. 10.-; € 10.-)
Listen: Youtube
9230 Michel Hostettler: Prologue, Eglogue, Epilogue (1996) 9'
for clarinet and violin
sFr. 18.00
9265 Michel Hostettler: Prélude et Danse (2001) 5'
for flute and two clarinets
sFr. 18.00
(Voix chez EMS: sFR. 14.-; € 9.50)
9256 Michel Hostettler: Schegge d'ambra (2006) 8'
for oboe, clarinet and bassoon
sFr. 29.00
(Parties: 22.-)
15007 Martin Imholz: Potenz (Oratorium) (1989) 10'-15'
for clarinet, string quartet, speaker and scenery
sFr. 13.00
Four strophes with extremely differentiated parts, based on the principles of homoeopathy. For Joseph Beuys.

15008 Martin Imholz: Potenz II (1994) 10'-15'
for clarinet and string quartet
sFr. 16.00
Version for clarinet quartet

2203 Regina Irman: Speculum (1984) 15'
for four Eb clarinets, two percussion, sisyphus machine, mirrored scenery and coloured lighting
sFr. 34.00
The Sisyphus machine, mirror stage-layout and lighting can all be obtained on request. In the case of a version without these accessories the machine must be replaced by a running tape recorder.

2218 Regina Irman: Aus spiegelndem Eis (1984) 6'
for four clarinets
sFr. 16.00
2216 Regina Irman: Drei Tänze (1996/97) 18'
for soprano, speaking voice/ piano, clarinet and accordion
sFr. 60.00
Texts: Anna Achmatova Midnight ghostly spook. The concert version of a scene from the forthcoming opera 'Poem ohne Held'. Commisioned by the 'Ensemble Klangheimlich', Berne.

Listen: Youtube Youtube
15135 Rudolf Jaggi: Consolation (1978) 3'
for clarinet and string quartet
sFr. 13.00
(Stimmen: sFr. 10.-; € 6.60)
15139 Rudolf Jaggi: 6 Intermezzi (1984) 8'
for 2 violins, violoncello and clarinet
sFr. 23.00
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)
151118 Rudolf Jaggi: Hommages (2007) 9'
Trio
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.

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.

9308 Vladislav Jaros: Divertimento (1992) 12'
for flute, clarinet and guitar
sFr. 23.00
A melodic and lyrical piece with appealing rhythms and harmonies and rewarding solo cadenzas. This piece is demanding for all three instruments.

9339 Vladislav Jaros: Der Rhein (2007) 16'
for clarinet orchestra (ebcl, 9cl-b, ebacl, bcl, cbcl)
sFr. 75.00
A symphonic poem depicting the flow of the river from its source to its estuary at Rotterdam. Five quotes from Swiss, German, and Dutch folk music. Freely tonal with several effects and atonal surfaces, easy to understand and play. Medium level of difficulty.

9340 Vladislav Jaros: Terzett (terzet) (2007) 12'
for panflutes (or flutes), taragot (or oboe) and organ (or flute, clarinet and organ)
sFr. 21.00
In memoriam Sándor Veress. A piece with two themes from Hungarian folk music, slow lyrical parts alternate with lively, quick and very rhythmical parts. Extended tonality.

9349 Vladislav Jaros: Habanera y Bossa Nova (2010) 4'30
for four clarinets (2cl, btnhn, bcl)
sFr. 21.00
2502 Mischa Käser: tombeau (1985) 2'
for female voice, clarinet and viola
sFr. 13.00
A piece dealing with failure.

2501 Mischa Käser: 5 stücke (5 pieces) (1985/91) 13'
for clarinet and violoncello
sFr. 18.00
A humming cellist with large lung capacity is required here. Very demanding piece. Clarinets in Bb, A and bass clarinet.

2505 Mischa Käser: 7 lieder zu volkstexten (1990) 18'
for soprano, flute (or pic or bfl), clarinet (or cbcl or Ebcl) and string trio
sFr. 47.00
Text from the book 'knaben wunderhorn'.

2605 Max E. Keller: Konfigurationen II (1989) 16'
for alto and instrumental ensemble (flute, clarinet (bass clarinet), violin, violoncello, percussion and piano
sFr. 39.00
Texts: Franz Hohler, Hansjörg Schneider, Jürg Schmied, Sascha Anderson, Max E. Keller Eight texts, different in kind ranging from poetry to excerpts from military regulations. Theme: order fetishism as a contrast to a chaotic, self-destructive world. Authors: Franz Hohler, Hansjorg Schneider, Jürg Schmied, Sascha Anderson, Max E. Keller.

