SKU: BR.PB-15122
ISBN 9790004212721. 6.5 x 9 inches.
The tragic circumstances surrounding the origin of the concerto are well known: Manon Gropius, the daughter of Berg's friend Alma Mahler, died of polio after the composer had written the first sketches to his violin concerto. In remembrance of her, he dedicated the work to the memory of an angel. Later, Berg decided to incorporate into the score the Bach chorale Es ist genug as a quote. He also worked on the solo part directly and intensely with the American violinist Louis Krasner, who had commissioned the work. Berg was no longer able to witness the first performance and the first edition of the concerto since he passed away in late 1935. This new edition is the first Urtext version of Berg's work, which was created in the midst of a spate of epoch-making violin concertos by Stravinsky (1931), Schoenberg (1936), Prokofiev (1937), Bartok (1938), Hindemith (1939) a. o. Errors from the first edition were corrected after an in-depth comparison with the autograph score, the short score and, in some cases, with the twelve-tone row structure.The entire performance material can be purchased; however, due to copyright reasons, the score and orchestral parts are not available the United States.Werden die Urtextausgaben von Breitkopf & Hartel aufgrund ihres hellblauen Umschlags augenzwinkernd die Himmlischen genannt, so ist dies in Bezug auf die neu vorgelegte Partitur Programm. (Florian Henri Besthorn, neue musikzeitung).
SKU: CA.3550249
ISBN 9790007141202. Language: German.
Third version, first performed around 1747 in Leipzig. First version available under 35.304/00. The St. Mark Passion, which probably originated in the first decade of the 18th century, by a composer known until now only as Kaiser, is only preserved in various copies. It occupies a prominent place in Bach's music library as the only music for Passion by another composer which he performed several times, usually in different forms. For the young Bach in Weimar this St. Mark Passion was a didactic piece for learning the art of the modern narrative recitative; as the Leipzig Thomaskantor he also performed it (1726). The present edition reconstructs the third version, first performed in Leipzig (1747), in which Bach inserted seven arias from Handel's famous Brockes-Passion. Only in this pasticcio did a direct encounter occur between him and his famous compatriot in London, a real encounter which Bach longed for, but which never came about. Score and part available separately - see item CA.3550200.
SKU: BT.DHP-1115059-140
9x12 inches. English-German-French-Dutch.
This moving symphonic poem is about the French region of Lorraine. Since the time of the Roman Empire, Lorraine has been ruled by either Germany or France with wars redrawing national boundaries many times over the years. While its history has been bloody, folk music from the region breaks up the tension in the piece and offers many uplifting moments. An optimistic conclusion features a mixture of music from the three countries Lorraine sits between: Luxembourg, Germany and France.Dit ontroerende symfonische gedicht gaat over Lotharingen, een gebied aan de oostkant van Frankrijk. De muzikale verklanking begint in de tijd van het Heilige Roomse Rijk. Een tijd waarin het land wordt geteisterd door vele oorlogen.Een tijd ook waarin het land nu eens bij Duitsland, dan weer bij Frankrijk hoort. Vrolijke elementen zijn er echter ook: volksmuziek uit Lotharingen en ook een verzoenend slot dat met toespelingen op het volkslied het drielandenpuntvan Frankrijk, Duitsland en Luxemburg belicht.Dieses bewegende symphonische Gedicht handelt von der Region Lothringen in Frankreich. Beginnend mit der Zeit des heiligen Römischen Reiches, über diverse Kriege, die im Land wüteten und Wechsel zwischen deutscher und französischer Staatszugehörigkeit wird die Geschichte musikalisch nacherzählt. Für fröhliche Elemente sorgen Anklänge der lothringischen Volksmusik und der versöhnliche Schluss, der mittels Anspielungen auf die Nationalhymne auf das Dreiländereck“ Frankreich, Deutschland und Luxemburg anspielt.Ce fascinant poème symphonique retrace l’histoire de la Lorraine telle qu’elle a été perçue par les habitants de Yutz (France). L’introduction illustre la période où la Lorraine faisait partie du Saint-Empire romain germanique. Puis se profile un rythme de marche faisant référence aux nombreuses guerres qui frappèrent la région. Une atmosphère plus chaleureuse se dessine, symbolisant l’unité des Lorrains, chamarrée des joyeuses esquisses de musiques traditionnelles qui parcourent les rues de Yutz. La création mondiale de l’oeuvre fut donnée en juin 2010, Yutz, sous la direction du compositeur Jacob de Haan.La Lorena è l’unica regione francese che condivide i confini con altre tre nazioni: Belgio, Lussemburgo e Germania. Questo brano sottolinea il carattere cosmopolita della regione che nel corso della guerra franco-prussiana costrinse i francesi a cederla al neo-nato impero tedesco, ma che fu restituita alla Francia dopo la prima guerra mondiale a seguito del trattato di Versailles. Il brano propone un tema basato sulla melodia dell’inno nazionale tedesco come anche, con un ritmo rapido, sule note della Marsigliese. Segue un motivo fondato sulle prime note dell’inno nazionale lussemburghese.
