SKU: AP.48056
ISBN 9781470656331. UPC: 038081558615. English.
If I Can't Have You was performed by Shawn Mendes and is now arranged for string orchestra by Victor López. This Hot 100 hit is guaranteed to rock the house at your next concert. Hitting No. 1 on the iTunes chart, this solid pop-rock song will certainly add a little pizzazz to your program. A brilliant and unforgettable catchy melody, along with an upbeat groove, drives this solid pop-rock song from a new pop troubadour. Get the audience clapping along and let them have some fun. (2:20).
SKU: AP.48056S
ISBN 9781470656348. UPC: 038081558622. English.
SKU: HL.49002099
ISBN 9790001022460. UPC: 884088054267. 9.0x12.0x0.228 inches.
This suite has been taken from the music of the Christmas tale of the same name. The instrumentation can be easily realized with four woodwind instruments, two brass instruments, timpani and strings. The 'Tanz der Holzpuppen', a foxtrot, is suitable as encore showing the humorous musician Hindemith who, in 1920, wrote to the Schott publishing house with a wink: 'Can you also make use of foxtrots, Bos-tons, rags and other kitsch? Whenever I cannot think of decent music, I write such stuff.'.
SKU: HL.49002101
ISBN 9790001022484. UPC: 884088477974. 8.0x11.75x0.248 inches.
SKU: HL.49002100
ISBN 9790001022477. UPC: 073999293265. 9.25x12.0x0.431 inches.
SKU: HL.49018099
ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.
On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.
SKU: HL.49013033
ISBN 9790001131919. 8.25x11.75x0.462 inches.
Bei der Neuschrift des Stucks im Winter 1995-96, funfzig Jahre nach seiner Entstehung (als Buhnenmusik zu Molieres Comedie ballet Georges Dandin, aus der anschliessend ein Ballett wurde mit dem englischen Clown Jack Pudding in der Titelrolle), ist es mir darum gegangen, den alten Notentext auszulosen und sein thematisches und harmonisches Material nach Kriterien zu ordnen und zu entwickeln, die mir seinerzeit noch nicht zur Verfugung standen, und die recht skizzenhafte Anlage des Urtexts in eine Klangwelt heruberzutragen, die meinen heutigen Vorstellungen und Wertbegriffen von Theater und Musik entspricht und die gleichzeitig das heutige kulturelle Klima Neapels widerspiegelt und damit eine besondere Art von Wirklichkeit, die mich einmal so sehr gefangengenommen, bezaubert und beeinflusst hat.- Hans Werner Henze: 1 (auch Picc.) * 1 * 1 * 1 - 1 * 1 * 1 * 0 - P. S. (3 Trgl. * Crot. * Rohrengl. * Trinidad steel drum * 3 hg. Beck. * 3 Tamt. * 3 Tomt. * Schellentr. * kl. Tr. * gr. Tr. [m. u. o. Beck.] * Bongo * Guiro * Kast. * Ratsche * Peitsche * Lotosfl. * Cuica * Mar. * Putipu [neap. Brummtopf]* Scetavajasse [neap. Schrapstock mit Schellen] * Flex. * Vibr. * Marimba) (3 Spieler) - Klav. (auch Cel. und Akk. ad lib.) - Str.
SKU: BA.BA10980
ISBN 9790006562831. 31 x 24.3 cm inches. Key: G major. Text Language: German, English. Preface: Andreas Friesenhagen.
This edition clarifies a performance aspect of Haydn’s Symphony in G major that has long been misunderstood: in m. 1 of the second movement (Largo) the viola, violoncello and several wind instrument parts are marked “soloâ€, indicating that they play important motifs or themes and ought to stand out. Contrary to other editions, the “solo†marking in the violoncello should not be construed as indicating a solo instrument with the remaining cellos doubling the basses. Rather, the cellos should play as a section so as to stand out all the more clearly.Continuing the collaboration between Bärenreiter and the Henle publishing company in large-scale choral works, operas and symphonies, this edition is based on the Henle Complete Edition of the “Works of Joseph Haydnâ€. The complete performance material for several “Sturm und Drang†symphonies and all of the London and Paris symphonies is now available from Bärenreiter.
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: HL.51487380
UPC: 840126932881. 6.75x9.5x0.251 inches.
