Double-bass

Mela Meierhans
4instruments2 (1997-1998)
for dance, double-bass (or violoncello), thunder board and electronic tape (CD/DAT or MD)
Duration: 17' 00"
SME/EMS
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CHF: 16.00
Regina Irman
Hügel bei Céret (1983)
for two violas and double-bass (other string score possible)
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.
Duration: 10' 00"
SME/EMS
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CHF: 34.00
Andreas Stahl
schneller werdender blues (1983-1984)
for flute, clarinet, violin, double-bass, marimba, percussion and orator
Texts: Robert Peterhans
Quasi-accompanied readings of texts by Robert Peterhans. Mini-overture; country life; city life (the eventful 80's); love; music.
Duration: 30' 00"
SME/EMS
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CHF: 47.00
Bruno Stöckli
Dal peso di un piccolo uccel (1991)
Seven pieces
for female voice and instrumental ensemble (fl.cl/pf.hp/perc/vn.vc.db)
Texts: Erika Burkart
Duration: 15' 00"
SME/EMS
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CHF: 57.00
Ursula Gut
Aquamarin (1992)
for two violins, two clarinets, double-bass and harpsichord
Duration: 10' 00"
SME/EMS
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CHF: 26.00
Peter Schärli
Ballade pour une pierre (1985)
for voice, trumpet (with mute), piano (or guitar) and double-bass
Texts: Sandy Patton
Duration: 6' 30"
SME/EMS
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CHF: 13.00
Marc Kilchenmann
Bland (1992-1993)
for double-bass solo
Duration: 10' 00"
SME/EMS
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CHF: 23.00
Thomas David Müller
Trauerarbeit (1978)
for viola, double-bass, harp, piano and percussion (six players in total)
Quite quiet music, easy to perform.
Duration: 7' 00"
SME/EMS
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CHF: 18.00
Alfred Knüsel
Coplas (1987)
for soprano, double-bass (or violoncello) and piano
Texts: Spanisch (Christof Jung)
A seven-part cycle based on anonymous Spanish verse, translated by Christof Jung.
Duration: 21' 00"
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CHF: 44.00
Alfons Karl Zwicker
Nachtduett (1989-1990)
Cycle with poems by Georg Trakl
for mezzo-soprano, bass, flute, harpsichord, four violins, viola, violoncello and double-bass
Texts: Georg Trakl
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.
Duration: 20' 00"
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CHF: 83.00
Ursula Gut
Clairières (1994-1995)
13 Pieces
for piano, double-bass and percussion
Duration: 35' 00"
SME/EMS
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CHF: 47.00
Sarah Haessig
Don Belianis de Grecia a Don Quijote de la Mancha (2007)
for speaking voice, guitar and double bass
Texts: Miguel Cervantes
Over a sonnet from "Don Quixote".
On youtube: http://www.youtube.com/watch?v=wNnRCy7W0Ws
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CHF: 16.00
Alfons Karl Zwicker
Erfrorene Träume (1990-1992)
Cycle based on poems by Josef Kopf
for mezzo-soprano and ensemble (fl(pic).cl(bcl)/hp.pf.hpd/2vn.va.vc.db)
Texts: Josef Kopf
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").
Duration: 29' 00"
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CHF: 78.00
Benedikt Wolfgang Schiefer
Kadenz (2007)
for 2 celli, double bass and harp
Duration: 9' 00"
SME/EMS
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CHF: 26.00
Balz Trümpy
Luzifer (1973/75)
for string quartet and double-bass
The musical development of the string quartet is in conflict with the hecklings of the double-bass.
Duration: 18' 00"
SME/EMS
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CHF: 34.00
Valentin Marti
Euphotic Circles (1996)
for soprano saxophone solo and ensemble (fl.cl/tpt/perc/pf/vn.va.vc.db)
"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, Klagenfurt, Janus-Ensemble Wien Robert HP Platz (cond.).

