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: TM.06885XPC

Cembalo in set. Ed. by Pohanka.

SKU: BT.MUSM570366460

English.

Lu s Tinoco 's Incipit for symphony Orchestra. Conductor's score. “ Incipit ” includes various quotations of “Audivi vocem de caelo”, written by the Portuguese composer Duarte Lobo (1565-1646), thought to have been born in the same year when the city of Rio de Janeiro was founded. Work commissioned by the OPART - S.Carlos Theatre, to mark the city of Rio de Janeiro’s 450th anniversary, and first performed by the Orquestra Sinfónica Brasileira, conducted by Tito Muñoz Cidade das Artes and Theatro Municipal, 10th and 11th of June 2015 Rio de Janeiro.

SKU: TM.06885SET

Tobani. P/C in set.

SKU: HL.14021000

ISBN 9780711959927. 5.5x7.5x0.2 inches.

Commissioned to write a piece for the 50th anniversary of the United Nations, Davies provided a musical General Assembly of his own: a bright overture based on an Australian aboriginal song which gives rise to 'national anthems' of various kinds and instrumental colourings. Finally the 'anthems' are combined, 'if not triumphantly', Davies says, 'at least in a manner whereby they get along together'. The first performance took place in June 1995 in Nottingham. It was given by the Royal Philharmonic Orchestra conducted by Peter Maxwell Davies. Score (miniature). Duration c. 14mins.

SKU: AP.36-A258195

ISBN 9798892701884. UPC: 659359625268. English.

Anton Bruckner (1824-1896) completed the 1st version of his Mass No. 3 in F minor in 1863, as Otto Kitzler was introducing him to the music of Richard Wagner, the composer he would emulate for the rest of his life. John Herbeck, who conducted the initial rehearsals for its premiere at the Augustinerkirch on June 16, 1872, warmly declared that it stood beside Beethoven's Missa Solemnis in greatness. Bruckner, often self-critical as a composer, went on to revise the work no less than four times until it was finally published it in 1894. More often heard today in the concert hall than in the church, the sprawling, hour-long work is admired today for its powerful directness. This critical edition was created in 1944 for the Bruckner Gesamtausgabe by Robert Maria Haas.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: AP.36-A258101

ISBN 9798892701853. UPC: 659359980039. English.

Anton Bruckner (1824-1896) completed the 1st version of his Mass No. 3 in F minor in 1863, as Otto Kitzler was introducing him to the music of Richard Wagner, the composer he would emulate for the rest of his life. John Herbeck, who conducted the initial rehearsals for its premiere at the Augustinerkirch on June 16, 1872, warmly declared that it stood beside Beethoven's Missa Solemnis in greatness. Bruckner, often self-critical as a composer, went on to revise the work no less than four times until it was finally published it in 1894. More often heard today in the concert hall than in the church, the sprawling, hour-long work is admired today for its powerful directness. This critical edition was created in 1944 for the Bruckner Gesamtausgabe by Robert Maria Haas. Instrumentation: 2.2.2.2: 2.2.3.0: Timp: Org (ad libitum): Str (4-4-3-3-3 in set): Solo SATB: Mix Chor. The organ ad libitum is absent from the Haas edition.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: AP.36-A258102

UPC: 659359527715. English.

Anton Bruckner (1824-1896) completed the 1st version of his Mass No. 3 in F minor in 1863, as Otto Kitzler was introducing him to the music of Richard Wagner, the composer he would emulate for the rest of his life. John Herbeck, who conducted the initial rehearsals for its premiere at the Augustinerkirch on June 16, 1872, warmly declared that it stood beside Beethoven's Missa Solemnis in greatness. Bruckner, often self-critical as a composer, went on to revise the work no less than four times until it was finally published it in 1894. More often heard today in the concert hall than in the church, the sprawling, hour-long work is admired today for its powerful directness. This critical edition was created in 1944 for the Bruckner Gesamtausgabe by Robert Maria Haas. Instrumentation: 2.2.2.2: 2.2.3.0: Timp: Org (ad libitum): Str (4-4-3-3-3 in set): Solo SATB: Mix Chor. The organ ad libitum is absent from the Haas edition.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: BT.PWM8821

Work on this piece began in the spring of 1899 durng Kar owiczs studies in Berlin and he finished it after graduating and returning home in June 1902. Its premiere took place on March 21, 1903 in Berlin, and the Polish premiere on April 7, 1903 in Lviv. The symphony has a classic, four-movement structure, but in terms of architecture it is much closer to symphonic poems. It consists of the movements: 1. Andante. Allegro 2. Andante non troppo 3. Vivace 4. Allegro maestoso. ''In terms of orchestration and instrumentation technique it represents Kar owiczs early, academic period. The composer still used double wind enriched with piccolo flute, unlike in his later orchestral works the symphonic poems. The orchestration of the work indicates that the composer was guided by Tchaikovskys symphonic model. Kar owicz here still willingly operates with various sound blocks of entire instrumental groups, treating them in a choral manner, with tight chordal pillars'' (Leszek Polony). Before the Polish premiere the composer gave a comprehensive literary programme of the work in the Lviv newspaper S owo Polskie, in which he referred to each consecutive movement of the Symphony. In his last words he wrote, ''We hear a hymn of revival, at first quiet and sweet, then wider and wider, and fuller. Already the time has come; to hear the fanfare. Only one more step! And although the spirits fall again in doubt, we hear a powerful and solemn hymn of rebirth.''.

SKU: BR.PB-4850-07

World premiere: Aachen, June 2, 1971

ISBN 9790004206485. 6.5 x 9 inches.

Dieses vierteilige Opus ist keine avantgardistische Musik, sondern fur den Normalhorer gedacht, obwohl darin verschiedene moderne Kompositionstechniken verwendet werden. Die vier Satze des Werkes sind Impressionen uber Gedichte des grossen italienischen Lyrikers G. Ungaretti, der 1970 82jahrig starb. Giorno per giorno (Tag fur Tag) ist der Titel des Zyklus auf den Tod eines seiner Kinder - in der Musik fur Orchester zugleich die Uberschrift fur das ganze Werk und den ersten Satz - und bedeutet inhaltlich: Schmerz ohne Trostung und ohne Ausweg ( es hat irgendeine Trostung notwendig, mein armes zerfallenes Herz). Auch die anderen Satzbezeichnungen stehen uber einzelnen Gedichten oder Gedichtgruppen von Ungaretti; so ist der zweite Satz uberschrieben Allegria di naufragi (Freude der Schiffbruche). Das Wagnis dieser Schiffbruche wird musikalisch durch aleatorische Strukturen symbolisiert (Und auf einmal nimmst du die Fahrt wieder auf). Der dritte Satz tragt die Uberschrift La terra promessa (Das verheissene Land'. Die Stille einer mediterranen Herbstlandschaft klingt an (Die Traube ist reif, das Feld ist bestellt). Das Finale mit dem Titel Soldati beginnt mit einer falschen Fanfare und steigert sich nach mehreren unruhigen Episoden zu einem aggressiven Schlussteil (Den Tod busst man lebend ab).(Jurg Baur).