SKU: BR.BV-341
ISBN 9783765103414. 5 x 8.5 inches. German.
Editorial BoardThomas Phleps (Music), Georg Witte (Writings)Editorial MembersMusic: Oliver Dahin / Johannes C. Gall, Writings: Maren KosterEditorial CommitteeMusic: Hartmut Fladt, Werner Grunzweig, Elmar Juchem, Roland Kluttig, Giselher SchubertWritings: Albrecht Betz, Albrecht Riethmuller, Jurgen Schebera, Friederike WissmannThe editorial works are supported by the Deutsche Forschungsgemeinschaft.Special volumes are made possible with the support of the following foundations:Klockner-Stiftung, Lotto-Stiftung, Hanns und Steffy Eisler StiftungThe goal of the Hanns Eisler Complete Edition (HEGA) is to present to the public all available compositions, writings and letters in an appropriately scholarly form. It takes a historico-critical approach and seeks to document the history of the works and writings by shedding light on their transformations, thus identifying the various versions as witnesses of evolving aesthetic and historical positions. Eislers complete oeuvre (only a limited number of his works had penetrated the publics awareness up until the 1990s) first became the object of an editorial undertaking when the Eisler - Gesammelte Werke (EGW) was founded by Nathan Notowicz. It was later placed under the direction of Manfred Grabs and Eberhardt Klemm, and began issuing its publications in 1968 through the intermediary of the Deutscher Verlag fur Musik in Leipzig. However, only four volumes of music and five volumes of writings were published. The Hanns Eisler Complete Edition pursues the work begun at that time, although it has had to fundamentally revise its editorial principles. In this respect, the Hanns Eisler Complete Edition can be considered as a completely new editorial undertaking. It became necessary to reconceive the organization of the volumes and series as well as the editorial guidelines in order to adapt the standards of historico-critical editing generally applicable today to the specific and sometimes singular circumstances of Eislers works.The Critical Commentaries pertaining to the main volumes follow the music section or, whenever they are too extensive, appear in a special volume.Series I: Choral MusicSeries II: Music for Voice and Instrumental Ensemble or OrchestraSeries III: Music for Voice and PianoSeries IV: Instrumental MusicSeries V: Incidental MusicSeries VI: Film MusicSeries VII: Sketches and FragmentsSeries VIII: Arrangements of works by other composersSeries IX: Writings, Letters and InterviewsSON 501 has been awarded the German Music Edition Prize 2003.SON 502 has been awarded the German Music Edition Prize 2007.The major upheavals that transformed society and musical aesthetics during the first half of the 20th century also profoundly affected the life of Hanns Eisler, as well as his compositions and writings. The importance and scope of Eislers oeuvre are reason enough to make his works accessible to musical scholarship and practice in a comprehensive fashion. Price reduction for a subscription.
SKU: BR.BV-349
ISBN 9783765103490. 5.5 x 8.5 inches. German.
SKU: BR.SON-509
ISBN 9790004803318. 10 x 12.5 inches.
SKU: BR.BV-348
ISBN 9783765103483. 5.5 x 8.5 inches. German.
SKU: BT.DHP-1094445-010
9x12 inches. English-German-French-Dutch.
