SKU: BO.B.3726
Written in 2001, this work was conceived by the need to enlarge the repertoire of works for solo cello, an important goal since the repertoire of such works is limited. Most cellists are limited to performances of such well-known solo works as the Suites of Bach, written almost 300 years ago, as well as other classics of the genre by Max Reger, Zoltan Kodaly, Benjamin Britten, Gaspar Cassado, Enric Casals, etc.The intention of the Suite Exotique is to revolutionize the concept of the Baroque suite by transforming the suite into a collection of modern dances, which are both contemporary and widely recognized today. Thus, the dances of the Baroque suite, such as Allemande, Courante, Sarabande are substituted for the Tango, Milonga, Blues in such a way that the traditional formal structure of six movements of Baroque dances is modernized by rhythms and contemporary styles which coexist in the Modern world, but are separate from and do not pertain to those works which are normally considered to belong to the realm of cultured music.Apart from the fusion represented by the mixture of a Baroque genre with modern, urban musical language found in this work, the subtitle exotica is appropriate due to the originality of writing such a work for cello solo. This work allows the interpreter to explore and take full advantage of their technical, artistic and expressive abilities.This work establishes a total symbiosis between the instrument and the evolutionary transformation of its musical language which in turn creates a style adapted to the expressive requirements of the work itself. The specific techniques and qualities of the cello are placed in service of the required style and concept of each movement of the Suite. At the same time those stylistic characteristics are transformed and adapted to the particular characteristics of the cello and taking full advantage of the instruments polyphonic, sonic, aesthetic qualities as well as its timbre.The Suite Exotique was premiered in August, 2003 during the International Music Festival of Ibiza by the Russian cellist Svetlana Tovstukha.
SKU: AY.CM3207PM
ISBN 9790803752763.
Jean Ignace Isidore Gerard, a 19th Century French caricaturist, is not well-known in Japan. The composer was inspired to compose Fiddle after seeing Grandville's work, Apocalypse du ballet, which expresses continuous patterns of transformative objects in a sense of disorienting beauty. Although all four instruments are responsible for four individual melodies, they are not subjected to fixed pitches and textures (extended techniques such as sul ponticello and sul tasto are used), and are intended to create a merged acoustic fabric that is in constant transformation.
SKU: PE.EP14437
ISBN 9790014134525. German.
AGNI by Bernd Franke is a 17-minute work for Bass Clarinet and Orchestra. Agni is the Hindu god of fire and at the same time the elemental and transformative force inherent in everything. In illustrations, Agni is depicted with seven tongues, which stand for the different aspects of his being: creating, sustaining, purifying, priestly, warlike, devastating, destroying, consuming. In the eponymous concerto for bass clarinet and orchestra, Bernd Franke traces the transformation processes initiated by the divine fire in compositional terms. The work was first performed on 23 November 2019 in Großenhain by Volker Hemken (bass clarinet) and Elbland Philharmonie conducted by Ekkehard Klemm.
The full score is available for sale as part of the Peters Contemporary Library. The performance material is available for rent.
About Peters Contemporary Library
Mark AndreMilton BabbittDaniel BjarnasonEarle BrownJohn CageHenry CowellJames DillonJonathan DoveBrian FerneyhoughRoxanna PanufnikRebecca SaundersErkki-Sven TuurCharles Wuorinen These are just a few of the composers whose most adventurous scores are now available to purchase through the Peters Contemporary Library. A new global initiative of the Edition Peters Group, the Peters Contemporary Library is a project designed to put these bold 20th- and 21st-century works, once available only for rental, into the collections of libraries, performers, scholars, and conductors alike. Kicked off in 2016, the Peters Contemporary Library already contains many cutting-edge works and is constantly expanding. We are proud to offer these bold new scores for sale, for the first time ever, to modern musicians and students of music all around the world.
SKU: HL.333271
ISBN 9781458405760. UPC: 884088578350. 10.75x11.0x1.067 inches. Edited by Robert Shaw & Peter Szego.
