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CHAMBER MUSIC WITH BASS CLARINET: A BIBLIOGRAPHY OF WORKS AND A CORRELATION WITH THE EMERGENCE OF THE VIRTUOSIC ORCHESTRAL BASS CLARINET

DOCUMENT

Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University

By

Daniel Arthur Paprocki. B.S.M.E., B.M.

*****

The Ohio State University

2000

Dissertation Committee: Approved by Professor James Pyne, Adviser Dr. Donald Gibson -— Professor Christopher Weait >Prof^sor James f ^ c . Adviser Professor Robert Sorton 1 / School of Music UMI Number 9982508

Copyright 2000 by Paprocki, Daniel Arthur

All rights reserved.

UMI

UMI Microform9982508 Copyright 2000 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code.

Bell & Howell Information and Leaming Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Copyright by Daniel Arthur Paprocki 2000 ABSTRACT

The bass clarinet gained acceptance as a regular member of the orchestra wind section at around the turn of the twentieth century. Unlike the other orchestral woodwinds, however, it was not frequently employed by composers as an instrument to be used in chamber works. Since chamber music is an important vehicle for most musicians it may be of interest to orchestral bass clarinetists, in order to have more performing opportunities, to locate chamber works which include this member of the clarinet family. After searching through a variety of sources this writer discovered a vast number of chamber works with bass clarinet, many of them composed in the last twenty years. This document places all of these works into an organized reference tool useful for identifying chamber works to perform. The bibliography includes published and unpublished works. The bibliography includes approximately 1000 chamber pieces which have been entered into a database. The information on these chamber compositions has been gathered from various locations; library searches, internet lists of national composer groups, intemet list servers, and other types of intemet searches. The chamber works in the bibliography are grouped in chapters according to the size of the ensemble and within each chapter by instrumentation type. The size of the works listed ranges from duos (excluding bass clarinet with piano) to ensembles of up to twelve performers. The instmments required for performance of each piece are listed. In another section of the document the works are catalogued by composer name.

ii The final chapter of this document examines the emergence of the bass clarinet at the turn of the century as a virtuosic instrument in the orchestra rather than as an instrument intended primarily to reinforce the bass voice. A summary is provided of how eight selected orchestral composers used the bass clarinet in a prominent marmer. Finally, a comparison is made by decade to find a possible correlation between the time that these orchestral works appeared and the composition date of the chamber pieces listed in the bibliography.

m Dedicated to my Mom and Dad

IV ACKNOWLEDGMENTS

Throughout my life I have had the motto "never give up." This motto is easy to live by if you have the right support My family and friends have always helped me stick to this thought I thank my parents for not letting me give up the clarinet, for supporting my study, and for understanding when I didn't become an engineer. Thank you to my sister Anne-Marie for listening to endless hours of practice while I was growing up. I thank the Andersons for their continued support in many ways and for understanding when their daughter married a musician. I thank my DMA committee for their work during my doctoral studies. Two people who were a great help in keeping me on track with this document and my DMA were Jim Pyne and Chris WeaiL During my student and professional life I have had many mentors and colleagues who have been important to me. A few in particular have had a special influence on me: Russ Dagon for his many years of guidance and instruction, Glerm Bowen and Jim Smith who were important mentors, the Columbus Symphony Orchestra - my "home" orchestra, and the many musicians who have welcomed me into their orchestras when I have performed with them. My last thank you is to one of the most important people in this whole process. I thank my wife Debbie. Without her, I doubt that I could have gotten this far in the musical world or life. She is my coach, editor, counselor, cook, critic, manager, and all other occupations that have helped me succeed in my profession. Most of all she is my best friend through thick and thin. VITA

January 21, 1955 ...... Bom - Milwaukee, Wisconsin.

1989 ...... B.M. Clarinet Performance, University of Wisconsin, Madison.

1981 ...... B.S. Mechanical Engineering, Marquette University.

1999 - 2CXX)...... Lecturer of Clarinet and Saxophone, Angelo State University.

1997 - 1998 ...... Adjunct Professor of Clarinet, Kent State University - Stark Campus.

1996 - 1998...... Adjunct Professor of Clarinet and Saxophone, Malone College.

1992 to 1995...... Graduate Teaching Associate, The Ohio State University.

1998 - 1999...... Substitute Eb Clarinet, Bass Clarinet, Indianapolis Symphony Orchestra.

1993-1999...... Substitute Clarinet and Bass Clarinet, Columbus Symphony Orchestra.

1995-199 7 ...... Substitute Bass Clarinet, Pittsburgh Symphony Orchestra.

1996-199 7 ...... Substitute Clarinet and Bass Clarinet, Erie Philharmonic Orchestra.

VI PUBUCATIONS

D. A. Paprocki, "It's AU in the Mind: Performance: Anxiety and Sport Training." The Clarinet, Vol. 26.2, p. 76 (1999).

FIELDS OF STUDY

Major Field: Music Clarinet Perfonnance

VII TABLE OF CONTENTS

Abstract ...... ii Dedication ...... iv Acknowledgments...... v Vita...... vi List of Tables ...... xiv List of Abbreviations ...... xv

Chapters; 1. Introduction ...... 1 Purpose of document ...... 2 Method of data collection ...... 5 Database design and data manipulation ...... 7 Organization of the bibliography ...... 10 2. Duos with bass clarinet ...... 13

Duos with a brass instrument ...... 13

Duos with an electronic instrument or tape ...... 13

Duos with a keyboard instrument ...... 14

Duos with a miscellaneous instrument...... 15

Duos with a percussion instrument ...... 15

Duos with a string instrument ...... 18

Duos with voice ...... 19

Duos with a woodwind instrument ...... 20 viii 3. Trios with bass clarinet ...... 22

Trios including an electronic instrument or tape ...... 22

Trios including miscellaneous instruments ...... 23

Trios including percussion instruments ...... 23

Trios including string instruments ...... 24

Trios including voice ...... 25

Trios including woodwind instruments ...... 26

Trios including a wind instrument and a string instrument ...... 30

Trios including a wind instrument and a percussion instrument ...... 31

Trios including a string instrument and a percussion instrument ...... 31 4. Quartets with bass clarinet ...... 32

Quartets including an electronic instrument or tape ...... 32

Quartets including percussion instruments ...... 32

Quartets including string instruments ...... 33

Quartets including voice ...... 33

Quartets including woodwind instruments ...... 35

Quartets including a wind instrument and a string instrument ...... 36

Quartets including a wind instrument and a percussion instrument ...... 37

Quartets including a string instrument and a percussion instrument ...... 39

Quartets including a wind instrument, a string instrument, and a percussion instrument ...... 39

IX 5. Quintets with bass clarinet ...... 40

Quintets including an electronic instrument or tape ...... 40

Quintets including miscellaneous instruments ...... 40

Quintets including percussion instruments ...... 41

Quintets including string instruments ...... 41

Quintets including voice ...... 41

Quintets including woodwind instruments ...... 43

Quintets including a wind instrument and a string instrument ...... 44

Quintets including a wind instrument and a percussion instrument ...... 45

Quintets including a wind instrument, a string instrument, and a percussion instrument ...... 46 6. Sextets with bass clarinet ...... 48

Sextets including an electronic instrument or tape ...... 48

Sextets including string instruments ...... 48

Sextets including voice ...... 49

Sextets including woodwind instruments ...... 51

Sextets including a wind instrument and a string instrument ...... 52

Sextets including a wind instrument and a percussion instrument ...... 53

Sextets including a string instrument and a percussion instrument ...... 53

Sextets including a wind instrument, a string instrument, and a percussion instrument ...... 54 7. Septets with bass clarinet ...... 58 Septets including an electronic instrument or tape ...... 58 Septets including miscellaneous instruments ...... 58 Septets including percussion instruments ...... 58 Septets including string instruments ...... 58 Septets including voice ...... 59 Septets including woodwind instruments ...... 60

Septets including a wind instrument and a string instrument ...... 61

Septets including a wind instrument and a percussion instrument ...... 62

Septets including a string instrument and a percussion instrument ...... 62

Septets including a wind instrument, a string instrument, and a percussion instrument ...... 63

8. Octets with bass clarinet ...... 66

Octets including miscellaneous instruments ...... 66

Octets including voice ...... 66

Octets including woodwind instruments ...... 67

Octets including a wind instrument and a string instrument ...... 68

Octets including a wind instrument and a percussion instrument ...... 68

Octets including a wind instrument, a string instrument, and a percussion instrument ...... 69

9. Nonets with bass clarinet ...... 71

Nonets including miscellaneous instruments ...... 71

Nonets including percussion instruments ...... 71

Nonets including voice ...... 71

Nonets including woodwind instruments ...... 72 xi Nonets including a wind instniment and a string instrument ...... 72

Nonets including a wind instrument and a percussion instrument ...... 73

Nonets including a wind instrument, a string instrument, and a percussion instrument ...... 73

10. Ten performers with bass clarinet ...... 75

Ten performers including voice ...... 75

Ten performers including woodwind instruments ...... 76

Ten performers including a wind instrument and a string instrument 76

Ten performers including a wind instrument and a percussion instrument77

Ten performers including a wind instrument, a string instrument, and a percussion instrument ...... 77

11. Eleven performers with bass clarinet ...... 79

Eleven performers including voice ...... 79

Eleven performers including a wind instrument and a string instrument. 79

Eleven performers including a wind instrument and a percussion instrument ...... 80

Eleven performers including a wind instrument a string instrument and a prercussion instrument ...... 80

12. Twelve performers with bass clarinet ...... 82

Twelve performers including miscellaneous instruments ...... 82

Twelve performers including voice ...... 82

Twelve performers including woodwind instruments ...... 83

Twelve performers including a wind instrument and a string instrument. 83

Twelve performers including a wind instrument and a percussion instrument ...... 83

Twelve performers including a wind instrument a string instrument and a percussicm instrument ...... 83 xii 13. Examining the Correlation Between the Emergence of the Bass Clarinet as a Virtuosic Orchestral Instrument and Its Inclusion in Chamber Music ...... 85

Technical aspects of the bass clarinet ...... 90

The use of the bass clarinet by selected composers of the nineteenth and twentieth centuries ...... 94

Conclusion ...... 108

Appendices

A. Alphabetical list of composers and pieces ...... 112

B. List of publishers and addresses ...... 157

C. List of composer unions and contact information ...... 160

List of References ...... 164

XI11 LIST OF TABLES

Table Page

1 Time line of major composers at the turn of the twentieth century ...... 88

2 Major orchestral works which prominently feature the bass clarinet — in order of composition date ...... 89

3 Orchestral works of Gustav Mahler which include the bass clarinet ...... 95

4 Orchestral works of Richard Strauss which include the bass clarinet ...... 97

5 Orchestral works of Maurice Ravel which include the bass clarinet ...... 98

6 Orchestral works of Igor Stravinsky which include the bass clarinet ...... 100

7 Orchestral works of Dimitri Shostakovitch which include the bass clarinet 102

8 Orchestral works of Bela Baitok which include the bass clarinet ...... 104

9 Orchestral works of Serge Prokofiev which include the bass clarinet ...... 106

10 Orchestral works of George Gershwin which include the bass clarinet ...... 107

11 Number of chamber works including bass clarinet -- grouped by decade ...... 108

XIV LIST OF ABBREVIATIONS

Instrumentation

A c l...... A clarinet afl...... alto flute agtr...... acoustic guitar alto c l ...... alto clarinet asax alto saxophone bar ...... baritone bass ob bass oboe bass trb bass trombone basset cl ...... basset clarinet in A basset h m ...... basset hom bel ...... bass clarinet b fl ...... bass flute brec bass recorder bsax ...... baritone saxophone b sn ...... bassoon c el...... celesta cl...... clarinet contra bel ...... contra bass clarinet contra bfl ...... contrabass flute contra bsn ...... contra bassoon cten counter tenor db ...... double bass Eb cl ...... Eb clarinet ehm ...... English hom el bass ...... electric bass el gtr electric guitar el kybd electric keyboard el org electric organ el pn electric piano f l...... flute Hug h ra ...... flUgelhora glock ...... glockenspiel

XV g tr...... guitar hpsd ...... harpsichord hm French hom kybd ...... keyboard m and ...... mandolin mar...... marimba m ez...... mezzo ob ...... oboe org ...... organ pare ...... percussion pic trpi ...... piccolo trumpet pic ...... piccolo pn ...... piano rec...... recorder so p ...... soprano ssax soprano saxophone ten hra ...... tenor hom ten ...... tenor tmp ...... tympani trb ...... trombone trpt ...... trumpet tsax...... tenor saxophone vcl...... cello vib ...... vibraphone via ...... viola vin ...... violin xyl...... xylophone

XVI Sources and Formats

ACA American Composers Alliance AMC...... Australian Music Centre BBD20CM ...... Baker's Biographical Dictionary o f 20th Century Classical Musicians BMIC...... British Music Information Centre CeBeDeM...... Belgian Centre for Music Documentation CMC...... Canadian Music Center CMCI...... Contemporary Music Centre, Ireland CMIC...... Czech Music Information Centre DAT...... digital audio tape E d ...... edition HIS/MI C Contemporary Slovak Music Center m s...... manuscript NDC ...... JVew Directions for Clarinet by Phillip Rehfeldt N-MIC...... Norwegian Music Iiiformation Centre s.n ...... sine nomine (without name of publisher) Scot-MIC ...... Scottish Music Information Centre SMIC...... Swedish Music Information Center

x v i i CHAPTER 1

INTRODUCTION

The bass clarinet came into prominent acceptance as a regular member of the orchestra wind section at around the turn of the twentieth century. Initially a number of false starts had lead to its invention. The bass clarinet's origin can be traced back to 1772 when Gilles Lot of Paris made an instrument called a basse-tube.' This instrument had one to three keys similar to a bass chalumeau. Then, in Dresden, Heinrich Grenser invented what he called the klaiinettenbass in 1793. Another inventor, Desfontenelles of Lisieux, developed his version of the bass clarinet in 1807. All of these instruments were developed independently of one another. The first bass clarinet to be included in orchestras was made by Dumas of Paris in 1807. His instrument was called the basse-guerriére or bass warrior. This 13-key bass clarinet was adopted by the band of the Imperial Guard. However, it was not embraced by the clarinetists in the group because they had been using a six-keyed clarinet at the time and the Dumas bass clarinet would have entailed leaming a more complicated technique. In 1832, Dumas asked the clarinetist Dacosta to improve on his design. L A. Buffet also worked on improvements to the original Dumas bass clarinet It was this instrument that became the first bass clarinet to appear in an orchestra when Meyerbeer wrote his Opera Les Huguenots in 1836.

‘ F. Geoffrey Rendall, The Clarinet (New York: W.W. Naflon,1971) 139-147. The hislorical infonnalion about the bass clarinet was obtained from this source. 1 In 1838 the modem bass clarinet was developed by a One clarinetist of that time, Adolphe Sax, who was also the inventor of the saxophone. Sax's acoustical and mechanical design of the bass clarinet surpassed all other designs up to that time. His instrument was easier to play and sounded better than preceding bass clarinets. The previous bass clarinets were said to have "sounded like a kazoo!” (Horwood, 108). Sax's basic design is very similar to the present day bass clarinet except that modem instmments employ the Boehm lingering system (or German system, used in both Germany and Austria.)

PURPOSE OF DOCUMENT

Even when it became a permanent orchestral fixture, the bass clarinet unlike other orchestral woodwinds was not frequently employed by earlier composers as an instmment for chamber works. Since chamber music is an important vehicle for any musician, it would be of interest to orchestral bass clarinetists to locate chamber works which include this member of the clarinet family, in order to have more performing opportunities on this instmment After searching through a variety of sources this writer gradually discovered a vast number of chamber works with bass clarinet, many of them comjxjsed in the last twenty years. As this investigation continued, other sources were located with additional chamber works including the bass clarinet To place all of these works from various sources into an organized reference tool for finding chamber works to perform could be useful to musicians who specialize on bass clarinet The bibliography which follows shows the results of this research and includes approximately 1000 chamber pieces in a database. The design of the database will be described in more detail later in this chapter. The information on these chamber compositions has been gathered from various locations: library searches, contacting other bass clarinetists, intemet lists of national composer groups, internet list servers, and other types of intemet searches. Some professional bass clarinetists have been consulted for information on pieces that they have played or commissioned. The interest expressed by some of the clarinetists and publishers who have been contacted indicates that this bibliography of works would be of value to the clarinet world. This document could provide useful information to clarinetists in a single reference tool. For example, a bass clarinetist could use this document to find chamber works for various standard or non-standard combinations. At this point citations for a number of the compositions can be found on various web sites on the intemet, but this can take some time to search for the appropriate location. In addition, some compositions only exist in manuscript form and references for them are only available from a country's composers union or organization. The usefulness of the present document/database would be to consolidate information from numerous sources allowing a performer to locate compositions more easily. The chamber works in the bibliography will be grouped by instmmentation type and by the size of the ensemble. In another section of the document the works will be sorted by composer. When possible this compilation will include the composer's nationality and birthdate. The instmmentation of the works listed would range from duos (excluding bass clarinet with piano only) to ensembles of about twelve instmments. Ensembles of and arrangements for only clarinets will not be included and the list will not incorporate transcriptions. The compilation focuses on pieces for advanced and professional level performers. Currently, there is only one DMA document dealing with bass clarinet literature. This DMA document was written in 1986 at the Juilliard School of Music by Albert Hunt The 1986 document is also a bibliography and presents works for bass clarinet and various types of instrumentation (solo, concerto, chamber, clarinet ensemble, etc.) All levels of performance are represented, from beginning to accomplished professional. Though it is a good and thorough listing of works with bass clarinet it predates the wide spread use of the intemet which allows for much broader search capabilities. In addition, since it was completed fourteen years ago many more works for bass clarinet have been composed since that time. Unlike Hunt's 1986 DMA dissertation/bibliography on bass clarinet literature, no compositions for clarinet choir will be included since the clarinet choir is often more an educational tool or an ensemble for light entertainment Some clarinet ensembles will be included if the composition is not a transcription of an existing work for other instruments. Again in contrast to Hunt's bibliography, this will not include works for solo bass clarinet or works for bass clarinet and piano. The scope of this document is to focus on other chamber ensemble combinations rather than bass clarinet solo works. After providing the bibliography of chamber works with bass clarinet, the final chapter of this document will examine whether there is a correlation between the emergence of the bass clarinet as a virtuosic instrument in the orchestra and the number of chamber works written which included it A summary is provided of how eight selected orchestral composers used the bass clarinet in a virtuosic marmer. Then a comparison is made by decade to find a possible correlation between the time that these orchestral works appeared and the composition date of the chamber pieces listed in the bibliography. METHOD OF DATA COLLECTION The compositions that are listed in this document have been collected in a variety of ways from various sources. Chamber music compendiums were reviewed in the initial search. These reference books were written in English, French, and German. This method was very labor intensive and tedious. In reviewing books with listings dating from around the turn of the century there were very few chamber works with bass clarinet A more rewarding search was done by checking The Clarinet magazine. This is the official journal of the International Clarinet Association. A number of articles dealing with bass clarinet repertoire were located. Another source was found in books written by clarinetists about their instrument and these provided additional listings of works for bass clarinet Some of the data was entered into the database by hand while other data was optically scanned into a word processing document and then edited and cleaned up in order to be merged into the actual database format. The primary source of recently written compositions (those composed in the last ten years) came from the internet This search revealed that most countries around the world have composer unions which often maintain listings of their members' works. Some of these composer unions also have web sites that are accessible to anyone from anywhere in the world via the world wide web. If a composition speared on a web site listing it could be directly imported into the database. Again, the bibliographic information generally needed to be edited so that it would match the specific fields used in the database. Some of the composer unions located did not have a web site, but one can contact them by e-mail. After contacting these unions, some were able to e-mail lists

5 of chamber works or send hard copy printouts via mail. Some unions would send a general catalog of chamber works for all instruments which was then reviewed in order to enter any appropriate compositions into the database by hand. DATABASE DESIGN AND DATA MANIPULATION

An advantage with the present bibliography is that all data were stored on an Apple Power Macintosh 03. The database was designed using the database program Panorama (Version 3) made by Pro Vue. This is a flat fleld relational database, that allows one to sort and group data in almost any way. Panorama also has very powerful functions for editing and replacing which allows the user to transform the data into common terms as needed for piuposes such as standardizing abbreviations from the various languages of the internet music sites. The way the database is designed allows the searcher to locate pieces based on various criteria such as the length of the compositions, the instrumentation, the year of composition, etc. Initially each of the sources was kept in its own database format For example, there was a database for each country from which compositions were found listed on the internet or a database for each hard copy text source whose listings had been entered manually. This allowed the data for each group to be edited and cleaned up without affecting previously entered and corrected data. A database is made up of fields and records, with a fleld being the label for a group of the same typje of items in a database. An example might be the field "Composer" which would be the fleld containing the compxoser's full name. A record is a unique set of data that contains all of the fields that are in a particular database. A record for example would contain the composer's name, the title of the compx)sition, the instrumentation, the date of composition, and the publisher (e.g.: Smith, John; Trio in Bb, bel, fl, pere, 1998, Schirmer). The databases were originally designed with more flelds than would be needed for this document, so that if in the future a particular piece of data was needed, it could be found easily. Once all the separate databases were edited they were merged into one final database. This database was then used to sort the pieces by size of group, type of group, and composer name. This data was then exported into Microsoft Word 98. By exporting the data, the final format of the bibliography could conform with the DMA document standards of the Graduate School of The Ohio State University.

In editing the data a number of techniques were used. For a database of 1000+ works data manipulation techniques were needed that could be applied to a large niunber of records. Sometimes, however, the new data could only be formatted to conform with the database by hand editing each record, when a mass text editing technique could not be used. The primary methods for editing text in a field are to extract text from a text string, concatenate separate text into a single text string, and replace or delete a single character or set of characters. In concatenating or funneling text, one combines different fields or parts of different flelds into one new fleld. An example would be: «composer>=«last name», «first name», «dates of birth/death» This formula would funnel the three text fields into one fleld "composer" which would be formatted in the way that one would want the information finally displayed in print form. Data extraction was also extensively used when the source of the material was raw text from a web site or a text file. Again a text formula would be used to create a new field. If the original text string had the following appearance: Smith, James, Trio concertant, bel, flute, pn, 1990, Western publishing. A text formula for extracting the composer's name would be: «composer»= extract(raw data,",",!) ", " extiact(rawdata, ",",2) This formula uses the fleld "raw data" which holds the full text string (such as the entire bibliographic reference) and will extract part of the text string up to the first occurrence

8 of a character that is specified as the text delimiter. In the example above the text delimiter is the comma. The flist extraction operation in the example will give the composer's last name. A comma and space are added to this string and then the second occurrence of a comma in the "raw data" field is searched for and the last name is finally added to the text string that will be stored in the fleld «composer» of that particular data record. There are also formulas that can be used to count the number of times a specific delimiter, such as a comma, is used. This type of formula was employed to get a rough count of the number of instruments used in a composition. Only a rough count resulted because sometimes the instrumentation would specify two trumpets or two bassoons and so the count of commas would not take into account multiples of the same instrument With all of the data, the final check had to be done manually by inspecting each entry for accuracy. Another procedure was mass replacement, a function similar to a find and replace command in a word processor. But in a database mass replacement allowed for more complex searches. The find command in the database allowed for Boolean searches. In a Boolean search one uses Boolean logic such as looking for data that has X AND Y or looking for data that has X OR Y. An example of this process would be searching on pieces that had instrumentation that contained Violin OR Viola OR Cello. This search would return all records that fit that description. ORGANIZATION OFTHE BIBUOGRAPHY

The bibliography is organized initially by the size of the ensemble. A chapter is dedicated to each group size (i.e. duos, trios, quartets, etc.) then, within each chapter sub categories are established by the type of instrument scored with bass clarinet In the chapters for larger ensembles, the grouping of instrumentation is primarily based on the orchestral families of instruments (woodwind, brass, strings, and percussion) and some combinations of those families ( ensembles with voice, electronic instruments, or miscellaneous instruments). An ensemble is classified as miscellaneous if it does not fît into any other grouping or has more than three families of instruments in the ensemble. The French horn is classified as a woodwind since it is considered a traditional member of the woodwind quintet instrumentation. Bass clarinet and piano duos are not included in this bibliography. The piano is treated as a family-neutral instrument The primary intent is to classify the works in a manageable number of lists, yet give enough groupings by specific instrumentation to allow performers to locate pieces incorporating the players available to them. Each bibliographic entry will contain the information in the following example:

composer's last name, composer's first name, composer's middle initial, (composer's birth date/death date) Title o f Piece, instrumentation, (year of composition, publisher).

Some pieces do not have a year of composition or a publisher listed because this information was not available from the source. When it was available the composer's

10 birth date is included, since this could be useful in cases where the date of a composition was not provided in the listing for a particular piece. In the bibliographic listing some entries contain instrumentation in parentheses, for example: perc (mar, vib, tom tom). This indicates either a list of instruments that the performer will play, directions to the performer, or alternative instrumentation. The "/* mark is also used in some entries, for example: cl/Eb cl/bcl. This indicates that one player will perform on each of those instruments for that piece. The order of the instrumentation given is the order found in the source for the citation. A list of abbreviations for instrumentation and source used in the bibliographic references are located in the document following the Table of Contents. This list also contains other abbreviations used in the bibliography, such as those referring to the publishers or composers organizations from which the works are available. Appendix A provides a listing of the composers whose pieces are contained in the bibliography. This list is intended as a condensed reference to the complete bibliography therefore it does not contain all the information of the listings. Appendix A includes entries in the following format:

composer's last name, composer's first name, middle initial. Title o f Piece, type of piece (e.g. woodwind and percussion, with voice), size of piece (e.g. duo, quartet).

This will provide the reader with enough information to refer to the complete entry in the appropriate chapter. The publishers' addresses appear in Appendix B, while Appendix C contains the internet web site addresses, phone numbers, or surface mail addresses for the composer unions. For example the only source for locating some pieces is through composers

11 national organizations, which are indicated by the appropriate abbreviations. If the piece is only available from the composer, "composer" is indicated where the publisher would normally be listed. Approximately an eighth of the citations in this bibliography indicate neither a date of publication nor a source for the reference (e.g. a publisher or contact for obtaining a copy of the work). It can be assumed in many such cases that the works were not yet published. In these citations the source from which this author obtained the reference is given (e.g. composer union or reference text). This will be indicated at the end of the citation in the following manner. (year of composition, source: [name of source]) Readers wishing to obtain more specific information on such entries are invited to contact the author either through e-mail or through the membership directory of the International Clarinet Association. If and when a version of this bibliography is published, the details regarding the source and publication status of these problematic citations will be provided. These works have been included in the bibliography however, in order to provide evidence of the growing interest in composing chamber pieces which incorporate the bass clarinet.

12 CHAPTER 2

DUOS WITH BASS CLARINET

Duos with a Brass Instrument

Brophy, Gerard. Bisoux. hm in e, bel. (1994, Australian Music Centre).

Briin, Herbert. (1918) Twice Upon Three Times, bel, tuba. (1980, Smith Publications).

Martincek, Peter. Duo. trpt, bel. (HIS/MIC).

Duos with an Electronic Instrument or Tape

Becker, Gunther. (1924) Oh, Mr. Dolly, What a Terrible Noise, bel, tape. (1990, source: BBD20CM).

Bruynel, Ton. (1934) D ialogue, bel, sound tracks. (1976, Donemus).

Bruynel, Ton. (1934) Intra I. bcl, sound track. (1971, Donemus).

Burgers, Simon. Pastiche!, bcl, tape. (1994, Donemus).

Celli, Joseph. Totem for Bass Clarinet and Three Channels o f Video, bcl, electronics. (1986, ms, source: NDC).

Childs, Barney. (1926) Pastorale, bcl, tape. (1983, ms, source: NDC).

Conyngham, Barry. (1944) Journeys, solo reedplayer (1 performer plays bcl, contra bcl, ssax, sopianino sax), tape. ( 1980, Australian Music Centre).

Dobrowolski, Andrezj. (1921 - 1990) Music for Tape and Bass Clarinet, bcl, tape, (ms, source: NDC).

13 Doherty, Douglas. Confucius Lied, cl/bcl, tape. (1987, ms, source: NDC).

Feldman, Bernardo. Portraits o f Friends and Relatives (recuerdos de un antano triste). bcl, tape. (1991, ms, source: NDC).

Fox, Jim. Last Things, bcl, tape. (1986, ms, source: A/ZX7).

Goeyvaerts, Karel. (1923 -1993) You'll Never Be Alone Any More, bcl, tape. (1974, CeBeDeM).

Guiliano, Giuseppe. Random C. bcl, tape. ( 1989, ms, source:/VDC7).

Kucera, Vaclav. (1929) Gogh's Self-Portrait, bcl, tape. (1985, CMIC).

Lippe, CorL Music for Bass Clarinet and Tape, bcl, tape. ( 1986, ms, source: A/DC).

Melinas, A me. (1933) Riflessioni. cl or bcl, tape. (1981, SMIC).

Rai, Takayuki. Sparkle, bcl, tape. (1989, Donemus).

Raxach, Enrique. (1932) Chimaera. bcl, tape. (1974, Donemus).

Rowe, Robert. Hall ofMirors. bcl and tape, (ms, source: A/DC)

Smetanin, Michael. Ladder o f Escape, bcl, tape. (1984, AMC).

Smith, Martin Wesley. For Bass Clarinet and Tape, bcl, tape. (1983, AMC).

Stedron, Milos. (1942) Utis II. bcl, tape. (1967, CMIC).

Stockhausen, Karlheinz. (1928) Ubra (from Sirus). bcl, electronic music. (1977, Stockhausen Veriag).

Trelore, Phil. Night Sounds at Ranthambour. bcl, tape. (1988, AMC).

Vine, Carl. (1954) Love Song, bcl, tape. (1986, Chester Music).

Westlake, Nigel. (1958) Onomatopoeia, bcl, digital delay (roland SDE3000). (1984, AMC).

Duos with a Keyboard Instrument

Bozicevic, Ivan. Rivers, Like in a Dream, bcl, organ. (1983, ms, source: NDC).

Childs, Barney. (192Q The Edge o f the World, bcl, organ. (1981, Forward Music). 14 Deane, Raymond. (1953) Fugung. bel, hpsd. (1995, CMC!).

Dibak, Igor. Rhapsody, op. 41. bcl, accordion. (HIS/MIC).

Dinescu, Violeta. (1953) Medrea. bcl, organ. (1990, s.n., source: BBD20CM).

Ford, Andrew. (1956) Peasoup. bcl, bass accordion. (1984, Australian Music Centre).

Freedman, Harry. (1922) Downwind, bcl, accordion. (1992, Photocopy; original in CMC Toronto).

Meijering, Chiei. (1954) Wind at Will, accordion, bcl. (1994, Donemus).

Raxach, Enrique. (1932) Decade, bcl, accordion. (1992, Donemus).

Straesser, Joep. (1934) Gran Duo. bcl, accordion. (1994, Donemus).

Duos with a Miscellaneous Instrument

Cunningham, Michael. Phases, bcl, harp. (1970, Seesaw).

Dijkstra, Lowell. Glee, bcl, harp. (1993, Donemus).

Filas Juraj. Contrasti. bcl, harp. (1992, CMIC).

Kahrs, Sven Lyder. (1959) Music by the Night-Wind Sent, bcl, harp. (N-MIC(ms)).

Kucera, Vaclav. (1929) Oraculwn. bcl, harp. (1992, CMIC).

Mateju, Zbynek. Stela li. bcl, harp. (1992, CMIC).

Miller, Read. Walking the Floor Over You. bcl, harp. (1990, ms, source: NDC).

Sarcich, Paul. The Children's Court: Five Miniatures, harp, cl/bcl. (1990, Australian Music Centre).

Winther, Teije. (1963) Der LaufDer Drachen. bcl, harp. (N-MIC(ms)).

Duos with a Percussion instrument

Amman, Benno. (1904 - 1986) Coloured Bird, bcl, perc. (ms, source: NDC).

Amman, Benno. (1904 - 1986) Holland Toy. bcl, perc. (m s,, source: NDC). 15 Barkl, Michael. Blues, bcl, vib/mar. (1986, Australian Music Centre).

Becker, Giinther. (1924) Dedikation. bcl, vib. (1996, Edition Gravis).

Beeraian, Burton. Chamber M usic II. bcl, perc. (1983, ACA).

Beilharz, Kirsty. Torque 2. bcl, perc. (1988, Australian Music Centre).

Boehm, Roland. Saluti a Due Boemi. bcl, perc. (ms, source: NDC).

Burke, John. (1951) Stealth, bcl, mar. (1991, Performance score, ms (photocopy); original in CMC Toronto).

Corcoran, Frank. (1944) Lines and Configurations, mar, bcl. (1983, CMCI).

Cronin, Stephen. Even Love Can Wield a Stealthy Blade, bcl, perc: mar, vib, 5 small gongs. (1992, Australian Music Centre).

Du Bois, Rob. Tracery, bcl, perc. (ms, source: NDC).

Dvordcek, Jiri. (1928) Meditazione. bcl, perc. (ms, source: AÆ)C).

Edwards, Ross. (1943) Enyato Iv. bcl, perc (mar, 2 pairs bongos). (1995, Australian Music Centre).

Finsterer, Mark. Strange Coin, bcl, perc (crotales, tubular bells, vib, temple blocks, mar). (1988, Australian Music Centre).

Ford, Andrew. (1956) Boatsong. bcl/asax, perc (mar/vib, tam-tam). (1982, Australian Music Centre).

Ford, Andrew. (1956) The Art o f Puffing: Seventeen Elegies for Thomas Chatterton. bcl/asax, perc. (1989, Australian Music Centre).

Fulkerson, Christopher. The Hyperidians and the Bailiff: Fart IV o f the Human Age. bcl, perc. (1987, BMIC).

Ghandar, Arm. Sinai Music, bcl, vib, tam tam (on'dahab'only). (1994, Australian Music Centre).

Gilbert, Anthony. (1934) Ziggurat. bcl, mar. (1994, Schott).

Grange, Philip. (1956) Three Pieces, bcl, perc: mar. (1983, BMIC).

Hamburg, Jeff. Buk (Buckle), bcl, mar. (1986, Donemus).

Hames, Richard. Djurunga. bcl, mar. (1985, Australian Music Centre). 16 Hegdal, Magne. (1944) Ghost Music: Concerto IV. mar, bcl. (N-MIC(ms)).

Laburda, Jiri. ( 1931) Kasace Nr 3. bcl, perc. (ms, source: NDC).

Laufer, Norbert. (1960) Winter Music, bcl, perc. (1996, Dohr).

Lerstad, Teije Bjpm. (1955) Duo. bcl, perc. (N-MIC(ms)).

Loudova, Ivana. (1941) Duo Concertante, bel, mar. (1982, CMIC).

Luedeke, Raymond. ( 1944) Fancies and Interludes IV. bcl, perc. (1982, CMC).

Middenway, Ralph. Mosaics, bcl/asax, perc (mar, vib, tubophone, cymbals, triangles, wood blocks, tambourine, gong, tam-tam, crotales). (1985, Australian Music Centre).

Miyazawa, Kazuto. Strom, bcl, mar. (1983, ms, source: ADC).

Morgan, David Robert. (1933 - 1988) Voyage into Solitude, Opus 72. 1 clarinetist (Bb, A, Eb cl, bcl, contra bcls, basset hm), 1 perc (vib, tam-tams, brass chimes, glock, suspended cymbals, bass drum, gong, mar, xyl, toms, triangle, hi-hat, tubular bell, finger cymbals, tubophone). (1983, Australian Music Centre).

Pollard, Mark. On a Hot Tin Roof. bcl or cl, vib. (1996, Australian Music Centre).

Pololdnik, Zdenek. ( 1935) Musica spingenta III. bcl, perc. (1962, Rmton).

Pompili, Claudio. Lo Spazio Stellato Si Rijlette in Suoni. bcl, perc. (1990, Australian Music Centre).

Raxach, Enrique. (1932) Careful with That, bcl, perc. (1982, Donemus).

Reiner, Thomas. Love Is Colder Than Death, bcl, perc. (1989, Australian Music Centre).

Rowland, David. (1939) Projections II. bcl, perc. (1991, Donemus).

Schultz, Andrew. Collide: Variations fo r Bass Clarinet and Marimba, bcl, mar. (1990, Australian Music Centre).

Sermila, Janno. Clockwork Etudes, bcl, perc. (ms, source: NDC).