Bach's harpsichord concerti, extremely popular among pianists, are presumably reworkings of pieces originally written for the violin. Bach, however, succeeded in transferring the diverse idiosyncrasies of violin technique to the keyboard with such ingenuity that most of today's pianists also include these concerti in their standard repertoire. The first concerto in D minor is perhaps the most popular - not least because of its jaunty outer movements and the eminently forceful solo part. Now, as a prelude to a series of all of Bach's harpsichord concerti, G. Henle Publishers presents a piano reduction and study edition (score) of the D-minor concerto. None other than András Schiff, the outstanding Bach expert, has provided fingering suggestions.
About Henle Urtext
What I can expect from Henle Urtext editions:
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: HL.51489064
UPC: 840126937640. 6.75x9.5x0.214 inches.
The twelve “London Symphonies†comprise the sublime final statement of Haydn's symphonic oeuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Hailing from 1791, the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity, “The Miracleâ€, was bestowed erroneously, for the miracle - that no one was injured when a chandelier fell during a concert - took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless; from the subtle relations between the motives consisting of broken triads that open all four movements, to the virtuosic shifts in mood owing to surprising harmonies, Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.
SKU: HL.195818
UPC: 888680642617. 8.5x14.0x3.0 inches.
This major work is an affirmation of assurance that takes us on a musical and spiritual pilgrimage through the beloved 23rd Psalm. Singers and listeners will be carried from peaceful meadows to the shadowed valleys, and from the fragile hope of faith, to life everlasting. A work of scope and substance, Psalm 23 - A Journey with the Shepherd gives directors a wonderful opportunity to program outside the seasonal box. A glorious orchestration by Michael Lawrence decorates the expressive choral writing with color and a theatrical sweep. Songs include: We Are Not Alone; The Lord Is My Shepherd; Restore My Soul; Lead Me on the Paths of Righteousness; Though I Walk through the Valley; You Comfort Me; My Cup Overflows; We Are Not Alone (reprise); Surely Goodness and Mercy. Score and Parts (fl 1-2, ob, cl 1-2, bn, tpt 1-3, hn 1-2, tbn 1-2, tbn 3/tba, perc 1-2, timp, hp, pno, vn 1-2, va, vc, db) available as a Printed Edition and as a digital download.
SKU: PR.416416140
UPC: 680160642441.
Time is one of the main factors impacting the world and our lives. Einstein saw time as the relationship of the motion of one object relative to the position of another object, as measured through observation. But can we really measure time objectively? Music, the art which moves through time, can affect our perception of time, and can affect each person's perception of time differently. Depending on the emotion it stimulates, music can make time seem to pass quickly or slowly. A composer can use music to convey time to an audience and different musical ideas can create different sensations of time. Absence of Time is a concerto for woodwind quartet and orchestra. It has three main sections (fast, slow, fast), recalling traditional concerto form, but it does not use the solo instruments in the traditional way, i.e., as soloists in contest with the orchestra. Inspired by the idea of juxtaposing different experiences of time, I divided the instruments into two groups: the four soloists and the orchestra. The orchestra functions mostly as the keeper of time (real time) while the quartet of soloists fluctuates (in imaginary time or in the absence of time) around the orchestra's time. While the quartet's instruments do play solos, they also play in ensemble with the orchestra. You could say that they play in both imaginary time (as soloists) and in real time (with the orchestra). In addition to this, the woodwind section of the orchestra plays in conversation with the solo quartet, calling it back to real time. Fusion is achieved at the end of the piece through the use of strong, driving rhythm. Absence of Time was commissioned by the Pacific Symphony and was first performed by the Pacific Symphony and the Pacific Symphony Woodwind Quartet with Carl St. Clair as conductor on October 20, 2016.
SKU: PR.41641614L
UPC: 680160642458. 11 x 17 inches.
SKU: BA.BA06848
ISBN 9790006483303. 34.4 x 27 cm inches. Text: Svatopluk Cech.
Over the years Janácek’s uvre has increasingly received the recognition it so richly merits and performances of his works are becoming more and more frequent. This development is, however, offset by a manuscript tradition so disorderly that some of Janácek’s works continue, as before, to be played in versions which are heavily adapted, corrupt or otherwise contrary to the composer’s intentions. Thus, a critical edition of Janácek’s music is indispensable for scholars and performers alike.This editon presents an authentic printed text based on all available sources for each work. In addition to the musical text, each volume also contains a critical report (Czech / German), a rendition of deleted or rejected versions, and a comprehensive appendix of facsimiles.
