SKU: SU.50500610
2 Pianos Duration: 8 ' Composed: 2011 Published by: Seesaw Music.
SKU: SU.81001015
Piano 4-Hands Duration: 3' Composed: 2012 Published by: Red Poppy Ltd.
SKU: SU.92102085
Two Pianos Duration: 6' Transcribed by the composer Performing Materials: 2 scores Composed: 1941 Published by: Sorom Editions.
SKU: BR.EB-9253
World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017
Have a look into EB 9283.
ISBN 9790004185537. 9 x 12 inches.
Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.
SKU: BR.PB-5432
ISBN 9790004212790. 10 x 12.5 inches.
SKU: HL.49042481
ISBN 9790001116039. 12.0x8.25x0.43 inches.
Museumsstucke is how Dieter Schnebel entitled his two collections of experimental music theatre pieces which he sees 'almost as sound images, acoustic counterparts of what is hanging on museum walls'. In the first cycle he refers to different types and genres of pictures, in the second cycle he applies typical working methods of painters such as Marcel Duchamp, Yves Klein, Anselm Kiefer or Mark Rothko to the music.1. Veduta - Signalinstrumente * 2. Tempesta - Stuhle * 3. Landschaft - Stimmen, Werkzeuge * 4. Nachtstimmung - Stimmen, Schwirrholz * 5. Nature morte - Plastikmaterialien * 6. Skulpturen und Portrats - Stimmen, Korperklange * 7. Blumen und Arabesken - Stimmen, Windchimes, Glockenspiel * 8. Selbstportrat (II) - ad lib. * 9. Bauernszene - Teller, Glaser, Besteck, Stimmen * 10. Seebild - Stimmen, Wasser, Rainmaker, Mowen-schrei * 11. Waldstuck - Wasser, Vogelpfeifen, Knacker, Steine * 12. Battaglia - Ratschen * 13. Triptychon * Stimme, Waldteufel[Museumsstucke (I) wurde speziell fur das Museum fur Moderne Kunst in Frankfurt/Main konzipiert.].
SKU: BA.BA05307
ISBN 9790006467068. 33.1 x 25.7 cm inches.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: BR.MN-9585
ISBN 9790004790601. 9 x 12 inches.
,,Die hangenden Garten von Gadabusch, ,,Granny Smith, ,,Le Cendrier dans la Gorge, ,,Madame Pompadours Puderquaste, ,,Der versteinerte Propeller, ,,Der Bar auf dem Mond - genauso uberraschend wie die Titel der Stucke sind auch deren Inhalte. Diese Kompositionen fordern das Rhythmusbewusstsein und die Gewandtheit beim Zusammenspiel. Und sie machen - das ist das Wichtigste dabei - einen Riesenspass!
SKU: RM.BRAH04267-CO
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