Smetanin, Michael. Tube Makers: (In Three Bits), bcl, perc (2 bongo dmms, 2 conga drums, 4 tom toms, mar (5 octave)). (1995, Australian Music Centre).

Soukup, Vladimir. Predstavy. bcl, perc. (ms, source: NDC).

17 Stedron, Milos. (1942) HOJ. bcl, perc. (CMIC).

Stedron, Milos. (1942) Lai. bcl, tmp. (1967, CMIC).

Stedron, Milos. ( 1942) Sequenza. bcl, mar. (CMIC).

Stedron, Milos. (1942) Stomp, bcl, cymbal. (CMIC).

Tahourdin, Peter. Raga Music 4: For Two. bcl, perc. (Australian Music Centre).

Wendel, Eugen. Diason. bcl, perc. (ms, source: NDC).

Werder, Felix. (1922) Auf&Zugabe. bcl, mar. (Australian Music Centre).

Wilson, Ian. ( 1964) In Extremis. Eb cl/bcl, perc/tmp or Eb cl/bcl, tape. ( 1993, CMCI).

Wilson, James. (1922) Two by Four by Two. bcl/tsax, vib/mar. (1983, CMCI).

Woof, Barbara. Odile. bcl, mar. (1994, Australian Music Centre).

Zâmecnik, Evzen. M odel, bcl, perc. (ms, source: NDC).

Zemek, Pavel. Praise o f Marriage, bcl, perc. (ms, source: NDC).

Zumaqué, Francisco. Onamd. bcl, mar. (ms, source: NDC).

Duos with a String Instrument

Barta, Jin. Confrontationi /. bcl, db. (CMIC).

Bârta, Jin. Konfrontace. bcl, db. (1969, CMIC).

Beilharz, Kirsty. Earth Essence: Air, Earth, Water, Stars, cl or bcl, db. (1993, Australian Music Centre).

Boehm, Roland. Bits, bcl, gtr. (ms, source: NDC).

Boehm, Roland. Rainbow and Clouds, bcl, gtr. (ms, source: NDC).

Cronin, Stephen. Sons/Stuis Pique/Sens Piques, bcl, gtr. (1995, Australian Music Centre).

Hosman, Oldrich. (1925) Hudba. bcl, gtr. (ms, source: IVDC).

18 Freedman, Harry. (1922) Higher Music, bcl, vol. (1996, Photocopy; master copy in CMC Toronto).

Hakola, Kinuno. (1958) Capriole, bcl, vcl. (1991, Fazer Music).

Huber, Klaus. (1956) Schattenbldtter II. bcl, vcl. (ms, source; M?C).

Krak, Egon. Responsio I. bcl, vcl. (HIS/MIC).

Lerstad, Teije Bj0m. (1955) Suite, bass gam be, bcl. (N-MIC(ms)).

Lerstad, Teije BJpm. (1955) Tre, op. 202. bcl, db. (N-MlC(ms)).

Masta, Josef. Impressioni. bcl, gtr. (ms, source: NDC).

Matys, Jiri. (1927) Videni. bcl, gtr. (1991, CMIC).

Matys, Jiri. (1927) Suita, bcl, via. (1972, Panton).

Misurell-Mitchell, Janice. Alone Together, bcl, db. (1987, American Music Center).

Obrovskd, Jana. BisbigUi e gridi. bcl, gtr. (ms, source: NDC).

Parsch, AmosL (1936) Fantasy, bcl, gtr. (ms, source: NDQ.

Saariaho, Kaija. (1952) Oi Kuu. bcl, vcl. (1991, Edition Wilhelm Hansen).

Stedron, Milos. (1942) Duplum. bcl, db. (1968, CMIC).

Sydeman, William. (1928) D uo. cl/bcl, db. (1967, Peters).

Villanueva, Cecilia. Tutipanes Negros, bcl, db. (1990, Thurmchen Veriag).

Williams, Graham R. (1940) Six Miniatures, cl/bcl, vcl. (BMIC).

Duos with Voice

Bouliane, Denys. (1955) Manche Haben Trompetten: Drei Gesdnge Nach Vian, high voice, bcl. (1990, ms (photocopy); original of the woric is in CMC Montréal).

Donatomi, Franco. (1927) C inis. bcl, voice. (1988, Ricordi).

Wilson, Ian. (1964) The Trieste Fragments, cl/bcl, speaker. (1993, CMCI).

Zeljenka, llja. (1932) Caprice, sop, bcl. (HIS/MIC). 19 Duos with a Woodwind Instrument

Bailey, Judith. (1941) Three Songs for a River. cl/Eb cl, cl/bcl. (1994, BMIC).

Binder, John A. Five Sorts, ehm, bcl. (1992, source: BBD20CAf).

Blank, Allan. (1925) Bicinium III. A cl, bcl. (1987, Sonoton).

Brophy, Gerard. Iza. bass ob, bcl. (1996, AMC).

Clarke, James. ( 1957) The Destroyed, contra bfl, basset hm or bcl. (1989, BMIC).

Diederichs, Yann. Zitat. A cl, bcl. (1986, ms, source:/VDC).

Dimov, Bojidar. ( 1935) Rituals for Clarinet Duo-A Work in Progress. Ab cl/Eb cl, cl/bcl/contra bcl. (1985, ms, source: NDC).

Feld, Jindrich. ( 1925) D uo. fl, bcl. (Leduc).

Fink, Michael Jon. (1954) Writ in Water, bcl, cl. (1990, ms, source: BBD20CM ).

Glynn, Gerald. 3 Mannheimer Duos, cl, bcl. (1983, Australian Music Centre).

Hamary, Andràs. G rafitt. cl/bcl, cl/bcl/contra bcl. (1990, Sonoton, Munich).

Hummel, Cornelius. Notton-tonnot PALINDROM. Eb cl, bcl. (1991, ms, source: NDC).

Jack, Adrian. (1943) Srutkes and Ladders. 2 bcls. (1992, BMIC).

Johnsen, Hallvard. (1916) Humoresque, op. 94. pic, bcl. (1983, N-MIC).

Klusâk, Jan. (1934) Suita for Two. fl, bcl. (ms, source: A/DC).

Kroll, Georg. Zwiegsinge. cl, cl/bcl/contra bcl. (1987, Moeck, Celle).

Loudovâ, Ivana. (1941) Aulos-Syrinz. fl, bcl. (CMIC).

Mabry, Drake. 3.28.90. 2 bcl. (1990, ms, source: NDC).

Melinas, Ame. (1933) Rerulez-vous I. cl, bcl. (1979, SMIC).

Nemiroff, Isaac. (1912 - 1977) Duo Part I and 2. ob, bcl. (1973, McGinnis & Marx).

Nicholson, George. (1949) Termine. 2 bcls. (1995, BMIC).

20 Parker, Michael. (1948) Six Lowly Variations on the Flying Dutchman (In Canada): op. 54. bass ob, bcl. (1996, ms (photocopy); master copy in CMC Toronto).

Pritchard, Gwyn. (1948) Janus, fl/afl/pic, alto cl/bcl/Eb cl. (1991, Camerata Editions).

Schuller, Gunther. (1925) Duo Sonata, op. 15. A cl, bcl. (1948, G. Schirmer).

Stewart, Don. (1935) Concert-Duet, op. 8. fl, bcl. (1971, Trillenium Music).

Stockhausen, Karlheinz. (1928) Bijou (from Michaels jugend). afl, bcl. (1978 - 79, Stockhausen Veriag).

Vem den Booren, Jo. Duettino scberzoso. bcl, fl. (ms, source: NDC).

Werner, Jaroslav. Inspirazioni. 2 bcls. (ms, somce: NDC).

21 CHAPTERS

TRIOS WITH BASS CLARINET

Trios Including an Electronic Instrument or Tape

Banks, Don. (1923 - 1980) 4X2X1. cl, bcl, playback equipment, tape operator. ( 1978, Australian Music Centre).

Bruynel, Ton. (1934) Looking Ears, bcl, pn, tape. (1972, Donemus).

Burt, Warren. Robert and Catherine, afl, bcl, tape. (1985, Australian Music Centre).

Cresswell, Lyell. (1944) Hocket. bcl, 2 tape delays. (Scot-MlC).

Felder, David. Coleccion Noctuma. cl/bcl, pn, tape. (1983, Merion Music).

Fowler, Jennifer. The Arrows o f Saint Sebastian H. bcl, vcl, pre-recorded tape. (1981, Australian Music Centre).

Geertens, Geida. Split Country, vin, bcl, tape. (1992, Donemus).

Hlavac, Miroslav. Musica diafonica. bcl, pn, tape, (ms, source: NDC).

Kos, Bozidar. Spectrum, bcl, mar, tape. (1988, Australian Music Centre).

Kucera, Vaclav. (1929) Invariant, bcl, pn, tape. (1969, CMIC).

Pokomy, Jaroslav. Nocturne, bcl, pn, tape. (1981, ms, source: iVDC).

Reeder, Haydn. (1944) Two-Part Invention. cl/Eb cl, bcl, tape. (1979, Australian Music Centre).

Smith, Martin Wesley. White Knight <4 Beaver, bcl, fl, tape. (1984, AMC).

Stahmer, Klaus Hinrich. Porcelain Music, cl, cl/bcl, tape. (1983, Sonoton). 22 Stockhausen, Karlheinz. (1928) Rechter Augenbrauentanz (From Luzifers Tanz). cl, bcl, perc, synthesiser. (1983, Stockhausen Veriag).

Trios Including Miscellaneous Instruments

Castignoli, Giulio. Trio H. fl, bcl, harp. (1986, Zerboni).

Domansky, Hanus. (1944) Music for 3 Instruments, trpt, fl, bcl. (HIS/MIC).

Fox, Erika. (1936) Tuned Spheres. cl/Eb cl/bcl, trpt, pn. (1995, BMIC).

Gilmour, Russell. Art o f Reckoning (Reprise), (vln or fl or ob) or (via or gtr or cl) or (vcl, or bcl or bsn). (1990, Australian Music Centre).

Godar, Vladimir. Trio, fl, trpt, bcl. (HIS/MIC).

Trios Including Percussion Instruments

Dadak, Jaromir. Terzetto Piccolo, bcl, pn, perc. (CMIC).

Feld, Jindrich. (1925) Suite concertante II. bel, pn, perc. (ms, source: VDC).

Feldman, Morton. (1926 - 1987) Bass Clarinet and Percussion, bcl, perc, db. (1981, Universal Edition).

Grosskopf, Eberhard. (1934) Einnerungen (aus Uchtknall). bcl, pn, perc. (1987, ms, source: NDC).

Kubflc, Ladislav. Due episodi. bcl, perc, pn. (ms, source: NDC).

Kubik, Ladislav. Due episodi II. bcl, pn, perc. (CMIC).

Kucera, Vaclav. (1929) Taboo a Due Boemi. bcl, pn, perc. (1972,CMIC).

Lormer, Oddvar. (1954) Musikk for En Piper0Yker. cl/bcl, pn, perc. (N-MIC(ms)).

Loudovâ, Ivana. (1941) Sentimento Del Tempo, bcl, pn, perc. (1993, CMIC).

Malovec, Jozef. ( 1933) Cryptogram I. bcl, pn, perc. (HIS/MIC).

Pinos, Alois. (1925) 2 Campanari. bcl, pn, ringing instruments. (1971, ms, source: NDC).

23 Shanahan, Ian. Echoes/Fantasies, bcl. vib, tubular bells. (1984, Australian Music Centre).

Slavicky, Milan. Dawn II. bcl, pn, perc. (Ed Schott).

Slavicky, Milan. Prosvetlani II. bcl, perc, pn. (ms, source: NDC).

Smetanin, Michael. Under-Tones, pn, bcl, perc. (1981, Australian Music Centre).

StednDn, Milos. (1942) Anonymus moraviensis. bcl, pn, perc. (CMIC).

Zâmecnik, Evzen. 4 Studies, bcl, pn, perc. (ms, source: NDC).

Trios Including String Instruments

Bainbridge, Simon. (1952) Three Players, bcl, pn, vcl. (1985, United Music Publishers).

Binder, John A. Trio, vln, bcl, pn. (1994, American Music Center).

Brophy, Gerard. Glove, bcl, vcl, pn. (1995, Australian Music Centre).

Clarke, James. (1957) Verstorung. bcl, pn, vcl. (1990, BMIC).

Gardiner, Ian R. (1960) Bass Clarinet Trio, bcl, pn, vcl. (1988, Forward).

Hoffman, Richard Karl. (1925) Trio, pn, vln, bcl. (1948, source: BBD20CM).

Huber, Klaus. ( 1956) Schattenbldtter. bcl, vcl, pn. (1975, SMIC).

Klusdk, Jan. (1934) Reydowak IL. bcl, via, db. (ms, source: NDC).

Kupkovic, Ladislav. (1936) Variations on Slovac Song, vln, bcl, accordian. (ms, source: NDC).

Lachenmann, Helmut. (1935) Allegro Sostenuto. cl/bcl, vcl, pn. (1986 - 88, Breitkopf & Hartel).

Man, Roderik de. (1941) Touch-And-Go. vln, bcl, pn. (1991, Donemus).

Pompili, Claudio. Ah, Amore Che Se N'ando Nell'aria!. cl/bcl, via, vcl. (1991, Australian Music Centre).

Rydberg, Bo. Sultana, vln, vcl, bcl. (1983, Ed Qwerty).

Simandl, Karel. Tanec Blaznu. bcl, bla, pn. (CMIC). 24 Smutny, Jirf. Three Old Songs, db, bcl, pn. (ms, source; NDC).

Stedron, Milos. (1942) Free Landino Jazz, bcl, db, pn. (CMIC).

Wilkins, Caroline. Intersections, vln, bcl, pn. (1998, BMIC).

Trios Including Voice

Argento, Dominick. (1927) To Be Sung Upon the Water: Barcarolles and Nocturnes. high voice, pn, cl/bcl. (1972, Boosey & Hawkes).

Birgisson, Snorri. Oratorium. bcl, sop, pn.

Bohac, Josef. (1929) Songs o f Solitude, sop, bcl, pn. (Panton).

Cotek, Pavel. (1922) Ziehe Kreise. bcl, pn, speaker, (ms, source: A/DC).

Fox, Christopher. ( 1955) C i-G it. bcl, sop, pn. (BMIC).

Grahn, Ulf. (1942) The Secret o f the Moon, bcl, sop, pn. (SMIC).

Hayes, Nicholas. The Basket, sop, cl/bcl, pn. (1992, BMIC).

Hedin, Staffan. Livsgerâd. bel, sop, pn. (ms, source: NDC).

Kremser, Daniel. Saluti. bcl, pn, singer, (ms, source: NDC).

Lindwall, Christer. Twang, bcl, sop, pn. (Ed Qwerty).

Marbe, Myriam. (1931) D ialogi. bcl, pn, speaker, (ms, source: A/DC).

Maxwell, Michael. (1920) Sweet Are the Ways o f Death, voice, bcl, pn. (BMIC).

Maxwell, Michael. (1920) The Derby Ram. voice, bcl, pn. (1983, BMIC).

Morthenson, Jan W. (1940) Friihlingslied. bcl, sop, pn. (Ed Reimers).

Novâk, Jan. (1921 - 1984) Mimus magicus. sop, bcl, pn. (ms, source: NDC).

Panufnik, Roxanna. (1968) The Dong With a Luminous Nose, voice, cl, bcl. (1988, BMIC).

Perder, Kjell. Oppose, bcl, sop, pn. (SMIC).

Smolka, Jaroslav. Music on Skdcel. bcl, pn, speaker, (ms, source: NDC). 25 Smuiny, Jin. Herbst Impressionen. voice, bcl, pn. (ms, source: NDC).

Smutny, Jin. Knife of Obsidian, sop, bcl, pn. (ms, source: NDC).

Smutny, Jin. Three Songs o f Middle Age. bcl, pn, male voice, (ms, source: NDC).

Stedron, Milos. (1942) Ancient Names, mez sop, bcl, pn. (CMIC).

Stedron, Milos. ( 1942) Confession, mez sop, bcl, pn. (CMIC).

Stedron, Milos. ( 1942) Ich ging die Stilie zu Horen, bcl, pn, speaker. (CMIC).

Stedron, Milos. (1942) Songs on Ancient Texts, mez sop, bcl, pn. (CMIC).

Stedron, Milos. ( 1942) Trium Vocum. sop, bcl, pn. (CMIC).

Webern, Anton. (1883 - 1945) 5 Canons on Latin Texts, op. 16. sop, cl, bcl. (1923 - 24, Universal Edition).

Wiemann, Beth. (1959) Why We Live With Animals, sop, bcl, perc. (1993, source: BBD20CM).

Zeljenka, llja. (1932) Laune. bcl, sop, pn. (HIS/MIC).

Zouhar, Zdenek. ( 1927) Trio, sop, bcl, fl. (1962, ms, source: A/DQ.

Trios Including Woodwind Instruments

Alexandra, Liana. Music for MET Trio, fl, bcl/alto cl, pn. (ms, source: A/DC).

Barrett, Richard. ( 1959) What Remains, fl, bcl, pn. (1991, United Music Publishers).

Blatny, Pavel. (1931) Three Movements, fl, bcl, pn. (ms, source: A/DC).

Biyton, Carey. (1932) A Little Trio. fl(or ob), cl, bsn (or bcl). (1954, Berben).

Brophy, Gerard. Head, pic, bcl, pn. (1988, Australian Music Centre).

Burgman. 4 Sequenzas. fl, bcl, pn. (ms, source: NDC).

Cardi, Mauro. Terza Texture, bcl, fl, pn. (1988, Ricordi).

Castagnoli, Guilio. Trio 2b. fl, bcl/alto cl, pn. (ms, source: NDC).

Cestmir, Gregor. Trio, fl, bcl, pn. (ms, source: NDC). 26 Clarke, James. (1957) In Another Room, fl, bcl/alto cl, pn. (BMIC).

Clarke, James. ( 1957) Trio, fl, bcl, pn. (1988, BMIC).

Colbert, Brendan. States o f Mind, pic, bcl, bsn. (1985, Australian Music Centre).

Crowley, James F. (1963) Canon, fl, bcl, pn. (1992, James F. Crowley).

Cruft, Adrian. ( 1921 - 1987) Three Miniatures, ob or cl, cl, bsn or bcl. (Joad).

De Leeuw, Ton. Trio. (I, bcl/alto cl, pn. (Donemus).

Dench, Chris. ( 1953) Atsiluth. fl/bfl, bcl, pn. (1991, Australian Music Centre).

Dijkstra, Lowell. Brusque, fl, bcl/alto cl, pn. (Donemus).

Dimov, Bojidar. (1935) Trio Rituals, cl, bcl, pn. (1985, ms, source;/VDC).

Donatoni, Franco. (1927) HET. bcl, fl, pn. (1990, Ricordi).

Eigenfeldt, Ame. Late Night (At De Ijsbreaker). fl/afl/pic, bcl, pn. (1992, Photocopy; master copies of score in CMC Toronto).

Fargion, Matteo. (1961) Trio, cl, bcl, pn. (Composer).

Fedele, Ivan. Aiscrim. fl, cl, pn. (1983, Zerboni).

Festinger, Richard. ( 1948) Trionometry. fl, cl/bcl, pn. (source: BBD20CAf).

Finisterer, Mary. Triplice. bcl, fl, pn. (1991, AMC).

Finsterer, Mary. Catch, ssax, bcl, pn. (1992, Australian Music Centre).

Firtic, Grigorij. Contrasts, fl, bcl, pn. (ms, source: NDC).

Ford, Andrew. (1956) Ringing the Changes, pic, bcl, pn. (1990, Australian Music Centre).

Gantner, Reinfried. Rondino. bcl, fl, pn. (ms, source: NDC).

Gilmour, Russell. Reed Dance, ob or cl, cl, bcl or bsn. (1990, Australian Music Centre).

Gilmour, Russell. Siren, fl, bcl, pn. (Australian Music Centre).

Godar, Vladimir. Convergence, fl, ehm, bcl. (HIS/MIC).

Goethals, Lucien. (1931) Two Projections, fl, bcl/alto cl, pn. (CeBeDeM). 27 Goeyvaerts, Karel. (1923 - 1993) For Harrie, Harry, and Ren. fl, bcl/alto cl, pn. (CeBeDeM).

Gorodecki, Michael. (1963) StiU. all, bcl, vcl. (1991, BMIC).

Gosnall, Robin. (1962) D eteriorated Image, fl/afl/pic, bcl, pn. (1992, BMIC).

Halferty, Frank Joseph. (1954) Demaray. fl, bcl, bsn (or bcl). (1985, Kendor Music).

Harvey, Jonathan. (1939) The Riot, fl/pic, bcl, pn. (1993, Faber).

Heim, Norman M. Concertino Da Camera: op. 116. fl, bcl, pn. (1990, N.M. Heim).

Heim, Norman M. Prague Trio: op. 184. bcl, bcl, pn. (1994, N.M. Heim).

Hobbs, Christopher. (1950) Four Studies in Shadow, bfl, bcl, bsn. (1984, BMIC).

Jancenko, Oleg. Sonatina, fl, bcl, pn. (ms, source: NDC).

Jeths, Willem. Raptim. fl, bcl/alto cl, pn. (Donemus).

Keeling, Andrew. (1955) Distant Skies, Mountains and Shadows, fl/afl/bfl, Eb cl/bcl, pn. (1992, BMIC).

Ketting, Otto. (1935) Summer, fl, bcl/alto cl, pn. (1985, Donemus).

Ketting, PieL (1904 - 1984) Trio-Sonata. fl, bcl, pn. (1928, Donemus).

Kosvinar, David. Trio, fl/afl/pic, cl/bcl/Eb cl, pn. (1992, BMIC).

Kubizek, Augustin. 4 Stiicke. fl, cl, bsn or ob, cl, bcl. (1953, Boosey & Hawkes).

Kucera, Vaclav. (1929) Pieter Brueghel Inspirations, fl, bcl, pn. (1988, CMIC).

Kulesha, Gary. (1954) Mysterium Coniunctionis. cl, bcl, pn. (1980, CMC).

Loevendie, Theo. (1930) Plus One. fl, bcl/alto cl, pn. (Peer).

Mahler, HellgarL Trio, cl, bcl, bsn. (1994, Australian Music Centre).

Masta, Josef. Trio, fl, bcl, pn. (ms, source: NDC).

McDowall, Cecilia Le Temps Viendra, ob/ehm, cl/bcl, pn. (1998, BMIC).

Morgan, David Robert. (1933 - 1988) Trio for Seven, fl/pic, cl/bcl, cl/bcl/Eb cl. (1962, BMIC).

28 Naidcxj, Shaun. Trio: Points o f Transition, cl, bcl, pn. (1990, source: BBD20CAI).

Nedbal, Manfred. Divertimento II. fl, cl, bcl. (ms, source: NDC).

Obrovskâ, Jana. Musica notturna. fl, bcl, pn. (ms, source: NDC).

Parsch, AmosL (1936) Far Horizons, afl, bcl, pn. (ms, source: NDC).

Ferezzani, Paolo. II volto della notte. fl, bcl/alto cl, pn. (Ricordi).

Pinos, Alois. (1925) Caricatures, fl, bcl, pn. (1962, ms, source; A/ZXT).

Pospisil, Juraj. Trio. op. 58. Eb cl, cl, bcl. (HIS/MIC).

Reck, David. The World Music Notebook, bcl, afl, contra bsn. (1986, ms, source: NDC).

Reeder, Haydn. (1944) Chants at Play With Solid Background, fl, bcl, pn. (1990, Australian Music Centre).

Rehâk, Vâclav. Trio, fl, bcl, pn. (ms, source: NDC).

Rehm, Gerhard. Spiegel, fl, bcl, pn. (ms, source: NDC).

Rehor, Bohuslav. Structures, fl, bcl, pn. (ms, source: NDC).

Short, Michael. (1937) Dirge for Europe, fl, ob, bcl. (1973, BMIC).

Smetanin, Michael. Spray, afl, bcl, pn. (1990, Australian Music Centre).

SmiL Sytze. A tempo rubato. fl, bcl/alto cl, pn. (Donemus).

Smutny, Jiri. Canzonetti. rec, bcl, pn. (ms, source: NDC).

Stedron, Milos. (1942) Music for Three, fl, ob, bcl. (CMIC).

Stedron, Milos. ( 1942) Praeludium and Dance. 2 bcl, pn. (CMIC).

Stedron, Milos. (1942) Saluti Musicali. rec, bcl, pn or hpsd. (CMIC).

Stedron, Milos. (1942) Stop!, rec, bcl, pn. (CMIC).

Stivin, Jiri. Music for Three / Excursions o f Alchemists, fl, bcl, pn. (ms, source: NDC).

Straesser, Joep. (1934) Sonate a tre. fl, bcl/alto cl, pn. (Donemus).

Sydeman, William. (1928) Trio, bsn, bcl, pn. (1968, Okra).

29 Thilman, Johannes P. (1906 - 1973) Vier Gesprache. fl, bel, pn. (Ed Peters).

Thommessen, Olav Anton. ( 1946) Points for Contra Instruments, ehm, bel, contra bsn. (N-MIC).

Trainer, Fraser. (1967) Hammers, Levers & Strings, el/bel, pn, vel. (1996, BMIC).

Van den Booren, Jo. Equilibrio a tre. fl, bel, pn. (ms, source; NDC).

Van Dijk, Gijs. Trio, fl, bel/alto el, pn. (Donemus).

Vriend, Jan. (1938) Eclipse I: Heterostase. fl, bel, pn. (1981, Donemus/ Novello).

Whiticker, Michael. M in-Ame. fl, bel, pn. (1988, Australian Music Centre).

Whiticker, Michael. M iname. bel, afl, pn. (1988, AMC).

Wilkins, Caroline. Vent, cl, bel, accordion. (1992, Australian Music Centre).

Withicker, Michael. M in-ame. fl, bcl/alto cl, pn. (Australian Music Centre).

Woof, Barbara. M atador, fl/pic/afl, bcl/alto cl, pn. (1996, Australian Music Centre).

Trios Including a Wind Instrument and a String Instrument

Barkl, Michael. M onody, bel, bsn, vcl. (1979, Australian Music Centre).

Beilharz, Kirsty. Red Ochre, bass ob, bel, db. (1996, Australian Music Centre).

Betko, Milos. Swift Valley, fl, via, bel. (HIS/MIC).

Faltus, Leos. Trio, fl, bel, via. (ms, source: NDC).

Heyn, Volker. Reb David, Wife, and Wolf, bel, contra bel, db. (1987, Breitkopf & Hartel).

Hora, Josef. Suite on Folk Songs, fl, via, bel. (ms, source: NDC).

Lund, Erik. Consensus Fertces. fl/pic, cl/bcl, db. (1991, E. Lund).

McCombe, Christine. I Have Come to the Borders o f Sleep, the Unfathorruible Deep Forest Where All Must Lose Their Way. bel, ob, vln. (1994, Australian Music Centre).

McCombe, Christine. M orph HI. afl, bel, vcl. (1998, Australian Music Centre). 30 Moss, Lawrence. (1927) Windows, fl, bcl/Eb cl, db. (1966, Seesaw).

Nedbal, Manfred. Small Trio, cl, bel, vcl. (ms, source: NDC).

Pinos, Alois. (1925) Cartoons, fl, bel, pn. (ms, source: M)C).

Schwantner, Joseph C. (1943) Entropy, ssax, bel, vcl. (source: BBD20CAf).

Thilman, Johannes P. (1906 - 1973) Trio piccolo, bel, fl/afl, via. (ms, source: NDC).

Tucapsky, Antonin. Trio, fl, via, bel. (ms, source: yVDQ.

Trios Including a Wind Instrument and a Percussion Instrument

Edwards, Ross. (1943) M aninyalv. bel, trb, mar. (1986, Australian Music Centre).

Pompili, Claudio. El Viento Lucha A Obscuras Con Tu Sueno. bel, asax, pere. (1993, Australian Music Centre).

Reiner, Karel. (1910 - 1979) Trio, fl, bel, pere. (Supraphon).

Tann, Hilary. (1947) OfErtheandAir. fl/pie, el/bel, frame drums. ( 1990, Oxford University Press).

Trios Including a String Instrument and a Percussion Instrument

Brophy, Gerard. Dark Blue Beats, bel, vib, classical gtr. (1997, Australian Music Centre).

Cronin, Stephen. Flit, bel, mar, gtr. (1997, Australian Music Centre).

Pololanik, Zdenek. (1935) Scherzo contrario, vln, bel, xyl. (1961, Ed G Zamboni).

Werder, Felix. (1922) H arp Trio, harp, bel, pere. (1969, Australian Music Centre).

31 CHAPTER 4

QUARTETS WITH BASS CLARINET

Quartets Including an Electronic Instrument or Tape

Henderson, Moya. Who'd-A-Thought-lt?. bel, pn, via, optional tape (tape avlailable from composer). (1984, Australian Music Centre).

Ingham, Steve. (1951) Shards, bel, pere: mar, pn, tape. (1988, BMIC).

Kulesha, Gary. (1954) Ghosts, bel, pn, pre-recorded tape, electronics. (1988, ms (photocopy); master of score and bass clarinet part in CMC Toronto).

Kulesha, Gary. (1954) Ghosts, bel, vib, prepared tape, electronics. (1988, ms (photocopy); originals of score and part in CMC Toronto).

Lerstad, Teije Bjom. (1955) Rendez-Vous for Four Musicians and Electronics, op. 289 B. bcl/contra bel, bsn/contra bsn, trb, pn/synthesiser. (N-MIC(ms)).

Montgomery, James. (1943) Slo Bio. basset hm or bel, pn, electronics, prepared tape. (1982, ms (photocopy); original of score is in CMC Toronto).

Travers, Cathie. Sentinel, bel, via, vcl, asr-10 sampler. (1995, Australian Music Centre).

Quartets Including Percussion Instruments

Campbell, Steven. Tears and Coloured Diamonds, bcl/asax, vib/mar, pere (2 players). (1994, Australian Music Centre).

Hobbs, Christopher. (1950) Recitative, bel, pere, vib, cel. (1979, BMIC).

32 Quartets Including String Instruments

Clementi, Aldo. ( 1925) Berceuse, bcl, via, vcl, pn. (source: BBD20CA/).

Davidson, Robert Tyalgum. bel, via, vcl, pn. (1997, Australian Music Centre).

Gardner, Stephen. ( 1958) Trane, cl/bcl, vln, vcl, pn. (1996, CMCI).

Kapr, Jan. (1914 - 1988) Testimonianza. vln, vcl, bel, pn. (source: BBD20CM ).

O'Leary, Jane. (1946) Quartet, cl, bel, vln, vcl. (1969, BMIC).

Poole, Geoffrey. (1949) Septembral. bel, pn, vln, vcl. (1993, Maecenas Music).

Rands, Bernard. (1934) Scherzi. cl/bcl, pn, vln, vcl. (Universal/ Kalmus).

Sabin, Nigel. Points o f Departure, cl/bcl, vln, via, pn. (1991, Australian Music Centre).

Smetanin, Michael. Sharp, bel, pn, via, vcl. (1992, Australian Music Centre).

Wilson, Thomas. (1927) Complementi. cl/bcl, vln, vcl, pn. (1974, Central Music Library).

Quartets Including Yoke

Ades, Thomas. (1971) Life Story, sop, 2 bel, db. (1993, Faber).

Anderson, Barry. (1935 - 1987) Songs Fenyeach. sop, bel, pere, vln. (1971, BMIC).

Barrett, Richard. (1959) Lieder Vom Wasser. sop, bel, db, pere. (1990, United Music Publishers).

Birtwistle, Harrison. (1934) Five Chorale Preludes, voice, 3 els: cl, basset hm, bel. (1975, Universal/ Kalmus).

Childs, Barney. (1926) Sunshine Lunchh, & Like Matters, bel, bar, pere, electronic music machine. (1984, source: BBD20CM).

Clarke, James. ( 1957) Afterglow , sop, cl/bcl, trb, pere. (1995, BMIC).

Clarke, James. (1957) Canciones De Luna, sop, fl, bel, gtr. (1995, Kallisti Music Press).

Collins, Janyce. Fin o f the Shark, bel, dancer, reader, vib. (1979, ms, source: BBD20CM). 33 Corcoran, Frank. (1944) Dan Ainthirgin. sop, via, bel, pn. (1989, CMCI).

Grange, Philip. (1956) As It Was. sop, 2 cl/bcl, pn. (1985, BMIC).

Marsh, Roger. (1949) On and On. sop, 3 els: 2 cl, bel. (1975, Novello).

Mikula, Zdenko. Mornings, Song-Cycle on Poetry by Z. Jettmerova. sop, fl, bel, pn. (Atria).

Monk, Peter Anthony. (1946) Hallosaneluiana. sop, bel, bsn, hm. (1976, BMIC).

Newman, Chris. (1960) Come Away, Come, Sweet Love, cten, bel, pere, pn. (BMIC).

New man, Chris. (1960) Dandruff, voice, bel, pere, pn. (BMIC).

Newman, Chris. (1960) Foreign Land, voice, bel, pere, pn. (Composer).

Newman, Chris. (1960) Mentally Handicapped Person, voice, bel, pere, pn. (BMIC).

Newman, Chris. (1960) Mushrooms on Toast, voice, bel, pere, pn. (BMIC).

Newman, Chris. (1960) The Silver Swan, voice, bel, imp, pn. (1983, BMIC).

Newman, Chris. (1960) Weedy Willy, voice, bel, tmp, pn. (BMIC).

Parsch, AmosL (1936) Early Spring, bel, fl, pn, speaker (1972). (ms, source: NDC).

Pinos, Alois. (1925) 4 Lyrical Sketches. Narrator, fl, bel, pn. (1965, source: BBD20CM).

Schwartz, Elliott (1936) Songs From Brecht, sop, ob, cl/bcl, db. (1962, s.n., source: BBD20CM).

Short, Michael. (1937) Six Love Songs, sop, fl, bel, via. (BMIC).

Wallen, Errollyn. (1958) It All Depends on You. sop, cl, el/ssax/bel, tape. (1989, BMIC).

3 4 Quartets Inclwiing Woodwind Instruments

Briin, Herbert (1918) 6 for 5 by 3 in Pieces, ob, ehm, cl, bel. (1971, Smith Publications).

Durand, Auguste. (1830 - 1909) Chaconne: op. 62. fl, ob, cl, bsn (or bel). (O. Ditson; T. Presser).

Eckhardt-Gramatté, S.C. (1899 - 1974) Blaserquartett: E 112. fl, cl, basset hm or cl, bel or bsn. ( 1946, CMC).

Francaix, Jean. (1912-1997) Quatuor, cl, basset hm, bel, pn. (1995, Schott).

Graubart, Michael. (1930) D iptych, fl/afl, ob/ehm, bel, trpt (1989, BMIC).

Herrera, Rufo. Ciranda De Lua Triste. 2 fis, bfl, bel. (1994, Brazilian Music Enterprises).

Jelinek, Hanns. Divertimento, op. 15. 2 cl, bel, basset hm. (1954, Universal-Ed.).

Kreutzer, Conradin. (1780 - 1849) Quartet, fl, bel, ob, bsn (optional bel). (Alfred Music Co.).

Kuiper, Klaus. Stampij, 1991. cl, bel, pn. (1993, Donemus).

Kulesha, Gary. (1954) Political Implications. 4 els (2 cl, Eb cl, bel). (1987, ms (photocopy); originals of score and parts in CMC Toronto).

Kupkovic, Ladislav. (1936) Exclamations, fl, bel, pn. (1964, source: BBD20CM).

Pimakhova, Anna. Prelude, Fugue & Postlude. 3 els, bel. (1997, Australian Music Centre).

Potter, Archibald J. (1918 - 1980) Arklow Quartet. 2 cl, asax, bel. (1977, CMCI).

Rae, Allan. (1942) Autumn Colors, bel, bsn, cl, ob. (1969, ms (photocopy); transparency of score in CMC Toronto).

Sarcich, Paul. Invocation and Dance, asax, Eb cl, cl, bel. (1994, Australian Music Centre).

Scherber, Ferdinand. Quartet in Bb Major, ob, cl, bel, pn. (1914, Schmidt).

Stark. Serenade in Eb, op. 55. 2 cl, bel, basset hm. (1900, Ries and Erler).

35 Stedron, Milos. (1942) Canzonae tripla/Prayer o f the Bass Clarinet. 4 or more bcis. (CMIC).

Stockhausen, Karlheinz. (1928) Stop "Paris version". Eb cl, A cl, basset hm, bel. (1969, Stockhausen Veriag).