SKU: CA.3550213
ISBN 9790007213442. Language: German.
SKU: CA.3550205
ISBN 9790007213411. Language: German.
Third version, first performed around 1747 in Leipzig. First version available under 35.304/00. The St. Mark Passion, which probably originated in the first decade of the 18th century, by a composer known until now only as Kaiser, is only preserved in various copies. It occupies a prominent place in Bach's music library as the only music for Passion by another composer which he performed several times, usually in different forms. For the young Bach in Weimar this St. Mark Passion was a didactic piece for learning the art of the modern narrative recitative; as the Leipzig Thomaskantor he also performed it (1726). The present edition reconstructs the third version, first performed in Leipzig (1747), in which Bach inserted seven arias from Handel's famous Brockes-Passion. Only in this pasticcio did a direct encounter occur between him and his famous compatriot in London, a real encounter which Bach longed for, but which never came about. Score available separately - see item CA.3550200.
SKU: BT.GOB-000433-010
The party atmosphere of the beaches in Rio de Janeiro is famous worldwide. Holiday in Rio brings this party to life and, right from the first bar, conjures up a Brazilian spirit on the concert stage. No one will be able to resist the infectious rhythms of this exciting piece! De stranden van Rio de Janeiro. Die staan synoniem voor zon, feest en uitbundige vrolijkheid! Op dit gegeven is het aanstekelijke werk Holiday in Rio gebaseerd. Het brengt ons vanaf de eerste maten direct in Braziliaanse sferen. Metmooie solo’s voor de altsaxofoon, trompet en trombone is dit zulke opgewekte muziek, dat niemand nog rustig kan blijven zitten!Dass am berühmten Strand von Rio de Janeiro viel gefeiert ist, ist weltweit bekannt. Holiday in Rio basiert auf diese Lust am Feiern und zaubert vom ersten Takt an brasilianische Atmosphäre auf die Konzertbühne. Da kann niemand stillsitzen!Sur les plages de Rio de Janeiro, il règne en permanence une ambiance festive plaisante aux touristes et aux locaux. Holiday in Rio nous emporte dès la première mesure, sur le sable chaud de la baie de Rio. Une pièce aux accents brésiliens auxquels nul ne pourra résister, contenant des passages solos pour saxophone alto, trompette et trombone. Sulle spiagge di Rio de Janeiro regna tutto l’anno un’atmosfera di vacanza, perfetta per i turisti ma anche per gli abitanti del luogo. Holiday in Rio accompagna il vostro pubblico, gi dalle prime misure, sulla calda sabbia della baia di Rio. Un brano irresistibile dagli accenti brasiliani e che propone passaggi per sax contralto, tromba e trombone soli.
SKU: PR.701185010
UPC: 888680101275.
“The idea of writing the Danzón No.2 originated in 1993 during a trip to Malinalco with the painter Andrés Fonseca and the dancer Irene Martínez, both of whom are experts in salon dances with a special passion for the danzón, which they were able to transmit to me from the beginning, and also during later trips to Veracruz and visits to the Colonia Salon in Mexico City. From these experiences onward, I started to learn the danzón’s rhythms, its form, its melodic outline, and to listen to the old recordings by Acerina and his Danzonera Orchestra. I was fascinated and I started to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality and qualitative seriousness, a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world; we can fortunately still see this in the embrace between music and dance that occurs in the State of Veracruz and in the dance parlors of Mexico City. The Danzón No.2 is a tribute to the environment that nourishes the genre. It endeavors to get as close as possible to the dance, to its nostalgic melodies, to its wild rhythms, and although it violates its intimacy, its form and its harmonic language, it is a very personal way of paying my respects and expressing my emotions towards truly popular music. Danzón No.2 was written on a commission by the Department of Musical Activities at Mexico’s National Autonomous University and is dedicated to my daughter Lily.” -- Arturo Marquez About the danzon genre, Lidice Valenzuela writes in Cubanow: The history of the danzon goes back to the arrival in Cuba of the European contradance. It came in three different ways: directly from Spain, the colonial metropolis; with the British, who occupied Havana in 1762; and the French colonizers and their slaves who landed in Cuba's Eastern shores after fleeing from the Haitian Revolution. From all of that trans-cultural process the Danzon was born. This new Cuban dance, naturalized by the Creoles, had much more expressive freedom: the couple danced in each other's arms, and the dancing time was extended. People began calling it Danzon and it was in Matanzas, in the 1870s that figure dancing also began to be called Danzon. Thus, Failde, an outstanding musician, named his composition with the generic name of Danzon..