2608 Max E. Keller: Gesänge IV - 10 Gedichte von Kurt Marti (1992) 16'
for soprano and instrumental ensemble (flute, clarinet (bass clarinet), violin, violoncello and piano)
sFr. 23.00
Text: Kurt Marti The poems are taken from different collections to form a cycle, the inner and outer components of which convey particularly Swiss characteristics: weighty burden, efficiency, precision as a substitute for happiness and indifference. The soprano's phraseology encompasses both recitative and flamboyant melodies.

2609 Max E. Keller: zerblasen (1992/93) 11'
for instrumental ensemble (fl.ob.cl(bcl).bn/hn.tpt.tbn/db)
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.

2688 Max E. Keller: Zwillinge (2001) 10'
for clarinet (bcl), trombone, violoncello and piano
sFr. 18.00
This work is based on the interactions of the instruments in such a manner that the very close combination of twos (twins) are at the centre and with which one, two or no ‘free’ instruments can consort. The musical process is born of a dialectic between the above mentioned network and its realisation through three almost archetypal musical base models.

2697 Max E. Keller: Schnitt-Muster (2002) 7'
for flute, clarinet, piano, percussion and string trio
sFr. 18.00
Sometimes completely different musical types or structural samples are set aside each other in a similar way to the effect achieved while zapping through television channels, sharp cuts which seem at first random are intentional. Even the other meaning of ‘cut-sample’, the prefabrication of something based on a template or the stereotypical also receives acknowledgement through the mimicry of musical styles. In this manner, various fields of popular music are touched upon - even contemporary music cannot escape.

26100 Max E. Keller: Wie ein Kanon (2002) 5'
for four double-bass and four clarinets ad libitum
sFr. 18.00
World premiere: October 2002 in Berlin.

26107 Max E. Keller: calmo e furioso (2003/04) 13'
for clarinet (bass clarinet), accordion and double bass
sFr. 26.00
The initial point of departure for this composition is the contrast between calm and hectic, unfolded in transitions and tempo cuts on nine basic figures which, with time, develop a rich life of their own. The initial impetus provokes processes on other levels - almost like in real life.

26110 Max E. Keller: Graduale (2005) 4'
for mixed choir, clarinet in B ad libitum, and percussion (2 toms, 2 bongos, cymbals) ad libium
sFr. 18.00
(inklusive Klarinettenstimme)
Text: Silja Walter

26113 Max E. Keller: Eingriffe (2006) 12'
for flute, clarinet, piano, violin, viola and violoncello
sFr. 34.00
(Stimmen beim Komponisten)
The initial material consists of two melodies and two rhythmical sequences; these can be varied causing their superpositions to result in a countless number of related musical forms. The recurring formal idea is the "undampered clew": a dense, wide mesh that thins out then squeezes itself into the centre of the sound space. In this clear, goal-orientated process, diversity is encroached upon: three instruments temporarily break out of the process, colourful accents engage with the continuous mezzo forte, the process stops momentarily, the residual viola tips over into the realms of noise etc.

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.

26115 Max E. Keller: gebündelt und ausfasernd (2007) 10'
for flute, clarinet (bcl), violin and piano
sFr. 26.00
"gebündelt" (clustered) initially means the bringing together of different chords of varying duration, which then either die out, collapse or very quietly drift ("ausfasern"), that is to say dissolve in short, soft movements. The chords are in the forte range and vary throughout the composition with respect to dynamics and internal movement, repeating rhythms and timbral changes. The drifting ("ausfasern"), is also formed in a multifarious manner, but always remains in the quiet range.

26118 Max E. Keller: concertare e improvvisare (2007) 14'
for flute, oboe, clarinet (bcl), violin, viola, violoncello and improvising piano
sFr. 26.00
This work contrasts notated music with improvised music. The sextet is extensively notated; the piano merely has several verbal suggestions. There are, however, also moments of improvisation in the sextet where, for example, each instrument initially and independently of the others repeats a phrase, which gradually changes following verbal instructions. Each begins this process with great intensity, playing as loud and as quickly as possible – very much in the style of early free jazz.

26119 Max E. Keller: allemal (2007) 10'
for soprano, clarinet (bcl) and piano
sFr. 29.00
Text: Georg Christoph Lichtenberg "It is almost impossible to carry the torch of truth through a crowd without singing somebody's beard." One of ten aphorisms written by Lichtenberg more than two hundred years ago - and still surprisingly relevant today. This musical version attempts to transpose the concise, acuminate formulation into succinct, very divergent miniatures.

26133 Max E. Keller: Peanuts (2009) 3'
for flute, clarinet, violin, viola and violoncello
sFr. 18.00
Peanuts are trivialities, in this case a 3-minute scherzo for the 30th birthday of the Theater am Gleis. The well-known bebop piece "Salt Peanuts" is quoted in this work.

