Performed by Kimberly Fullerton, contrabass clarinet, and Gail Novak, piano.

More information and sheet music available for purchase here: https://jonrussellmusic.com/works/bullfrogs-love-chant-unrequited/

Bullfrog's Love Chant (unrequited), for contrabass clarinet and piano

Andrea Catozzi - Beelzebub for Solo Contra Clarinet and Clarinet Choir (arr. Joey Rosati)

[originally released 03/15/2023] In my last semester of college, I played the B-flat, bass, and contrabass clarinets for one concert. Since I had all these clarinets on me, I thought, “why not mix and match these parts?” Then, I chose the best combos to interweave into a short clarinet quartet that I composed. Enjoy this monstrosity!

Watch the video of my process here: https://youtu.be/PeHWPyHBnZE?si=eetK6jUJci-4SBKl

See it on my website: https://haleymj.weebly.com/videos--multimedia.html#:~:text=2023-,Clarinet%20Bricolage,-Mar%2015%2C%202023

Clarinet Bricolage

Branko Mlikota - contrabass clarinet
Recorded at Hochschule der Künste Bern - Switzerland
April 2021

Bernhard Gander - morbidable

Audio copyright (c) 1997 Gary Regester.  All rights reserved.

Composed and conducted by Gary Regester.

The Twilight Zone - Micah Falls (TV cues | TV music | contrabass clarinet | alto flute)

outpouring beneath my skin [2024] for mixed quartet, prepared snare drum, accessory instruments, and playback.

• Written for and premiered by @lvmsc-lovemusic (collective lovemusic):

- Niamh Dell, oboe and accessory instruments/objects
- Adam Starkie, prepared contrabass clarinet and accessory instruments/objects
- Emily Yabe, prepared violin and prepared snare drum
- Léa Legros Pontal, prepared viola and prepared snare drum

Electronics performed by the composer.

• Recording of the premiere @ Haute école des arts du Rhin (HEAR), 24 May 2024, Strasbourg, France.

Special thanks to Iván Solano, Tom Mays, Guilherme Ribeiro, Fernando Strasnoy, and Lorenzo Paniconi. 

*good quality headphones or loudspeakers are recommended*

• Program Notes:

"There are moments when the body is as numinous
as words, days that are the good flesh continuing"
(Robert Hass, Meditation at Lagunitas)

Here, the essence of an unbridled force, a torrential overflow, finds itself cradled within the fragility of the ephemeral. The boundaries between the tangible and the transcendent, as the intricate network of pulses within. Or the interwoven tapestry of existence, where strength and vulnerability coalesce. Each sound, stretched string, broken voice, boundless burst of air. 
These other veins coursing with the lifeblood of the ensemble. Instruments become vessels (of exploration), conduits of the unexpected. Within their resonant chambers lie worlds concealed (and waiting).

"Implied inner palpability as transpersonal dictation
all works composed as a musical ark
as if rowing in an isthmus of lightning"
(Will Alexander, Inner Palpability)

outpouring beneath my skin [2024]

Britt Sairanen, clarinet
Sonja Lankinen, bass clarinet
Jonas von Au, contrabass clarinet
Yuwa Roten, violin
Tilman Sandvoss, viola
Sophie Kauer, cello

Creative Dialogue Finland, July 2024

Art: Jiří Anderle

Soup-Like Homogenate (2024)

