SKU: CA.4009714
ISBN 9790007061579. Language: Latin/German.
Score available separately - see item CA.4009700.
SKU: CA.4044600
ISBN 9790007068325. Key: B flat major. Language: Latin.
SKU: CA.2047115
ISBN 9790007196639. Key: G dorian. Language: Latin/German.
Score available separately - see item CA.2047100.
SKU: CA.4044614
ISBN 9790007068370. Key: B flat major. Language: Latin.
Score available separately - see item CA.4044600.
SKU: CA.7004700
ISBN 9790007107673. Key: C major. Language: Latin.
SKU: CA.2719749
ISBN 9790007164874. Language: Latin.
Two settings of the Te Deum by Jan Dismas Zelenka have been survived: the Te Deum in D major ZWV 145 of ca. 1724 and the present Te Deum a due cori in D major ZWV 146, which was composed in 1731. Whereas the Te Deum ZWV 145 is scored for five voices (soli e tutti) and an orchestra including two trumpets and timpani, the setting of the Te Deum a due cori, which includes five soloists and two four-part choirs, as well as four trumpets and timpani, and soloistic flauti traversi is magnificently realized in a more decisive manner. The large, solemn scoring suggests that the work was composed for a worship service on the occasion of the birth of the Electoral Princess Maria Josepha of Saxony. Score and part available separately - see item CA.2719700.
SKU: HL.14019074
ISBN 9788759854310. Danish.
The Full Score of Karl Rasmussen's Liederkreis for two singers and Chamber ensemble. The full instrumentation consists of Soprano and Baritone voices with Flute, Violin, Clarinet, Vibraphone and an amplified Piano. Rasnmussen has organised five songs by Robert Schumann into a large cycle, within which each song is rotating forwards and backwards in several tempo-layers at the same time. The circle consists of two independent but complimentary orbits - one for each singer. Written in 1986, it was commissioned by, and dedicated to, the Washington New Music Ensemble.
SKU: GH.GE-11464
ISBN 979-0-070-11464-6. A4 inches.
Work note by the composer: When I received the news of this commission, I had no idea what it would lead to. Writing for guitar solo is not the same as composing for orchestra where you have forty voices where you can easily mask an entire section. Here you are very naked to the bone. The starting point for this work was from J.S. Bach's Chaconne in D-minor that Johannes had performed in concert, originally written for violin but there is a version transcribed for guitar and piano made by Ferruccio Busoni. When I went to Cortona (in Tuscany, Italy) completed the southern mentality of this work. Arpalineais actually a merged word in Italian language. Arpa means harp, however in a musical context it's more or less resembled with the word arpeggio, which means broken chords. Lineameans line. The work is divided in three parts. I. Arpeggio: It starts with an opening chaconne-like sequence and is marked with a certain depth in which the chords starts to separate from the organum note in the bass and it culminates into a section called with rhythmical focus. These sections alternates, variates which each other. The middle section has a playful and childish atmosphere where the guitarist knocks on the body of the guitar resembling a Spanish folk instrument cajon. This is leading to a section which tends more to a very aggressive fusion-like riff that loses control and reaches its climax at the end. II. Linea: The static rhytmical pulse is now disintegrated and it forms more or less sort of a free, improvisational state in a rubatolike tempo. The character is described as a very hot day with temperatures rising above 37! C (or 100! F) where you can hardly do anything just sitting dozed off and pespiring because of the extreme heat watching a huge fog coming up in the evening that spreads around the Tuscan atmosphere. III. Finale: It starts off with fast one-note ostinati then more and more notes pop up like a gradual rain storm with thunder strikes! And eventually it leads to that is a large flood through the streets of an medieval Southern town. The work ends with a short circuit slapped strings along with extremely fast tremolos that reaches higher and louder as possible! Benjamin Staern
SKU: CA.3115349
ISBN 9790007208714. Language: German/English.
Bach chose an unconventional beginning for his nine-movement cantata Schau, lieber Gott, wie meine Feind BWV 153, which he composed in his first year as Kantor of St. Thomas's for the Sunday after New Year 1724. Instead of the usual opening chorus, the cantata opens with a simple four-part chorale movement. There are also chorales in the middle of the work (movement 5) and at the end. By avoiding extended or demanding choral movements, Bach probably wanted to save the voices of his choir members at St Thomas's, who had just been involved in a demanding week of almost constant singing. This may also be why the cantata uses just three soloists (alto, tenor, bass). In the arias, each preceded by a secco recitative, the accompaniment is provided by 2 violins and viola. Score and part available separately - see item CA.3115300.
SKU: HL.49046544
ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches.
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti).
