Maldonad / Trümpy: “FENIX”

Javier Torres Maldonado on “FENIX”

“This composition is the result of my collaboration with the exceptional musicians of the ensemble that will premiere this work, Ensemble Phoenix Basel.
The creation of my work was based on a number of ideas that are currently shaping my work. In particular, I intend to create a connection between real sound bodies and objects and their manipulation through artistic invention processes on which various transformations depend. The result of this could be compared to “imaginary chemical reactions”. These reactions lead to contrasting musical elements which, for all their arbitrary and expressive deformation, nevertheless leave open clearly perceptible conclusions about the original sound object.

With regard to the title, I can say that the connection between the basic material and the formal unity occurs through the process of distancing (a game with real perspective) to which the original objects are subjected.

At the end of each process of transformation, the materials return in a different light, like a phoenix rising from its ashes.

“Fénix” (naturaleza visible) is divided into three contrasting movements.


Balz Trümpy on “chamber concerto”

“In addition to its original meaning of “competing”, the Latin word “concertare” also means “to work together, to agree”. In both meanings, it expresses the core of Western music-making practice. The principle is just as effective in a two-part invention as in a large solo concerto. My chamber concerto, which I wrote on behalf of Ensemble Phoenix Basel, is based on these aspects in both form and content. Soloists and groups alternate in concert and work together again in the ensemble. My starting point is the instrumental groups woodwinds, brass, percussion, piano and strings.

The interaction in terms of content is in turn reflected in the harmony of a chromatic modality that has characterized my music for many years. I am primarily concerned with creating a harmonic context with non-tonal means, both large and small. The course of the piece can be described as undulating, alternating between various degrees of intensification and moments of relaxation. In this respect, too, my intention is to create a coherent and organic sequence. However, this does not mean that the parts are always connected by transitions: An abrupt change can also be organic in a higher sense. Accordingly, I am less oriented towards the styles of the past fifty years. My main role model is Schumann, to whom I also feel a great affinity as a pianist; but Bartók also has a great influence on my music. This mainly concerns the aforementioned chromatic harmony and the form, rather than the musical content and expression.”

Nuglar, January 2022


Side A

Xavier Torres Maldonado: «Fénix» (naturaleza visible), double chamber concerto for two guitars and ensemble (2019-2020)


Side B

Balz Trümpy: «chamber concerto» for an instrumental ensemble

Solo guitars: Pablo Márquez, Maurizio Grandinetti

Ensemble Phoenix Basel
Christoph Bösch: flute / alto flute, Antje Thierbach: oboe / english horn, Toshiko Sakakibara: clarinet / bass clarinet, Simon Kissling: horn, Simon Lilly: trumpet, Michael Büttler: trombone, Daniel Stalder: percussion, Ludovic Van Hellemont: piano, Friedemann Treiber: violin, Alessandro d’Amico: viola, Stéphanie Meyer: cello, Aleksander Gabryś: double bass

Recording: Lars Dölle, Moritz Wetter, Swiss Radio SRF
Edit: Christoph Bösch, Maurizio Grandinetti
Mixing and Mastering: Alex Buess

Recording date: 6th and 7th of February 2021 at Gare du Nord, Basel

Front cover illustration: Corsin Fontana, Untitled, 2000, wax crayon on paper, 66 cm x 51 cm, courtesy Tony Wuethrich Galerie, Basel
Back cover illustration: Corsin Fontana, Untitled, 1999, wax crayon on paper, 66 cm x 51 cm, courtesy Museum zu Allerheiligen, Schaffhausen

Sleeve design: 9•6 Andreas Kreienbühl, Basel

Vinyl cut: Centraldubs, Adrian Flück, Centraldubs, Bern

Manufacturing: Handle with Care, Berlin

© United Phoenix Records 2023 | # UPhRec 36

United Phoenix Records

United Phoenix Records is an online label of Ensemble Phoenix Basel. Available downloads are mostly live recordings of the ensemble as well as released studio productions of the ensemble and ensemble members

Mario Davidovsky: “Synchronisms” for Solo Instruments


This album captures part of the singular contribution of composer Mario Davidovsky (1934–2019) – his twelve “Synchronisms”, scored for instruments and electronic sounds and composed between 1962 and 2006. Musicians are drawn to this music due to its amazing detail, intimacy, warmth, intensity, humor and, ultimately, elegance. For those of us privileged to have known Mario, this sense is amplified by our experience of his generosity, intellect and humanity. Davidovsky’s music is personal and idiosyncratic, but it is also accessible and compelling. His work deserves to be more widely known.