Auftragswerk vom Ensemble Kontrapunkte

Im Sommer 2018 durfte ich anlässlich einer Artist Residency zehn Wochen in Alaska verbringen. Als ich kurz nach diesem Aufenthalt um ein Werk für das Ensemble Kontrapunkte angefragt wurde, war die Inspiration zu WILLIWAW schon gegeben.
In der Meteorologie ist ein Williwaw ein plötzlicher Windstoß, der von einer Gebirgsküste zum Meer hin absteigt. 
Diese Bezeichnung wird üblicherweise für Winde der Magellanstraße, der Alëuten und der Fjorde des Alaska Panhandle verwendet. 
Der Begriff Wind kommt aus dem Indogermanischen und bedeutet soviel wie wehen oder blasen. Wind ist bewegte Luft und wird poetisch auch als „Atem der Erde“ bezeichnet. 
Neben meinen persönlichen Wind-und-Wetter Erlebnissen verbindet mich als Klarinettistin ebenfalls der Atem mit diesem Thema. Wie bei allen Blasinstrumenten - auf englisch sehr treffend „wind instruments“ genannt - formt der Atem des Musizierenden die Phrasen und bringt die Musik auf diese Weise zum Ausdruck. Die Musik atmet.
So wie der Wind in vielerlei Hinsicht für die Erde und uns Menschen notwendig ist, sorgt der Atem für die Lebendigkeit eines jeden Individuums und seinem Tun.

UA: 17.02.2020 - Musikverein Wien, Duo Stump-Linshalm und Ensemble Kontrapunkte

WILLIWAW (2019) for 2 solo bass clarinets and ensemble

Vom Bewahren und Loslassen
Nyctea bedeutet „bei Nacht“ und ist eine Art uralter Waldgeist in Frauengestalt. Die Aufgabe von Nyctea ist es, das zu schützen, was in dieser Welt verloren gehen könnte. So fegt sie nach und nach Berge, Wälder und Flüsse und bringt Schneckenhäuser, Pilze, Flechten, Geweihe, Knochen und Federn in ihre Höhle. Die kostbarstenSchätze sind aber die Knochen und Federn von Eulen, die Nyctea liebevoll formt und zusammensetzt. Sie singt dabei und atmet so der Eule Leben ein, die dann ihre Flügel ausbreitet und für immer davonfliegt… nur ein, zwei flaumige Federn und eine blasse Erinnerung an ihre Schönheit bleiben zurück.

Titel und Stück sind inspiriert von einer Geschichte von Kim Bateman. Weitere Texte im Stück stammen von Chief Dan George und den Navajo (Walk in Beauty).

SINGING OVER BONES ist Werner Korn gewidmet.

SINGING OVER BONES (2021) for voice and contrabass clarinet

Leggiadra badinerie per Clarinetto contrabbasso, due Ottavini e Flauto, in honorem cremae caramellis.

Graceful Badinerie for Contrabass Clarinet, Two Piccolos, and Flute, in Honor of Crème Caramels. (bUdinerie is a pun as 'budino' means 'custard' in italian...😅)

Budinerie

Katharina Gross & Fie Schouten
violoncello & (contra)bass clarinet
from CD titled bee sage, Attacca 2024171 
bee sage (2023) Rozalie Hirs
full length 14min
stream, buy download
https://fieschoutenclarinets.bandcamp.com/track/bee-sage-2023-rozalie-hirs
buy physical CD
https://attacca.nl/product/schouten-gross-bee-sage/

About the piece:
bee sage is named after the plant Salvia apiana, also known as white sage, sacred sage, or bee sage. This aromatic plant, native to the southwestern United States and northwestern Mexico, is often associated with purification, healing, and spiritual practices. In choosing this title, Hirs evokes the plant’s connection to ritual, nature, and the delicate ecosystems in which it thrives.
The parts of the two instruments are both contrasting and complementary. A central feature of the cello part is its use of sum and difference tones, a phenomenon known from psychoacoustics. The deep, resonant tones of the contrabass clarinet anchor the piece, revealing the fundamental frequencies that underlie the harmonically rich language of the cello. Through this structure, I explore the way the different timbres can fuse, intertwine, and engage in a constant dialogue.
The work invites the listener to immerse themselves in a sound world where time feels elastic, and where the richness of the harmonic spectra is slowly revealed. Bee sage is dedicated to Duo Gross & Schouten. 
Rozalie Hirs, 2024

bee sage (fragment)

Performed by Alain Billard in the Ircam Espace de Projection as part of ManiFeste 2024

