SKU: BR.EOS-8047-15
ISBN 9790004789735. 8.5 x 11.5 inches.
Among Campra's Latin works, the ,Messe de mort' is perhaps one of the more successful and today it is one of the more frequently performed. It is also the most enigmatic score of his entire output. Despite extensive researches, no evidence of any sort has yet been brought to light to document its origin, purpose, date of composition, first performance or reception. A stylistic analysis indubitably supports the contention that the ,Messe de mort' is a late work, composed perhaps between 1722 and 1729. The present edition is based on the manuscript from the Bibliotheque Nationale de France (Paris). It it the oldest known source of the work. The very few errors have been corrected. (Jean-Paul Montagnier) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.Nach der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles war sehr beruhrend. Und eigentlich noch mehr als das. My father PhDr. Jaroslav Smolka (1933-2011) was a leading Czech musicologist author of books Czech Cantata and Oratorium Fuga in Czech Music Smetana's Orchestra Music Smetana's Vocal Music monography of Jan Dismas Zelenka and many others. He was a legendary teacher of Music History at Prague Music Academy critic recording producer composer; for almost 50 years he was an important and highly respected personality of Prague musical life.My father devoted a lot of time and energy to musical education and activities of my sister and me using often quite original methods such as teaching of intervals and counterpoint through Bartok's Microcosmos ear training filling all imaginable moments of everyday life or lessons of harmony analysis starting with Overture to Tristan and Musorgsky's Catacombs. The Martinu song Wondering Maiden was his solo number in our home vocal productions which he used to sing with amazing devotion while his huge voice was audible in several neighboring streets.My Agnus Dei is closely bound to all this history e.g. by using canon and preferring beauty of dissonant seconds like Bartok or quoting Martinu and his refined neoclassical harmony. Father would be probably a bit critical about the minimalistic monotony of the main body of the piece. Nevertheless firstly he would improvise a short lecture of history of Agnus Dei in Requiem in Czech Music naming by heart many dates and all examples of changes of order of the traditional text by composers. Examples would be sung probably.(Martin Smolka).
SKU: BA.BA02967
ISBN 9790006428182. 27.7 x 19.9 cm inches.
26 Kompositionen. Urtext der Lechner-Gesamtausgabe.
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: CA.1002705
ISBN 9790007181338. Text language: German.
The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score available separately - see item CA.1002700.
SKU: CA.1002706
ISBN 9790007181345. Text language: German.
SKU: CA.1002711
ISBN 9790007189327. Text language: German.
The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score and part available separately - see item CA.1002700.
SKU: CA.1002714
ISBN 9790007189358. Text language: German.
SKU: CA.1002715
ISBN 9790007189365. Text language: German.
SKU: CA.1002712
ISBN 9790007189334. Text language: German.
SKU: CA.1002749
ISBN 9790007189372. Text language: German.
SKU: CA.1002713
ISBN 9790007189341. Text language: German.
SKU: CA.1002700
ISBN 9790007171728. Text language: German.
The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course.
SKU: CA.1002709
ISBN 9790007189310. Text language: German.
The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score and parts available separately - see item CA.1002700.
SKU: CA.1002719
ISBN 9790007181413. Text language: German.
SKU: BT.DHP-0991451-050
English.
