SKU: BA.BA11043
ISBN 9790006543229. 33.5 x 25.5 cm inches.
Manfred Trojahn on the origin and title of his impressive virtuoso solo work:Admittedly I do not know if he had seagulls, but since Mendelssohn was born in Hamburg, he will not have gone through life without at least the impression of the cry of seagulls. Nor do I know if seagulls played any part in his life in Rome. I myself was astonished when, one or two years ago in the Villa Massimo, I was, not exactly annoyed but disturbed by the strong rhythmical cry of seagulls. I was just about to write a bassoon solo when the seagulls started. Then the idea came to me that precisely this sequence of notes could serve as the basis of the work. And the sequence for the bassoon solo is, in turn, the basis of the piece for violoncello - this is how titles are born... Of course the violoncello meanders with virtuosic ease from the seagull motif to the 'elf-like' skittering brought to music by Mendelssohn and used time and again in his compositions, finally becoming a cabaletta. Now, cabalettas are not very representative of Mendelssohn, but as I was composing I definitely wanted to put a cabaletta in this passage. I am sure Mendelssohn and I will easily agree on this, especially since later justice is done to him in the rapid passages and, of course in the tonal cadenza at the very end, which is more indicative of his time than of mine ... isn't it?
SKU: BR.EB-9074
ISBN 9790004179499. 9 x 12 inches.
World premieres:I version for flute: Wiesbaden, 1972II version for piano: Nyon, 1972III version for var. insts.: Cologne, May 29, 1976VI version for accordeon: Fribourg, June 25, 1987VIII version for violoncello Tokyo: October 14, 1989X version for organ: Stuttgart, March 28, 2018This work (A Breath of the Untimely) was first written for solo Flute and dedicated to Aurele Nicolet. Its bears the subtitle Lament on the Loss of Musical Thought - some Madrigals for Solo Flute or Flute with any other Instruments. This serves as a playing instruction but doubles at the same time as an outmoded programme: it refers back to the musical origin of the opening lamenting motif, a tradition which was once of its time but is not of our time - namely the Lamento genre which gave the title to the Chaconne in Purcell's opera Dido and Aeneas. Almost simultaneously I wrote a second version for Piano (for Piano one-and-a-half hands), which already formulates possible approaches for the performer, in some detail, to the indicated, quasi-canonic version of the piece in the programme. The multiple version Ein Hauch von Unzeit III realizes a concrete version of a formal state which floats between strict canon and aleatoric principles: each of the musicians who are spread throughout the hall introduces their own idiomatic translation of the flute part. And so the music exists, omnipresent, not only spatially throughout the hall, but also formally in a sort of fluctuating simultaneity. For that reason, it was my express wish to any potential interpreter that they should construct entirely their own version of the piece. A healthy number of musicians have responded to my suggestion - versions of the piece have now been made for guitar (Cornelius Schwehr, Gunther Schneider), accordion (Hugo Noth), double bass (Fernando Grillo), violin (Hansheinz Schneeberger), viola, violoncello, and double bass (trio basso, Koln), violoncello (Michael Bach), trombone (Andrew Digby) and, created by myself, a sung version for voice (to words by Georg Wilhelm Friedrich Hegel und Max Bense), and for viola.The most important requirement for the whole piece is absolute stillness, which should as far as possible emanate from the performer. The pauses are occasionally in this respect the most important element. These may, if one can find the necessary stillness, become very long.Ein Hauch von Unzeit (A Breath of the Untimely) - time almost dissolves!(Klaus Huber, 1989/2014 - translation: David Alberman)CD:Jean-Luc Menet (Bass flute)CD Traversieres 120.270Jean-Luc Menet (fl)CD STR 37039Bibliography:Zimmermann, Heidy: Zeitgestaltung im Kompositionsprozess bei Klaus Huber - dargestellt anhand von Skizzen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, S. 90-109World premiere: VIII version for violoncello Tokyo: October 14, 1989.
SKU: BR.EB-9357
Compulsory Piece for the Final Round oft he ARD International Music Competition (Munich, September 2019)
ISBN 9790004188279. 9 x 12 inches.
