Arranged by Mark Hahn. Sacred anthem. Christmas, Epiphany. Octavo. Published by Chorister's Guild (LO.CGA1468).

Arranged by Mark Hahn. For SATB choir with piano. Sacred anthem. Advent, Christmas, Epiphany. Octavo. Published by Chorister's Guild

By Mark Hahn. For SATB choir (a cappella). Te Deum Series. Sacred Anthem. Octavo. Published by Roger Dean Publishing

Concert Band; Orchestra 2.1.1.1: 2.1.00: Pno: Str (9-8-7-6-5 in set)

SKU: AP.36-A929290

Arranged by Reynaldo Hahn and ed./arr. R. Mark Rogers. Full Orchestra. Kalmus Masterworks Library. Masterwork. Score and Part(s). LudwigMasters Publications #36-A929290. Published by LudwigMasters Publications (AP.36-A929290).

UPC: 735816238247. English.

Born in Venezuela, but raised in Paris, Reynaldo Hahn (1874-1947) was drawn early in life to fashionable salons, singing his own songs from the piano. There he mingled with such luminaries as Mallarme and Proust, the latter with whom he formed an amorous relationship. After the first world war, he accepted an appointment of voice teaching at the École normale de music de Paris. His colleagues included Nadia Boulanger, Pablo Casals, and Jacques Thibaud. One of many musical works he composed for the stage during this time, Mozart, a musical comedy (comédie musicale) in 3 Acts, IRH 52, premiered at the Theatre Edouard VII in Paris on December 2, 1925. The libretto was written by Sacha Guitry for their first of two collaborations. The Mozart Overture, here edited by R. Mark Rogers, serves as a vibrant introduction to this underrepresented work. Instrumentation: 2.1.1.1: 2.1.00: Pno: Str (9-8-7-6-5 in set).

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: BA.BVK02158

Zürcher Festspiel-Symposium 2016. Edited by Laurenz Lütteken. Paperback. Zurcher Festspiel-Symposien 8. Book. 161 pages. Baerenreiter Verlag #BVK02158_00. Published by Baerenreiter Verlag (BA.BVK02158).

ISBN 9783761821589. 19.5 x 13 cm inches. Language: German. Preface: Schmiel, Ilona / Lutteken, Laurenz.

Die Doppelbödigkeit des Grotesken ist in der Musik um 1900 zu einem der auffälligsten Merkmale geworden. Das Verzerrende, das Uneigentliche galt nicht nur als Möglichkeit der Verfremdung und der Distanzierung, sondern auch als Reaktion auf die Verhältnisse der Zeit. Das Phänomen wurde bislang nicht systematisch untersucht, allenfalls im Blick auf einzelne Komponisten, insbesondere Schönberg. Beim Festspiel-Symposium 2016 wurde daher eine panoramatische Sichtung der sich formierenden Moderne versucht. Die Perspektive reicht dabei von Mahler bis zu Hindemith – und wird eingeleitet von einer Lesung Alfred Brendels. Mit Beiträgen von Federico Celestini, Andreas Dorschel, Inga Mai Groote, Andreas Jacob, Friedrich Geiger, Mark Delaere, Cord-Friedrich Berghahn und Michael Meyer.

(solos: 2vl.va.vc - 4(4picc.A-fl).3.3.B-clar.3.dble bsn - 4.3.3.1 - perc(4) - hp - pno - str: 10.10.8.8.6)

SKU: BR.PB-5714

Music for Orchestra with String Quartet. Composed by Helmut Lachenmann. Softcover. Partitur-Bibliothek (Score Library). Solo concerto; Dances/marches; Music post-1945. Sheet Music. Composed 1979/80. 176 pages. Duration 36'. Breitkopf and Haertel #PB 5714. Published by Breitkopf and Haertel (BR.PB-5714).

ISBN 9790004216514. 10.5 x 14 inches.