SKU: CA.2046149
ISBN 9790007295158. Key: E phrygian. German.
A psalm concerto by Heinrich Schutz for solo voices, choir, 2 violins, 3 trombones, and basso continuo which is too little known. It can also alternatively be performed by smaller forces. Schutz probably wrote the concerto for a major political occasion in connection with the Thirty Years' War. He hauntingly set the plea for God's help and peace throughout the land, sometimes in unison or for duet with echo passages, sometimes for tutti, but always in harmonically exciting fashion leading to the vision that finally justice and peace kiss. An exciting work for concerts on the theme of psalms and peace.
SKU: CA.2720713
ISBN 9790007299620. Latin.
What does early Bruckner sound like? The Magnificat in B flat major casts a completely unexpected light on the young composer, on the threshold of composing his great church works. Around 5 minutes in length, and in the spirit of Mozart, it was written in 1852 for a service at the Monastery Church of St. Florian. With its concise form and scoring for small forces it offers many opportunities for use. Trumpets and timpani give a festive emphasis to this song of praise to Mary.
SKU: CA.2720709
ISBN 9790007299590. Latin.
SKU: CA.4070019
ISBN 9790007220501. Key: A major. Language: Latin.
Venezian version The Laudate pueri was composed between 1735 and 1749 for the Ospedale degl'Incurabili in Venice. Since the Ospedale was an institution for the musical training of gifted girls and young women, the vocal parts are scored for female voices. As Director of Music at the Saxon-Polish Court of Dresden, Hasse was also responsible for church music, and therefore he arranged works which were originally written for the Ospedale.. Now that the Dresden version has already been published in the Hasse-Werk-Ausgabe, the original composition is printed here for the first time. Score and parts available separately - see item CA.4070000.
SKU: CA.2719414
ISBN 9790007200916. Language: Latin.
Giuseppe Verdi's Te Deum for double choir and large orchestra is the most frequently performed work of his Quattro pezzi sacri; composed in 1895/96, the Te Deum was his next to last work. Verdi came to terms intensively and in a very personal manner with the text of the Ambrosian hymn of praise. In a compact formal structure a broad range of styles unfolds, from the monodic beginning in Gregorian chant via large dramatic effects to the soft, doubtful dying away of the conclusion. The work is now published for the first time in a critical edition. Also available in the series Choir & organ. Score and part available separately - see item CA.2719400.
SKU: CA.2720719
ISBN 9790007296865. Latin.
SKU: CA.2720700
ISBN 9790007262211. Latin.
SKU: CA.9700349
ISBN 9790007238797. Language: Latin.
Following his death, Pergolesi's last larger composition, the Stabat Mater of 1736, immediately became one of the most popular sacred works of the late baroque-early classical era. Numerous publications made this icon of Italian sacred music known throughout Europe. It was arranged by, among others, J. S. Bach (Tilge, Hochster, meine Sunden, BWV 1083), J. A. Hiller and Abbe Vogler. The most popular arrangement was the one made around 1800 for the Vienna Court Kapelle, in which Antonio Salieri, Franz Xaver Sussmayr and I. X. Ritter von Seyfried added woodwind instruments and obbligato trombones to the string accompaniment. In addition the 2-part texture of the upper voices in the original was arranged for 4 parts with obbligato soli. It was only in this opulent, sonorous version, which Otto Nicolai and three composer colleagues offered to 19th century Viennese music lovers. The piece is of medium difficulty. In the Viennese version it is a rarity that offers an enrichment to the repertoire for choirs wishing to discover something new. Score and part available separately - see item CA.9700300.
SKU: GH.CG-4793P
ISBN 9790070039147. A4 inches.
SKU: MN.50-2505A
UPC: 688670250514. Scripture: Proverbs 3.
A setting of Proverbs 3. Appropriate for adult and adolescent voices. Easy four-part writing with some divisi. Orcestra parts include: Oboe, Contrabass, Cello, Viola, 2 Violins, Clarinet, Bassoon, 2 Horns, Triangle, Sus. Cymbal, Flute.
SKU: CA.3610649
ISBN M-007-25432-2. German. Text: Sieber, Justus.
The aria Welt, packe dich, ich sehne mich nur nach dem Himmel (BuxWV 106) to a text by Justus Sieber from his book Poetisierende Jugend (1658) is composed for two sopranos, bass, two violins, violone, and basso continuo. After an instrumental Sonata, the five verses, interrupted by instrumental ritornelli sections, are presented by the different voices. The turning away from earthly things and the contrast between earth and heaven are illustrated in every verse by the change to 3/4 meter. The cantata ends with the repetition of the opening line of the poem Welt, packe dich and a rhythmically concise triad motif.
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