Variable instruments

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"
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CHF: 34.00
Leo Bachmann
Im Einklang (1993)
for twenty two instruments
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.
Duration: 5' 00"
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CHF: 21.00
(Parts: sFr. 26.-; € 17.50)
Leo Bachmann
Triolo (1996)
Conept for improvisation
for a trio (any score)
Duration: 8' 00"
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CHF: 13.00
Urs Peter Schneider
Käfig: Septett, Quintett, Terzett (1961-1962/92)
for any score (each with piano ad libitum)
Versions of considerable duration can be realised using the existing material, 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
Duration: var.
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CHF: 26.00
Regina Irman
Melodie 1 (1985)
for quarter-tone guitar or other instruments with free intonation possibilities
Duration: 2' 00"
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CHF: 13.00
Marc Kilchenmann
Nous ne serons plus jamais seul (1994)
Concept piece
for a minimum of ten people
Duration: var.
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CHF: 13.00
Leo Bachmann
Tutti - Solo - Tuttolo (1996)
Concept for improvisation
for 4-8 musicians (any score)
Duration: 10' 00"
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CHF: 13.00
Regina Irman
Melodie 2 (1985)
for undertone flute or other instruments with free intonation possibilities
Duration: 2' 00"
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CHF: 13.00
Leo Bachmann
Shuffle and Repeat (1996)
Concept for improvisation
for between three and eight musicians (freely scored) and recording apparatus
Requires a recording apparatus (MD, CD) with ‘shuffle’ and ‘repeat’ functions, and a playback apparatus.
Duration: 10' 00"
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CHF: 13.00
Urs Peter Schneider
Babel (1961-1967)
for anything which makes a noise.
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).
Duration: var.
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CHF: 29.00
Daniel Ott
jammermusik (1993)
for six - twelve players, variable scoring (obligatory drums, wind and accordion)
Extract from a larger, open-air theatre composition.
Duration: 2' 00"
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CHF: 13.00
Leo Bachmann
Pythagoreisches Komma (1998)
for six melodic instruments and percussion with conductor
The six melodic instruments build the most fragile sound framework. Percussionist and conductor have a 'soloistic' function.
Duration: 10' 00"
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CHF: 13.00
Leo Bachmann
Multiplex (1999)
for one wind and/or any size string ensemble plus play-back tape
Play-back is appropriated to each specific ensemble using their own sounds.
Duration: 10' 00"-15' 00"
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CHF: 13.00
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"
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CHF: 34.00
Hans-Jürg Meier
fuss fassen (1996)
for any six instruments
In addition to playing their main instrument all players use a foot pedal in order to produce a percussion sound.
Duration: 10' 00"
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CHF: 18.00
Thüring Bräm
Album Goodbye Seventies (1979-1980)
for clarinet or violin (or any other melodic instrument) and piano
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.
Duration: 17' 00"
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CHF: 26.00
Martin Schlumpf
Ostinato II (1982)
for three improvising musicians (any instruments) and orchestra (2(pic).2(ca).2(bcl).2/2.2.1.0/1perc/10.6.5.3)
The improvised part is composed for wind instruments cello and drums, but can just as easily be realised using other instruments.
Duration: 30' 00"
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CHF: 68.00
Urs Peter Schneider
Raritäten für Interpreten (1959-1971/83)
for any score (not necessarily musical)
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.
Duration: var.
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CHF: 83.00
Peter Streiff
Melodies Vol. II (1983)
for bass clarinet or another reed instrument (e.g. oboe, English horn, bassoon, saxophone)
Thirty-one strophes bound in an enormous arch form. A piece with a flowing, rhythmic metre; not fast.
Duration: 13' 00"
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CHF: 18.00
Valentin Marti
Wurzelholz (2000)
for tenor recorder or any other woodwind instrument (alto flute, oboe, tenor saxophone...)
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.
First performed in Wädenswil 04.02.01 by Rico Gubler (tsx).
Duration: 6' 20"
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CHF: 16.00
Pierre Thoma
Rugir/écrire/marcher (1988)
for one voice and any brass instrument
Texts: Vahé Godel
Based on a text by Vahé Godel.
Duration: 9' 00"
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CHF: 29.00
Thomas K. J. Mejer
Circle Aleatorik No 1-12 (1990-1994)
for 8-12 players
Duration: 42' 00"
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CHF: 23.00
Edu Haubensak
Tones (1997)
Music
for three - seven instrumentalists
Duration: 14' 00"
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CHF: 18.00
Felix Baumann
2efnmz5 (2009)
for ensemble ad lib.
