Variable instruments


solo
2222 Regina Irman: Melodie 1 (1985) 2'
for quarter-tone guitar or other instruments with free intonation possibilities
sFr. 13.00
Listen: Youtube
2227 Regina Irman: Melodie 2 (1985) 2'
for undertone flute or other instruments with free intonation possibilities
sFr. 13.00
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).

4614 Urs Peter Schneider: Robert Walser Trilogie I, 1. Die schöne Frau von Thun (1987) 7'
Six life-images
for three pairs of (string and/or wind) instruments
sFr. 31.00
A cycle based on savage and partly lost writings; "Die schöne Frau von Thun" uses six instruments, which can be relatively freely chosen; "Tobold" is a compositional concept, formal and extremely variable in its instrumentation (the composer has arranged one version); "Das Mädchen mit den schönen Augen" is the last work before the composer's non-composing phase, maliciously simple, supposedly humorous; it is dedicated to the performer Marion Leyh.

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


piano and instrument
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
151132 Rudolf Jaggi: Turkish Delight (2013)
Jazz piece
for 3 wind instruments (in C, B and E?)
sFr. 16.00

Variable instruments with instruments
13401 Leo Bachmann: Im Einklang (1993) 5'
for 22 instruments
sFr. 21.00
(Stimmen: sFr. 26.-; € 17.50)
Twenty-two instruments over all registers, including two percussion instruments. The repetitive sample, which consists of tones from the overtone series of contra F, is successively layered in strata until it melts into a single sound mesh.

13405 Leo Bachmann: Triolo (1996) 8'
Concept for improvisation
for a trio (for any three instruments)
sFr. 13.00
13406 Leo Bachmann: Tutti - Solo - Tuttolo (1996) 10'
Concept for improvisation
for 4-8 musicians (any instruments)
sFr. 13.00
13407 Leo Bachmann: Shuffle and Repeat (1996) 10'
Concept for improvisation
for 3-8 musicians (any instruments) and recording device
sFr. 13.00
Requires a recording device (MD, CD) with ‘shuffle’ and ‘repeat’ functions, and a playback device.

13409 Leo Bachmann: Pythagoreisches Komma (1998) 10'
for six melodic instruments and percussion with conductor
sFr. 13.00
The six melodic instruments build the most fragile sound framework. Percussionist and conductor have a 'soloistic' function.

13410 Leo Bachmann: Multiplex (1999) 10'-15'
for one wind and/or any size string ensemble plus play-back tape
sFr. 13.00
Play-back is appropriated to each ensemble using their own created sounds.

Listen: Youtube
0922 Jacques Demierre: 17 (2003) 60'
After Christian Wolff
for 4 instruments
sFr. 47.00
Cycle of 17 pieces. These pieces can be played as a whole or independently, in any order.

Listen: Youtube Youtube
0921 Jacques Demierre: AQUARIUM (2004) 12'
for 7 instruments
sFr. 55.00
(Set à 3 Partituren)
Graphic score.

9036 Edu Haubensak: Tones (1997) 14'
Music
for 2-7 instrumentalists
sFr. 18.00
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
151129 Rudolf Jaggi: One for Niels (2012) variabel
Jazz piece
for 2-4 wind instrumentalists (in C, B and E flat)
sFr. 16.00
151131 Rudolf Jaggi: Flodur (2013)
Jazz Piece
for 3 wind instruments (in C, B and E?)
sFr. 16.00
9331 Vladislav Jaros: Das Schlossfest (2005) 16'
for a variable quartet
sFr. 42.00
A free adapatation of the orchestral piece - simple to play.

2663 Max E. Keller: 5 Improvisationsmodelle für Jugendliche (5 improvisation models for youths) (1995)
for 3-8 players of any instruments
sFr. 13.00
In N°s 2-5 performers lacking instrumental knowledge can use their voices, sounding objects or simple flutes and horns.

2678 Max E. Keller: Integration I (1998) 14'
for string quartet and improvising trio
sFr. 18.00
This work leaves behind the identity of the classical tradition and its strengths (string quartet is widely notated; frequent free improvisation from the jazz tio (saxophone, piano and percussion)) and brings them together only there where real points of contact exist. Integration II and III are conceived in a similar way.

2686 Max E. Keller: Integration II (1999) 12'
for string quartet and improvising trio
sFr. 16.00
2687 Max E. Keller: Integration III (1999) 12'
for string quartet and improvising trio
sFr. 16.00
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.

26156 Max E. Keller: Mobile (2013) 7' - 16'
for 1-5 instruments ad libitum
sFr. 16.00
In 'Mobile' each instrumentalist plays in any order the elements that appeal to him/her the most. Each has the same 25, highly disparate elements at their disposal. The social downside of such a free choice of dissimilar elements (and instruments) is arbitrariness, uniformity and disorientation. A typical example of this is the Internet: We are inundated by an endless torrent of information expressed here by spoken or sung texts, which include a sensational news report appearing alongside a detail of insurance law, news of a border incident alongside a rescue plan for the financial crisis and so on…

9407 Marc Kilchenmann: Nous ne serons plus jamais seul (1994) var.
Concept piece
for a minimum of people
sFr. 13.00
2867 Alfred Knüsel: St. Clara Messe (2008) 22'
for choir (SATB), organ and one melodic instrument
sFr. 31.00
9710 Hans-Jürg Meier: fuss fassen (1996) 10'
for any six instruments
sFr. 18.00
In addition to playing their main instrument, all players use a foot pedal in order to produce a percussion sound.

