SKU: PE.EP72184
ISBN 9790577000282. English.
Text selected from the Requiem Mass, D.H. Lawrence, Percy Bysshe Shelley and the Old Testament
First performance 3rd December 2003 at St. Martin-in-the-Fields
Subsequent revisions have been small, mainly consisting of a brand new Benedictus (to replace one which, in the original performance, had beeen borrowed from a liturgical setting of the Mass), the expansion of the Dies Irae and the creation of a bigger orchestration, as an alternative to the chamber scoring, to make the most of the forces available at the second performance, in St. Petersburg.
SKU: AP.46693S
UPC: 038081535198. English. Orchestrated by Douglas E. Wagner.
A brilliant six-and-a-half minute tour de force that will add excitement and sparkle to any December concert that includes three of the six movements found in the original Suite of Carols. Wonderful played as one piece or individually and now available for full orchestra, this arrangement by Douglas E. Wagner includes Pastores a Belén (Spanish), O, Little Town of Bethlehem (American), and Wassail Song (British).
SKU: HL.14048065
UPC: 840126953541. 12.0x16.5x0.277 inches.
This is the Full Score for Nico Muhly's Control: Five Landscapes For Orchestra. Commissioned by Utah Symphony and Thierry Fischer, Music Director, the work was first performed at Abravanel Hall in Salt Lake City in December 2015.
SKU: AP.49444
ISBN 9781470650469. UPC: 038081571249. English.
Franz Gruber's beloved Christmas carol, Silent Night, receives a unique treatment for strings. The tune is heard twice. The first time, it is paired with a motive from the Prelude of J. S. Bach's Cello Suite No. 1 (BWV 1007); the second time, the melody shifts from part to part, giving everyone a chance to shine. Richly scored, warm and embracing, a real audience pleaser for your December concerts. (3:00) This title is available in MakeMusic Cloud.
SKU: HL.14014800
ISBN 9781846091223. 9.75x13.5x0.225 inches.
Hans Werner Henze's Sebastian im Traum was commissioned by the Eduard van Beinum Stichting, the Royal Concertgebouw Orchestra, the Tonhalle-Gesellschaft, and the New York Philharmonic, and given its first performance on 22nd December 2005 by the Royal Concertgebouw Orchestra conducted by Mariss Jansons at the Concertgebouw, Amsterdam.
SKU: AP.45820S
UPC: 038081523309. English.
What would December concerts be without those familiar tunes that everyone loves to hear during that time of year? Here's a medley arranged by Douglas E. Wagner of a baker's dozen of some of the most recognized holiday tunes in the world, set in a fun, up-tempo style that is sure to be an audience hit. Even the violas get to play the melody! The tunes (in presentation order) are: Good King Wenceslas * Deck the Hall * O Come, All Ye Faithful * Here We Come A-Caroling * Jolly Old Saint Nicholas * O Come, Little Children * Angels We Have Heard on High * We Three Kings * Now Is Born * Joy to the World * Jingle Bells * Up on the Housetop * and Hallelujah! Chorus. (1:30).
SKU: HL.49043956
ISBN 9790220134647. UPC: 888680030902. 8.25x11.75x0.153 inches.
Having previously been granted the diploma of the Bologna Academy in December 2011, Maxwell Davies wrote his Concerto Accademico as both an expression of gratitude to the Regia Academia Filarmonico di Bologna and also in part 'a presentation of academic qualification, to justify this singular honour'. The work is scored for string quartet and string orchestra and is based on a plainsong chant, heard at the outset, associated with the Holy Spirit descending upon the disciples at Pentecost, and their subsequent speaking in tongues.
SKU: AP.49444S
ISBN 9781470650476. UPC: 038081571256. English.
SKU: FG.706334-27-1
ISBN 979-0-706334-27-1.
A commission from the Finnish Radio Symphony Orchestra completed in 2003 and premiered in December 2004. This is music constructed in broad arches culminating in shamanistic rhythms in the closing movement. Lasting 40 minutes, it is Vuori's biggest work and rests on two simple kernels. In his striving to develop his material he confesses to be a Sibelian symphonist.