Duration: 12' 00"
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CHF: 49.00
Rico Gubler
taglio (1996)
for violin, viola, violoncello and double-bass
Duration: 10' 00"
SME/EMS
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CHF: 18.00
Marc Kilchenmann
Manie - oder von der Tröstlichkeit eines Volksliedes (1993-1995)
for twenty-two string instruments
Duration: 3' 00"
SME/EMS
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CHF: 26.00
Maria A. Niederberger
Tandem Points (1993)
for flute, oboe, bass clarinet, horn, two percussion, violin, viola, violoncello and double-bass
Horn and percussion accentuated.
Duration: 9' 00"
SME/EMS
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CHF: 60.00
Michael Schneider
Über verwunschenen Ebenen (1994-1995)
for chamber ensemble (0.1.1.1/1.0.0.0/1perc/2.1.1.1)
This piece is based on inspiration gathered from a flight over the Afghan desert, whose mountain tops, streets and settlements became apparent via a ten kilometer deep fata morgana - optically near, geographically and culturally, however, unattainably distant.
Evocation of mystical, enchanted (sound)landscapes, largely in space notation.
Duration: 7' 00"
SME/EMS
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CHF: 34.00
Heidi Baader-Nobs
Session (1988)
for two violins, viola, violoncello, double-bass, flute (pic), oboe (ca), clarinet (Ebcl, bcl), bassoon (cbn), piano and marimba
Duration: 17' 00"
SME/EMS
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CHF: 47.00
Felix Baumann
Duo (1995)
for violine and double-bass
When two unequals do the same the result is a difference, if they do different, a generic third can evolve.
Duration: 15' 00"
SME/EMS
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CHF: 18.00
De-Qing Wen
Wu (Awakening, zen Buddhism) (1995)
for Soprano, alphorn and double-bass
Texts: Chinesisch
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.
Duration: 15' 25"
SME/EMS
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CHF: 23.00
Bernhard Sieber
Meditation for violoncello and double-bass (1965)
Duration: 6' 00"
SME/EMS
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CHF: 18.00
(Preis inkl. Stimmen)
Felix Schüeli
Septett (2001)
for trumpet, alto saxophone, tenor saxophone, trombone, violin, violoncello and double-bass
"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).
Duration: 7' 00"
SME/EMS
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CHF: 26.00
(Parts: sFr. 18.-; € 12.00)
Louisa Lasdun
Gespräch(e) im Gebirg (2002)
for seven players (fl[=pic].bcl.Ebcl/2vn.vc.db) and sound technician
A single movement in eleven parts with play-back tape commissioned by the 'Luzerner Kammermusiker'.
The tape 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 its theme.
Duration: 16' 45"
SME/EMS
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CHF: 34.00
Daniel Ott
17 1/2 (1995)
Scenic composition
for four guitars, two mandolins, dulcimer, viola, 2 double-bass, saxophone, trombone, tuba, accordeon and three percussion instruments
Spatial composition based on the sound memories of the musicians/singers.
Duration: 25' 00"
SME/EMS
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CHF: 55.00
De-Qing Wen
Traces II (1996)
for nine instruments (fl.cl/2perc/pf/vn.va.vc.db)
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.
Duration: 12' 00"
SME/EMS
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CHF: 39.00
Josef Kost
... du wirst schon sehen ... (1996)
for boy and mixed choir, clarinet, harp and double-bass
Texts: 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.
Duration: 18' 00"
SME/EMS
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CHF: 29.00
Martin Schlumpf
Ostinato I (1980)
for three improvising musicians (any instruments), string orchestra and harpsichord
The improvised part is composed for wind instruments, double-bass and drums, but can just as easily be realised using other instruments.
Duration: 31' 00"
SME/EMS
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CHF: 34.00
Josef Kost
"Ohne Titel" (1996)
for violin, guitar, double-bass and strings (4.4.2.2.0)
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.