Recording: Sébastien Naves
RIM: Rémi Le Taillandier

Additional mixing by Nathan Corder

Blur [2024, for contrabass clarinet and electronics]

UPRISING (rivolta) for contrabass clarinet and live electronic
Franco Evangelisti prize 2022 in Rome
Paolo Ravaglia, contrabass clarinet
Alessandro Ratoci, live electronics

The title "Uprising" conveys multiple ideas, each referencing distinct concepts. The first pertains to a sonic phenomenon: the higher energy of the audio spectrum rising above the lower fundamentals. The second draws from the English meaning of a violent revolt, serving as a metaphor for the spirit of the piece.
Alongside the clarinet and its electroacoustic transformation, a key element is introduced: the kick drum, a staple of dance-oriented electronic music. This choice was made for its physical impact as a sonic "cliché" and its tonal resemblance to certain timbres in the clarinet's lower register. Detached from its typical role of maintaining regular metric patterns, the kick drum is reimagined to create fluid, pulsating sound objects.

UPRISING for Contrabass Clarinet and Electronic

Full piece (53min) 
https://fieschoutenclarinets.bandcamp.com/album/dronescape-65-oneirology-6

Dronescape 6.5 is the seventeenth in a series of albums, containing new Digital Symphonies by Oscar van Dillen.

Oscar van Dillen composition, electronics
Fie Schouten composition, contrabass clarinet, bass clarinet, A-clarinet, voice

Fie Schouten: “My contribution to Oneirology 6 is entirely improvised. However, this was not a spontaneous or unprepared process. I thoroughly explored the concept of oneirology and engaged deeply with the electronic soundscape created and composed by Oscar. The choice to begin with the contrabass clarinet, followed by the bass clarinet, and finally the A clarinet was guided by the emotions evoked while listening to the electronic composition. As intermezzi, I softly address the audience, starting with a definition of oneirology as a way to anchor the listener in the conceptual "world" of the performance. The electronics serve as both a comforting blanket and, at times, a veil of mist surrounding the instrument, which might perhaps be imagined as a lone wanderer, navigating this dreamscape.”

More information about this series and this specific piece:
www.oij-records.com/dronescape-6-5-oneirology-6/
credits
released December 13, 2024

Oneirology 6 was recorded on a single day, July 2024, at Codarts Rotterdam; the mixing was finalized in collaboration.
The work and text of this album were collaboratively created, composed, and recorded.

cover art, recording, mix, master Oscar van Dillen
OIJ Records 051, Donemus DCV 549 

Oneirology (fragment) Oscar van Dillen | Fie Schouten

Lament for Woodwind Ensemble

First Date

GN-Δlon (2025) for contrabass clarinet and electronics, premiered by Ignat Krasikov, is a work in which pulsating energy, meditative elements, and a hypnotic atmosphere converge.
In an extract from Ignat Krasikov’s interview for the magazine Musical Life, he explains: “I thought of the contrabass clarinet — a rare, powerful instrument with a low, almost shamanic timbre. I wanted to make it part of a club context. That’s how the idea was born, together with Roman Parkhomenko, to invite several composers and ask them to write music that combines club energy with compositional freedom. For me, it was a kind of laboratory experiment: giving colleagues the possibility to express themselves, while still finding a unified form.”
The work was premiered in Kazan during the Synesthesia Lab 2025.
Electronics Performance

GN-∆lon for contrabass clarinet & electronics

composer | producer | clarinetist
**currently remastering all my tracks, will upload ASAP!**

(づ｡◕‿‿◕｡)づ

haleymj.weebly.com

https://www.stump-linshalm.com

All scores are available at:
http://shop.apoll-edition.work/index.php?route=common/home

Sinfonie di Salvezza: 
La Missione di Suor Attila in un breve riassunto.
(English version below)

Rispondendo alla Chiamata manifestatasi tramite 
un Call Center, colpita da profonda emozione, Suor Attila decise di dedicare la Sua vita alla correzione dei bisognosi, fondando così il Pio Istituto delle Piccole Ancelle Ausiliatrici dell’Apocalisse.