Marsyas ist ein Satyr aus den Metamorphosen des griechischen Dichters Ovid (43 v. Chr.-17 n. Chr.). Er findet eine von der Göttin Athene weggeworfene Flöte und spielt bald so gut, dass ihn Apollo zu einem musikalischen Wettstreit zwischen Flöte und Lyra herausfordert. Durch einen üblen Trick verliert Marsyas und erleidet eine grausame Strafe. Diese Sage bot eine ausgezeichnete Vorlage für ein spannendes Solowerk für Flöte, in welchem auch die Harfe (Lyra) erklingt.Si les récits de métamorphoses furent très populaires dans l’Antiquité gréco-romaine, le recueil du poète latin Ovide [43 av. J.-C./17 apr. J.-C.] est de loin le plus célèbre. Les quinze livres des Métamorphoses racontent la formation du monde et les transformations légendaires des dieux et des hommes en animaux, en plantes ou en objets. Parmi les nombreuses histoires de métamorphoses relatées par Ovide, on trouve celle de Marsyas, un satyre originaire de Célènes en Phrygie. Fils d’Hyagnis, considéré comme l’inventeur de l’harmonie phrygienne, Marsyas excellait dans la musique. Un jour, Athéna fit une fl te double et en joua un banquet des dieux. Tournée en dérisionpar Héra et Aphrodite, et ayant constaté elle-même, en voyant le reflet de son visage dans l’eau, que l’instrument, quand elle en jouait, lui déformait les traits, elle jeta la fl te en maudissant quiconque la ramasserait. Cette malédiction frappa le satyre Marsyas qui la trouva et en joua magnifiquement, au grand plaisir des paysans des contrées phrygiennes qui l’écoutaient et qui prétendirent que le dieu Apollon en personne n’aurait pu mieux faire avec sa lyre. Apollon entra dans une colère formidable et proposa l’insolent satyre un concours musical dont le vainqueur pourrait faire subir au vaincu le ch timent de son choix. Les Muses et le roi Midas, choisis comme juges, ne réussirent pas départager les concurrents. Alors, Apollon joua de la lyre l’envers et demanda Marsyas d’en faire autant avec son instrument. Cela était impossible. Marsyas n’y parvint pas, et Apollon fut déclaré vainqueur. Il se vengea du satyre de la plus cruelle façon : il l’attacha un pin et l’écorcha vif.Certains racontent qu’Apollon, se repentant de sa vengeance, métamorphosa en fleuve le corps de Marsyas. D’autres prétendent que le sang de Marsyas ou les larmes versées par les nymphes et les satyres, privés des enchantements de sa fl te, formèrent le fleuve de Phrygie qui porte son nom. / Marsyas fut créé le 22 juillet 2005 Bordes sur Arize en Ariège par le.
SKU: DH.DP200109-SET
Dr. Hilliard's newest masterpiece for younger bands. The lonely, mysterious chant, accompanied by fragments of muted percussion, goes through several harmonic transformations before giving way to a big, bold celebratory refrain. Great melodies for everyone!
SKU: GI.G-002455
Ceremonial Prelude and Salute! share scoring for organ, brass, and percussion while Praeludium, composed for Fred Tulan to play at Westminster Abbey, is for organ solo or with two percussionists (optional). These titles may be programmed singly or as a suite. Featured on the CD Transformations.
SKU: HL.44010560
UPC: 884088481704. 9x12 inches. English-German-French-Dutch.
Marsyas ist ein Satyr aus den Metamorphosen des griechischen Dichters Ovid (43 v. Chr.-17 n. Chr.). Er findet eine von der Gottin Athene weggeworfene Flote und spielt bald so gut, dass ihn Apollo zu einem musikalischen Wettstreit zwischen Flote und Lyra herausfordert. Durch einen üblen Trick verliert Marsyas und erleidet eine grausame Strafe. Diese Sage bot eine ausgezeichnete Vorlage für ein spannendes Solowerk für Flote, in welchem auch die Harfe (Lyra) erklingt.Si les recits de metamorphoses furent tres populaires dans l'Antiquite greco-romaine, le recueil du poete latin Ovide [43 av. J.-C./17 apr. J.