Saxophone


solo
13402 Leo Bachmann: Schwarzer Schatten (1993) 5'
for contrabass saxophone
sFr. 13.00
Uniform quarter-tone sequences stumble through a walking-bass-like line. On reaching the end, they loop - this time accompanied by the players voice sung into the instrument - and again stagger through.

Listen: Youtube
8409 Felix Baumann: unzuhause (1997) 8'
for alto saxophone
sFr. 13.00
‘Unzuhause’ is, according to Heidegger, a more primordial phenomenon than fear.

12807 Gary Berger: Link (1998) 5'
for alto saxophone and live electronics
sFr. 18.00
12817 Gary Berger: mâts (2001) 13'
for baritone saxophone and live electronics
sFr. 18.00
Listen: Youtube
12818 Gary Berger: mâts II (2001) 8'
for baritone saxophone solo
sFr. 18.00
Listen: Youtube
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).

9055 Edu Haubensak: Echte Zeit (2008) 45'
Three-part composition
for soprano saxophone and light projection (video) with audio aparatus (1 player)
sFr. 26.00
2675 Max E. Keller: aufflackern und verlöschen (1997) 9'
for tenor saxophone
sFr. 16.00
Eight elements are gradually built up and dismantled again. Within this simple complete-form occur numerous momentary flares and douses. This work uses polyphonics, the fingerings of which are notated and extensively extracted from Daniel Kientzy’s "Les sons multiples aux saxophones".

2853 Alfred Knüsel: Zwischenlage (2005) 11'
for alto saxophone
sFr. 18.00
3111 Urban Mäder: lieber ein Saxophon (1994) 9'
for contrabass saxophone (also baritone saxophone) and recorded material
sFr. 36.00
(Inkl. CD)
Text: Ernst Jandl A theatrical attempt by a saxophonist to articulate the self-ironic text by Ernst Jandl through the mouthpiece of his instrument while the recorded material plays.

Listen: Youtube
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).

7128 Valentin Marti: La 4ème journée de Sisyphos (2005) 5'45
for alto saxophone solo
sFr. 16.00
Solo version of the 4th movement from the saxophone quartet "Le Journal de Sisyphos". World premiere: 12.04 08 Wilmington (North Carolina) USA, Laurent Estoppey

7135 Valentin Marti: Charon schläft (2007) 10'
... not a nocturne
for tenor saxophone solo
sFr. 18.00
Rawness is as present as lightness, crudeness as present as elegance and obstinacy as present as excursiveness. Sound palette features specific to the tenor saxophone. Many special fingerings are derived directly from standard fingerings. World premiere: 23.4.08, Zurich, Marcus Weiss

Listen: Youtube
3405 Thomas K. J. Mejer: Dark Snow Falls upon the Bagpiper (1992) 9'
for alto saxophone
sFr. 16.00
The bagpiper’s songs of love, courage and energy reach us in a submerged form, soft and fragmented - even if heard from close.

3414 Thomas K. J. Mejer: Tartarelischer Tanz I (1995) 5'
for contrabass saxophone (also baritone saxophone)
sFr. 16.00
'Tartarelischer Tanz' comes from the Greek 'Tartaros' - the underworld where the souls of the dead repose in a happy and trouble-free half-state of being. Flittering 1/8 notes, only just audible as sound, build a spooky pulse which is animated in an irrational way by firmly pushed counter accents. (P.B.)

Listen: Youtube
9812 Laurent Mettraux: Thrène, M. 513 (1995) 5'
for alto saxophone solo
sFr. 13.00
Uses some particularities of contemporary notation to produce a passionate and dreamlike atmosphere.

19304 Katharina Rosenberger: phragmocone (2004-2010) 12
for alto sax
sFr. 29.00
4624 Urs Peter Schneider: Robert Walser Trilogie II,1: Studje zwej (1995) variabel
for speaker or saxophone solo (et al)
sFr. 16.00
10230 Michael Schneider: Mandorla (1998/01) 5'
for soprano saxophone solo
sFr. 16.00
A transcription of the 'sacral' piano piece bearing the same name. To be played as a floating ritual.

5223 Balz Trümpy: Variationen (1972, rev. 2001) 9'
for alto saxophone
sFr. 18.00

piano and instrument
0226 Walter Baer: Fragments of a Dream (1989) 13'30
for alto saxophone and piano
sFr. 26.00
(Saxophonstimme: sFr. 16.-; € 16.-)
The title relates to the dream experiences of Indians.

