SKU: HL.51483306
UPC: 196288206811. 9.25x12.0x0.071 inches.
The serenade flourished in Mozart's era, but with Brahms the genre experienced a new surge in popularity in the 19th century. Dvorák's cheerful and relaxed op. 22 came into being in 1875, during a very happy time for him both professionally and privately. Heput his personal stamp on the five-movement composition by incorporating stylized Slavonic dances. The spirited finale captivates by restating themes from the previous movements. Since its premiere in 1876 the work, with its melodic richness and particular harmonic modulations, has enjoyed great acclaim from audiences and critics alike. Today it is among Dvorák's most popular and most frequently performed compositions. As well as the autograph and printed editions, the composer's copy of the printed score with autograph corrections and additions has been consulted for Henle's Urtext edition.
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SKU: HL.48025250
UPC: 196288142942.
The composer and conductor Oliver Knussen (1952 - 2018) was loved by many companions for his generosity and musical intellect. To Detlev Glanert, whose works he loved to perform, he was a friend and one of his 'personal heroes'. By his own admission, he learned attention to detail from 'Olly', with whom he worked at Tanglewood as early as 1986. If Glanert's Trumpet Concerto, composed in 2018, is the large-scale symphonic homage to his role model, the solo “Little Letter to Olly†does the same in a small format. Two elegiac adagio sections frame a boisterous presto with all kinds of virtuoso tricks. The 'Letter without Words' owes its existence to a suggestion by the cellist Anssi Karttunen, who asked for commemorative pieces for Knussen's 70th birthday from a number of composers and premiered them at the Aldeburgh Festival 2022.
SKU: BR.EB-9014
World premiere: Stuttgart, May 16, 1985
ISBN 9790004178980. 9 x 12 inches.
Der Ausrufer, neutral Verkundender und Einladender, der offentlich Sprechende, doch aus sich heraus nichts Sagende, steigt ins Subjekt-Innere, blaht sich auf, lasst dessen Privatheit und Abgeschlossenheit zerplatzen, verwandelt die Mittel seines Metiers: Ruf, Rhythmus, Tempo vom Neutral-Allgemeinen ins Subjekthaft-Besondere, steigt empor: nun ausrufendes Ich voller innerer Intensitat. Die materielle Darstellungsebene sind 4 Saiten + Bogen / 4 Finger + Daumen (4+1 = 5). Die feststehenden Masse sind gleichzeitig die Aussengrenzen fur Moglichkeiten im Inneren: Streckendurchmessungen (bis zur Achtelton-Teilstrecke und einem Achtel Bogenlange), Spaltung in Teilschwingungen, vorgeschriebene Bogengeschwindigkeit und anderes. Tempo, Dauer, Rhythmus bewegen sich, gegeneinander verschoben kombiniert, auf einem Achsensystem, dessen Proportionen divisive Zeitfalten im Inneren der Hulldauern (1, 1 / 2, 1 / 3 usw.) sowie additive Zeitentfaltungen nach aussen (1, 2, 3 usw.) bilden und sowohl die Tempoverhaltnisse wie auch die Hulldauern selbst erfassen (MM = 7,5 12 20 30 60 usw.). Der Punkt des Emporsteigens gegen Ende ist ein funfzeiliges gereimtes Stufen-Tongedicht. (Nicolaus A. Huber, 1984) CD: Michael Bach (violoncello) CD Telos Music TLS 018 Bibliography: Huber , Nicolaus A.: THIRTY ARE BETTER THAN ONE (A. Warhol), in: Neue Musik und andere Kunste, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 50), Mainz u.a.: Schott 2010, pp. 220-235.World premiere: Stuttgart, May 16, 1985.
SKU: BR.MN-502
ISBN 9790004790014. 8.5 x 11.5 inches.
Geschrieben wurden diese einfachen 2-, 3- und 4-stimmigen Stucke, um das Gefuhl fur das gemeinsame Spiel und das gegenseitige Zuhoren zu vermitteln, und um die eigene Vorstellungskraft zu animieren.Jede Stimme kann auch von 2 oder 3 Instrumentalisten gespielt werden.
SKU: BT.DHP-1135502-400
ISBN 9789043137683. 9x12 inches. English-German-French-Dutch.