Side A
1. “Synchronisms No. 1” for flute and electronic sounds (1963)
2. “Synchronisms No. 3” for cello and electronic sounds (1964)
3. “Synchronisms No. 6” for piano and electronic sounds (1970)

Side B
4. “Synchronisms No. 9” for violin and tape (1988)
5. “Synchronisms No. 10” for guitar and tape (1992)

Side C
6. “Synchronisms No. 11” for contrabass and electronic sounds (2005)
7. “Synchronisms No. 12” for clarinet and electronic sounds (2006)

Musicians of the Ensemble Phoenix Basel:

Christoph Bösch: flute
Toshiko Sakakibara: clarinet
Maurizio Grandinetti: guitar
Ludovic Van Hellemont: piano
Friedemann Treiber: violin
Jan-Filip Ťupa: cello
Aleksander Gabryś: double bass


Video production & edit: Aurelio Buchwalder
Audio recording: Lars Dölle (Swiss Radio SRF II)
Audio edit: Christoph Bösch, Maurizio Grandinetti
Audio mastering: Alex Buess
Cover art: Mathis Rickli
Texts: Eric Chasalow
Live audio engineer: Christof Stürchler
Live audio supervision: Jürg Henneberger

United Phoenix Records
UPhRec 35
© 2021

Phill Niblock: “Exploratory II”


Notes by Phill Niblock (*1933) for the “Exploratory” Versions releases:

In the spring of 2019, the Ensemble Phoenix Basel, Switzerland, commissioned a piece of music from me, a scored piece for a mixed instrumental ensemble. I made a piece/score, with a lot of help from Guy De Bievre, of Belgium. There are 20 parts in the score, not specific to individual instruments. In June, I went to Basel (from Venice, where I was in a residency) to rehearse and to have performances, two in Basel and one in Geneva, at Cave 12. There were 11 musicians with a variety of instruments, listed elsewhere.

I titled the piece – Exploratory, Rhine Version, Looking for Daniel

The Rhine River winds through Basel, and Daniel Buess, the percussionist and co-organizer of the Phoenix, along with Christoph Bosch, had recently died, and he was greatly missed by the Phoenix members, and by me, knowing him from previous visits to the ensemble.

In the middle of the rehearsals, both Christoph and I thought the piece should be longer, so we increased the length from 22 minutes to 32 minutes, easy to do, since each bar of the piece, each note, in fact, was one minute long. So the last 7 minutes was made to be two minutes.

Liner Notes on Phill Niblock’s work “Exploratory, Rhine Version” by Christoph Bösch:

„It’s too short!”

What makes us, an ensemble for contemporary music, play Phill’s music for now nearly two decades? What is the fascination for us? There would be a lot to mention, what everybody would confirm, who ever came close to or “into” Phill’s music: density, sound as a deep, intense body experience and mental challenge, architectonic soundscapes with internally and externally elaborated structures and “finesse”, resonance in all its possible meanings – yes! All of that, but so much more: there is also this modest and quiet man, with whom we’ve shared precious moments and experiences we wouldn’t want to miss.

While rehearsing “Exploratory, Rhine Version” I suddenly got the feeling, that the last bit of the piece should be extended for some minutes and asked Phill about it. No answer, but an inner smile.

Two days later – with a bottle wine on the table – off context his answer: “It’s too short!”

“Exploratory, Rhine Version” was written in the memory of Daniel Buess, former percussionist and co-founder of Ensemble Phoenix Basel, who has passed away far too early in a tragic way.


Musicians of the Ensemble Phoenix Basel:

Christoph Bösch: flute
Toshiko Sakakibara: clarinet
Nenad Markovič: trumpet
Michael Büttler: trombone
Janne Jakobsson: tuba
Samuel Wettstein: synthesizer
Hannah Walter: violin
Aleksander Gabryś: double bass
Thomas Peter: electronics
Christoph Stürchler: sound design

Recording & mix: Christof Stürchler
Mastering: Alex Buess
Recorded live at Restaurant Schmatz/City Studios BASEL on 2nd of June 2019
Final mastering & cut: Frédéric Alstadt
Photography: Phill Niblock
Graphics & layout: Cedric D’hondt
© Matière Mémoire Éditions – Art Sonore Sprl
EXPORATORY was commissioned and played in June, 2019, by the Ensemble Phoenix Basel and recorded, in a 32 minute version

Released September 25, 2021

Wyttenbach / Boulez / Furrer: Masterpieces for flute and piano


With this release the two founding members Christoph Bösch (flutes) and Jürg Henneberger (piano and Farfisa organ) focus on three masterpieces for their instrumentation.