9824 Laurent Mettraux: Lied, M. 551 (1997) 6'
for soprano saxophone and piano
sFr. 18.00
(Partie séparée: sFr. 10.-; € 10.-)
Very song-like piece accentuating the expressive qualities of the saxophone.

16003 Alex Rüedi: En Ufsteller (1996) 3'
for violin (or alto saxophone) and piano
sFr. 16.00
18102 Lars Werdenberg: 2 Lieder ohne Worte (2001) 5'
for alto saxophone and piano
sFr. 21.00
1. Margrittas 2. Di d'inviern Transcription of two parts from "3 Lieder auf rätoromanische Texte" for saxophone and piano. The saxophone part highlights the text of the poem.

Listen: Youtube

Saxophone with instruments
8310 Dieter Ammann: Musica Empirica (1997/98) 9'
for soprano saxophone and guitar
sFr. 21.00
8321 Dieter Ammann: d'accord(s) (2004) 7'30
for 2 alto saxophones
sFr. 18.00
The title has two meanings: On one hand side, the material for the pitch is derived mainly from parallel chords which have been placed horizontally to build up the melodic lines. (d'accords = in the sense of originating from chords). On the other hand side, there are textures where both instruments play consensually, in substantial accord, together. This leads up to (mostly fast) homorhythmical passages.

13408 Leo Bachmann: Tropfenspiel (1997) 8'
for contrabass flute, contrabass saxophone and tuba
sFr. 13.00
Repetitive layered samples increase resp. decrease in tempo.

8411 Felix Baumann: Ins Offene (1998) 15'
for alto flute, English horn and soprano saxophone
sFr. 18.00
A piece about roughing up the unsisono, which is displaced from a static into a liquid state.

12814 Gary Berger: lichtempfindliche Erinnerungen (2000) 6'
for bass flute, viola, alto saxophone, guitar, percussion and live electronics
sFr. 26.00
12820 Gary Berger: zah (2002) 8'
for baritone saxophone, violoncello and electronics
sFr. 29.00
12821 Gary Berger: scri (2002) 8'
for voice, britone saxophone, percussion and live electronics
sFr. 42.00
12827 Gary Berger: Encode (2012/13) 9'
for ensemble (fl, bcl, tsx, pf, perc I and II, vn, vc) and live electronics
sFr. 57.00
17903 Andreas Brenner: Sykomoren (2005) 20'
A small cycle about death
for soprano, alto saxophone and piano
sFr. 31.00
for soprano, alto saxophone and piano I Auch (Abdo Wazin) II Dunkel (Hans Arp) III Aegyptisches Sterbegebet (anonym) IV Patrouille (August Stramm) V Schafott (Fuad Rifka)

11919 Claude Ferrier: Condensations (1998) 9'
for sextet (fl.hn.asx/hp.cel/gtr)
sFr. 42.00
1485 Eric Gaudibert: «Pierrot, à table !» ou le souper du poète (2003) 10'
for percussion, accordion, saxophone, horn and piano
sFr. 26.00
The percussionist plays both a principal and theatrical role performing on a table. The remaining instruments are, for the most, independent of one another; the piano is placed at the far-end of the scene. The sounds produced on the table are amplified.

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
8822 Rico Gubler: KOR (2000/01) 9'
for string quartet, tenor saxophone, percussion, bass clarinet and double-bass
sFr. 70.00
(Stimmen beim Komponisten)
8825 Rico Gubler: En bref (2002) 10'
for violin, clarinet, saxophone and piano
sFr. 55.00
8835 Rico Gubler: Kubla Khan's Love Song (2005/06) 4'
for piccolo and soprano saophone
sFr. 16.00
8838 Rico Gubler: Xanadu (2007/08) 9'
for alto saxophone and piano
sFr. 47.00
(inkl. Sax-Stimme)
8839 Rico Gubler: The Slant Song (2008) 8'
for alto saxophone and piano
sFr. 42.00
18004 Sarah Haessig: D'ailleurs (2007) 10'
for alto saxophone, violin and piano
sFr. 21.00
Quite demanding for the saxophone.

