Bassoon / Contrabassoon

Mela Meierhans
Sec''ondes (1995)
for wind quintet (fl.ob.cl.hn.bn), viola and piano
Duration: 12' 00"
SME/EMS
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CHF: 31.00
Louisa Lasdun
"Jabberwocky" (1978)
for orator (most suitable would be a voice from the media known by children), piccolo, 2 bassoons, contrabassoon, amplified harpsichord (or synthesizer), piano, four percussion, mixed choir (4.4.4.4 also possible 2.2.2.2)
Texts: Lewis Carroll
Entertainment for anybody between the ages of four and ninety-nine. Suitable for a childrens programme. The text is from ‘Alice through the looking glass’ by Lewis Carroll, also available in French and German.
The original is in English gibberish but is easily transferable to German or French gibberish.

Duration: 10' 00"
SME/EMS
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CH-6000 Luzern 7
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CHF: 34.00
Maria A. Niederberger
Inferences (Rückschlüsse) (1985)
for fl(afl).cl(bcl)bn/2perc/pf/vn.va.vc
Accentuated piano part.
Duration: 8' 00"
SME/EMS
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CHF: 42.00
Ursula Gut
Teddybear's Dream (1993)
for violin, violoncello, bassoon, harp, percussion and celesta
Duration: 10' 00"
SME/EMS
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CHF: 18.00
Sarah Haessig
Ueber den Namen Anne Frank (2006)
for 3 bassoon
Not exactly easy.
Duration: 5' 30"
SME/EMS
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CHF: 21.00
Thüring Bräm
"... dass es nichts Neues gibt unter der Sonne..." (1970)
for Soprano, viola and bassoon
Texts: Dieter Fringeli
Four songs in the original scoring: Soprano, viola and bassoon. Text by the Basel poet Dieter Fringeli. There are more free passages in addition to the through-composed parts.
Duration: 6' 00"
SME/EMS
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CHF: 21.00
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
Vladislav Jaros
Cum grano salis (1992)
for wind quintet and strings
A polyphonic tonal meshwork - fluctuations between chromatic and polypentatonic - irridescent sound surfaces. For chamber musical performances: wind quintet and string quartet.
Duration: 14' 00"
SME/EMS
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CHF: 26.00
Andreas Brenner
Hommage à – Adolf Wölfli (2013)
for flute or alto saxophone or bassoon
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).
Duration: 7' 00"
SME/EMS
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CHF: 18.00
(each version)
Elvira Garifzyanova
Phoenix (2006)
for flute, clarinet and bassoon
Duration: 9' 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.-)
Nicolas Bolens
Suite pour Neuf Instruments (1999)
for wind quintet and string quartet
Duration: 11' 00"
SME/EMS
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CHF: 31.00
Josef Kost
In monte oliveti - two movements (2002)
Music for the Maundy Thursday liturgy
for bassoon solo
Intermediate level of difficulty with no particularly special playing techniques.
Duration: 9' 00"
SME/EMS
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CHF: 18.00
Mathias Steinauer
Koren-Fantasien, op. 15 (1997)
27 imaginations - studies on Greek antiquity (approaches to stone)
for double-reed quartet (double-reed instruments, heckelephone, bassoon), orator/singer (bass/baritone) and one percussion
Texts: Aristoteles, Hippokrates, Ch. Mullack, Xenophon, Aristophanes, Hans Saner, Platon, Leonides von Tarent, Epikur
Duration: 45' 00"
SME/EMS
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CHF: 70.00
Hans-Jürg Meier
gar vorgang hat (1998)
for bassoon, violoncello, mezzo-soprano and everyday objects
Texts: John Cage (Ernst Jandl)
A five-part piece where the first (chaste) parts are based on an identical time structure, the later parts are much less restricted.
Duration: 12' 00"
SME/EMS
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CHF: 29.00
George Barcos
Piezas Íntimas (1999)
for flute, bassoon and harp
Nocturnal - Danzón - Poema Místico.
Duration: 9' 30"
SME/EMS
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CHF: 31.00
De-Qing Wen
Piping and Drumming (2000)
for wind and percussion instruments (fl.ob.cl.asx.bn/tpt.tbn/3perc/pf)
'Piping and Drumming' is a traditional Chinese musical form that uses only wind instruments and percussion. It is often played at ceremonies.
Duration: 12' 00"
SME/EMS
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CHF: 62.00
(Parts SME/EMS: sFr. 62.-; € 20.-)
George Barcos
4 Pièces (2005)
for mixed voices (SATB), piano, violoncello and bassoon
Texts: Antoine de Saint Exupéry, Alfonsina Storni, Beaucarné, Théophile Gautier
Passarelles dans a nuit - Maisons alignées - Une triste boutique - Les batôns.
Duration: 10' 00"
SME/EMS
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CHF: 34.00
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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CHF: 83.00
Claude Ferrier
4 petites pièces (1999)
for eight instrumentalists (fl.cl.bn/perc/hp/2vn.vc)
Duration: 6' 00"
SME/EMS
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CHF: 26.00
Rico Gubler
Ortswechsel, eine Winteroper (2001)
19 Singings
for clarinet, bassoon, horn, string quartet and speaker
Texts: Gert Loschütz
Duration: 45' 00"
SME/EMS
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CHF: 57.00
Hans-Jürg Meier
abermals (2000)
for tenor recorder, oboe, soprano saxophone and bassoon
Four conversational partners embroil, increasingly dramatically and then calm down in a multi-sounding room.
Duration: 10' 00"
SME/EMS
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CHF: 34.00
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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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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CHF: 57.00
Claude Ferrier
In Anno Jubilaei (2000)
for 2pic.2cbn and twele-voice mixed choir
Duration: 5' 00"
SME/EMS
Postfach 7851
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CHF: 29.00
Vladislav Jaros
Konzert für Fagott und Orchester (2003)
(1.1.1.ca.1/1.1.1.0/1-2perc/pf/str)
A playful piece in three movements full of vitality and Hungarian rhythm. Frolicsome parts alternate with melancholic parts.
No. 1: Allegretto (13’) and No. 2: Adagio (15’) are self-contained and can be performed seperately.