The (still) far too rarely played “Paraphrase” by Swiss composer Jürg Wyttenbach is juxtaposed with Pierre Boulez’s “Sonatine”, the standard work of the 20th century for this instrumentation. Beat Furrer’s “Presto” is heard as a frenzied finale.


Side A
Jürg Wyttenbach (1935–2021): “Paraphrase” for a flutist and a pianist (1968)

Side B
Pierre Boulez (1925–2016): “Sonatine” for flute and piano (1946)
Beat Furrer (*1954): “Presto” for flute and piano (1997)

Christoph Bösch: flute, bass flute*
Jürg Henneberger: piano, electric organ (Farfisa)*
(*Wyttenbach only)

Recorded by Alex Buess at SRF Radiostudio, Zürich
and Musikakademie Basel
Mastering: Alex Buess
Lacquer cut: Adrian Flück at Centraldubs, Bern

Released 28th of July 2016
All rights reserved

Norbert Möslang: “Patterns”


Norbert Möslang (*1952): “patterns” (2018)


1.  “patterns”                17:10
2. “patterns”                14:16
3. “patterns”                17:06
4. “patterns”                14:14

Musicians of the Ensemble Phoenix Basel:

Sascha Armbruster: soprano saxophone
Kelsey Maiorano: oboe
Toshiko Sakakibara: clarinet
Jens Bracher: trumpet
Stephen Menotti: trombone
Janne Jakobsson: tuba

Mastering & recording: Pierre Bendel
Artwork: Albert Oehlen
Layout: Joanna John

Recorded 10th of November 2018 at Zack Studio
Released 5th of March 2020

Ensemble Phœnix Basel plays ILIOS

A note on the piece by ILIOS:

Back in 2014, Swiss percussionist and friend, Daniel Buess co-founder of Ensemble Phoenix Basel invited me to compose a piece for the ensemble, to premiere in June 2016. Due to his active involvement in sound art and non-academic/classical musics, Daniel Buess had exercised for the few past years as the ensemble’s main link with the contemporary sound art, experimental music and noise scenes reaching out to fellow sound artists each year commissioning works that were aimed in expanding the unique nature of Ensemble Phoenix Basel as an open minded group of musicians with genuine interest in innovation. This was my first piece commissioned by such an ensemble and some general sketches and ideas were drawn, aiming to bring my own researches on the physicality of sound to a more structured frame consisting of classical instruments, in order to match them with the ensemble’s instruments’ possibilities and frequency range limitations.

With a few months till completion, the whole project was suddenly muted due to the tragic circumstances and eventual loss of Daniel.
In the peak of uncertainty and grief, the members of the ensemble and I, decided to go on with the piece; the composition itself gradually shifted direction evolving to an homage to the charismatic musician and beloved friend whose spirit was suspending among us.
Dedicated to his memory, the piece “El anillo invisible que sujeta el mundo de la forma al mundo de la idea” was performed in total darkness for three consecutive nights in Basel (HeK) and Geneva (Cave12).

This is the live recording of the Geneva performance.


Musicians of the Ensemble Phoenix Basel:

Christoph Bösch: flute, bass flute
Aleksander Gabryś: double bass
Wojciech Garbowski: violin
Maurizio Grandinetti: electric guitar
Sebastian Hofmann: percussion
ILIOS: oscillators/field recordings
Nenad Markovič: trumpet
Thomas Peter: electronics
Toshiko Sakakibara: bass clarinet
Remo Schnyder: baritone saxophone
Samuel Wettstein: keyboards

© Antifrost 2017, afro 2075

Giacinto Scelsi: “RITO”

Portrait-CD with works by Giacinto Scelsi (1905–1988)


1. “Pranam I” for alto, 12 instruments and tape (1972)
2. “Pranam II” for 9 instruments (1973)
3. “Khoom” for soprano, horn, string quartet and two percussionists (1962)
4. “Riti: i funerali di Alessandro Magno” for electric organ, contrabassoon, tuba, double bass and percussion (1962)
5. “Okanagon” for harp and double bass (1968)

Marianne Schuppe: voice (1, 3)

Musicians of the Ensemble Phoenix Basel:

Christoph Bösch: flute (1, 2)
Tamara Venuti: flute (2)
Petar Hristov: English horn (1)
Toshiko Sakakibara: clarinet, bass clarinet (1, 2)
Povilas Bingelis: bassoon (1)
Lucas Rößner: contrabassoon (4)
Raphael Camenisch: alto saxophone (1)
Bruno Schneider: horn (1–3)
Nenad Markovič: trumpet (1)
Michael Büttler: trombone (1)
David LeClair: tuba (4)
Daniel Buess: percussion (3–5)
Daniel Stander: percussion (3)
Consuelo Giulianelli: harp (5)
Samuel Wettstein: electric organ (2)
Manuel Bärtsch: electric organ (4)
Friedemann Treiber: violin 1 (1–3)
Daniel Hauptmann: violin 2 (1, 3)
Patrick Jüdt: viola (1–3)
Martin Jaggi: cello (1–3)
Aleksander Gabryś: double bass (2, 4, 5)
Thomas Peter: electronics (1)

Jürg Henneberger: conductor (1–4)

Recording engineer & executive producer: Alex Buess
Technique & recording assistant: Roger Graf
Edit: Christoph Bösch
Graphics: Birgit Fauseweh

„Pranam I / II“ & „Khoom“: 27th of November 2011, Radiostudio Zürich
„Riti“: live recording 14th of March 2004, Gare du Nord, Basel
„Okanagon“: live recording 27th of March 2011, Gare du Nord, Basel

telos music UG
TLS 191
© 2014

Jérome Noetinger: “Les voix de l’invisible”


Jérôme Noetinger (*1966) about “Les voix de l’invisible”:

In June 2012, Ensemble Phoenix Basel commissioned me to create a work for them to play.
It was the first time in my life I had received such a request. After several months of reflection, I accepted and began working on a way of communicating a music with other musicians.
Not knowing classical notation, I decided to do what I do know: that being, working with recording and loops, and thereafter, ask the musicians to play by ear.
After a first session, having their interpretations in mind, I could reorganise it all taking into account the physical limits of each instrument.
I am very happy with this experience and warmly thank everyone in the Ensemble Phoenix Basel for having made this possible.
The title, “Les voix de l’invisible” (The voices of the invisible) is inspired by Pascal Quignard’s book, “La haine de la musique” (The hate of music).
Jérôme Noetinger (translated by Liz Racz)


Jérôme Noetinger: magnétophones à bandes Revox / Revox tape machines

Musicians of the Ensemble Phoenix Basel:

Christoph Bösch: flute
Toshiko Sakakibara: clarinet
Raphael Camenisch: saxophone
Samuel Wettstein: synthesizer
Maurizio Grandinetti: electric guitar
Aleksander Gabryś: double bass
Daniel Buess: percussion and electronics
Thomas Peter: electronics

Recording, mix & mastering: Alex Buess
Sound technics & sound assistant: Roger Graf

Recorded live 14th / 15th of June 2013 at Gare du Nord, Basel
Released 24th of May 2016

Jolt Festival Basel (Live Compilation)

LP, CD & Download

JOLT-Festival Basel is an interdisciplinary art and music festival that took place November 7.–13. 2011 at Galerie Stampa und Gare Du Nord in Basel, Switzerland.

Ensemble Phoenix Basel and Cortex (Daniel Buess: drums, electronics / Alex Buess: electronics) play “Phylum” (2005), composed by Alex Buess (*1954).

Other featured artists on this compilation include Oren Ambarchi, Stelarc, Ferocious41, Roy & the Devil’s Motorcycle and Papiro.

A Tree in a Field Records TREE047, 2014. Order

A1  Cortex + Stelarc – Beware!
A2 Cortex + Stelarc – Beware of the Arm of Flesh!
A3 Ensemble Phœnix Basel + Cortex – Phylum (excerpt)
B1  Oren Ambarchi – Live (excerpt)
B2 Ferocious41 – The Drum Thing
B3 Roy and the Devil’s Motorcycle + Papiro – Lay in the Sun

CD1  Cortex + Stelarc – Beware!
CD2 Cortex + Stelarc – Beware! Beware of the Big Green Dragon that sits on Your Doorstep
CD3 Cortex + Stelarc – Beware of the Arm of Flesh!
CD4 Ensemble Phœnix Basel + Cortex – Phylum (full version)
CD5 Carthage – TB / Start
CD6 Ferocious41 – Octopuss Lazyness / The Wife, the Husband and the Mole
CD7 Oren Ambarchi – Live (full version)
CD8 Roy and the Devil’s Motorcycle + Papiro – You Better Run
CD9 Roy and the Devil’s Motorcycle + Papiro – Six Pink Cadillac

Musiques Suisses: Portrait Ensemble Phœnix Basel


The Ensemble Phoenix Basel is a master of mixtures, an ensemble that would perhaps even play the concert cross-section presented here on CD on a single concert evening: five weighty pieces, each lasting about a quarter of an hour, in variable instrumentation.