Fermamente convinta che le anime perdute e le menti tormentate possano essere redente attraverso una sinergia di preghiera e legnate sulle gengive, la Salvifica Madre professa il ritorno a più efficaci e risolutivi riti di salvazione, generalmente promossi attraverso ecumeniche ronde di correzionatori.

Ma la vera Opera di Suor Attila si manifesta nella Sua musica. 
Un tripudio di banalità e insensatezze -modellate in un’epifania di straordinaria bruttezza- produce nell'ascoltatore una sensazione di confusione e fastidio che dà vita a un’esperienza di ascolto assolutamente unica. 

Non sorprende, quindi, che la Pia Religiosa abbia ricevuto numerosi riconoscimenti per il Suo contributo unico a un'Arte che sfida ogni forma di decoro.

Si esorta dunque all'ascolto dell’Opera di Suor Attila; un'esperienza che nessuno può permettersi di ignorare. (Ritorsioni in caso di inadempienza)

______________________________________________________________

Symphonies of Salvation:
Sister Attila's Mission in a Brief Summary.

Responding to the Call that manifested through a Heavenly Call Center, deeply moved, Sister Attila decided to dedicate her life to correcting the needy, thus founding the Pious Institute of the Little Handmaidens of the Apocalypse. 

But the true vocation of Sister Attila is revealed in her music. 
A triumph of banality and senselessness—shaped into an epiphany of extraordinary ugliness—produces in the listener a sensation of confusion and annoyance that gives rise to an absolutely unique listening experience.  

Thus, you are urged to carefully listen to Sister Attila's work; an experience that no one can afford to ignore. (Retaliation in case of non-compliance.)

(Bass) clarinetist
Professor for bass clarinet at the Prince Claus Conservatory Groningen (NL)
Artistic director of the Dutch Basklarinet Festijn

Hello and welcome to my profile! 

     My name is Omar Octavio Gaytán-Procel, born in México City and currently living in Copenhagen, Denmark. Music and Composition especially have played a very significant role in my life for the past 40 years or so.

    With my production I try to portray the human drama of our times, all of that fragmented reality that appears in front of us every day and that we, the composers, painters, writers use to express our vision of ourselves and the creation around us. My production consist in more than 1000 pieces to the date ( February 2024 ) and is divided in multiple textures and formats. It started years ago with acoustic music and with time and new technology it developed into electro-acoustic music and later into pure electronic.

    Here on my SoundCloud you will find some examples of the different musical ideas that I have been involved with from the mid-nineties to this date. This ideas range from Solo pieces, Chamber Music, Orchestral Music to pure Electronics.

    Thanks for listening!

www.artuncekem.com
a_cekem@hotmail.com

///

Profile art: Christian Rex van Minnen
Cover art: Mario Panciera

http://matthew-monaco.com

Composer/Pianist

Matthew Monaco (b. 1997) is a composer of acoustic and electroacoustic music. He is currently a Ph.D. candidate at the University of California, Berkeley. In 2022, Matthew received his master’s degree from the Conservatoire de Paris (CNSMDP), where he studied composition with Stefano Gervasoni and electronic music with Yan Maresz, Luis Naon, et Grégoire Lorieux. In May 2020, he received his Bachelor of Music from the New England Conservatory, where he studied with Stratis Minakakis, minoring in music theory.

His works have been performed in the United States and Europe by groups such as Ensemble intercontemporain, Ensemble l’Itinéraire, Ensemble Court-circuit, the Callithumpian Consort, the Del Sol Quartet, the Brouwer Trio, members of Ensemble Linea, the Orchestre des lauréats du Conservatoire (of the Paris Conservatory), and others. Matthew’s music has been performed by conductors such as Hugh Wolff, Jean Deroyer, Stephen Drury, and Léo Margue, and featured in festivals including ManiFeste and Voix Nouvelles. His work with electronics has been performed in venues including Ircam, UC Berkeley’s CNMAT, and Stanford University’s CCRMA. Matthew served as Composer-in-Residence for the newly-formed Alinéa Ensemble during their inaugural season (2019-2020).

