SKU: BR.EB-9300
ISBN 9790004187647. 9 x 12 inches.
World premieres:I version for flute: Wiesbaden, 1972II version for piano: Nyon, 1972III version for var. insts.: Cologne, May 29, 1976VI version for accordeon: Fribourg, June 25, 1987VIII version for violoncello Tokyo: October 14, 1989X version for organ: Stuttgart, March 28, 2018This work (A Breath of the Untimely) was first written for solo Flute and dedicated to Aurele Nicolet. Its bears the subtitle Lament on the Loss of Musical Thought - some Madrigals for Solo Flute or Flute with any other Instruments. This serves as a playing instruction but doubles at the same time as an outmoded programme: it refers back to the musical origin of the opening lamenting motif, a tradition which was once of its time but is not of our time - namely the Lamento genre which gave the title to the Chaconne in Purcell's opera Dido and Aeneas. Almost simultaneously I wrote a second version for Piano (for Piano one-and-a-half hands), which already formulates possible approaches for the performer, in some detail, to the indicated, quasi-canonic version of the piece in the programme. The multiple version Ein Hauch von Unzeit III realizes a concrete version of a formal state which floats between strict canon and aleatoric principles: each of the musicians who are spread throughout the hall introduces their own idiomatic translation of the flute part. And so the music exists, omnipresent, not only spatially throughout the hall, but also formally in a sort of fluctuating simultaneity. For that reason, it was my express wish to any potential interpreter that they should construct entirely their own version of the piece. A healthy number of musicians have responded to my suggestion - versions of the piece have now been made for guitar (Cornelius Schwehr, Gunther Schneider), accordion (Hugo Noth), double bass (Fernando Grillo), violin (Hansheinz Schneeberger), viola, violoncello, and double bass (trio basso, Koln), violoncello (Michael Bach), trombone (Andrew Digby) and, created by myself, a sung version for voice (to words by Georg Wilhelm Friedrich Hegel und Max Bense), and for viola.The most important requirement for the whole piece is absolute stillness, which should as far as possible emanate from the performer. The pauses are occasionally in this respect the most important element. These may, if one can find the necessary stillness, become very long.Ein Hauch von Unzeit (A Breath of the Untimely) - time almost dissolves!(Klaus Huber, 1989/2014 - translation: David Alberman)CD:Jean-Luc Menet (Bass flute)CD Traversieres 120.270Jean-Luc Menet (fl)CD STR 37039Bibliography:Zimmermann, Heidy: Zeitgestaltung im Kompositionsprozess bei Klaus Huber - dargestellt anhand von Skizzen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, S. 90-109World premiere: Stuttgart, Hospitalkirche, March 28, 2018.
SKU: SU.80101350
A five movement work inspired by the writings of John Steinbeck. It is suitable in its entirety as a concert work, or the individual movements may be played on their own for church services. Each movement has both a poetic title from Steinbeck's writings and a musical title (Praembolo, Divertimento, Miserere, Musica de los Paisanos, and Toccata). Instrumentation: Organ. Composed: 2013 Published by: Zimbel Press.
SKU: M7.DOHR-20190
ISBN 9790202041901.
Eines der meistbesuchten Gotteshäuser der Münchener Innenstadt ist die Bürgersaalkirche. Ein besonderer Anziehungspunkt für die Besucher dürfte darin bestehen, dass die letzte Ruhestätte des seligen Rupert Mayer sich dort befindet. Dieser war ein entschiedener Gegner des nationalsozialistischen Regimes. Wegen seines Einflusses auf weite Teile der Bevölkerung erschien er den damaligen Machthabern als extrem gefährlich. Bei Ausbruch des Zweiten Weltkrieges wurde er verhaftet und in ein Konzentrationslager, später zur Internierung in das Kloster Ettal verbracht. Als Symbol des kirchlichen Widerstandes wurde er nach Beendigung der Zwangsherrschaft spontan verehrt. Der unerschrockene Bekenner seines Glaubens konnte jedoch die wiedererlangte Freiheit nur kurze Zeit genießen, da er bereits an Allerheiligen des Jahres 1945 bei der Feier eines Gottesdienstes verstarb. Aus Anlass seines 75. Todestages am 1. November 2020 möchte ich das Andenken dieses großen Mannes durch eine Komposition bewahren. Darüber hinaus soll dadurch der Kampf aller aufrechten Christen mit dem totalitären Regime geehrt werden. Im Mittelpunkt dieses Orgelstückes steht deshalb die Bearbeitung des Liedes Ein Haus voll Glorie schauet weit über alle Land. Diesem Bekenntnisgesang setze ich melodisches Material entgegen, das aus dem Fundus der damals antikirchlichen Hetze entstammt. Der Sieg des standhaften Christen über die unseligen Machenschaften des Regimes gipfelt im Schlussvers des Chorals: O lass im Hause dein uns all geborgen sein! (Walter Gleißner).