What has become characteristic of the Basel ensemble is the idiosyncratic programming with which they know how to combine Swiss and international, young and established works from the field of contemporary music in their concerts. The compilation of this CD also makes this audible: the ensemble has conceived a pure live CD from several concert recordings.

Naxos direkt

1. Jim  Grimm (1928–2006): “Chamber concerto” for 7 players (2003)
2. Beat Furrer (*1954): “still” for Ensemble (1998)
3. Fausto Romitelli (1963–2004): “Cupio dissolvi” for 14 players (1996)
4. Jorge Sänchez-Chiong (*1969): “Veneno 5″ for percussion and ensemble (2001)l
5. Alex Buess (*1954): “Ghosts of Schizophonia (Phylum II)” for ensemble and live elektronics (2005)

Musicians of the Ensemble Phoenix Basel:

Christoph Bösch: flute/piccolo/alto flute/bass flute (1–5)
Tamara Vucic: flute/bass flute (5)
Misun Park: oboe (2, 4)
Nathalie Gullung: oboe/english horn (3)
Toshiko Sakakibara: clarinet/bass clarinet/contrabass clarinet (1–3, 5)
Lars Heusser: clarinet/contrabass clarinet (5)
Sebastian Pottmeier: tenor/soprano saxophone (2)
Raphael Camenisch: alto/tenor saxophone (4)
Lucas Rößner: bassoon (3)
Delphine Gauthier: french horn (3)
Nenad Markovič: trumpet  (1, 2)
Dirk Amrein: trombone (2)
Michael Büttler: trombone (3)
Daniel Buess: percussion (1–5)
Daniel Stalder: percussion (2, 5)
Consuelo Giulianelli: harp (5)
Maurizio Grandinetti: electric guitar (4)
Emanuel Schnyder: electric bass (3)
Manuel Bärtsch: piano (2)
Samuel Wettstein: piano/synthesizer (3)
Helena Bugallo: piano (4)
Marianne Aeschbacher: violin (3, 5)
Friedemann Treiber: violin (1–3, 5)
Felix Borel: violin (2)
Patrick Jüdt: viola (1–3)
Beat Schneider: cello (1–3, 5)
Nebojsa Bugarski: cello (5)
Aleksander Gabryś: double bass (2–4)
Thomas Peter: electronics (5)
Manuel Liebeskind: electronic mixer
Robert Hermann: supervisor (5)

Jürg Henneberger: conductor

Recording, mix & mastering: Alex Buess
Sound technics & sound assistant: Roger Graf
Texts: Andreas Fatton
Executive producer: Claudio Danuser
Musiques Suisses/Grammont Portrait © 2008

Buess / Hodgkinson / Feiler


The idea for this CD production arose following the world premiere of Alex Buess’ work “Parallaxe A” in February 2001 as part of the “European Music Month 2001” in Basel. The work proved to be very difficult to record in its original version with 24 musicians, since it involves an enormous mass of played as well as electronically generated sound, the intensity and density of which can only be reproduced unsatisfactorily in stereo. Based on this experience, the idea for the “biomechanical” version of “Parallaxe A” was born, which we subsequently recorded and produced.
Dror Feiler and Tim Hodgkinson are very close to Alex Buess’ music in terms of the physical and psychological energy and intensity of their music. For this reason, we decided to combine two pieces by these two composers, as well as an older composition by Alex Buess, with “Parallaxe A”. All pieces contain electronics and show a certain kinship in sound aesthetics and musical language. Furthermore, another thing these three composers have in common is that they all did not follow the conventional academic path of a composer, but as performers come from idiosyncratic experimentation with instruments and sound material. The three of them play saxophone and other wind instruments, work with electronics and have many years of experience as musicians, instrumentalists and composers.