SKU: BR.PB-5586
ISBN 9790004213964. 10 x 12.5 inches.
... a forest god in New YorkThe symphonic poem Tapiola is the final major composition for orchestra that Sibelius was able to complete and publish. In January 1926 he had accepted the commission from the conductor Walter Damrosch to compose an orchestral work of at most 20 minutes in length for a performance in New York at the end of that year. Shortly thereafter Sibelius was successful in getting Breitkopf & Hartel to do the first publication of this tone poem. The premiere of Tapiola took place on 26 December 1926. The edition takes over the music text published in volume I/16 of the complete edition Jean Sibelius Works.
SKU: BR.PB-5587-07
ISBN 9790004213971. 6.5 x 9 inches.
SKU: HL.48024683
ISBN 9781784545062. UPC: 888680952570. 8.25x11.75 inches.
TEMPUS FUGIT was commissioned to celebrate the centenary of Finnish independence on 6 December 2017 and it received its first performance in Helsinki on that day, given by the Finnish Radio Symphony Orchestra.The composer says that “if you translate TEMPUS FUGIT as 'Time Flies', you could say that Finland has travelled a long way already -but 100 years is a short time-span, and living as a human in this part of the world started long ago and, we hope, will continue formillennia to come. This relates to my fascination with Bernd Alois Zimmermann's concept of spherical time - that the past, the present and the future are continuously linked and within reach. You can also examine the inter-connection of musical time in the earlier works of Stockhausen such as Kontakte and Gruppen which had a big impact on me as a young composer. A translation of TEMPUS FUGIT that I prefer is 'Time in Flight', offering the idea that time escapes from us but bequeaths a tangible residue, rather like aplane travelling towards the distance but leaving a visible vapour trail.” This 30-minute score is a major addition to the orchestral repertory.
SKU: BR.PB-5435
ISBN 9790004212820. 11.5 x 16.5 inches.
Meine eigene neue Orchesterkomposition hat den Titel ,,SCHREIBEN. Die praktische Aktion des Schreibens, als mechanisches Einwirken per Hand, Stift, Pinsel, auf eine Flache (Papier, Pergament, Stein etc.), ausgelost und gesteuert von einem kommunikativen Bedurfnis und, bei aller Spontaneitat, beherrscht durch die Regeln von Schrift und Sprache, ist fur mich einer der geheimnisvollsten Vorgange im zwischenmenschlichen Alltag, bei dem menschlicher Geist und tote Materie einander begegnen: Gedanken bzw. Gedachtes werden auf einer Flache - Papier, Pergament, Stein - festgehalten, ihr sozusagen anvertraut. Und auf diesem Umweg uber Sprache, Schrift und Gravur begegnen sie dem Geist des lesenden oder entziffernden Mitmenschen. Als Komponist aber frage ich: gibt es auch einen anderen Kausalitatszusammenhang, gibt es z. B. ein ,,autonomes Schreiben, eine sinn-freie Zeichengebung, durch entfesselte, losgelassene Fortbewegung der schreibenden Hand, wo der Schreibende seinem eigenen Schreiben nur noch staunend zusieht? Werden nicht in Japan Bilder, auch ,,abstrakte, geschrieben??? (In einem Underground-Film der 70er-Jahre uber den jungen Mozart sieht sich der Zuschauer versetzt in ein Zimmer eines italienischen Gasthauses, in dem der junge durchreisende Mozart am Tisch eilig die Rezitative einer seiner italienischen Opern zu Papier bringt. Mehr als eine Viertelstunde lang sind wir dabei, horen nicht die entstehende Musik, sondern das nervose Kratzen der Feder auf dem groben Notenpapier in nachmittaglicher Stille - nur der gleichmassige Pendelschlag der Wanduhr ist noch zu horen -, und wir erleben diese sekundare Klangwelt kaum weniger intensiv als nachher andere Horer die dabei stumm entstehende Musik.) Das Orchester in meinem Stuck ,,schreibt. Es fugt Strich zu Strich, versteht sich selbst als eine Art vielfaltiges ,,Schreib-Gerat. Wir als Horer lesen nicht das ,,Geschriebene, aber wir horen den Vorgang des Schreibens, den Bogenstrich, die Bewegung des scharrenden Holzstabs auf Fell oder