SKU: BA.BA06861
ISBN 9790260104211. 34.3 x 27 cm inches.
LeoÅ¡ Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanovaâ€. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.†Thus LeoÅ¡ Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony†entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers MiloÅ¡ Å tedron and LeoÅ¡ Faltus closely follows the original manuscript.A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola†by the Czech writer Sonja Å pálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube†to the inconclusive ending.To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forcesâ€. The third movement is said to characterise the city of Vienna in the form of a woman.It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj†– and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpaniâ€, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of loveâ€.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: HL.14042093
ISBN 9788759825723.
Taken from the Carl Nielsen Collected Works series. Parts also available (14042094).
SKU: CA.3140203
ISBN 9790007295080. German/English. Text: Henrici (Picander), Christian Friedrich.
Only the text and the last page of the autograph score of the Christmas Cantata “Ehre sei Gott in der Höhe†BWV 197.1 (197a) have survived, beginning with the end of the 2nd aria. This, along with the complete surviving 3rd aria are found in parody versions in the Wedding Cantata BWV 197 / BWV3 197.2, from which this cantata takes its BWV number. For a long time there has been a fascinating theory about the missing opening chorus: could this have been the parody source for the Gloria in the Mass in B minor? The musicologist and organist Pieter Dirksen has pursued this, creating a four-part choral version largely derived from corrections made in the autograph of the Mass in B minor. He has underlaid this with the text of the opening chorus (the German translation of the Gloria). What results is a convincing version of the Christmas Cantata – with one of Bach’s best-known choruses as the prominent opening chorus and plausible solutions for the other sections missing in the autograph.
SKU: CA.3140212
ISBN 9790007301590. German/English. Text: Henrici (Picander), Christian Friedrich.
SKU: HL.35027092
UPC: 884088472344. 5x5 inches.
Uses: Communion, Lent, Holy WeekScripture: Psalm 16:11; 1 Corinthians 11:23-26; Isaiah 25:1-9; Luke 22:19-20This J. Paul Williams gem is set to a well-known American folk song with breathtaking results. Each verse presents a different tableau in the life of Christ and takes us on a journey through his life and ministry. Ideal for Communion or Holy Week services! Thoughtful! Available separately: SATB, iPrint Orch CD-ROM (Flt 1&2,Oboe,Clnt 1&2,Bassoon, Horn 1&2, Perc 1&2, Harp, Violin 1, Violin 2, Viola, Cello, Dbl Bass), StudioTrax CD; Duration: ca. 3:05.
SKU: CA.2300400
ISBN 9790007240783. English/German. Text: Newman, John Henry.
This is the best of me, wrote Edward Elgar after the final measure of his Dream of Gerontius. Premiered in 1900, in Great Britain the work has long been a standard work in the repertoire of large oratorio choirs. Elgar's moving, poetic setting of the eponymous poem by Cardinal John Henry Newman is about a dying man and his journey beyond death to God. Before the eyes of the listeners, a musical image of the soul is created which flies past mocking demons to God with its protecting angel at its side, is allowed to look at God briefly, then faces the purgatory confident and comforted. The work is a real rarity in the history of oratorio, and for large choirs it is a thrilling alternative to the established repertoire of Requiem settings. Its popularity is thanks to the suggestive, often sensuous power of the music, the great choral scenes of the demons and the angels, and the three impressive solo parts.All previous editions were reprints based on the historic first printed materials, which are inconsistent. By contrast, Carus has produced a modern, newly-engraved edition, compatible in all sections, which takes all the sources into consideration and evaluates the autograph manuscript in detail. For this edition the complete orchestral material is available on sale, and the vocal score and full score contain both English and German singing texts. The full score is also available digitally.*,A milestone of late Romantic choral music, and a standard work in Great Britain*,First modern score with a full Critical Report and complete performance material- English and german singing texts
SKU: CA.3140211
ISBN 9790007301583. German/English. Text: Henrici (Picander), Christian Friedrich.
SKU: HL.14033079
ISBN 9788759858332. Danish.