26136 Max E. Keller: ich, du, wir (2010) 1'
for flute, clarinet, percussion, piano, violin, violoncello
sFr. 16.00
Composed for the 25th anniversary of the 'ensemble für neue musik zürich', this short piece attempts to trace the path to togetherness (ensemble), from I to we. A unity is drawn twice from a dense fabric of independent lines, initially on a trill surface and then in unison at the end.

26145 Max E. Keller: Mutter Natur (2011) 9'
for soprano, flute, oboe, clarinet in B (basscl), percussion, piano, violin, viola, violoncello
sFr. 34.00
Texts: Friedrich Gottlieb Klopstock, Max E. Keller As disseminated throughout the Enlightenment, F. G. Klopstock also saw the beauty of nature as the work of God and exalted the creator with hymns of praise. When this is quasi secularised, we end up not a million miles away from today's 'green' understanding of nature being a force to be respected and preserved as the foundation of life. In this sense, a text montage of fragments from "Die Frühlingsfeier" and "Der Zürchersee" is set against current traffic reports - a conspicuous symbol of the modern destruction of nature. This conflict is played out as extremely contrasting base structures, which form the starting point of the musical process. Two of these structures initially undergo a block-like exposition, whereby a spoken traffic jam report is installed into a quiet and distant underlying sound highlighted by a noise surface. Transitions between one structure and another then take place to represent the process of degradation or destruction. The extremes are, however, never resolved as this would merely serve as an aesthetic reconciliation of what in reality remains oppositional.

26157 Max E. Keller: wanawizzi II (2011) 8'
for flute, clarinet, violin and violoncello
sFr. 26.00
In unserer Welt finden sich zahlreiche wahnwitzige Widersprüche: Regierungen von Ländern mit reichen Rohstoffvorkommen lassen ihre Bevölkerung im Elend versinken... "wanawizzi" (althochdeutsch für Wahnwitz) transformiert solche Antagonismen in musikalische Prozesse. Jedes der vier Instrumente repetiert permanent eine eigene rhythmische Sequenz, deren Länge sich von den anderen leicht unterscheidet, so dass ein dichtes Gewebe entsteht. Die vier rhythmischen Sequenzen werden von einer 12-Tonreihe überlagert. Sukzessive verkürzt sich die Tonreihe, so dass ein Instrument nach dem anderen auf einer Tonwiederholung endet, wobei diese vier Schlusstöne einen Dominantseptakkord bilden.

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.

19416 Burkhard Kinzler: Nürnberger Choräle (2012) 16'30
für Flöte, Klarinette, Saxophon, Posaune, Cello, Kontrabass, Percussion
sFr. 44.00
Zum 3. Teil der Clavierübung von Bach, alternierend aufzuführen; Luthers Katechismuslieder in modernen Bearbeitungen für Instrumentalensemble. - Kyrie Gott Vater (2') - Christe aller Welt Trost (3') - Kyrie Gott Heiliger Geist (2') - Allein Gott in der Höh sei Ehr (1'30'') - Dies sind die Heilgen zehn Gebot (1'30'') - Wir gläuben all an einen Gott (1'15'') - Vater unser im Himmelreich (1'30'') - Christ unser Herr zum Jordan kam (2'30'') - Aus tiefer Not (2') - Jesus Christus unser Heiland (1'15'') Separat (auch einzelne Choräle) aufführbar.

2831 Alfred Knüsel: Mitte wird Bewegung (1995) 16'
for speaking choir, violin, clarinet and keyboard instrument
sFr. 34.00
Text: Alfred Knüsel 'Peinture naïve' in music.

2822 Alfred Knüsel: Untersuchung - das Hörbare und das Vermutbare (1996) 15'
for clarinet (Ebcl, bcl, bthn-f, bcl, cbcl-b), percussion instruments (2-4) and strings (4.2.2.1)
sFr. 39.00
2838 Alfred Knüsel: gezogene Klänge (2000) 20'
Six-part work block
for double bass solo and chamber ensemble (1(pic).1.1.1(cbn)/1.0.0.0/perc/pf/2vn.va.vc)
sFr. 65.00
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.

2912 Josef Kost: ... du wirst schon sehen ... (1996) 18'
for boy and mixed choir, clarinet, harp and double bass
sFr. 29.00
Text: Hans Leopold Davi To stimulate moments of pause and contemplation, whether at the beginning, in the middle or at the end of life. Medium level of difficulty - also suitable for an amateur choir.

