2 Melodicas - late intermediate

SKU: J1.CH901

Composed by Toru SUGIMOTO. Contemporary, melodica, pianica, keyboard harmonica, Japan. Full score, Play-along CD. Recorder JP #CH901. Published by Recorder JP (J1.CH901).

8.26 x 11.28 inches.

Recorder Quartet (SATB) - late intermediate

SKU: J1.8002

Composed by Hiroshi Aoshima. Classic, contemporary, recorder quartet, Japan. Full score, part music. Recorder JP #8002. Published by Recorder JP (J1.8002).

8.26 x 11.28 inches.

Chamber Music String Quartet

SKU: PR.144401000

Composed by George Perle. Spiral. Premiere: Forum Group of the International Society for Contemporary Music, in New York City. Contemporary. Score. With Standard notation. Composed 1946-1948. Opus 21. Theodore Presser Company #144-40100. Published by Theodore Presser Company (PR.144401000).

UPC: 680160025589. 11 x 8.5 inches.

George Perle, now an instructor at the University of Louisville, was born in 1915, in Bayonne, New Jersey. He began work on the Third String Quartet in 1946 in Japan and completed it the following year in New York City. It was presented for the first time at a concert of the Forum Group of the International Society for Contemporary Music, in New York City on Feb. 7, 1948. The work is based on the following twelve-tone series, and its permutations and transpositions: d; e-flat; a-flat; b; c; f-sharp; c-sharp; f-natural; g; a; e; b-flat. The score is arranged in the present publication in such a way as to render unnecessary the extraction of parts for performance. Each player may read his part directly from a copy of the score.

Orchestra

SKU: BR.PB-5432

Composed by Helmut Lachenmann. Orchestra; stapled. Partitur-Bibliothek (Score Library).

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

New music (post-2000). Full score. Composed 2016/17/20. 48 pages. Duration 8'. Breitkopf and Haertel #PB 5432. Published by Breitkopf and Haertel (BR.PB-5432).

ISBN 9790004212790. 10 x 12.5 inches.

Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.

World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.

Composed by Allan Alexander and Jessica Walsh. Saddle stitch. World Music/Flute and Guitar Instruction. Book and Downloadable audio. Duration 70 minutes. Published by ADG Productions

Quintet (fl,ob,clar,bsn,hn)

SKU: BR.KM-2513

Performance parts. Composed by Jose Maria Sanchez-Verdu. Chamber music; stapled. Kammermusik-Bibliothek (Chamber Music Library).

World premiere: Bonn, September 7, 2008

Music post-1945; New music (post-2000). Performance score. Composed 2008. 20 pages. Duration 10'. Breitkopf and Haertel #KM 2513. Published by Breitkopf and Haertel (BR.KM-2513).

ISBN 9790004503348. 10.5 x 14 inches.

,,Hekkan bedeutet so etwas wie ,,Kontemplation der Mauer. Es ist eine Form der Meditation, die in Japan sehr wichtig war bzw. ist. Das musikalische Material hat mit diesem plastischen Element gemeinsam, dass eine Oberflache beobachtet wird, eine Textur, die vor uns liegt, mit ihren Wiederholungen, Strukturen, Texturen, Farben usw. Sie konnte uns in ein Art ,,Ekstase bringen ... Basis der musikalischen Form ist ein Wechselspiel zwischen Wiederholung und Erinnerung/Vergessen; das musikalische Material verandert sich im Lauf der Zeit, wird dicker, erodiert, Uberlappungen finden statt.Es ist meine erste Auseinandersetzung mit diesem Prozess mit Musik in einer zeitlichen Dimension. Da ich sehr oft in Zyklen arbeite, sind andere ,,Hekkan schon geplant.(Jose M. Sanchez-Verdu, 2008)

World premiere: Bonn, September 7, 2008 Commissioned by the Beethovenfest Bonn for the arirang quintet.

Guitar solo

SKU: BR.EB-9467

Composed by Jose Maria Sanchez-Verdu. Solo instruments. Edition Breitkopf. New music (post-2000). Sheet Music. Duration 8'. Breitkopf and Haertel #EB 9467. Published by Breitkopf and Haertel (BR.EB-9467).

ISBN 9790004189474. 0 x 0 inches.

World premiere: Tokyo/Japan, 1998.

2 Alto Recorders - Intermediate

SKU: J1.8032

Composed by Tetsuya NISHIBE. Classic, contemporary, recorder duet, Japan. Full score, part music. Recorder JP #8032. Published by Recorder JP (J1.8032).

8.26 x 11.28 inches.

Piano

SKU: BR.EB-8819

Weltmusik, Rhythmus, Improvisation - mit CD. Composed by Andreas Hirche. Solo instruments; Softbound. Edition Breitkopf.

Traveling all over the world. Whoever wants to join needs a basic knowledge of music theory and harmony, and should love experimenting; after all, each of the 15 pieces contains instructions for stylistically authentic, imaginative improvisations.

Music pedagogy. Score. 108 pages. Breitkopf and Haertel #EB 8819. Published by Breitkopf and Haertel (BR.EB-8819).

ISBN 9790004183847. 9 x 12 inches. German.

Trinidad & Tobago, Hungary, Argentina, the U.S., Japan, Spain Andreas Hirche takes us all over the world with his traveling piano. Whoever wants to come on board must have at least a basic knowledge of music theory and harmony, and, above all, should love experimenting; after all, each of the 15 pieces contains instructions for stylistically authentic, imaginative improvisations which chiefly orient themselves on ostinato forms.Technically, the palette ranges from short, simple pieces to lengthier, more demanding works that can be played with or without the improvised sections. Broadly speaking, the Piano World Music School truly has a style and a sound for everyone. Hirche has recorded all the pieces on CD with exemplary improvisations. The disc also offers play-alongs in mp3 format, which should help players achieve their first successes with pieces of their own design, and in no time at all.

Traveling all over the world. Whoever wants to join needs a basic knowledge of music theory and harmony, and should love experimenting; after all, each of the 15 pieces contains instructions for stylistically authentic, imaginative improvisations.

2-part choir, piano/guitar C-instrument ad lib

SKU: GH.GE-12002

Composed by Japansk folkmelodi. Arranged by Lori True, Mary Howarth. Octavo. With Language: Japanese, Swedish. Gehrmans Musikforlag #GE 12002. Published by Gehrmans Musikforlag (GH.GE-12002).

ISBN 979-0-070-12002-9. 185 x 262 mm inches. Text: Tomas Bostrom (Swedish text).

Finstamd japansk bon for flera olijka tillfallen. For tvastammig kor och ackompanjemang i oversattning av Tomas Bostrom.

SATB choir

SKU: GH.GE-12111

Composed by Fredrik Sixten. Tre korta satser till texter av japanska 1700-talspoeter. With Language: Japanese. Gehrmans Musikforlag #GE 12111. Published by Gehrmans Musikforlag (GH.GE-12111).

ISBN 979-0-070-12111-8. 185 x 262 mm inches.

Texts from the breviary of the Dominicans. 2 movement with four soli. Hommage a Arvo Part.

(German version). By Frederic Chopin (1810-1849). Edited by Alex Szilasi. For Piano solo. This edition: Facsimile. Esther - Collection Romantique. Score. 28 pages. Published by Anne Fuzeau Productions - France