He has had masterclasses and lessons from composers including Kaija Saariaho, Tristan Murail, Philippe Leroux, Francesco Filidei, Philippe Manoury, Francesca Verunelli, Toshio Hosokawa, and Du Yun. From 2018-2020, Matthew co-curated NEC’s contemporary music series “Tuesday Night New Music”, where he developed monthly programs of intimate concert evenings highlighting premieres by NEC’s composers. From 2015-2016, he interned with the New York Philharmonic, working within the Young People’s Concerts, Very Young Composers program, and other educational programs. Matthew’s initial musical training focused on piano studies, jazz, and improvised music.

Matthew’s research focuses on intersections of phenomenology and music theory, creating a space for work-specific methods in contemporary music analysis. Current research investigates musico-grammatical paradigms in the music of Cecil Taylor.

Brazilian composer, performer, and researcher. 
PhD candidate - Department of Music/CNMAT, UC Berkeley (USA).

[profile photo by Gui Machala at Festival Plurisons 2024, Belo Horizonte/Brazil]

https://www.dannielribeiro.com/
https://cnmat.berkeley.edu/people/danniel-ribeiro

Contact: 
dannielribeiro@berkeley.edu
dannfribeiro@gmail.com
ig: 
www.instagram.com/danniel1ribeiro
YouTube:
https://www.youtube.com/@DannFRibeiro

Bio: 
Danniel RIBEIRO is a Brazilian composer from Bahia. His compositional practice is driven by research and creative exploration, focusing on exploratory instrumental writing and improvised performances supported by emerging technologies and informed by investigations into culture and identity. He examines musical gesture, instrumentality, and materiality to expand the expressive possibilities of complex timbral constructs and instrumental/sound phenomena in his compositions. His work integrates theoretical inquiry with practical experimentation, often involving the development of tailored instrumental preparations, modifications, notational systems, practical sculptural objects, amplification/transduced electronic apparatuses, and performance techniques. Danniel’s goal is to critically engage with social and cultural dimensions of contemporary concert music through research, analysis, performance, and creation, exploring the interplay between idiosyncratic artistic invention and broader cultural dynamics.

A four-time recipient of Brazil's National Composition Prize (FUNARTE), Danniel has participated in events and residencies, including Klangspuren Schwaz (Austria), the Banff Centre (Canada), Domaine Forget (Canada), Barcelona Modern (Spain), Darmstadt (GER), Festival Musica (France), New Music on the Point (USA), and ilSUONO (Italy). His works have been performed at notable venues and festivals such as Empreintes (France), Morelia (Mexico), and Sala São Paulo (Brazil).
​
Danniel has collaborated with leading international ensembles, including L’Instant Donné, Yarn/Wire, Schallfeld, JACK Quartet, Barcelona Modern, RAGE Thormbones, collective lovemusic, Dal Niente, Vertixe Sonora, and Suono Giallo. He has also benefited from advanced studies with Chaya Czernowin, Franck Bedrossian, Clara Iannotta, Philippe Hurel, Malin Bång, Toshio Hosokawa, Felipe Lara, Daniel D'Adamo, Januibe Tejera, Mark Andre, Brian Ferneyhough, and Du Yun.

Danniel earned his master’s degree in composition (M.Mus.) at the Schulich School of Music of McGill University (Canada) in 2018, studying under Philippe Leroux. As a laureate of the 2023/24 George Ladd Prix de Paris, he pursued independent studies in France and recently completed the postgraduate specialization in instrumental and mixed composition at the Conservatoire de Strasbourg (France). Currently, Danniel is a Ph.D. candidate in music composition at UC Berkeley (USA), studying with Edmund Campion, Ken Ueno, Myra Melford, and Carmine-Emanuele Cella.

New tracks tagged #contrabass clarinet