9024 Edu Haubensak: Gestes (1991) 4'
Duo
for saxophne and percussion
sFr. 13.00
9030 Edu Haubensak: Schöner Wolf (1995) 8'
Duo
for alto saxophone and viola (scordatura)
sFr. 16.00
9053 Edu Haubensak: Spazio Due (2006) 13'
Quartet
for trumpet in B, Eb Alto saxophone, trombone and piano in skordatura (2nd tuning)
sFr. 31.00
2211 Regina Irman: Wörter (1995) 10'
for saxophone ensemble (4s, 2a, 2bar) and one percussion
sFr. 34.00
This piece in five movements is derived from the same material as the vocal piece 'Requiem'. The sonogram of the same but differently pronounced words of a Russian text is processed in often very short sequences. With microtonal colouring. Commissioned by the City of Zurich.

Listen: Youtube
15174 Rudolf Jaggi: Flucht (1977) 15'
for choir (SAB), oboe, alto saxophone and bass clarinet
sFr. 34.00
Text: Hans Häring.

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.

26108 Max E. Keller: Kalkül und Emotion (2004) 4'
for saxophone quartet (satbar) and string quartet
sFr. 18.00
This work forms the intertwining, togetherness and conflict of the two quartets with calculated emotional intention. The security net provided by the rational prearrangements allows greater freedom and confidence in the emotional decisions made regarding concrete sounds, instruments, complexity and developments.

26112 Max E. Keller: nel pomeriggio (2006) 7'
for baritone saxophone and string quartet
sFr. 23.00
(Stimmen beim Komponisten)
A comfortable afternoon in a dusty café: As in times past, a string quartet plays a waltz that nobody listens to, a never-ending, continuously repetitive violin melody and an almost imperceptibly shifting accompaniment. Added to this is a completely inappropriate baritone saxophone - sometimes blending in, sometimes detached and sometimes obstinately defiant. Suddenly a bang! And everything collapses into shadowy ruins.

26117 Max E. Keller: 12-06-07 (2007) 10'
for soprano, oboe, alto saxophone, horn and viola
sFr. 34.00
A text about statistically the most frequent causes of death in Switzerland takes its course and is interspersed by ten extremely varied newsflashes from real life, all of them objets trouvés from two daily newspaper of 12th June, 2007. The statistical information is set to music in a recitative manner with very few, primarily sustained notes. This is in contrast to the ten newsflashes whose music is composed with lively movements and a tangible pulse in various structures. The somewhat macabre text montage reflects the apparent phenomenon of the sometimes-grotesque contrast of various themes and texts, which seems to magically attract humans.

26123 Max E. Keller: "Fünf Improvisationsmodelle für Jugendliche" sowie "In Regen, Blitz und Donner" (2008) ad libitum
for youths with any instruments (including everyday objects and carnival market instruments) + 2 saxophones and violoncello
sFr. 21.00
The improvisational models "Kartenspiel", "Zündschnur", "Sonntagnachmittag", "Wasserfall" and "Gewitter" are first and foremost to be understood as individual concepts. Duration and instrumentation remain open. The pieces can be realised using normal instruments or everyday objects (plastic bags, paper, pan lids, table tops, pieces of wood, pieces of metal, cutlery, crockery etc.). "Wasserfall" and "Kartenspiel" are possible exceptions as the graphics require pitch and pitch modulation, but even this can be realised using carnival market instruments, lotus flutes or the voice as well as conventional instruments. "Gewitter" can also be the framework of a whole form: One of the other concepts can be played during a stop under a balcony etc.. "In Regen, Blitz und Donner" is ultimately a through-composed version of the preceding possibility where three further instruments are added.

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
26137 Max E. Keller: Snowflakean Thoughts (2010) 2'
for speaking voice, alto saxophone and piano
sFr. 16.00
This short piece is composed after a text by James A. Emanuel (USA). Together with millions of his kind, the snowflake dreams of calling into being a democratic kingdom - and the setting to music of this poem is just as fluffy. It can aslo be performed by amateurs.

26143 Max E. Keller: Shopping List (2011) 3'
for speaking voice, alto saxophone and piano
sFr. 16.00
Texts: Barry Wallenstein

26144 Max E. Keller: Pour aller mieux (2011) 4'
for tenor, tenor saxophone and piano
sFr. 18.00
Texts: Jean Miniac.

26160 Max E. Keller: Will it matter (2012) 4'
for mezzo-soprano, soprano sax, alto sax and baritone sax
sFr. 18.00
On a poem by Heng Siok Tian from Singapur. "Will it matter if a poetry reader is male or female, brain or soul treasure? What height, weight, shape, colour is the measure of such readers: poetics considered? …."

