Bassclarinet / Contrabassclarinet

Mela Meierhans
RéSONANCE?! (1996-1997)
for bass clarinet, horn (Alphorn), violoncello and electronic (CD/DAT or MD)
After texts by Hannah Arendt.
This piece uses a half conventional score with 'cell' improvisation. All instruments are to be amplified where possible.
Duration: 21' 00"
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CHF: 21.00
Felix Falkner
Solitude (1990)
for string quartet with bass clarinet
Duration: 22' 00"
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CHF: 26.00
(Parts: sFr. 14.-; € 9.50)
Hans-Jürg Meier
etwas quintlastig (1993)
for recorder, bass clarinet, viola, violoncello and two percussionists
The melody is expanded in a tower of quints. A row of variations in three parts where the melody sounds as a whole only in the second part.
Conductor is of use.

Duration: 6' 00"
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CHF: 13.00
Urban Mäder
Drei Versuche über ein Morgenrot (1988)
for three bass clarinets
Concertante performance or with simple parodic scenery.
Duration: 10' 00"
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CHF: 23.00
George Barcos
Danzas del Caribe (1990)
for three clarinets, bass clarinet and piano
Molto animato - Moderato con brio - Andante con ánima.
Duration: 7' 00"
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CHF: 36.00
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"
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CHF: 60.00
Ursula Gut
Klagegesang (1999)
for alto, viola, bass clarinet and didgeridoo
Duration: 15' 00"
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CHF: 23.00
Vladislav Jaros
"Re-Ra" (1988)
for four clarinets (two clarinets, basset horn, bass clarinet)
A virtuosic, amusing piece with musically playful surprises and merry moments.
Duration: 13' 00"
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CHF: 26.00
Daniel Ott
skizze - 7 1/2 bruchstücke (1992)
Scenic composition
for bass clarinet, percussion and string trio
A portrait study, ‘Bilderbogen’, developed from discussions with members of the ‘Ensemble Recherche’ concerning their relationship with their instruments; available also as a film version: ‘7 ½’ (together with Reinhard Manz) Distribution: Video-Genossenschaft Basel, Postfach 511, CH-4005 Basel.
Duration: 11' 00"
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CHF: 23.00
Valentin Marti
Rainshadows (1996-1999)
for bass clarinet, trombone, violoncello and percussion
Shadowy diffused sounds are generated below the sound spectrum of the rainstick. Sounds which, the stronger and more corporeal they appear, the more fragile they really are.
Requires three rainsticks.
First performed by the 'Ensemble Avance' in Baden, 25.02.00.
Duration: 10' 30"
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CHF: 42.00
Ursula Gut
Hymnus (2000)
for bass clarinet and didgeridoo
Duration: 6' 00"
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CHF: 18.00
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"
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CHF: 34.00
Katharina Rosenberger
aPhasis (2002)
for soprano, alto flute, bass clarinet
Texts: Rob Holloway
The title stems from the Greek words "Aphasia" and "Apheresis". The original meaning of Aphasia is "speechlessness", this is often translated into English as "loss of language". The leaving out of a vowel or syllable at the beginning of a word, either for causes pertaining to language history or because of metric or articulation reasons, is referred to as "Apheresis".
The dealing of language in aPhasis reflects these processes with the explosive, blurting out of word clusters, which are deconstructed as the piece progresses. This process is musically embedded by the voice in a sharply contrasting sound image comprising wordless, archaic sounding 'vocalese' passages, which are hummed or interpreted with a half-open mouth. The accompanying instruments - written here in a new version for bass clarinet and violoncello - negotiate the tonal space between these two dynamics.
The libretto comes from the pen of British poet Rob Holloway.
Duration: 6' 30"
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CHF: 23.00
Josef Kost
Cinq Poèmes (1985-1995)
for flute, clarinet, bass clarinet, violin, viola and violoncello
The sextet musicalises five poems through various means e.g. the metre offers a background of incessant rhythmic variation, the rhyming scheme dictates the form even aspects of the content form the base of the instrumentation. Medium level of difficulty. Requires a conductor.
