SKU: HL.49019240

ISBN 9783795770518. 5.75x8.0x0.563 inches. German.

Most essays in German. Contents: G. Metz: Hindemiths Geschenk zu Heinrich Burkards 35. Geburtstag • P. Hindemith: Die Juden Sagen... • M. Rinderle: Zwischen Bacherbe und Zukunftsmusik • K.R. Prinz: Paul Hindemith's Use of Rhythm, Meter and Tonality to create Large-Scale Structural Unity • J.M. Guerrero: The Presence of Hindemith in Nono's Sketches • L. Schader: Musikpädagogik bei Paul Hindemith und Leo Kestenberg • L. Prigylová: Spuren Paul Hindemiths im Schaffen tschechischer Komponisten • Autoren • Themenschwerpunkte der bislang erschienenen Hindemith-Jahrbücher.

SKU: HL.346528

ISBN 9781540094223. UPC: 840126924565.

Around 1960, Olivier Messiaen began a large-scale concerto based on the birds of the Herault region (Oiseaux de l'Herault) for piano, various soloists and orchestra. Although the project remained unfinished, the solo piano part was quite developed. The Olivier Messiaen Foundation entrusted Roger Muraro, a renowned interpreter of Messiaen's piano works, with organizing the sketches and manuscripts found in the composer's archives. This new publication emerged from Muraro's research. The study that opens the volume describes his methods in detail, discussing, among other issues, the relationship of this work to the later Sept Haikai. Richly illustrated with a number of facsimiles, musical examples and photographs, Muraro's introduction retraces the origins and historic context of the work, invites the reader to enter the composer's workshop, and offers suggestions for performance. Fauvettes de l'Herault - Concert des garrigues for solo piano is a concerto without orchestra that blends reference to Claude Debussy, a thinly veiled homage to Yvonne Loriod, new birdsong from the Herault region, and the vast palette of rhythm, timbre, and colour that are typical of Olivier Messiaen's musical universe.

SKU: HL.49018904

ISBN 9790001168281. 7.5x11.0x0.048 inches. German.

Singing, especially singing in small groups, is a valuable and even the most natural musical activity - that is what Paul Hindemith (1895-1963) firmly believed: 'Everybody has got a voice ... A choir is the least demanding and at the same time best educational tool.' And that is why singing had always been part of his teaching activities, be it while trying and practising musical-theoretical tasks, be it while rehearsing old and modern choral settings. No wonder that the composer had dealt with choral music all his life, addressing himself to all different kinds of vocal ensembles: to mixed choirs, male-voice and children's choirs, professional choirs and trained singers. He developed his a-cappella style during his training with Arnold Mendelssohn and Bernhard Sekles at the Hoch Conservatoire in Frankfurt. As a consequence, the sketch books from his student days also contain three-part vocal settings on cantus firmi. The sacred choral works presented here (1. Christus, der ist mein Leben, 2. Erhalt uns, Herr, bei deinem Wort, 3. Nun komm, der Heiden Heiland, 4. Gott des Himmels) are not only interesting as compositional studies, but also as sonorous and catchy choral music which can be easily performed by any good church choir.