SKU: HL.49018099
ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.
On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.
SKU: HL.51489050
ISBN 9790201890500. UPC: 888680950699. 7.0x9.0x0.251 inches. Preface: Ullrich Schneidler.
Joseph Haydn's so-called Paris Symphonies were composed in 1785 and 1786 for the masonic lodge “Société Olympique†in Paris, which ran a large orchestra and organised regular concerts. These six works are notable for their artful motivic work and playful wit. Haydn here pays tribute both to the discerning taste of the Paris audience and to the excellent abilities of the musicians in the orchestra. These symphonies rapidly became famous and popular throughout Europe, thanks to editions published variously in Paris, Vienna and London. The C-major symphony was composed in 1786. Its nickname “L'Ours†(“The bearâ€) derives from the bagpipe-like “drone†accompaniment in the final movement, which presumably made Haydn's contemporaries think of a dancing bear. This study edition reproduces the musical text of the Haydn Complete Edition, which is a guarantor of the finest scholarship. An informative preface and a brief critical report make this handy score an ideal companion for all Haydn fans, both present and future.
SKU: HL.51489053
ISBN 9790201890531. UPC: 888680950651. 6.5x9.0x0.131 inches. Preface: Ullrich Schneidler.
Joseph Haydn's so-called Paris Symphonies were composed in 1785 and 1786 for the masonic lodge “Société Olympique†in Paris, which ran a large orchestra and organised regular concerts. These six works are notable for their artful motivic work and playful wit. Haydn here pays tribute both to the discerning taste of the Paris audience and to the excellent abilities of the musicians in the orchestra. These symphonies rapidly became famous and popular throughout Europe, thanks to editions published variously in Paris, Vienna and London. It is a matter of debate whether or not this Symphony no. 85, “La Reine†(“The Queenâ€), was really given its nickname because it was the favorite symphony of Marie-Antoinette. The name certainly did not stem from Haydn, but it was nevertheless stated on the title page of the edition published by Imbault in Paris as early as 1788. This study edition reproduces the musical text of the Haydn Complete Edition, which is a guarantor of the finest scholarship. An informative preface and a brief critical report make this handy score an ideal companion for all Haydn fans, both present and future.
SKU: HL.51489064
UPC: 840126937640. 6.75x9.5x0.214 inches.
The twelve “London Symphonies†comprise the sublime final statement of Haydn's symphonic oeuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Hailing from 1791, the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity, “The Miracleâ€, was bestowed erroneously, for the miracle - that no one was injured when a chandelier fell during a concert - took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless; from the subtle relations between the motives consisting of broken triads that open all four movements, to the virtuosic shifts in mood owing to surprising harmonies, Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.
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SKU: HL.51489061
UPC: 840126932836. 6.75x9.5x0.22 inches.
The twelve “London Symphonies†comprise the sublime final statement of Haydn's symphonic ouvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Probably composed in the winter of 1791/92, the Symphony in D major no. 93 was, with its easily accessible (butby no means simple!) musical structure, perfectly tailored to London tastes, which demanded melodic clarity and expressive pathos. The Baroque echoes of Handel in the slow introduction to the first movement and in the festive mood of the finale with its timpani and trumpets would have been well received - no wonder the symphony had to be repeated multiple times in the same season after its performance in 1792! This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.
SKU: HL.51489071
UPC: 840126989397. 6.75x9.5x0.268 inches.
The twelve “London Symphonies†comprise the sublime final statement of Haydn's symphonic oeuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. The E-flat-major Symphony no. 103 was composed in 1795 as the penultimate of the London Symphonies. It owes its epithet to its unique beginning; a solo drumroll in the timpani ushers in the slow introduction. This opening bar, marked with Haydn's heading “Intrada†and a pause, even inspires many a performer to venture a short timpani improvisation. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.
SKU: HL.51489070
UPC: 840126989410. 6.75x9.5x0.259 inches.
The twelve “London Symphonies†comprise the sublime final statement of Haydn's symphonic oeuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. The energetic, surging B-flat-major Symphony no. 102 belongs to the group of the last three symphonies premiered in early 1795. Exceptionally, Haydn here dispenses with the clarinets that are otherwise generally featured in his late symphonies. The instrumentation of the Adagio is also unusual, in that Haydn includes trumpets and timpani, both muted. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.
SKU: HL.51489062
UPC: 840126951950. 6.75x9.5x0.263 inches.
The twelve “London Symphonies†comprise the sublime final statement of Haydn's symphonic oeuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. To this day, the G-major symphony, first performed in March 1792, numbers among Haydn's most popular works. It owes its English nickname “Surprise†to the striking tutti chords in the Andante, which apparently caught the audience off guard. Haydn had consciously incorporated this effect at a later stage - and was thus subsequently also perfectly willing to authorize this nickname that had been dreamt up by a London musician. This popular work also spread rapidly through German-speaking countries, where it is still firmly established in the repertoire as the “symphony with the drumbeat.†This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.
SKU: HL.51489063
UPC: 840126932867. 6.75x9.5x0.204 inches.
SKU: HL.14008392
ISBN 9780711936942.
The story centres on the English princess Caroline Mathilde (1751-1775), sister of George III, who at the age of 15 was sent to Denmark to marry the 17-year-old eccentric and schizophrenic Danish King, Christian VII. The ballet portrays her unhappy marriage, the King's growing madness and her fatal love-affair with Struensee, the King's influential physician, which leads to their arrest, his execution and her exile, at the age of 20, separated from her two young children. In keeping with the period, and perhaps also with the traditions of Romantic ballet, the music is relatively simple in harmony and form, and most of the action is conveyed in set-piece dances. The suite, which consists essentially of the second half of Act I, begins with one of these, a bristling interplay of wind and string ensembles in D major, portraying in the ballet a curious nuptial game with the king and princess on movable pedestals. The slow music that follows has to do with the king's healing by Dr. Struensee and the new queen's unquiet reverie (oboe and cor anglais solos). Then the suite, like the act, is capped by a pair of pas-de-deux, the first savage and bizarre for the royal couple, the second rich and passionate for the queen and the miracle-working doctor. Score (miniature). Duration c. 25mins.
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