Thommessen, Olav Anton. (1946) Two Pieces for Woodwinds, fl, ob/ehm, bel, bsn/contra bsn. (N-MIC(ms)).

Vierira Brando, José. Chore, fl, ehm, cl, bel. (1946, Editorial Coperativa Interamerieana de Compositores).

Yasui, Byron K. Polarity I. Polarity II. afl, ehm, hm, bel. (1969, source; BBD20CM ).

Zonn, Paul. Liberata I. fl/pie, ob/ehm, el/bel, pn. (1968, American Composers Alliance).

Quartets Including a Wind Instrument and a String Instrument

Boehm, Roland. Traumszenen. fl, bel, gtr, pn. (ms, source: NDC).

Calzon, Miguel. Isis En Jupiter, fl, el/bel, vln, vel. (1991, s.n., source: BBD20CM ).

Casken, John. (1949) Music for a Tttwny-Gold Day. bel, asax, pn, via. (1976, Schott).

Fulkerson, James. (1945) Co-Ordinative Systems No. 3. bel, bass trb, vel, db. (1973, BMIC).

Hekster, Walter. (1937) Desert Moon, bfl, bel, via, vel. (1990, Donemus).

Karlins, M. William. (1932) Birth Day Music I. fl, bel/cl, db. (1962, source: BBD20CM).

Keeling, Andrew. (1955) Quaternaries, fl/afl, el/bel, vln, vel. (1990, BMIC).

Krak, Egon. Responsio II. bel, vel, harp, pn. (HIS/MIC).

LeFanu, Nicola (1947) Lam ent, ob/ehm, cl/bel, via vel. (1988, Novello).

Lliev, llija Fuga. 2 el, bel, vel. (ms, source: NDC).

Matej, Daniel. In the End. fl, vln or el, vel or bel, db. (HIS/MIC).

McGuire, Edward. (1948) Liberation, fl/pie, el/bel, harp, via (1975, BMIC).

36 Meijering, Chiel. (1954) De Druiven Zijn Zuur. fl, bel (tsax), vln, vcl. (1991, Donemus).

Norman, Katharine. (1960) Memory Places, fl/pic, cl/bcl, vln, vcl. (1990, BMIC).

Peterson, Wayne. (1927) Labyrinth, fl, cl/bcl, vln, pn. (1993, C.F. Peters).

Reeder, Haydn. (1944) Chromatalea. fl/afl, cl/bcl, vln/vla, vcl. (1973, BMIC).

Rindfleisch, Andrew. Funhouse. fl/afl/pic, cl/bcl, vln, vcl. (1995, source: BBD20CAf).

Roe, Helen. (1955) Ha. fl/pic/afl, cl/Eb cl/bcl, vln/vla, vcl. (BMIC).

Schwartz, ElliotL (1936) Soliloquies, fl/afl, cl/bcl, vln, pn. (1965, Bowdoin College Press).

Smith, Dave. Aragonesca. asax, bel, vln, vcl. (1987, BMIC).

Sonstevold, Gunnar. (1912 - 1991) Ad. Festkommentate. fl, bel, harp, vln. (N-MIC(ms)).

Stanhope, Paul. Throb, cl/bcl, via, vcl, pn (optional amplification). (1997, Australian Music Centre).

Stedron, Milos. (1942) Four Together (Everyman for Himself), trpt, bel, db, pn. (1969). (CMIC).

Wolpe, Stefan. (1902 -1972) From Here on Farther, vln, cl, bel, pn. (1969, Southern Music; Peer Musikverlag).

Woolrich, John. (1954) Le Domaine Mystérieux, afl/pic, cl/bcl, vln/mand, vcl. (1981, BMIC).

Yang, Tsung-Hsien. Once in a Storm, cl/bcl, vln, vcl, pn. (Composer).

Quartets Including a Wind instrument and a Percussion instrument

Brophy, Gerard. Rubber, pn, afl, bel, vib. (1994, Australian Music Centre).

Chan, Hing-yan. Four Pieces for Five Players, pic/afl, bel, pere (2 players). (1996, source: BBD20CM).

Grahn, Ulf. (1942) Order-Fragments-Mirror. fl, bel, pere, pn. (1975, SMIC).

Grahn, Ulf. (1942) Soundscapes I. fl, bel, ehm, pere. (1974, American Music Center).

37 Heitzeg, Steve. Raven and Crow: Medicine Birds, cl/bcl/asax, pn, 2 pere. (1993, Stone Circle Music).

Kucera, Vaclav. (1929) Diptchon. fl, bel, pn, pere. (1966, CMIC).

Kupkovic, Ladislav. (1936) Shrieks /. fl, bel, hpsd, pere. (ms, source: NDC).

Loudovd, Ivana. (1941) Meditations, fl, bel, pn, pere. (1977, CMIC).

Lucky, Stepdn. (1919) Invence pro Sonatori. fl, bel, pn, pere. (1977, source: BBD20CM).

Marbe, Myriam. (1931) E t in Arcadia, fl, bel, pn, pere. (1993, source: BBD20CM).

Marti and, Steve. (1958) Big Mac. tsax or bel, bel, perc: drum machine, el kybd. (1987, Schott).

Pinos, Alois. (1925) Conflicts, vln, bel, pn, pere. (1964, ms, source: M)C).

Rovenstrunek, Bernhard. Versos, fl, bel, pn, perc. (ms, source: NDC).

Simon, Ladislav. Antithese. fl, bel, pn, perc. (ms, source: NDC).

Simon, Ladislav. Dimensioni. fl, bel, pn, perc. (ms, source: NDC).

Sodomka, Karel. Seconds o f Three Centuries, fl, bel, pn/hpsd, pere. (ms, source: NDC).

Stedron, Milos. (1942) Cantate, fl/piee, bel, pn, perc. (CMIC).

Tiutiunnik, Katia. Al'amut. pie, bel, harp, tubular bells. (1993, Australian Music Centre).

Vorlovd, Sldva. (1894 - 1973) Dimensioni. fl, bel, pn, pere. (ms, source: NDC).

Vorlovd, Sldva. (1894 - 1973) Imanentioni. fl, bel, pn, perc. (1970). (ms, source: NDC).

Wagner-Régeny, Rudolf. (1903 -1969) Divertimento, fl, cl, bel, perc. (1954, (ms, source: NDC).

Wolf, Jaroslav J. Kolloquio. fl, bel, pn, perc. (ms, source: NDC).

Zdmeenik, Evzen. Invenzioni. fl, bel, pn, perc. (ms, source: NDC).

38 Quartets Including a String instrument and a Percussion Instrument

Catalano, Joe. (1952) Woodhenge. gtr, harp, mar, bel. (1989, Quiet Cat Music).

Gyger, ElliotL Simple Harmonic Motion, bel, mar, vln, vel. (1995, Australian Music Centre).

Stedron, Milos. (1942) Agome. vln, bel, eel, perc. (CMIC).

Quartets Including a Wind Instrument,

a String Instrument, and a Percussion Instrument

Ewers, Tim. (1958) Squaring the Circle, vel (slightly amplified), el/bel, perc: vib/mar, vln. (1990, BMIC).

Hindson, Matthew. Teddy Bear, bel, prepared pn, pere, vcl. (1989, Australian Music Centre).

Long, Christopher. One More Breath, ssx, bel, vel, perc. (1996, BMIC).

Swartz, Steven Nicholas. (1956) Convergence, bel/el, prepared pn, pere, vln. (1980, American Music Center).

White, Barbara. Absences, cl/bel, vcl, pn, perc. (1992, s.n., source: BBD20CM).

Wiggins, C.D. (1956) Three Pieces, fl, bel, perc, cel. (1979, BMIC).

39 CHAPTERS

QUINTETS WITH BASS CLARINET

Quintets Including an Electronic instrument or Tape

Fink, Michael Jon. (1954) Living to Be Hunted by the Moon. 2 cl, 2 bel, electronics. (1987, ms, source; BBD20CM).

Montague, Stephen. (1943) The Mouth o f Anger, bel, pn, perc, tape, electronics. (1981, BMIC).

Stockhausen, Kariheinz. (1928) Sirius, electronic music, tipt, sop, bel, db. (1975 - 77, Stockhausen Veriag).

Quintets Including Miscellaneous Instruments

Budd, Hal. Serenade, bel, cel, vib, perc, harp. (1976, Basheva Music).

Fitelberg, Grzegoiz. (1879 - 1953) Quintet, fl, ob, cl, bel, trb. (1931, Balan).

Fox, Erika. (1936) Hungarian Rhapsody, fl/afl, ob/ehm, cl/Eb cl/bcl, trpt, pn. (1989, BMIC).

Jack, Adrian. (1943) Jigsaw, afl, ehm, bel, trpt, pn. (1991, BMIC).

Moland, Eirik. (1959) Natt I Furutoppen li. cl, bel, gtr, hpsd, accordion. (N-MIC(ms)).

Rabe, Folke. (1935) Impromptu for 5 Players, cl/bcl, trb, vcl, pn, perc. (1962, Hansen).

Salter, Timothy. (1942) Through Mazes Running, fl/pic, ob/ehm, cl/bcl, trpt, pn. (1991, Usk).

40 Wagemans, Peter-Jan. Blaaskwintet No. 2,1992 -1993. fl/pic/afl, ob/ehm, cl/bcl, hm/wagner tuba, bsn. (1993, Donemus).

Quintets Including Percussion instruments

Westlake, Nigel. (1958) Malachite Glass. 4 percists, bel. (1990, AMC).

Quintets Including String Instruments

Bowen, York. (1884 - 1961) Quintet, op. 13. bel, 2 vln, via, vcl. (source: BBD20CM).

Erber, James. (1951) Fax. 2 bcls, pn, via, vcl. (1988, BMIC).

Fox, Jim. Between the Wheels, bel, 2 vln, via, vcl. (1990, ms, source: NDC).

Grosskopf, Eberhard. (1934) U ed. bel, 2 vln, via, vcl. (1977, ms, source: NDC).

Hoemsnes, Bj0m Korsan. (1954) A Chamber Concept, bel, 2 vln, via, vcl. (N- MlC(ms)).

Keuris, Tristan. (1946) Concertino, bel, 2 vln, via, vcl. (ms, source: A/DQ.

Rydberg, Bo. Innocence in iron, bel, 2 vln, via, vcl. (Ed Qwerty).

Quintets Including Voice

Alvarez, Javier. (1956) Fragments'Run. voice, fl, ssax, bel, via (1984, BMIC).

Dal by, Martin. ( 1942) The Loch Ness Monster's Song, mez sop (or bar), tsax (or cl or bel), mar (or vib), pn, vcl. (1994, Scoi-MIC).

Gordon, Morgan. (1953) Changing the Wheel, voice, 2 fl, bel, via. (1987, BMIC).

Grahn, Ulf. (1942) Soundscapes IV. sop, fl, bel, perc, pn. (1975, SMIC).

Hopkins, Bill. (1943 - 1981) Two Poems, sop, bel, trpt, harp, via (1964, Universal/ Kalmus).

Hvoslef, Ketil. (1939) Collage I Svart/Hvitt Med RpDt. narrator(bar), vln, gtr, bel, perc. (N-MIC(ms)).

41 Jirâsek, Ivo. ( 1920) Portrait o f a Woman, sop, fl, bel, pn, perc. (ms, source: NDC).

Lenk, T. Timothy. ( 1952) De Projundis Clamavi H. speakers, alto voice, bel, organ, perc, feedback loop, electronics for live radio performance. ( 1984, source: BBD20CM ).

Lombardo, Robert. (1932) Program Notes, fl, bel, vib, sop, db. (1969, American Music Center).

Lutyens, Elisabeth. (1906 - 1983) The Valley o/Hatsu-Se. sop, fl/afl, cl/bcl, pn, vcl. ( 1965, Olivan/ Kalmus).

Newman, Chris. (1960) Der Tambourg'sell. cten, bel, trb, perc, pn. (1983, BMIC).

Stedron, Milos. (1942) Music on Kajka. bel, fl, pn, perc, speaker. (CMIC).

Stemper, Frank L. (1951) Remembering Fire, sop, bel, vln, pn, perc. (1990, American Music Center).

Tausinger, Jan. Drawings on the Sky. sop, fl, bel, pn, perc. (ms, source: NDC).

Webern, Anton. (1883 - 1945) Sechs Lieder, op. 14 (G. Trakl). sop, cl, bel, vln, vcl. ( 1919 - 20, Universal Edition).

Wilkinson, Marc. (1929) Voices, alto, fl, cl, bel, vcl. (Universal/ Kalmus).

Wilson, Mick. (1943) Masks and Dances, sop, bel, pn, via, db. (1981, BMIC).

Wilson-Dickson, Andrew. (1946) Bells, sop, bel, pn, via, db. (1977, BMIC).

Wolosoff, Bruce. Linguistics: 4 Poems by Robert Kelly, mez sop, fl/pic, bel, vln, vcl, pn. (1988).

Woolrich, John. (1954) Harlequinade, sop/perc, cl/bcl, pn/perc, vln, vcl. (1983, Faber).

Woolrich, John. (1954) O Tree o f Apples, sop, cl, basset cl, vln or via, vcl or bel. (1988, Faber).

4 2 Quintets Including Woodwind Instruments

Berkeley, Michael. (1948) Re-Inventions, fl, ob, cl/bcl, bsn, hm. (1995, Oxford University Press).

Burrell, Diana. (1948) Wind Quintet, fl/pic, ob/ehm, cl/bcl, bsn, hm. (1991, United Music Publishers).

Cage, John. (1912 - 1992) Five 2. ehm, 2 els, bel, tmp. (1991, Henmar Press).

Hothuis, Marius. (1914) Zuintett, op. 13. cl, bsn, ob, fl, bel. (1941, Donemus).

Gilmour, Russell. Toccata Loops: for Flexible Ensemble, five parts: fl/s or vln/s ; ob/s or cl/s or vins ; cl or via or hm ; vcl or bsn or trb ; db or bel or tuba. ( 1990, Australian Music Centre).

Gosnall, Robin. (1962) Wind Quintet, wind quintet: fl/pic/afl, ob/ehm, cl/Eb cl/bcl, bsn, hm. (1984, BMIC).

Hill, Fred. Hungarian Shuffle: Being an Extemporization on the 1st Rumanian Christmas Carol (Colinde) / Collected by Bela Bartok, fl, pic, ob, cl/Eb cl/bcl, hm, bsn. ( 1977, Australian Music Centre).

LeMarcellino, Raffae. Masquerade, fl/pic, ob, cl/bcl, hm, bsn. (1986, Australian Music Centre).

Lonner, Oddvar. (1954) T Fur Blaserquintett. fl, ehm, cl, bel, hm. (N-MIC(ms)).

Luff, Enid. (1935) The Coastal Road, wind quintet: fl, ob/ehm, cl/bcl, bsn, hm. (1980, Primavera).

Matthews, Colin. (1946) Five Concertinos, afl/pic, ob, Eb cl/bcl, bsn, hm. (1990, Faber).

Matthews, Colin. (1946) Rainbow Studies, fl/pic, ob/ehm, cl/bcl, bsn, pn. (1978, Faber).

Matthews, Colin. (1946) StrugnelVs Haiku, fl/pic, ob/ehm, cl/bcl, bsn, pn. (1989, Faber).

McCombe, Christine. Five Pieces, fl/afl, ob, cl/bcl, hm, bsn. (1997, Australian Music Centre).

Radzynski, Jan. (1950) Concerta Da Camera 1. fl/afl/pic, ob/ehm, cl/bcl, hm, bsn/contra bsn. (1985, Israel Music Institute).

43 Slettholm, Yngve. (1955) 13 Monontanies. fl, ob, ci/bci, hrn, bsn. (N-MIC(ms».

Thom, Benjamin. Apochryphal Ants at -. Eb cl, 3 els, bel. (1998, Australian Music Centre).

Quintets Including a Wind instrument and a String Instrument

Anderson, Avril. (1953) Under Pressure, cl/bcl, ssax, trpt, vln, vcl. (BMIC).

Barrett, Richard. (1959) Trawl, fl, bel, vln, vcl, pn. (1997, United Music Publishers).

Barry, Gerald. (1952) Quintet, ehm, cl/bcl, vcl, db, pn, Jew's harp. (1994, Oxford University Press).

Biondi, Michael. Dark Timbres: Lyric Adagio in One Movement, hm, via, vcl, bsn, bel. (1984, source; BBD20CM ).

Davidson, Tina. (1952) Quintet, afl, bel, via, vcl, db. (1981, source: BBD20CM).

Davies, Peter Maxwell. (1934) Unbroken Circle, afl, bel, pn, via, vcl. (1984, Chester).

Drew, James. (1929) Chamber Symphony, afl, bel, vln, vcl, pn. (1972, Theodore Presser).

Ford, Andrew. (1956) Chamber Concerto No. 2: Cries in Summer, fl/pic/afl/bfl, cl/bcl, vln, via, vcl. (1983, Australian Music Centre).

Formosa, Riccardo. Tableaux: Per Cinque Strumenti. pic, vln, via, bel, hpsd. (1982, Australian Music Centre).

Gilmour, Russell. Point, pn, fl/pic, cl, via, bel. (Australian Music Centre).

Gribbin, Deirdre. (1967) Cease. 2 cl/bcl/whistle, via, vcl/whistle, db/whistle, pn. (1995, ms, source: BBD20CM ).

Haug, Halvor. (1952) Symphony for Five, fl alfl, cl/bcl, hm, gtr, pn. (N-MIC(ms)).

Hegdal, Magne. (1944) Symphony for Five, fl/alfl, cl/bcl, hm, gtr, pn. (N-MIC(ms)).

Hopkins, John E. (1949) Fuga Canonica. fl/afl, cl/bcl, hpsd, vln, vcl. (1981, Schirmer).

Huggler, John. (1928) Serenata per 5 Strumenti, Opus 80. fl, cl/bcl, vln, via, vcl. (1977, somce: BBD20CM).

4 4 Kupferman, Meyer. (1926) Infinities Thirteen, fl/afl, cl/bcl, vln, via, pn. (1965, Bowdoin College Press).

Matthews, Colin. (1946) Elegiac Chaconne. afl, bel, pn, via, vcl. (1997, Faber).

Moe, Eric. Up & At 'em. afl, ehm, bel, via pn. (1994, source: BBD20CM).

Musgrave, Thea (1928) Chamber Concerto No. 2. fl/pic/afl, cl/bcl, pn, vln/vla vcl. (1966, Chester).

Poole, Geoffrey. (1949) Polter Zeits. Eb cl/cl/asax, bcl/cl/bsax, prepared pn, vln, via (1975, BMIC).

Powers, Anthony. (1953) Fast Colours, fl/afl/pic, cl/bcl, pn, vln, vcl. (1997, Oxford University Press).

Powers, Anthony. (1953) Quintet, fl/afl, cl/bcl, vln, via vcl. (1983, Oxford University Press).

Savage, Robert. (1951 - 1993) Sudden Sunsets, fl, bel, vln, vcl, pn. (1989, American Music Center).

Smalley, Roger. (1943) Poles Apart, fl, bel, vln, via, vcl. (1992, Australian Music Centre).

Stoneham, Luke. (1966) Seconds to Go. fl, bel, hra, pn, db. (1990, BMIC).

Torke, Michael. (1961) The Blue Pages, pn, bel, fl, vln, vcl. (1995, Adjustable Music; Hendon Music sole agent).

Wallin, Rolf. (1957) Topologie D'une Cité Fantôme, cl/bcl, hm, pn, vln, vcl. (NMO).

Westlake, Nigel. (1958) Refractions at Summer Cloud Bay. afl/pic, bel, vln, v ia vcl. (1989, AMC).

Whi ticker, Michael. All in Good Time, bel, fl, pn, vln, vcl. (1991, Australian Music Centre).

Quintets Including a Wind Instrument and a Percussion Instrument

Bohâc, Josef. (1929) Sonettiper sonatori. fl, bel, cembalo, pn, perc. (1974, Panton).

Cage, John. (1912 - 1992) Five 5. fl, 2 els, bel, perc. (1991, Henmar Press).

4 5 Lerstad, Teije Bj0m. (1955) Theme and Variations, op. 109 A. cl, bel, hm, trb, xyl. (N- MlC(ms)).

McKinley, William Thomas. (1938) Progeny, fl/pic, ob, cl/ssax or bel, perc, tape. (1971, source: BBD20CM ).

Peterson, Wayne. (1927) Phantasmagoria, fl, cl/Eb cl, cl/bcl, perc, db. (1969, Seesaw).

Pololdnik, Zdenek. (1935) Musica concisa. fl, bel, pn, hpsd, peic. (1963, Ranton).

Ran, ShulamiL (1949) A Prayer, cl, bel, bsn, hra, trpt, tmp. (1981, Theodore Presser).

Ruzicka, Petr. ( 1948) Music for Five, fl, bel, pn, hpsd, perc. (ms, source: NDC).

Stedron, Milos. (1942) Via Crucis. fl, bel, pn, hpsd, perc. ( 1964, CMIC).

Steiger, Rand. (1957) 2 Loops, bel, ssax, 2 pere, pn. (1990, Leisure Planet Music).

Quintets Including a Wind Instrument,

a String Instrument and a Percussion Instrument

Barry, Gerald. (1952) Sextet, cl/bcl, trpt, 2 mar, pn, db. (1993, Oxford University Press).

Bright, Colin. El Nino D ances, kybd (synthesiser, sampler or pn), tsax (or bel or trb), vln (or el gtr), db (or bass gtr), pere (may be played on sampler). (1994, Australian Music Centre).

Broadstock, Brenton. (1952) And No Birds Sing, fl/afl/pic, cl/bcl, vln, pn, pere. (1986, Australian Music Centre).

Graubart, Michael. (1930) M etabola. fl, bel, pere, via, tape. (1974, BMIC).

Hopkins, John E. (1949) Se La Face Ay Pale, fl/pic/afl, cl/bcl, pere, vln, vcl. (1977, Schirmer).

Kokoska, Miroslav. Music for Five, fl, bel, gtr, mar, pn. (ms, source: NDC).

Maw, Nicholas. (1935) Ghost Dances, fl/afl/pic, cl/Eb cl/bcl/kazoo, pn/kalimba, vln/strum-stick, vcl. (1988, Faber).

Paintal, Priti. (1960) Ayodhya 3. fl/pic/afl, cl/bcl, vcl, 2 pere. (1986, BMIC).

Pollard, Mark. Highly Strung: For Amplified Ensemble, bel, via, 2 gtrs, mar/vib. (1987, Australian Music Centre). 46 Pritchard, Gwyn. (1948) Wayang. fl/afl/pic, cl/bcl, perc, vcl, pn. (1993, Camerata Editions).

Schanzer, JefTrey. Jedem Das Notige. bel, hm, perc (glock, orchestral chimes, mar, snare drum), via, db. (1994, s.n.).

Shipley, Edward. (1941 - 1988) Ha. cl/bcl, trpt, perc, vln, db. (BMIC).

Stedron, Milos. (1942) Quadra, bel, vie, tsax, pn, perc. (1992, CMIC).

Tahourdin, Peter. Raga Music 3: Elision, cl/bcl, via, gtr, hpsd, perc (wood blocks, bongos, 3 tom-toms, side drum, triangle, suspended cymbal, 2 gongs, tam-tam, vib, xyl). (1988, Australian Music Centre).

4 7 CHAPTER 6

SEXTETS WITH BASS CLARINET

Sextets Including an Electronic Instrument or Tape

Barrett, Richard. (1959) lemptation. asax/bsax/bcl, trpl/pic trpt/comet, perc, synthesiser, vcl, electronics. ( 1987, United Music Publishers).

Impett, Jonathan. (1956) Cassation. Eb cl/bcl, trpt, perc, pn, vcl, electronics. (BMIC).

Luti, Vincent Mixed Quintet, fl/afl, cl/bcl, vln/vla, vcl, pn, tape. (1968, Bowdoin College Press).

Meijering, Chiel. (1954) You Can't Keep a Good Man Down, six bcls or one bel, tape. ( 1992, Donemus).

Sindberg, Magnus. "Ur" for 5 Players, cl/bcl, vln, via, vcl, db, live electronics. (Wilhelm Hansen).

Sextets Including String Instruments

Anderson, Barry. (1935 - 1987) Arc. bel, 2 vln, via, vcl, tz^. (1987, BMIC).

Bartos, Jan Z. (1908 - 1981) Concerto, bel, pn, 2 vln, via, vcl. (ms, source: NDC).

Bartos, Jan Z. (1908 - 1981) Inventioni III. bel, pn, 2 vln, via, vcl. (ms, source: NDC).

Lucky, Stepdn. (1919) Concertino, bel, pn, 2 vln, via, vcl. (ms, source: NDC).

Lucky, Stepdn. (1919) Sextet, bel, 2 vln, via, vcl, pn. (ms, source: NDC).

McKimm, Barry. Bass Clarinet Sextet, bel, pn, via, 2 vins, vcl. (1981, Australian Music Centre). 4 8 Nedbal, Manfred. Divertimento IL bel, pn, 2 vln, via, vcl. (ms, source: NDC).

Stedron, Milos. (1942) Folk Suite, bel, pn, 2 vln, via, vel. (CMIC).

Vorlovâ, Slâva. (1894 -1973) Corelationi III. bel, pn, 2 vln, via, vel. (ms, source: NDC).

Sextets Including Voice

Adams, Anthony. (1947) Six Winter Haiku, sop, fl, bel, hm, perc: gloek, mar, vib, pn. (1980, BMIC).

Alexander, Josef. (1910) Aspects o f Love, voice, pn, fl/pic, el/bel, vln/vla, vcl. (1975, source: BBD20CM).

Bainbridge, Simon. (1952) People o f the Dawn, sop/perc, el/ssax, el/bel, bel, pere, pn/eel/pere. (1975, United Music Publishers).

Barrett, David. (1959) The Agony in the Garden: A Meditation After El Greco, voice, 3 els, bel, bass drum. (1954, Ricordi).

Biggs, Hayes. Songs From Water and Stone, sop solo, fl/pic/afl, cl/bel, vln, vel, pn. (1996, C.F. Peters).

Birtwistle, Harrison. (1934) Nenia: the Death o f Orpheus, sop, el/bel, 2 bel, pere: crotales, pn/prepared pn. (1970, Universal/ lùümus).

Butler, Martin. (1960) Roll It Along!, sop, 2 bel, via, vel, db. (1991, Oxford University Press).

Cotek, Pavel. (1922) Portrait o f a Bird. 2 Narrators, via, bel, cel, harp. (1963, source: BBD20CM).

Covell, Grant In Der Nacht. bar, el, bel, snare drum, via, vel. (1993, American Music Center).

Dalby, Martin. (1942) The Keeper o f the Pass, sop, 3 cl (Eb cl, bel, tsax), perc, pn. (1971, Novello).

Davies, Peter Maxwell. (1934) My Lady Lothian's Ult. mez, afl, bel, perc, via, vcl. ( 1975, Boosey & Hawkes).

Femeyhough, Brian. (1943) On Stellar Magnitudes, mez, fl/pic, cl/bcl, pn, vln, vel. (1994, Peters). 4 9 Gordon, Morgan. (1953) Fairground Song, voice, 2 fl, bel, perc, via. (1987, BMIC).

Gordon, Morgan. (1953) Little Song, voice, 2 fl, bel, perc: claves, via. (1987, BMIC).

Hellawell, Piers. (1956) Quem Quaeritis. sop, cl, bel, via, vcl, db. (1995, Maecenas Music).

Hopkins, John E. (1949) For the Far Journey, sop, fl/pic/afl, cl/Eb cl/bcl, hpsd, vln, vcl. (1981, Schirmer).

Hopkins, John E. (1949) Noche Oscura. sop, fl/pic/afl, cl/bcl, gtr, via, vcl. (1976, Schirmer).

Ingoldsby, Thomas. (1957) Three Small Utanies. sop, fl/pic, cl/bcl, pn, vln, vcl. (1990, BMIC).

Kubfk, Ladislav. Lament o f a Warrior's Wife, sop, tape, via, bel, pn, perc. (ms, source: NDC).

LeFanu, Nicola. (1947) The Same Day Dawns, sop, fl/afl, cl/bcl, perc, vln, vcl. (1974, Novello).

Lindroth, ScotL Light, cl/bcl, pn/cel, xyl/glock, vln, vcl, mez sop. (1993, s.n.).

Lutyens, Elisabeth. (1906 - 1983) Laudi. sop, cl/Eb cl, cl/tsax, cl/bcl/bsax, perc, pn. (1973, Olivan/ Kalmus).

Lutyens, Elisabeth. (1906 - 1983) Vision o f Youth, sop, 3 cl/3 bel, perc, pn/cel. (1970, BMIC).

Mason, Benedict (1953) Sonata Da Camera, sop, ssax/asax, Eb cl/bcl, perc: mar, vln, vcl. (1987, Chester).

Milstein, Silvina. (1956) Psalm Concerning the Castle, sop, cl, cl/bcl, via, vcl, db. (1996, BMIC).

Nyman, Michael. (1944) Polish Lo\e Song, sop, cl, bel, via, vcl, db. (1989, Chester).

Panufnik, Andrzej. (1914 - 1991) 5 Piesni Ludowych: Five Polish Peasant Songs, sop (or treble) voices in unison, 2 fis, 2 els, bel. (1961, Polskie Wydawn. Muzyczne).

Plush, Vincent ( 1950) Florilegium II: A Chamber Concertino for Solo Marimba and Small Ensemble, solo mar, fl/pic/afl, cl/pic or sop cl/ bel, pn, vln, vcl. (1992, Australian Music Centre).

Powell, Jonathan. Verlaine: Apres Trois Ans. sop, cl, cl/bcl, via, vcl, db. (BMIC). 50 Rakowski, David. A Loose Gathering o f Words: Four Songs on American Poetry, sop, cl, bel, via, vcl, db. (1995, C.F. Peters).

Roe, Helen. (1955) Blaue Blume, Die. sop, ob/ehm, cl/bcl, perc, via, vcl. (1976, BMIC).

Schonberg, Arnold. (1874 - 1951) Pierrot Lunaire, op. 21. speaking voice, pn, fl/pic, cl/bcl, vln/vla, vcl. (1912, Universal Edition).

Toovey, Andrew. (1962) Ja Ja Ja Ja Ja Ne Ne Ne Ne Ne. voice, bel, trb, pn, via, vcl. (BMIC).

Tumage, Mark-Anthony. (1960) Lament far a Hanging Man. sop/perc, ssax/perc, 2 bcl/perc, perc, harp/perc. (1983, Schott).

Webber, John. The Umilissimo Poems ofO. B. Hardison: Three Songs, fl/pic, cl/bcl, sop, vln/vla, gtr, db. (1987).

Wilson, James. (1922) Nine Very Small Songs, sop, fl/pic, cl/bcl, hm, vln, vcl. (1991, ms, source: BBD20CM).

Woolrich, John. (1954) Poor Mister Snail, sop, cl, bel, via, vcl, db. (1992, Faber).

Sextets Including Woodwind instruments

Bumcke, Gustav. Sextet in Ab, op. 19. ehm, cl, bel, bsn, sax, natural hra. (1908, Diem).

Collins, Amanda. Toon Cat. fl/pic, ob, cl, bel, hra, bsn. (1995, Scot-MIC).

Deane, Raymond. ( 1953) Two Silhouettes, org, ehm, bel, asax, bsn. (1988, CMCI).

Fox, Christopher. (1955) Heliotrope 3. fl/pic, ob, cl, cl/bcl, bsn, hra. (1990, BMIC).

Janâcek, Leos. (1854- 1928) Mlddi Suite, fl/pic, ob, cl, hra, bsn, bel. (1924, Hudebni Matice).

Josephs, Wilfred. (1927 - 1997) Papageno Variations, fl/pic, ob, cl, bel, bsn, hra. (1989, BMIC).

Lehmann, Wilfred. Celebration Mystique, ob/ehm, cl/bcl, 2 hras, 2 bsns. (1992, Australian Music Centre).

MacKinnon, Robert Suite for Six Woodwinds. 2 fis, 2 els, bsn, bel. (1958, University Music Press).

51 Matthews, Colin. (1946) To Compose Without the Least Knowledge o f Music, fl, ob, cl, hrn, bsn, bel. (1991, Faber).

Nono, Luigi. (1924 - 1990) Polifonica, Monodia, Ritmica. fl, cl, bel, asax, hm, pn. (1951, Ars Viva Veriag Hermann Scherchen).

Rankine, Peter. From Fire by Fire. 2 obs (1st doubling ehm), 2 els (1st doubling bel, 2nd doubling Eb cl), 2 hms in f, 2 bsns, (conductor optional). (1989, Australian Music Centre).

Rebner, Wolfgang. (1910) Sextett. fl, ob, cl, bel, bsn, hm. (Edition Modem).

Stalheim, Jostein. (1960) A-Ab- Abs Av Same Rot: Tvil 2. fl/pic, ob/ehm, cl/bcl, accordion, hm, bsn. (N-MlC(ms)).

Stedron, Milos. (1942) Renaissance Suite, Frantisek Hordk, Arr. bel, pn, fl, ob, cl, bsn. (CMIC).

Thomson, Virgil. (1896 - 1989) Barcarolle for Woodwinds: A Portrait o f Georges Hugnet. fl, ob, ehm, cl, bsn, bel. (1944, Mercury).

Woolrich, John. (1954) The Iron Cockerel Sings, fl, ob, cl, bel, hm, bsn. (1998, Faber).

Sextets Including a Wind Instrument and a String instrument

Cheong, Simplicius. Movement, cl, bel, pn, vln, via, vcl. (1982, Australian Music Centre).

Gyger, ElliotL Si Doux, afl, bel, vln, via, vcl, pn. (1997, Australian Music Centre).

Harbison, John. (1938) Serenade, fl, cl, bel, vln, via, vcl. (1978, American Music Center).

Isaacs, Mark. So It Does, cl/bcl, fl/afl, vln, via, vcl, pn. (1985, AMC).

Kerry, Gordon. Sonata Da Camera, fl/afl, cl/bcl, pn, vln, via, vcl. (1991, Australian Music Centre).

Muller-Siemens, Detlev. Sextett. fl/pic, ob, cl in A, Bb/bcl, vln, via, vcl. (1993, Ars Viva).

Nicholson, George. (1949) M ovements. cl/Eb cl/bcl, bsn, hm, 2 vins, via. (1983, BMIC).

52 Santoro, Claudio. (1919 - 1989) Musica de Cdmera. fl, cl, bel, vln, vcl, pn. (1944, Montevideo).

Schwantner, Joseph C. (1943) Elixir: Consortium VUI. fl /afl, cl/bcl, vln, via, vcl, pn. (1976, C.F. Peters).

Smetanin, Michael. Strange Attractions, fl, bel, pn, vln, via, vcl. (1990, Australian Music Centre).

Vine, Carl. (1954) Miniature IV. fl/pic, cl/bcl, vln, via, vcl, pn. (1988, Australian Music Centre).

Wiefler, Florian. Serenata. bel, fl, hn, pn, via, vcl. (ms, source: NDC).

Sextets Including a Wind Instrument and a Percussion Instrument

Batterham, Andrew. Rampant, cl, bel, trpt, bass trb, pn, perc. (1993, Australian Music Centre).

Becker, Gunther. (1924) Ariosi, ob, ehm, cl, bel, vib, mar. (1982, source: BBD20CM).

Chambers, Wendy. Phrase Construction, conductor, 2 obs, bsn, bel, trb, perc (trap set). ( 1979, American Music Center).

Pritchard, Gwyn. (1948) M adrigal, fl/afl/pic, ob/ehm, cl/bcl, harp, 2 perc (2nd perc can be conductor). (1988, Camerata Editions).

Schultz, Andrew. Silk Canons. 2 fis, 2 bcls, vib, pn. (1994, Australian Music Centre).

Stockhausen, Karlheinz. (1928) Kreuzspiel. ob, bel, pn, 3 perc. (1951, Stockhausen Veriag).

Sextets Including a String Instrument and a Percussion Instrument

Fox, Christopher. (1955) Leap Like the Hart, bel, trpt, 2 perc, pn, db. (1989, BMIC).

Kerry, Gordon. Phaselus. perc, vln, via, bel, gtr, mand. (1986, Australian Music Centre).

Meijering, Chiel. (1954) Uitkuisen. bel, perc, 2 vln, via, vcl. (1992, Donemus).

