Viola da gamba
Josef Haselbach
Instrumentation: for two gambas
A demanding duet for viola da gamba, composed for Hannelore Müller and August Wenzinger.
Duration: 15' 00"
Mironton (1968)
Instrumentation: for two gambas
A demanding duet for viola da gamba, composed for Hannelore Müller and August Wenzinger.
Duration: 15' 00"
Mathias Steinauer
Instrumentation: for six voices (mezzo-soprano, altus, 2 tenors, baritone, bass), 5 recorder-players (div. instr.), 6 viola da gambas (2 disc, A, 2 T/B, violone in D) and two percussion
An adaptation of newly found manuscripts written by an anonymous twelfth century composer in the Vatican, in which aspects of the whole of musical history are anticipated. Spatial music.
Duration: 16' 00"
Speculum sibyllinum, op. 9 (1992)
Instrumentation: for six voices (mezzo-soprano, altus, 2 tenors, baritone, bass), 5 recorder-players (div. instr.), 6 viola da gambas (2 disc, A, 2 T/B, violone in D) and two percussion
An adaptation of newly found manuscripts written by an anonymous twelfth century composer in the Vatican, in which aspects of the whole of musical history are anticipated. Spatial music.
Duration: 16' 00"
Bernhard Sieber
Instrumentation: for baritone and violoncello (or alto or bass gamba)
Duration: 4' 00"
Psalm 4 (1967)
Instrumentation: for baritone and violoncello (or alto or bass gamba)
Duration: 4' 00"
Felix Baumann
aussprechen (2002)
Trio
Instrumentation: for recorder, viola da gamba and harpsichord
'aussprechen' has something installative about it: in apparently endlessly excessive lengths almost nothing happens, which causes inflexibility to appear with quiet humour.
Duration: 15' 00"
Instrumentation: for recorder, viola da gamba and harpsichord
'aussprechen' has something installative about it: in apparently endlessly excessive lengths almost nothing happens, which causes inflexibility to appear with quiet humour.
Duration: 15' 00"
Regina Irman
Instrumentation: for quarter-tone gamba quartet (2A2B)
Four quarter tone bound gambas for once in raw sonority. Commissioned by the 'Ensemble Concerto di Viole'.
Duration: 15' 00"
Instrumentation: for quarter-tone gamba quartet (2A2B)
Four quarter tone bound gambas for once in raw sonority. Commissioned by the 'Ensemble Concerto di Viole'.
Duration: 15' 00"
Hans Eugen Frischknecht
Instrumentation: for three recorders, two gambas, trombone and positive
Drei Stücke für ein Ensemble mit Renaissance-Instrumenten
Duration: 7' 00"
Spielmusik für alte Instrumente (1973)
Instrumentation: for three recorders, two gambas, trombone and positive
Drei Stücke für ein Ensemble mit Renaissance-Instrumenten
Duration: 7' 00"
Valentin Marti
Instrumentation: for Renaissance recorder, viola da gamba and harpsichord/organ
In 6 movements. The 6th movement is a modest hommage to György Ligeti:: "Clarity"
Duration: 15' 00"
Instrumentation: for Renaissance recorder, viola da gamba and harpsichord/organ
In 6 movements. The 6th movement is a modest hommage to György Ligeti:: "Clarity"
Duration: 15' 00"
Nicolas Bolens
De Sept Manières (d'aborder le Labyrinthe) (2005)
Suite
Instrumentation: for 2 Baroque violins, bass viola and harpsichord
Duration: 9' 00"
Instrumentation: for 2 Baroque violins, bass viola and harpsichord
Duration: 9' 00"
Urban Mäder
Instrumentation: for a baroque ensemble (altus, tenor recorder, baroque violin, viola da gamba, harpsichord)
Texts: Thomas Locher
Based on text clippings from 'Das Eine. Das Selbe. Das Gleiche' by Thomas Locher. Introduction and dance that allow the baroque elements to shine through. Tonally subtle and transparent music. Typical baroque performance technique combined with a variety of contemporary experimental (noisy, brittle) playing methods.
Duration: 8' 00"
anhaltend (2000)
Instrumentation: for a baroque ensemble (altus, tenor recorder, baroque violin, viola da gamba, harpsichord)
Texts: Thomas Locher
Based on text clippings from 'Das Eine. Das Selbe. Das Gleiche' by Thomas Locher. Introduction and dance that allow the baroque elements to shine through. Tonally subtle and transparent music. Typical baroque performance technique combined with a variety of contemporary experimental (noisy, brittle) playing methods.
Duration: 8' 00"
Urban Mäder
Instrumentation: 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"
Das Eine. Das Selbe. Das Gleiche (2002)
Instrumentation: 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"
(CD and Video available from the composer)
Thomas K. J. Mejer
Instrumentation: for counter tenor, recorder, violin and viola da gamba
Duration: 8' 00"
Barockengel im Schuss (2001)
Instrumentation: for counter tenor, recorder, violin and viola da gamba
Duration: 8' 00"
Urs Peter Schneider
Robert Walser Trilogie III,1: Die Liebe in den leichten Worten (2003)
Two Albumleaves
Instrumentation: for fidel and gamba (or two slightly differeing 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: 5' 00"
Instrumentation: for fidel and gamba (or two slightly differeing 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: 5' 00"