1.–3. Alex Buess (*1954): “Parallaxe A” (Biomechanical Version 2, 2002) Part 1–3

Christoph Bösch: flute
Béatrice Zawodnik: oboe
Toshiko Sakakibara: clarinet
Simon Lilly: trumpet
Dirk Amrein: trombone
Daniel Buess: percussion
Daniel Stalder: percussion
Philippe Schnepp: double bass
Claudia Brunner: double bass

4. Tim Hodgkinson (*1949): “Repulsion” (1997)

Toshiko Sakakibara: clarinet
Dirk Amrein: trombone
Maurizio Grandinetti: electric guitar
Daniel Buess: percussion

5. Dror Feiler (*1951): “Restitutio in Pristinum” (1996)

Friedemann Treiber: violin
Dirk Amrein: trombone
Raphael Camenisch: sopranino saxophone
Maurizio Grandinetti: electric guitar
Daniel Buess: percussion

6. Alex Buess: “Maxwell`s Demon” (1992/93)

Nenad Markovič: trumpet
Dirk Amrein: trombone
Samuel Wettstein: keyboard
Emanuel Schnyder: electric bass
Daniel Buess: percussion
Daniel Stalder: percussion
Matthias Würsch: percussion

Jürg Henneberger: conductor

Recording, cut & production: Alex Buess
Technique & recording assistant: Roger Graf
Graphical work & photos: Christian Lichtenberg
Executive production: Ensemble Phoenix Basel
Supported by Swiss Radio DRS 2

“Parallaxe A”: April to June 2002, Wolf 2.8.1. Studio, Basel
All the other works: live recordings 13th of April 2003, Gare du Nord, Basel

Ensemble Phoenix Basel © 2004
All rights reserved

Müller–Siemens: “Phoenix I–III / Cuts / Light blue, almost white”


This  CD presents exceptionally diverse works for ensemble by the multi-award-winning composer Detlev Müller-Siemens (*1957).
In the cycle “Phoenix I–III”, a freely chosen source material is “mapped” out of itself according to a certain rule as many times as necessary until the initial state reappears. This results in a limited number of transformations, all within the same framework and sharing a common basic character. Overall, each of the three pieces moves in its own way between the two extremes of a compact sonority on the one hand and a liana-like intertwined melodicism on the other.
“Light blue, almost white” refers to a text by Samuel Beckett. ‘Light blue’ – with it Müller-Siemens associates a melancholic basic attitude, as it can be found in cool jazz, but also in Japanese art. ‘Almost white’ refers to a noisy realm, the breath.
The title ‘Cuts’ stands for incisions in time as well as for longitudinal cuts. A quarter-tone cantilena of the saxophone in the second movement is spun around by weightlessly circling lines, melodic, murmuring voices that do not perceive each other.
Ensemble Phoenix Basel, founded in 1998 by Jürg Henneberger, consists of up to 25 musicians with many years of experience in contemporary music. The ensemble always seeks direct collaboration and confrontation with renowned, but also young, lesser-known composers of our time.


1. “Phoenix I” for 13 instruments (1993)
2. “Phoenix II” for 13 instruments (1994)
3. “Phoenix III” for 13 instruments (1995)

Christoph Bösch: flute
Tillmann Zahn: oboe
Toshiko Sakakibara: clarinet
Alejandro Nuñez: horn
Marc Kilchenmann: bassoon
Marc Ulrich: trumpet
Dirk Amrein: trombone
Manuel Bärtsch: piano
Marianne Aeschbacher: violin 1
Egidius Streiff: violin 2
Monika Clemann: viola
Beat Schneider: cello
Philippe Schnepp: double bass

4. “Light blue, almost white” for eleven instruments (1998)

Christoph Bösch: piccolo
Vera Fischer: flute
Toshiko Sakakibara: clarinet in Eb
Karin Dornbusch: clarinet
Sabine Gertschen: clarinet
Lars Heusser: bass clarinet
Manuel Bärtsch: piano
Egidius Streiff: violin 1
Mareike Wormsbächer: violin 2
Monika Clemann: viola
Imke Frank: cello

5. / 6. “Cuts” for alto saxophone and ensemble (1996/97)

Marcus Weiss: solo saxophone

Toshiko Sakakibara: clarinet
Alejandro Nuñez: horn
Marc Kilchenmann: bassoon
Manuel Bärtsch: piano
Daniel Buess: percussion
Mareike Wormsbächer: violin
Monika Clemann: viola
Imke Frank: cello
Philippe Schnepp: double bass

Jürg Henneberger: conductor

Recording engineer: Robert Hermann
Recording assistant: Josch Martin

28th of August till 1st of September 1999 at Musikhochschule Basel

WER 6648 2
All rhights reserved
© Wergo 2001