53 Reiner, Thomas. Journey and Contemplation: for Solo Guitar and Chamber Ensemble. gtr, bel, perc, vln, via, db. (1987, Australian Music Centre).

Rolfe, James. (1961) Railway Street, solo bel, pn, perc, vln, vcl, db. (1991, Photocopy; originals of score and parts in CMC Toronto).

Schidlowsky, Leon. (1931) Eclipse, fl, bel, perc, cel, harp, pn. (1983, Israel Music Institute).

Van Dijk, Gijs. Sextet, bel, perc, 2 vln, via, vcl. (1994, Donemus).

Sextets Including a Wind Instrument,

a String Instrument, and a Percussion Instrument

Barry, Gerald. (1952) Bob. cl, cl/bcl, vln, vcl, mar, pn. (1989, Oxford University Press).

Bibalo, Antonio. ( 1922) The Savage: 4 Impressions for 6 Players, fl/al fl/pic, cl/bcl/sax, vln, vcl, pn/synthesiser, perc. (N-^ÔC(ms)).

Birtwistle, Harrison. (1934) Ut Heremita Solus, fl/afl/pic, cl/bcl, perc: glock, pn, via, vcl. (1969, Universal/ Kalmus).

Blaustein, Susan. Sextet, fl/pic, cl/bcl, vln, vcl, pn, perc. (1986).

Blumberg, Stephen. Sextant, fl, bel, via, vcl, perc, pn. (1992).

Braun, Yehezkel. (1922) Soundtrack, bel, trpt, 3 perc, db. (1963, Israel Music Institute).

Brennan, John Wolf. (1954) Fric-Tions. fl, bel, vib, vln, via, vcl. (1993, CMCI).

Bright, Colin. R ed Earth, fl, cl/bcl, vln, vcl, pn, perc. (1985, Australian Music Centre).

Brophy, Gerard. Cries and Whispers, pic, bel, harp, gtr, mand, perc. (1984, Australian Music Centre).

Brophy, Gerard. Senso: Dopo Skin D'armourdo. pic, bel, pn, mar, vln, vcl. (1982, Australian Music Centre).

Butler, Martin. (1960) Going With the Grain, perc: mar, fl/pic, cl/bcl, vln, via, vcl. (1991, Oxford University Press).

Butler, Martin. (1960) Jazz Machines, fl/afl/pic, cl/bcl, perc: vib, pn, via, vcl. (1990, Oxford University Press).

54 Carpenter, Gary. (1951) Da Capo, all, ehm, bci, pn, via, vcl. (BMIC).

Cashian, Philip. (1963) Blackdance. fl/afl/pic, cl/bcl, perc: mar/vib, pn, vln/vla, vcl. (1989, BMIC).

Chen, Yi. ( 1953) Near Distance: Lost in Thought About Ancient Culture and Modern Civilization, fl/afl, bcl/bcl, vln, vcl, pn, perc. (1994, T. Fhesser).

Cole, Bruce. (1947) Caesura, fl/pic, cl/bcl, perc: vib, xyl, pn, via, vcl. (Boosey & Hawkes).

Cronin, Stephen. Eros Reclaimed, bfl/fl/pic, bcl/cl, perc, pn, vln, vcl. (1993, Australian Music Centre).

Dal by, Martin. (1942) The Dancer Eduardova. fl/afl/pic, cl/bcl, perc, pn/cel, vln, vcl. (1978, Novello (1981)).

Davies, Peter Maxwell. (1934) Bairns ofBrugh. pic/fl, bel, perc: mar, pn, via, vcl. (1981, Boosey & Hawkes).

Davies, Peter Maxwell. (1934) Dances From the Two Fiddlers, vln, pic/fl, bel, perc, pn, vcl. (1978, Boosey & Hawkes).

Davies, Peter Maxwell. (1934) Dowland: Farewell - A Fancye. afl, bel, perc: mar, pn, via, vcl. (1986, Boosey & Hawkes).

Davies, Peter Maxwell. (1934) Four Instrumental Motets, fl/afl, cl/bcl, 2 perc: mar, crotales, cel, gtr, vln/vla, vcl. (1974, Boosey & Hawkes).

Davies, Peter Maxwell. (1934) Image Reflection Shadow, fl/afl/pic, cl/bcl, perc: cimbalom, pn, vln, vcl. (1982, Chester).

Dobbins, Lori. Chamber M usic, fl, cl/bcl, vln, vcl, perc, pn. (1991, GunMar Music).

Edwards, Ross. (1943) Shadow D-Zone. fl, cl/bcl, perc, pn, vln, vcl. (1977, Australian Music Centre).

Elias, Brian. (1948) Geranos. fl/pic/afl, cl/Eb cl/bcl, pn, perc, vln/vla, vcl. (1985, Chester).

Festinger, Richard. (1948) A Serenade for Six. fl, cl/bcl, vln, vcl, perc, pn. (1996, Henmar Press).

Pitkin, Graham. (1963) Ironic, ssax/cl, ssax/bcl, perc: mar, pn, vln, vcl. (1997, BMIC).

55 Ford, Andrew. (1956) Chamber Concerto No. 3: in Constant Flight, solo vln, fl/afl/pic, cl/bcl, vcl, perc, pn. (1988, Australian Music Centre).

Grange, Philip. (1956) Cimmerian Nocturne, pic/fl, bel, perc: mar, pn, vln, vcl. (1979, Maecenas Music).

Hayden, Sam. Partners in Psychopathology, afl/pic, bcl/Eb cl, perc: vib, mar, pn, via, vcl. (1998, BMIC).

Hopkins, John E. (1949) The Cloud o f Unknowing, fl/pic/afl, cl/bcl, perc, pn/cel, vln/vla, vcl. (1978, Schirmer).

Imbrie, Andrew. (1921) Pilgrimage, fl/pic/afl, cl/Eb cl/bcl, vln, vcl, perc, pn. (1988, C.F. Peters).

Ingoldsby, Thomas. (1957) Te Rerioa. fl/pic, cl/bcl, perc, pn, vln, vcl. (BMIC).

Jones, Nicholas J. In the Grey o f the Dawn, fl/pic/afl, cl/bcl, perc: mar/vib, pn, vln, vcl. (BMIC).

LeFanu, Nicola. (1947) Collana. perc, fl/afl, cl/bcl, vln, vcl, db. (1976, Novello).

LeFanu, Nicola. (1947) Sextet, fl/afl/pic, cl/bcl, perc, pn, vln, vcl. (1996, Novello).

Lim, Liza. Diabolical Birds, pic, bel, pn, vln, vcl, vib. (1990, Australian Music Centre).

Lobbett, Gary. Resti Euta. fl/pic, cl/bcl, perc, pn, vln, vcl. (1995, BMIC).

Meale, Richard. (1932) Incredible Floridas. fl/afl/pic, cl/bcl, vln/vla, vcl, pn, perc. (1971, Australian Music Centre).

McGuire, Edward. (1948) Euphoria, fl/afl/pic, cl/bcl, perc: mar, pn, vln, vcl. (1980, BMIC).

McGuire, Edward. (1948) Rebirth, fl/afl, cl/bcl, perc, pn/cel, vln, vcl. (1974, BMIC).

Northcott, Bayan. (1940) Sextet, fl/pic, cl/bcl, perc, pn, vln, vcl. (1985, Stainer & Bell).

Peterson, Wayne. (1927) Diptych, fl/afl/pic, cl/bcl, via (or vln), vcl, perc, pn. (1996, Henmar Press; Sole selling agents C.F. Peters).

Peterson, Wayne. (1927) Sextet, fl/afl, cl/bcl, perc, harp, vln, vcl. (1995, Henmar Press; sole selling agents C.F. Peters).

Pritchard, Gwyn. (1948) Lollay, Lollay. ehm, bel, perc, pn, via, vcl. (1983, BMIC).

56 Reeder, Haydn. ( 1944) Dance in a Mirror of Time, fl/pic, bci, vln, 2 gtrs, db, perc (mar, glock, 2 bongos, 3 timbales, snare drum, bass dnun, cymbals). (1987, Australian Music Centre).

Saxton, Robert (1953) The Sentinel o f the Rainbow, fl/afl/pic, cl/bcl/Eb cl, perc, pn/cel, vln/vla, vcl. (1984, Chester).

Schidlowsky, Leon. (1931) Sextet, fl/pic, cl/bcl, vln, vcl, perc, pn. (1970, Israel Music Institute).

Smalley, Roger. (1943) Ceremony li. fl/pic/afl, cl/bcl, vln, vcl, pn, perc. (1989, Australian Music Centre).

Stalheim, Jostein. (1960) Glimpses o f a Daylight, fl, bel, perc, |m, vln, vcl. (N- MlC(ms)).

Taub, Bruce J. Lady Mondegreen's Dances, fl/afl, cl/bcl, vln, vcl, perc, pn. (1996, C.F. Peters).

Vine, Carl. (1954) Sinfonia. fl/afl, pic, cl/bcl, via, vcl, pn, perc. (1982, Australian Music Centre).

Waring, Rob. (1956) Concerto for Vibraphone, vib, fl, bel, vln, vcl, tmp. (N-MlC(ms)).

Weir, Judith. (1954) King Harald Sails to Byzantium, afl, bel, perc, pn, vln, vcl. (1977, Novello).

57 CHAPTER?

SEPTETS WITH BASS CLARINET

Septets Including an Electronic instrument or Tape

Morris, David. ( 1948) What the Wind Told Me. fl, ob, cl, bci, bsn, hm, pn. (1980, BMIC).

Septets Including Miscellaneous Instruments

Campion, Rob. Reciprocal, fl, ob/ehm, cl/bci, tsax, trpt, Irb, pn. (1997, BMIC).

Hindemith, Paul. (1895 - 1963) Septet, fl, ob, cl, bel, bsn, hm, trpL (1948, Schott).

Septets Including Percussion Instruments

Straesser, Joep. (1934) Encounters, bel, 6 perc. (1973, source: BBD20CM).

Septets Including String Instruments

Ford, Andrew. (1956) On Canaan's Happier Shore, bcl/cl, mand, gtr, perc, vln, via, db. (1987, Australian Music Centre).

58 Septets Including Voice

Bamford, Adrian. (1966) Five Songs for an Open Mind, sop, fl/pic/afl/wind chimes, cl/bcl/Eb cl/wind chimes, perc, vln, via, vcl. (1996, CMC!).

Beamish, Sally. Ease. 3 sops, fl/pic, cl/bcl, via, perc: inc. typewriter. ( 1993, Scot-MIC).

Beamish, Sally. Madrigali. ten, fl/pic, ob, cl/bcl, hm, harp, db. (1994, Scot-MIC).

Bryars, Gavin. (1943) The Adnan Songbook. sop, bcl/cl, el gtr/a gtr, strings. (1996, Schott).

Butler, Martin. (1960) Dirty Beasts, speaker, fl/pic, ob, cl/bcl, bsn, hm, pn. (1988, Oxford University Press).

Byers, David. (1947) Moon Shadows, mez, fl/pic, cl/bcl, hm, vln, vcl, pn. (1981, ms).

Cashian, Philip. (1963) Near Winter, sop, cl, cl/bcl, ssax/bcl, via, vcl, db. (1988, BMIC).

Deane, Raymond. (1953) November Songs, ten/mez, ob, bel, pn, vln, vcl. (1990, CMCI).

Fox, Erika. (1936) Meditation on "Sibyls”, alto, cl/Eb cl/bcl, bsn, hm, vln, via, vcl. (1991, BMIC).

Fussell, Charles. (1938) Goethe Lieder. fl, cl/A cl/bcl, hm, vln, vcl, 1 perc (glock), voice: sop or ten, pn. (1991, source: BBD20CM).

Lerstad, Teije Bjom. (1955) LuxAeterna, op. 123 B: Avslutningskoret Fra "Requiem". voice(alto), cl, bel, hm, perc, mar, pn. (N-MIC(ms)).

Matej, Daniel. (Another Two) Lullabies, cl/bcl, mez sop/tuned bottles, vib (accordion/synthesizer), pn, via, vcl/db. (HIS/MIC).

Matthews, Colin. (1946) Cantata on the Death o f Antony, sop, 2 cl: Eb cl, bel, via, vcl, db. (1989, Faber).

Nicholson, George. (1949) The Arrival o f the Poet in the City, speaker, cl/bcl, comet, trb, perc, vln, db. (1983, BMIC).

Nordheim, Ame. (1931) Tre Voci. voice(s), fl/pic, Eb cl/bcl, vln, vcl, perc, pn. (source: BBD20CM).

Plush, Vincent (1950) Florilegium III: A Chamber Concerto for Solo Clarinetist & Ensemble, cl, Eb cl, bel, fl, pn, vln, via, vcl (a female voice may recite an

59 optional text at the commencement of the third movement). (1997, Australian Music Centre).

Quagiia, Bruce William. Three Songs on Poems by Johanna Wiseman, sop, fl, bcl/bcl, vcl, harp, pn/cel, perc. (1993).

Schoeck, Othmar. (1886 - 1957) Gaselen, Liederfolge nach Gedichten v. G ottfried Keller, op. 38. bar, fl, ob, bel, trpt, pn, perc. (1953, Boosey & Hawkes).

Shinn, Randall Alan. ( 1944) Songs o f Our Climate, sop, fl, cl/bcl, perc, pn, vln, db. ( 1970, source: BBD20CM).

Skouen, Synne. ( 1950) What Did Schopenhauer Say...?: An Argument in Score, nar, fl, cl/bcl/tsax, perc, vln, vcl, tape. (N-MIC(ms)).

Tippett, Michael. (1905 - 1998) Words for Music Perhaps, speakeifs), bel, trpt, perc: gong, xyl, pn, vln, vcl. (1960, Schott).

Walton, William. (1902 - 1983) Façade, speaker, fl/pic, cl/bcl, asax, trpt, perc, vcl. (1921, Oxford University Press).

Walton, William. (1902 -1983) Façade 2. speaker, fl/pic, cl/bcl, asax, trpt, perc, vcl. ( 1978, Oxford University Press).

Septets Including Woodwind instruments

Blake, David. (1936) Nonet, fl, 2 ob, cl, cl/bcl 2 bsn, 2 hm. (1971, Novello).

Bodorovâ, Sylvie. Kovadliny casu. bel, pn, cl, fl, ob, bsn, hm. (ms, source: NDC).

Diethe. Romance. 2 ob, cl, 2 bsn, hm, bel. (Andraud).

Hatch, Peter. (1957) Endangered Worlds for Wind Sextet, fl/pic/afl, ob/eng hm, cl, bel, bsn, hm. (1996, Photocopy; master copies of score and parts in CMC Toronto).

Lerstad, Teije Bjom. (1955) Septet, pic, fl, 2 ob, cl, bel, contra bsn. (N-MIC(ms)).

Vorlovd, Slâva. (1894 - 1973) Music for Due Boemi, Frantisek Hordk, Arr. bel, pn, cl, fl, ob, bsn, hm. (ms, source: NDC).

60 Septets Including a Wind Instrument and a String Instrument

Anderson, Julian. (1967) Poetry Nearing Silence, fl/pic/afl, cl/bcl, harp, 2 vln, via, vcl. (1997, Faber).

Dickinson, John. (1947) Dawlish Fandango, fl, pic, cl, bel, pn, vln, vcl. (1990, BMIC).

Grant, Robin. (1955) Miniature Mechanisms, fl/afl, bel, harp, 2 vln, via, vcl. (1997, BMIC).

Hartmann, Per Johannes. (1945) Permanent Wave, ob, cl, bel, 2 vln, via, vcl. (N- MlC(ms)).

Johnston, Fergus. (1959) U ofa. fl, ehm, bel, hm, 2 vln, via, vcl. (1994, CMCI).

McPherson, Gordon. (1965) General Wade's Road, fl/pic, cl/bcl, harp, 2 vln, via, vcl. (1988, BMIC).

Nicholson, George. (1949) Ancient Lights, fl/pic, 2 cl/bcl, pn, vln, via, vcl. (1982, BMIC).

Payne, Anthony. (1936) The Stones and Lonely Places Sing, fl/pic, cl/bcl, hm, pn, vln, via, vcl. (1979, Chester).

Revueltas, Silvestre. (1899 - 1940) Pianos, A Geometric Dance, cl, bel bsn, trpt, pn, vln, vcl. (1934, Fleisher).

Rhys, John Marlow. (1935) Telemachus Stopped at the Fountain, pic fl, ehm, bel, pn, gtr, via, vcl. (1982, BMIC).

Sawer, David. (1961) Take O ff. fl/afl, 2 cl/bcl, pn, vln, via, vcl. (1987, Universal/ Kalmus).

Schonberg, Amold. (1874 - 1951) Suite, op. 29. Eb cl, cl, bel, vln. via, vcl, pn. (1925 - 26, Universal Edition).

Tumage, Mark-Anthony. (1960) Three Farewells, fl, cl/bcl, harp, 2 vln, via, vcl. (1990, Schott).

Westlake, Nigel. (1958) Refractions at Summer-cloud Bay. bel, Eb cl, cl, fl/afl/pic, vln, via, vcl. (1990, AMC).

61 Septets Including a Wind Instrument and a Percussion Instrument

Adderiey, Mark. (1960) Reverberations, ob/ehm, cl/bcl, ssax/bsax, trpt, el gtr, perc, pn. (N-MIC(ms)).

Boyd, Anne. (1946) The Metamorphoses o f the Solitary Female Phoenix, fl/pic/afl, ob/ehm or 2nd fl/afl, cl/bcl, perc, pn, hm, bsn. (1971, Australian Music Centre).

Fox, Erika. (1936) In Memoriam Igor Stravinsky, afl, ehm, bel, bsn, hm, perc, pn. (1971, BMIC).

Hartwell, Hugh. Acitore. pn, bel, cl, fl, tuba, perc. (1968, ms (photocopy); transparency is in CMC Toronto).

Heidel, Ida Helene. (1958) Pipe Project, fl, bel, bsn, hm, perc, ceramic pots, tape. (N- MlC(ms)).

Reeder, Haydn. (1944) Three-Part Invention, fl/pic, Eb cl, cl/bcl, tsax, bsn, 2 percists (2 Chinese dmms, side drum, tom-toms, tmp, bongos, vib, mar, cymbal). (1977, Australian Music Centre).

Winther, Teije. (1963) Respiral, trpt, 2 cl, hm, bel, perc, tape. (1985 - 86, N-MIC(ms)).

Septets Including a String Instrument and a Percussion Instrument

Colbert, Brendan. Murderers o f Calm, gtr, mand, db, perc, vln, via, bel. (1987, Australian Music Centre).

Myers, Peter. O f Mind and Miruls. cl/bcl, mand, gtr/2 suspended cymbals/triangle, vln, via, db, perc (2 bongos, snare dmm, 4 tom-toms, triangle, hi-hat, sizzle cymbal, splash cymbal, 3 suspended cymbals, tam-tam, vib, xyl, mar, claves, 5 temple blocks). (1987, Australian Music Centre).

Whiticker, Michael. Venus Asleep, cl/bcl, vln, via, db, gtr, mand, perc. (1986, Australian Music Centre).

62 Septets Including a Wind Instrument,

a String Instrument and a Percussion Instrument

Barrett, Richard. (1959) Essay in Radiance, pic/bfl, Eb cl/bcl, ssax/tsax, 1/2 perc, eorg, vln/vla, vcl. (1984, United Music Publishers).

Bauer, Ross. Ritual Fragments, sop, fl/pic/afl, cl/bcl, vln, vcl, perc, pn. (1996, C.F. Peters).

Blackford, Richard. (1954) Concerto for Seven, cl/bcl, trpt, trb, perc, pn, vln, vcl. (1976, Oxford University Press).

Bobak, Mark. Septet, fl, ob, bel, vln, vcl, mar, pn. (1992).

Bright, Colin. R ed Earth II. solo gtr, fl/pic, cl/bcl, vln, vcl, pn, perc. (1997, Australian Music Centre).

Brophy, Gerard. Scintille, afl, cl, bel, pn, vln, via, vcl. (1984, Australian Music Centre).

Cage, John. (1912 - 1992) Seven 2. bfl, bel, bass trb, 2 perc, vcl, db. (1990, C.F. Peters : Henmar Press).

Davidson, Tina. (1952) Woman Dreaming, fl, ehm, bcl/cl, vln, vcl, perc, pn. (1990, source: BBD20CM).

Davies, Peter Maxwell. (1934) Antéchrist, pic fl, bel, 2 or 3 perc, vln, vcl. (1967, Boosey & Hawkes).

Dyndahl, Fetter. (1957) Kneial 2: Feedback for Ensemble, fl/pic/alfl, cl/bcl, perc, pn, vln, via, vcl. (N-MIC(ms)).

Ellis, James Anthony. (1954) Mountain Steps, fl, ob, cl/bcl, perc, vln, via, vcl. (1988, BMIC).

Grossner, Sonja. (1942) Survival, fl/afl/pic, cl/bcl, pn, vln, via, vcl, perc. (1997, BMIC).

Harbison, John. (1938) Exequiem for Calvin Simmons, afl, bel, vib, pn, 2 via, vcl. (1982, source: BBD20CM).

Hellawell, Piers. (1956) Sound Carvings From the Ice Wall, fl/pic, cl/bcl, perc, pn, via, vcl, db. (1995, Maecenas Music).

Hellewell, David. (1932) Chronos - Dynamikos. cimbalom, fl/pic, cl/bcl, 2 perc, vln, vcl. (1974, BMIC). 63 Holloway, Robin. (1943) The Rivers o f Hell, fl/pic/afl, ob/ehm, cl/Eb cl/bcl, perc, pn, via, vcl. (1977, Boosey & Hawkes).

Holt, Simon. (1958) Era Madrugada. fl/pic, cl/bcl, hm, pn, via, vcl, db. (1984, Universal/ Kalmus).

Howard, Brian. Chanson De La Plus Haute Tour, fl, bci, trb, 2 perc (vib, 2 mars, crotali, glock), harp, db. (1980, Australian Music Centre).

Johnston, Ben. (1926) Septet, fl/pic, ob/ehm, cl/bcl, hm, bsn, vcl, db. (1993, Smith Publications).

Knehans, Douglas. Exiles, cl/bcl, perc (vib, snare drum, bass drum, anvil - thunder sheet, 3 suspended cymbals, almglocken, steel dmm, glock), gtr/el gtr, vln, via, db, 2 pre-recorded tapes (mand). (1987, Australian Music Centre).

Kreiger, Arthur. (1945) Meeting Places, fl/afl, cl/bcl, pn, perc, vln, vcl, tape. (1996, C.F. Peters).

Marcussen, Kjell. (1952) Concerto for Guitar, Chamber Ensemble and Tape, fl/alfl, cl/bcl, vln, vcl, gtr, pn, perc. (N-MIC(ms)).

McGuire, Edward. (1948) Interregnum. 2 fl/afl, cl/bcl, perc, harp, via, vcl. (1974, BMIC).

Miller, Elma. (1954) The Witch o f Agnesi, cl, bel, hm, via, db, two perc. (1983, ms (photocopy); master of score in CMC Toronto).

Reeder, Haydn. (1944) Penumbra, fl/pic, cl, bel, trpt, harp, vcl, perc (vib, glock, bass drum, tenor drum, 2 tom-toms, snare drum). (1984, Australian Music Centre).

Reiner, Thomas. Bali Suite: 5 Dances for 7 Players, pic, bel, perc, pn, vln, via, vcl. ( 1989, Australian Music Centre).

Rhys, John Marlow. (1935) Capriccio. fl/pic, cl, bel, perc, harp, vln, vcl. (1976, BMIC).

Schultz, Andrew. Septet, fl/pic, cl/bcl, trb, perc, pn, vln, vcl. (1983, Australian Music Centre).

Smetanin, Michael. Lichtpunt. fl/afl/pic, cl/bcl, perc (cimbalon/mar/vib), pn, 2 vins, vcl. (1983, Australian Music Centre).

Smetanin, Michael. Vault, fl/pic/afl, cl/bcl/glock, harp, gtr, perc, vln, db. (1986, Australian Music Centre).

64 Stockhausen, Karlheinz. (1928) Dr. K-Sextett. fl, vcl, tubular bells, vib, bel, via, pn. ( 1969, Stockhausen Veriag).

Vir, Paiam. (1952) Contrapulse. fl/pic, ob/ehm, cl/bcl, perc, pn/cel, vln, vcl. (1985, BMIC).

Westlake, Nigel. (1958) Entomology, fl/pic/afl, cl/bcl, vln, vcl, perc, pn, pre-recorded stereo tape (DAT). (1990, AMC).

Woolrich, John. (1954) Envoi, afl, bel, perc: mar, log drums, bass drum, pn, vln, via, vcl. (1997, Faber).

6 5 CHAPTERS

CXJTETS WITH BASS CLARINET

Octets Including Miscellaneous instruments

Borris, Siegfried. (1906 - 1987) Oktett, op. 25, nr.3. fl, ob, cl, bel, bsn, trpt, 2 hm. (1952, Sirius-Veriag).

Gilbert, Anthony. (1934) Canticle 1 : Rock-song. 2 els, bel, 2 hms, 2 trpts, trb. (1973, Schott).

Leek, Stephen. Defractions, fl, ob, el, bel, bsn, sax, hm, trpL (1988, Australian Musie Centre).

Myers, Theldon. Antiphony, afl, cl, bel, eel, trpt, via, vcl, harp. (1981).

Woolrich, John. (1954) Spalanzani's Daughter, fl/pic, ob, cl/bel, bsn/contra bsn, hm, trpt, trb, tuba. (1983, Faber).

Octets Including Voice

Ayres, Richard. Number Twenty Four, atrb, fl/pie, el/bcl, pn, vln, db, tapes. (1995, BMIC).

Brown, Christopher R. (1943) Brown the Bear, nar, cl/Eb el/bel/pere, bsn/contra bsn/perc, hm, 2 vln, via, vel/pere. (BMIC)

Davies, Peter Maxwell. (1934) Die B lind Fiddler, mez, fl/afl/pie, el/bel, perc, eel/hpsd, gtr, vln, vcl. (1976, Boosey & Hawkes).

Ford, Andrew. (1956) Sacred Places, ten, fl, bel, trb, pere, pn, vel, db. (1985, BMIC).

6 6 Knussen, Oliver. (1952) Ocean De Terre, sop, fl/afl, cl/bcl, 1 or 2 perc, pn/cel, vln, vcl, db. (1973, Faber).

Matthews, Colin. (1946) Night's Mask, sop, afl/pic, cl/bcl, hm, pn, harp, via, vcl. (1984, Faber).

Schonberg, Arnold. (1874 - 1951) Serenade, op. 24. voice, cl, bel, mandolin, guitar, vln, via, vcl. (1920-23, Universal Edition).

Wilson, Ian. (1964) The Howler, sop, fl/afl, cl/bcl, ssax/tsax, vln, via, vcl, perc. (1987, CMCI).

Octets Including Woodwind instruments

Andriessen, Jurriaan. (1925) O ktett. fl, 2 ob, 2 cl, 2 bsn, bel. (1948, Donemus, Stichting, Amsterdam).

Bailey, Judith. (1941) Wind Octet. 2 ob, 2 bel, 2 bsn, 2 hm. (1983, BMIC).

Cronin, Stephen. Blow. 2 obs (both doubling ehm), 2 els (one doubling Eb cl, cl, bel; the other doubling cl, bel), 2 hms in f, 2 bsns. (1994, Australian Music Centre).

Hughes, Edward Dudley. (1968) Rosa Bella. 2 ob, cl, cl/bcl, 2 bsn, 2 hm. (1995, BMIC).

Loucher, Raymond. Wind Octet. Eb cl, 2 cl, A cl, bel, contra bel in Eb, bsn, contra bsn.

Maitland, Steve. (1958) W olf-Gang. ob, ob/ehm, cl/ssax, bel, 2 bsns, 2 hms. (1991, Schott).

Nilsson, Bo. (1937) Zeiten im Umlauf., op. 14. pic/fl, fl, ob, ehm, cl, bel, tsax, bsn. (Selbstverl).

Parfrey, Raymond. (1928) Diversions for Eight, ob, ob/ehm, cl, cl/bcl/asax, 2 bsn, 2 hm. (1981, BMIC).

Poldowsld. Octet. 2 fl, ob, ob d'amour, ehm, cl, basset hm, bel.

Reeder, Haydn. (1944) Clashing Auras. 2 obs (2nd doubling ehm), 2 els (2nd doubling bel), 2 hms, 2 bsns. (1989, Australian Music Centre).

Touchin, Colin. (1953) Impressions o f Don Giovanni, ob, ehm, cl, bel, 2 bsn, 2 hm. (1991, BMIC).

67 Waldejer, Erik. (1947) Per Spelman. pic, 2 fl, 2 ob, 2 cl, bel. (N-MIC(ms)).

Octets Including a Wind instrument and a String Instrument

Butlerley, Nigel. Laudes, fl/afl, d/bcl, hm, trpt, vln, via, vcl, pn. (1963, Albert).

Cardew, Cornelius. (1936 - 1981) Octet, pic fl, afl, ob, Eb cl, bel, contra bsn, vln, db. (1959, Peters).

Carpenter, Gary. (1951) Eight Drops in the Ocean, afl/pic, cl/bcl, cel, harp, vln, via, vcl, db. (BMIC).

Hind, Nicky. (1962) Blow Out. fl, bel, hm, pn, vln, via, vcl, db. (1990, BMIC).

Hopkins, John E. (1949) Cantilever, fl/pic, ob/ehm, cl/bcl, bsn, pn, vln, via, vcl. (1982, Schirmer).

Kaczor, Neil. (1967) Lament, fl/afl, bel, hm, pn, 2 vln, via, vcl. (1991, BMIC).

Kats-Chemin, Elena. Hemispheres: for 8 Instruments, fl/pic, cl/bcl, harp, pn, 2 vins, via, vcl. (1997, Australian Music Centre).

Kunert, Kurt Oktett, op. 19. fl, ehm, bel, vln, via, vcl, db, harp. (1954, Hofmeister, Friedrich, VEB).

Laufer, Edward. (1938) Concertino, fl/pic, hm, bel, pn, vln, via, vcl, db. (1978, CMC).

Sawer, David. (1961) Cca's Eye. 2 cl/bcl, trpt, trb, pn, harp, via, vcl. (1986, Universal/ Kalmus).

Woolrich, John. (1954) Stone Dances, fl/pic, ob, cl/bcl, bsn, hm, trpt, trb, db. (1980, Faber).

Octets including a Wind instrument and a Percussion instrument

Brophy, Gerard. O Dolce Z'amarissime. bel, trpt, perc (2 players), pn, vln, via, vcl. (1992, Australian Music Centre).

Sweeney, William. (1950) E l Pueblo, bar, cl/bcl/ssax, 2 cl/bcl, trb, pn, 1 perc, db. (1989, BMIC).

6 8 Tumage, Mark-Anthony. (1960) Release, ssax/perc, asax/ssax/bcl, bel, trpt, trb, perc, pn, db. (1987, Schott).

Wilson, James. (1922) Nighttown. cl, bel, 2 sax, 2 bsn, 2 trpt, 2 trb, 2 perc, harmonium, gtr. (1982, CMCI).

Octets Including a Wind Instrument,

a String Instrument, and a Percussion Instrument

Barrett, Richard. (1959) Illum iner Le Temps, fl/pic, cl/bcl, perc, 2 el gtr, harp, vln, db. (1990, United Music Publishers).

Bany, Gerald. (1952)Octet, n, afl, cl, bel, vln, vcl, pn, mar. (1995,Oxford University Press).

Cashian, Philip. (1963) Les Saltimbanques Dans La Suit, vln, fl/afl/pic, cl/bcl, hm, perc, via, vcl, db. (1986, BMIC).

Clarke, James. (1957) La Violenza Delle Idee. fl/contra bfl, cl/bcl, perc, gtr, harp, mand, via, db. (1991, BMIC).

Colbert, Brendan. Parallaxis. fl/afl/pic, cl/bcl, trb, perc, pn, vln, via, gtr. (1992, Australian Music Centre).

Feraeyhough, Brian. (1943) Incipits. via, perc, pic/bfl, Eb cl/bcl, 2 vin, vcl, db. (1996, Peters).

Hair, Graham. Concerto for Clarinettist & Double Ensemble, cl/contra bcl/bcl/Eb cl, fl, vln, via, vcl, kybrds, perc. (1986, Australian Music Centre).

Halmrast. Tor. (1951) Tiljlukt. tsax, cl, bel, vln, vcl, pn, perc, tape. (N-MIC(ms)).

Home, David. (1970) Out o f the Air. fl/afl/pic, ob/ehm, cl/bcl, hm, perc, vln, via, vcl. (1990, Boosey & Hawkes).

Johnston, Fergus. (1959) Timon o f Athens. 2 fl, 2 cl/bcl, bsn, vln, gtr, perc [tom-tom, tambourine], 3 speakers. (1983, CMCI).

MacMillan, James. (1959)Three Dawn Rituals, afl/pic, bcl/Eb cl, bsn, hm, perc: vib, pn, vln, vcl. (1983,Boosey & Hawkes).

Marti and, Steve. (1958) Mr Anderson’s Pavane, brec, bel, trb, perc: mar, bell, pn, el gtr, vln, db. (1994, Schott). 69 Matthews, Colin. (1946) Fuga. afl/pic, cl/bcl, hm, perc, pn, via, vcl, db. (1988, Faber).

Nordensten, Frank Tveor. (1955) V8. op. 51. fl/bfl, bel, banjo, el bass, harp, perc, via, db. (N-MIC).

Sawer, David. (1961) Hollywood Extra, cl/bcl, bsn, trpt, trb, perc, pn, vln, db. (1996, Universal/ Kalmus).

Saxton, Robert. (1953) Birthday Music for Sir William Glock. fl, cl/bcl, hm, perc, pn, vln, via, vcl. (1988, Chester).

Sharman, Rodney. (1958) Erstarrung. baroque fl, bel, mand, gtr, harp, vib (glock, 2 triangles, finger cymbals), vln, db. (1984, Holograph (photocopy); transparencies of score and parts in CMC Toronto).

Slettholm, Y ngve. (1955) Aura for Chamber Ensemble, fl, bel, perc, pn, vln, via, vcl, db. (N-MIC(ms)).

Wallin, Rolf. ( 1957) Solve Et Coagula, fl/pic/afl, cl/bcl, perc, pn/sampler, 2 vln, via vcl. (N-MIC(ms)).

Winther, Teije. (1963) F(R)Iksjon. fl/pic, cl/bcl, perc, pn, 2 vln, via, vcl. (N-MIC(ms)).

70 CHAPTER 9

NONETS WITH BASS CLARINET

Nonets Including Miscellaneous Instruments

Guy, Noa. (1949) The Unforgiving Minute, pic, fl, cl, Eb cl, bel, hm, trpt, bass trb, harp. (1981, Israel Music Institute).

Webern, Anton. (1883 - 1945) Sinfonie, op. 21. 2 vln, via, vcl, cl, bel, 2 hm, harp. (1928, Universal Edition).

Nonets Including Percussion Instruments

Johnston, Fergus. (1959) Incantations, cl/bcl, perc (tmp, vib, mar, tubular, bells, bongos, tarn lam). (1989, CMCI).

Nonets Including Voice

Allen, Harold. (1917 - 1983) White River, sop, fl/pic, ob/ehm, cl/bcl, perc: glock, vib, xyl, 2 vln, via, vcl. (1979, BMIC).

Corcoran, Frank. (1944) Buile Suibhne. fl/pic/afl, ob cl/bcl, hm, perc, vln, via, vcl, db, speaker. (1996, CMCI).

Dmmm, Partick. (1974) To the Ancestral North, sop, fl/pic, ob, cl/bcl, hm, perc, vln, via, vcl. (1996, BMIC).

Fligg, David. (1959) Animal Songs, medium voice, fl/pic, cl/bcl, asax, trpt, perc, pn, vcl, db. (1983, BMIC).

71 Lutyens, Elisabeth. (1906 - 1983) Akapotik Rose, sop, fl/afl/pic, cl, cl/bcl, tsax, pn, vln, via, vcl. (1966, Universal/ Kalmus).

Matthews, Colin. (1946) The Great Journey, bar, fl/afl/pic, cl/bcl, hm, pn, perc, via, vcl, db. (1988, Faber).

McGuire, Edward. (1948) Quest, sop, fl/afl, ob/ehm, cl/bcl, perc, harp, vln, via, vcl. (1978, BMIC).

