Photo by Fabian Schober


Guitarist Marius Schnurr performs with classical and electric guitar as well as electric bass and is a member of “Delirium Edition: organisation for tomorrow’s art” since 2020.

In his artistic career so far, Marius Schnurr participated in the premiere of about 50 new works. With the Delirium Ensemble he performed world premieres of Ulrich Krieger (project Bergmal (pre-premiere) 2021 cooperation with Reitschule Bern), as well as in the project Delirium Distillery #2 (2020, Cooperation with Musik-Akademie Basel) by Caspar Johannes Walter (Chord Images), Johannes Kreidler (>Music-19<), Oliver Rutz (Dedicated to the conductor), Gitbi Kwon (Die Hütte), Lina Posecnaite (I am not there) and Raphael Belfiore (Means with the sound from their own ends). As part of the project Luft (2020, Französische Kirche Bern), he performed works by other composers, including Anda Kryeziu (Fumes), Caspar Johannes Walter (Black Rotation I + II) and Żaneta Rydzweska (no-body).

He has played at festivals such as Crossroads in Salzburg (AT) (2019, The Interstring Project), D-bü in Berlin (Moving Sounds 2017, Open Source Guitars) or Donaueschinger Musiktage (Caged 2013 with Open Source Guitars and performance artist Thomas Putze).

Marius Schnurr has worked with composers such as Chanhee Lim ((s)ein 2021, (k)ein 2020), Areum Lee (Stille 2021), Konstantin Heuer (polar gigantism 2021), Francisco Uberto (Guess what freedom smells like 2021), Gitbi Kwon (Eine Handvoll II 2020) Hunjoo Jung (Uncrippled Asymmetrical Cycling 2019), Sarah Westwood (Speaking within / fragmented lines 2019), Karel Stulens (iPhone ensemble 2019), Raimonda Ziukaite (Wormholes in the mind 2019), Sarah Nemtsov (Orbits 2018), Verena Weinmann (Nachtregen 2018), Henry Fourès (Six white dots 2017), Uwe Kremp (Kurze Schnitte/Mehrere Männer 2015), David Holleber (Kapsberger Bearbeitungen 2014), Uros Rojko (Scordato 2013) or Paul McGuire (Marshes 2012). 

He also realized interdisciplinary projects such as music for silent films (Das Neue Babylon 2020 with The Interstring Project, The Lodger 2016 with Ensemble Vandel, Nosferatu 2014 with Open Source Guitars), theater (Der fremde Woyzeck with Open Source Guitars and director Eric Nikodym 2017) or in connection with visual arts (Performance electrics with Open Source Guitars and Pablo Wendel 2012).

He has performed with various ensembles such as the project ensemble morph ((t)raum 2021 in Hannover and Bremen) or his ensemble The Interstring Project (Blackout 2021 in Trossingen (DE), inter/face 2021 in Basel and Trossingen, Moving Sounds 2017 in Paris, Berlin, Karlsruhe and Trossingen). In addition, collaborations with ensembles such as Ensemble Phoenix Basel, Ensemble Diagonal or the Basel Sinfonietta have been established.

Marius Schnurr has already performed with musical personalities such as Pablo Márquez, Wiktor Kociuban, C.J. Walter, David Tanenbaum or Martin Fahlenbock, among others.

Together with the composer Caspar Johannes Walter and Johannes Wernicke, Marius Schnurr is working on the research and development of a multi-ebow, a device that can vibrate several strings at the same time and selectively control overtones. This opens up new possibilities in pure overtone tunings. The multi-ebow has already been used as a prototype in various works at Delirium Distillery #2 and has since been further developed.

He has also performed various solo and chamber works, such as Mauricio Kagel’s Acustica (2015 in collaboration with Wilhelm Bruck), Helmut Lachenmann’s Salut for Caudwell (2017 with Agustin Nazzetta), and Hans Werner Henze’s Royal Winter Music I as part of the 2017 „Tage der Neuen Gitarrenmusik“ dedicated to Henze at the Hochschule für Musik Trossingen.

Marius Schnurr studied at the Universities of Music in Basel and Trossingen with Pablo Márquez, Andreas Grün and Tillmann Reinbeck.