Duration: 11' 00"
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CHF: 34.00
Dieter Ammann
Short Variation (1996)
for seven clarinets and a bass clarinet
Duration: 3' 00"
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CHF: 16.00
Urban Mäder
L'absence de vent (1992)
for orator, soprano, alto, countertenor, flute, guitar and bass clarinet
Texts: Samuel Backett
An audio play after a quote from Samuel Beckett's “Mal vu mal dit” (Badly seen badly said).
Duration: 55' 00"
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CHF: 47.00
Rico Gubler
FAL (1999)
for bass clarinet / Eb clarinet, bassoon, horn, two violins, viola, violoncello and double-bass
Duration: 7' 00"
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CHF: 34.00
(Parts avasilable from SME/EMS: sFr. 28.-; € 28.-)
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
Jean-Jacques Dünki
Duetto for Bassclarinet and Piano (1983)
Duration: 5' 00"
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CHF: 21.00
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"
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CHF: 26.00
Fortunat Frölich
Spruch (2000)
for soprano (with hand cymbals), bass clarinet and percussion
Duration: 1' 30"
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CHF: 16.00
René Wohlhauser
Duometrics (1985-1986)
Ergon 12
for flute and bass clarinet
External time levels (as has been described by Stephen Hawking, with linear time comes an additional vertical imaginary time base out of which there exists a dependent area with no oppositional beginning and end and which is conceived as instantaneous) stands in relation to the piece's inner nature, its complex dramatic time organisation, which amongst other things is one of its products, and in which, for both players, time is not continuous - often with different tempi having to be played simultaneously. An expression of incompatible contradiction, so-called antimony, reminiscent of Kant's 'Transcendental Dialectic'.
Duration: 5' 00"
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CHF: 23.00
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"
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CHF: 47.00
Michael Schneider
Im innersten Winter (requiem) (1999)
for orator, bass clarinet and guitar
Texts: Andreas Neeser
Composed during the 'Last Minute. Eine Ausstellung zu Sterben und Tod' exhibition at the Stapferhause in Lenzburg, this piece touches on eight poems by Andreas Neeser (*1964), an author from Aarau. Published by pendo-Verlag, his 'Triebholz' collection of poems deals with the death of his brother. The texts reflect personal experiences with respect to coping with dying, death and transiency. Formally, this piece is based on the multi-part structure of the traditional Requiem text, which leads to a sort of mini-cycle consisting of short, merging single movements, where each section makes musical reference to the poems' structures, characteristics and emotional levels.
Duration: 14' 00"
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CHF: 31.00
Rico Gubler
KOR (2000-2001)
for string quartet, tenor saxophone, percussion, bass clarinet and double-bass
Duration: 9' 00"
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CHF: 70.00
(Parts available from the composer)
Thüring Bräm
For the Birds (1987)
for flute and bass clarinet
Requires an interest in experimentation and practice.
Duration: 8' 00"
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CHF: 21.00
Alfred Felder
Regen über der Wüste (1997)
for clarinet, bass clarinet, percussion and speaker
Texts: Eva Eisenmann-Westphal
Duration: 6' 00"
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CHF: 13.00
Felix Baumann
Übergang (2005)
for bass clarinet (in B), bassoon and violoncello
Through the elongation of time in the deeper and darker register, the music (or rather the perceiving ear) nestles in an intermediate area between process and static, as if observed through a magnifying glass. From the abundance of innumerable possibilities emerges the presence of a singular transition.
Duration: 10' 00"
Manuscript
CHF: 26.00
Thomas K. J. Mejer
Recurrence of the Nymphs (1997)
for oboe (also English horn), alto saxophone, bass clarinet and bassoon (also contra bassoon)
Structured in four consecutive tonal images, each one takes its inspiration from a species of nymph: Orestiads, Dryades, Naiads and Nereids.