More than my earlier works, this one is interspersed with metrically bound rhythms and musicianly characters that constantly recrystallize and drift towards or away from familiar situations.The familiar: These are dance-like figures and music-making formulas, but also songs and, in two cases fragments of Bach's music - playfully collected memories of impressions in which - consciously and unconsciously - I am embodied with that collective comfort in whose protection bourgeois thinking and feeling, magically protected, grow up and emerge apart.(It is well known that such security has its fetishes from the childlike to the adult stage: Home, religious bond, holidays, tradition, longing for childhood - the superficiality may have little idea of the depth that opens up underneath. There is also no question that we are still marked by such security even when the contradictions and alienation of existence force us to step out of their protection, to recognize and act upon reality, and to oppose the domination of such inner bonds where their original truth has become the fatal untruth of comfortable illusion, stubbornly and fearfully conjured idyll and reactionary narrow-mindedness.My music feeds on figures in which such memories are encapsulated. It deals with them not much differently than in other pieces with the elements of the traditional musical concept of material, having already always reflected compositionally as a product of sociality and anticipation of musical expression, i.e. it moved into a structurally expanded context and expressively redefined from there.Such an approach aims at overcoming lack of freedom: grasping as part of conceiving, i.e. not philosophical reflection, but rather an artistically gripping reflex by intervening in the physical immediacy of such predetermined elements. These penetrate and infect the structural events, inducing a musicianship that cannot be relied upon; the music jumps onto rhythms like onto moving vehicles, allows for being carried by them until they deform or disintegrate. This creates an incline of rhythmically shaped situations: sequence and interweaving of dances and structures.The role of the solo string quartet is versatile, obbligato and concertante, leading and accompanying in a changing sense. Set as a chamber music apparatus in an orchestral landscape, it repeatedly forces its own sound dimensions onto the orchestra, it must accept being drowned out at times, it nests in the holes of tutti fields, it acts as a louse in the fur, forcing one to listen in and out.The Tanzsuite with Deutschlandlied is structured as follows:I. Section. 1. Introduction - 2. Waltz - 3. March - 4. Bridge -II. Section. 5. Siciliano - 6. Capriccio - 7. Valse lente -III. Section. 8. Bridge - 9. Gigue - 10. Tarantelle - 11. Bridge -IV. Section. 12 Aria I - 13 Polka - 14 Aria IIV. Section. 15. Introduction - 16 Gallop - 17 Coda (Aria III)All 17 parts merge into one another.(Helmut Lachenmann, 1980)CDs/LP/DVD:Arditti-Quartett, Deutsches Symphonie-Orchester Berlin, cond. Olaf HenzoldCD Montaigne Auvidis MO 782019Berner Streichquartett, Sinfonieorchester des SWF, cond. Sylvain Cambreling (Excerpt)CD BMG/RCA 74321 73510 2 (Musik in Deutschland 1950-2000)Berner Streichquartett, Sinfonieorchester des SWF, cond. Sylvain CambrelingLP DMR 1028-30Arditti Quartet, SWR Sinfonieorchester Baden-Baden und Freiburg, cond. Hans Zender Excerpt on CD ,,Auswahl von zehn Urauffuhrungen aus 70 Jahren, SWR Sinfonieorchester Baden-Baden und Freiburg Arditti Quartet, Staatsorchester Stuttgart, cond. Sylvain Cambreling DVD ,,Lachenmann-Perspektiven 6 (Breitkopf & Hartel, BHM 7816) Bibliography:Cavalotti, Pietro: Differenzen. Poststrukturalistische Aspekte in der Musik der 1980er Jahre am Beispiel von Helmut Lachenmann, Brian Ferneyhough und Gerard Grisey (= Sonus. Schriften zur Musik, hrsg. von Andreas Ballsteadt, Band 8), Schliengen: Argus 2006, pp. 79-128.Das sind doch alles Deutschlandlieder! Helmut Lachenmann im Gesprach mit Michael Rebhahn, in: Der Taktgeber. Das Magazin der Jungen Deutschen Philharmonie, Heft 40 (Sommer 2019), S. 6f.Stawowy, Milena: Fluchtversuche in die Hohle des Lowen. Helmut Lachenmanns Tanzsuite mit Deutschlandlied, in: MusikTexte 67/68 (1997), pp. 77-90.Toop, Richard: Concept and Context: A Historiographic Consideration of Lachenmanns Orchestral Works, in: Helmut Lachenmann Inward Beauty, hrsg. von Dan Albertson, Contemporary Music Review 23 (2004), Heft 3/4, pp. 125-144.

World premiere: Donaueschingen (Donaueschinger Musiktage), October 18, 1980.