SKU: BR.PB-5714
ISBN 9790004216514. 10.5 x 14 inches.
More than my earlier works, this one is interspersed with metrically bound rhythms and musicianly characters that constantly recrystallize and drift towards or away from familiar situations.The familiar: These are dance-like figures and music-making formulas, but also songs and, in two cases fragments of Bach's music - playfully collected memories of impressions in which - consciously and unconsciously - I am embodied with that collective comfort in whose protection bourgeois thinking and feeling, magically protected, grow up and emerge apart.(It is well known that such security has its fetishes from the childlike to the adult stage: Home, religious bond, holidays, tradition, longing for childhood - the superficiality may have little idea of the depth that opens up underneath. There is also no question that we are still marked by such security even when the contradictions and alienation of existence force us to step out of their protection, to recognize and act upon reality, and to oppose the domination of such inner bonds where their original truth has become the fatal untruth of comfortable illusion, stubbornly and fearfully conjured idyll and reactionary narrow-mindedness.My music feeds on figures in which such memories are encapsulated. It deals with them not much differently than in other pieces with the elements of the traditional musical concept of material, having already always reflected compositionally as a product of sociality and anticipation of musical expression, i.e. it moved into a structurally expanded context and expressively redefined from there.Such an approach aims at overcoming lack of freedom: grasping as part of conceiving, i.e. not philosophical reflection, but rather an artistically gripping reflex by intervening in the physical immediacy of such predetermined elements. These penetrate and infect the structural events, inducing a musicianship that cannot be relied upon; the music jumps onto rhythms like onto moving vehicles, allows for being carried by them until they deform or disintegrate. This creates an incline of rhythmically shaped situations: sequence and interweaving of dances and structures.The role of the solo string quartet is versatile, obbligato and concertante, leading and accompanying in a changing sense. Set as a chamber music apparatus in an orchestral landscape, it repeatedly forces its own sound dimensions onto the orchestra, it must accept being drowned out at times, it nests in the holes of tutti fields, it acts as a louse in the fur, forcing one to listen in and out.The Tanzsuite with Deutschlandlied is structured as follows:I. Section. 1. Introduction - 2. Waltz - 3. March - 4. Bridge -II. Section. 5. Siciliano - 6. Capriccio - 7. Valse lente -III. Section. 8. Bridge - 9. Gigue - 10. Tarantelle - 11. Bridge -IV. Section. 12 Aria I - 13 Polka - 14 Aria IIV. Section. 15. Introduction - 16 Gallop - 17 Coda (Aria III)All 17 parts merge into one another.(Helmut Lachenmann, 1980)CDs/LP/DVD:Arditti-Quartett, Deutsches Symphonie-Orchester Berlin, cond. Olaf HenzoldCD Montaigne Auvidis MO 782019Berner Streichquartett, Sinfonieorchester des SWF, cond. Sylvain Cambreling (Excerpt)CD BMG/RCA 74321 73510 2 (Musik in Deutschland 1950-2000)Berner Streichquartett, Sinfonieorchester des SWF, cond. Sylvain CambrelingLP DMR 1028-30Arditti Quartet, SWR Sinfonieorchester Baden-Baden und Freiburg, cond. Hans Zender Excerpt on CD ,,Auswahl von zehn Urauffuhrungen aus 70 Jahren, SWR Sinfonieorchester Baden-Baden und Freiburg Arditti Quartet, Staatsorchester Stuttgart, cond. Sylvain Cambreling DVD ,,Lachenmann-Perspektiven 6 (Breitkopf & Hartel, BHM 7816) Bibliography:Cavalotti, Pietro: Differenzen. Poststrukturalistische Aspekte in der Musik der 1980er Jahre am Beispiel von Helmut Lachenmann, Brian Ferneyhough und Gerard Grisey (= Sonus. Schriften zur Musik, hrsg. von Andreas Ballsteadt, Band 8), Schliengen: Argus 2006, pp. 79-128.Das sind doch alles Deutschlandlieder! Helmut Lachenmann im Gesprach mit Michael Rebhahn, in: Der Taktgeber. Das Magazin der Jungen Deutschen Philharmonie, Heft 40 (Sommer 2019), S. 6f.Stawowy, Milena: Fluchtversuche in die Hohle des Lowen. Helmut Lachenmanns Tanzsuite mit Deutschlandlied, in: MusikTexte 67/68 (1997), pp. 77-90.Toop, Richard: Concept and Context: A Historiographic Consideration of Lachenmanns Orchestral Works, in: Helmut Lachenmann Inward Beauty, hrsg. von Dan Albertson, Contemporary Music Review 23 (2004), Heft 3/4, pp. 125-144.World premiere: Donaueschingen (Donaueschinger Musiktage), October 18, 1980.