9508 Louisa Lasdun: Gespräch(e) im Gebirg (2002) 16'45
for seven players (fl[=pic].bcl.Ebcl/2vn.vc.db) 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.

15202 Stephan Lauffer: Chinesisches Sprichwort (1997) 2'
for choir (SATB), flute, clarinet, three violins viola and violoncello
sFr. 21.00
(Stimmen: sFr. 16.-; € 10.50)
Text: Chinese "It is better to light a candle than to complain about the darkness."

15205 Stephan Lauffer: Sinfonietta (1999) 4'
for two flutes, clarinet and piano
sFr. 18.00
Präludium - Scherzo - Tanz - Burleske.

17802 Luigi Laveglia: Black Bird (2008) 11'
for clarinet, violin, violoncello and piano
sFr. 21.00
(Stimmen bei SME: sFr. 30.-; € 30.-)
This is actually a prelude for Messiaen's "Quatuor pour la fin du temps" and written for the same instrumentation. It does, however, stand just as well performed on its own. The music is very colourful, partly abrupt with a very intimate middle part …

17804 Luigi Laveglia: Code of Light (2007/08) 23'
for flute, bass clarinet, violin and piano
sFr. 34.00
(Stimmen bei SME: sFr. 48.-; € 48.-)
Two movements (part one, part two) My occupation with light and its spectrum of colours (in a poetic rather than scientific sense) formed the starting point of this composition. It lead to extraordinary answers on a formal and associative level. Intense and diversified at the same time.

3106 Urban Mäder: Mit Nacht beladen (1990) 25'
for alto, clarinet and chamber orchestra (flute, horn and strings)
sFr. 78.00
Text: Max Bolliger Based on a text by Max Bolliger from the collection of poems ‘Schweigen, vermehrt um den Schnee‘, on the theme of nature and death.

Listen: Youtube
3119 Urban Mäder: Annäherung an Dorfmusik (1991) 13'
for clarinet and brass instruments (cn.bugle[=2tpt]/hn.tbn.tb)
sFr. 31.00
Adaptation of folk musical elements.

3137 Urban Mäder: Ballast (2009) 12'
for flute, clarinet, violin, violoncello, piano and percussion
sFr. 42.00
Three movements: gestaut, dickflüssig, überschwappend.

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.

18201 Cécile Marti: im Würfel (2005) 8'30
for sextet (fl, cl, vn, vc, mar, pf)
sFr. 49.00
"My form is created entirely out of straight lines and flat surfaces ordered at symmetrical right-angles. Every side, every line is the same as every other. Intersection facing intersection. This is me at peace with myself. I can begin rotating at the slightest movement, yet it is not always possible to forsee my path of motion, for the possibility of changing direction at any moment I leave open. My way is found along my edges or my corners. If I am not resting on a surface then I am moving in this linear fashion." A square's eye view - its inherent form is the lead for musical transformation. The ensemble follows characteristic figurations as a compact motional unit. The way leads from a description of the object through to the mechanisms of its motion and on to playfully gestural formulations. Circular motions, rotation around a fixed axis, gradual advancement over sound layers, using pulses to create structure, fragmentary phases and moments of dancy movement are but a few aspects which infuse throughout this piece.

7101 Valentin Marti: Quintett für Klarinette und Streichquartett (quintet for clarinet and string quartet) (1993) 12'
sFr. 36.00
A sound world, oscillating between expressivity and absolute non-expressivity, is created from a simple initial motive. World premiere: 04.12.95. in Zurich by the ‘Ensemble Opera Nova’.

7103 Valentin Marti: Tres sendas espinosas (1995) 15'
for flute (alto flute) clarinet (bass clarinet), violin, violoncello, percussion and piano
sFr. 47.00
Paths leading nowhere, a search leading to nothingness; subsurface there is a trace that, in its lack of direction, actually depicts the way. In three parts. World premiere: 23.5.1997 in Zurich by the Ensemble for New Music (Zurich) under the direction of Johannes Harneit.

7105 Valentin Marti: Euphotic Circles (1996) 12'
for soprano saxophone solo and ensemble (fl.cl/tpt/perc/pf/vn.va.vc.db)
sFr. 49.00
"The fascinating colours, the successful combination of the three wind players and their perfect connection with the string players are very well mastered from a formal point of view, they let arise an ensemble piece in the truest sense of the word." (S. Palm) World premiere: 31.7.97 in Klagenfurt by Janus-Ensemble Wien Robert HP Platz (conductor).

7124 Valentin Marti: Den Schatten der Rose entdecken (1999, rev. 2003) 13
for flute, clarinet, violin, violoncello and piano
sFr. 29.00
World premiere: 27.11.1999 in Boswil by 'Klangforum Vienna' under the direction of V. Kiradjiew.