26159 Max E. Keller: Wiederkehr und Veränderung (2013) 11'
for soprano saxophone, trombone and accordion
sFr. 26.00
Wiederkehr (repetition) and Veränderung (variation) are archetypes of music, and perhaps even of life itself. A series of four basic structures are repeated four times, whereby the duration each time varies enormously, as does the characteristic of each of the basic models. Two of the four basic structures touch on repetition in their internal anatomy. The third basic structure is puzzle-like in its construction, whereby all three instruments repeat the same six elements several times and overlap. On another level, breathing/blowing - an existential basis of life - also plays an important part in this "wind trio".

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.

2855 Alfred Knüsel: Lakonie (2004) 4'
for alto soprano and tam-tam
sFr. 16.00
2856 Alfred Knüsel: Gleichklang (2004) 5'
for soprano/alto saxophone and tam-tam
sFr. 16.00
2857 Alfred Knüsel: Chiffren (2004) 6'30
for soprano/alto saxophone and tam-tam
sFr. 18.00
2922 Josef Kost: Opus Lucernense (2007) 28'30
for alto saxophone and organ (preferably 3 manual; 2 manual possible)
sFr. 29.00
(Saxophonstimme: 32.-)
Four movements (2nd and 4th movement with improvised cadenza).

3138 Urban Mäder: Flucht (2009) 15'
for two saxophone quartets
sFr. 47.00
Three movements: vögel ziehn ins offene, die ahnung, ein süsser duft.

Listen: Youtube
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).

7109 Valentin Marti: Floating (1997) 7'
for piccolo / alto flute, oboe and soprano saxophone
sFr. 21.00
Fragile transitions between noise and tone, fluctuating chromatic modulations and a metre that masks the rhythm are characteristics of this trio. World premiere: 28.9.97 in Wädenswil by theTrio Lepic.

7120 Valentin Marti: Passages (2000) 12'30
for viola, piccolo/bass flute, baritone saxophone, guitar and percussion
sFr. 31.00
‘Passages’ is determined by a hugely formal changing process, beginning with block-like, vertical melodies of the solo viola, leading to a linear, horizontal notation with five equal instrumental parts. Quarter tonal. World premiere: 28..8.00 in St.Moritz by the Ensemble Cattrall under the direction of Marc Kissoczy.

7126 Valentin Marti: Exposure (2003) 7'
for alto saxophone, trombone, accordion, piano and percussion
sFr. 26.00
World premiere: 20.9.03 in Lugano by Ensemble Oggimusica.

9721 Hans-Jürg Meier: colours de la rose (1999/01) 30'
for alto flute (flute) oboe (english horn) and soprano saxophone (alto saxophone)
sFr. 49.00
A nine-part piece - a confrontation between the music of Guillaume de Machaut and Hans-Jürg Meier.

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.

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)

9741 Hans-Jürg Meier: anfione (2007) 8'
for saxophone and organ
sFr. 16.00
Spatial music to the Legend of Amphion.

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
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.

3426 Thomas K. J. Mejer: Winterlicht (1990) 6'
for alto saxophone and violin
sFr. 13.00
3412 Thomas K. J. Mejer: Sternensturz (1995) 6'
for english horn (or alto saxophone) and vibraphone
sFr. 13.00
This composition is based on a poem bearing the same name by Rose Auslander. It advances in stages from spoken image through associated image to aural image. Version a: English horn and vibraphone Version b: alto saxophone and vibraphone

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.

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

9819 Laurent Mettraux: Duo, M. 540 (1996) 11'
for violin and alto saxophone
sFr. 23.00
The parts are well balanced to ensure that the saxophone doesn't cover the violin. Four movements: appassionato, rêveur, energico and intérieur.

15622 Martin Metzger: Du Doppelgänger (2001) 8'
for trumpet, alto saxophone, organ, glockenspiel, vibraphone, marimba and tubular bells (1 player)
sFr. 34.00
3812 Thomas David Müller: Secco (1994) 12'
for saxophone, piano and percussion
sFr. 26.00
The running motion that characterises the ‘Gehen’ pieces is here tapered to a musicianly progression - with associated imminent crash.

3816 Thomas David Müller: Letzte Zeichen von Geschwindigkeit (Chartres I) (1998) 11'
for flute, oboe and soprano saxophone
sFr. 21.00
Traditional interplay with some dodgy rhythmics. Partly over-the-top high register. Reduced but colourful harmony.