Pacific Dreams describes the experience of Miguel, a traveling composer from Spain who, feeling somewhat alienated from his homeland, is wandering through an area of Sydney known as The Rocks. At a small outdoor market in a typical street of this oldcolonial neighbourhood, he discovers a print of William DeShazos painting Pacific Dreams Portrayed in the painting is the surf of one of the exotic islands in the Pacific. Next, with the impressive Sydney Harbour Bridge looming over the narrowstreets of The Rocks, he envisions sultry Pacific beaches. Suddenly a theme he once composed about the lakes in Japan comes to him. Is it the Asian influences present in cosmopolitan Sydney that bring this theme to mind? Or perhaps the waters aroundSydney, over which he could sail to Tahiti? He is uncertain. Could this same theme be used to create a new composition about his feelings for the metropolis Sydney? How then to work his Pacific Dreams into the mix? Miguel is certainly no fan ofHawaiian music. Mayby he could use the vocabularies of islands like Hawaii and Tahiti, their beautiful vowel combinations being sung ad libitum by a mixed choir.With these ideas and his newly purchased print of Pacific Dreams, he boards the Metroat Circular Quay. He has a final glimpse of the harbour and the Sydney Opera House as the train races into the ground. On to the hotel! To work! He must compose!Maestoso : Miguel is impressed as he gazes upon the Sydney Harbour Bridge. And yet, hewants to go away from this city. Away, to an exotic island in the Pacific.Steady Rock : In the Rocks, musicians are playing at a square. Miguel basks in the atmosphere but at the same time he is fantasizing about Hawaii and Tahiti.Andante Lamentoso :In his hotel room, Miguel is feeling sad and lonely in this big city. He takes comfort in his Pacific Dreams.Allegro : Miguel boards the boat that takes him from Darling Harbour to Circular Quay. In his mind he is traveling on to Hawaii. Or is ithome, where the bolero is playing? He is pulled back to reality by the skyline of Sydney.Wir schlüpfen in die Haut von Miguel und reisen mit ihm nach Australien. Einigermaßen entfremdet von seiner spanischen Heimat schlendert er durch das Viertel The Rocks in Sydney. Auf einem kleinen Markt entdeckt er einen Druck des Gemäldes Pacific Dreams von William DeShazo. Das Bild stellt die Meeresbrandung auf einer exotischen Insel im Pazifik dar. Während die eindrucksvolle Harbour Bridge von Sidney vor ihm auftaucht, ist er in Gedanken bei den heißen Stränden im Stillen Ozean. Auf einmal kommt ihm das Thema in den Sinn, das er einst über die Gewässer Japans komponiert hatte. Liegt es an den asiatischen Einflüssen, die im kosmopolitischen Sydney so vielfältig vertretensind? Oder sind es die Wasser rund um Sydney, über die er nach Tahiti segeln könnte? Er ist sich unsicher. Könnte er genau dieses Thema für eine neue Komposition über die Metropole Sydney verwenden? Wie sollte er seine Träume vom Pazifik, seine Pacific Dreams, in diese Mixtur einbringen? Vielleicht könnte er den Wortschatz von Inseln wie Hawaii und Tahiti für seine Komposition verwenden. Und einen gemischten Chor die schönen Vokalverbindungen ad libitum singen lassen. Mit diesen Ideen im Kopf steigt er in die Metro am Circular Quay. Auf ins Hotel und frisch ans Werk! Jetzt muss er einfach komponieren....
SKU: BT.HU-4349-250
9x12 inches. German.
