SKU: BA.BA11071
ISBN 9790006562015. 42 x 29.7 cm inches.
“Now II†is the second part of a triptych of chamber pieces entitled “Profiles of Lightâ€. The first part is written for solo piano (Now I, BA 11073), the second for unaccompanied cello. The two instruments are then combined in the concluding third part, Uriel (BA 11013).All three pieces were inspired by the Abstract Expressionist paintings of the American artist Barnett Newman. Newman's work has had a formative impact on Matthias Pintscher's artistic philosophy: what does it mean to reduce things to essentials while seeking maximum immediacy of expression? Several of Newman's paintings have a radiant light of uncommon intensity, yet resembling a dark illumination. The same sort of thing is found in the late works of Franz Schubert, where a comparable profundity and retrospective yearning likewise shine through the surface of even the brightest tonalities.This is a piece about resonances, about the inward and outward givens of existence, about life itself: 'I find the cello a highly suitable instrument for depicting such existential conditions'.
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: BT.EMBZ13486
English.
Dotzauer was a trained musician who wrote an opera, symphonies, overtures, a Mass, concertos and chamber music. Of his extensive life-work the abundance of educational compositions has proved to be of lasting value in the first place. The idea to compile and publish a selection from his educational life-work that meets the demands of the time emerged at the end of the 19th century already. Of the several publications of this kind the work by Johannes Klingenberg has turned out to be the most successful.Justus Johann Friedrich Dotzauer war studierter Cellist und Komponist einer Oper, mehrerer Sinfonien, einer Messe und Kammermusik. Von seinem umfangreichen Werk sind aber vor allem seine pädagogischen Werke, darunter zwei Cello-Schulen und zahlreiche Etüden, heute noch sehr geschätzt. Schon im 19. Jahrhundert gab es Versuche, eine Auswahl davon zusammen zu fassen. Unter diesen hat sich die hier in vier Bänden vorliegende Ausgabe von Johannes Klingenberg am besten bewährt.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