SKU: HL.48025073
ISBN 9783793143123. UPC: 196288059714. 9.0x12.0x0.079 inches.
Composer's note: In 2000 I wrote a piece called Sand Waltz for the Canberra Wind Players. In the middle of it I wrote a four-chord progression. WhenI started working on the ballet Wild Swans (2003) I came back to this material and it became something that I grew to rather like. Eventually it became the basis for the overture to the whole ballet. It had somewhat dreamy quality but also a sense of anticipationand mystery. Later, when writing this as the first movement of the Concert Suite Wild Swans I gave it a title Green Leaf as it refected the way the princess Eliza was making a hole in a green leaf to look through it, imagining far-away exotic lands and birds..
SKU: HL.49015170
ISBN 9783795716868. German. Wilfried Blecher.
Die bekanntesten Weihnachtslieder in leichten Satzen fur Unterricht und Hausmusik, mit Illustrationen von Wilfried Blecher. In der Kombination mit parallel erschienenen Heften ergeben sich vielfaltige Besetzungs- und Auffuhrungsmoglichkeiten. Zusatzliche Harmonie-Symbole ermoglichen auch eine Begleitung mit Gitarre (ad lib.). Folgende Besetzungsmoglichkeiten sind moglich: 1. Stimme (Melodie): Querflote I, Sopranblockflote I, Violine I, Viola I, Violoncello I, Gesang - 2. Stimme: Querflote II, Sopranblockflote II, Violine II, Viola II, Violoncello II - dazu: Klavier, Gitarre ad lib.
SKU: PR.312419280
ISBN 9781491137925. UPC: 680160692613.
Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World” by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child” praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!” Part I ends with “A Blade of Grass” in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall” sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,” William Ernest Henley’s “A Song of Speed,” and John Gillespie Magee, Jr.’s “High Flight,” each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,” Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge” concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness” speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming” gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us” warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace” speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?” and “There was a child went forth every day”) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass” from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…”My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?
SKU: HL.49005929
ISBN 9790001064248.
Der Autor hat seit uber 20 Jahren die Praxis der alten Tanzformen gepflegt und als Kunsterziehungsprinzip wie als buhnenwirksame Darstellung in vielen Auffuhrungen im In- und Ausland unter Beweis gestellt.Historische Bilder, Tanzbeschreibungen und Musikbeispiele zeigen die uberraschende Einheit von Musik und Tanz in den Stilepochen Renaissance und Barock. Die Hofischen Tanze sind als Tanzlehrbuch, als Lekture fur Kunstliebhaber und als Leitfaden fur Lernende gedacht.
SKU: BR.PB-5585
ISBN 9790004213957. 10 x 12.5 inches.
Little is known about the actual composition process of Lemminkainen and the performance and publication history is rather complex, resulting in a first complete printing of all the four movements en suite through the complete edition of Jean Sibelius Works only in 2013.In summer 1894 Sibelius went to Central Europe, carrying among others a plan for an opera freely based on the Kalevala in his mind. But during this trip he reassessed his composing: I think I have found my old self again, musically speaking. I think I really am a tone painter and a poet. As a result he abandoned his opera plans, but musical material may have found its way into the Lemminkainen pieces which he started composing during that time. Lemminkainen became popular from the beginning and has attained a fixed position in the concert repertoire.On Lemminkainen's Return Sibelius commented: I would like to see more pride in us Finns. Why should we be ashamed? This is the underlying thought in Lemminkainen's Return. Lemminkainen is just as good as the noblest of earls. He is an aristocrat, without question an aristocrat!.
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