7123 Valentin Marti: splitting (2002) 12'
for clarinet, violoncello and piano
sFr. 36.00
A tone is coloured and set in motion, fragments of this tone develop their own life, fan out and become tonally coloured. World premiere: 04.06.02 in Basel by the Avalon Trio.

7132 Valentin Marti: In der Kälte des tauenden Eises (2007/09) 12'
for pipa, violoncello and clarinet
sFr. 26.00
A work for two European instruments (clarinet and violoncello) and one Chinese instrument (pipa). The title describes a non-stable state out of which various musical and cultural developments are possible.

7137 Valentin Marti: Out Of Chinatown (2008) 9'30
for clarinet and violoncello
sFr. 18.00
9736 Hans-Jürg Meier: volgere lo sguardo al cielo (2005) 11'30
for oboe, trumpet in B (ossia soprano saxophone or clarinet in B), guitar
sFr. 23.00
"Rather a cloud of birds in the sky than one in the hand." (Eduardo Chillida)

9744 Hans-Jürg Meier: Schwärme von Lichtfischen (2008) 8'30
for 6 pianos and 8 pairs of high instruments (flutes, clarinets, trumpets, cornets, harps and violins)
sFr. 21.00
(Stimmen beim Autor)
Spatial composition based on a text by Elisabeth Binder (from "Orfeo"). For students. For students.

9752 Hans-Jürg Meier: das dasein ist nicht das wesentliche (sestiere - prima lettura) (2010) 16'
for panpipes, transverse flutes, recorders, clarinets, saxophone, horns, trombones, trumpets
sFr. 60.00
7209 Mela Meierhans: Sec''ondes (1995) 12'
for wind quintet (fl.ob.cl.hn.bn), viola and piano
sFr. 31.00
3410 Thomas K. J. Mejer: Sex Crystals (1994) 6'30
for flute, clarinet, horn, violin, violoncello and double bass
sFr. 18.00
A horn line is sweet-talked with high intensity by perfect fourths and fifths, only on a low dynamic level.

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.

3441 Thomas K. J. Mejer: Einmal ich und du: Die Bombe im Herzen (1995/99/2005) 10'
Cycle of "songs" after poems by Ludwig Fels
for flute (afl, pic), clarinet (bcl) and piano trio
sFr. 52.00
N° 1: Elegische Ballade N° 5: Sterbenswort N° 10: Sexuelle Panik

3444 Thomas K. J. Mejer: Princes' balls (2013) 13'
Dance Suite in 5 Movements
for contrabass flute, contrabass saxophone, tuba and sextet (fl, cl, pf, perc, vn, vc)
sFr. 55.00
Written for the "Kontra-Trio" Lucerne and the "Moscow Contemporary Music Ensemble", created for the project "Stravinskij Revisited". Suite in five movements: Wickedly Obscured Beautiful Insisting Seductive Concealed

3712 Roland Moser: Nach deutschen Volksliedern (1984/90) 13'
Strophes from the 'Knaben Wunderhorn'
for soprano, flute, clarinet, violin, viola and violoncello
sFr. 34.00
Also in a version for mezzo-soprano and the same instrumentation. Mutations in the same edition. Seven songs: ABC-Schützen - Papiers Natur ist Rauschen - Ein Musikant wollt fröhlich sein - Ich sass auf einem Birnenbaum - Das Vöglein Butschli Butschli Bu (Brentano) - Letzter Zweck aller Krüppelei - Ich hört ein Sichlein rauschen.

3805 Thomas David Müller: Gehen, Fragment (1989) 9'
for violin, violoncello and clarinet
sFr. 26.00
The first in a series of instrumental cycles where variations in the interplay and the resulting formal processes are subjects of the composition. Unusual playing techniques.

Listen: Youtube Youtube
3811 Thomas David Müller: Zwei Sequenzen: Stehstelle / Gehstelle (1993) 13'
for violin, violoncello, clarinet, three trombones and piano
sFr. 42.00
Both sequences are attempts at reaching emptiness and consequently to liberate space through non-speech and anti-speech methods respectively. The performers perform and, as it were, 'speak' on scrap metal taken from Thomas Bernhard's 'Gehen'.

Listen: Youtube
3814 Thomas David Müller: Quintett (J'en ai perdu le souvenir) (1997) 9'
for flute, clarinet, violin, violoncello and piano
sFr. 23.00
Elementary rhythm and sonority; little bass - uses Schubert’s ‘Ave Maria’ as its structural reservoir. Very little instrumental alienation but it does alienate the usual techniques. Simple music, not particularly simple to play. The interplay (with conductor) is traditional.

