SKU: OU.9780193588585
ISBN 9780193588585. 12 x 8 inches.
For violin, viola, and cello. This piece owes its title and much of its elegiac but optimistic character to a poem by Mary Webb. Webb's fine lyric verse is echoed in the song-like directness and simplicity of form captured in this single movement work.
SKU: BT.SCHBB101723
SKU: HL.50499267
ISBN 9790080148365. 9.0x12.0x0.279 inches. Laszlo Tihanyi.
The piece was composed in the spring of 2012, at the request of the Kempten International Chamber Music Festival. The title Rundherum refers to the staging of the piece and the movement of the players. Central to the sound are the cello and the piano - their position does not alter during the piece. The other three instruments circle round the central point, both musically and spatially. The piano and the front desk parts represent the world of reality, but when the +wandering- instruments are played at the desks behind the piano, they speak of a hidden world. This drama presents the open and the closed world of the human soul, the contradictions of our public and private being. The difference between the two musical layers is emphasized by the fact that the back desk parts are supplemented with other instruments. The sounds of the mouth organs and percussion instruments raise the music of the +inner world- to another tone-dimension.
SKU: BT.SCHBB101774
SKU: HG.GH-3803C
Gedicht von Muller v.d. Werra.
SKU: VD.ED97501
ISBN 9790202005019. 11.69 x 8.26 inches.
SKU: HL.49042434
ISBN 9783795794491. 10.25x13.5x1.141 inches. German.
Carl Maria von Weber's fame rests mainly on 'Der Freischutz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as 'Preciosa', 'Oberon', and 'Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music; cantatas, odes and other occasional works; stage works; lieder and vocal works; orchestral works; chamber music; music for piano; piano reductions; miscellanea, arrangements and orchestrations; works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references.
SKU: BP.2273
Four-hand piano combines with optional violins and drum to accompany this lively anthem in early-American style. An outstanding and vigorous call to worship, the work begins with gradually increasing voices and works through varied textures towards its rousing conclusion.
SKU: VD.ED98503
ISBN 9790202005033. 11.69 x 8.26 inches.
SKU: OU.9780193522930
ISBN 9780193522930. 10 x 7 inches.
For S/A TB unaccompanied More sweet than my refrain is a tender miniature for three-part choir set to the text of a poem by Ralph Waldo Emerson. The motet features on the new Ars Nova Copenhagen recording, 'First Drop' (Canteloupe: CA21127).
About Oxford New Horizons
New Horizons showcases the wealth of exciting, innovative, and occasionally challenging choral music being written today. It encompasses the whole gamut of small-scale choral genres, both secular and sacred, and includes pieces for upper-voice and mixed choirs. With titles by some of the most accomplished choral composers active in Great Britain and abroad, the series introduces new repertoire and fresh talent to a broad spectrum of choirs. New Horizons features composers with growing reputations for quality composition reflecting a strong individual voice. The series is continually expanding and should be the first place to look for attractive and performable contemporary choral music.
SKU: PR.ZM12050
UPC: 680160647514.
SKU: M7.DOHR-98566
ISBN 9790202005668.
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