Duration: 40' 00"
SME/EMS
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CHF: 156.00
Thomas K. J. Mejer
Macula Matris (1995-1996)
for seven musicians (fl(pic,bfl,cbfl).cl(bcl,cbcl).bn(cbn)/tbn/hp/perc/vc), seven orators and seven dancers.
Texts: Hermann Berger, André Gide, Marisa Holder, Elfriede Jelinek, Milan Kundera, Irmgard Morgner, Karin Struck
A stage work, somewhere between performance and installation.
SME/EMS
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CHF: 200.00
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"
SME/EMS
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CHF: 42.00
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
Hans-Jürg Meier
die ganze übrige spanne ist nicht leben, sondern zeit (2001-2002)
for voice (alto), flute (pic, afl)bassoon, trumpet, vioal, violoncello and piano,
Texts: Johann Peter Hebel, Hans-Jürg Meier
Music to the story 'Unverhoffte Wiederbegegnung' by Johann Peter Hebel. Composed partly rhythmically open.
Duration: 17' 00"
SME/EMS
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CHF: 49.00
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)
Michel Hostettler
Ballade (1986)
for bassoon and piano
Duration: 7' 30"
SME/EMS
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CHF: 21.00
(With bassoon part)
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"
SME/EMS
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CHF: 36.00
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
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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
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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
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CHF: 86.00
Burkhard Kinzler
round about Haydn – a roundabout (2012)
for 2 flutes, 2 oboes (both also ca), 2 bassoons, 2 natural horns and 2 natural trumpets
Duration: 6' 00"
SME/EMS
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CHF: 29.00
Michel Hostettler
Fantaisie épidermique (1988)
for flute, oboe and bassoon
Duration: 7' 00"
SME/EMS
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CHF: 18.00
(Parts available from SME: Sfr. 14.-; € 14.-)
Vladislav Jaros
Due minuti capricciosi (2009)
for saxophone, bassoon, violin, violoncello, guitar, piano and percussion
A very turbulent piece. Hasty, breathless tempo.
Duration: 2' 00"
SME/EMS
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CHF: 26.00
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
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CHF: 65.00
Burkhard Kinzler
Müthel-Brücken (2013)
for choir, soloists, strings, horn, Alphorn and bassoon
For a composed programme with works by Johann Gottfried Müthel.
Duration: 20' 00"
SME/EMS
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CHF: 62.00
Thüring Bräm
Quasi notturno (1993)
for bassoon solo
Requires experimentation on ones own instrument. Even single parts of the bassoon are used for playing
Duration: 6' 00"
SME/EMS
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CHF: 13.00
Michel Hostettler
Phylactères (1989)
for flute (piccolo, flute-G), bassoon, harpsichord and crotales
Duration: 10' 00"
SME/EMS
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CHF: 31.00
(Parts available from SME: Sfr. 22.-; € 22.-)
Max E. Keller
Konfigurationen III - January 1991 (1991)
for oboe (or flute), bassoon, guitar and piano
The musicians also perform scenic actions and speak a couple of sentences.
Duration: 8' 00"
SME/EMS
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CHF: 18.00
Rudolf Jaggi
Petrus (Oratorium) (1989)
for soprano, baritone, bass, choir (SATB), organ, flute, oboe, bassoon and strings
I Jünger
II Apostel
III Märtyrer
SME/EMS
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CHF: 130.00
Max E. Keller
Ritardando (1995)
for three bassoons
Duration: 3' 00"