Tamtam, und wir beobachten dessen Imitation bzw. Transformation durch - zeitweise auch tonlos - sich zu linearen Gestalten verbindende Blasinstrumente als eine Art klingender Schreib-Zeremonie. Es ergibt sich eine Musik, die gelegentlich ihren gedanklichen Ausgangspunkt vergisst und sich als autonome Klang-Situation fortentwickelt und verwandelt, und die schliesslich im hochsten Register eine Art ,,Kantilene be-schreibt. Wer das deutsche Wort ,,Schreiben (engl. ,,to write) schreibt, der schreibt dabei auch unweigerlich das Wort ,,Schrei (engl. ,,shout), und er schreibt auch das Wort ,,reiben (engl. ,,to rub). So emotional der erste Begriff gedacht werden kann, so nuchtern-praktisch ist der zweite. Von beiden Aspekten, samt ihrer Gegensatzlichkeit, ist mein Stuck gepragt. (Helmut Lachenmann, 2003)World premiere: Tokyo/Japan, December 4, 2003.
SKU: BR.PB-5548-07
ISBN 9790004213582. 6.5 x 9 inches.
The Overture to Hermann and Dorothea is the only compositional result that Schumann reaped from Goethes epic poem. He had originally planned an entire opera, then a Singspiel, and finally an oratorio. In the end (1851), he quickly produced an orchestral score that remained unprinted during his lifetime. The striking thematic use of the Marseillaise is multiply motivated: Goethes poem unfolds in 1796, when the two eponymous lovers are fleeing from the French revolutionary troops; Schumann had directly experienced the revolutionary uprisings of 1848 in Dresden; finally, Louis Napoleons coup detat of 2 December 1851 must also have made an impact on the composer. The primary source of the Urtext edition of Schumanns Revolutionary Overture is the carefully written autograph.Urtext of the Revolutionary.
SKU: BT.EMBZ40015
Debussy decided in 1892, at the age of thirty, to compose a work for orchestra after Mallarmé's poem, L'aprés-midi d'un faune. Originally he had thought of writing three movements (Prélude - Interlude - Paraphrase) but when the first movement was completed in September 1894 he came to the conclusion that the continuation would be superfluous.The Prélude was first performed in Paris with Gustave Doret as conductor on 22 December of the same year yet, as it achieved immediate succes it had to be repeated. Source for the present edition was the first printed score (1895) which had been revised by the composer. Debussy's original, French expressions and markings have been retained.
SKU: BR.PB-5698
ISBN 9790004216354. 10 x 12.5 inches.
Joachim Raff's Fifth Symphony Lenore op. 177, composed in 1872, reveals the composer as a representative of the middle ground between Neo-German aesthetics and the symphonic tradition. It owes its name to G. A. Burger's ballade, which is the programmatic basis of the final movement. Using this literary model, Raff oriented himself to the Berlioz program symphonies and the Liszt symphonic-poem concept, on the one hand, but on the other, he let the three preceding movements follow traditional symphonic form. Raff conducted the Lenore symphony's premiere in December 1872 in a concert by the Furstliche Hofkapelle in Sondershausen. The concert went to his satisfaction, although the audience evidently did not know what to make of the work: [...] and the symphony [...] was played before this faintly musical party. Essentially for the greater glory of God and my edification, less for that of the said public, which seems to have been rather horrified by it. His friend Hans von Bulow had, however, a great pleasure in hearing the symphony the following year in Berlin. In her preface, the editor Iris Eggenschwiler provides detailed information about the work's genesis, documents Raff's ideas and intentions, and facilitates a comprehensive orientation within the historical context. Breitkopf & Hartel is now presenting for the first time with this symphony an orchestral work by Raff in a modern Urtext edition, thus also continuing its collaboration with the Joachim-Raff-Gesellschaft.In collaboration with the Joachim-Raff-Archiv Lachen (CH).
