SKU: PR.114410380

UPC: 680160015160. 9.5 x 13 inches.

My second String Quartet was written twenty years after the first, Opus 4 from 1978. The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond. I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so. The Second Quartet is in four movements: Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement. An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work. While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work's intended emotional impact. The quartet is pervaded by a sense of seriousness, even mournfulness. The second movement's scherzo is an aggressively animated piece of musical machinery. The third movement's Variations unfold into a greater variety of moods than the others - but the moments of lyricism are countered by aggressive or ironic outbursts. The final movement's attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major. The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.
My second String Quartet was written twenty years after the first, Opus 4 from 1978.  The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond.  I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so.The Second Quartet is in four movements:  Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement.An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work.  While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work’s intended emotional impact.  The quartet is pervaded by a sense of seriousness, even mournfulness.  The second movement’s scherzo is an aggressively animated piece of musical machinery.  The third movement’s Variations unfold into a greater variety of moods than the others – but the moments of lyricism are countered by aggressive or ironic outbursts.  The final movement’s attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major.The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.

SKU: BR.BV-272

Volume 2 was already the heart of the three-volume edition. Now, thanks to Alexander Wagners in-depth revision, the many and detailed conducting examples generally present a greater stylistic variety. Among the 20th-century works are, for the first tim. Music pedagogy; Early modern; Music post-1945. Book. 240 pages. Breitkopf and Haertel #BV 272. Published by Breitkopf and Haertel (BR.BV-272).

ISBN 9783765102721. 6.5 x 9 inches.

With its many music examples, Volume 2 was already the heart of the three-volume set in its original edition. Now, thanks to Alexander Wagner's in-depth revision, the many and detailed conducting examples generally present a greater stylistic variety. Among the 20th-century works are, for the first time, examples by Bartok, Stravinsky, Orff, Bernstein and others.
Wagner expanded the work's concept by adding two new chapters: Degree of Difficulty in Choral Music and The Use of the Piano in Choral Methodology. The section on The Conducting of Recitatives has been omitted, since it will be included later in the revised edition of Volume 3.
Dostojewski
Ort und Zeit Russland in den 60er Jahren des 19. Jahrhunderts

UA Leipzig 1988

Personen
GENERAL JEPANTSCHIN (Bass) - JEPANTSCHINA seine Frau (Alt) - ADELAIDA (Sopran) AGLAJA (Mezzosopran) beider Tochter - MAVRA (Sprechrolle) - NASTJA (Sopran) - FURST MYSCHKIN (Bariton) - ROGOSHIN (Bass) - LEBEDEW (Tenor) - GANJA (Tenor) - EIN GAST (Tenor) - KAMMERMADCHEN (Sopran) Chor SATTBB (Die Gesellschafter Jepantschins Rogoshins Bande)
Orchester 3(Picc).3(Eh).3(BKlar).2.Kfg. - 4.3.3.1. - Pk.Schl(3) - Hfe.EGit - Str

Treibmanns Oper im Westen nahezu unbekannt besitzt jede Menge Meriten. Die Musik ohne.

SKU: PR.11440902S

UPC: 680160013708.

The quartet begins with a 5-note motif, played in unison that permeates melodically and harmonically throughout the movement. The energetic and hard-driven character of the second musical idea propels the music forward with fast moving notes and greater urgency. It often alternates with the more lyrical rendition of the 5-note motif, yielding contrasting sections. After a brief coda, the 5-note motif concludes the movement much the same way it had begun but with greater intensity. The second movement explores the world of fantasy. To some extent the beginning and the ending of the movement function as the opening and closing doors that separate the reality from the dream and subconscious. It is one continuous movement in an arch form that gradually accelerates to an expansive emotional climax and returning steadily to the surface led by an ethereal solo cello. The transcendent ending is similar to the beginning, though half step higher. The third movement begins boldly with the 5-note motif transformed into a dance character in a compound meter. The asymmetrical meter of the Persian folk music influences much of the rhythmic character of the movement. The return of many materials from earlier movements interwoven into the fabric of this movement reinforces the cyclical and organic character of the quarter. Particularly, a mysterious passage, reminiscence of the second movement leading to a brief full-blown ballad is a favorite moment of Ranjbaran's in the quartet. A blazingly virtuosic viola leads the quartet to an uplifting conclusion.

SKU: WD.080689421235

UPC: 080689421235.

This moving, compelling arrangement by David Wise combines three of today’s modern worship classics, spotlighting our desire for His presence…our deep need for communion with Him…welcoming and inviting the Holy Spirit into our midst. There is no greater unifier, no greater or more precious moments of pure worship.