Duration: 18' 00"
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CHF: 42.00
Thomas K. J. Mejer
Uroboros Awake (1997)
for bass clarinet solo
Duration: 10' 00"
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CHF: 16.00
Martin Schlumpf
Rattaplasma 2 (Kapitel III im Buch der Proportionen) (2001)
for clarinet/bass clarinet and computer generated multi-channel ambisonic tape
Duration: 11' 45"
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CHF: 26.00
Kit Powell
Sextett (2000)
for clarinet, bass clarinet and string quartet
Duration: 11' 00"
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CHF: 39.00
(Parts: sFr. 38.-; € 38.-)
Rudolf Jaggi
Flucht (1977)
for choir (SAB), oboe, alto saxophone and bass clarinet
Texts: Hans Häring
Duration: 15' 00"
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CHF: 34.00
Vladislav Jaros
Ungarische Rhapsodie (2006)
for flute (or violin), bassoon (or bass clarinet or violin) and piano (or harp)
A varied music full of life with an Hungarian rhythm.
1 - fl.bn.hp
2 - fl.bn.pf
3 - fl.bcl.pf
4 - v.vc.pf
Duration: 12' 00"
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CHF: 36.00
Alfred Felder
... zu den Rändern ... (2002-2003)
Music
for viola, bass clarinet and piano
Based on a picture by the Lucerne painter Thyl Eisenmann. Delicate, subtle colour tones possessing an intensive force.
Duration: 20' 00"
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CHF: 23.00
(Parts: sFr. 20.-; € 13.50)
Kit Powell
Das Ausland (2003)
for soprano, bass clarinet, trombone and percussion
1) for soprano and trombone
2) for soprano, bass clarinet and percussion.
Setting of a short story by Jürg Schubiger.
Duration: 7' 00"
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CHF: 23.00
(Parts: sFr. 16.-; € 12.-)
René Wohlhauser
Die Auflösung der Zeit in Raum (2000-2001/11)
Ergon 26f, work number 1607
for clarinet (bass clarinet), violoncello and piano
A piece dealing with the volatility of temporal experience in the infinitude of room.
Duration: 15' 00"
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CHF: 57.00
Martin Wendel
Quintett, op. 40 (1981)
for three clarinets, bass clarinet and piano
Five passages connected by various associations.
Duration: 18' 00"
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CHF: 52.00
Walter Baer
Babel (1996)
Quartet
for clarinet in E-flat, basset horn and bass clarinet
As well as a symbol of self-indulgence (building of the tower) and speechlessness (confusion of speech) Babel also stands for hope and a longing for happiness. The musical core is created by the melody B-A-B-E-soL (sol = G).
Duration: 14' 00"
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CHF: 26.00
Gary Berger
encode (2012-2013)
for ensemble (fl, bcl, tsx, pf, perc I and II, vn, vc) and live electronics
Duration: 9' 00"
Manuscript
CHF: 57.00
Henri Scolari
Arghoul 1 (1971)
Piece in the medieval form of stantipes
for clarinet, bass clarinet, contrabass clarinet and vibraphone
Fusion of medieval and contemporary notation.
Duration: 7' 00"
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CHF: 23.00
René Wohlhauser
Iguur - Blay - Luup (2009)
Ergon 40
for soprano solo, soprano and baritone duo, and soprano with small ensemble (bass flute, bass clarinet and violoncello)
Based on own onomatopoeic text.
In the emblematics of the virtual language Sulavedic the word "iguur" stands as a metaphor, which has been mystified into "blay" through an unexpected resonance in order to resurrect in "luup" in a changed, purified and contextually different form.