Duration: 11' 00"
SME/EMS
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CHF: 29.00
Rico Gubler
FAL (1999)
for bass clarinet / Eb clarinet, bassoon, horn, two violins, viola, violoncello and double-bass
Duration: 7' 00"
SME/EMS
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CHF: 34.00
(Parts avasilable from SME/EMS: sFr. 28.-; € 28.-)
Alfred Felder
Cercles (1992)
for flute, clarinet, harp, string quartet and double-bass
Duration: 12' 00"
SME/EMS
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CHF: 26.00
George Barcos
Cuentos Peregrinos (1997)
for guitar and double-bass
La Ciudad perdida - Burundanga - Raices.
Duration: 10' 00"
SME/EMS
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CHF: 29.00
Stephan Lauffer
Niobes Klage (2006-2009)
for oboe, viola I and II, violoncello and double bass
Duration: 7' 00"
SME/EMS
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CHF: 18.00
(Parts: sFr. 14.-; € 9.50)
George Barcos
Poemas de Esperanza (1998-1999)
for female choir, two guitars and double-bass
Texts: Juana de Ibarbourou, Gabriela Mistral, Delmira Agustini
La nueva esperanza - Hímno al árbol - Explosión.
Duration: 12' 30"
SME/EMS
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CHF: 42.00
Nicolas Bolens
A Due (2000)
for oboe, clarinet, violin and double bass
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.
Duration: 7' 30"
SME/EMS
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CHF: 16.00
Alex Rüedi
To you (2004)
ssx, asx ,tsx, pf, bass, dm
Duration: 11' 00"
SME/EMS
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CHF: 18.00
(Parts SME: sFr. 20.-; € 20.-)
Frédéric Bolli
Pentagramm (1988)
for five strings (2vn.va.vc.db) and tansverse flute
Duration: 20' 00"
SME/EMS
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CHF: 55.00
Andreas Stahl
rufen wir charon? - und wenn er nicht kommt? (1997-1998)
for altus, bass clarinet, double-bass and piano
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.
Duration: 8' 00"
SME/EMS
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CHF: 26.00
Alex Rüedi
Quit evening (2005)
ssx, asx ,tsx, bsx, pf, bass, dm
Duration: 5' 00"
SME/EMS
Postfach 7851
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CHF: 16.00
(Parts SME: sFr. 18.-; € 20.-)
Mischa Käser
Einspruch (1990-1991)
for baritone, orator, accordion, double-bass, saxophone, percussion and a dance duo
Texts: Thomas Huonker, Peter Zahl, Alltags- Werbe- Mediensprache
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.
Duration: 13' 00"
SME/EMS
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CHF: 60.00
Thomas K. J. Mejer
Sex Crystals (1994)
for flute, clarinet, horn, violin, violoncello and double-bass
A horn line is sweet-talked with high intensity by perfect fourths and fifths, only on a low dynamic level.
Duration: 6' 30"
SME/EMS
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CHF: 18.00
Andreas Stahl
again, sam! (1998)
for violoncello, double-bass, baritone saxophone, bass clarinet, two tenor-bass trombones and two percussion
An initial piece based on repetition 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.
Duration: 20' 00"
SME/EMS
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CHF: 47.00
Alex Rüedi
Outlooks (2006)
ssx, asx ,tsx, bsx, pf, bass, dm
Duration: 7' 00"
SME/EMS
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CHF: 21.00
(Parts SME: sFr. 20.-; € 20.-)
Alfred Knüsel
FrauenZeit (1994)
for two sopranos, alto and double-bass
Texts: Anna Achmatova (Mathilde F. Anneke), Dorothee Sölle, Hanna-Renate Laurien, Käthe Kollwitz, Wera Figner, Adelheid Duvanel
Five songs requiring a broad, expressive spectrum.