Inventing the American Guitar is the first book to describe the early history of American guitar design in detail. It tells the story of how a European instrument was transformed into one with all of the design and construction features that define the iconic American flat-top guitar. This transformation happened within a mere 20 years, a remarkably brief period. The person who dominates this history is C. F. Martin Sr., America's first major guitar maker and the founder of the Martin Guitar Company, which continues to produce outstanding flat-top guitars today. After emigrating from his native Saxony to New York in 1833, Martin quickly established a guitar making business, producing instruments modeled after those of his mentor, Johann Stauffer of Vienna. By the time he moved his family and business to rural Pennsylvania in 1839, Martin had absorbed and integrated the influence of Spanish guitars he had seen and heard in New York. In Pennsylvania, he evolved further, inventing a uniquely American guitar that was fully developed before the outbreak of the Civil War. Inventing the American Guitar traces Martin's evolution as a craftsman and entrepreneur and explores the influences and experiments that led to his creation of the American guitar that is recognized and played around the world today. To learn more about the history of the Martin guitar, click here to view the video and article from BBC, How Martin Guitars Became an 'American Stratavarius'.
SKU: BR.PB-5435
ISBN 9790004212820. 11.5 x 16.5 inches.
Meine eigene neue Orchesterkomposition hat den Titel ,,SCHREIBEN. Die praktische Aktion des Schreibens, als mechanisches Einwirken per Hand, Stift, Pinsel, auf eine Flache (Papier, Pergament, Stein etc.), ausgelost und gesteuert von einem kommunikativen Bedurfnis und, bei aller Spontaneitat, beherrscht durch die Regeln von Schrift und Sprache, ist fur mich einer der geheimnisvollsten Vorgange im zwischenmenschlichen Alltag, bei dem menschlicher Geist und tote Materie einander begegnen: Gedanken bzw. Gedachtes werden auf einer Flache - Papier, Pergament, Stein - festgehalten, ihr sozusagen anvertraut. Und auf diesem Umweg uber Sprache, Schrift und Gravur begegnen sie dem Geist des lesenden oder entziffernden Mitmenschen. Als Komponist aber frage ich: gibt es auch einen anderen Kausalitatszusammenhang, gibt es z. B. ein ,,autonomes Schreiben, eine sinn-freie Zeichengebung, durch entfesselte, losgelassene Fortbewegung der schreibenden Hand, wo der Schreibende seinem eigenen Schreiben nur noch staunend zusieht? Werden nicht in Japan Bilder, auch ,,abstrakte, geschrieben??? (In einem Underground-Film der 70er-Jahre uber den jungen Mozart sieht sich der Zuschauer versetzt in ein Zimmer eines italienischen Gasthauses, in dem der junge durchreisende Mozart am Tisch eilig die Rezitative einer seiner italienischen Opern zu Papier bringt. Mehr als eine Viertelstunde lang sind wir dabei, horen nicht die entstehende Musik, sondern das nervose Kratzen der Feder auf dem groben Notenpapier in nachmittaglicher Stille - nur der gleichmassige Pendelschlag der Wanduhr ist noch zu horen -, und wir erleben diese sekundare Klangwelt kaum weniger intensiv als nachher andere Horer die dabei stumm entstehende Musik.) Das Orchester in meinem Stuck ,,schreibt. Es fugt Strich zu Strich, versteht sich selbst als eine Art vielfaltiges ,,Schreib-Gerat. Wir als Horer lesen nicht das ,,Geschriebene, aber wir horen den Vorgang des Schreibens, den Bogenstrich, die Bewegung des scharrenden Holzstabs auf Fell oder Tamtam, und wir beobachten dessen Imitation bzw. Transformation durch - zeitweise auch tonlos - sich zu linearen Gestalten verbindende Blasinstrumente als eine Art klingender Schreib-Zeremonie. Es ergibt sich eine Musik, die gelegentlich ihren gedanklichen Ausgangspunkt vergisst und sich als autonome Klang-Situation fortentwickelt und verwandelt, und die schliesslich im hochsten Register eine Art ,,Kantilene be-schreibt. Wer das deutsche Wort ,,Schreiben (engl. ,,to write) schreibt, der schreibt dabei auch unweigerlich das Wort ,,Schrei (engl. ,,shout), und er schreibt auch das Wort ,,reiben (engl. ,,to rub). So emotional der erste Begriff gedacht werden kann, so nuchtern-praktisch ist der zweite. Von beiden Aspekten, samt ihrer Gegensatzlichkeit, ist mein Stuck gepragt. (Helmut Lachenmann, 2003)World premiere: Tokyo/Japan, December 4, 2003.