There were wild oatsAnd the soil was blackBut sparkledWhen the sun was outThe air sharp in the nostrilsHard to defineSomewhere between knife and coal andAcid and that special light and sweetWhiteness thornbushes exhaleIt was nothing specialBecause everything was special...Thus the opening line of the poem TERRAINS VAGUES by Klaus Rifbjerg, the Danish Poet. I chose to adopt this title for my orchestral work, because of its closeness in associations: an indeterminable, often polarized, state of rhythmic and tonal ambiguity.The expression seems created by the Franch author, Victor Hugo:And here lies the fascination: in the kinds of terrains vagues, which are simultaniously bizarre and ugly, as if created by two alien species of nature. To watch the suburb is like observing and amphibium: trees vanish, roofs appear, grass vanish, cobble stones appear, ploughing fields vanish, shops appear, beaten tracks vanish - passions appear; the murmur of Nature Divine ends, the noise of Mankind takes over. (Victor Hugo)Still, the atmosphere as well as the material of TERRAINS VAGUES have its origin, in my SYMPHONY NO. 6 (1999), the last minute of which, cut up rough, appears as the start of my new work. The music of TERRAINS VAGUES subdivides itself, without breaks, into three sections, or shades:I: TERRAINS - II: VAGUES (Waves) III: TERRAINS VAGUES.Per Norgard, March 2001.
SKU: CA.3140249
ISBN 9790007301620. German/English. Text: Henrici (Picander), Christian Friedrich.
SKU: LO.30-2887L
UPC: 000308132816.
Based on Isaiah's profoundly moving words--surely He has borne our griefs and carried our sorrows--this poignant anthem takes singers and listeners alike right to the cross of Christ in witness to the crucifixion. Orchestration by Brant Adams for 2 Fl, Ob, 2 Cl, Bsn, 2 Hn, 3 Tpt, 2 Tbn, Tuba, Pno, Harp, PErc, Timp, 2 Vln, Vla, Cello, Bass.
SKU: CA.3140213
ISBN 9790007301606. German/English. Text: Henrici (Picander), Christian Friedrich.
SKU: BR.SON-511
ISBN 9790004803448. 10 x 12.5 inches.
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: CA.3140205
ISBN 9790007295097. German/English. Text: Henrici (Picander), Christian Friedrich.
SKU: CA.3140200
ISBN 9790007295066. German/English. Text: Henrici (Picander), Christian Friedrich.
SKU: BR.SON-506
ISBN 9790004802779. 10 x 12.5 inches.
SKU: LO.30-2888L
UPC: 000308132823.
SKU: BR.SON-508
ISBN 9790004803301. 10 x 12.5 inches.
SKU: CA.2300403
ISBN 9790007240790. English/German. Text: Newman, John Henry.
SKU: BR.SON-509
ISBN 9790004803318. 10 x 12.5 inches.
SKU: CA.2801003
ISBN 9790007296629. Latin.
An absolutely thrilling setting of the mass, influenced by Latin jazz, for large chorus, big band, and baritone. The composer takes as his theme people's deep-seated fear and its overcoming through faith. Suitable for concert or equally for liturgical performance
SKU: HL.48025342
UPC: 196288176404.
New edition of Stravinsky's largest work, his only full-length work for the theatre, and his first major work in English. It also represents the culmination of his neoclassical years, after which he started to rethink his musical language. Inspired by an exhibition in Chicago in 1947 of a series of Hogarth prints, the depiction of the ironic progress of the spendthrift heir of a miser from wealth via debt to madness and death is, in essence, retained in the opera. Auden and Kallman's 'fable' wittily grafts onto Hogarth's quest narrative aspects of, among other sources, Classical pastoral, the Faust legend, fairy tale, circus, the Bible and opera in many different manifestations. This is brilliantly matched by Stravinsky's music, which takes as its source the whole of operatic history from Monteverdi to Verdi via Rossini and Donizetti and large doses of Mozart, yet it is neither parody nor pastiche. The RakeÂ’s Progress can be appreciated on many levels, which might explain why it is still one of only a handful of 20th-century operas never to have been out of the repertoire.
SKU: CA.3140214
ISBN 9790007301613. German/English. Text: Henrici (Picander), Christian Friedrich.
SKU: HL.49019506
ISBN 9790001186919. 8.25x11.75x0.26 inches.
It was at the suggestion of the conductor of the World Premiere, Mariss Jansons, that Jorg Widmann refers to musical characteristics of Beethoven's 7th and 8th Symphony. His starting points primarily are specific fast types of movement in the Beethoven works which he translates into his tonal language. Widmann has chosen the same instrumentation as the Beethoven symphonies and takes on the task of causing a similar 'stir and rhythmic pressure' (Widmann) with these economical means.
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