SKU: SU.80101512
These four tientos (inspired by the Iberian baroque) were written between 2013 and 2019. They were written as four separate pieces and may be played as such or in any combination. Contains: Tiento de falsas, Tiento, Tiento mixoltico, and Tiento de batallaOrgan Duration: 17' Composed: 2013-22 Published by: Zimbel Press.
SKU: CA.3111707
ISBN 9790007091651. Key: G major. Language: German/English. Text: Schutz, Johann Jakob. Text: Johann Jakob Schutz.
The cantata Sei Lob und Ehr dem hochsten Gut (All glory to the Lord of Lords) BWV 117 is one of a small group of Bach's chorale cantatas which use exclusively the text of the chorale, including in the three recitatives and three arias. Only the autograph score of the cantata survives; although this enables an approximate dating to be made (c. 1730), it does not give the occasion for which the cantata was written. The choice of chorale may indicate it was composed for a wedding. Recently it has been suggested that the occasion for its composition was the birthday of the Duke of Weissenfels in 1731; but there is no firm evidence to support either theory. The cantata opens with an extended movement for chorus in which Bach contrasts the concertante orchestra with festive, almost homophonic choral writing. This chorus movement is repeated at the end. A simple chorale movement which comes fourth indicates that the nine-movement cantata was performed in two sections. Score available separately - see item CA.3111700.
SKU: HL.49045022
ISBN 9790001154277. UPC: 841886027794.
The formal structure of this organ chorale with solo clarinet follows a Jewish death prayer. The solo clarinet represents the chant of the traditional prayer leader while the organ plays the response of the congregation of the synagogue. The piece ends with a cadenza of the solo clarinet to which an optional organ improvisation can be added.Barbara Heller dedicated this chorale to the memory of Elke Mascha Blankenburg (1943-2013). Talking about her before the first performance, the composer said: 'She was open-hearted with a really tender soul, very trusting. Her creativity knew no limits; she was also an almost fanatical campaigner for music by women. In the music you will hear now I have attempted to convey some aspects of her personality: charming, loving, obstinate, committed, volatile, tragic, crazy, untamed, tender and anguished.' The various sections of this chorale may be performed in a correspondingly contrasting manner: searching, hesitant, visionary, focused, volatile, accusatory, hopeful, etc., with use of rubato and powerful contrasts in dynamic and tone quality.
SKU: SU.80101527
This volume contains three evocative pieces for organ. They were written as individual works and are not a suite, although there may be contexts where it would be fine to perform more than one of them within the same program. The decision was made to publish them together because they all involve varying degrees of freedom and non-traditional notation.Organ Duration: 20' Composed: 2023 Published by: Zimbel Press.
SKU: SU.80101508
This volume contains three pieces (Hydrogen, Nitrogen, and Helium) that may be played individually or as a group. The music unfolds slowly and gradually. (The three pieces were recorded by the composer on the album of the same name.)Organ Duration: 38’ Composed: 2022 Published by: Zimbel Press.
SKU: AP.1-ADV7061
UPC: 805095070613. English. Traditional.
This collection of pieces for saxophone and organ or piano, Spirituals for Saxophone arranged by Friedemann Graef, is designed for use in concert performances as well as for church services and other ceremonies. This traditional American spiritual, Lord I Want to Be a Christian, has been extended by composed introductions and endings, or interludes and written solos. The notated solos here are the results of more than ten years of the arranger's personal experience with these tunes and chord changes. The organ part may also be played on acoustic piano if the bass voice is played one octave lower in respective passages---these passages are marked. There is a transposed part for B-flat and E-flat saxophones. Due to the different register of the tenor and alto saxophone, a few notes of the alto saxophone parts have been changed for a more effective sound.
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