The poetry on which this composition is based is the Ballad of External Life (the Ballade des äußeren Lebens) from the pen of Viennese author Hugo von Hofmansthal (1874-1929). He is known for, amongst other things, his libretti for the works of Richard Strauss (Der Rosenkavalier, Ariadne auf Naxos, Elektra) and as founder of the Salzburg Festival. Von Hofmansthal was one of the last of the German Symbolists. Central to this literary movement was the unification of the internal and external worlds. The search for meaning was a cornerstone of this fin-de-siècle movement.In the Ballade des äußeren Lebens (Ballad of External Life), the meaninglessness ofexistence is expressed in restricting, oppressive metaphors—an ambience that is reflected in the music. Ultimately, man is capable of establishing order from seeming chaos. The poet expresses this powerfully in a non-rhyming line of poetry: ‘And yet, he who says “evening” says much, A word, from which profundity and sorrow flow’.This composition follows the overall structure of the ballad, which is written in terza rima—interlocking three-line rhymes.The choral work can be performed by a chamber choir, but also by a much larger ensemble. The parts are mainly in four voices (SATB), although there are also six parts (SAATBB). One chord is arranged for eight voices.The composer conducted this work at its première, to open the 2013 International Choir Biennial in Aachen. The choir was comprised of four chamber choirs: Aachen Youth Choir, Carmina Mundi, Aachen Chamber Choir and Aachen Madrigal Choir. Het dichtwerk waarop deze compositie is gebaseerd, de Ballade des äußeren Lebens (Ballade van het uiterlijke leven), is geschreven door de in Wenen geboren schrijver Hugo von Hoffmansthal (1874-1929), die onder meer bekend is als librettist van Richard Strauss (Der Rosenkavalier, Ariadne auf Naxos, Elektra) en medeoprichter was van de Salzburger Festspiele. Von Hoffmansthal behoorde tot de laatste vertegenwoordigers van het Duitse symbolisme. Deze stroming stelde zich ten doel de innerlijke en uiterlijke wereld met elkaar te verenigen. Zingeving vormde een van de hoofdthematieken binnen deze fin de siècle-cultuur.In de Ballade des äußeren Lebens wordt dezinloosheid van het bestaan verwoord in beklemmende metaforen - een atmosfeer die in de muziek wordt weerspiegeld. Uiteindelijk blijkt de mens toch in staat te zijn orde te scheppen in de schijnbare willekeur. De dichter benadrukt dit in zijn enige versregel zonder rijm: Und dennoch sagt der viel, der “Abend” sagt. De compositie volgt in hoofdlijnen de structuur van de ballade, die in terzinen is opgebouwd.Het werk kan worden uitgevoerd door kamerkoor, maar ook door een veel grotere bezetting. De zetting is voornamelijk vierstemmig (SATB), maar er zijn tevens zesstemmige delen (SAATBB). Een enkel akkoord is zelfs achtstemmig.Het werk ging onder leiding van de componist tijdens de Internationale Chorbiennale Aachen 2013 als openingswerk in première. Het koor was samengesteld uit vier kamerkoren: Der Junge Chor Aachen, Carmina Mundi, Aachener Kammerchor en Der Madrigalchor Aachen. Die Dichtung, auf welcher diese Komposition basiert, ist die Ballade des äußeren Lebens aus der Feder des gebürtigen Wiener Schriftstellers Hugo von Hoffmansthal (1874-1929), der unter anderem als Librettist von Richard Strauss (Der Rosenkavalier, Ariadne auf Naxos, Elektra) und Mitbegründer der Salzburger Festspiele bekannt ist. Von Hoffmansthal gehörte zu den letzten Vertretern des Deutschen Symbolismus. Diese literarische Richtung machte sich zur Aufgabe, die innere und die äußere Welt miteinander zu vereinen. Sinngebung bildete eine der Hauptthematiken innerhalb dieser Fin-de-Siècle-Strömung.In der Ballade des äußeren Lebens wird die Sinnlosigkeitdes Daseins in beklemmenden Metaphern formuliert - eine Atmosphäre, die sich in der Musik widerspiegelt. Letztendlich scheint der Mensch doch imstande zu sein, Ordnung in der scheinbaren Willkür zu schaffen. Der Dichter betont dies nachdrücklich in der einzigen Verszeile ohne Reim: Und dennoch sagt der viel, der Abend“ sagt. Die Komposition folgt in ihren Hauptzügen der Struktur der Ballade, die in Terzinen geschrieben ist.Das Chorwerk kann von einem Kammerchor, aber auch von einem viel größeren Ensemble aufgeführt werden. Der Satz ist hauptsächlich vierstimmig (SATB), aber es gibt auch sechsstimmige Teile (SAATBB). Ein einzelner Akkord ist gar achtstimmig.Das Werk ging unter der Leitung des Komponisten während der Internationalen Chorbiennale Aachen 2013 als Eröffnungswerk in Premiere. Der Chor setzte sich aus vier Kammerchören zusammen: Der Junge Chor Aachen, Carmina Mundi, der Aachener Kammerchor und der Madrigalchor Aachen.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version