O'Connell, Kevin. (1958) My Love My Umbrella, sop, alto, ten, bar, soli, cl/bcl, vln, db, pn. (1997, CMCI).

Payne, Anthony. (1936) The World's Winter, sop, fl/pic, ob, cl/Eb cl/bcl, hm, harp, vln, via, vcl. (1976, Chester).

Vores, Andrew. (1956) Five Little Fly Stories, sop, fl/pic, cl/bcl, 2 perc, 2 vln, via, vcl. (1989, BMIC).

Nonets Including Woodwind instruments

Cresswell, Lyell. (1944) Le Sucre Du Printemps. 6 bel, 3 contra bel. (1982, Scot-MIC).

Kulesha, Gary. (1954) Third Chamber Concerto. 2 obs, 2 els, bel concertante, 2 bsns, 2 hms in 3 untitled movements. (1983, CMC).

Marteau, Henri. (1874 - 1934) Serenade in D, op. 22. 2 fl, 2 ob, 2 cl, 2 bsn, bel. (1922, Steingraber).

Raxach, Enrique. ( 1932) Vortice. 6 bel, 3 contra bel. (1983, Donemus).

Smetanin, Michael. Ladder o f Escape. 7 bcls, 2 contra bcls. ( 1984, Australian Music Centre).

Nonets including a Wind instrument and a String instrument

Hayden, Sam. Sleaze, ssax, bel, trpt, trb, 2 via, 2 vcl, db. (1992, BMIC).

Nyman, Michael. (1944) And Do They Do. fl/pic/bfl, cl/bcl, asax, bsax, pn, 2 vln, via, vcl. (1986, Chester).

72 Nonets Including a Wind Instrument and a Percussion instrument

Finsterer, Mark. Insynchronos. fl, cl, bel, 2 hms, vib, tubular bells, 2 vlas. (1986, Australian Music Centre).

Nonets Including a Wind Instrument,

a String Instrument, and a Percussion Instrument

Brophy, Gerard, lem enja. fl, ob, cl/bcl, perc (2 players), 2 vins, via, vcl. (1981, Australian Music Centre).

Bryars, Gavin. (1943) The Old Tower of Lobenicht. vln, bel, ten hm /trb, pn, 2 perc, el gtr, vcl, db. (1987, Schott).

Casken, John. (1949) Amarantos. fl/afl, ob, cl/bcl, hm, trpt, perc, pn, via, vcl. (1978, Schott).

Cobian, Michael Rosas. (1953) Southern Episodes, fl/afl, ob/ehm, cl/bcl, perc, pn, 2 vln, via, vcl. (1992, BMIC).

Dench, Chris. (1953) Quattro Frammenti. fl, ob, bel, mar/vib, gtr, harp, vln, via, db. (BMIC).

Fulkerson, James. (1945) Co-Ordinative Systems No. 4. fl, cl, bel, trb, 3 perc, vcl, db. (1973, Edition Modem).

Grossner, Sonja. (1942) Sonata for Mixed Ensemble, fl, cl, bel, asax, trb, via, vcl, pn, perc. (1997, BMIC).

Gyger, ElliotL La Mer Aux Miroirs Creves. pic/fl, bcl/Eb cl, ob/ob d'amore, pn, harp, perc, vln, via, vcl. (1996, Australian Music Centre).

Hair, Graham. Fantasy After Leopardi's the Setting o f the Moon, fl/afl/pic, cl/bcl, trpt, trb, vln, vcl, harp, 2 percists (tmp, tom-toms, bass drum, vib, mar, cymbal, triangle, tam-tam, woodblock, xyl). (1978, Australian Music Centre).

Hancock, Paul. (1952) Breynyon in Parachia Sanctl Ennii in Cornubia n. fl, ob, bel, 3 perc: glock, vib, mar, vln, via, vcl. (1987, BMIC).

Hill, Fred. Insights I and II. fl/pic/afl, cl/bcl, hm, trpt, trb, 1 perc (vib, mar, xyl, chimes, bell tree, glock, snare drum, 2 tom-toms, 3 suspended cymbals, 2 ride cymbals, sizzle cymbal, hi-hat, 2 bongos), vln, via, vcl. (Australian Music Centre). 73 Hoyland, Vic. (1945) Andacht Zum Kleinen. fl/afl, cl/bcl, trpt, trb, perc; glock/vib, harp, vln, via, vcl. (1980, Universal/ Kalmus).

Hoyland, Vic. (1945) Esem . db, 2 fl/afl, 2 cl/bcl, perc: vib, cel, el erg, vcl. (1975, Universal/ Kalmus).

Hrusovsky, Ivan. (1927) Combinazioni Sonoriche Per 9. fl, ob, bel, trpt in c , vib, pn, vln, via vcl. (HIS/MIC).

Koch, Dagfinn. (1964) En Innover, fl, cl, bel, hm, via, 2 vcl, db, el pn. (N-MIC(ms)).

MacMillan, James. ( 1959) As Others See Us.... fl/pic, cl/bcl, bsn/contra bsn, trpt, perc, vln, via vcl, db. (1990, Boosey & Hawkes).

Mulvey, Grainne. (1966) Sextet Uno. pic/fl/afl, cl/bcl, perc, [vib, crotales, tom-toms], pn, vln, vcl. (1997, CMCI).

O'Leary, Martin. (1963) Concertante 11. fl/afl, ob/ehm, cl/bcl, bsn, hm, 2 vln, via vcl, db. (1990, CMCI).

Rypdal, Teije. (1947) Tensions, fl, ob, bel, hm, perc, el pn, vcl, el gtr, bass. (N- MlC(ms)).

Schaathun, Asbjpm. (1961) Our Whisper Woke No Clocks.... fl, bel, perc, pn, 2 vln, via vcl, db. (N-MIC(ms)).

Sheriff, Noam. (1935) Debka Rafiach. fl, ob, cl, bsn, hm, perc, bel, gtr, db. (1960, Israel Music Institute).

Wilkins, Margaret Lucy. (1939) Circus, fl, cl, bel, hm, trpt, perc, pn, vln, db. (1975, BMIC).

74 CHAPTER 10

TEN PERFORMERS WITH BASS CLARINET

Ten Performers Including Voice

Blake, David. (1936) In Praise o f Krishna, sop, fl/afl, cl, bci, hm, haip, vln, via, vcl, db. (1973, Novello).

Lloyd, Jonathan. ( 1948) Scattered Ruins 2. sop, fl/afl/pic, cl/bcl, 2 hm, 2 tipt, perc, org/pn/hpsd/cel, mand/gtr. (1973, Boosey & Hawkes).

Newman, Chris. (I960) Are You Jewish?, voice, bel or trb, pn, clapping: about 10 people. (1983, BMIC).

Newson, George. (1932) Mrs Fraser's Frenzy, mez, fl, cl/asax, cl/bcl/ssax, comet/flug hm, euph, 2 perc, pn, vcl. (1994, BMIC).

Osborne, Nigel. (1948) The Cage, ten, afl, ob/oda, cl/Eb cl/bcl, bsn, hm, trpt, vln, via, vcl. (I98I, Universal/ Kalmus).

Powers, Anthony. (1953) The Winter Festivals, mez, fl/afl/pic, ob/ehm, cl/bcl, bsn/contra bsn, hm, harp, via, vcl, db. (1985, Oxford University Press).

Rands, Bernard. (1934) Canti Lunatici. sop, fl/afl/pic, cl/Eb cl/bcl, trpt, 2 perc, pn, vln, via, vcl. (I98I, Helicon/ Kalmus).

Vaage, Knut (I96I) Ei Skapingssoge. 2 voices(sop, bar), fl/pic, cl/bcl, perc, pn, vln, via, vcl, db. (N-MIC(ms)).

Weir, Judith. (1954) Horse D'oeuvres. mez, fl, ob/ehm, cl/bcl, bsn, hm, trb, pn, vcl, db. ( 1996, Chester).

75 Ten Performers Including Woodwind Instruments

McCabe, John. (1939) Symphony for Ten Wind Instruments, fl, fl/pic/bfl, ob, ob/ehm, cl, cl/bcl, 2 bsn, 2 hm. (1964, Novello).

Milhaud, Darius. (1892 - 1974) Symphony No. 5. pic, fl, ob, ehm, cl, bel, 2 bsn, 2 hm. (1922, Universal Edition).

Whettam, Graham. (1927) Concerto for Ten Winds, fl/afl, fl/pic, ob, ob/ehm, cl, cl/bcl, 2 bsn, 2 hm. (1979, Meriden).

Ten Performers Including a Wind Instrument and a String Instrument

Graham, Peter A.F. (1943) Time Scale, fl, cl, bel, bsn, trpt, trb, pn, harp, vln, db. (1985, BMIC).

Gribbin, Deirdie. (1967) Seven Visions o f a Dream, fl/pic/afl/tibetan bowl, cl/Eb cl, cl/bcl, hm, 2 vln, via, vcl, db/finger, harpp/tibetan bowl, harp. (1995, CMCI).

Holt, Simon. (1958) Capriccio Spettrale. fl/afl, cl/bcl, hm, trpt/pic trpt, 2 vln, 2 via, vcl, db. (1988, Universal/ Kalmus).

Holt, Simon. (1958) Sparrow Night, ob, fl/pic, cl/Eb cl/bcl, hm, harp, pn, vln, via, vcl, db. (1989, Universal/ Kalmus).

Matthews, Colin. (1946) L, Bent.... fl, ob, bel, bsn, hm, pn, vln, via, vcl, db. (1993, Faber).

Matthews, Colin. (1946) Suns Dance, pic fl, ob, bel, contra bsn, hm, 2 vln, via, vcl, db. (1985, Faber).

Stanfield, Stephen. Fractured Vision: for Mixed Ensemble, pic, fl, ob, cl, bel, pn, harp, vln, via, vcl. (1993, Australian Music Centre).

Tumage, Mark-Anthony. (1960) After Dark, fl/afl, ob, cl/bcl, bsn, hm, 2 vln, via, vcl, db. (1984, Schott).

Wood, Ralph Walter. (1902 - 1987) Concertino Da Camera, via, bel, bsn, hm, trpt, trb, tmp, vln, vcl, db. (BMIC).

76 Ten Performers Including a Wind Instrument

and a Percussion Instrument

Salzedo, Leonard. (1921) Canzona. Eb cl, 3 cl, alto cl, bel, contra bel, 3 perc. (1986, Lopes).

Ten Performers Including a Wind Instrument,

a String Instrument, and a Percussion Instrument

Anderson, Julian. (1967) Tiramisu. fl/afl/pic, cl/bcl, bsn, hm, perc, harp, vln, via, vcl, db. (1994, Faber).

Barry, Gerald. (1952) '______' [2 Versions], version 1: cl, 2 cl/bcl, hpsd/pn, 2 via, 2 vcl, version 2: 2 cl/bcl, mar, pn, via, vcl. (1979, Oxford University Press).

Bennett, Richard Rodney. (1936) Commedia 3. fl/pic, ob/ehm, bel, hm, trpt, 2 perc, pn/cel, vln, vcl. (1973, Novello).

Bryars, Gavin. (1943) The Archangel Trip. 2 panpipes, ssax, asax, bel, perc: octopads, 2 keyboards, e gtr, gtr, vln, vcl. (19%, Schott).

Bryars, Gavin. (1943) The Cross Channel Ferry, cl, bel, ten hm, 3 perc: tuned, perc: untuned, pn, via, db (and/or tuba). (1979, Schott).

Cashian, Philip. (1963) Shaking the Sky. fl/afl/pic, cl/Eb cl/bcl, hm, perc, pn, 2 vln, via, vcl, db. (1993, BMIC).

Ford, Andrew. ( 1956) Bright Ringing Morning. 2 fl/pic, bel, trb, 3 perc, 2 vcl, 2 db. (1981, BMIC).

Gotch, Nicholas. (1952) Flight, fl/afl/pic, ob/ehm, cl/bcl, trpt, 2 perc, 2 vln, via, vcl. (1985, BMIC).

Halmrast, Tor. (1951) Under S o m m e Tak. fl, cl/bcl, vln, vcl, pn, perc, ssax, asax, tsax, bsax. (N-MIC(ms)).

Harvey, Jonathan. (1939) Scena. vln, fl/afl, cl/bcl, perc, pn, gtr, harp, vln, via, db. (1992, Faber).

Hellstenius, Henrik. (1963) To Happen / It / Has Happened, cl/bcl, tbn, 2 perc, pn, 2 vln, via, vcl, db. (N-MIC(ms)). 77 Hugill, Andrew. (1957) Catalogue De Grenouilles, bel, tuba, 3 perc (or more), pn, string trio: vln, via, vcl (or multiple strings), tape. (1990, BMIC).

Ingham, Steve. (1951) Ein Froehlich Wesen. afl, bci, asax, 2 perc, pn, gtr, vln, via, vcl. (1979, BMIC).

Ingoldsby, Thomas. (1957) Concerto for Ten Players and Conductor, fl, ob, cl/bcl, bsn, 2 perc, pn, vln, via, vcl. (BMIC).

Johnson, Julian. (1963) Music for Dancing No. 3. pic/fl, bel, bsn, hm, trpt, trb, perc, via, vcl, db. (1986, BMIC).

Pollard, Mark. Spirits o f Innocence, afl, bel, cl, fl, glock, mar, pn, pic, vln, vib. ( 1990, Australian Music Centre).

Rakowski, David. Domino Effect, fl/pic, ob/ehm, bel, perc, harp, pn, vln, via, vcl, db. (1989).

Sande, Henrik. (1968) Die Suche Des Nichts Nach Dem Etwas. fl, ob, bel, trpt, tbn, perc, vln, via, vcl, db. (N-MIC(ms)).

Slettholm, Y ngve. (1955) Nature Morte, fl, cl/bcl, bsn, pn, perc, 2 vln, via, vcl, db. (N- MlC(ms)).

Sous ter, Tim. (1943 - 1994) Ha. vcl, pn, fl, ob, Eb cl, bel, bsn, trpt, tuba, perc. (BMIC)

Stockhausen, Karlheinz. (1928) Kontrapunkte. fl, cl, bel, bsn, trpt, trb, harp, vln, vcl, pn. (1953, Universal Edition).

Usher, Paul. Duetti. 2 fl, cl, bel, 2 hm, 2 perc, vln, vcl. (1995, BMIC).

Vaughan, Mike. (1954) Fracture Zones, fl/pic, ob/ehm, cl/bcl/Eb cl, hm, pn, perc, vln, via, vcl, db. (1989, BMIC).

Weir, Judith. (1954) Musicians Wrestle Everywhere, fl, ob, cl, bel, hm, trb, perc, pn, vcl, db. (1994, Chester).

Woolrich, John. (1954) Envoi, pic/afl, ob/ehm, bel, hm, pn/perc, 2 vln, via, vcl, db. (1982, BMIC).

78 CHAPTER 11

ELEVEN PERFORMERS WITH BASS CLARINET

Eleven Performers Including Voice

Bryars, Gavin. (1943) Four Elements, cten, bci, asax, hm, flug hm, trb, pn, epn, 2 perc, db. (1990, Schott).

Nyman, Michael. (1944) Ariel Songs, sop, bci, sax, hm, pn, 3 vln, via, 2 vcl. (1990, Chester).

Seaman, Barry. (1946) The Banjo Paterson Songbook. bar, fl/afl, ob/ehm, cl/bcl, bsn, pn, harp, 2 vln, via, vcl. (1994, BMIC).

Eleven Performers Including a Wind Instrument

and a String Instrument

Bainbridge, Simon. (1952) Voicing, fl/pic, ob, cl/bcl, bsn, hm, pn, 2 vln, via, vcl, db. (1982, United Music Publishers).

Humble, Keith. Polysaccharides I. pic/fl, ob, Eb cl, cl/bcl, bsn, hm, trpt, trb, pn, vln, vcl. (1977, Australian Music Centre).

Thommessen, Olav Anton. (1946) Spring-Night Variations: Five Variations on an Original Theme for Chamber-Ensemble. ob, 2 ehm, aid, 2 bel, 2 via, 2 vcl, pn. (N-MlC(ms)).

Yuhas, Dan. (1947) Entities, fl, ob, cl/bcl, trpt, hm, trb, pn, vln, via, vcl, db. (1983, Israel Music Institute).

79 Eleven Performers Including a Wind Instrument

and a Percussion Instrument

Davies, Peter Maxwell. (1934) Shakespeare Music, afl/pic. ob, cl, bel, bsn/contra bsn, hm, trb, perc, gtr, via, db. (1964, Boosey & Hawkes).

Wilder, Alec. (1907 - 1980) A Debutante's Diary, fl, ob, bsn, 2 els, bel, english hm (asax substitute for ehm), pn, db, pere. (1944, Regent Music Corp.; selling agent Kendor Music).

Wilder, Alec. (1907 - 1980) She'll Be Seven in May. fl, ob, ehm (asax substitute for ehm), 2 els, bel, bsn, pn, db, perc. (1944, Regent Music Corp.; selling agent Kendor Music).

Eleven Performers Including a Wind Instrument,

a String Instrument, and a Percussion Instrument

Anderson, Bryan. Chamber Concerto, fl, ob, cl, bel, perc, harp, 2 vln, via, vcl, db. (1981, Scot-MIC).

Barrett, Richard. (1959) Anatomy, fl, ehm, bel, bsn, hm, perc, 2 vln, via, vcl, db. (1986, United Music Publishers).

Bryars, Gavin. (1943) The Sinking o f the Titanic, bel, any or all of: tsax, bel, bsn, euph, trb, hms, perc, ekbd, strings, 2 dats. (Schott).

Cobian, Michael Rosas. (1953) Thebes, afl, ob/ehm, cl/bcl, hm, 2 perc, pn, 2 vln, via, vcl. (1987, BMIC).

Dalby, Martin. (1942) O Bella E Vaga Aurora, fl/pic, Eb cl, bel, hm, trpt, perc, harp, vln, via, vcl, db. (1982, Novello (1992)).

Grandison, Mark. (1942) Los Caprichos: Six Caprices After Goya, fl, ob, cl in A/bcl, hm, bsn, mar, 2 vins, via, vcl, db. (1989, Australian Music Centre).

Harper, Edward. (1941) Intrada After Monteverdi, fl/pic, cl/bcl, hm, trpt, perc, pn, harp, vln, via, vcl, db. (1982, Oxford University Press).

Hedstrpm, Ase. (1950) Bewegt. fl, ob, cl/bcl, hm, tbn, 2 perc, 2 vln, via, vcl. (N- MlC(ms)).

80 Hoyiand, Vic. (1945) Fox. 2 fl, cl/bcl, perc: vib, glock, pn, harp, 2 vln, via, vcl, db. (1983, Universal/ Kalmus).

Ingham, Steve. (1951) Indiana Suite, fl/pic, cl/bcl, asax, trpt, trb, peic, pn, 2 vln, via, vcl. (1982, BMIC).

Lerstad, Teije Bjom. (1955) Vestbanen 30.11.96: Tango fo r Ti: Stille Skritt Fâ Skare/Lerkenàler 1 Desember: Mambo Senza Crio: Copicana for 70: for Cikada Og 3 Skoleklasser. op. 204. fl, cl/bcl, hm, pn, 2 perc, 2 vln, via, vcl, db, idiophone group, woodwind group, stringed group, perc group. (N-MIC(ms)).

Powers, Anthony. (1953) Nymphéas, fl/afl/pic, fl/afl, cl/bcl, perc: vib/glock, pn, harp, 2 vln, via, vcl, db. (1983, Oxford University Press).

Wool rich, John. (1954) From the Shadows, fl/pic/afl, cl/Eb cl/bcl, ssax, hm, trpt, perc, pn, vln, via, vcl, db. (1994, Faber).

81 CHAPTER 12

TWELVE PERFORMERS WITH BASS CLARINET

Twelve Performers Including Miscellaneous Instruments

Birtwistle, Harrison. (1934) The World Is Discovered. 2 fl, ob, ehm, cl, basset hm or bcl/cl, 2 bsn, 2 hm, gtr, harp. (1961, Universal/ Kalmus).

Caturla, Alejandro. (1906 - 1940) Tres Danza Cubanas. fl/pic, ob/ehm, cl, bel, bsn, 2 hm, trpt, trb, tuba, perc, pn. (source: BBD20CM).

Cox, Rick. Mostly Pretty Down, bel, any ensemble. (1975, ms, source: NDC).

Josephs, Wilfred. (1927 - 1997) Concerto A Dodici. fl, pic, ob, ehm, cl, bel, bsn, contra bsn, hm, trpt, trb, tuba. (1960, Weinberger).

Reck, David. Elegy for the Martyrs o f the Shining Path, bel, speaking chorus, clay flutes, perc, pn, organ, taped professional wrestlers. (1%7, ms, source: NDC).

Twelve Performers Including Voice

Buckley, John. (1951) The Words Upon the Window-Pane, sop mez, cten, ten, bar, soli, fl/afl, cl/bcl, hm, vln, vcl, pn, perc. (1991, CMCI).

Holm, Kristin. (1965) Jeg Husker Alt. 3 voices(sop, alto, bar), pic, bel, pg, vln, via, vcl, 3 perc. (N-MIC(ms)).

82 Twelve Performers Including Woodwind Instruments

Farina, Carlo. Alte Tanzweisen. 2 ft, 2 ob, 2 ehm, 2 cl, bel, 2 bsn, contra bsn. (1954, F. Straub).

Oosterbaan, Andre. Suspended, pic, 4 fis, afl, Eb cl, 3 els, 2 bcls. (Australian Music Centre).

Twelve Performers Including a Wind Instrument

and a String Instrument

Lloyd, Jonathan. (1948) Waiting for Gozo. afl/pic, ob/ehm, cl/bcl/Eb cl, bsn/contra bsn, hm, trpt, trb, 2 vln, via, vcl, db. (1981, Boosey & Hawkes).

Twelve Performers Including a Wind Instrument

and a Percussion Instrument

Dillon, James. (1950) La Femme Invisible, fl/pic, afl/bfl, ob, ob/ehm, cl, bel, ssax, ssax/asax, 3 perc, pn. (1989, Peters).

Kos, Bozidar. Little Fantasy, fl/pic, ob/ehm, 2 els (2nd doubling bel), hm, trpt, trb, 2 perc, harp, pn. (1978, Australian Music Centre).

Ratkje, Maja Solveig Kjelstrup. (1973) Waves IIB. 2 fl/pic, cl/bcl, ssax/asax, trpt, hm, tbn, tuba, el gtr, el bass, pn/synthesiser, perc. (N-MIC(ms)).

Rypdal, Teije. (1947) From a High Level. 4 sax, bel, 3 trpt, tbn, perc, pn, db. (N- MlC(ms)).

Twelve Performers Including a Wind Instrument,

a String Instrument, and a Percussion Instrument

Bennett, Richard Rodney. (1936) Concerto for Guitar and Chamber Ensemble, gtr, fl/pic, ob/ehm, bel, hm, trpt, 2 perc, cel, vln, via, vcl. (1970, Universal/ Kalmus).

Clarke, Keith. Vicino E Lontano. fl/afl/pic, cl/bcl, hm, trpt, trb, 2 perc, pn, accordion, vln, via, vcl. (BMIC). 83 Gough, Orlando. (1953) Malouf. cl/bcl. ssax, trpt, trb, 2 perc, pn/harpsichord, 2 vln, via, vcl, db. (BMIC).

MacDonald, Alistair. A Trace o f Infinity, fl, ob, cl/bcl, perc, gtr, harp, mand, vln, via, vcl, db, tape. (1991, BMIC).

Nicholls, David. (1955) Ensemble 4. fl/afl, ob, cl/bcl, bsn, hm, 1 perc, harp, 2 vln, via, vcl, db. (1982, BMIC).

Rands, Bernard. (1934) Canti Del Sole, ten, fl/pic/afl, cl/Eb cl/bcl, trpt, trb, pn, 2 perc, vln, via, vcl, db. (1983, Universal/ Kalmus).

Seaboume, Peter. (1960) Jabberwocky. ob, cl, 2 bel, bsn/contra bsn, hm, trpt, 2 perc, vln, via, db. (1983, BMIC).

Swayne, Giles. (1946) Harmonies o f Hell, fl/afl/pic, ob, cI/bcl/Eb cl, bsn, hm, 2 perc, 2 vln, via, vcl, db. (1988, Novello).

Woolrich, John. ( 1954) Caprichos. pic/afl, Eb cl/bcl, ssax, hm, trpt, trb, perc, pn, vln, via, vcl, db. (1997, Faber).

84 CHAPTER 13

EXAMINING THE CORRELATION BETWEEN THE EMERGENCE OF THE BASS CLARINET AS A VIRTUOSIC ORCHESTRAL INSTRUMENT AND ITS INCLUSION IN CHAMBER MUSIC

This chapter of the document will examine the emergence of the bass clarinet as a virtuosic instrument in the orchestra rather than as an instrument intended primarily to reinforce the bass voice — a change which took place at the turn of the twentieth century. Secondly, a comparison will be made to see whether there is a relationship between this new orchestral prominence for the bass clarinet and its use by other composers in chamber works. The term virtuosic will be defined below, as it relates to the bass clarinet parts. A time line showing major composers from the turn of the twentieth century is presented to help illustrate that during the same time period some composers wrote for the bass clarinet while others did not (see Table 1). A second time line shows more specifically the year in which major orchestral works which prominently featured the bass clarinet were written (see Table 2). The next segment of this chapter will present a summary of how each of eight selected composers, who were the first to write virtuosic parts for the bass clarinet, used this instrument in their works. These descriptions will aid in demonstrating why these parts could be classified as virtuosic. Lists are provided of orchestral works by the eight composers. These lists will appear after the discussion of

85 each selected composer's use of the bass clarinet After establishing which works fit the characteristics indicated, the writer will look at the composition dates of the chamber works included in this bibliography to examine if there is a correlation between when the bass clarinet became more prominent in the orchestra and when the instrument was used in chamber music settings. For the purposes of this document the definition of a virtuosic orchestral part for bass clarinet would be one in which the bass clarinet part is very similar in technical demands to the other clarinet parts for that composition. This would include the writing of short solos, the use of the altissimo range, and rapid fingering demands. Prior to the turn of the century, the bass clarinet was not viewed as a technically agile instrument, a similar view to that held for other low tessitura instruments. This view changed as composers wrote more demanding parts and the performers demonstrated that they could meet the challenge. In researching this section it was also interesting to discover those composers from the same time period who did not incorporate the bass clarinet in their pieces. These contrasts were found after studying various compendiums of orchestral works (such as David Daniel's Orchestral Music: A Handbook and Eric Gilder's The Dictionary o f Composers and Their Music). For example, though Bela Bartok included the bass clarinet in almost every orchestral piece he wrote, his contemporary Zoltan Kodaly never used the bass clarinet in his orchestral works. This is somewhat siuprising since Bartok and Kodaly were close friends and associates. In another contrast, Russian composers Prokofiev, Stravinsky, and Shostakovitch used the bass clarinet frequently and virtuosically while Alexander Borodin and Alexander Glazunov never wrote for the bass clarinet Rimsky-Korsakov and Tchaikovsky only included the bass clarinet in two orchestral pieces each. In another example one sees that Gustav Mahler composed parts

8 6 for the bass clarinet in nine of his symphonies (ten if one includes his incomplete Symphony No. JO) compared to fellow German composer Anton Bruckner who never used the bass clarinet in any composition. In France, Maurice Ravel wrote bass clarinet parts in most of his tone poems such as Lm Valse and Daphnes et Chloe, while Claude Debussy another impressionist composer only used the bass clarinet in three of his orchestral works. Another contrast shows that the Danish composer Carl Nielsen never included the bass clarinet in any of his orchestral works but the Finnish composer Sibelius included it in some of his compositions such as Pohjola's Daughter, Symphony No. 6, Tapiola, and The Tempest. These examples bring up interesting questions about why one composer would write parts for the bass clarinet while another composer of the same nationality and living at the same time p>eriod never used the bass clarinet Some other questions arise about these different attitudes regarding the bass clarinet Did the orchestras that the composers were writing for have a full time bass clarinetist? Was this musician a virtuosic performer or did these orchestras even employ a bass clarinetist? Another speculation could be that the composer wished to contain the size of the orchestra so that his piece could be performed by even smaller orchestras. However, at this point the writer has not found conclusions to indicate why the composers wrote for the bass clarinet or did not write for this instrument These differences would provide interesting material for further investigation.

87 1830 1838 1850 1860 1870 1880 1890 1900 1910 1920 1930 1940 1950 1960 1970 1980 1990

4 SibcliuD" Adolph Sax invents the 4 Nielsen k modem bass clarinet 4 Mahler 1" 1824 ~ ~ 4 Bmcknerl" 4 Brahms 4 R. Strauss H 4 Hindemith )- 4 Bartok )~ 4 Kodaly h 4 Ravel H 4 Debussy 4 StravinskvH ~~| Rimsky-KorsakovT 4 Tchaikovsky I------Prokofiev r

4 Gershwin h

Table 1; Time line of major composers at the turn of the twentieth century. Year Orchestra Work Com poser 1838 Invention of the modem bass clarinet by Adolph Sax 1836 Les Huguenots, opera Giacomo Meyerbeer 1888 Symphony No. 1 Gustav Mahler 1888 Symphony in D minor César Franck 1892 Nutcracker Ballet Peter Tchaikowsky 1894 Also Sprach Zarathustra Richard Strauss 1895 Till Eulenspiegel Richard Strauss 1896 Don Quixote Richard Strauss 1897 The Sorcerer's Apprentice Paul Dukas 1898 Ein Heldenleben Richard Strauss 1912 Daphnis et Chloe Maurice Ravel 1913 Le Sacre du Printemps Igor Stravinsky 1920 La Valse Maurice Ravel 1924 Rhapsody in Blue George Gershwin 1925 Concerto in F for piano and orchestra George Gershwin 1928 An American in Paris George Gershwin 1931 Grand Canyon Suite Ferde Grofé 1939 Symphony No. 6 Dmitri Shostakovich 1941 Symphony No. 3 William Schuman 1943 Symphonie metamorphoses on a Theme by Weber Paul Hindemith 1944 Symphony No. 5 Serge Prokofiev

Table 2: Major orchestral works which prominently feature the bass clarinet — in order of composition date.

8 9 TECHNICAL ASPECTS OF THE BASS CLARINET

Before discussing how selected composers used the bass clarinet in a virtuosic manner it is necessary to describe certain technical aspects related to playing the bass clarinet These aspects include the register in which the composer scores the bass clarinet, the clef in which the part is written, whether the part is written for Bb or A bass clarinet, and other technical demands. The following explanation highlights the terminology that will be employed to discuss the registers in which the composer wrote for this instrument — an important aspect of qualifying the part as virtuosic. All note pitches mentioned below are those the performer would read or that the performer would transpose in the case of the bass clarinet pitched in A. The registers of the bass clarinet that are referred to are the following: Chalumeau - This range starts on low Eb below the treble staff to middle Bb which is on the third line of the treble staff. This register poses the least amount of trouble for a performer because of its ease of response and control. Clarion - This is the middle register on the bass clarinet and starts at the B natural which is on the third line of the treble staff and ends on C, two ledger lines above the treble staff. This register is sometimes a very difficult register to control. To solve this problem a double register key mechanism has been added to the modem bass clarinet This mechanism opens a larger register vent for the lower clarion notes (Middle B, C, C#, D, Eb). This larger vent helps these notes speak more easily. If the bass clarinet does not have the double octave key mechanism, as with older instruments, these notes are extremely difficult to control because the register vent is too small acoustically to allow that range to speak freely.

9 0 Altissimo - The bass clarinet has the same altissimo register range as a Bb soprano clarinet This register starts on C#, two ledger lines about the treble staff, and normally goes up to G, four ledger lines above the treble staff. Many modem performers can go into the extreme altissimo register above high G (four ledger lines above the treble staff). None of the orchestral music studied here, was scored beyond high G and only some parts moved into the altissimo register of the bass clarinet Extended Low Range - This is the lowest range of notes that a bass clarinet can play if it was built with an extended range to low C, an octave below C on one ledger line below the treble staff. This range is only employed by a few composers. Almost all professional bass clarinetists play on an instrument that has an extended range. The extra range would include low D, C#, and C below low Eb. In Rimsky- Korsakov's Principles o f Instrumentation written in 1905, he states that the bass clarinet has a written range to low C (Del Mar, 161). This could account for the reason that primarily Russian composers wrote bass clarinet parts with this extended range.

In addition to the range in which certain bass clarinet parts are written another aspect which creates a greater difficulty level in parts for the bass clarinet is that orchestral bass clarinet parts may be written in either treble or bass clef or a combination of the two. There is a controversy regarding the use of bass and treble clef when composing for the bass clarinet Because this issue can be very confusing to the performer, it seems appropriate to quote at length here from Norman Del Mar's Anatomy o f the Orchestra where he offers a thorough explanation.

91 The notation of the bass clarinet is by no means a simple matter. Orchestration text books recognize two methods that admittedly predominate, viz; (1) the so-called French notation, sounding a ninth (or minor tenth) lower than written. This uses the treble clef, even to the very bottom notes, and is arguably the most common notation in general use, that is to say not merely in France. Richard Strauss used it between Guntram and Ein Heldenleben after which he reverted to: (2) the so-called German notation, sounding a tone (or minor third) lower than written. This largely uses the bass clef but - and here is the important point - when the upper register is reached the change is made to the treble clef, the transposition however, remaining the same. But this is not the end of the story. Quite an assortment of composers use a combination of these notations which is best regarded as a third method, viz: (3) as notation (2) but on reaching the treble clef jumping up the octave and transposing as in notation (1). This seems to have been initiated by Liszt in his first symphonic poem Ce qu'on entend sur la montagne and, although Liszt himself subsequently used only notation (1), was adopted by different composers such as Liadov, Rachmaninov, Busoni, and even Stravinsky in Le sacre du Printemps. The effect of this complex situation is to throw into doubt the intentions of composers using notations (2) and (3) wherever the treble clef appeals. He concludes by stating:

There is thus no escaping the frequent ambiguities, the only guides towards correct interpretation of doubtful contexts being knowledge of composers' practice and - one hopes - internal evidence from the score itself. Another aspect which ccmtributes to the technical challenge of bass clarinet parts is the pitch in which the part is written. Bass clarinet orchestral parts are composed for bass clarinets pitched in both Bb and in A just as the soprano clarinet plays orchestral parts for Bb and A clarinet There have been bass clarinets built in the key of A as late as the 1980's. At the present time there are no major manufactures that produce a bass clarinet in A. Because of this composition practice, orchestral pieces composed for the bass clarinet in A pose a challenge to the performer. The standard practice is to transpose

92 the orchestral part for the Bb bass clarineL This transposition is either done in real time (i.e. sight transposition), or the transposition is written out if it is a long passage or a technically demanding passage such as Ravel's La Valse then the piece is played on the bass clarinet in Bb. The tempo in which virtuosic bass clarinet parts are written creates greater demands on the performer. Since the bass clarinet is an instrument with keywork that is larger than the soprano clarinet, it is more difficult to execute musical passages written either in a fast tempo, composed of short notes (e.g. sixteenth notes, thirty second notes, etc), or a combination of the two. For the bass clarinet to perform passages at the same speed as the soprano clarinets or flutes it takes a greater effort on the part of the bass clarinetist since there is more key mass to actuate. As composers recognized the bass clarinetist's technical ability, they began to write more virtuosic parts that assumed a technique equal to the soprano woodwinds.

93 The Use of the Bass Clarinet by Selected Composers of the Nineteenth and Twentieth Centuries

The composers discussed in this section employed the bass clarinet extensively in their orchestral compositions and wrote parts in a virtuosic manner. The way that these composers wrote for the bass clarinet will be described in order to demonstrate how these bass clarinet parts can be considered virtuosic.

Gustav Mahler (1869 - 1911) Gustav Mahler uses the bass clarinet in all of his nine symphonies (including the unfinished Symphony No. JO). He limits the range in his writing to primarily the chalumeau and clarion registers of the bass clarinet The extended range of the bass clarinet is never used. The limit of the altissimo register is D or Db above the treble staff. Mahler only writes for the bass clarinet in the treble clef. He does call for both Bb and A bass clarinets. His bass clarinet parts have moderately fast tempos but are not neariy as technically demanding as Ravel or Richard Strauss's writing.