-C.] est de loin le plus celebre. Les quinze livres des Metamorphoses racontent la formation du monde et les transformations legendaires des dieux et des hommes en animaux, en plantes ou en objets. Parmi les nombreuses histoires de metamorphoses relatees par Ovide, on trouve celle de Marsyas, un satyre originaire de Celenes en Phrygie. Fils d'Hyagnis, considere comme l'inventeur de l'harmonie phrygienne, Marsyas excellait dans la musique. Un jour, Athena fit une flute double et en joua a un banquet des dieux. Tournee en derisionpar Hera et Aphrodite, et ayant constate elle-meme, en voyant le reflet de son visage dans l'eau, que l'instrument, quand elle en jouait, lui deformait les traits, elle jeta la flute en maudissant quiconque la ramasserait. Cette malediction frappa le satyre Marsyas qui la trouva et en joua magnifiquement, au grand plaisir des paysans des contrees phrygiennes qui l'ecoutaient et qui pretendirent que le dieu Apollon en personne n'aurait pu mieux faire avec sa lyre. Apollon entra dans une colere formidable et proposa a l'insolent satyre un concours musical dont le vainqueur pourrait faire subir au vaincu le chatiment de son choix. Les Muses et le roi Midas, choisis comme juges, ne reussirent pas a departager les concurrents. Alors, Apollon joua de la lyre a l'envers et demanda a Marsyas d'en faire autant avec son instrument. Cela etait impossible. Marsyas n'y parvint pas, et Apollon fut declare vainqueur. Il se vengea du satyre de la plus cruelle facon : il l'attacha a un pin et l'ecorcha vif.Certains racontent qu'Apollon, se repentant de sa vengeance, metamorphosa en fleuve le corps de Marsyas. D'autres pretendent que le sang de Marsyas ou les larmes versees par les nymphes et les satyres, prives des enchantements de sa flute, formerent le fleuve de Phrygie qui porte son nom. / Marsyas fut cree le 22 juillet 2005 a Bordes sur Arize en Ariege par le.
SKU: HL.49017864
ISBN 9790220131288. UPC: 884088567637. 9.0x12.0x0.107 inches.
Sacrificium was commissioned by the St Albans International Organ Festival for what has become one of the most influential organ competitions in the world. It is a demanding 8 minute work that will challenge performers with an abundance of contrasting material whilst still leaving space for individual interpretation. Casken refers to the story of Alban who sacrificed his life to save another Christian thereby becoming the first British Martyr in his programme note and more specifically the act of exchanging cloaks and deception which led to Alban's execution. This idea of taking on a new appearance is apparent in the music as recurring themes undergo transformations, gradually becoming absorbed into new musical textures.
SKU: BR.EB-9205
World premiere: Donaueschingen, April 25, 2010
ISBN 9790004183632. 11 x 14 inches.
On the broadcast of the film From Dusk Till Dawn, the following note could be read in Gong (German radio and television programme guide) on 21 May: The gangsters Seth (George Clooney) and Richard Gecko (Quentin Tarantino) are on the run. On their way to Mexico, they take the apostate preacher Fuller and his children hostage. On their journey, they end up in Titty Twister Bar, not suspecting that it is peopled by vampires. Well, after deducting some film junk, some typical elements remain: what is past and over, constant new dramatic pair constellations, what is dead and constantly reawakening, the transformations, the troubles and destructions, the final annihilation teeming with destruction etc. Basically, it is a myth of ruin, in whose structure the elements are interchangeable. It could also be told with a coherent material concept, in a historically obsolete manner, in an old-fashioned way, with non-compensation, with flaring abolition yes, does everything always work??? It is good that it only takes place in a bar and that the bar invites us into Titty Twister in attractive neon writing. Restless nature and beauty are at home in the bar today. That facilitates for us the effortlessness of having fun in life. And today there is a special programme my piece Titty Twister for Accordion, Viola, Nepalese Singing Bowl, Pinballs and Mini Dramolettes. Its all expression, isnt it??? Nicolaus A. Huber (2009) CD: Anton Hubert (viola), Wolfgang Dimetrik (accordeon) CD Gramola 98922 Bibliography : Kampe , Gordon: Erinnern und Vergessen. Wechselwirkungen in der Kammermusik Nicolaus A. Hubers, in: Programmbuch ,,Wittener Tage fur neue Kammermusik 2017, S. 42-47, auch abgedruckt in: MusikTexte, Heft 154 (August 2017), pp. 37-39.World premiere: Donaueschingen, April 25, 2010.
SKU: HL.50566025
ISBN 9781705192658. UPC: 196288132332. 9.0x12.0x0.105 inches.
