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: CA.2100311
ISBN 9790007197674. Language: Latin.
Marc-Antoine Charpentier's Magnificat H 78 was composed around 1690 for the Jesuits in Paris. No less than ten works by the composer, in differing vocal and instrumental scoring and form comprise this genre. In the present Magnificat H 78 for five voices (in which alto and bass also have solo roles), two flutes, strings and basso continuo, each of the individual movements contains its own expressive profile in sound. Score and part available separately - see item CA.2100300.
SKU: CA.2731515
ISBN 9790007201739. Key: C major. Language: Latin.
Charles Gounod composed this Requiem under the impact of the death of his four-year-old grandson, Maurice. According to information handed down, while finishing the details of this work he was overtaken by death. It was published posthumously in various constellations by his pupil, Henri Busser, but the only complete version from the pen of Gounod is the version for large orchestra, which is published here for the first time in a critical edition. Gounod's Requiem, unlike many contemporary settings of the Mass of the Dead, is not characterized by darkness and terror. Rather, with all of its trepidation - expressed through a marked chromaticism - an atmosphere of hopeful expectation, of trust in the grace and equity of the divine judge predominates. This confidence finds its expression in the choice of the fundamental key of C major, which is rather unusual for a requiem. The work was given an impressive performance on the occasion of the first anniversary of Gounod's death in the Parisian church of Sainte-Madeleine under the direction of Gabriel Fauré and it was highly acclaimed by the contemporary press. Score and part available separately - see item CA.2731500.
SKU: CA.4066115
ISBN 9790007076313. Language: Latin.
Antonio Lotti's Kyrie in G minor and Gloria in G major are found together under the title Missa Sapientiae in a score which belonged to the Dresden church musician Jan Dismas Zelenka. Please note: Carus 40.661/06 only contains the score of the four purely solo movements. To perform the complete mass, the soloists also need the chorus score (Carus 40.661/05). Score and part available separately - see item CA.4066100.
SKU: CA.4067214
ISBN 9790007219963. Key: D minor. Language: Latin.
Johann Gottlieb Naumann, who today is becoming increasingly well known, achieved recognition during his lifetime as a composer of operas, among them the first Swedish national opera, Gustaf Wasa. In addition he wrote a large number of sacred compositions for the Court of Dresden, where he was employed for many years, including the present Missa in D minor, which was still performed well into the 20th century. This work, probably composed for Christmas in 1794, displays a decidedly pastoral character in the Gloria and Agnus Dei and moreover, is distinguished by charming solo woodwind parts. Score and part available separately - see item CA.4067200.
SKU: CA.2709215
ISBN 9790007248772. Key: D minor. Latin.
Anton Bruckner composed his first mass, the Mass in D minor, in 1864 in just four months. It was not ready in time for the Kaiser Franz Joseph I's birthday, as planned, but was first performed on 20 November at the Feast of St Cecilia in Linz Cathedral - with great success. The mass is one of the first works by Bruckner to be written in his characteristic symphonic style. It was revised several times and first published in 1892. This edition is based on a critical evaluation of all the relevant sources, and offers an improved musical text. Score and part available separately - see item CA.2709200.
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