94 Das Klagende Lied ...... 1880 Symphony No. 1 ...... 1888 Symphony No. 2 ...... 1894 Symphony No. 3 ...... 1895 Symphony No. 4 ...... 1900 Symphony No. 5 ...... 1902 Symphony No. 6...... 1904 Kindertotenlieder ...... 1905 Symphony No. 7...... 1905 Symphony No. 8 ...... 1907 Symphony No. 9 ...... 1909 Symphony No. 10 (Cooke) ...... 1910

Table 3: Orchestral woiics of Gustav Mahler which include the bass clarineL

95 Richard Strauss (1864 - 1949) Strauss is one of the most important composers in writing virtuosic parts for the bass clarinet in his orchestral works. He uses ail three registers of the bass clarinet with the top altissimo notes ranging up to high G# above the treble staff as in Der Rosenkavelier. He does use both clefs and sometimes a combination of both in one piece. There is no extended range used in any of his orchestral works and only calls for bass clarinet in Bb. Many times the bass clarinet part in his orchestral works is an integral part of the clarinet section in highly technical parts. In Till Eulenspiegel's Merry Pranks and Thus Spake Zarathustra the bass clarinet part is as technically demanding as the first, second, or Eb clarinet part In Don Quixote, the bass clarinet portrays Sancho Panza, one of the main characters in the tone poem. Since the technical demands of these parts which show the skill of the musician throughout the bass clarinet range. Till Eulenspiegel and Don Quixote are standard audition pieces for most bass clarinet positions in North America.

96 Till Eulenspiegels Lustige Streiche, op. 28 ...... 1895 Also Sprach Zarathustra, op. 30 ...... 1896 Don Quixote, op. 35 ...... 1897 Ein Heldenleben, op. 40 ...... 1898 Symphonia Domestica, op. 53 ...... 19Q3 Salome, op. 64 ...... 1904 Der Rosenkavelier: Suite, op. 5 8 ...... 1908 E lektra ...... 1908 Capriccio, op. 85 ...... 1914 Eine Alpins infonie, op. 64 ...... 1915 Sonatine in F, op. 135...... 1943 Sonatine in Eb, op. 143 ...... 1945

Table 4; Orchestral works of Richard Strauss which include the bass clarinet

97 Maurice Ravel (1875 - 1937) Ravel's scoring for the bass clarinet is at the same virtuosic level as Richard Strauss. The two principal pieces that are standards on most bass clarinet audition lists are La Valse and Daphnes et Chloe Suite II. These two works provide a technical challenge for the performer. The original La Valse bass clarinet part is for bass clarinet in A. Ravel does not score the bass clarinet in bass clef. Eb below the treble staff is the lowest note that he writes for the instrument He limits the altissimo range of the bass clarinet to the C# above the treble staff. Both Bb and A bass clarinet are called for in his compositions.

M enuet A n tiqu e ...... 1895 Rhapsodie Espagnole ...... 1907 Daphnis et Chloe, Suites I & 2 ...... 1912 La V alse ...... 1920 B olero ...... 1928 Piano Concerto for the Left Hand ...... 1931

Table 5: Orchestral works of Maurice Ravel that include the bass clarinet

98 Igor Stravinsky (1882 - 1971) In the landmark piece of the 20th century. Le Sacre du L*rimtemps, Stravinsky calls for two bass clarinets. The bass clarinet is used repeatedly in a soloistic or virtuosic manner. The technical skill that Stravinsky demands of the bass clarinet in his pieces is very similar to the skill level required of the other clarinets. Stravinsky does employ both treble and bass clefs. Both clefs are used in the same part which makes it easier to read the extreme low chalumeau register in bass clef and then read the clarion register in the treble clef. Stravinsky rarely goes into the extended low register. There is one instance of a low D in Petroushka. The lowest point of the range in Le Sacre du l*rimtemps is a low E. Since this piece is such a landmark piece of music for the twentieth century, it is very significant that the bass clarinet is included prominently in the orchestration. One of the most important solos (and most difficult for the bass clarinet) in Le Sacre is the bass clarinet and Eb clarinet duet in the Rondes Printanières section. This duet is especially challenging for the bass clarinet because it is in a range of the instrument that is very unresponsive. This challenge is magnified if the performer is playing an older instrument without the double register mechanism, which was described earlier in this chapter in the section about the clarion register.

99 Scherzo Fantastique ...... 1908 Firebird (1911)...... 1911 P etrouchka ...... 1911, 1947 Le Sacre du Printemps ...... 1913 Le Baiser de la fée ...... 1928 Four Etudes for Orchestra ...... 1929 Capriccio for Piano and Orchestra ...... 1929 Perséphone ...... 1933-34 B abel...... 1944 Symphony in 3 Movements ...... 1945 Agon ...... 1957 Threni id est Lamentations a Jeremiae Prophetae ...... 1958 Movements for Piano and Orchestra ...... 1959 A Sermon, A Narrative, and A Prayer ...... 1961 Abraham and Isaac ...... 1963 V ariations ...... 1964

Table 6: Orchestral works of Igor Stravinsky which include the bass clarineL

100 Dimitri Shostakovitch (1906-1975) Shostakovitch did not include the bass clarinet in all of his symphonies, though symphonies 4,6,7,8, 11, and 13 contain bass clarinet parts. The bass clarinet is scored in both treble and bass clefs. He does use the extended range bass clarinet A good example of this occurs in his Symphony No. 6. Near the end of Movement I there is a very exposed solo that ends on a low C# below the bass staff. Shostakovitch does not write bass clarinet parts that extend into the altissimo register of the instrument Many times the bass clarinet is given a part that is a shadow (i.e. an octave or two lower) of a higher range instrument such as the flute. Shostakovitch also writes parts that assume a technical skill equal to that of the other clarinet family members such as in the fourth movement of Symphony No. 11, where the bass clarinet part is as active as the first clarinet part In addition to Shostakovitch, most Russian composers who included the bass clarinet in their compositions wrote for an extended range instrument Aram Khachaturian, Igor Stravinsky, and Serge Prokofiev were some of the other Russian composers who wrote in this manner.

101 The Age o f Gold, Op. 22: Suite ...... 1927 Violin Concerto, Op. 99 ...... 1947 Symphony no. 4, op.43 ...... 1935 Symphony no. 6, op.53 ...... 1939 Symphony no. 7, op.60 ...... 1941 Symphony no. 8, op.65 ...... 1943 Symphony no. 11, op.l03 ...... 1957 Symphony no. 13, op.l 13 ...... 1962

Table 7: Orchestral works of Dimitri Shostakovitch which include the bass clarinet

102 Bela Bartok (1835 - 1945) Bartok uses the bass clarinet in almost all of his orchestral works. His scoring is only in treble clef but he does call for bass clarinet pitched in A in addition to the standard Bb instrument In most of Bartok's orchestral works the bass clarinetist must double on Bb and A clarinet creating additional technical demands. Bartok does not use any extended low range in his bass clarinet parts. The lowest written note is a low E on either Bb or A bass clarinet He does use the altissimo register to a small degree but does not go beyond a high E above the treble staff. The bass clarinet parts require the same technical agility as the other clarinet parts in Bartok's works.

103 Cantata Profana ...... 1926 Concerto for Orchestra ...... 1943 Piano Concerto, no. 1 ...... 1926 Violin Concerto, no. 1 ...... 1907-08 Violin Concerto, no. 2 ...... 1938 Dance Suite ...... 1923 Deux Images, op. 10 ...... 1910 Deux Portraits, op. 5 ...... 1907-08 Four Orchestral Pieces, op. 12 ...... 1912 The Miraculous Mandarin: Suite ...... 1918-19 Rhapsody for Piano and Orchestra, op. 1 ...... 1904 Rhapsody no. 1 for Violin and Orchestra ...... 1928 Rhapsody no. 2 for Violin and Orchestra ...... 1928 Suite no. 1 for Orchestra ...... 1905 Suite no. 2 for Orchestra ...... 1905-07 The Wooden Prince: Suite ...... 1914-16

Table 8: Orchestral works of Bela Bartok which include the bass clarinet

104 Serge Prokofiev (1891 - 1953) Prokofiev writes vituosic parts for the bass clarinet but primarily as a bass voice. This includes writing very agile parts in the lower extended range of the bass clarinet Depending on the model of bass clarinet this can present the performer with greater technical challenges. Some older bass clarinets are not well suited to fast fingering in the extended range because some of the lower notes must be played with a combination of two lower keys using alternate little fingers. The parts in Prokofiev's works also create technical demands with fast tempos written for the lower register. All lower notes (low G# down) are played by either of the little fingers or the right hand thumb. The low notes also involve closing the largest keys and then the two weakest fingers are in control of the heaviest mechanism on the instrument Acoustically these low notes respond as easily as any other note on the bass clarinet, if the instrument is well adjusted. As with any woodwind instrument, any air leak from a pad that seals a tone hole will cause the instrument not to respond well. Prokofiev includes instructions indicating that the contra bassoon should play these parts if the bass clarinet does not have the extended low range instrument Regarding the range of Prokofiev's bass clarinet parts, he writes in both treble and bass clef. When he uses the treble clef, the extended low range is written with ledger lines instead of changing to the bass clef. When the part is written in bass clef the clarion register is written with ledger lines above the staff instead of switching to the treble clef. Both of these practices increase the difficulty of reading the bass clarinet parts since the performer is sometimes faced with reading notes written with four ledger lines. This style of part writing is not very commonly seen by a clarinetist or bass clarinetist which makes the part somewhat more difficult. Prokofiev does not call for the altissimo register of the bass clarinet

105 Scythian Suite, op.20 ...... 1914-15 Choiit, op.21 ...... 1915 Love for Three Oranges ...... 1919 Symphony No. 2 ...... 1924 Le Pas d'acier, op.41 ...... 1925 Symphony No. 3 ...... 1928 Symphony No. 4 ...... 1929-30 Romeo and Juliet Suites 1,2, 3 ...... 1935 Alexander Nevsky, op.78 ...... 1938-39 Cinderella Suites 1,2, 3, op.107 ...... 1940 War and Peace Overture ...... 1941-43 Ivan the Terrible, op.l 16 ...... 1942 Symphony No. 5 ...... 1944 Symphony No. 6 ...... 1945-47 Symphony No. 7 ...... 1951-52

Tabic 9: Orchestral works of Serge Prokofiev which include the bass clarinet

106 George Gershwin (1898 • 1937) Gershwin uses the bass clarinet in most of his works. The scoring is always in treble clef and he never calls for the extended range bass clarinet Gershwin frequently writes bass clarinet parts with passages into the altissimo register. High D and Db's are quite common with high E and Ps used in Rhapsody in Blue. There are solo passages, with the most memorable occurring in An American in Paris and the Concerto in F for piano and orchestra. The technical facility required for these pieces is as demanding as the other clarinet parts, especially in An American in Paris.

Rhapsody in Blue (Grofe) ...... 1924 Concerto in F ...... 1925 American in Paris ...... 1928 Second Rhapsody for Piano and Orchestra ...... 1931 Cuban Overture ...... 1932 I Got Rhythm Variations ...... 1934 Porgy and Bess ...... 1935

Table 10: Orchestral works of George Gershwin which include the bass clarinet

107 CONCLUSION

Each of the composers discussed in the previous section wrote for the bass clarinet employing a range and technical demands which were different than those of earlier bass clarinet parts. With these aspects the bass clarinet had become a viituosic voice rather than only a supporting bass voice in orchestral works. After establishing how selected composers wrote for the bass clarinet one can find whether there is a correlation between the timing of the bass clarinet's more prominent role in orchestral w orks and its appearance in chamber ensembles. Sorting the chamber works that make up the bibliography of this document to see in which years they were written is a good starting point The following distribution by decade was found: Decade Number of works written

1900 to 1909 ...... 2 1910 to 1919...... 3 1920 to 1929 ...... 9 1930 to 1939...... 2 1940 to 1949...... 11 1950 to 1959...... 14 1960 to 1969 ...... 54 1970 to 1979 ...... 113 1980 to 1989 ...... 275 1990 to 1999 ...... 277 No composition date available ...... 268

Table 11: Number of chamber works including bass clarinet — grouped by decade.

106 From the Important Orchestral Works for Bass Clarinet table (Table 2), it is seen that composers started to write viituosic bass clarinet parts in the 1880's. This type of writing peaked between the 1890's and the 1920's. In this period the tone poems of Richard Strauss were written, along with Ravel's Daphnes et Chloe Suite, and Stravinsky's Rite o f Spring. If one looks at the chamber works with bass clarinet grouped by decade, there does not appear to be a direct correlation between the emergence of the bass clarinet in the orchestra as a virtuoso member and the instrument's appearance in chamber music. While a great number of chamber works with bass clarinet were not written during this period, one interesting discovery was that there were five major composers who each wrote a chamber work that included the bass clarinet These works were comp>osed between the early 1920's and 1930. In 1922 Darius Milhaud composed his Symphony No.5 for chamber winds which included the bass clarinet Leos Janacek wrote his Mladi Suite in 1924. Janacek's work is scored for woodwind quintet (clarinet flute, oboe, bassoon, and French horn) and bass clarinet The Mladi Suite is considered one of the most important chamber works for the bass clarinet since it was written by a major composer and the bass clarinet has a role equal to the rest of the woodwind quintet and is not merely an accompanying instrument. Another famous work that calls for bass clarinet is William Walton's Façade. This work, written in 1921, calls for a clarinetist who also doubles on bass clarinet The bass clarinet parts are as difficult as the clarinet parts. Two other major composers who included the bass clarinet in their early chamber works were Anton Webern and Arnold Schonberg. Webern wrote his Sinfonie, op. 21 in 1928 and Schonberg wrote his Suite, op. 29 in 1925. Again, these works call for bass clarinet in an important role. These composers could have been influenced by hearing

109 performances of the works of Strauss, Ravel, Stravinsky, and Mahler and observing how these composers employed the bass clarinet Though the orchestral composers who are discussed in this chapter did not apparently influence an increase in the amount of chamber music that included the bass clarinet there are definite connections among the composers when one looks at their musical training. Their similar training could have led to similarities in how they have written for the bass clarinet Franz Uszt and Richard Wagner, both of whom used the bass clarinet in some of their orchestral works and operas, also influenced some of the composers that were studied in this section.^ Bela Bartok was influenced by Liszt's writing and Richard Strauss was inspired by how Wagner orchestrated his works. In another example, Wagner's Ring Cycle provided influence for Nikolay Rimsky-Korsakov, who afterward wrote his Principles o f Orchestration in 1888. Rimsky-Korsakov taught at the S t Petersburg Conservatory in the late 1900's from which a number of his students would go on to become important figures in the music world. Two of these students were Rokofiev and Stravinsky, who wrote viituosic bass clarinet parts. It seems that Rimsky-Korsakov would have had an affect on their style of orchestration in addition to their composition technique. Dimitri Shostakovich studied with a student of Rimsky-Korsakov, Maximillian Steinberg, and thus received the former's influence too. Maurice Ravel, another of the composers of challenging bass clarinet parts, studied composition with Gabriel Fainé. Ravel was also influenced by Emmanuel Chabrier and Eric Satie. In looking at what influenced Ravel's wind writing and in

•J.A. Wcstnip and F I. Hanison.The New College Encyclopedia (New Yodc W.W. Nbtton, 1981). The infonnatioD regan&iig the composers'training was obtained from source.

110 particular his scoring for bass clarinet, it has been documented that Ravel was also interested in the orchestration theories of Rimsky-Korsakov. With all of the selected composers discussed in this document, there is either a direct or indirect connection to the orchestration practices of Rimsky-Korsakov. One can then follow a line of influence through various composers which leads to those who wrote orchestral works incorporating the bass clarinet in a virtuosic manner. This series of comiections originated with Franz Liszt and Richard Wagner. Rimsky-Korsakov was Influenced by hearing Richard Wagner's music and following his practices in orchestration. Wagner was a close friend of Liszt, who did use the bass clarinet in a few of his orchestral works such as Mazeppa, Tasso, Lament and Triumph, and the Dante Symphony. Wagner himself included the bass clarinet in his operas Gdtterddmmerung, Lohengrin, and Parsifal. Wagner's orchestration affected not only Nicolai Rimsky- Korsakov, but also Richard Strauss. Rimsky-Korsakov's orchestration ideas extended further as he taught Prokofiev and Stravinsky. By tracing this lineage of composers it appears that the ideas for using the bass clarinet in the orchestra were often taught to composers by teachers who had definite ideas on how to orchestrate for this instrument While these teachers and orchestral composers may have influenced others to incorporate the bass clarinet in their orchestra works, this pattern did not extend to including the bass clarinet extensively in chamber music until the latter part of the twentieth century.

Ill APPENDIX A

ALPHABETICAL UST OF COMPOSERS AND PIECES

Adams, Anthony. Six Winter Haiku, misc. & voice, sextet

Adderley, Mark. Reverberations, woodwind & percussion, septet

Ades, Thomas. Life Story, misc. & voice, quartet

Alexander, Josef. Aspects o f Love. misc. & voice, sextet

Alexandra, Liana. Music for MET Trio, woodwind, trio.

Allen, Harold. White River, misc. & voice, nonet

Alvarez, Javier. Fragments' Run. misc. & voice, quintet

Amman, Benno. Coloured Bird, percussion, duo.

Amman, Benno. Holland Toy. percussion, duo.

Anderson, Avril. Under Pressure, wind & string, quintet

Anderson, Barry. Arc. string, sextet

Anderson, Barry. Songs Fenyeach. misc. & voice, quartet

Anderson, Bryan. Chamber Concerto, woodwind, string, & percussion, eleven performers.

Anderson, Julian. Poetry Nearing Silence, wind & string, septet

Anderson, Julian. Tiramisu. woodwind, string, & percussion, ten performers.

Andriessen, Jurriaan. O ktett. woodwind, octet

112 Argento, Dominick. To Be Sung Upon the Water: Barcarolles and Nocturnes, voice, trio.

Ayres, Richard. Number Twenty Four. misc. & voice, octet

Bailey, Judith. Three Songs for a River, woodwind, duo.

Bailey, Judith. Wind Octet, woodwind, octet

Bainbridge, Simon. People o f the Dawn. misc. & voice, sextet

Bainbridge, Simon. Three Flayers, string, trio.

Bainbridge, Simon. Voicing, wind & string, eleven performers.

Bamford, Adrian. Five Songs for an Open Mind. misc. & voice, septet

Banks, Don. 4X2X1. electronic, trio.

Barkl, Michael. Blues, percussion, duo.

Barid, Michael. M onody, woodwind & string, trio.

Barrett, David. The Agony in the Garden: A Meditation After El Greco, misc. & voice, sextet

Barrett, Richard. Anatomy, woodwind, string, & percussion, eleven performers.

Barrett, Richard. Essay in Radiance, woodwind, string, & percussion, septet

Barrett, Richard. Illum iner Le Temps, woodwind, string, & percussion, octet

Barrett, Richard. Ueder Vom Wasser. misc. & voice, quartet

Barrett, Richard. Temptation, misc. & electronic, sextet

Barrett Richard. Trawl, wind & string, quintet

Barrett, Richard. What Remains, woodwind, trio.

Barry, Gerald. '______' [2 Versions], wind, string, & percussion, ten performers.

Barry, Gerald. Bob. wind, string, & percussion, sextet

Barry, Gerald. Octet, wind, string, & percussion, octet

Barry, Gerald. Quintet, wind & string, quintet 113 Barry, Gerald. Sextet, wind, string, & percussion, quintet

Bdrta, Jiri. Con/rontationi I. string, duo.

Bdrta, Jin. Konjrontace. string, duo.

Bartos, Jan Z. Concerto, string, sextet

Bartos, Jan Z. Inventioni III. string, sextet

Batterham, Andrew. Rampant, wind & percussion, sextet

Bauer, Ross. Ritual Fragments, woodwind, string, & percussion, septet

Beamish, Sally. Ease. misc. & voice, septet

Beamish, Sally. M adrigali. misc. & voice, septet

Becker, Gunther. Ariosi, wind & percussion, sextet

Becker, Gunther. Dedikation. percussion, duo.

Becker, Gunther. Oh, Mr. Dolly, What a Terrible Noise, electronic, duo.

Beerman, Burton. Chamber Music U. percussion, duo.

Beilharz, Kirsty. Earth Essence: Air, Earth, Water, Stars, string, duo.

Beilharz, Kirsty. R ed Ochre, woodwind & string, trio.

Beilharz, Kirsty. Torque 2. percussion, duo.

Bennett, Richard Rodney. Commedia 3. woodwind, string, & percussion, ten performers.

Bennett Richard Rodney. Concerto for Guitar and Chamber Ensemble, woodwind, string, & percussion, twelve performers.

Berkeley, Michael. Re-Inventions, woodwind, quintet

Betko, Milos. Swift Valley, woodwind & string, trio.

Bibalo, Antonio. The Savage: 4 Impressions for 6 Players, woodwind, string, & percussion, sextet

Biggs, Hayes. Songs From Water and Stone, misc. & voice, sextet

114 Binder, John A. Five Sorts, woodwind, duo.

Binder, John A. Trio, string, trio.

Biondi, Michael. Dark Timbres: Lyric Adagio in One Movement, wind & string, quintet

Birgisson, Snorri. Oratorium. voice, trio.

Birtwistle, Harrison. Five Chorale Preludes, misc. & voice, quartet

Birtwistle, Harrison. Nenia: the Death o f Orpheus, misc. & voice, sextet

Birtwistle, Harrison. The World Is Discovered, misc. twelve performers.

Birtwistle, Harrison. Ut Heremita Solus, woodwind, string, & percussion, sextet

Blackford, Richard. Concerto for Seven, wind, string, & percussion, septet

Blaike, David. In Praise o f Krishna, misc. & voice, ten performers.

Blake, David. Nonet, woodwind, septet

Blank, Allan. Bicinium III. woodwind, duo.

Blatny, Pavel. Three Movements, woodwind, trio.

Blaustein, Susan. Sextet, woodwind, string, & percussion, sextet

Blum berg, Stephen. Sextant, woodwind, string, & percussion, sextet

Blyton, Carey. A Little Trio, woodwind, trio.

Bobak, Mark. Septet, wind, string, & percussion, septet

Bodorovâ, Sylvie. Kovadliny casu . woodwind, septet

Boehm, Roland. B its, string, duo.

Boehm, Roland. Rainbow and Clouds, string, duo.

Boehm, Roland. Saluti a Due Boemi. percussion, duo.

Boehm, Roland. Traumszenen. wind & string, quartet

Bohàc, Josef. Sonetti per sonatori. wind & percussion, quintet

115 Bohàc, Josef. Songs o f Solitude, voice, trio.

Borris, Siegfried. Oktett, op. 25, nr.3. misc. octeL

Bouliane, Denys. Manche Haben Trompetten: Drei Gesange Nach Vian, voice, duo.

Bowen, York. Quintet, op. 13. string, quintet

Boyd, Anne. The Metamorphoses of the Solitary Female Phoenix, woodwind & percussion, septet

Bozicevic, Ivan. Rivers, Like in a Dream, keyboard, duo.

Braun, Yehezkei. Soundtrack, wind, string, & percussion, sextet

Brennan, John Wolf. Fric-Tions. wind, string, & percussion, sextet

Bright, Colin. El Nino Dances, woodwind, string, & percussion, quintet

Bright, Colin. Red Earth, woodwind, string, & percussion, sextet

Bright, Colin. Red Earth II. woodwind, string, & percussion, septet

Broadstock, Brenton. And No Birds Sing, woodwind, string, & percussion, quintet

Brophy, Gerard. Bisoux. brass, duo.

Brophy, Gerard. Cries and Whispers, wind, string, & percussion, sextet

Brophy, Gerard. Dark Blue Beats, woodwind, string, & percussion, trio.

Brophy, Gerard. Glove, string, trio.

Brophy, Gerard. Head, woodwind, trio.

Brophy, Gerard. lem enja. woodwind, string, & percussion, nonet

Brophy, Gerard. Iza. woodwind, duo.

Brophy, Gerard. O Dolce Z'amarissime. woodwind & percussion, octet

Brophy, Gerard. Rubber, woodwind & percussion, quartet

Brophy, Gerard. Scintille, wind, string, & percussion, septet

Brophy, Gerard. Senso: Dopo Skin D'armourdo. wind, string, & percussion, sextet

116 Brown, Christopher R. Brown the Bear. misc. & voice, octet

Briin, Herbert 6 for 5 by 3 in Pieces . woodwind, quartet

Briin, Herbert Twice Upon Three Times, brass, duo.

Bruynel, Ton. Dialogue, electronic, duo.

Bruynel, Ton. In tra l. electronic, duo.

Bruynel, Ton. Looking Ears, electronic, trio.

Bryars, Gavin. Four Elements, misc. & voice, eleven performers.

Bryars, Gavin. The Adnan Songbook. misc. & voice, septet

Bryars, Gavin. The Archangel Trip, woodwind, string, & percussion, ten performeis.

Bryars, Gavin. The Cross Channel Ferry, woodwind, string, & percussion, ten performers.

Bryars, Gavin. The Old Tower ofLobenicht. woodwind, string, & percussion, nonet.

Bryars, Gavin. The Sinking o f the Titanic, woodwind, string, & percussion, eleven performers.

Buckley, John. The Words Upon the Window-Pane. misc. & voice, twelve performers.

Budd, Hal. Serenade, misc. quintet

Bumcke, Gustav. Sextet in Ab, op. 19. woodwind, sextet

Burgers, Simon. Pastiche!, electronic, duo.

Burgman. 4 Sequenzas. woodwind, trio.

Burke, John. Stealth, percussion, duo.

Burrell, Diana. Wind Quintet, woodwind, quintet

Burt, Warren. Robert and Catherine, misc. & electronic, trio.

Butler, Martin. Dirty Beasts, misc. & voice, septet

Butler, Martin. Going With the Grain, woodwind, string, & percussion, sextet

Butler, Martin. Jazz Machines, woodwind, string, & percussion, sextet 117 Butler, Martin. Roll It Along!, misc. & voice, sextet

Butteriey, Nigel. Laudes, wind & string, octet

Byers, David. Moon Shadows, misc. & voice, septet

Cage, John. Five 2. woodwind, quintet

Cage, John. Five 5. woodwind & percussion, quintet

Cage, John. Seven 2. woodwind, string, & percussion, septet

Calzon, Miguel. Isis En Jupiter, woodw ind & string, quartet

Campbell, Steven. Tears and Coloured Diamonds, percussion, quartet

Campion, Rob. Reciprocal, misc. septet

Cardew, Cornelius. Octet, wind & string, octet

Cardi, Mauro. Terza Texture, woodwind, trio.

Carpenter, Gary. Da Capo, wind, string, & percussion, sextet

Carpenter, Gary. Eight Drops in the Ocean, wind & string, octet

Cashian, Philip. Blackdance. woodwind, string, & percussion, sextet

Cashian, Philip. Les Saltimbanques Dans La Nuit, woodwind, string, & percussion. octet

Cashian, Philip. Near Winter, misc. & voice, septet

Cashian, Philip. Shaking the Sky. woodwind, string, & percussion, ten performers.

Casken, John. Amarantos. woodwind, string, & percussion, nonet

Casken, John. Music for a Tawny-Gold Day. woodwind & string, quartet

Castagnoli, Guilio. Trio 2b. woodwind, trio.

Castignoli, Giuiio. Trio II. misc. trio.

Catalano, Joe. Woodhenge. string & percussion, quartet

Caturla, Alejandro. Tres Danza Cubanas. misc. twelve performeis.

118 Celli, Joseph. Totem for Bass Clarinet and Three Channels o f Video, electronic, duo.

Cestmir, Gregor. Trio, woodwind, trio.

Chambers, Wendy. Phrase Construction, woodwind & percussion, sextet

Chan, Hing-yan. Four Pieces for Five Players, woodwind & percussion, quartet

Chen, Yi. Near Distance: Lost in Thought About Ancient Culture and Modern Civilization, woodwind, string, & percussion, sextet

Cheong, Simplicius. M ovement, wind & string, sextet

Childs, Barney. Pastorale, electronic, duo.

Childs, Barney. Sunshine Lunchh, & Uke Matters, misc. & voice, quartet

Childs, Barney. The Edge of the World, keyboard, duo.

Clarke, James. Afterglow, misc. & voice, quartet

Clarke, James. Canciones De Luna. misc. & voice, quartet

Clarke, James. In Another Room, woodwind, trio.

Clarke, James. La Violenza Delle Idee, woodwind, string, & percussion, octet

Clarke, James. The Destroyed, woodwind, duo.

Clarke, James. Trio, woodwind, trio.

Clarke, James. Verstorung. string, trio.

Clarke, Keith. Vicino E Lontano. woodwind, string, & percussion, twelve performers.

Clementi, Aldo. Berceuse, string, quartet

Cobian, Michael Rosas. Southern Episodes, woodwind, string, & percussion, nonet

Cobian, Michael Rosas. Thebes, woodwind, string, & percussion, eleven performers.

Colbert, Brendan. Murderers o f Calm, string & percussion, septet

Colbert Brendan. Parallaxis. woodwind, string, & percussion, octet

Colbert Brendan. States o f Mind, woodwind, trio.

119 Cole, Bruce. Caesura, woodwind, string, & percussion, sextet

Collins, Amanda. Toon Cat. woodwind, sextet

Collins, Janyce. Fin o f the Shark, misc. & voice, quartet

Conyngham, Barry. Journeys, electronic, duo.

Corcoran, Frank. Buile Suibhne. misc. & voice, nonet

Corcoran, Frank. Dan Aimhirgin. misc. & voice, quartet

Corcoran, Frank. Lines and Configurations, percussion, duo.

Cotek, Pavel. Portrait o f a Bird. misc. & voice, sextet

Cotek, Pavel. Ziehe Kreise . voice, trio.

Covell, Grant In Der Nacht. misc. & voice, sextet

Cox, Rick. Mostly Pretty Down. misc. varies in size.

Cresswell, Lyell. H ocket. electronic, trio.

Cresswell, Lyell. Le Sucre Du Printemps, woodwind, nonet

Cronin, Stephen. Blow, woodwind, octet

Cronin, Stephen. Eros Reclaimed, woodwind, string, & percussion, sextet

Cronin, Stephen. Even Love Can Wield a Stealthy Blade, percussion, duo.

Cronin, Stephen. Flit, string & percussion, trio.

Cronin, Stephen. Sons/Sans Pique/Sens Piques, string, duo.

Crowley, James F. Canon, woodwind, trio.

Cruft, Adrian. Three Miniatures, woodwind, trio.

Cunningham, Michael. Phases, misc. duo.

Dadak, Jaromir. Terzetto Piccolo, percussion, trio.

Dalby, Martin. O Bella E Vaga Aurora, woodwind, string, & percussiort eleven performers.

120 Dalby, Martin. The Dancer Eduardova. woodwind, string, & percussion, sextet

Dalby, Martin. The Keeper o f the Pass. misc. & voice, sextet

Dalby, Martin. The Loch Ness Monster's Song. misc. & voice, quintet

Davidson, Robert Tyalgum. string, quartet

Davidson, Tina. Quintet, wind & string, quintet

Davidson, Tina. Wonum Dreaming, woodwind, string, & percussion, septet

Davies, Peter Maxwell. Antéchrist, woodwind, string, & percussion, septet

Davies, Peter Maxwell. Bairns o f Brugh. woodwind, string, & percussion, sextet

Davies, Peter Maxwell. Dances From the Two Fiddlers, woodwind, string, & percussion, sextet

Davies, Peter Maxwell. Dowland: Farewell - A Fancye. woodwind, string, & percussion, sextet

Davies, Peter Maxwell. Four Instrumental Motets, woodwind, string, & percussion, sextet

Davies, Peter Maxwell. Image Reflection Shadow, woodwind, string, & percussion. sextet

Davies, Peter Maxwell. My Lady Lxtthian's Lilt. misc. & voice, sextet

Davies, Peter Maxwell. Shakespeare Music, woodwind & percussion, eleven performers.

Davies, Peter Maxwell. The Blind Fiddler, misc. & voice, octet

Davies, Peter Maxwell. Unbroken Circle, wind & string, quintet

DeLeeuw, Ton. Trio, woodwind, trio.

Deane, Raymond. Fugung. keyboard, duo.

Deane, Raymond. November Songs, misc. & voice, septet

Deane, Raymond. Two Silhouettes, woodwind, sextet

Dench, Chris. Atsiluth. woodwind, trio.

121 Dench, Chris. Quattro Frammenti. wind, string, & percussion, nonet

Dibak, Igor. Rhapsody, op. 41. keyboard, duo.

Dickinson, John. Dawlish Fandango, wind & string, septet

Diederichs, Yann. Zitat. woodwind, duo.

Diethe. Romance, woodwind, septet

Dijkstra, Lowell. Brusque, woodwind, trio.

Dijkstra, Lowell. Glee. misc. duo.

Dillon, James. La Femme Invisible, woodwind & percussion, twelve performers.

Dimov, Bojidar. Rituals for Clarinet Duo-A Work in Progress, woodwind, duo.

Dimov, Bojidar. Trio Rituals, woodwind, trio.

Dinescu, Violela. Medrea. keyboard, duo.

Dobbins, Lori. Chamber Music, woodwind, string, & percussion, sextet

Dobrowolski, Andrezj. Music for Tape and Bass Clarinet, electronic, duo.

Doherty, Douglas. Confucius Lied, electronic, duo.

Domansky, Hanus. Music for 3 Instruments, misc. trio.

Donatomi, Franco. Cinis. voice, duo.

Donatoni, Franco. HET. woodwind, trio.

Drew, James. Chamber Symphony, wind & string, quintet

Drumm, Paitick. To the Ancestral North, misc. & voice, nonet

Du Bois, Rob. Tracery, percussion, duo.

Durand, Auguste. Chaconne: op. 62. woodwind, quartet

Dvoràcek, Jiri. Meditazione. percussion, duo.

Dyndahl, Fetter. Kneial 2: Feedback for Ensemble, woodwind, string, & percussion, septet

122 Eckhardt-Gramatté, S.C. Blaserquartett: E 112. woodwind, quartet

Edwards, Ross. Enyato Iv. percussion, duo.

Edwards, Ross. Maninya Iv. wind & percussion, trio.

Edwards, Ross. Shadow D-Zone. woodwind, string, & percussion, sextet

Eigenfeldt, Ame. Late Night (At De Ijsbreaker). woodwind, trio.

Elias, Brian. Geranos. woodwind, string, & percussion, sextet

Ellis, James Anthony. Mountain Steps, woodwind, string, & percussion, septet

Erber, James. Fax. string, quintet

Ewers, Tim. Squaring the Circle, woodwind, string, & percussion, quartet

Faltus, Leos. Trio, wind & string, trio.

Fargion, Matteo. Trio, woodwind, trio.

Farina, Carlo. Alte Tanzweisen. woodwind, twelve.

Fedele, Ivan. Aiscrim. woodwind, trio.

Feld, Jindrich. Duo. woodwind, duo.

Feld, Jindrich. Suite concertante 11. percussion, trio.

Felder, David. Coleccion Nocturna. electronic, trio.

Feldman, Bernardo. Portraits o f Friends and Relatives (recuerdos de un antano triste). electronic, duo.

Feldman, Morton. Bass Clarinet and Percussion, percussion, trio.

Femeyhough, Brian. Incipits. woodwind, string, & percussion, octet

Femeyhough, Brian. On Stellar Magnitudes, misc. & voice, sextet

Festinger, Richard. A Serenade for Six. woodwind, string, & percussion, sextet

Festinger, Richard. Trioncmetry. woodwind, trio.

Filas Juraj. Contrasti. misc. duo.

123 Finisterer, Mary. Triplice. woodwind, trio.

Fink, Michael Jon. Living to Be Hunted by the Moon. misc. & electronic, quintet

Fink, Michael Jon. Writ in Water, woodwind, duo.

Finsterer, Mark. Insynchronos. wind & percussion, nonet

Finsterer, Mark. Strange Coin, percussion, duo.

Finsterer, Mary. Catch, woodwind, trio.

Firtic, Grigorij. Contrasts, woodwind, trio.

Fitelberg, Grzegorz. Quintet, misc. quintet

Fitkin, Graham. Ironic, woodwind, string, & percussion, sextet

Fligg, David. Animal Songs, misc. & voice, nonet

Flosman, Oldrich. Hudba. string, duo.

Flothuis, Marius. Zuintett, op. 13. woodwind, quintet

Ford, Andrew. Boatsong. percussion, duo.

Ford, Andrew. Bright Ringing Morning, woodwind, string, & percussion, ten performers.

