SKU: HL.49018965

ISBN 9790001175791.

What do Beethoven and the children's song Fuchs Du hast die Gans gestohlen have in common? Nothing, strictly speaking. Although the song was written as early as 1824 (and theoretically, Beethoven could have known it), it has not left deep marks on his oeuvre. But what if he had known it? Wolfgang Birtel pursued this question and, in reply to it, conceived a symphony for string quartet: behind each movement is an original symphony by Beethoven (spiced with quotes from other works). The children's song appears as the main theme in the final movement of Symphony No. 1, in the famous funeral march of Eroica, fate knocks at the door (of the goose house) in remembrance of Symphony No. 5, and the work ends with Ode to the Roast Goose (Symphony No. 9). A funny and cleverly arranged collage, a performing and listening pleasure in the footsteps of Beethoven.

SKU: HL.49046422

ISBN 9781540090669. UPC: 840126916454.

Beethovens Birthday Boogie is a tribute to one of the greatest composers in musical history: in 2020 the music world will mark the 250th anniversary of his birth. This piano piece works in several Beethoven themes from the Fifth and Ninth Symphonies, presented inthe guise of a Boogie. It begins with what may be the most famous four-note motif in classical music, the musical symbol representing Beethoven. This is immediately followed by the theme from the Ode to Joy, this time in ternary rhythm, accompanied by aplayful Boogie-Woogie figure; another musical quotation is then followed by a brilliant cadenza. An imperfect cadence ending on the dominant leads into a solemn version of the familiar Happy Birthday tune in the style of Beethoven, then the piece ends with two characteristic jazz chords.

SKU: HL.49015430

ISBN 9783795702700. 5.0x7.75x0.477 inches. German.

These conversations about music took place between Wilhelm Furtwangler and Walter Abendroth in 1937. They always deal with a certain topic, such as with the question of different possibilities of interpretation, with the interaction between artist and audience, with the relationship between orchestra and conductor, with classical and modern, tonal and atonal music. Wilhelm Furtwangler voices his opinion in a lively and spirited manner, always being aware of his artistic mission and never losing his sense of clarity and logic in the music. Walter Abendroth writes: 'The extent to which conscious intellectual work for its part is rooted in the immediate experience of the work of art and is induced only from there to feel this and follow that will certainly be of particular appeal to the readers of these conversations.'.