SKU: BO.B.3946
ISBN 979-0-3503-3968-4. 9 x 12 inches.
The restrictive use of tonalities has prevented the guitar from accessing the development of the musings of the morphological and formal resources that, since the classical period, has developed instrumental music. The freedom of modulation, thematic transformation or the ability to assume broad development structures are some of the procedures that, historically have been limited by the alleged inability of the guitar to use the full range of tonalities. With these 24 romantic fantasies, this historical prejudice is broken and the guitar is offered the possibility of approaching a wide range of compositional skills and expressive proposals that, until now, had belonged exclusively to the world of piano or chamber music.
SKU: CF.YPS210F
ISBN 9781491152973. UPC: 680160910472.
Proteus sets out to depict musical transformation with shifting elements of style, color, and texture, emulating its shape-shifting, mythical ancient Greek namesake. Grant Michel encourages young bands to explore their musical range, from the mysterious to the intimidating, in this fresh contemporary piece.
SKU: HL.49045749
ISBN 9781540019714. UPC: 888680726515. 9.0x12.0x0.155 inches.
Three Shades Without Angles is a piece that plays with the idea of transformation of musical shapes. When writing this piece, I was inspired by Auguste Rodin's sculpture The Three Shades, a detail sitting atop the sculptor's work The Gates of Hell, depicting a scene from Dante's The Inferno. Although my music is not representative or depictive of Dante or an image of hell, I was deeply drawn to the sinewy character of Rodin's work, its intensity, muscularity, consistency, and the way in which movement and energy is represented in his shapes. -Hannah Lash.
SKU: PR.UE037117
ISBN 9783702474591. UPC: 803452071709.
The familiar Happy Birthday tune undergoes an Igudesman concert transformation. Stated simply enough, the melody immediately morphs into a Viennese waltz, a big band statement, a Bulgarian step dance, a Russian romp, and more. A touch of violinistic virtuosity leads to the fantastic finish. Make someone's birthday special!
SKU: AP.48201
UPC: 038081558004. English.
With a driving energy, the punctuated percussion contribution is powerful. This original concert work celebrating the grit and resolve of Ohio's Mahoning Valley community over the past century is a perfect concert or festival choice to show off your ensemble's ability to play expressively while having fun! Majestic! (6:30) This title is available in MakeMusic Cloud.
SKU: GI.G-9679
ISBN 9781622774104.
