SKU: BR.EB-9441

ISBN 9790004189184. 9 x 12 inches.

The two sonatas of Johannes Brahms's op. 120 are widely hailed as crowning points of the repertoire for clarinet and piano. Moreover, in the version for viola and piano arranged by Brahms himself, they rank among the most frequently played viola works of the 19th century. They far surpass in compositional substance the relatively few original sonatas written for these instrumentations during the same period.Of the two fellow works, the Sonata No. 2 in E flat major is the more accessible. Diverging from the classical-romantic tradition, Brahms used the key of E flat major here not to express the heroic or monumental, but to obtain lyrical, chiefly restrained characterizations. The serenade-like beauty of the principal theme, which opens the sonata, has always been particularly admired. In his review of the world premiere, the renowned Viennese music critic Eduard Hanslick, a friend of Brahms's, raves with the words it was as if it had fallen from the Heavens. The closing set of variations also follows with gentle gracefulness this lyrical character. However, the middle movement, with its tempestuous outer sections in E flat minor and the hymnic trio in B major provides a passionate and serious contrast, which allows the flanking idyll to unfold its beauties all the more insistently.

SKU: HL.48025392

UPC: 196288195443.

To mark the 100th birthday of Ursula Mamlok (1923 – 2016), Boosey & Hawkes Bote & Bock, in collaboration with the Dwight and Ursula Mamlok Foundation, is publishing a series of works from the composer's estate that were not published during her lifetime. This volume brings together four aphoristic songs from 1946 and 1950, which show Mamlok to be an early (and then lifelong) mistress of the small form and are all the more interesting because vocal music plays rather a minor role in the composer's oeuvre. Here she responds to the poetry and the way of thinking of her adopted homeland of only a few years, with English texts of the late 19th and early 20th centuries. The themes and attitudes are as varied as their authors, from the idyll of nature to the snapshot of a party to the grotesque nursery rhyme, each of which is put into music by Mamlok just as sparingly as fittingly.

SKU: HL.49032876

ISBN 9783795754464. 9.0x12.0x0.257 inches.

Dieser Band enthalt die beliebtesten Stucke von Mozart bis Lehar und Cole Porter in interessanten, leicht spielbaren Arrangements und bereitet sowohl dem Spieler als auch dem Zuhorer entspannende und genussvolle Stunden. Er ist eine ideale Erganzung zur Klavierschule Klavierspielen - mein schonstes Hobby (ED 8246 + ED 9399) und empfiehlt sich auch als Erganzung zu jeder anderen Klavierschule. Auch fur Wiedereinsteiger am Klavier bestens geeignet.

SKU: HL.49046988

ISBN 9781705174333. UPC: 842819115281. 8.25x11.75x0.695 inches.

SYNOPSIS Aribert Reimann's 'Trilogie lyrique' is based on three plays by Maurice Maeterlinck: In L'Intruse, a family is sitting at the table with their blind grandfather. They are waiting for the doctor to arrive and tend to his daughter who is lying ill in bed after having given birth: her new-born son has not yet made a single sound. The old man senses that something is wrong due to the uneasy atmosphere in the room. Who is sitting in our midst? he asks. He is the only one who cansee the presence of death. Interieur: Once again a family is gathered round the table in the evening, but this time we observe the action from outside, looking through the window with the grandfather and a stranger: no sound can be heard. Outside the house, the stranger reports that the eldest daughter has drowned and that he has pulled her out of the river. Although the corpse is already being carried through the village to the family, the grandfather cannot bring himself to destroy this idyll. La Mort de Tintagiles: The young Tintagiles is told a story about a mysterious castle and the aged queen who has all potential heirsto the throne murdered. His siblings sense that Tintagiles has been summoned to the castle to be murdered, but nobody openly expresses this fact. It is the sinister messengers of death from the interludes, now visible as the queens servants, who ful?l her demand and snatch the sleeping boy from his sisters'arms. Commentary 'In comparison with his Medea for example with its stormy outbreaks of emotion and violence, Reimann's score is worked in an impressive refinement of sound. It begins with rumbling, hesitating and expressive music in the first section, demanding highly ingenious sound effects from the lower strings including tapping and faltering glissandos in its noisy expression of mortal fear. Inthe second part, the woodwind formation plays at times almost in chamber music fashion and is then suddenly painfully shrill. The third part luxuriates and rages in its rich, full orchestration. The manner in which Reimann displays his mastery in textural shading, the invention of sounds welling up and fading away, the rhythmic and melodic capacity of suffering and the music's inner violence are all utterly compelling.'(Wolfgang Schreiber, Opernwelt, November 2017).