SKU: BT.AMP-371-030
Released in cinemas in 1993, Tombstone is an American western written by Kevin Jarre and directed by George Cosmatos. Starring Kurt Russell and Val Kilmer, it was narrated by Robert Mitchum and is based on events relating to the Gunfight at the OK Corral, and the subsequent Wyatt Earp Vendetta, both of which took place in Tombstone, Arizona.The theme is crime, political corruption and law enforcement in the American west during the 1880s. The score was by Bruce Broughton, and this selection features music from the opening and closing credits.Tombstone ist ein amerikanischer Western aus dem Jahre 1983, der unter der Regie von Kevin Jarre nach einem Drehbuch von George Cosmatos entstand. Der Film mit Kurt Russell und Val Kilmer in den Hauptrollen sowie Robert Mitchum als Erzähler basiert auf den historischen Ereignissen rund um die Schießerei am OK Corral und dem daraus resultierenden Rachefeldzug von Wyatt Earp. Beides fand im Ort Tombstone im US-Bundesstaat Arizona statt. Themen des Films sind Verbrechen, politische Korruption und Strafverfolgung im Amerika der 1880er-Jahre.Diese Bearbeitung präsentiert eine Auswahl aus der Eröffnungs- und Abspannmusik der originalen Filmmusik von Bruce Broughton.
SKU: CA.3550212
ISBN 9790007213435. Language: German.
SKU: BR.OB-15113-19
ISBN 9790004340202. 10 x 12.5 inches.
The tragic circumstances surrounding the origin of the concerto are well known: Manon Gropius, the daughter of Berg's friend Alma Mahler, died of polio after the composer had written the first sketches to his violin concerto. In remembrance of her, he dedicated the work to the memory of an angel. Later, Berg decided to incorporate into the score the Bach chorale Es ist genug as a quote. He also worked on the solo part directly and intensely with the American violinist Louis Krasner, who had commissioned the work. Berg was no longer able to witness the first performance and the first edition of the concerto since he passed away in late 1935. This new edition is the first Urtext version of Berg's work, which was created in the midst of a spate of epoch-making violin concertos by Stravinsky (1931), Schoenberg (1936), Prokofiev (1937), Bartok (1938), Hindemith (1939) a. o. Errors from the first edition were corrected after an in-depth comparison with the autograph score, the short score and, in some cases, with the twelve-tone row structure.The entire performance material can be purchased; however, due to copyright reasons, the score and orchestral parts are not available the United States.Werden die Urtextausgaben von Breitkopf & Hartel aufgrund ihres hellblauen Umschlags augenzwinkernd die Himmlischen genannt, so ist dies in Bezug auf die neu vorgelegte Partitur Programm. (Florian Henri Besthorn, neue musikzeitung)In Cooperation with G. Henle Verlag.
SKU: HL.49045098
ISBN 9790001159951. 9.0x12.0x0.215 inches.
In a film portrait of dancer, painter and sculptor Antje Tesche-Mentzen, I learned that in former times she was a proficient pianist. When she told me that she intended to begin playing again, I promised to compose her a cycle for her new beginning: 34 miniatures, some of them with a direct connection to her paintings and sculptures.The main part of Kosmos was composed in 2014, 400 years after Albrecht Durer created his copperplate engraving 'Melencolia I', in which a magic square appears. In a magicsquare, numbers are arranged in a grid so that their sum in each column, row, and the two diagonals is the same number. In the square I have chosen, the magic number is 34. Wilfried Hiller.
SKU: PR.11641867L
UPC: 680160683215.
Contextures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.
SKU: BT.DHP-1115059-010
SKU: CA.3550219
ISBN 9790007139629. Language: German.
Third version, first performed around 1747 in Leipzig. First version available under 35.304/00. The St. Mark Passion, which probably originated in the first decade of the 18th century, by a composer known until now only as Kaiser, is only preserved in various copies. It occupies a prominent place in Bach's music library as the only music for Passion by another composer which he performed several times, usually in different forms. For the young Bach in Weimar this St. Mark Passion was a didactic piece for learning the art of the modern narrative recitative; as the Leipzig Thomaskantor he also performed it (1726). The present edition reconstructs the third version, first performed in Leipzig (1747), in which Bach inserted seven arias from Handel's famous Brockes-Passion. Only in this pasticcio did a direct encounter occur between him and his famous compatriot in London, a real encounter which Bach longed for, but which never came about. Score and parts available separately - see item CA.3550200.
SKU: BT.GOB-000433-140
SKU: PR.11641867S
UPC: 680160683208.
SKU: BR.EB-10821
In Cooperation with G. Henle Verlag
ISBN 9790201808215. 9.5 x 12 inches.
SKU: CA.3550200
ISBN 9790007096106. Language: German.
Third version, first performed around 1747 in Leipzig. First version available under 35.304/00. The St. Mark Passion, which probably originated in the first decade of the 18th century, by a composer known until now only as Kaiser, is only preserved in various copies. It occupies a prominent place in Bach's music library as the only music for Passion by another composer which he performed several times, usually in different forms. For the young Bach in Weimar this St. Mark Passion was a didactic piece for learning the art of the modern narrative recitative; as the Leipzig Thomaskantor he also performed it (1726). The present edition reconstructs the third version, first performed in Leipzig (1747), in which Bach inserted seven arias from Handel's famous Brockes-Passion. Only in this pasticcio did a direct encounter occur between him and his famous compatriot in London, a real encounter which Bach longed for, but which never came about.
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