Duration: 23' 00"
SME/EMS
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CHF: 47.00
Rico Gubler
KOR (2000-2001)
for string quartet, tenor saxophone, percussion, bass clarinet and double-bass
Duration: 9' 00"
SME/EMS
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CHF: 70.00
(Parts available from the composer)
George Barcos
Bochorno (2004)
for voice, violin, bandoneon, piano and double bass
Duration: 5' 00"
SME/EMS
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CHF: 21.00
Alex Rüedi
Interact (2006)
ssx, asx ,tsx, bsx, pf, bass, dm
Duration: 5' 00"
SME/EMS
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CHF: 23.00
(Parts SME: sFr. 18.-; € 18.-)
Alex Rüedi
Marina d' oru (2006)
ssx, asx ,tsx, bsx, pf, bass, dm
Duration: 10' 00"
SME/EMS
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CHF: 34.00
(Parts SME: sFr. 26.-; € 26.-)
Maria A. Niederberger
Sonnenspur: Tonbilder aus Kalifornien (1996-1997)
for flute, oboe, clarinet, bassoon, two percussion, piano, string quartet and double-bass
Fantasy, prelude, I. Nächtlicher Kojotentanz, II. Morgensonn' das Meer enthüllet, III. Purple Horses, IV. Yosemite.
Accentuated percussion.
Duration: 11' 00"
SME/EMS
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CH-6000 Luzern 7
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CHF: 83.00
Alfred Felder
Song of the Sky (1996)
for violin, guitar and double-bass
After searching for ones own identity one finds ones own songs.
Duration: 23' 00"-25' 00"
SME/EMS
Postfach 7851
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CHF: 31.00
Frédéric Bolli
Im Anfang war das Wort (1990-1991)
for male choir and string quintet (2vn.va.vc.db)
Duration: 15' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
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CHF: 55.00
Henri Scolari
Le Christ voilé (1948)
Catata
for baritone and instruments (1(pic).1(ca).1(bcl).1/hn/hp/vn.va.vc(db ad lib.))
Texts: Patrice de la Tour du Pin
Fusion of a series of twelve tones with a constant reference to tonality.
Very expressive French poetry.
Duration: 19' 00"
SME/EMS
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CH-6000 Luzern 7
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CHF: 86.00
(Reduction available from the SME/EMS: sFr. 34.-; € 34.-)
Maria A. Niederberger
Images (1997)
for flute, oboe, clarinet, bassoon, horn, trumpet, trombone, double-bass, piano and percussion
I. Fluid Shapes, II. Light and Shadow, III. Symmetries - Broken Symmetries.
Piano and trumpet accentuated.
Duration: 20' 00"
SME/EMS
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CH-6000 Luzern 7
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CHF: 57.00
Maria A. Niederberger
Concerto for Oboe and Instrumental Ensemble (1999-2000)
for oboe solo, flute (piccolo), clarinet, horn, harp, two violins, viola, violoncello and double-bass
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.
Duration: 20' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
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CHF: 57.00
Marie-Cécile Reber
SRUN (2004)
for live electronics and double bass
Duration: 10' 15"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
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CHF: 23.00
Werner Bärtschi
Rotondo (1999-1999)
for nonet (oboe, bassoon, trumpet, trombone, viola, double-bass, accordion, piano and percussion)
A collaboration between members of the 'Komponistensekretariats Zürich' (Werner Bärtschi, Ulrich Gasser, Max Eugen Keller, Martin Sigrist und Peter Wettstein): The score is sent back and forth between the five composers, each fills in a 50-second section before sending it on to the next.
Duration: 50' 00"
Manuscript
CHF: 122.00
De-Qing Wen
Shao Yue (The Music of Shao) (2002)
version for contrabass solo
The title originated from the the Chinese ancient music "Shao". In 517 B.C., Confucius arrived in the country of Qi. On hearing "Shao" in the royal palace, he praised it highly as being "the most beautiful, and also the most honest!" "Confucian Analects" include: "after hearing Shao, Confucius was so touched that he could not enjoy the taste of the meat for three months".