SKU: BR.PB-5320
Urtext of Revolutionary Overture
ISBN 9790004212363. 10 x 12.5 inches.
SKU: HL.51489817
UPC: 840126932782. 6.75x9.5x0.341 inches.
The premiere of this work in December 1813 ranks among the greatest successes Beethoven ever celebrated in public as a composer. One reviewer wrote at the time that in its themes the new symphony was “so favourable and easily comprehensible that every music lover falls for the powerful allure of its beauty.†The incisiveness of the themes is fundamentally related to the basic ostinato rhythms, which help shape each movement’s distinctive character. Richard Wagner even called the composition, with its ecstatic finale, an “apotheosis of the dance.†Based on the musical text of the Beethoven Complete Edition and furnished with a new preface, this recently prepared edition reflects the latest in Beethoven scholarship. Now, in this study edition, it is available to everyone at a reasonable price and in a handy format.
About Henle Urtext
What I can expect from Henle Urtext editions:
SKU: BR.PB-5745
ISBN 9790004217078. 10 x 12.5 inches.
Immediately after finishing his First Symphony in B flat major op. 38, Robert Schumann wrote the present D minor Symphony in 1841. Despite its successful world premiere at the Leipzig Gewandhaus on 4 December 1841, this first version remained unpublished during the composer's lifetime. It took the great Johannes Brahms himself to recognize its qualities and commit himself actively and successfully to a renewed performance in 1889. We owe it to the many supporters of the two versions that they practically stand on an equal footing today, and are both often heard in the concert hall.
SKU: BR.PB-5704
ISBN 9790004216415. 10 x 12.5 inches.
The famous Valse triste grew out of the incidental music to Arvid Jarnefelts drama Kuolema (Death). After the first staged performances in December 1903 at the Finnish National Theater in Helsinki, Sibelius expanded the original string scoring by adding winds and timpani. It is in this form that the work was first heard at the University of Helsinki's festival hall on 25 April 1904 under the direction of the composer before it set out to conquer the musical world.
SKU: BR.PB-5432
World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017
Have a look into EB 9283.
ISBN 9790004212790. 10 x 12.5 inches.
Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.
SKU: BR.PB-14616
The study score (,,Studien-Edition) is available at G. Henle Verlag
ISBN 9790004214916. 10 x 12.5 inches.
It was only shortly after the 5th Symphony that Beethoven completed the Pastoral Symphony. The two formed a complementary work pair, consigned together to a patron in June 1808, publicly premiered in Vienna in December 1808, and published by Breitkopf & Hartel in the spring of 1809. During this period, Beethoven revised the symphony several times. Only in the course of preparing for publication did Beethoven send Breitkopf & Hartel a letter, together with a list of corrections, disclosing the title that he desired, Pastoral Symphony or recollections of country life. More an expression of feeling than painting. The Pastoral with its tone-painting elements gives evidence of Beethoven's closeness to nature, characterizing in five movements his various experiences and images of nature. Based on the music text of the Beethoven Complete Edition, the new performance material of this recently published edition presents the current, authoritative status of Beethoven research for this work.
SKU: BR.PB-5503
ISBN 9790004211465. 10 x 12.5 inches.
Mendelssohns overture drew its inspiration from two poems by Goethe which had already inspired Ludwig van Beethoven to write a choral work on them with orchestral accompaniment. The larger part of the work on this piece must have been carried out in the summer of 1828. The first public performance took place in Berlin on 1 December 1832. The revised version of the work was first performed in Leipzig on 20 April 1834. Its ranking as No. 3 of the concert overtures was laid down when the score was first printed in 1835 (Breitkopf & Hartel).(Ralf Wehner in the Study Edition of the Mendelssohn Work Catalogue).
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