0919 Jacques Demierre: De la tête au pied (1997) 9'
for double bass
sFr. 39.00
1418 Eric Gaudibert: Le dit d'elle (1995) 10'
for double bass solo
sFr. 21.00
Inspired by a rondeaux by G. de Machaut, this piece is constructed of strophes in a parlando style. With comments using basic harmonic sounds. A quotation of a song taken from 'Remède de Fortune' concludes the work.

9352 Vladislav Jaros: Musik für drei Kontrabässe (2010) 12'
for 3 concert double basses (or 3 violoncelli)
sFr. 26.00
"Musik für drei Kontrabässe" is a diversified piece of music in four movements, each carrying a programmable title: I Einmarsch, II Schizophrene Spielchen, III Hoffnungslosigkeit, IV Danza sarcastica, This piece musically depicts the invasion of Czechoslovakia by the Soviets (1968) and the years that followed. The music does not necessarily need a programme.

9409 Marc Kilchenmann: Bland (1992/93) 10'
for double bass solo
sFr. 23.00
3135 Urban Mäder: 35 Gesten für Kontrabaß (2005) 12'
sFr. 18.00
For Cristin Wildbolz. The course of motions is derived partly from simple normal bass playing and partly from musical motion sequences.

13302 Marie-Cécile Reber: SRUN (2004) 10'15
for double bass and electronics
sFr. 23.00
10725 De-Qing Wen: Shao Yue (The Music of Shao) (2002) 7'
for double bass solo
sFr. 16.00

Double-bass 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
6417 George Barcos: Cuentos Peregrinos (1997) 10'
for guitar and double bass
sFr. 29.00
La Ciudad perdida - Burundanga - Raices.

6419 George Barcos: Poemas de Esperanza (1998/99) 12'30
for female choir, two guitars and double bass
sFr. 42.00
Texts: Juana de Ibarbourou, Gabriela Mistral, Delmira Agustini La nueva esperanza - Hímno al árbol - Explosión.

6422 George Barcos: Bochornos (2004) 5'
for voice, violin, bandoneon, piano and double bass
sFr. 21.00
8407 Felix Baumann: Duo (1995) 15'
for violin and double bass
sFr. 18.00
When two unequals do the same the result is a difference, if they do different, a generic third can evolve.

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.

6521 Frédéric Bolli: Pentagramm (1988) 20'
for 5 strings (2vn, va, vc, db) and transverse flute
sFr. 55.00
6533 Frédéric Bolli: Im Anfang war das Wort (1990/91) 15'
for male choir and string quintet (
sFr. 55.00
6618 Alfred Felder: Cercles (1992) 12'
for flute, clarinet, harp, string quartet and double bass
sFr. 26.00
6609 Alfred Felder: Song of the Sky (1996) 23'-25'
for violin, guitar and double bass
sFr. 31.00
On searching for ones own identity, one finds ones own songs.

1112 Jürg Frey: Der Mensch gleicht einem Hauche (1993/94) 5'
for counter-tenor, recorder, viola, violoncello, double-bass and organ
sFr. 16.00
Text: Bible / Liturgy Text: Psalms 144,4.At the heart, danger, desolation, and fragility are what most characterise this piece. The choice of notes is limited, and only collectively can their meaning be known.

1459 Eric Gaudibert: Deux ou trois pas dans le gris (1994) 10'
for double bass and accordion
sFr. 26.00
The first part of this work gives the double-bass a virtuoso role. The two instruments are now independent as far as their character and the tempo is concerned. In the second part, the double-bass and accordion merge in a lyrical and poetic way. This work resulted in two solo versions: 'Deux ou trois pas...' for double-bass and 'Deux pas dans le gris' for accordion.

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.

8808 Rico Gubler: taglio (1996) 10'
for violin, violoncello and double bass
sFr. 18.00
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)
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.

14801 Ursula Gut: Aquamarin (1992) 10'
for 2 violins, 2 clarinets, double bass and harpsichord
sFr. 26.00
Listen: Youtube
14803 Ursula Gut: Clairières (1994/95) 35'
13 pieces
for piano, double-bass and percussion
sFr. 47.00
18003 Sarah Haessig: Don Belianis de Grecia a Don Quijote de la Mancha (2007)
for speaking voice, guitar and double bass
sFr. 16.00
Listen: Youtube
2202 Regina Irman: Hügel bei Céret (1983) 10'
for two violas and double-bass (other score for strings possible)
sFr. 34.00
A structure derived from a chain of pure intervals with no fixed pitch, but beginning low with a foundation tone, and later running freely. Intonation and listening carefully to each other is paramount in this piece. Graphic notation. Sponsored by SME Lucerne.

Listen: Youtube Youtube
2507 Mischa Käser: einspruch (1990/91) 13'
for baritone, speaker, accordion, double bass, saxophone, percussion and a dance duo
sFr. 60.00
Texts: Thomas Huonker, Peter Zahl, everyday advertising and media language A piece requiring demanding rehearsals. The speaker should draw on his talent for rhythm. The sung sections can be performed by a tenor with a good lower register. Uses texts by Thomas Huonker, Peter Zahl, and newspaper cuttings.