Utilises modern techniques which avoids the loss of the graceful characteristics of the guqin (Chinese ancient lute - about 3000 years old, with seven strings). The piece, originally composed for quqin, is now transposed to double bass. It simultaneously benefits from many of the quqin's special skills so its status is neither quqin nor double bass, neither Orient nor Occident, neither classic nor contemporary, neither traditional nor modern… between conscious and unconscious.
Duration: 7' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
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CHF: 16.00
Martin Schlumpf
Cumuli III (3-4-1-5-2 - Kapitel II im Buch der Proportionen) (1999)
for flute, clarinet, soprano saxophone, trombone, electric piano (or piano), electric bass (or double-bass) and percussion
Duration: 20' 00"
SME/EMS
Postfach 7851
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CHF: 34.00
Rico Gubler
variationen für viktor, fiori per luigi (2003)
for clarinet, bassoon, horn, violin, viola, violoncello and double-bass
Including the fourth movement of the septet op. 20 by Ludwig van Beethoven.
Duration: 18' 00"
SME/EMS
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CHF: 18.00
(Parts: sFr. 54.-; € 36.00)
Jürg Frey
Der Mensch gleicht einem Hauche (1993-1994)
for counter-tenor, recorder, viola, violoncello, double-bass and organ
Texts: Bibel / Liturgie
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.
Duration: 5' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
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CHF: 16.00
Urban Mäder
Das Eine. Das Selbe. Das Gleiche (2002)
for voice (altus), recorder(s), violin, gamba and doublebass
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 with the composer.
Duration: 50' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
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CHF: 31.00
(CD and Video available from the composer)
Ruedi Debrunner
Musaka Songs (2003)
Praphrase of Cameroonian hymns
for precentor (m/f), monophonic choir, oboe, clarinet, bassoon, violin, violoncello and double-bass
Duration: 18' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
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Fax +41 (0)41 210 60 70
mail@musicedition.ch
www.musicedition.ch
CHF: 62.00
(Parts: sFr. 73.-; € 56.-)
Rico Gubler
Turnaround (2005)
for wind and string quintet (fl.ob.cl.bn/hn/2.1.1.1)
Evening News - Summertime - Today Special - Meteo - Sonntag 03.17 Uhr MEZ - Breaking News.
Duration: 12' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
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CHF: 60.00
Burkhard Kinzler
Fragment &Entrückung (2011)
for mixed choir, transverse flute, 2 oboes, bassoon, 2 violins, viola, cello, violone
Texts: Antonia Bertschinger

Duration: 25' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
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CHF: 86.00
Burkhard Kinzler
Nürnberger Choräle (2012)
for flute, clarinet, saxophone, trombone, cello, double bass, percussion

Duration: 16' 30"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
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CHF: 44.00
Max E. Keller
Kreisen in den Tiefen (1988)
for viola, violoncello and double-bass
Composed after the idea of monophonic lines with nuances in colour such as rotary movement and superimposition of rhythmical and melodic sequences.
Duration: 13' 00"
SME/EMS
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CHF: 18.00
Urban Mäder
Gesten - Nichts (2004)
Concert piece
for choir (SATB), violin, double bass and organ
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.
Duration: 14' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
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CHF: 23.00
Burkhard Kinzler
In nomine (2012)
for mixed vocal / instrumental ensemble (SATB, 3rec, acn, vn, va, vc, db)
Five compositions by Old English composers (Taverner, Picforth, Bull) are adapted and partly altered compositionally.
Duration: 25' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
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CHF: 70.00
Hans-Jürg Meier
criptoportico (2006)
for transverse flute, natural horn, double bass
Formal references lead to the grotesque paintings of the Domus Aurea rooms in Rome. As regards content, the sirens have their grand appearance.
Duration: 10' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
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CHF: 18.00
Max E. Keller
senza e con (1989)
for ensemble (fl.ssx.tsx.barsx/hn.3tpt.3tbn/pf/db)
Duration: 10' 00"
SME/EMS
Postfach 7851
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CHF: 18.00
Alfred Knüsel
gezogene Klänge (2000)
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)
Duration: 20' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
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CHF: 65.00
Urban Mäder
35 Gesten für Kontrabaß (2005)
For Cristin Wildbolz.