Listen: Youtube
3823 Thomas David Müller: Howl (2000) 16'
for viola, violoncello, clarinet, piano counter tenor (or alto) CD player and short wave radio (possibly 1 actor)
sFr. 34.00
Text: Allen Ginsberg Alternating score and part notation. The solo voice is simple to intermediate. The interplay is not time-bound throughout.

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

9906 Maria A. Niederberger: Sounds of Space-Time (Klänge von Raum-Zeit) (1994) 18'
for clarinet (also bass clarinet), marimba and piano
sFr. 44.00
The clarinet plays solo. Virtuosic passages. Demanding.

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.

9919 Maria A. Niederberger: Concerto for Oboe and Instrumental Ensemble (1999/00) 20'
for oboe solo, flute (piccolo), clarinet, horn, harp, two violins, viola, violoncello and double bass
sFr. 57.00
This piece is suitable for oboe and ensemble, but oboe and a small orchestra is preferable. The oboe is very demanding but the harp and horn also play important parts.

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.

10031 Kit Powell: Sextett (2000) 11'
for clarinet, bass clarinet and string quartet
sFr. 39.00
(Stimmen bei SME/EMS: sFr. 38.-; € 38.-)
18501 Barbara Rettagliati: Enchained figures (2004) 7'30
for clarinet and piano
sFr. 26.00
(Clarinetto: sFr. 12.-; € 12.-)
16006 Alex Rüedi: Mättju (1996) 4'30
Trio
for flute, alto saxophone (or clarinet/soprano saxhophone) and piano
sFr. 21.00
(Stimmen: sFr. 12.-; € 8.00)
4534 Martin Schlumpf: Cumuli III (3-4-1-5-2 - Kapitel II im Buch der Proportionen) (1999) 20'
for flute, clarinet, soprano saxophone, trombone, electric piano (or piano), electric bass (or double bass) and percussion
sFr. 34.00
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
10202 Michael Schneider: Evokation (1991) 5'
for violin, clarinet and piano
sFr. 18.00
Impulsive, feverish movements with lyrical bright spells.

10207 Michael Schneider: Über verwunschenen Ebenen (1994/95) 7'
for chamber ensemble (0.1.1.1/1.0.0.0/1perc/2.1.1.1)
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.

16304 Felix Schüeli: Stück für Klarinette & Posaune (piece for clarinet and trombone) (1999) 3'
sFr. 16.00
10310 Henri Scolari: Le Christ voilé (1948) 19'
Cantata
for baritone and instruments (1(pic).1(ca).1(bcl).1/hn/hp/vn.va.vc(db 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.

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.

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

4801 Andreas Stahl: schneller werdender blues (1983/84) 30'
for flute, clarinet, violin, double bass, marimba, percussion and speaker
sFr. 47.00
Quasi-accompanied readings of texts by Robert Peterhans. Mini-overture; country life; city life (the eventful 80's); love; music.

4836 Andreas Stahl: grauzone (2002/03) 19'
for flute, oboe, clarinet and accordion
sFr. 29.00
A piece about pitch, almost about melody. But certainly so that the borders between identical, similar and different dissolve to leave one hearing melodies where no melodies exist (?).

17006 Raphael Staubli: Trio (1986/87)
for clarinet, violin and piano
sFr. 26.00
4909 Mathias Steinauer: Omaggio ad Italo Calvino, op. 10 (1993/94) 14'
for clarinet (horn), violin (violoncello) and partly prepared piano
sFr. 31.00
Version I: cl.hn.vn.pf (op. 10a) Version II: cl.vn.vc.pf (op. 10b) After three fantastical poems about the origin of the world.

Listen: Youtube
4913 Mathias Steinauer: Rumori cardiaci, op. 13 (1996) 5'
for flute, clarinet, violin, violoncello and piano
sFr. 18.00
A short nocturne for the first heart beat of the ensemble 'Oggimusica'.

Listen: Youtube
17106 Bruno Stöckli: Rest (1999) 10'
for flute, clarinet, violin, violoncello and piano
sFr. 49.00
17111 Bruno Stöckli: Kikakokú (2009) 14'
2 recitatives + arias
for soprano, mezzo-soprano, flute, clarinet, violin, violoncello and piano
sFr. 55.00
Texts: Paul Scheerbart, Oskar Pastior, Bruno Stöckli Uses the quarter-tone system.

17112 Bruno Stöckli: Melodie in d (2010) 1'
for piano (with flute, clarinet, violin and violoncello ad lib.)
sFr. 16.00
7702 Pierre Thoma: Exil (1983) 8'
for speaker, alto and clarinet
sFr. 26.00
To a text by Vahé Godel.