Ford, Andrew. Chamber Concerto No. 2: Cries in Summer, wind & string, quintet

Ford, Andrew. Chamber Concerto No. 3: in Constant Flight, woodwind, string, & percussion, sextet

Ford, Andrew. On Canaan's Happier Shore, string, septet

Ford, Andrew. Peasoup. keyboard, duo.

Ford, Andrew. Ringing the Changes, woodwind, trio.

Ford, Andrew. Sacred Places, misc. & voice, octet

Ford, Andrew. The Art o f Puffing: Seventeen Elegies for Thomas Chatterton. percussion, duo.

Formosa, Riccardo. Tableaux: Per Cinque Strumenti. wind & string, quintet

124 Fowler, Jennifer. The Arrows o f Saint Sebastian U. misc. & electronic, trio.

Fox, Christopher. Ci-Git. voice, trio.

Fox, Christopher. Heliotrope 3. woodwind, sextet

Fox, Christopher. Leap Uke the Hart, string & percussion, sextet

Fox, Erika. Hungarian Rhapsody, misc. quintet

Fox, Erika. In Memoriam Igor Stravinsky, woodwind & percussion, septet

Fox, Erika. Meditation on Sibyls, misc. & voice, septet

Fox, Erika. Tuned Spheres, misc. trio.

Fox, Jim. Between the Wheels, string, quintet

Fox, Jim. Last Things, electronic, duo.

Francaix, Jean. Quatuor, woodwind, quartet

Freedman, Harry. Downwind, keyboard, duo.

Freedman, Harry. Higher M usic, string, duo.

Fulkerson, Christopher. The Hyperidians arui the Bailiff: Part IV o f the Human Age. percussion, duo.

Fulkerson, James. Co-Ordinative Systems No. 3. wind & string, quartet

Fulkerson, James. Co-Ordinative Systems No. 4. woodwind, string, & percussion, nonet

Fussell, Charles. Goethe Ueder. misc. & voice, septet

Gantner, Reinfried. Rondino. woodwind, trio.

Gardiner, Ian R. Bass Clarinet Trio, string, trio.

Gardner, Stephen. Trane, string, quartet

Geertens, Gerda. Split Country, misc. & electronic, trio.

Ghandar, Ann. Sinai Music, percussion, duo.

Gilbert, Anthony. Canticle I : Rock-song. misc. octet 125 Gilbert, Anthony. Ziggurat. percussicm. duo.

Gilmour, Russell. Art o f Reckoning (Reprise), misc. trio.

Gilmour, Russell. Point, wind & string, quintet

Gilmour, Russell. Reed Dance, woodwind, trio.

Gilmour, Russell. Siren, woodwind, trio.

Gilmour, Russell. Toccata Loops: for Flexible Ensemble, woodwind, quintet

Glynn, Gerald. 3 Mannheimer Duos, woodwind, duo.

Godar, Vladimir. Convergence, woodwind, trio.

Godar, Vladimir. Trio. misc. trio.

Goethals, Lucien. Two Projections, woodwind, trio.

Goeyvaerts, Karel. For Harrie, Harry, and Ren. woodwind, trio.

Goeyvaerts, Karel. You'll Never Be Alone Any More, electronic, duo.

Gordon, Morgan. Changing the Wheel, misc. & voice, quintet

Gordon, Morgan. Fairground Song. misc. & voice, sextet

Gordon, Morgan. Little Song. misc. & voice, sextet

Gorodecki, Michael. Still, woodwind, trio.

Gosnall, Robin. Deteriorated Image, woodwind, trio.

Gosnall, Robin. Wind Quintet, woodwind, quintet

Gotch, Nicholas. Flight, woodwind, string, & percussion, ten performers.

Gough, Orlando. M alouf. woodwind, string, & percussion, twelve performers.

Graham, Peter A.F. Time Scale, wind & string, ten performers.

Grahn, Ulf. Order-Fragments-Mirror. wind & percussion, quartet

Grahn, Ulf. Soundscapes I. wind & percussiort quartet

Grahn, Ulf. Souruiscapes IV. misc. & voice, quintet 126 Grahn, Ulf. Tite Secret o f the Moon, voice, trio.

Grandi son, Mark. Los Caprichos: Six Caprices ^ e r Goya, wind, string, & percussion, eleven performers.

Grange, Philip. As It Was. voice, quartet.

Grange, Philip. Cimmerian Nocturne, woodwind, string, & percussion, sextet

Grange, Philip. Three Pieces, percussion, duo.

Grant, Robin. Miniature Mechanisms, wind & string, septet

Graubart Michael. Diptych, woodwind, quartet

Graubart Michael. Metabola. woodwind, string, & percussion, quintet

Gribbin, Deiidre. Cease, wind & string, quintet

Gribbin, Deirdre. Seven Visions o f a Dream, wind & string, ten performers.

Grosskopf, Eberhard. Einnerungen (aus Uchtknall). percussion, trio.

Grosskopf, Eberhard. Lied, string, quintet

Grossner, Sonja. Sonata for Mixed Ensemble, woodwind, string, & percussion, nonet

Grossner, Sonja. Survival, woodwind, string, & percussion, septet

Guiliano, Giuseppe. Random C. electronic, duo.

Guy, Noa. The Unforgiving Minute, misc. nonet

Gyger, H liott La Mer Aux Miroirs Creves. woodwind, string, & percussion, nonet

Gyger, Elliott Si Doux, wind & string, sextet

Gyger, Elliott Simple Harmonic Motion, string & percussion, quartet

Hair, Graham. Concerto for Clarinettist & Double Ensemble, wind, string, & percussion, octet

Hair, Graham. Fantasy After Leopardi's the Setting o f the Moon, woodwind, string, & percussion, nonet

Hakola, Kimmo. Capriole, string, duo.

127 Halferty, Frank Joseph. Demaray. woodwind, trio.

Halmrast, Tor. Tilflukt. woodwind, string, & percussion, octet

Halmrast, Tor. Under Somme Tak, woodwind, string, & percussion, ten performers.

Hamary, Andràs. Grafitt. woodwind, duo.

Hamburg, Jeff. Buk (Buckle), percussion, duo.

Hames, Richard. Djurunga. percussion, duo.

Hancock, Paul. Breynyon in Parachia Sanctl Ennii in Cornubia II. woodwind, string, & percussion, nonet

Harbison, John. Exequiem for Calvin Simmons, wind, string, & percussion, septet

Harbison, John. Serenade, wind & string, sextet

Harper, Edward. Intrada After Monteverdi, woodwind, string, & percussion, eleven performers.

Hartmarm, Per Joharmes. Permanent Wave, wind & string, septet

Hartwell, Hugh. Acitoré. woodwind & percussion, septet

Harvey, Jonathan. Scena. woodwind, string, & percussion, ten performers.

Harvey, Jonathan. The Riot, woodwind, trio.

Hatch, Peter. Endangered Worlds for Wind Sextet, woodwind, septet

Haug, Halvor. Symphony for Five, wind & string, quintet

Hayden, Sam. Partners in Psychopathology, woodwind, string, & percussion, sextet

Hayden, Sam. Sleaze, wind & string, nonet

Hayes, Nicholas. The Basket, voice, trio.

Hedin, Staffan. Livsgerâd. voice, trio.

Hedstr0m, A se. Bewegt. woodwind, string, & percussion, eleven performers.

Hegdal, Magne. Ghost Music, percussion, duo.

Hegdal, Magne. Ghost Music: Concerto TV. percussion, duo. 128 Hegdal, Magne. Symphony for Five, wind & string, quintet

Heidei, Ida Helene. Pipe Project, woodwind & percussion, septet

Heim, Norman M. Concertino Da Camera: op. 116. woodwind, trio.

Heim, Noraian M. Prague Trio: op. 184. woodwind, trio.

Heitzeg, Steve. Raven and Crow: Medicine Birds, woodwind & percussion, quartet

Hekster, Walter. Desert Moon, woodwind & string, quartet

Hellawell, Piers. Quem Quaeritis. misc. & voice, sextet

Hellawell, Piers. Sound Carvings From the Ice Wall, woodwind, string, & percussion, septet

Hellewell, David. Chronos - Dynamikos. woodwind, string, & percussion, septet

Hellstenius, Henrik. To Happen / It / Has Happened, wind, string, & percussion, ten performers.

Henderson, Moya. Who'd-A-Thought-It?. electronic, quartet

Herrera, Rufo. Ciranda De Lua Triste, woodwind, quartet

Heyn, Voiker. Reb David, Wife, and Wolf, woodwind & string, trio.

Hill, Fred. Hungarian Shuffle: Being an Extemporization on the 1st Rumanian Christmas Carol (Colinde) / Collected by Bela Bartok, woodwind, quintet

Hill, Fred. Insights 1 and II. woodwind, string, & percussion, nonet

Hind, Nicky. Blow Out. wind & string, octet

Hindemith, Paul. Septet, misc. septet

Hindson, Matthew. Teddy Bear, woodwind, string, & percussion, quartet

Hlavdc, Miroslav. Musica diafonica. electronic, trio.

Hobbs, Christopher. Four Studies in Shadow, woodwind, trio.

Hobbs, Christopher. Recitative, percussion, quartet

Hoemsnes, Bj0m Korsan. A Chamber Concept, string, quintet

129 Hoffman, Richard Karl. Trio, string, trio.

Holloway, Robin. The Rivers o f Hell, woodwind, string, & percussion, septet

Holm, Kristin. Jeg Husker Alt. misc. & voice, twelve peiformers.

Holt Simon. Capriccio Spettrale. wind & string, ten performers.

Holt Simon. Era Madrugada. wind, string, & percussion, septet

Holt, Simon. Sparrow Night, wind & string, ten performers.

Hopkins, Bill. Two Poems, misc. & voice, quintet

Hopkins, John E. Cantilever, wind & string, octet

Hopkins, John E For the Far Journey, misc. & voice, sextet

Hopkins, John E Fuga Canonica. wind & string, quintet

Hopkins, John E. Noche Oscura. misc. & voice, sextet

Hopkins, John E. Se La Face Ay Pale, woodwind, string, & percussion, quintet

Hopkins, John E. The Cloud o f Unknowing, woodwind, string, & percussion, sextet

Hora, Josef. Suite on Folk Songs, wind & string, trio.

Home, David. Out o f the Mr. woodwind, string, & percussion, octet

Howard, Brian. Chanson De La Plus Haute Tour, wind, string, & percussion, septet

Hoyland, Vic. Andacht Zum Kleinen. woodwind, string, & percussion, nonet

Hoyland, Vic. Fsem. woodwind, string, & percussion, nonet

Hoyland, Vic. Fox. woodwind, string, & percussion, eleven performers.

Hrusovsky, Ivan. Combinazioni Sonoriche Per 9. wind, string, & percussion, nonet

Huber, Klaus. Schattenbldtter. string, trio.

Huber, Klaus. Schattenbldtter II. string, duo.

Huggler, John. Serenata per 5 Strumenti, Opus SO. wind & string, quintet

Hughes, Edward Dudley. Rosa Bella, woodwind, octet 130 Hugill, Andrew. Catalogue De Grenouilles, woodwind, string, & percussion, ten performers.

Humble, Keith. Polysaccharides 1. wind & string, eleven performers.

Hummel, Cornelius. Notton-tonnot PALINDROM. woodwind, duo.

Hvoslef, Ketil. Collage / Svart/Hvitt Med R0Dt. misc. & voice, quintet

Imbrie, Andrew. Pilgrimage, woodwind, string, & percussion, sextet

I mpett, Jonathan. Cassation, misc. & electronic, sextet

Ingham, Steve. Ein Froehlich Wesen. woodwind, string, & percussion, ten performers.

Ingham, Steve. Indiana Suite, woodwind, string, & percussion, eleven performers.

Ingham, Steve. Shards, misc. & electronic, quartet

Ingoldsby, Thomas. Concerto for Ten Players and Conductor, woodwind, string, & percussion, ten performers.

Ingoldsby, Thomas. Te Rerioa. woodwind, string, & percussion, sextet

Ingoldsby, Thomas. Three Small Litanies, misc. & voice, sextet

Isaacs, Mark. So It Does, wind & string, sextet

Jack, Adrian. Jigsaw, misc. quintet

Jack, Adrian. Snakes and Ladders, woodwind, duo.

Jandcek, Leos. Mlddi Suite, woodwind, sextet

Jancenko, Oleg. Sonatina, woodwind, trio.

Jelinek, Harms. Divertimento, op. IS. woodwind, quartet

Jeths, Willem. Raptim. woodwind, trio.

Jirâsek, Ivo. Portrait o f a Woman, misc. & voice, quintet

Johnsen, Hallvard. Humoresque, op. 94. woodwind, duo.

Johnson, Julian. Music for Dancing No. 3. woodwind, string, & percussion, ten performers.

131 Johnston, Ben. Septet, wind, string, & percussion, septet

Johnston, Fergus. Incantations, percussion, nonet

Johnston, Fergus. Lio/a. wind & string, septet

Johnston, Fergus. Timon o f Athens, woodwind, string, & percussion, octet

Jones, Nicholas J. In the Grey o f the Dawn, woodwind, string, & percussion, sextet

Josephs, Wilfred. Concerto A Dodici. misc. twelve performers.

Josephs, Wilfred. Papageno Variations, woodwind, sextet

Kaczor, Neil. Lament, wind & string, octet

Kahrs, Sven Lyder. Music by the Night-Wind Sent. misc. duo.

Kapr, Jan. Testimonianza. string, quartet

Karlins, M. William. Birth Day Music I. woodwind & string, quartet

Kats-Chemin, Elena. Hemispheres: for 8 Instruments, wind & string, octet

Keeling, Andrew. Distant Skies, Mountains and Shadows, woodwind, trio.

Keeling, Andrew. Quaternaries, woodwind & string, quartet

Kerry, Gordon. Phaselus. string & percussion, sextet

Kerry, Gordon. Sonata Da Camera, wind & string, sextet

Ketting, Otto. Summer, woodwind, trio.

Ketting, Piet Trio-Sonata. woodwind, trio.

Keuris, Tristan. Concertino, string, quintet

Klusâk, Jan. Reydowak IL. string, trio.

KJusak, Jan. Suita for Two. woodwind, duo.

Knehans, Douglas. Exiles, woodwind, string, & percussion, septet

Knussen, Oliver. Ocean De Terre, misc. & voice, octet

Koch, Dagfiim. En Innover, wind, string, & percussion, nonet 132 Kokoska, Miroslav. M usic fo r Five, wind, string, & percussion, quintet

Kos, Bozidar. Little Fantasy, woodwind & percussion, twelve perfoimers.

Kos, Bozidar. Spectrum, misc. & electronic, trio.

Kosvinar, David. Trio, woodwind, trio.

Krak, Egon. Responsio I. string, duo.

Krak, Egon. Responsio II. wind & string, quartet

Kreiger, Arthur. Meeting Places, woodwind, string, & percussion, septet

Kremser, Daniel. Saluti. voice, trio.

Kreutzer, Conradin. Quartet, woodwind, quartet

Kroil, Georg. Zwiegsinge. woodwind, duo.

Kubflc, Ladislav. Due episodi. percussion, trio.

Kubflc, Ladislav. Due episodi II. percussion, trio.

Kubfk, Ladislav. Lament o f a Warrior's Wife. misc. & voice, sextet

Kubizek, Augustin. 4 StUcke. woodwind, trio.

Kucera, Vaclav. Diptchon. wind & percussion, quartet

Kucera, Vaclav. Gogh's Self-Portrait, electronic, duo.

Kucera, Vaclav. Invariant, electronic, trio.

Kucera, Vaclav. Oraculum. misc. duo.

Kucera, Vaclav. Pieter Brueghel Inspirations, woodwind, trio.

Kucera, Vaclav. Taboo a Due Boemi. percussion, trio.

Kuiper, Klaus. StampiJ, I99I. woodwind, quartet

Kulesha, Gary. Ghosts, misc. & electronic, quartet

Kulesha, Gary. Mysterium Coniunctionis. woodwind, trio.

Kulesha, Gary. Political Implications, woodwind, quartet 133 Kulesha, Gary. Third Chamber Concerto, woodwind, nonet

Kunert Kurt Okteti, op. 19. wind & string, octet

Kupferman, Meyer. Infinities Thirteen, wind & string, quintet

Kupkovic, Ladislav. Exclamations, woodwind, quartet

Kupkovic, Ladislav. Shrieks I. wind & percussion, quartet

Kupkovic, Ladislav. Variations on Slovac Song, string, trio.

Laburda, Jiri. Kasace Nr 3. percussion, duo.

Lachenmann, Helmut Allegro Sostenuto. string, trio.

Laufer, Edward. Concertino, wind & string, octet

Laufer, Norbert Winter Music, percussion, duo.

Leek, Stephen. De/ractions. misc. octet

LeFanu, Nicola. Collana. woodwind, string, & percussion, sextet

LeFanu, Nicola. Lament, woodwind & string, quartet

LeFanu, Nicola Sextet, woodwind, string, & percussion, sextet

LeFanu, Nicola. The Same Day Dawns, misc. & voice, sextet

Lehmann, Wilfred. Celebration Mystique, woodwind, sextet

LeMarcellino, Raffae. Masquerade, woodwind, quintet

Lenk, T. Timothy. De Projundis Clamavi II. misc. & voice, quintet

Lerstad, Teije Bj0m. Duo. percussion, duo.

Lerstad, Teije Bjpm. Lux Aeterna, op. 123 B: Avslutningskoret Fra Requiem, misc. & voice, septet

Lerstad, Teije Bjrim. Rendez-Vous for Four Musicians and Electronics, op. 189 B. misc. & electronic, quartet

Lerstad, Teije Bj0m. Septet, woodwind, septet

Lerstad, Teije Bj0m. Suite, string, duo. 134 Lerstad, Teije Bjdm. Theme and Variations, op. 109 A. wind & percussion. quinteL

Lerstad, Teije BJom. Tre,op.202. sUing. duo.

Lerstad, Teije Bj0m. Vestbanen 30.11.96: Tango for Ti: Stille Skritt Pâ Skare/Lerkenàler I Desember: Mambo Senza Crio: Copicana for 70: for Cikada Og 3 Skoleklasser, op. 204. woodwind, string, & percussion, eleven performers.

Lim, Liza. Diabolical Birds, wind, string, & percussion, sextet

Lindroth, Scott Light, misc. & voice, sextet

Lindwall, Christer. Twang, voice, trio.

Lippe, Cort Music for Bass Clarinet and Tape, electronic, duo.

Lliev, Ilija. Fuga. wind & string, quartet

Lloyd, Jonathan. Scattered Ruins 2. misc. & voice, ten performers.

Lloyd, Jonathan. Waiting for Gozo. wind & string, twelve performers.

Lobbett Gary. Resti Euta. woodwind, string, & percussion, sextet

Loevendie, Theo. Pitts One. woodwind, trio.

Lombardo, Robert Program Notes, misc. & voice, quintet

Long, Christopher. One More Breath, woodwind, string, & percussion, quartet

Lonner, Oddvar. Musikkfor En Piper0Yker. percussion, trio.

Lonner, Oddvar. T Fiir Blaserquintett. woodwind, quintet

Loucher, Raymond. Wind Octet, woodwind, octet

Loudovâ, Ivana. Aulos-Syrinz. woodwind, duo.

Loudovâ, Ivana. Duo Concertante, percussion, duo.

Loudovà, Ivana. Meditations, wind & percussion, quartet

Loudovâ, Ivana. Sentimento Del Tempo, percussion, trio.

Lucky, Stepân. Concertino, string, sextet

Lucky, Stepdn. Invence pro Sonatori. wind & percussion, quartet 135 Lucky, Stepân. Sextet, string, sextet

Luedeke, Raymond. Fancies and Interludes IV. percussion, duo.

Luff, Enid. The Coastal Road, woodwind. quinteL

Lund, Erik. Consensus Fences, woodwind & string, trio.

Luti, Vincent Mixed Quintet, misc. & electronic, sextet

Lutyens, Elisabeth. Akapotik Rose. misc. & voice, nonet

Lutyens, Elisabeth. Laudi. misc. & voice, sextet

Lutyens, Elisabeth. The Valley ofHatsu-Se. misc. & voice, quintet

Lutyens, Elisabeth. Vision o f Youth, misc. & voice, sextet

Mabry, Drake. 3.28.90. woodwind, duo.

MacDonald, Alistair. A Trace o f Infinity, woodwind, string, & percussion, twelve fjerformers.

MacKinnon, Robert Suite for Six Woodwinds, woodwind, sextet

MacMillan, James. As Others See Us.... woodwind, string, & percussion, nonet

MacMillan, James. Three Dawn Rituals, woodwind, string, & percussion, octet

Mahler, Hellgart Trio, woodwind, trio.

Malovec, Jozef. Cryptogram I. percussion, trio.

Man, Roderik de. Touch-And-Go. string, trio.

Mar be, Myriam. Dialogi. voice, trio.

Mar be, Myriam. Et in Arcadia, wind & percussion, quartet

Marcussen, Kjell. Concerto for Guitar, Chamber Ensemble and Tape, woodwind, string, & percussion, septet

Marsh, Roger. On and On. misc. & voice, quartet

Marteau, Henri. Serenade in D, op. 22. woodwind, nonet

Maitincek, Peter. Duo. brass, duo. 136 Maitland, Steve. Big Mac. woodwind & percussion, quartet.

Maitland, Steve. Mr Anderson's Pavane, woodwind, string, & percussion. octeL

Maitland, Steve. Wolf-Gang. woodwind, octet

Mason, Benedict Sonata Da Camera, misc. & voice, sextet

Masta, Josef. Impressioni. string, duo.

Mas ta, Josef. Trio, woodwind, trio.

Matej, Daniel. (Another Two) Lullabies, misc. & voice, septet

Matej, Daniel. In the End. wind & string, quartet

Mateju, Zbynek. Stela li. misc. duo.

Matthews, Colin. Cantata on the Death of Antony, misc. & voice, septet

Matthews, Colin. Elegiac Chaconne. wind & string, quintet

Matthews, Colin. Five Concertinos, woodwind, quintet

Matthews, Colin. Fuga. woodwind, string, & percussion, octet

Matthews, Colin. L, Bent.... wind & string, ten performers.

Matthews, Colin. Night's Mask. misc. & voice, octet

Matthews, Colin. Rainbow Studies, woodwind, quintet

Matthews, Colin. StrugnelVs Haiku, woodwind, quintet

Matthews, Colin. Suns Dance, wind & string, ten performers.

Matthews, Colin. The Great Journey, misc. & voice, nonet

Matthews, Colin. To Compose Without the Least Knowledge o f Music, woodwind. sextet

Matys, Jiri. Videni. string, duo.

Matys, Jiri. Suita, string, duo.

Maw, Nicholas. Ghost Ikmces. wind, string, & percussion, quintet

137 Maxwell, Michael. Sweet Are the Ways o f Death, voice, trio.

Maxwell, Michael. The Derby Ram. voice, trio.

McCabe, John. Symphony for Ten Wind Instruments, woodwind, ten perfonners.

McCombe, Christine. Five Pieces, woodwind. quinteL

McCombe, Christine. I Have Come to the Borders o f Sleep, the Unfathomable Deep Forest Where All Must Lose Their Way. woodwind & string, trio.

McCombe, Christine. Morph HI. woodwind & string, trio.

McDoweill, Cecilia. Le Temps Viendra, woodwind, trio.

McGuire, Edward. Euphoria, woodwind, string, & percussion, sextet

McGuire, Edward. Interregnum, woodwind, string, & percussion, septet

McGuire, Edward. Liberation, woodwind & string, quartet

McGuire, Edward. Quest, misc. & voice, nonet

McGuire, Edward. Rebirth, string & percussion, sextet

McKimm, Barry. Bass Clarinet Sextet, string, sextet

McKinley, William Thomas. Progeny, woodwind & percussion, quintet

McPherson, Gordon. General Wade's Road, wind & string, septet

Meale, Richard. Incredible Floridas. woodwind & percussion, sextet

Meijering, Chiel. De Druiven Zijn Zuur. woodwind & string, quartet.

Meijering, Chiel. Uitkuisen. string & percussion, sextet

Meijering, Chiel. Wirul at Will, keyboard, duo.

Meijering, Chiel. You Can't Keep a Good Man Down, electronic, sextet

Melinas, Ame. Rendez-vous I. woodwind, duo.

Melinas, Ame. Riflessioni. electronic, duo.

Middenway, Ralph. M osaics, percussion, duo.

138 Mikula, Zdenko. Mornings, Song-Cycle on Poetry by Z. Jettmerova. misc. & voice, quartet

Milhaud, Darius. Symphony no. 5. woodwind, ten performers.

Miller, Elma. The Witch o f Agnesi, woodwind, string, & percussion, septet

Miller, Read. Walking the Floor Over You. misc. duo.

Milstein, Silvina. Psalm Concerning the Castle, misc. & voice, sextet

Misurell-Mitchell, Janice. A lo n e Together, string, duo.

Miyazawa, Kazuto. Strom, percussion, duo.

Moe, Eric. Up & At 'em. wind & string, quintet

Moland, Earik. Natt I Furutoppen li. misc. quintet

Monk, Peter Anthony. Hallosaneluiana. misc. & voice, quartet

Montague, Stephen. The Mouth o f Anger, misc. & electronic, quintet

Montgomery, James. Slo Bio. electronic, quartet

Morgan, David Robert Trio for Seven, woodwind, trio.

Morgan, David Robert Voyage into Solitude, Opus 72. percussion, duo.

Morris, David. What the Wind Told Me. electronic, septet

Morthenson, Jan W. Friihlingslied. voice, trio.

Moss, Lawrence. Windows, wind & string, trio.

Muller-Siemens, Detlev. Sextett. wind & string, sextet

Mulvey, Grainne. Sextet Uno. woodwind, string, & percussion, nonet

Mus grave, Thea. Chamber Concerto No. 2. wind & string, quintet

Myers, Peter. O f Mind and Minds, string & percussion, septet

Myers, Theldon. Antiphony, misc. octet.

Naidoo, Shaim. Trio: Points o f Transition, woodwind, trio.

139 Nedbal, Manfred. Divertimento H. woodwind, trio.

Nedbal, Manfred. Divertimento II. string, sextet

Nedbal, Manfred. Small Trio, wind & string, trio.

Nemiroff, Isaac. Duo Part 1 and 2. woodwind, duo.

Newman, Chris. Are You Jewish?, misc. & voice, ten performers.

Newman, Chris. Come Away, Come, Sweet Love. misc. & voice, quartet

Newman, Chris. Dandruff, misc. & voice, quartet

Newman, Chris. Foreign Land. misc. & voice, quartet

Newman, Chris. Mentally Handicapped Person, misc. & voice, quartet

Newman, Chris. Mushrooms on Toast, misc. & voice, quartet

Newman, Chris. Tambourg'sell, Der. misc. & voice, quintet

Newman, Chris. The Silver Swan. misc. & voice, quartet

Newman, Chris. Weedy Willy, misc. & voice, quartet

Newson, George. Mrs Fraser's Frenzy, misc. & voice, ten performers.

Nicholls, David. Ensemble 4. woodwind, string, & percussion, twelve performers.

Nicholson, George. Ancient LJghts. wind & string, septet

Nicholson, George. Movements, wind & string, sextet

Nicholson, George. Termine, woodwind, duo.

Nicholson, George. The Arrival of the Poet in the City. misc. & voice, septet

Nilsson, Bo. Zeiten im Umlauf., op. 14. woodwind, octet

Nono, Luigi. Polifonica, Monodia, Ritmica. woodwind, sextet

Nordensten, Frank Tveor. V8, op. 51. woodwind, string, & percussion, octet

Nordheim, Ame. Tre Voci. misc. & voice, septet

Norman, Katharine. Memory Places, wind & string, quartet 140 Northœtt, Bayan. Sextet, woodwind, string, & percussion. sexteL

Novàk, Jan. Mimus magicus. voice, trio.

Nyman, Michael. And D o They Do. wind & string, nonet.

Nyman, Michael. Ariel Songs, misc. & voice, eleven perfonners.

Nyman, Michael. Polish Love Song. misc. & voice. sexteL

O'Connell, Kevin. My Love My Umbrella, misc. & voice, nonet.

O'Leary, Jane. Quartet, string, quartet

O'Leary, Martin. Concertante 11. wind, string, & percussion, nonet

Obrovskâ, Jana. Bisbiglii e gridi. string, duo.

Obrovskâ, Jana. Musica notturna. woodwind, trio.

Oosterbaan, Andre. Suspended, woodwind, twelve performers.

Osborne, Nigel. The Cage. misc. & voice, ten performers.

Paintal, Priti. Ayodhya 3. woodwind, string, & percussion, quintet

Panufnik, Andrzej. 5 Piesni Ludowych: Five Polish Peasant Songs, misc. & voice, sextet

Panufnik, Roxanna. The Dong With a Luminous Nose, voice, trio.

Parfrey, Raymond. Diversions for Eight, woodwind, octet

Parker, Michael. Six Lowly Variations on the Flying Dutchman (In Canada): op. 54. woodwind, duo.

Parsch, Amost Early Spring, misc. & voice, quartet

Parsch, Amost Fantasy, string, duo.

Parsch, Amost Far Horizons, woodwind, trio.

Payne, Anthony. The Stones and Lonely Places Sing, wind & string, septet

Payne, Anthony. The World's Winter, misc. & voice, nonet

Perder, Kjell. Oppose, voice, trio. 141 Perezzani, Paolo. II volto della notte. woodwind, trio.

Peterson, Wayne. Diptych, woodwind, string, & percussion, sextet

Peterson, Wayne. Labyrinth, wind & string, quartet

Peterson, Wayne. Phantasmagoria, wind & percussion, quintet

Peterson, Wa>Tne. Sextet, woodwind, string, & percussion, sextet

Pimeikhova, Anna. Prelude, Fugue & Postlude. woodwind, quartet

Pinos, Alois. 2 Campanari. percussion, trio.

Pinos, Alois. 4 Lyrical Sketches, misc. & voice, quartet

Pinos, Alois. Caricatures, woodwind, trio.

Pinos, Alois. Cartoons, wind & string, trio.

Pinos, Alois. Conflicts, wind & percussion, quartet

Plush, Vincent Florilegium II: A Chamber Concertino for Solo Marimba and Small Ensemble, misc. & voice, sextet

Plush, Vincent Florilegium III: A Chamber Concerto for Solo Clarinetist & Ensemble. misc. & voice, septet

Pokomy, Jaroslav. Nocturne, electronic, trio.

Poldowski. Octet, woodwind, octet

Pollard, Mark. Highly Strung: For Amplified Ensemble, wind, string, & percussion, quintet

Pollard, Mark. On a Hot Tin Roof, percussion, duo.

Pollard, Mark. Spirits o f Innocence, wind, string, & percussion, ten performers.

Pololanik, Zdenek. Musica concisa. wind & percussion, quintet

Pololanik, Zdenek. Musica spingenta lU. percussion, duo.

Pololânik, Zdenek. Scherzo contrario, string & percussion, trio.

Pompili, Claudio. Ah, Amore Che Se N'ando NelVaria!. string, trio.

142 Pompili, Claudio. El Viento Lucha A Obscuras Con Tu Sueno. woodwind & percussion. trio.

Pompili, Claudio. Lo Spazio Stellato Si Riflette in Suoni. percussion, duo.

Poole, Geoffrey. Polter Zeits. wind & string, quintet.

Poole, Geoffrey. Septembral. string, quartet

Pospisil, Juraj. Trio, op. 58. woodwind, trio.

Potter, Archibald J. Arklow Quartet, misc. quartet

Powell, Jonathan. Verlaine: Apres Trois Arts. misc. & voice, sextet

Powers, Anthony. Fast Colours, wind & string, quintet

Powers, Anthony. Nymphéas, woodwind, string, & percussion, eleven performers.

Powers, Anthony. Quintet, wind & string, quintet

Powers, Anthony. The Winter Festivals, misc. & voice, ten performers.

Pritchard, Gwyn. Janus, woodwind, duo.

Pritchard, Gwyn. Lollay, Lollay. woodwind, string, & percussion, sextet

Pritchard, Gwyn. M adrigal, woodwind & percussion, sextet

Pritchard, Gwyn. Wayang. woodwind, string, & percussion, quintet

Quaglia, Bruce William. Three Songs on Poems by Johanna Wiseman, misc. & voice, septet

Rabe, Folke. Impromptu for 5 Players, misc. quintet

Radzynski, Jan. Concerta Da Camera I. woodwind, quintet

Rae, Allan. Autumn Colors, woodwind, quartet

Rai, Takayuki. Sparkle, electronic, duo.

Rakowski, David. A Loose Gathering of Words: Four Songs on American Poetry, misc. & voice, sextet

Rakowski, David. Domino Effect, woodwind, string, & percussion, ten performers.

143 Ran, Shuiamit A Prayer, wind & percussion, quintet

Rands, Bernard. Canti Del Sole, woodwind, string, & percussion, twelve performers.

Rands, Bernard. Canti Lunatici. misc. & voice, ten performers.

Rands, Bernard. Scherzi. string, quartet

Rankine, Peter. From Fire by Fire, woodwind, sextet

Patkje, Maja Solveig Kjelstrup. Waves IIB . woodwind & percussion, twelve performers.

Raxach, Enrique. Carejul with That, percussion, duo.

Raxach, Enrique. Chimaera. electronic, duo.

Raxach, Enrique. Decade, keyboard, duo.

Raxach, Enrique. Vortice. woodwind, nonet

Rebner, Wolfgang. Sextett. woodwind, sextet

Reck, David. Elegy for the Martyrs o f the Shining Path. misc. twelve performers.

Reck, David. The World Music Notebook, woodwind, trio.

Reeder, Haydn. Chants at Play With Solid Background, woodwind, trio.

Reeder, Haydn. Chromatalea. wind & string, quartet

Reeder, Haydn. Clashing Auras, woodwind, octet

Reeder, Haydn. Dance in a Mirror o f Time, woodwind, string, & percussion, sextet

Reeder, Haydn. Penumbra, woodwind, string, & percussion, septet

Reeder, Haydn. Three-Part Invention, woodwind & percussion, septet

Reeder, Haydn. Two-Part Invention, misc. & electronic, trio.

Rehâk, Vaclav. Trio, woodwind, trio.

Rehm, Gerhard. Spiegel, woodwind, trio.

Rehor, Bohuslav. Structures, woodwind, trio.

144 Reiner, Karel. Trio, wind & percussion, trio.

Reiner, Thomas. BaU Suite: 5 Dances for 7 Players, woodwind, string, & percussion, septet

Reiner, Thomas. Journey and Contemplation: for Solo Guitar and Chamber Ensemble. string & percussion. sexteL

Reiner, Thomas. Love Is Colder Than Death, percussion, duo.

Revueitas, Silvestre. Pianos, A Geometric Dance, wind & string, septet

Rhys, John Marlow. Capriccio. woodwind, string, & percussion, septet

Rhys, John Marlow. Telemachus Stopped at the Fountain, wind & string, septet

Rindfleisch, Andrew. Funhouse. wind & string, quartet

Roe, Helen. Blaue Blume, Die. misc. & voice, sextet

Roe, Helen. Ha. wind & string, quartet

Rolfe, James. Railway Street, string & percussion, sextet

Rovenstrunck, Bernhard. Versos, wind & percussion, quartet

Rowe, Robert Hall ofMirors. electronic, duo.

Rowland, David. Projections II. percussion, duo.

Ruzicka, Petr. M usic fo r Five, wind & percussion, quintet

Rydberg, Bo. Innocence in iron, string, quintet

Rydberg, Bo. Sultana, string, trio.

Rypdal, Teije. From a High Level, woodwind & percussion, twelve performers.

Rypdal, Teije. Tensions, woodwind, string, & percussion, nonet

Saariaho, Kaija. Oi Kuu. string, duo.

Sabin, Nigel. Points o f Departure, string, quartet

Salter, Timothy. Through Mazes Running, misc. quintet

Salzedo, Leonard. Canzona. woodwind & percussion, ten performers. 145 Sande, Henrik. Die Suche Des Nichts Nach Dem Etwas. woodwind, string, & percussion, ten performers.

Santoro, Claudio. Musica de Camera, wind & string, sextet

Sarcich, Paul. Invocation and Dance, woodwind, quartet

Sarcich, Paul. The Children's Court: Five Miniatures, misc. duo.