Learn to improvise with this groundbreaking, state-of-the-art book and companion audio recordings! With Developing Musicianship through Improvisation, you will learn to improvise as readily as you would join in a conversation. Using the tunes in Developing Musicianship through Improvisation, you will learn a vocabulary of tonal patterns, melodic phrases, rhythm patterns, and rhythm phrases for a wide range of music, including classical, jazz, and folk styles. You will also read and write music, connecting your improvisation to meaningful experiences with notation. Each unit has six components: (1) Repertoire, (2) Patterns and Progressions, (3) Improvising Melodic Phrases, (4) Learning to Improvise—Seven Skills, (5) Reading and Writing, and (6) Learning Solos. Book 1-B includes Greensleeves, My Country 'tis of Thee, La Folia, Rule of the Octave, seven Bach chorales, and several partimenti—centuries-old chord progressions used for learning harmony, counterpoint, improvisation, and composition that musicians still perform today. Regardless of your musical background, you can play tunes and learn harmony by ear—skills at the heart of improvisation. This intuitive and engaging approach to Developing Musicianship through Improvisation is a major advancement in music teaching and learning. Book includes access to MP3 downloads. SONGS INCLUDED: Book 1 repertoire (2 CDs)—Long, Long Ago - Mary Ann - Joshua - Simple Gifts - Down by the Riverside Book 2 repertoire (2 CDs)—When the Saints Go Marching In - Amazing Grace - Motherless Child Book 3 repertoire (2 CDs)—Blues (Saint Louis Blues and More Blues) - Transformation (Rhythm Changes) - Red Wings (Familiar Harmonic Progression) Book 1B repertoire (MP3 Downloads)—Greensleeves - My Country 'tis of Thee - La Folia - Rule of the Octave - Seven Bach Chorales.
SKU: BR.EB-9394
ISBN 9790004188682. 9 x 12 inches.
My lecture of the Winterreise does not demand a new expressive interpretation, but instead systematically exercises the freedom which all interpreters allow themselves intuitively, such as: instrumental dilation i. e. acceleration of the pace, transposition into other keys and elaboration of characteristic color timbres. In addition, there are further ways of reading; the music; jumping around in the text, repeating certain lines, interrupting the continuity, comparing different expressions of the same phrase ... All these new possibilities are subjected to my compositional discipline and form autonomous formal processes which are imposed on Schuberts original. The transformation of the piano tones into a multifaceted orchestra full of resonance is only one of many aspects.(Hans Zender)CDs:Hans Peter Blochwitz (Tenor), Ensemble Modern, Conductor: Hans Zender CD BMG 9026-68067-2 Christoph Pregardien (Tenor), Klangforum Wien, Conductor: Sylvain Cambreling CD Kairos 0012002KAIJulien Pregardien (Tenor), Deutsche Radio Philharmonie Kaiserslautern, Conductor: Robert Reimer2 CD's P.RHEI (2016)Bibliography:Adam-Schmidmeier, Eva-Maria von: Schubert interpretieren. Hans Zender: Schuberts Winterreise. Eine komponierte Interpretation im Unterricht, in: Musik und Unterricht Heft 96 (2009), pp. 50-56.Gruhn, Wilfried: Wider die asthetische Routine. Hans Zenders Version von Schuberts Winterreise, in: Neue Zeitschrift fur Musik 1/1997.Hebling, Harald: Kompositorische Schubertrezeption im 20. Jahrhundert, Magisterarbeit Universitat Wien 2003, especially pp. 148-157.Nonnenmann, Rainer: Vom Nutzen und Nachteil der Musikhistorie fur das Musikleben. Zur Kritik aktualisierender Interpretation am Beispiel von Hans Zenders Schuberts ,Winterreise, in: Musik und Asthetik 7, Heft 26 (April 2003), pp. 65-90.ders.: Schuberts ,Winterreise . Komponierte Interpretation von Hans Zender / Ballett von John Neumeier, in: Osterreichische Musikzeitung 60 (2005), Heft 3, p. 42f.ders.: Fremd bin ich eingezogen, fremd zieh ich wieder aus. Versuch zur Rettung der Vergangenheit Schuberts Winterreise. Eine komponierte Interpretation fur Tenor und kleines Orchester (1993) von Hans Zender, in ders.: Winterreisen. Komponierte Wege von und zu Franz Schuberts Liederzyklus aus zwei Jahrhunderten, 2 Bande (= Taschenbucher zur Musikwissenschaft, Band 