The course of motions is derived partly from simple normal bass playing and partly from musical motion sequences.
Duration: 14' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
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CHF: 18.00
Alfred Knüsel
von vielfältigen Kreisläufen durchpulst (2000)
for double bass solo, string quintet, wind quintet, piano and percussion
Duration: 38' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
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CHF: 99.00
Vladislav Jaros
Musik für drei Kontrabässe (2010)
for 3 concert double basses (or 3 violoncelli)
"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.
Duration: 12' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
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CHF: 26.00
Thomas K. J. Mejer
Pøshalsta!! (2006)
for flute and double bass
Duration: 12' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
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CHF: 21.00
Alfred Knüsel
eine Art Klangvorstellung - unbekannt - als wohltemperierte Gegenwelt zu durchtechnisierter Information (2005-2006)
Trio
for violoncello, double bass and trombone
1. RetroSehnsucht
2. Assoziationsfelder
3. Environment, komplementär
Duration: 14' 00"
SME/EMS
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CH-6000 Luzern 7
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CHF: 26.00
Alfred Knüsel
Cadenza I - IV (2006)
for double bass solo and percussion (large drum, cymbals, guiro)
SME/EMS
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CHF: 18.00
Eric Gaudibert
Deux ou trois pas dans le gris (1994)
for double-bass and accordion
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.
Duration: 10' 00"
SME/EMS
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CH-6000 Luzern 7
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CHF: 26.00
Hans-Jürg Meier
locus (2012)
for melodica and objects, saxophone (bar, a) trombone, violin, viola, double bass and voice (soprano)
Texts: Hadrian
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.
Duration: 14' 00"
SME/EMS
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CH-6000 Luzern 7
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CHF: 52.00
Eric Gaudibert
Le dit d'elle (1995)
for double-bass solo
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.
Duration: 10' 00"
SME/EMS
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CH-6000 Luzern 7
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CHF: 21.00
Jacques Demierre
De la tête au pied (1997)
for double-bass
Duration: 9' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
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CHF: 39.00
Max E. Keller
Dialogfelder (2000)
for double-bass and percussion
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.
Duration: 10' 00"
SME/EMS
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CH-6000 Luzern 7
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CHF: 18.00
Max E. Keller
Sans cesse (2001)
for oboe, bassoon, horn, trombone, violin, viola, violoncello and double-bass
Duration: 9' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
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CHF: 18.00
Max E. Keller
Wie ein Kanon (2002)
for four double-bass and four clarinets ad libitum
First performed in Berlin, October 2002.
Duration: 5' 00"
SME/EMS
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CHF: 18.00
Max E. Keller
calmo e furioso (2003-2004)
for clarinet (bass clarinet), accordion and double-bass
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.
Duration: 13' 00"
SME/EMS
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CHF: 26.00
Hansruedi Willisegger
Bitte, Lob und Dank (1973)
for cantor, three sopranos, mixed choir, congregation, three orators, three flutes, violoncello, double-bass and bongos
Duration: 12' 00"
SME/EMS
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CHF: 18.00
Max E. Keller
Schlaglichter (2006)
for oboe, clarinet, bassoon, double bass and percussion
The 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.
Duration: 4' 00"
SME/EMS
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CHF: 21.00
Max E. Keller
accent - figure - layer (2008)
A project between improvisation and composition
for bass clarinet/tenor saxophone, percussion, piano, violin, viola and double bass
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.
Duration: 58' 00"
SME/EMS
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CH-6000 Luzern 7
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CHF: 26.00
Max E. Keller
Die Schwestern (2011/12)
for soprano and double bass (or soprano and piano)
Texts: Christian Morgenstern
In a dialogue between a bell and a cannon, the cannon exhibits its 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.
Duration: 6' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
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CHF: 18.00