This edition is enriched with a historical introduction in French and English by notable clarinettist Pierre Génisson. “[...] this piece is, without a doubt, one of the sweetest I have ever written.†As this letter that Claude Debussy wrote to Durand, his publisher, indicates, the composer held his Rhapsodie for clarinet and piano in very high regard. In 1909, when Gabriel Fauré, then director of the Paris Conservatoire, commissioned the piece, Debussy had never before written for clarinet. He dedicated it to P. Mimart, “as a token of my regard.†After the unanimous recognition of the high quality of this solo, written for competition, Mimart premiered it in public on 16 January 1911 at the Salle Gaveau in Paris. Two years later, Debussy would choose to expand it further, writing a version accompanied by orchestra with a greatly expanded palette of colors. As its name suggests, it is freeform, and emanates a great poetry. The introduction, “Rêveusement lent,†is an evocation of the dawn. This gives way to a scene of nature's awakening, which never ceases to amaze us with its transformations. At times calm and lyrical, it sometimes becomes mischievous, vindictive or even joyous, especially during the scherzando passages. In a heightened impressionist style, Debussy gives free rein to his imagination, demanding tremendous speed and precision from the clarinettist.
SKU: B9.791
9 x 12 inches.
SKU: CL.LDP-7053-00
A masterpiece for younger bands. The lonely, mysterious chant, accompanied by fragments of muted percussion goes through several harmonic transformations before giving way to a big, bold celebratory refrain. Great melodies for everyone!
SKU: DH.DP200212-SET
A charming symphonic march based on an 18th Century nursery rhyme and folk tune - probably a parody of British nobility. A happy regimental tune marches through several jolly transformations before the duke and his men stride off into the distance. Great fun!
SKU: B9.793
SKU: HL.44011357
UPC: 884088892456. 9x12 inches. English(US)/Deutsch/Francais/Nederlands.
Last Call was commissioned by and written for Brass Band Oberosterreich (Austria) as a special concert finale. Austrian composer Otto M. Schwarz was asked to write an encore piece with which the band could really show off. Featuring all the sections of the band in turn, your audience will surely be dazzled by their skills! Last Call was commissioned by and written for Brass Band Oberosterreich (Austria) as a special concert finale. Austrian composer Otto M. Schwarz was asked to write an encore piece with which the band could really show off. Featuring all the sections of the band in turn, your audience will surely be dazzled by their skills! Last Call - Letzter Aufruf - wurde speziell als letztes Stuck fur Konzerte der Brass Band Oberosterreich geschrieben. Der osterreichische Komponist Otto M. Schwarz wurde beauftragt, ein Zugabestuck zu schreiben, mit dem die Band einen glanzvollen letzten Auftritt hinlegen konnte. In einem Vamp durfen alle Instrumentengruppen ihr Konnen beweisen und das Publikum uberzeugen! Last Call (Dernier appel) est une œuvre pop-funk qui debute avec une fanfare impressionnante suivie immediatement du premier chorus. Ce dernier introduit une melodie entrainante qui subit plusieurs transformations a travers le developpement de l'œuvre tout en etant soutenue par un rythme funk. Last Call est le bis ideal.
SKU: HL.645692
UPC: 008148061587. 9.0x12.0x0.015 inches.
SKU: DH.DP200109-SC
SKU: GI.G-002456
SKU: HL.14026856
UPC: 884088822583. 8.25x11.75x0.212 inches.
Eight pieces for solo Piano.
SKU: HL.50513749
SKU: BT.FP1451
SKU: CF.CPS68F
ISBN 9780825864780. UPC: 798408064785. 9 X 12 inches. Key: Eb major.
From the brilliant fanfare figures of its opening through the various transformations of the 6/8 melody introduced by the alto saxophone, Spirals of Light charts an invigorating course that expertly exploits the kaleidoscope of colors available from the modern concert band. In addition, this dazzling selection makes striking use of the contrast between simple and compound time and is sophisticated in its use of syncopation and modern harmony.
SKU: GI.G-003073
UPC: 641151030739.
For organ, brass quartet, and timpani. The Postludium is featured on the CD Transformations.
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