150/151), Wilhelmshaven: Florian Noetzel 2006, pp. 143-205.Petersen, Birger: Neue Musik. Analysen, Berlin: Simon Verlag fur Bibliothekswissen 2013, pp. 11-24.Revers, Peter: ... Schnee, du weisst von meinem Sehnen. Aspekte der Schubert-Rezeption in Hans Zenders Winterreise (1993), in: Dialekt ohne Erde. Franz Schubert und das 20. Jahrhundert, hrsg. von Otto Kolleritsch, Wien-Graz 1998 (Studien zur Wertungsforschung, Band 34), pp. 98-120.Schafer-Lembeck, Hans-Ulrich: Gegenstrebige Fugungen. Hans Zenders Musik und seine komponierte Interpretation von Schuberts Winterreise, in: Neue Musik vermitteln. Analysen Interpretationen - Unterricht, hrsg. von Hans Bassler, Ortwin Nimczik und Peter W. Schatt, Mainz: Schott, 2004, pp. 295-307.Stahmer, Klaus Hinrich: Bearbeitung als Interpretation - Zur Schubertrezeption Gustav Mahlers, Hans Zenders und Friedhelm Dohls, in: Franz Schubert und Gustav Mahler in der Musik der Gegenwart, Mainz 1998.Zender, Hans: warum wieder die Winterreise? Hartmut Regitz im Gesprach mit dem Komponisten, in: ballet.tanz - international.aktuell, Heft 12 (2001), p. 18.World premiere: Frankfurt am Main, September 21, 1993.
SKU: HL.14008374
ISBN 9781846096150. UPC: 884088435202. 8.25x11.75x0.105 inches.
The Full Score for Peter Maxwell Davies' fourth in a series of ten string quartets commissioned by the Naxos Recording company, first performed by the Maggini Quartet on 20th August 2004 at the Chapel of the Royal Palace, Oslo, Norway, as part of the Olso Chamber Music Festival. Composer Note: The fourth Naxos quartet was written in January and February of 2004, with the intention of producing something lighter and much less fierce than its predecessor, an unpremeditated and spontaneous reaction to the illegal invasion of Iraq. I returned to the well-known Brueghel picture of children's games (1560, now in Vienna), which had been the inspiration for my sixth Strathclyde Concerto, for flute and orchestra. These illustrations liberated my musical imagination, but I feel it would limit the listener's perception to be too specific about which game relates to exactly which section of the work. Suffice it to say that there is vigorous play - leap-frog, bind the devil with a cord, truss, wrestling - alongside quieter pastimes - masks, guess whom I shall choose, courting, odds and evens. The single movement juxtaposes these activities as abruptly and intimately as they occur in Brueghel. Rather as the eye is taken into different perspectives and proportions of scale within the picture, taking liberties which would never be present in, for instance, Brunelleschi architectural drawings, so here, with a constant sequence of transformation processes, I have distorted the neat, precise implications of modal progression, expressed in the unison opening phrase (from F to B through A sharp/B flat), so that the ear is led, en route, into the sound equivalents of strange passageways and closed rooms: sicut exposition ludus. As work on the quartet progressed I became aware that I was reading into, and behind the games, adult motives and implications, concerning aggression and war, with their consequences. It was impossible to escape into innocent childhood fantasy. The nature of the F to B progression underlying the whole construction derives from a passage in the development of the first movement of Mahler's Third Symphony, and the opening of Schoenberg's Second String Quartet. However, unlike in these models, here a real - if temporary - sense of resolution occurs at the close of the quartet: as when the curtain falls on the reconciled Count and Countess in 'Figaro' one wonders how long the F/B truce will hold, and games break out again. The quartet is dedicated to Giuseppe Rebecchini, Roman architect, and friend since the nineteen-fifties.
SKU: FG.55011-277-3
ISBN 9790-55011-277-3.
These cello exercises complement the Colourstrings Cello ABC method but can also be used independently. They are for bowing, fingers, shifting, intonation, scales, moders, tone quality, vibrato, harmonics, transformation, whole tone scale, distance scale, chromatic scale and the alternative positions for the same pitch.
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