This is a wonderful collection of klezmer music, inspired by the Jewish dances and songs of the klezmorim from Eastern Europe - from the lyrical HORA to the fast, compelling FREILACH. Some of the pieces have a second part ad libitum - for playingtogether or for variation in a repeat. For the accompaniment, chord symbols have been added and on the included CD there are complete versions as well as play-along versions of all pieces, played live by genuine klezmer musicians.Een prachtige verzameling klezmermuziek, ge nspireerd op de joodse dansen en liederen van de klezmorim uit Oost-Europa: van de lyrische Hora tot de snelle, meeslepende Freilach. Ook de invloed van de nieuwere Israëlische volksmuziek la Giora Feidman is hoorbaar. Sommige stukken hebben een tweede stem ad libitum - voor samenspel of ter afwisseling bij herhaling. Voor de begeleiding zijn akkoordsymbolen toegevoegd - en op de bijgevoegde cd staan van alle stukken mooie demo- én play-along-versies, die live zijn ingespeeld door rasechte klezmermuzikanten.ALL TIME KLEZMERS ist eine wundervolle Sammlung von Klezmermusik, inspiriert von den jüdischen Tänzen und Liedern der Klezmorim aus Osteuropa: vom lyrischen Hora bis hin zum schnellen, unwiderstehlichen Freilach. Einige Stücke haben eine optionalezweite Stimme für das Zusammenspiel oder eine Variation in einer Wiederholung. Für die Begleitung wurden Akkordsymbole hinzugefügt. Auf der beiliegenden CD gibt es vollständige Aufnahmen sowie Mitspielversionen aller Stücke, live eingespielt vonechten Klezmermusikern.Le recueil All Time Klezmers sâ??inspire des danses et des chants juifs joués par les klezmorim : de la beauté lyrique de la Hora lâ??exubérance du Freilach. Lâ??accompagnement a été confié dâ??authentiques klezmorim évoluant dans la plus pure tradition de la musique klezmer. La raccolta All Time Klezmers si ispira alle danze e ai balli: dalla bellezza lirica della Hora allâ??esuberanza di Freilach. Ci si ritrova ugualmente lâ??influenza della musica tradizionale israeliana nello spirito di Giora Feidman. Lâ??accompagnamento è affidato ad un vero gruppo klezmorim che vi trasciner nellâ??autenticit di questo genere musicale.
SKU: HL.14077333
SKU: HL.14028929
Written for Moray Welsh whilst still an undergraduate at York University. This piece was completed in mid-September. Inspired by Hermann Hesse's Steppenwolf. A solo 'cello seemed an appropriate medium for music which might explore the character of Harry Haller, with his desire for bourgeois comfort and his strong misanthropic and suicidal tendencies. The opening theme attempts to express this - melancholy, nostalgic, a bit Biedermeyer (cf. Brahms Intermezzi). The basic theme of the book, at its simplest, is that every human personality consists of hundred of different personalities - within every man there lurks a wolf. Accordingly the tendency of my piece is for all its musical material to become distorted, either by thematic transformation or by changes of timbre. There are three movements played without a break. The first is a character portrait of the Steppenwolf. The second is concerned in the most general sort of way with the dance elements in the novel - Harry's being taught to dance and appreciate low 'popular' music - a tango is recapitulated in a waltz and 'Yearning', a popular song of the time (1927) is hinted at. The third movement concerns the Masked Ball and the Magic Theatre. Mozart is one of Hesse's great loves and he is repeatedly mentioned in the book. Inevitably some Mozart quotes have been worked in, the most significant being a reference to The Magic Flute 'fire and water' flute theme in the middle of the second movement. Long before I finished the piece, I was disenchanted with the work of Hesse. Much of Steppenwolf I now find rather embarrassing and the claims currently made for Hesse's greatness seem to me exaggerated. Since my piece is in no important sense programmatically specific, this change of heart doesn't really matter. ~ David Blake.
SKU: HL.14077836
SKU: HL.14045630
ISBN 9788438705032. Spanish.
SKU: HL.48015300
UPC: 073999709063.
Cello and Keyboard.
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SKU: HL.14045733
ISBN 9788438704172. Spanish.
SKU: HL.14045693
ISBN 9788438705063. Spanish.
SKU: HL.14047512
ISBN 9788438711910. Spanish.
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