9743 Hans-Jürg Meier: Arianna: scena sesta - coro (2007) 3'
for solo voice and a wind instrument
sFr. 16.00
Text: Ottavio Rinuccini Music in four parts, presented between the four sections of the madrigal version of "Lamento d'Arianna" in five voices (1610) by Claudio Monteverdi.

3420 Thomas K. J. Mejer: Circle Aleatorik No 1-12 (1990/94) 42'
for 8-12 players
sFr. 23.00
4008 Daniel Ott: jammermusik (1993) 2'
for 6-12 players, variable instrumentation (obligatory drums, wind and accordion)
sFr. 13.00
Extract from a larger, open-air theatre composition.

4602 Urs Peter Schneider: Käfig: Septett, Quintett, Terzett (1961-62) var.
for any instrumentation (each with piano ad libitum)
sFr. 26.00
Versions of considerable duration can be realised using the existing material, these are versions whose time / space characteristics are completely accidental. Musical grid structures are the unpredictable result. These pieces are dedicated to John Cage, Morton Feldman and Christian Wolff.

4620 Urs Peter Schneider: Babel (1961-1967) variabel
for anything which makes a noise
sFr. 29.00
Thirteen pages each with thirty-five notations of musical and non-musical provenance. To be performed by a maximum of thirteen players who help themselves to a large 'arsenal' of percussion instruments and then let loose their prepared realisations on each other. Only the duration of play and an approximate sequence of events are discussed in advance. This work is dedicated to Erika Radermacher (my first long-time companion).

Listen: Youtube
4621 Urs Peter Schneider: Raritäten für Interpreten (1959-1971/83) variabel
for any score (not necessarily musical)
sFr. 83.00
Ninety one diversely cross-linked leaves for a comprehensive media performance. Any number of musicians, actors, actresses and further participants help themselves to any number of leaves and let their musical and non-musical actions, (modelled on anarchistic directness) out into the open. Dedicated to the theatrewright and long-term friend Norbert Klassen.

4623 Urs Peter Schneider: Duplizitäten für Interpreten (1961-1983/95) variabel
for any instrumentation (also of a non-musical type)
sFr. 62.00
Fifty-five leaves, each with two related texts, for multidisciplinary performances: any number of musicians, actors/actresses and further participants help themselves to any number of leaves in order to assist them in the preparation of their actions; dedicated to the actress and friend of many years Janet Haufler.

4616 Urs Peter Schneider: Robert Walser Trilogie I,3: Das Mädchen mit den schönen Augen (1988) 3'
Two album leaves
for oboe and trumpet (or two other, slightly different instruments)
sFr. 16.00
A cycle based on savage and partly lost writings; "Die schöne Frau von Thun" uses six instruments, which can be relatively freely chosen; "Tobold" is a compositional concept, formal and extremely variable in its instrumentation (the composer has arranged one version); "Das Mädchen mit den schönen Augen" is the last work before the composer's non-composing phase, maliciously simple, supposedly humorous - it is dedicated to the performer Marion Leyh.

4625 Urs Peter Schneider: Robert Walser Trilogie II,2: Studie über den Adel (1995-1996) 14'
for four performers (multimedia work)
sFr. 34.00
4619 Urs Peter Schneider: Robert Walser Trilogie III,3: Das leichte End in Bern (2004) 9'
Six life-images
for three pairs of (plucked and/or string) instruments
sFr. 34.00
This last cycle, which mirrors the first in many ways, is based closely on restructured texts by the poet. "Die Liebe in den leichten Worten" continues semantic distraction in unsophisticated seconds, deceptive and beautiful; "Kanal" is a conceptual composition, creating artificial folklore and sentences of a piece of prosa, quasi idyllic continuation (the composer himself has created one version); "Das leichte End in Bern" is to be scored in a monochrome fashion with six identical instruments. It tells of disappearance into anonymity, of poltergeists and much more; it is dedicated to the performer Eva Fuhrer.

4627 Urs Peter Schneider: Jericho (2000-2004) variabel
for any sources of sound
sFr. 26.00
Collected concepts for various realisations with a maximum of eleven performers; a teeny-weeny 'concert tub' produced in cooperation with Tzie Elgna and Ludger von Diedrichsfeld, Dora Hermine Eybling and Margot Erdmute von Drajschenfleygh. It is to be understood as a kind of worthy comparison to the piece 'Babel'. Dedicated to the conceptualist Marion Leyh (the second partner).

7712 Pierre Thoma: Rugir/écrire/marcher (1988) 9'
for one voice and any brass instrument
sFr. 29.00
To a text by Vahé Godel.


Variable instruments 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.

4506 Martin Schlumpf: Ostinato II (1982) 30'
for three improvising musicians (any instruments) and orchestra (2(pic).2(ca).2(bcl).2/2.2.1.0/1perc/10.6.5.3)
sFr. 68.00
The improvised part is composed for wind instruments, cello and drums but can just as easily be realised using other instruments.


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automatically generated. last update: 28.08.2015 / 2004 Theo Lustenberger