2653 Max E. Keller: Kreisen in den Tiefen (1988) 13'
for viola, violoncello and double bass
sFr. 18.00
Composed after the idea of monophonic lines with nuances in colour such as rotary movement and superimposition of rhythmical and melodic sequences.

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.

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.

2689 Max E. Keller: Dialogfelder (2000) 10'
for double bass and percussion
sFr. 18.00
The instruments form a dialogue on fields of varying length, either in harmony or in contrast; differentiated rubbing noises play an important part in the adaptation. The percussion uses only two toms, two bongos, a cymbal, a thunder sheet and two woodblocks.

Listen: Youtube Youtube
2692 Max E. Keller: Sans cesse (2001) 9'
for oboe, bassoon, horn, trombone, violin, viola, violoncello and double bass
sFr. 18.00
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.

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.

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
26147 Max E. Keller: Die Schwestern (2011/12) 6'
for soprano and double bass (or soprano and piano)
sFr. 18.00
Texts: Christian Morgenstern In a dialogue between a bell and a cannon, the cannon exhibits ist sisterly nearness: "Today they are yours and pray, tomorrow they are mine and kill." The bell vehemently rejects this kinship with the cannon. But is the cannon really wrong? Are religion and War not often twinned? On the one hand, the musical setting accentuates the contrast between the soprano and double bass, even working within the two parties with extreme contrasts. On the other hand, the double bass occasionally ascends the lofty heights of the soprano and twins itself with the voice.

9405 Marc Kilchenmann: Manie - oder von der Tröstlichkeit eines Volksliedes (1993/95) 3'
for 22 string instruments
sFr. 26.00
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.

19409 Burkhard Kinzler: In nomine (2012) 25'
für vier Stimmen (SATB), drei Blockflöten, Akkordeon und vier Streicher (Vl, Vla, Vc, Kb))
sFr. 70.00
Instrumentierungen altenglischer In-Nomine-Vertonungen (Taverner, Picforth, Bull) samt einem Prolog über den cantus firmus.

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.

2837 Alfred Knüsel: Coplas (1987) 21'
for soprano, double-bass (or violoncello) and piano
sFr. 44.00
Text: Spanish (Christof Jung) A seven-part cycle based on anonymous Spanish verse, translated by Christof Jung.

2813 Alfred Knüsel: FrauenZeit (1994) 23'
for two sopranos, alto and double bass
sFr. 47.00
Texts: Anna Achmatova (Mathilde F. Anneke), Dorothee Sölle, Hanna-Renate Laurien, Käthe Kollwitz, Wera Figner, Adelheid Duvanel Five songs requiring a broad, expressive spectrum.

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
2851 Alfred Knüsel: Cadenza I - IV (2006)
for double bass solo and percussion (large drum, cymbals, guiro)
sFr. 18.00
2859 Alfred Knüsel: eine Art Klangvorstellung - unbekannt - als wohltemperierte Gegenwelt zu durchtechnisierter Information (2005) 14'
for violoncello, double bass and trombone
sFr. 26.00
1. RetroSehnsucht 2. Assoziationsfelder 3. Environment, komplementär

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
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.

2913 Josef Kost: "Ohne Titel" (1996) 11'
for violin, guitar, double bass and strings (
sFr. 29.00
A major, a minor, an augmented and a diminished triad, giving all twelve tones of an octave, are woven together harmonically and melodically (serial). Predominantly modal rhythm, determinate sound room, differentiated dynamic. Three short expressionistic pieces. Difficult.

Listen: Youtube
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.

15209 Stephan Lauffer: en dankopfergsang - dä hundertschti psalm (2003) 7'
for choir (SATB), oboe, viola, xylophone, percussion, organ and double bass
sFr. 29.00
(Instrumentalstimmen sFr. 20.-, € 20.-; Chorpartitur sFr. 16.-, € 16.-)
Texts: Bible / Liturgy Musical setting of the 100th Psalm.

15213 Stephan Lauffer: Niobes Klage (2006/09) 7'
for oboe, viola I and II, violoncello and double bass
sFr. 18.00
(Stimmen: sFr. 14.-; € 9.50)
3132 Urban Mäder: Das Eine. Das Selbe. Das Gleiche (202) 50'
for voice (altus), recorder(s), violin, gamba and double bass
sFr. 31.00
(CD und Video beim Komponisten)
This project is a collaboration between video art and a musically open play disposition in the room. Based on a text by Thomas Locher, with the Scappatella Ensemble and the video artist Judith Albert. CD and video available from the composer.

3134 Urban Mäder: Gesten - Nichts (2004) 14'
Concert piece
for choir (SATB), violin, double bass and organ
sFr. 23.00
Commissioned by the Cantorin Contenti Zug. Even though the starting point for this composition is texts from Bach's "Jesu, meine Freude", "Gesten - Nichts" still remains a rudimentary music of sound and noise.

7105 Valentin Marti: Euphotic Circles (1996) 12'
for soprano saxophone solo and ensemble (
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).

9738 Hans-Jürg Meier: criptoportico (2006) 10'
for transverse flute, natural horn, double bass
sFr. 18.00
Formal references lead to the grotesque paintings of the Domus Aurea rooms in Rome. As regards content, the sirens have their grand appearance.

