SKU: HL.50514335

SKU: HL.50510612

ISBN 9790080089774. UPC: 073999657449. 9.0x12.0x0.089 inches. Gyorgy Orban.

As sources for this present edition served the manuscript marked Mus. ms. Bach St. 296 held in the Staatsbibliothek Preussischer Kulturbesitz at Berlin. The original title reads: Sonata / a / Flauto Traverso / e / Cembalo Concertato / di / J. C. Bac h. Our edition follows closely the manuscript except for the arrangement according to present-day notation (use of accidentals, the addition of slurs to tie the appoggiatura to the main note, etc.). Obvious errors are listed in the Critical Notes. Sl urs have been but in square brackets. The basso continuo marked in the original by figuring is given here in small print. Gyorgy Orban

Als Quelle der vorliegenden Ausgabe wurde das in der Berliner Staatsbibliothek preussischer Kulturbesitz unter der Signatur Mus. ms. Bach st. 296 aufbewahrte Manuskript herangezogen. Der Titel lautet: Sonata / a / Flauto Traverso / e / Cembalo Conc ertato / di / J. C. Bach. Unsere Ausgabe folgt treu dem Manuskript, mit Ausnahme von der heutigen Notation entsprechenden Transkription (die Anwendung von Versetzungszeichen sowie der Ersatz von Bogen, die den Vorschlag mit der Hauptnote verbinden us w.) Auf die offensichtlichen Fehler wird in dem Kritischen Bericht hingewiesen. Die Bogen wurden dagegen auf Grund von eindeutigen analogen Stellen stillschweigend ersetz. Alle anderenZutaten stehen in eckigen Klammern. Der Basso continuo, der in de m Originalmanuskript durch Bezifferung gekennzeichnet wurde, wird hier in Kleinstich gebracht. Gyorgy Orban.

SKU: BA.BA11045

ISBN 9790006543243. 30 x 23 cm inches. Language: German/English. Preface: Dominik Susteck.

Thoughts on the composition “Zwischenklänge” with regard to the subject of “home and abroad”:
- Music that never rests, that is in constant motion and mutation, its tones almost trembling, on the run, in constant tension.
- Music that unfolds its beauty in the “in between”, in the appoggiatura, in the flash-like emergence and disappearance of harmonic colors.
- Music as an evolvement of time, waiting, bustling, erupting, or withdrawing.

The composition “Zwischenklänge” was awarded tje 11th Composition Prize of Contemporary Sacred Music of the European Church Music Festival Schwäbisch Gmünd. – The premiere was given on 27 August 2012 by Roman Summereder (Vienna).

Listen to “Zwischenklänge” on Youtube

SKU: TM.00008SC

Solos sold individually. Solo (no pf red.).

SKU: TM.00008SET

Solos sold individually. Solo (no pf red.).

SKU: BR.EB-9240

ISBN 9790004185407. 9 x 12 inches.

Belcanto is a term for the Italian art of singing which took its development from the richly ornamented solo vocalism of the early 17th century (nobile maniera di cantare) and dominated European operatic singing until the first half of the 19th century. Complete control over the voice meant not only legato and messa di voce, but also appoggiatura and portamento, as well as virtuoso ornamentation by means of coloratura (canto fiorito). This development towards utmost virtuosity, emulating instrumental playing techniques, led to a mannered, artificial style on the one hand, but on the other also emphasized the physical aspects of interpretation (castrati were considered the ideal belcanto singers). And today? In his essay The Grain of the Voice, Roland Barthes writes: The grain is the body in the voice as it sings, the hand as it writes and the limb as it performs. Initially, he refers to the friction between language and voice in singing, but then transfers his thoughts to the physicality of instrumental music. In this spirit, I went in search of beautiful singing, a beauty which perhaps results in the very place where the grain, the roughness, meaning also physical resistance, are not smoothed over. The oboe seemed very suitable to me for singing with such a physical expressivity, as a very unruly instrument! The backbone of my piece is one single, quasi endless melodic line, consisting of intervals that are constantly pulled apart and contracted again (breathing). Many different actions attach themselves to these notes: coloratura, trills, chords (multiphonics), double flageolets. However, there are not only sound types, but also impulses, repetitions, rhythmic figures and other elements: composed elements of belcanto. In the opera tradition described above, these were improvised ornaments or additions; here they become composed figures which originate with the notes of the melody, but also pull on them, bend them, and charge them with physicality. (Jorg Birkenkotter).