SME/EMS
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CHF: 13.00
Rudolf Jaggi
Bin alben e wärti Tächter gsi (Paraphrase) (1996)
for choir (SAB), clarinet, oboe and bassoon
Duration: 4' 00"
SME/EMS
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CHF: 23.00
(Parts: sFr. 16.-; € 10.50)
Jean-Jacques Dünki
Cas obliques I, II, III (1993-2004)
for oboe, bass clarinet, bassoon, horn and piano
Duration: 6' 00"
SME/EMS
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CHF: 34.00
Henri Scolari
Trio d'anches (1997)
for horn, Eb clarinet and bassoon
Constructed on a series of intervals.
Duration: 10' 00"
SME/EMS
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CHF: 23.00
Max E. Keller
Sans cesse (2001)
for oboe, bassoon, horn, trombone, violin, viola, violoncello and double-bass
Duration: 9' 00"
SME/EMS
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CHF: 18.00
Michel Hostettler
Schegge d'ambra (2005)
for oboe, clarinet and bassoon
Duration: 8' 00"
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CHF: 29.00
(Parts: 22.-)
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
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"
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CHF: 21.00
Max E. Keller
Wie Kraut und Rüben (2008)
After the picture bearing the same title by Paul Klee
for oboe, bassoon, guitar and viola
In the painting "Wie Kraut und Rüben" by Paul Klee transparent white dots are spread over a red background in irregular rows and create thereby a subtle pulsation within a regular grid. By painting over the dots with the brush, these dots turn into lines, spots and signs. This technique, which Klee called "pointillate", has been transposed to dots of sound, arranged in rows, superimposed in irregular, free rhythms by the four instruments.
Duration: 6' 30"
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CHF: 16.00
Max E. Keller
Cinque (2008)
for five bassoons
How can a quartet arrive at the title "Cinque" (five)? The form is made up of five basic structures, which are repeated in sequence a total of five times. The temporal structure overlying this form comprises five different durations, which occur quasi-on average five times. Only the outer pattern of the music is thus written, the 'barrel' so to speak. What the wine has to offer is only apparent while drinking it. And as the 4 bassoons work intensely together, something new is created, from the four comes a fifth.
Duration: 5' 00"
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CHF: 16.00
Ernst Pfiffner
Sestetto d'Isissa (1995-1996)
for oboe, clarinet, bassoon, horn, trombone and percussion
Work series A: Music for concerts.
Duration: 11' 00"
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CHF: 31.00
Max E. Keller
Der Rutengänger (2012)
for oboe, bassoon, guitar and viola

Duration: 6' 00"
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CHF: 23.00
Max E. Keller
zusammenwachsen (2012)
for bassoon and piano
For teaching purposes.
This short composition was created for Dieter Hähnchen's collection for teaching purposes.
It begins with a stark contrast between the two dissimilar instruments: a quick, quiet piano motion in the middle register is followed immediately by a deep, loud and long tone from the bassoon. The motives are interchanged, successive becomes simultaneous, and other motives appear. An amalgamation process develops that finally plays out on a noise sound, multiphonic and rhythmical pulse level: the merging of that which does not immediately appear to belong together.
Duration: 4' 00"
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CHF: 16.00
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"
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CHF: 42.00
Andreas Brenner
Trio (2014)


Duration: 18' 00"
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CHF: 44.00