Duration: 16' 00"
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CHF: 62.00
Vladislav Jaros
Habanera y Bossa Nova (2010)
for four clarinets (2cl, btnhn, bcl)
Duration: 4' 30"
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CHF: 21.00
Walter Baer
Klarinetten-Oktett (clarinet octet) (2010)
for Eb clarinet, 3 clarinets in B, 2 basset horns, 2 bass clarinets
Duration: 10' 15"
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CHF: 34.00
(sounding or transposed score)
Jean-Jacques Dünki
Cas obliques I, II, III (1993-2004)
for oboe, bass clarinet, bassoon, horn and piano
Duration: 6' 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
Rudolf Jaggi
Hommages (2007)
Trio
for 2 clarinets in B and bass clarinet in B
Duration: 9' 00"
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CHF: 23.00
(Parts SME: sFr. 22.-; € 22.-)
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"
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CHF: 26.00
Rudolf Jaggi
Lobgesang (2009)
for mixed choir (SATB), 2 clarinets and bass clarinet
Texts: Abraham Emanuel Fröhlich
Duration: 7' 00"
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CHF: 21.00
Max E. Keller
mit Pfiff (2012)
for flute, bass clarinet, piano, violin, viola and violoncello
The leitmotif of this piece is indeed, as the title suggests (Pfiff = whistle), an instrumental whistle by the whole ensemble, which is followed in each case by a kind of echo - be it hard and loud accents or soft chords.
(Trans.: mit Piff also translates as 'with flair' or 'with zing').
Dedicated to the Ensemble Theater am Gleis Winterthur for it's 20th anniversary.
Duration: 2' 00"
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CHF: 13.00
Max E. Keller
Keim - con sorpresa (2013)
for flute clarinet (bcl), piano, violin, viola, violoncello
This work develops from a simple kernel on the one hand, and displays surprising aspects on the other. And so the kernel grows exuberantly, quasi-uncontrolled, in unpredictable directions, notes remain surprising - like mistakes - enduring to form a surface of contrasts. Suggestions expand into preludes, after beats into codas; the surfaces become noise-like. These surfaces dominate from the middle part onwards, and the kernal fragments and repeats, simultaneously rising up as a pulse. In addition to the little surprises, four structures are spliced in, none of which have anything to do with the kernel: sorpresa.
Duration: 12' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
Schweiz
Tel. +41 (0)41 210 60 70
Fax +41 (0)41 210 60 70
mail@musicedition.ch
www.musicedition.ch
CHF: 34.00
Michael Schneider
Gran Partita (2011)
for wind septet (fl, ob, cl, bh, bcl, bn, hn)
"The seagull continues to play. But she is no longer alone. They came one after the other, against the wind. A bassoon is here, a long, thin lament; an oboe, guttural; a horn, horns, various colours, dry in the brass; a deep voice, a sonorous bass draws long, thick threads through the sound carpet. Above me on the craggy ledge sit thirteen seagulls, each with a tone of its own. Highs and lows, warmth and coolness, a mystical choir, a serenade from within the wind."
The number of seagulls in this excerpt from a short story by the Swiss author Andreas Neeser makes reference to the number of instruments in Mozart's famous wind serenade 'Gran Partitia', which also lends its name to Neeser's short story. Published in a volume of stories entitled 'Unsicherer Grund' or 'Unsafe Ground' (Haymon, 2010), Neeser's 'Gran Partita' pays homage to nature and the legends of Bretagne: An observation made at the westernmost side of Bretagne and a metaphor within which man and his emotions are mirrored.
Commissioned by the Bläsersolisten Aargau, my 'Gran Partita' reflects the music in Neeser's text and the nature it evokes - the structural elements of the short story and also the geology and fauna of Bretagne. The instrument's scales symbolise granite, the predominant stone in this area, and the vegetation and topos of the sea and the call of the seagulls. Non-musical parameters define the musical material, the form of which offers absolute priority to the melodic line. This leads to an autonomous sound metaphor comprising lines and colours, that makes the underlying substance as an explanation no longer necessary.
Duration: 13' 00"
SME/EMS
Postfach 7851
CH-6000 Luzern 7
Schweiz
Tel. +41 (0)41 210 60 70
Fax +41 (0)41 210 60 70
mail@musicedition.ch
www.musicedition.ch
CHF: 42.00