Listen: Youtube
4004 Daniel Ott: mutterseelenallein (1990) 20'
for deep female voice, tenor saxophone and accordion
sFr. 16.00
Music for the play ‘monologue’ by Simone de Beauvoir (based on a text from ‘The Bundle’ by Edward Bono).

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.

19302 Katharina Rosenberger: le miroir (2007) 3
for flute and soprano sax
sFr. 29.00
Listen: Youtube
16005 Alex Rüedi: Drei Jazzideen (1995) 8'30
for alto saxophone and organ
sFr. 44.00
Moderato - Lento - Allegro.

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)
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.-)
19107 Benedikt Wolfgang Schiefer: TRUO (2009) 10'
for e-guitar, baritone saxophone, percussion and live electronics
sFr. 18.00
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
10233 Michael Schneider: Painting / Orange (2007) 8'
for organ and saxophone
sFr. 26.00
10235 Michael Schneider: Die chemischen Elemente (2008) 6'
for flute, saxophone and vibraphone
sFr. 26.00
The structure and course of this piece is based on the periodic table of chemical elements. The three instruments represent specific groups of elements within the seven periods of the periodic system (metals, transition metals, non-metals, noble gasses). Small variations in playing technique and "plasticity" represent the chemical properties of each single element in one-bar 5/4 "portraits", which are linked to form a suspended tonal stream.

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).

4812 Andreas Stahl: just different (1994/95) 10'
for two identical saxophones (a, t, bar)
sFr. 23.00
The sounds and differences in articulation result from the use of different mouthpieces or reeds. Through the further use of a variety of playing techniques (tooth tone, high register, ff in the low register, different slaps etc.) they become the central focus of the piece 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.

4924 Mathias Steinauer: Klangfäden.Einzeln, op. 17.1 (1999) 4'
for saxophone, piano and percussion
sFr. 21.00
1. Version: für Saxophon, Klavier und Schlagzeug (1999) (SME/EMS) 2. Version: für Flöte, Klarinette, Violine, Violoncello, Klavier und Schlagzeug (2005) (Adesso)

Listen: Youtube
4926 Mathias Steinauer: Sott'acqua, op. 17.3 (1999) 10'
for soprano saxophone, horn, trombone, percussion and piano
sFr. 29.00
Partly with an improvised second piano (ad libitum).

Listen: Youtube
5264 Balz Trümpy: An Florestan und Eusebius (2010) 19'
Duos and trios
for saxophone (soprano, baritone), trombone and piano
sFr. 57.00
In December 2010, I held a lecture on polyphony in the music of Schumann. This event led me to perform the complete piano works by this composer, who has remained dear to me since childhood. My composing has been influenced on a subliminal level by Schuhmann's sound meshes and quirky-fantastical lines. I became accutely aware of this fact while working on my piece for the trio Weiss-Svoboda-Henneberger. Since the content of the three main pieces ("Rezitativ und Arioso" for trombone and piano, "Lied" for saxophone and piano as well as "Mit Leidenschaft" for the trio) turned out to be rather Schumannian, I decided to dedicate it to the two main characters of the circle of the Davidsbündler (League of David).

17532 Raymond Vauterin: Vols (1998) 17'
for alto saxophone and synthesizer
sFr. 57.00
1. .. au dessus des nuages 2. .. dans la tempête 3. .. au dessus de la ville endormie 4. .. premier envol

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.

5818 René Wohlhauser: Die Auflösung der Zeit im Raum (2000/01) 14'
Ergon 26
for saxophone, percussion and piano
sFr. 49.00
This work, world premiered by the Oggimusica ensemble at the Expo 2002, works with various concepts of spatio-temporal relations and attempts to fathom the depth of the sound room

Listen: Youtube

Saxophone with orchestra
8309 Dieter Ammann: Under Pressure (1996/97) 16'
for tenor saxophone and orchetsra (3(1.pic).3.ca.3(1.bcl).2.cbn/4.3.2.btbn.0/2-3perc/hp/min8.6.4.4.2)
sFr. 44.00
13404 Leo Bachmann: Uebermässig - Unmässig (1994) 18'-20'
for contrabass saxophone and string orchestra
sFr. 18.00
(Stimmen: sFr. 18.-; € 12.00)
Through composed segments alternate with improvised solo parts and free orchestral development. Suitable for a good amateur string orchestra.

0255 Walter Baer: Concerto (2007) 21'
for alto saxophone, string orchestra, harp, vibraphone and marimbaphone
sFr. 52.00
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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