SKU: BA.BA06861
ISBN 9790260104211. 34.3 x 27 cm inches.
LeoÅ¡ Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanovaâ€. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.†Thus LeoÅ¡ Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony†entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers MiloÅ¡ Å tedron and LeoÅ¡ Faltus closely follows the original manuscript.A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola†by the Czech writer Sonja Å pálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube†to the inconclusive ending.To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forcesâ€. The third movement is said to characterise the city of Vienna in the form of a woman.It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj†– and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpaniâ€, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of loveâ€.
SKU: PR.416415720
UPC: 680160636150.
Illuminating Journey is composed to celebrate Maestro Carl St. Clair's 25th Anniversary season with Pacific Symphony. Maestro St. Clair is one of the few conductors who has dedicated his time to new music and support for living composers. I first encountered Maestro St. Clair in 2004 when I was one of the finalists for the Young Composers Competition. After I won that competition, I had an opportunity to work with Maestro St. Clair on the piece that he commissioned for the Pacific Symphony in 2005. That's the beginning of the journey of our friendship. Illuminating Journey is inspired by Maestro St. Clair's personality and the music he loved. The piece is mainly based on the pitch material from Maestro St. Clair's name CARL which can be translated as C = C, A = A, R = Re, and L = La. That pitch material already has the character of Illuminating sound for the open 5th and octave. The piece also incorporates some musical references that have some meaning for Maestro St. Clair, such as the hopefulness of the melodic intervals from West Side Story, There's a Place for Us, composed by Leonard Bernstein, who was also Maestro St. Clair's mentor. Illuminating Journey starts with the rhythmic motion of the pitch C and moves on to create a set of pitches. The note C functions as a center for the endless energy of this piece and creates a triumphant ending. I would personally like to thank Maestro St. Clair for his dedication on my music and his friendship throughout the past 10 years. The work with Maestro St. Clair and the Pacific Symphony was an early step in my career as a composer. I often mentioned that I may not be able to come this far without that part of my life. Thank you very much, Maestro St. Clair and the Pacific Symphony. Let's celebrate our Illuminating Journey together.
SKU: PR.41641572L
UPC: 680160636167.
SKU: HL.48187751
UPC: 888680868031. 5.5x7.5x0.208 inches.
Mozart composed two new symphonies in the Autumn of 1773, after having returned to Salzburg from Vienna. The first of the two was the <I>Symphony No.24 In B Flat K.182, and the second was the Symphony No.25 in G Minor K.183<BR><BR>This symphony was one of two which Mozart composed in a minor key ? the other being the Symphony No.40 in G Minor K.550</I>. The latter can be identified with some of Mozart?s most troubled and agitated music, reflecting those difficult moments in his life. However, the twenty-fifth symphony is thought to have been composed as part of a sudden wave of minor-key symphonies which appeared in the later 1760s and early 1770s ? among others were composed by Vanhal, Ordonez, and Joseph Haydn.Available here is the study score for one of Mozart?s two symphonies composed in a minor key, the Symphony No.25 in G Minor K.183</I>. This score is ideal for study and perusal usage..
SKU: HL.14035756
ISBN 9788759868294. English.
Wenn Die Rose Sich Selbst Schmückt, Schmückt Sie Auch Den Garten (When The Rose Beautifies Itself, It Beautifies The Garden ) was composed by Per Nørgård in 1971.
Chamber Cantata for four performers
Scored for Soprano, Alto Flute, Double Bass and Percussion (all playing also Crotales).
Composed for and dedicated to Dorothy Dorrow.
Parts available: KP01092
Preface / Programme Note
The title of the work is borrowed from a fragment by the German poet Friedrich Rückert.This fragment, this short sentence (which Rückert apparently neverelaborated upon) is the entire basis of the work. I was inspired by the meaning as well as the sound of these words.I perceive the meaning of the sentence as being a defence for the refinement of an individual’s personal gifts - far from the present hostility toward individuality and the senseless praise of impersonal success in society. Personal refinement can, so the fragment in my interpretation, at its best be accompanied by a deep sense of responsibility, and become an active and positive influence in society.The sound, the timbre, of the individual words and characters is employed both instraightforward text-sequences, as well as in the exploration of individual vowels and consonants as pure sounds. The soprano is often used purely instrumentally, echoing and pre-echoing discreetly the notes of the flute and the harmonics of the double bass, often imperceptably stealing their notes and altering them into human sounds, which then yetagain are absorbed into the instrumental tapestry.