9754 Hans-Jürg Meier: locus (2012) 14'
for melodica and objects, saxophone (bar, a) trombone, violin, viola, double bass and voice (soprano)
sFr. 52.00
A trip to and into the Pantheon in Rome in four parts: Tympanon, Pronaos, Innenraum, Opaion. The performance places the Endless Column in Targo Jiu by Constantin Brancusi into the Pantheon.

7212 Mela Meierhans: 4instruments2 (1997/98) 17'
for dance, double bass (or violoncello), thunder board and recorded material (CD/DAT or MD)
sFr. 16.00
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.

3443 Thomas K. J. Mejer: Pøshalsta!! (2006) 12'
for flute and double bass
sFr. 21.00
3802 Thomas David Müller: Trauerarbeit (1978) 7'
for viola, double-bass, harp, piano and percussion (6 players in total)
sFr. 18.00
Quite quiet music, easy to perform.

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.

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.

4009 Daniel Ott: 17 1/2 (1995) 25'
Scenic composition
for 4 guitars, 2 mandolins, dulcimer, viola, 2 double bass, saxophone, trombone, tuba, accordeon and three percussion instruments
sFr. 55.00
Spatial composition based on the sound memories of the musicians/singers.

16016 Alex Rüedi: To you (2004) 11'
ssx, asx ,tsx, pno, bass, dr
sFr. 18.00
(Stimmen SME: sFr. 20.-; € 20.-)
16017 Alex Rüedi: Quit evening (2005) 5'
ssx, asx ,tsx, bsx, pno, bass, dr
sFr. 16.00
(Stimmen SME: sFr. 20.-; € 20.-)
16018 Alex Rüedi: Outlooks (2006) 7'
ssx, asx ,tsx, bsx, pno, bass, dr
sFr. 21.00
(Stimmen SME: sFr. 20.-; € 20.-)
16019 Alex Rüedi: Interact (2006) 5'
ssx, asx ,tsx, bsx.pno, bass, dr
sFr. 23.00
(Stimmen SME: sFr. 18.-; € 18.-)
16020 Alex Rüedi: Marina d' oru (2006) 10'
ssx, asx ,tsx, bsx, pno, bass, dr
sFr. 34.00
(Stimmen SME: sFr. 26.-; € 26.-)
17702 Peter Schärli: Ballade pour une pierre (1985) 6'30
for voice, trumpet (with muffler), piano (or guitar), double bass
sFr. 13.00
Text: Sandy Patton.

19103 Benedikt Wolfgang Schiefer: Kadenz (2007) 9'
for 2 celli, double bass and harp
sFr. 26.00
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
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.

16308 Felix Schüeli: Septett (2001) 7'
for trumpet, alto saxophone, tenor saxophone, trombone, violin, violoncello and double bass
sFr. 26.00
(Stimmen: sFr. 18.-; € 12.00)
"I dealt with the subject of the four-part fugue in g minor from the WTK (Vol.I) as a model for this piece. I used these parts continually in various appendages and confronted them with a groovy theme." (composer).

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.

16607 Bernhard Sieber: Meditation für Violoncello und Kontrabass (meditation for violonceloo and double bass) (1965) 6'
sFr. 18.00
(Preis inkl. Stimmen)
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.

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.

17114 Bruno Stöckli: Dal peso di un piccolo uccel (1991) 15'
Seven pieces
for female voice and instrumental ensemble (
sFr. 57.00
5224 Balz Trümpy: Luzifer (1973, rev. 1975) 18'
for string quartet and double bass
sFr. 34.00
The musical development of the string quartet is in conflict with the 'hecklings' of the double bass.

10706 De-Qing Wen: Wu (L'Eveil, bouddhisme Zen) (awakening, zen Buddhism) (1995) 15'25
for Soprano, alphorn and double bass
sFr. 23.00
A wealth of discourse is presented in this piece, a poem interpreted according to the Yi Chang technique used for thousands of years to declaim poetry, quotes from contemporary Zen texts, Buddhist prayers and the Swiss yodel.

10709 De-Qing Wen: Traces II (1996) 12'
for nine instruments (
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.

78106 Hansruedi Willisegger: Bitte, Lob und Dank (1973) 12'
for cantor, three sopranos, mixed choir, congregation, three speakers, three flutes, violoncello, double bass and bongos
sFr. 18.00
8202 Alfons Karl Zwicker: Nachtduett (1989/90) 20'
Cycle with poems by Georg Trakl
for mezzo-soprano, bass, flute, harpsichord, four violins, viola, violoncello and double bass
sFr. 83.00
An erotic, sticky piece that takes the incestuous relationship between Trakls and his sister as its theme. 'Nachtduett' is a series of scenic poems predestined for the stage.

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)/
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").

Double-bass with orchestra
4505 Martin Schlumpf: Ostinato I (1980) 31'
for three improvising musicians (any instruments), string orchestra and harpsichord
sFr. 34.00
The improvised part is composed for wind instruments, double bass and drums but can just as easily be realised using other instruments.

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