7721 Pierre Thoma: Ton sur ton 3 (1992) 5'30
for violin and clarinet
sFr. 18.00
5222 Balz Trümpy: Erleuchtetes Dunkel (1970, rev. 2006) 8'
for mezzo-soprano, alto flute and clarinet
sFr. 16.00
Based on poems by Wolfgang Borchert and Max Bolliger.

5219 Balz Trümpy: Anima (2. Fassung) (version 2) (1977/78) 17'
for high voice, clarinet, horn, string quartet and piano
sFr. 68.00
Texts: Anonymus, Heinrich von Morungen, Walter von der Vogelweide This three-part work is based on texts from a minnelied. The vocal line, which uses various sound modulations, is harmonically, melodically and rhythmically interwoven with the accompaniment.

5229 Balz Trümpy: Pas de deux (1986, rev. 2001) 12'
for flute (afl) and clarinet (bcl)
sFr. 34.00
5211 Balz Trümpy: Nacht (1988) 18'
Cycle
for mixed choir, flute, two clarinets and horn
sFr. 55.00
Night has probably never been praised higher and in so many facets by anyone other than Joseph von Eichendorff. For myself, his poems are equivalent to the music of Schubert and Schumann. A possible discovery of reality on the edge of the concrete, proceeding to point out another reality.

5281 Balz Trümpy: Antico Inverno (2012-13) 10'
for soprano and clarinet
sFr. 26.00
Salvatore Quasimodo's multilayered poetry is transposed into four musical images.

17518 Raymond Vauterin: Les petits palmiers (1973) 10'
for violin, clarinet in A and piano
sFr. 29.00
5404 Daniel Weissberg: DUO ? (1985) 11'
for flute clarinet and…
sFr. 34.00
A cicerone piece full of surprises, illusions, and some acrobatics. Requires a Bb clarinet, bass clarinet and contrabass clarinet.

5413 Daniel Weissberg: Duett (1992/97) 5'
for clarinet and viola
sFr. 13.00
Tonally sensitive, soft concert piece.

10703 De-Qing Wen: Le Souffle (1994) 8'
for six instruments (flute, clarinet, violin, violoncello, piano and percussion)
sFr. 18.00
(Matériel: sFr. 18.-; € 18.-)
For the Chinese, the ‘Yin’ and the ‘Yang’ were in the universe from the beginning and all creatures are animated by the ‘Qi’, the breath of life. Inspired by the order of the 64 hexagrams of the Book of Mutations and their composition in six masculine or feminine symbols, I divided this piece into six registers and wrote the music of the 64 hexagrams consecutively for six musicians.

10709 De-Qing Wen: Traces II (1996) 12'
for nine instruments (fl.cl/2perc/pf/vn.va.vc.db)
sFr. 39.00
Chinese calligraphy is the essence of Chinese art. For me personally, it stands as an original score. From written characters, sounds emerge. With the words, music is created.

10712 De-Qing Wen: Divination (1997) 19'
for six instruments (flute, clarinet, violin, violoncello, piano and percussion)
sFr. 62.00
The ideal for ancient Chinese civilization is that nature and man are one. Although this piece seems to describe a divination ceremony and the natural elements, it mainly expresses the human feelings.

10717 De-Qing Wen: Piping and Drumming (2000) 12'
for wind and percussion instruments (fl.ob.cl.asx.bn/tpt.tbn/3perc/pf)
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.

10719 De-Qing Wen: Chant d'une devinette chinoise (2000) 3'
Trio
for violin, oboe and Bb clarinet
sFr. 18.00
Comissioned by the ‘Conservatoir de Musique de Genève’ for the students of the second classes. The theme of this piece is borrowed from the folkloristic Chinese song ‘Cai diao’.

10810 Martin Wendel: Musik für Oboe / Klarinette und Flöte / Klavier, op. 29 (music for oboe/clarinet and flute, op. 29) (1975) 12'
sFr. 29.00
Two sounding pairs become isolated and re-converge in a quartet relationship. A multi-faceted composition in five parts.

10811 Martin Wendel: Railways, op. 30 (1975/82) 14'
Trio
for clarinet, viola and piano
sFr. 42.00
Bits of this four-movement chamber music piece were drawn-up on train journeys, hence the title.

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.

10825 Martin Wendel: Anmerkungen, op. 52 (1995) 21'
for high singing voice, clarinet and piano
sFr. 49.00
After ancient Chinese texts. I tried to avoid all allusions to ancient Chinese exotics in the realisation of the aphoristic and directness of the still up-to-date texts. All fourteen pieces are connected in a meaningful compositional manner.