Per Nørgård, 1971
SKU: BP.BP2200B
Printed product. Full score and parts for flute 1,2, oboe, B-flat clarinet 1,2, bassoon I, II, horn in F 1,2, trombone 1,2, tuba, percussion, harp, violin I, II, viola, cello and double bass.Note: This scoring can be used flexibly to accommodate various instrumental ensemble sizes, allowing balance with choirs of varying sizes, and for more quiet/gentle performances or larger/more dramatic interpretations. Performance options include: The piano part (from choral octavo) can be used with any performance, but is not required if harp and winds are used.
SKU: PR.416415760
UPC: 680160636532. 9 x 12 inches.
The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.
SKU: PR.41641576L
UPC: 680160636549. 11 x 17 inches.
SKU: HL.1283364
UPC: 196288166641.
Dedication for chamber orchestra by William Bolcom was written in 2021-2022, especially for the ROCO Chamber Orchestra. The commission was the result of a meeting between Alecia Lawyer and the composer at a Great American Songbook concert, hosted by Arthurand Shelley Gottschalk. Dedication is a concise but dramatic work. Its threepart is determined by tempo and motif. The work begins with Intro: Moderato. After a very soft ostinato sounds from the depths of the orchestra, two melodies emerge: the first in the Piccolo and Eb Clarinet, the second in the English Horn and Bassoon. They are complemented by strings in close harmony and lyrical muted brass. This is followed by Feroce! which engages the tutti ensemble in a cascade of brilliant fortissimo block harmonies. The next section, Allegro molto, is characterized by agile, virtuosic passage work and brash chords. Tempo I returns with familiar motifs wrapped in six sharps. Marked espressivo e cantabile, tutti strings provide an incandescent conclusion. Then soft string glissandi allow the music to fade back from wherever it came. Dedication is orchestrated by his former student Edmund Cionek.
SKU: BA.BA05822-01
ISBN 9790006567454. 33 x 26 cm inches. Preface: Brown, Bruce Alan.
To conclude Series II (Dance Dramas) from the Gluck Complete Edition (GGA), this volume of Christoph Willibald Gluck's earliest contributions to the genre comprises six ballet scores from 1759 (La Promenade, Les Jardiniers, Les Turcs, Les Savoiards, Les Amours de Flore et Zphire, and Le Suisse) as well as the ballet music for Les Vendanges, which dates from 1761. These works belong to the compositions â also called Krumau ballets because of their musical transmission â which Gluck created in Vienna between 1759 and 1765 for the court theatres in Laxenburg and Schönbrunn as well as the Kärntnertortheater, and which are to be attributed to him as a ballet composer around the middle of the 18th century in Viennese theatre life based on the considerations presented in the general preface.Together with volumes II/3 to II/5, ballet music by Gluck is available whose sources come from the former Schwarzenberg court archive in Ceský Krumlov, Czech Republic, and which until the Velvet Revolution of 1989, lay behind the Iron Curtain remaining largely inaccessible and unexplored by Western scholars. These volumes reflect two fundamental developments in Gluck research: on the one hand, they provide a significantly expanded, historically more accurate idea of what it meant to compose for the ballet in the 18th century; on the other hand, they bring to light an immense treasure trove of sources formerly of Viennese provenance.In addition to the detailed introduction by this volumeâs editor on the ballet choreographies of Gasparo Angiolini and Carlo Bernardi, on the formation of the ballet troupes of the Viennese theatres in Gluck's early years there, on ballet types and genres, as well as a detailed account of the individual titles, the volume includes a general preface to volumes II/3 through II/5 by Bruce Alan Brown, which discusses Gluck's ballet music in Vienna in general as well as the development of research into this genre. Extensive illustrations (partly from the so-called Durazzo Collection) with reference to the choreographies enrich the discussions. The ballet works, which have survived in only one source each, appear in print for the first time in this volume of the Gluck Complete Edition.
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