SKU: PR.416415420

UPC: 680160632312.

Echoes of Silence was commissioned by the Albany Symphony Orchestra for the American Music Festival of 2012 as part of the Capitol Region Heritage Commissions project. The work takes as its inspirations the Troy Savings Bank Music Hall in Albany, NY, and the Albany Symphony Orchestra. The Troy Savings Bank was founded in 1823 and was one of the more important music halls in early-twentieth-century America. It was honored with performances by many world-renowned artists, such as Vladimir Horowitz, Yehudi Menuhin, and Arthur Rubinstein. The title, Echoes of Silence, refers to the echoes of these and other artists' great performances, which one might imagine still resonate in the hall. If the hall had a voice, it would also sing of the all the wonderful masterpieces that were performed there in the past. The main idea of this piece is to reflect the sounds that were absorbed by the walls of this concert hall during the past century of live performance. Some of the main pitch materials are derived from Alexander Borodin's Symphony No. 2, a masterpiece that was composed in 1823, the same year as the founding of the Troy Savings Bank. The main thematic materials of Echoes of Silence are developed from many small musical motifs found in Borodin's symphony. Another source of material is Igor Stravinsky's Symphony of Psalms, composed in 1930, the year in which the Albany Symphony Orchestra was founded. These borrowed materials are used as the main elements in maintaining the structural unity of Echoes of Silence. Because this concert hall has absorbed so much wonderful music from so many great performances, we can imagine even the smallest corner of the hall filling its silence with echoes.

SKU: B7.B103

8.5x11 inches.

Inspired by the visual variations that Pablo Picasso painted in 1957 on Velasquez' 1656 masterpiece commonly known as Las Meninas. Several different musical styles are employed during this Theme and 21 Variations in a manner analogous to the stylistic changes Picasso effected from one painting to the next.

SKU: BR.EB-8996

Adolf Busch is primarily considered one of the most important German violinists of the 20th century. Equally successful as a soloist and chamber musician, he founded the world famous Busch Quartet. The fact, that he was also an extremely prolific a. Sonata; Late-romantic; Early modern. Score. 56 pages. Breitkopf and Haertel #EB 8996. Published by Breitkopf and Haertel (BR.EB-8996).

ISBN 9790004187333. 9 x 12 inches.

Up to today Adolf Busch's compositions have had only a marginal place in the world literature canon, though they have recently been rediscovered, newly published and recorded. His chief works consist of chamber music, lieder, and orchestral pieces, but he also wrote a quantity of interesting piano music (about enough to fill a CD) showing various stylistic characteristics. His sonata Op. 25, the most extensive masterpiece in this genre, has now been made available in the present edition, suitable for both professional performers and advanced amateur pianists. Breitkopf are to be congratulated for mining the vaults to bring us such lesser-known gems from the archives of the German romantic tradition. Busch's 'Sonata' reveals itself to be as enjoyable as it is formidable. (www.pianodao.com)

Adolf Busch is primarily considered one of the most important German violinists of the 20th century. Equally successful as a soloist and chamber musician, he founded the world famous Busch Quartet. The fact, that he was also an extremely prolific and accomplished composer besides being a virtuoso is relatively little known.

SKU: BR.OB-5562-15

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.

Have. Mass; Classical. Part. 20 pages. Duration 52'. Breitkopf and Haertel #OB 5562-15. Published by Breitkopf and Haertel (BR.OB-5562-15).

ISBN 9790004342282. 10 x 12.5 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).