Conceptual piece for the 'Ensemble für neue Musik Zürich' (for its 25th anniversary). The concept effectively comprises all the music ever played over the past 25 years performed at a lightening speed agreed upon in advance (not less than 15 seconds).
Duration: 1' 00"
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CHF: 10.00
Vladislav Jaros
Das Schlossfest (2005)
for a variable quartet
A free adapatation of the orchestral piece - simple to play.
Duration: 16' 00"
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CHF: 42.00
Hans-Jürg Meier
Arianna: scena sesta - coro (2007)
for solo voice and a wind instrument
Texts: 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.
Duration: 3' 00"
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CHF: 16.00
Urs Peter Schneider
Duplizitäten für Interpreten (1961-1983/95)
for any instrumentation (also of a non-musical type)
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.
Duration: var.
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CHF: 62.00
Max E. Keller
5 Improvisationsmodelle für Jugendliche (1995)
for between three and eight players on any instruments
In N°s 2-5 performers lacking instrumental knowledge can use their voices, sounding objects or simple flutes and horns.
Duration: var.
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CHF: 13.00
Urs Peter Schneider
Robert Walser Trilogie I,1: Die schöne Frau von Thun (1987-1988)
Six life-images
for three pairs of (string and/or wind) instruments
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.
Duration: 7' 00"
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CHF: 31.00
Alfred Knüsel
St. Clara Messe (2008)
for choir (SATB), organ and one melodic instrument
Duration: 22' 00"
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CHF: 31.00
Urs Peter Schneider
Robert Walser Trilogie I,3: Das Mädchen mit den schönen Augen (1988)
Two fantasy pieces
for oboe and trumpet (or two other, slightly different instruments)
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.
Duration: 3' 00"
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CHF: 16.00
Max E. Keller
Integration I (1998)
for string quartet and improvisations trio
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.
Duration: 14' 00"
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CHF: 18.00
Urs Peter Schneider
Robert Walser Trilogie II,2: Studie über den Adel (1995-1996)
for four performers (multimedia work)
Duration: 14' 00"
SME/EMS
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CHF: 34.00
Max E. Keller
Integration II (1999)
for string quartet and improvisations trio
Duration: 12' 00"
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CHF: 16.00
Max E. Keller
Integration III (1999)
for string quartet and improvisations trio
Duration: 12' 00"
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CHF: 16.00
Urs Peter Schneider
Jericho (2000-2004)
for any sources of sound
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).
Duration: var.
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CHF: 26.00
Urs Peter Schneider
Das leichte End in Bern (2004)
Six Images of Life
for three pairs of (plucked and/or percussion) instruments
A last cycle, which mirrors the first in many ways, 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.
Duration: 9' 00"
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CHF: 34.00
Eric Gaudibert
2'35" (2007)
for bassoon solo, bass flute, bass clarinet and trumpet
This piece was composed for the 30th anniversary of the ensemble Contrechamps. The title corresponds to the timing which Bartók set for his Allgero Barbaro. The trio (flute, clarinet, trumpet) play some extracts of this work with breathing sounds only, while the solo bassoon "sings" the beginning of the Music for Strings, Percussion and Celesta, also by Bartók.
It is possible to use other wind instruments then the ones chosen here.
Duration: 3' 40"
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CHF: 26.00
Jacques Demierre
17 (2003)
for 4 instruments
Duration: 60' 00"
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CHF: 47.00
Jacques Demierre
AQUARIUM (2004)
for 7 instruments
Graphic score.
Duration: 12' 00"
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CHF: 55.00
(Set of 3 scores)
Max E. Keller
"Fünf Improvisationsmodelle für Jugendliche" sowie "In Regen, Blitz und Donner" (2008)
for youths with any instruments (including everyday objects and carnival market instruments) + 2 saxophones and violoncello
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.
Duration: ad libitum
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CHF: 21.00
Rudolf Jaggi
One for Niels (2012)
Jazz piece
for 2-4 wind instrumentalists (in C, B and E flat)
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CHF: 16.00
Rudolf Jaggi
Flodur (2013)
Jazz piece
for 3 wind instruments (in C, B and E♭)
Duration: variabel
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CHF: 16.00
Rudolf Jaggi
Turkish Delight (2013)
Jazz piece
for 3 wind instruments (in C, B and E♭)
Duration: variabel
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CHF: 16.00
Max E. Keller
Mobile (2013)
for 1-5 instruments ad libitum
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...
Duration: 7' 00"-16' 00"
SME/EMS
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CHF: 16.00