Savage, Robert Sudden Sunsets, wind & string, quintet

Sawer, David. C at’s Eye. wind & string, octet

Sawer, David. Hollywood Extra, woodwind, string, & percussion, octet

Sawer, David. Take Off. wind & string, septet

Saxton, Robert Birthday Music for Sir William Clock, woodwind, string, & percussion, octet

Saxton, Robert The Sentinel o f the Rainbow, woodwind, string, & percussion, sextet

Schaathun, Asbjpm. Our Whisper Woke No Clocks.... woodwind, string, & percussion, nonet

Schanzer, Jeffrey. Jedem D as Notige. wind, string, & percussion, quintet

Scherber, Ferdinand. Q uartet in Bb Major, woodwind, quartet

Schidlowsky, Leon. Eclipse, woodwind & percussion, sextet

Schidlowsky, Leon. Sextet, woodwind, string, & percussion, sextet

Schoeck, Othmar. Gaselen, Liederfolge nach Gedichten v. Gottfried Keller, op. 38. misc. & voice, septet

Schonberg, Arnold. Pierrot Lunaire, op. 21. misc. & voice, sextet

Schonberg, Arnold. Serenade, op. 24. misc. & voice, octet

Schonberg, Arnold. Suite, op. 29. wind & string, septet

Schuller, Gunther. Duo Sonata, op. 15. woodwind, duo.

Schultz, Andrew. Collide: Variations for Bass Clarinet and Marimba, percussion, duo.

Schultz, Andrew. Septet, woodwind, string, & percussion, septet 146 Schultz, Andrew. Siik Canons, wind & percussion. sexteL

Schwantner, Joseph C. Elixir: Consortium VIII. wind & string. sexteL

Schwantner, Joseph C. Entropy, woodwind & string, trio.

Schwartz, ElliotL Soliloquies, wind & string. quarteL

Schwartz, ElliotL Songs From Brecht, misc. & voice. quarteL

Seaboume, Peter. Jabberwocky. woodwind, string, & percussion, twelve performers.

Seaman, Barry. The Banjo Paterson Songbook. misc. & voice, eleven performers.

Sermila, Jarmo. Clockwork Etudes, percussion, duo.

Shanahan, Ian. Echoes/Fantasies, percussion, trio.

Sharman, Rodney. Erstarrung. wind, string, & percussion. octeL

Sheriff, Noam. Debka Rafiach. woodwind, string, & percussion. noneL

Shinn, Randall Alan. Songs of Our Climate, misc. & voice. septeL

Shipley, Edward. Ha. wind, string, & percussion. quinteL

ShorL Michael. Dirge for Europe, woodwind, trio.

Short, Michael. Six Love Songs, misc. & voice. quarteL

Simandl, Karel. Tanec Blaznu. string, trio.

Simon, Ladislav. Antithese. wind & percussion. quarteL

Simon, Ladislav. Dimensioni. wind & percussion. quarteL

Sindberg, Magnus. Ur for 5 Players, misc. & electronic. sexteL

Skouen, Synne. What Did Schopenhauer Say...?: An Argument in Score, misc. & voice, septet.

Slavicky, Milan. Dawn II. percussion, trio.

Slavicky, Milan. Prosvetlani II. percussion, trio.

Slettholm, Yngve. 13 Monomanies, woodwind. quinteL

147 Slettholm, Yngve. Aura for Chamber Ensemble, woodwind, string, & percussion, octet

Slettholm, Y ngve. Nature Morte, woodwind, string, & percussion, ten performers.

Smalley, Roger. Ceremony li. woodwind, string, & percussion, sextet

Smalley, Roger. Poles Apart, wind & string, quintet

Smetanin, Michael. Ladder o f Escape, electronic, duo.

Smetanin, Michael. Ijodder o f Escape, woodwind, nonet

Smetanin, Michael. Uchtpunt. woodwind, string, & percussion, septet

Smetanin, Michael. Sharp, string, quartet

Smetanin, Michael. Spray, woodwind, trio.

Smetanin, Michael. Strange Attractions, wind & string, sextet

Smetanin, Michael. Tube Makers: (In Three Bits), percussion, duo.

Smetanin, Michael. Under-Tones, percussion, trio.

Smetanin, Michael. Vault, woodwind, string, & percussion, septet

Smit, Sytze. A tempo rubato. woodwind, trio.

Smith, Dave. Aragonesca. wind & string, quartet

Smith, Martin Wesley. For Bass Clarinet and Tape, electronic, duo.

Smith, Martin Wesley. White Knight & Beaver, misc. & electronic, trio.

Smolka, Jaroslav. Music on Skacel. voice, trio.

Smutny, Jiri. Canzonetti. woodwind, trio.

Smutny, Jiri. Herbst Impressionen. voice, trio.

Smumy, Jiri. Knife o f Obsidian, voice, trio.

Smutny, Jiri. Three Old Songs, string, trio.

Smutny, Jiri. Three Songs o f Middle Age. voice, trio.

Sodomka, Karel. Seconds o f Three Centuries, wind & percussion, quartet 148 S0nstevold, Gunnar. Ad. Festkonunentate. wind & string, quartet

Soukup, Vladimir. Predstavy. percussion, duo.

Souster, Tim. Ha. woodwind, string, & percussion, ten peiformers.

Stahmer, Klaus Himich. Porcelain Music, misc. & electronic, trio.

Stalheim, Jostein. A - Ab - Abs Av Same Rot: Tvil 2. woodwind, sextet

Stalheim, Jostein. Glimpses o f a Daylight, woodwind, string, & percussion, sextet

Stanfield, Stephen. Fractured Vision: for Mixed Ensemble, wind & string, ten performers.

Stanhope, Paul. Throb, wind & string, quartet

Stark. Serenade in Eb, op. 55. woodwind, quartet

Stedron, Milos. Agome. string & percussion, quartet

Stedron, Milos. Ancient Names, voice, trio.

Stedron, Milos. Anonymus moraviensis. percussion, trio.

Stedron, Milos. Cantate, wind & percussion, quartet

Stedron, Milos. Canzona e tripla iPrayer o f the Bass Clarinet, woodwind, quartet

Stedron, Milos. Confession, voice, trio.

Stedron, Milos. Duplum. string, duo.

Stedron, Milos. Folk Suite, string, sextet

Stedron, Milos. Four Together (Everyrrum for Himself), wind & string, quartet

Stedron, Milos. Free Landino Jazz, string, trio.

Stedron, Milos. HOJ. percussion, duo.

Stedron, Milos. Ich ging die Stille zu Horen, voice, trio.

Stedron, Milos. Lai. percussion, duo.

Stedron, Milos. Music for Three, woodwind, trio.

149 Stedron, Milos. Music on Kafka, misc. & voice, quintet

Stedron, Milos. Praeludium and Dance, woodwind, trio.

Stedron, Milos. Quadra, woodwind, string, & percussion, quintet

Stedron, Milos. Renaissance Suite, Frantisek Hordk, Arr.. woodwind, sextet

Stedron, Milos. Saluti Musicali. woodwind, trio.

Stedron, Milos. Sequenza. percussion, duo.

Stedron, Milos. Songs on Ancient Texts, voice, trio.

Stedron, Milos. Stomp, percussion, duo.

Stedron, Milos. Stop!, woodwind, trio.

Stedron, Milos. Trium Vocum. voice, trio.

Stedron, Milos. Utis II. electronic, duo.

Stedron, Milos. Via Crucis. wind & percussion, quintet

Steiger, Rand. 2 Loops, woodwind & percussion, quintet

Stemper, Frank L.. Remembering Fire. misc. & voice, quintet

Stewart, Don. Concert-Duet, op. 8. woodwind, duo.

Stivin, Jiri. Music for Three / Excursions o f Alchemists, woodwind, trio.

Stockhausen, Karlheinz. Bijou (from Michaels Jugend). woodwind, duo.

Stockhausen, Karlheinz. Dr. K-Sextett. wind, string, & percussion, septet.

Stockhausen, Karlheinz. Kontrapunkte. wind, string, & percussion, ten performers.

Stockhausen, Karlheinz. Kreuzspiel. wind & percussion, sextet

Stockhausen, Karlheinz. Libra (from Sirus). electronic, duo.

Stockhausen, Karlheinz. Rechter Augenbrauentanz (From Luzifers Tartz). misc. & electronic, trio.

Stockhausen, Kariheinz. Sirius, misc. & electronic, quintet

150 Stockhausen, Karlheinz. Stop Paris version, woodwind, quartet

Stoneham, Luke. Seconds to Go. wind & string, quintet

Straesser, Joep. Encounters, percussion, septet

Straesser, Joep. Gran Duo. keyboard, duo.

Straesser, Joep. Sonate a tre. woodwind, trio.

Swartz, Steven Nicholas. Convergence, woodwind, string, & percussion, quartet

Swayne, Giles. Harmonies of Hell, woodwind, string, & percussion, twelve performers.

Sweeney, William. El Pueblo, woodwind & percussion, octet

Sydeman, William. Duo. string, duo.

Sydeman, William. Trio, woodwind, trio.

Tahourdin, Peter. Raga Music 3: Elision, woodwind, string, & percussion, quintet

Tahourdin, Peter. Raga Music 4: For Two. percussion, duo.

Taim, Hilary. O f Erthe and Air. woodwind & percussion, trio.

Taub, Bruce J. Lady Mondegreen's Dances, woodwind, string, & percussion, sextet

Tausinger, Jan. Drawings on the Sky. misc. & voice, quintet

Thilman, Johannes P. Trio piccolo, wind & string, trio.

Thilman, Johaimes P. Vier Gesprache. woodwind, trio.

Thommessen, Olav Anton. Points for Contra Instruments, woodwind, trio.

Thommessen, Olav Anton. Spring-Night Variations: Five Variations on an Original Theme for Chamber-Ensemble. wind & string, eleven performers.

Thommessen, Olav Anton. Two Pieces for Woodwiruis. woodwind, quartet

Thomson, Virgil. Barcarolle for Woodwinds: A Portrait of Georges Hugnet. woodwind, sextet

Thom, Benjamin. Apochryphal Ants at -. woodwind, quintet

Tippett Michael. Words for Music Perhaps, misc. & voice, septet 151 Tiutiuimik, Katia. Al'amut. wind & percussion, quartet

Toovey, Andrew. Ja Ja Ja Ja Ja Ne Ne Ne Ne Ne. misc. & voice, sextet

Torke, Michael. The Blue Pages, wind & string, quintet

Touchin, Colin. Impressions o f Don Giovanni, woodwind, octet

Trainer, Fraser. Hammers, Levers & Strings, woodwind, trio.

Travers, Cathie. Sentinel, misc. & electronic, quartet

Trelore, Phil. Night Sounds at Ranthambour. electronic, duo.

Tucapsky, Antonin. Trio, wind & string, trio.

Tumage, Mark-Anthony. After Dark, wind & string, ten performers.

T umage, Mark-Anthony. Lament for a Hanging Mtm. misc. & voice, sextet

Tumage, Mark-Anthony. Release, woodwind & percussion, octet

Tumage, Mark-Anthony. Three Farewells, wind & string, septet

Usher, Paul. Duetti. woodwind, string, & percussion, ten performers.

Vaage, Knut Ei Skapingssoge. misc. & voice, ten performers.

Van den Booren, Jo. Duettino scberzoso. woodwind, duo.

Van den Booren, Jo. Equilibrio a tre. woodwind, trio.

Van Dijk, Gijs. Sextet, string & percussion, sextet

Van Dijk, Gijs. Trio, woodwind, trio.

Vaughan, Mike. Fracture Zones, woodwind, string, & percussion, ten performers.

Vierira Brando, José. Chore, woodwind, quartet

Villanueva, Cecilia. Tulipanes Negros, string, duo.

Vine, Carl. Love Song, electronic, duo.

Vine, Carl. Miniature IV. wind & string, sextet

Vine, Carl. Sinfonia. woodwind, string, & percussion, sextet 152 Vir, Param. Contrapulse. woodwind, string, & percussion, septet

Vores, Andrew. Five Little Fly Stories, misc. & voice, nonet

Vorlovâ, SIdva. Corelationi III. string, sextet

Vorlovd, Slâva. Dimensioni. wind & percussion, quartet

Vorlova, Slàva. Imanentioni. wind & percussion, quartet

Vorlovâ, Slâva. Music for Due Boemi, Frantisek Hordk, Arr. woodwind, septet

Vriend, Jan. Eclipse I: Heterostase. woodwind, trio.

Wagemans, Peter-Jan. Blaaskwintet No. 2, 1992-1993. misc. quintet

Wagner-Régeny, Rudolf. Divertimento, wind & percussion, quartet

Waidejer, Erik. Per Spelman. woodwind, octet

Wallen, Errollyn. It Ml Depends on You. misc. & voice, quartet

Wallin, Rolf. Solve Et Coagula, woodwind, string, & percussion, octet

Wallin, Rolf. Topologie D'une Cité Fantôme, wind & string, quintet

Walton, William. Façade, misc. & voice, septet

Walton, William. Façade 2. misc. & voice, septet

Waring, Rob. Concerto for Vibraphone, wind, string, & percussion, sextet

Webber, John. The Umilissimo Poems o f O. B. Hardison: Three Songs, misc. & voice. sextet

Webern, Anton. 5 Canons on Latin Texts, op. 16. voice, trio.

Webern, Anton. Sechs Ueder, op. 14 (G. Trakl). voice, quintet

Webern, Anton. Sinfonie, op. 21. misc. nonet

Weir, Judith. Horse D'oeuvres. misc. & voice, ten performers.

Weir, Judith. King Harald Sails to Byzantium, woodwind, string, & percussion, sextet

Weir, Judith. Musicians Wrestle Everywhere, woodwind, string, & percussion, ten performers. 153 Wendel, Eugen. Diason. percussion, duo.

Werder, Felix. Auf& Zugabe. percussion, duo.

Werder, Felix. Harp Trio, woodwind, string, & percussion, trio.

Werner, Jaroslav. Inspirazioni. woodwind, duo.

Westlake, Nigel. Entomology, woodwind, string, & percussion. septeL

Westlake, Nigel. Malachite Glass, percussion. quinteL

Westlake, Nigel. Onomatopoeia, electronic, duo.

Westlake, Nigel. Refractions at Summer Cloud Bay. wind & string. quinteL

Westlake, Nigel. Refractions at Summer-cloud Bay. wind & string. septeL

Whettam, Graham. Concerto for Ten Winds, woodwind, ten performers.

White, Barbara. Absences, woodwind, string, & percussion. quarteL

Whiticker, Michael. All in Good Time, wind & string. quinteL

Whiticker, Michael. Min-Ame. woodwind, trio.

Whi ticker, Michael. Miname. woodwind, trio.

Whi ticker, Michael. Venus Asleep, string & percussion. septeL

Wiefler, Rorian. Serenata. wind & string. sexteL

Wiemann, Beth. Why We Live With Animals, voice, trio.

Wiggins, C.D. Three Pieces, woodwind, string, & percussion. quarteL

Wilder, Alec. A Debutante's Diary, woodwind & percussion, eleven performers.

Wilder, Alec. She'll Be Seven in May. woodwind & percussion, eleven performers.

Wilkins, Caroline. Intersections, string, trio.

Wilkins, Caroline. Vent, woodwind, trio.

Wilkins, Margaret Lucy. Circus, woodwind, string, & percussion. noneL

Wilkinson, Marc. Voices, misc. & voice. quinteL 154 Williams, Graham R. Six M iniatures, string, duo.

Wilson, Ian. In Extremis, percussion, duo.

Wilson, Ian. The Howler, misc. & voice, octet

Wilson, Ian. The Trieste Fragments, voice, duo.

Wilson, James. Nighttown. woodwind & percussion, octet

Wilson, James. Nine Very Small Songs, misc. & voice, sextet

Wilson, James. Two by Four by Two. percussion, duo.

Wilson, Mick. Masks and Dances, misc. & voice, quintet

Wilson, Thomas. Complement, string, quartet

Wilson-Dickson, Andrew. Bells, misc. & voice, quintet

Winther, Teije. Der Lauf Der Drachen. misc. duo.

Winther, Teije. F(R)Iksjon. woodwind, string, & percussion, octet

Winther, Teije. Respiral, woodwind & percussicm. septet

Withicker, Michael. Min-amé. woodwind, trio.

Wolf, Jaroslav J. Kolloquio. wind & percussion, quartet

Wolosoff, Bruce. Linguistics: 4 Poems by Robert Kelly, misc. & voice, quintet

Wolpe, Stefan. From Here on Farther, wind & string, quartet

Wood, Ralph Walter. Concertino Da Camera, wind & string, ten performers.

Woof, Barbara. Matador, woodwind, trio.

Woof, Barbara. Odile. percussion, duo.

Woolrich, John. Caprichos. woodwind, string, & percussion, twelve performers.

Woolrich, John. Envoi, woodwind, string, & percussion, septet

Woolrich, John. Envoi, woodwind, string, & percussion, ten performers.

155 Woolrich, John. From the Shadows, woodwind, string, & percussion, eleven peribrmers.

Woolrich, John. Harlequinade, misc. & voice, quintet

Woolrich, John. Le Domaine Mystérieux, wind & string, quartet

Woolrich, John. O Tree o f Apples, misc. & voice, quintet

Woolrich, John. Poor Mister Snail, misc. & voice, sextet

Woolrich, John. Spalanzani's Daughter, misc. octet

Woolrich, John. Stone Dances, wind & string, octet

Woolrich, John. The Iron Cockerel Sings, woodwind, sextet

Yang, Tsung-Hsien. Once in a Storm, wind & string, quartet

Yasui, Byron K. Polarity I. Polarity U. woodwind, quartet

Yuhas, Dan. Entities, wind & string, eleven performers.

Zamecnik, Evzen. 4 Studies, percussion, trio.

Zdmecnik, Evzen. Invenzioni. wind & percussion, quartet

Zâmecnik, Evzen. M odel, percussion, duo.

Zeljenka, llja. Caprice, voice, duo.

Zeljenka, llja. Laune. voice, trio.

Zemek, Pavel. Praise o f Marriage, percussion, duo.

Zonn, Paul. Liberata I. woodwind, quartet

Zouhar, Zdenek. Trio, voice, trio.

Zumaqué, Francisco. Onamd. percussion, duo.

156 APPENDIX B

LIST OF PUBUSHERS AND ADDRESSES

Boosey & Hawkes, Inc., 200 Smith Street, Farmingdale, NY 11735

Breitkopf & Hartel, Postfach 1707, D-6200 Weisbaden 1, Germany

Catena Press, 67 Marlborough Avenue, Glenfleld, Auckland 1310, New Zealand

J.W. Chester, 7-9 Eagle Court, London ECI M5QD, England

Cirrus Music, P.O. Box 61, Carbondale, IL 62903

Dantalian, 11 Pembroke Sl, Newton, MA 02158

E.F. Kalmus & Co., Box 1007, Opa-Locka, FL 33054

Edition Modem, D-8 Munich 40, Elisabethstrasse 38, Germany

Edizioni Musicali Edi-Pan, Viale Mazzini, 6-00195 Rome, Italy

Equilibrium Press, 9200 Stoney Court, Dexter, MI 48130

Faber Music, Ltd., Agent G. Schirmer

Edwin A. Fleisher, Free Library of Philadelphia, Logan Square, Philadelphia, PA 19103

Fontec, 5-22-5, Ogikubo, Suginami-ku, Tokyo 167, Japan

Forward Music, 92 Ballamore Road, Bromley, Kent BRI 5LL, England

Hespos Edition, Riedenweg 16, D-2875 Ganderkesee, Germany

157 Friedrich Hofmeister Veriage, Agent: Peters

IMI (Israel Music Institute), P.O. Box 11253, Tel-Aviv, Israel

ITM (Iceland Music Information Center), Freyjugatal, Box 978, 121 Reykjavik, Iceland

Kendor Music, Inc., P.O. Box 278, Delevan, NY 14042

Leduc, 175, rue Saint-Honore, F-75040, Paris, France

Magnamusic-Baton, Inc., 10370 Page Industrial Boulevard, SL Louis, MO 63132

Magnetic Music Publishing, 5 Jones SL, Suite 4, New York, NY 10014

Margun/GunMar Music, 167 Dudley Road, Newton Centre, MA 02159

McGinnis and Marx, P.O. Box 229, Planetarium Station, New York, NY 10024

Media Press, P.O. Box 3937, Champaign, IL 61820-0162

Mercury Music Corp., 17 W. 60th Street, New York, NY 10119

Mill Creek Publications, P.O. Box 556, Mentone, CA 92359

MMB Music, 10370 Page Industrial Blvd., SL Louis, MO 63132

MMC, 240 West SL, Reading, MA 01867

NMI (Norwegian Music Information Centre), Toftes Gate 69, N-0552, Oslo 5, Norway

Novello & Co., 145 Palisade Street, Dobbs Ferry, NY 10522

Oxford University Press, 1600 Pollitt Dr., Fairiawn, NJ 07410

Panton, CS-11839 Prague, Ricni 12, Czechoslovakia

Peer International Corp., 1740 Broadway, New York, NY 10019

C.F. Peters Corp., 373 Park Avenue South, New York, NY 10016

Theodore Presser Comp., Presser Place, Bryn Mawr, PA 19010

Ravenna Editions, 5607 116th N.E., Seattle, WA 98105

158 G. Ricordi, 1-20121 Milan, via Beichet 2, Milan, Italy

Roncorp, Inc., P.O. Box 724, Cheny Hill, NY 08003

Sanjo Music, Box 7000-104, DepL N, Palos Verdes Peninsula, CA 90274

Schirmer, Inc., 886 Third Ave., New York, NY 10033

Schott Co., Ltd., 48 Great Marigorough SL, London W1V 2B, England

Scottish Music Publishing, 1 Bowmont Gardens, Glasgow G129LR, Scotland

Seesaw Music Corporation, 2067 Broadway, New York, NY 10023

SHALL-u-mo, P.O. Box 26824, Rochester, N.Y. 14626

Sims-Verlag, D-1 Berlin 21, Wiclefstrasse 67, Germany

SMIC (Swedish Music Information Center), Box 27327, S-102 56 Stockholm, Sweden

Southern Music Publishing, P.O. Box 329, 1100 Broadway, San Antonio, TX 78206

Steingraber-Veriag, ICX) Seeburgstrasse, Leipzig, C. 1, Germany

Stockhausen Verlag, 5067 KUrten, Germany

Universal Edition, A-lOlO Vienna, Postfach 130, Karlsplatz 6, Austria

Zen-On Music, c/o European American Music Distributors, P.O. Box 850, Valley Forge, PA 19482

159 APPENDIX C

LIST OF COMPOSER UNIONS AND CONTACT INFORMATION

American Composers Alliance (ACA) 170 West 74th SL New York, NY 10023

American Music Center (AMC) 30 West 24th StreeL Suite 1001 New York, NY 10010-2011 Tel: 212-566-5260 Web site: http://www.amc.net/home.htmI

Australian Muac Centre (AMC) 201, level 2, Argyle Centre, Argyle SL, The Rocks Sydney 2000 N.S.W., Australia. Tel: +61-2-9247 4677 Fax: +61-2-9241 2873; E-mail: [email protected] Web site: www.amcoz.com.au

British Music information Centre 10, Stratford Place London WIN 9AE, England Tel: 0207 499 8567 Fax: 0207 499 4795 E-mail: [email protected] Web site: http://www.bmic.co.uk/

160 Canadian Music Center (CMC) 20 St-Joseph Street Toronto, Ontario M4Y 1J9, Canada. Tel: (416) 961-6601 Fax: (416 ) 961-7198 E-mail: [email protected] Web site: http://www.culturenetca/cmc/

Centre Beige de Documentation Musicale (CeBcDeM) Belgian Centre for Music Documentation Rue D'Arlon 75-77 B-1040 Brussels (Belgium) Tel: 32(0) 2/230.9430 Fax: 32(0) 2/230.9437 E-mail: [email protected] Web site: http://www.arcadis.be/cebedem

The Contemporary Music Centre, Ireland 19 Fishamble Street Temple Bar Dublin, Ireland Tel: +353-1-673 1922 Fax: +353-1-648 9100 E-mail: [email protected] Web site: http://www.cmc.ie

Czech Music Information Centre Besedni 3, 118 00, Praha 1 Czech Republic Tel: (++420) 2-573 200 08 Fax: (++420) 2-53 97 20, 53 42 34 E-mail: [email protected] Web site: http://www.vol.ez/SDMUSIC/CZMIC/

Danish Music Information Centre Grâbr0dre Torv 16 DK-1154 Copenhagen K Denmark Tel: +45 33 11 20 66 Fax: +45 33 32 20 16 E-mail: [email protected] Web site: http://www.mic.dk

161 Donemus Paul us Potterstraat 16 1017 CZ Amsterdam Netherlands Tel: +31-20-6764436 Fax: +31-20-673 3588 E-mail: [email protected] Web site: www.netcetera.nl/donemus

Hudobné Informac'^c Stredisko Hudobncho Fondu (HIS/MIC) Centre for Contemporary Slovak Music. Music Information Centre Of The Music Fund HIS / MIC Medenâ 29 SK-811 02 Bratislava Tel: +421-7-5443-1380 Fax: +421-7-5443-3569 E-mail : [email protected] Web site: http://www.his.sk/

Hungarian Music Council, Music Information Centre H-1364 Budapest, P.O. Box 47, Himgary Tel: +36-1-317-9598 Fax: +36-1-317-8267 E-mail: [email protected] Web site: http://www.c3.hu/~hmic/ctr_en.htm

Israel Music Information Centre 144, Hayarkon SL IL-63451 Tel Aviv, Israel Tel: (972)-3-5246475 and 5245275 Fax: (972)-3-5245276 E-Mail: [email protected] Web site: http://www.aquaneLco.il/vip/imi/

Norsk Musikkinformasjon (NMI) Tollbugata 28 N-0157 Oslo Norway Tel: +47-22 42 90 90 Fax: +47-22 42 90 95 or +47-22 42 90 91 E-mail: [email protected] Web: www.mic.no

162 Scottish Music Infbrmmtiom Centre 1 Bowmont Gardens Glasgow G12 9LR Scotland Tel: +44 (0) 141 334 6393 Fax: +44(0)141 337 1161 E-mail: [email protected] Web site: http://www.music.gla.ac.uk/HTMLFolder/Resources/SMIC/

Swedish Music Information Center Sandhamnsgatan 79 Box 27327 SE-102 54 Stockholm, Sweden Tel: +46 8783 88 00 Fax: +46 8 783 95 10 E-mail: [email protected] Web site: http://www.mic.stim.se/

163 LIST OF REFERENCES

Alimann, Wilhelm. Kammermusik-katalog; ein verzeichnis von seit 1841 veroffentlichten kammermusikwerken, zusammengestellt von prof. dr. Wilhelm Altmann. Leipzig: C. Merseburger, 1931.

Baines, Anthony. Woodwind Instruments and Their History. New York: Dover Publications Inc, 1967.

Brymer, Jack. Clarinet. New York: Schirmer Books, 1976.

Daniels, David. Orchestral Music: A Handbook. London: The Scarecrow FYess Inc, 1982.

Del Mar, Norman. Anatomy o f the Orchestra. Berkeley; University of California Press, 1987.

Gilder, Eric. The Dictionary o f Composers arul Their Music. New Yoric Wings Books. 1993.

Harris, Michael. The Bass Clarinet. The Cambridge Companion to the Clarinet. Ed. Colin Lawson. Cambridge: Cambridge University Press, 1995.

Heim, Norman. "Music for the Bass Clarinet' part I." The Clarinet Spring 1979: 18-21.

—. "Music for the Bass Clarinet part II." The Clarinet Fall 1979: 22-26.

—. "Music for the Bass Clarinet part III - A Spamaay Collage." The Clarinet Spring 1980: 22-24.

—. " Music for the Bass Clarinet part IV - An Interview with Harry Spamaay." The Clarinet Summer 1980: 14-18.

—. "Bass Clarinet Music: part VI - Josef Horâk Phenomenon." The Clarinet Winter 1981: 40-43.

164 —. "Bass Clarinet Music; part VII - Duos and Trios." The Clarinet Summer 1982: 36- 38.

—. "Bass Clarinet Music: part VIII -Potpourri of Ensembles, Concertos, etc." The Clarinet Summer IS ^ : 10-12.

—. "Horâk: An Interview." The Clarinet Spring 1986: 14-16.

Helm, Sanford. Catalog of Chamber Music for Wind Instruments. Aim Arbor Braun- Brumfield, 1954.

Horwood, Wally. Adolphe Sax 1814-1894: His Ufe and Legacy. Baldock: Egon Publishers, 1983.

Hulme, Derek. Dimitri Shostakovich: A Catalogue, Bibliography, and Discography, 2nd ed. Clarendon Press, Oxford, 1991.

Hunt, Albert The Bass Clarinet Index: A Selectively Annotated Bibliography o f Music Composed for the Bass Clarinet. Diss. The Juilliard School, 1986.

Kennedy, Michael. Richard Strauss. New York: Schirmer Books, 1996.

Kroll, Oskar. The Clarinet. Trans, ed. Anthony Baines. New York: Taplinger Publishing Company, 1968.

Lawson, Colin, ed. The Cambridge Companion to the Clarinet. Cambridge: Cambridge University Press, 1995.

Rehfeldt, Phillip. New Directions for Clarinet. Berkeley: University of California Press, 1994.

Rendall, F. Geoffrey. The Clarinet: Some Notes Upon Its History arul Construction . 3rd ed. New York: W.W. Norton & Company Inc, 1971.

Richards, Melanie. A Selected Bibliography o f Music for Clarinet and One Other Instrument by Women Composers. Diss. The Ohio State University, 1993.

Richter, Johaimes Friedrich. Kammermusik-Katalog; Verzeichnis der von 1944 bis 1958 veroffentlichten Werke fiir Kammermusik und fur Klavier vier- urui sechshandig sowie fur zyvei urui mehr Klaviere. Leipzig: F. Hofmeister, 1960.

Slonimsky, Nicolas. Baker's Biographical Dictiortary o f Twentieth-Century Classical M usicians. New York: Schirmer Books, 1997

Smith, Marc. "A Preliminary Listing of Bass Clarinet Repertoire." The Clarinet May 1974: 12-17. 165 Thompson, Larry. "A Comprehensive List of Chamber Works Employing Bass Clarinet (excluding Clarinet Ensembles).” The Clarinet February - March 1989: 51-55.

—. "A Comprehensive List of Chamber Works Employing Bass Clarinet (excluding Clarinet Ensembles)." The Clarinet ivAy - August 1989: 21-22.

Trenner, Franz. Richard Strauss Werkverzeichnis. Verlag Dobiinger, 1985.

Volta, Jean Marc. La Clarinette Basse. Paris: International Music Diffusion, 1996.

Westrup, J.A. and F.Ll. Harrison. A New College Encyclopedia o f Music. New York: W.W. Norton, 1981.

Internet W eb Sites

American Music Center. .

Australian Music Centre. < http://www.amcoz.com.au>.

British Music Information Centre, .

Canadian Music Center, .

The Contemporary Music Centre, Ireland, .

Czech Music Information Centre. .

Danish Music Information Centre, .

Donemus. .

Hudobné Informac'Né Stredisko Hudobného Fondu, .

Hungarian Music Council, Music Information Centre. .

Israel Music Information Centre. .

Norsk Musikkinformasjon. .

Scottish Music Information Centre. .

166 Swedish Music Information Center, .

Scores and Instrumental Parts

Bartholomey, Franz. Orchestral Excerpts from Symphonic Works o f Richard Strauss. 3 vols. New York: International Music Company.

Bartok, Bela. Concerto for Orchestra. London: Boosey & Hawkes, Ltd. 1946.

—. Der Wunderbare Mandarin. Universal-Edition. 1927.

—. Violin Concerto No. 2. London: Boosey & Hawkes, Ltd. 1946.

Drapkin, Michael. Symphonic Repertoire for the Bass Clarinet. Cherry Hill: Roncorp, Inc., 1979.

Gershwin, George. An American in Paris. New York: New World Music Corp. 1930.

—. Concerto in F for Piano and Orchestra. HARMS, Inc. 1942.

Hinze, F. Orchestral Excerpts from Richard Wagner's Operas arul Concert Works. New York: International Music Company.

Prokofief, Serge. Romeo et Juliette Suite. New York: Edwin F. Kalmus.

Ravel, Maurice. Daphnis et Chloe. Paris: Durand et Cie. 1911.

—. La Valse. Paris: Durand et Cie, 1920.

Shostakovich, Dmitri. Symphony No. 6. Boca Raton: Edwin F. Kalmus & Co. Inc.

Strauss, Richard. Don Quixote. New York: Edwin F. Kalmus.

—. Also Sprach Zarathustra! New York: Edwin F. Kalmus.

—. Suite from the Opera Der Rosenkavalier. London: Boosey & Hawkes, Ltd., 1943.

—. Till Eulenspiegels lustige Streiche. New York: Edwin F. Kalmus.

—. Tone Poems: Series II. New York: Dover Publications, Inc. 1979.

Stravinsky, Igor. Le Sacre du Printemps. New York: Kalmus.

167 Sound Recordings

Bernstein, Leonard, cond. Petrushka. By Igor Stravinsky. New York Philharmonic. CBS, 1970.

Bernstein, Leonard, cond. Symphony no. 5. By Gustav Mahler. Wiener Philharmoniker. Deutsche Grammophon, 19%.

Blomstedt, Herbert, cond. Symphony no. 2. By Gustav Mahler. San Francisco Symphony. London, 1994.

Collins, Michael, cond. Complete Music for Winds. By Richard Strauss. London Winds. Hyperion, 1992 de Waart, Edo, cond. Don Quixote. By Richard Strauss. Mirmesota Orchestra. Virgin Classics, 1992.

Fiedler, Arthur, cond. Rhapsody in Blue, Concerto in F, and An American in Paris. By George Gershwin. Boston Pops Orchestra. RCA, 1987.

Jansons, Maiiss, cond. Symphony no.ll. By Dmitri Shostakovich. The Philadelphia Orchestra. EMI, 19^7.

Previn, André, cond. Ein Heldenleben. By Richard Strauss. Vienna Philharmonic Orchestra. Telarc, 1989.

Reiner, Fritz, cond. Concerto For Orchestra. By Bela Bartok. Chicago Symphony Orchestra. RCA, 1986.

Skrowaczewski, Stanislaw, cond. La Valse, Rapsodie Espagnole. By Maurice Ravel. Minnesota Orchestra. MMG/Vox Prima, 1974.

Skrowaczewski, Stanislaw, cond. Le Sacre Du Printemps. By Igor Stravinsky. Minnesota Orchestra. MMG/Vox Prima, 1977.

Skrowaczewski, Stanislaw, cond. Ma Mére L'Oye and Daphnis et Chloé Suite 1 and Suite 2. By Maurice Ravel. Minnesota Orchestra. MMG/Vox Prima, 1974.

Skrowaczewski, Stanislaw, cond. Orchestral Works. By Maurice Ravel. Minnesota Orchestra. MMG/Vox Prima, 1974.

Skrowaczewski, Stanislaw, cond. Romeo and Juliet Suites 1, 2, and 3. By Serge Prokofiev. Kôlner Rundfunk Sinfonie Orchester. Denon, 1995.

168 Skrowaczewski, Stanislaw, cond. Works for Orchestra. By Bela Baitok. Minnesota Orchestra. MMG/Vox Prima, 1976.

Slatkin, Leonard, cond. Cinderella Suite. By Serge Prokofiev. Saint Louis Symphony. RCA, 1985.

Slatkin, Leonard, cond. Symphony no. 5. By Serge Prokofiev. Saint Louis Symphony. RCA, 1984.

Slovâk, Ladislav, cond. Symphony no. 6 and Symphony no. 12. By Dimitri Shostakovich. Czecho-Slovak Ra^o Symphony Orchestra. Naxos, 1988.

Solti, Georg, cond. Also Sprach Zarathustra, Till Eulenspiegels Lustige Streiche, and Don Juan. By Richard Strauss. Chicago Symphony Orchestra. London, 1975.

Solti, Georg, cond. Symphony no.7. By Dmitri Shostakovich. Chicago Symphony Orchestra. Deutsche Grammophon, 1989.

Solti, Georg, cond. Symphony no.8. By Dmitri Shostakovich. Chicago Symphony Orchestra London, 1989.

Szell, George, cond. Symphony no. 4. By Gustav Mahler. Cleveland Orchestra. Sony, 1965.

Waller, Bruno, cond. Symphony no. 1. By Gustav Mahler. Columbia Symphony Orchestra CBS, 1962.

169