The sound of the cello in this piece should be foggy like voice of Ella Fitzgerald. Sweet, smooth and pleasant, but at the same time slightly hoarse, rustle, dirty. There are almost only natural harmonics; either single, or in chords (triple-stops) including two natural harmonics, or double-stops of two harmonics. All should be played flautando, sul tasto and molto lasciar vibrare. Flautando and sul tasto should serve in search for the foggy color - harmonics should speak less clear than normally, but more smooth and decent.(Martin Smolka) ,Like Ella' would be suited to a player of a high standard as many harmonics are in higher positions and played as triple-stops. I would recommend ,Like Ella' to an advanced cellist seeking to learn a piece of modern music to add to their concert repertoire.(Mitchell Smith, AUSTA Stringendo)Compulsory Piece for the Final Round of the ARD International Music Competition (Munich, September 2019).
SKU: HL.49044838
ISBN 9790220134418. UPC: 841886027602. 9.0x12.0x0.067 inches.
Vier Seiten for violoncello is an attempt to present an event that in reality takes about two seconds in extreme slow motion, thus making even the micromovements visible or audible beyond the straight line of motion.When I composed the piece, the fatal accident of Ayrton Senna came to my mind again and again - an accident which was shown on TV in slow motion again and again until it became unbearable. The fast motion of the car immediately before the crash into a concrete wall, a motion which was no longer purposeful but out of control and which had the car pulled to and fro and from side to side, was followed by that crash. In this extreme slow motion, it is no longer shown as a crash but as the fast telescoping of carbon fibre, metal and human body parts.After this crash, as a postlude so to speak, everything suddenly slowed down, tyres and automotive particles floating in the air, the torso of the vehicle swinging until the motion stopped. It was not until this moment that I realized that the whole presentation of the incident had been accompanied by paralyzing silence.- Thomas LarcherVier Seiten is a response to Ayrton Senna's fatal car accident, portrayed in slow motion, as it was repeatedly shown on television at the time. In this poignant work, a violent fast section represents the crash, followed by a long epilogue, reflecting the apparent stillness of the immediate aftermath.
SKU: BA.BA10936
ISBN 9790006567287. 31 x 24.3 cm inches. Preface: Walden, Valerie.
Robert Lindley (1776–1855) was the premier cellist in England for more than 50 years. In 1822 he became the first professor of cello at the Royal Academy of Music in London, where he remained until his retirement in 1851. Lindley, an esteemed and much sought-after teacher, wrote not only the present “Capriccios†but also a cello method, several concertos, and chamber music in which the cello is prominently featured.The “Capriccios and Exercises†contain a multitude of fingering patterns in related major and minor harmonies, exercises for the thumb position and many passages of double stops, all within a melodious framework. Barenreiter’s scholarly performing edition is edited by Valerie Walden, offering cellists and teachers outstanding new material for use in lessons.
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: FH.VC2
ISBN 978-1-55440-538-1.
This inaugural edition of the Cello Series offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring cellist. With an expansive representation of musical styles from all eras, this series addresses the need for a single collection of quality educational materials to foster musical development and instill appreciation of the richness and diversity of music written for cello. Supporting a balanced course of study, this series organizes repertoire into nine volumes from the Preparatory Level through Level 8. Each level offers music from a range of styles and compositional eras, including standard literature, new arrangements of familiar tunes, and music written for cellists, by cellists. These selections provide the flexibility to choose pedagogically appropriate material suited to each individual, and to motivate students to fully develop their musicianship and technique.Baroque and Classical Repertoire:Chaconne - Handel, George Frideric arr. Peter HeilbutUn ballo (A Ball) - Steibelt, Daniel arr. Eugen RappSchwedisch (Swedish) - Romberg, Bernhard arr. Percy SuchWhen I Am Laid in Earth (from Dido and Aeneas) - Purcell, HenryConcertino No. 4 in C Major, op. 22 - Breval, Jean-Baptiste arr. L.-R. FeuillardOmbra mai fu (Never Was a Shade) Handel, George Frideric arr. Gaston BorchTraditional and Romantic Repertoire:The Joker, op. 126b, no. 3 - Grechaninov, AlexandrAnitra's Dance - Grieg, Edvard arr. Ann LindsayShe's Like the Swallow - Canadian folk song arr. Forrest KinneyJoyeuse (Joyful) - Squire, William HenryAfter the Bass Is Over - Harris, Charles K. arr. Pat Legg and Alan GoutRepertoire Composed after ca 1930:Hen and Rooster - Konicek, ZdenekLatin Nights - Blackwell, David and Kathy BlackwellRunning of the Bulls - Cheney, Elliott W.Wrist Watch - Birston, HaroldSunday Drag - Perry, Anita D.Soft-Shoe Dance - Reubart, DaleFor a Blue Note - Allerme, Jean-Marc.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version