18105 Lars Werdenberg: Trio (2006) 12'
for clarinet, violoncello and piano
sFr. 34.00
(Stimmen: sFr. 26.-; € 17.50)
Drei gehen über Stock und Stein jeder seines Wegs suchen sich einen Partner DAS ALTE LIED I gehen zuweilen Hand in Hand verlieren den Boden unter den Füssen finden sich schliessllich ganz oben fallen einander ins Wort DAS ALTE LIED II zwei gegen einen? einer gegen alle? GLOCKEN. This trio is dedicated to Elliott Carter who celebrated his 100th birthday in 2008.

Listen: Youtube
17613 Stefan Werren: 7 Stücke (7 pieces) (1998) 15'
for clarinet, cello and piano
sFr. 31.00
17619 Stefan Werren: Cantus 2 (2001) 9'
for clarinet in A and violoncello
sFr. 26.00
7825 Hansruedi Willisegger: Quartett (1966/67) 20'
for flute, clarinet, violin and violoncello
sFr. 34.00
7826 Hansruedi Willisegger: Impressionen (1967) 15'
for eight instruments (fl.cl/hn/cel/hp.pf/2perc)
sFr. 47.00
7832 Hansruedi Willisegger: Vo mine Berge muss i scheide (1996) 5'
for Ebcl.5cl-b.2bcl
sFr. 13.00
5807 René Wohlhauser: Klarinettentrio Metamusik (1986/87) 11'
Ergon 15
for three clarinets
sFr. 23.00
An attempt to transfer the plurality of aspects - how an object can be seen from various stand points - into a musical setting. Based on the aspects of seeing as described by Ludwig Wittgenstein in his "Philosophischen Untersuchungen" (Philosophical explorations).

Listen: Youtube
5812 René Wohlhauser: vocis imago (1993/95) 19'
Ergon 20
for flute, clarinet, percussion, piano, violin and violoncello
sFr. 47.00
Conception of a dialectic tension between textual narrative and formal architectonically composite parts (inspired by literary narrative forms) integrated into a system of metric modulations.

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.

5825 René Wohlhauser: 'Srang (2007) 10'
Ergon 36
for soprano, flute, clarinet and violoncello
sFr. 31.00
Based on an onomatopoeic text by the composer. The development of an aesthetic of fragments as a metaphor for fragmentary perception.

Listen: Youtube
5828 René Wohlhauser: Sokrak (2008) 10'
Ergon 39
for soprano, flute, clarinet, violoncello and piano
sFr. 55.00
Based on an onomatopoeic text by the composer. Sounds change from instrumental noises to sound frictions and from virtuousic buzzing to vocal noises.

Listen: Youtube
5831 René Wohlhauser: Charyptin (2010) 13'
Ergon 42
for soprano, baritone, flute, clarinet, violin and violoncello
sFr. 65.00
Texts: René Wohlhauser Based on own onomatopoeic texts. This piece deals with the possibilities and impossibilities of interaction, the mixing and exchanging of roles between vowels and instrumental sounds.

Listen: Youtube
5835 René Wohlhauser: Marakra Code 2 (2011) 15'
Ergon 44/II, work number 1604
for soprano, baritone, flute, clarinet, violoncello and piano, with percussion
sFr. 60.00
Texts: René Wohlhauser Following a double turning point (in bar 110) the onomatopoeic series of syllables at the beginning turn into semi-semantic text fragments, while reversely the instrumentalist's style of play moves from a quasi-traditional technique to sounding fragmented and noise-like.

8204 Alfons Karl Zwicker: Erfrorene Träume (1990/92) 29'
Cycle based on poems by Josef Kopf
for mezzo-soprano and ensemble (fl(pic).cl(bcl)/hp.pf.hpd/2vn.va.vc.db)
sFr. 78.00
Large-scale song cycle in which the metaphors of ice, cold and freezing are centralised. The leading part for the mezzo-soprano is extremely demanding in the emotional and technical areas. (Vocal range e# - b").

8213 Alfons Karl Zwicker: Konstellation mit Mondtransit (1998/99) 16'
for soprano, violin, trombone, violoncello, clarinet and piano
sFr. 55.00
A piece with aperspective performance practice. The ever-changing aspects on the radix planets (instrumentalists) by the transitory moon (soprano) are made audible.


Clarinet with orchestra
6115 Josef Haselbach: Leporellos Traum (1989) 24'
for string orchestra, flute, clarinet, saxophone, trumpet and piano
sFr. 109.00
"A rhythmically moved, gesture-full, richly chromatic music." (Th. Gartmann) Second part of the trilogy based on Mozart's 'Don Giovanni'.


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