SKU: BR.KM-2432
ISBN 9790004502020. 10 x 15 inches.
In den alten Kulturen war das, was wir heute ,,Musik und ,,Dichtung nennen, eine Einheit. Denken wir nur an die lotrijgn<' [musike] der Griechen, oder an Beschreibungen, die wir in den klassischen chinesischen Schriften finden. Aber naturlich: Kulturgeschichte ist ein Differenzierungsprozess, und so finden wir zur Zeit unserer europaischen Klassiker den Vorstoss der Musik zu ihrer ,,Autonomie - ihrer offiziellen Scheidung von dem Metier der Dichter. (Noch 1739 hatte Mattheson in seinem Vollkommenen Capellmeister von jedem Musiker ,,Gewandtheit in der Dicht-Kunst und genaueste Kenntnis der Verslehre verlangt.)Seit dieser Scheidung sind nun die Musiker sehr eifrig damit beschaftigt, eine autonome Grammatik und Syntax der ,,Tonkunst, wie die Musik jetzt genannt wird, zu entwickeln, wahrend in der Dichtung - besonders naturlich in der experimentellen, von Jean Paul und Mallarme bis zu Joyce und Celan - gerade das ,,Musikalische in der Poesie gesucht wird. Hierunter ist oft der Wunsch verborgen, die Verhartung, welche die Wortsprache durch ihre begriffliche Fixierung - extrem in der Wissenschaft! - erfahrt, wieder aufzuheben und sie in einen ,,musikalischen Zustand von Unbestimmtheit, von Offenheit zuruck zu versetzen.Oberflachlich betrachtet entwickeln sich die beiden Kunste in der Moderne also auseinander; eine Beruhrung zwischen ihnen wird immer schwieriger. Zu gross die Gefahr, dass die muhsam errungene Autonomie der einen wieder der Ubermacht der andern geopfert wird! Entweder wird die Musik, wenn sie schwach ist, zu blosser Illustration und Stimmungskulisse; oder sie verschlingt in ihrer klanglichen und zeitlichen Ausformung den eigenen Klang und Rhythmus der Dichtung.Manche Musiker haben in den letzten Jahrzehnten dieses Problem noch verinnerlicht und eine Art Bilderverbot auch innerhalb der Musik aufgestellt: Gestik, Expressivitat, Assoziationsfahigkeit der musikalischen Strukturen wurden unterdruckt. Ich halte das fur ein neurotisches Verhalten und ausserdem fur irrefuhrend. Es gibt schon seit jeher auch eine musikalische Semantik - das vergessen manche vor lauter Syntax und Grammatik; und es ist kein Grund einzusehen, warum in der Situation der Autonomie nicht musikalische und sprachliche Semantik in eine neue Art von Verhaltnis treten konnten. In der Bach-Kantate, im Schubert-Lied, in der Wagnerischen Leitmotivik waren das 1:1-Losungen; aber schon Wagner hat gezeigt, dass man diese Identitat auch dialektisch aufsprengen kann.Und wie erst in der Vielsprachigkeit der heutigen Moderne! In meiner Oper Stephen Climax habe ich den Hauptpersonen des Ulysses von James Joyce bestimmte - historisch ortbare - Musiksprachen zugeteilt (welche jeweils wieder bestimmte intervallische und rhythmische Struktureigenschaften zeigen, welche ihrerseits wieder seriell oder statistisch geordnet sind - es geht bis ins kleinste Detail ganz ,,autonom zu!!); der Kosmos unserer europaischen Musikgeschichte wird sowohl dem Kosmos der Joyceschen Figuren (ihrerseits ,,geschichtstrachtig!) wie auch dem aktuellen musikalischen Bewusstsein zugeordnet, aber eben oft auch uber Kreuz, paradox, mehrschichtig, mehrdeutig ... Die Tatsache, dass diese spezifische Moglichkeit einer neuartigen Einheit von Sprache und Musik von den berufenen Musikologen noch kaum bemerkt worden ist, zeigt nicht nur deren Langsamkeit, sondern auch die Dominanz des ,,bildlosen Denkens in der - jetzt abgelaufenen - Phase der Neuen Musik.In meinen Holderlin lesen-Stucken ging es mir darum, Wege zu finden, die gewaltigen Sprachstrukturen Holderlins so in die zeitliche Form der Musik zu integrieren, dass sie Funktionen der musikalischen Form ubernehmen, ohne in ihrer Eigenkraft (sowohl akustisch wie auch im Sinne expressiver ,,Deutung) im geringsten geschmalert zu werden. Das hiess zunachst: Sprechen, nicht singen! - Aber das wurde nur bedeuten, dass es nicht um die Musikalisierung von Text geht; ebenso wichtig ist es, dass es auch nicht um melodramatisch ,,erzahlende Musik geht. Sondern: Zwei autonome Kunste durchdringen sich auf diaphane Weise, ohne sich zu uberformen oder auszuloschen; es handelt sich um einen Dialog, nicht um eine Vereinnahmung durch Hierarchisierung.Ein weiteres Thema, das in der musikalischen Diskussion der letzten Jahrzehnte zu kurz gekommen ist und deswegen jetzt neu am Horizont erscheint, ist die Rhetorik. Inwieweit kann musikalische Form nicht nur logisch bzw. syntaktisch, sondern auch rhetorisch verstanden werden? Rhetorik und Satztechnik z.B. hangen zusammen. Ich kann diese Problematik (die ich in meinem vierteiligen, abendfullenden Shir Hashirim ,,auskomponiert habe) hier nur andeuten.Musik steht zwischen Zahl und Wort; sie hat an beidem teil. So konnte sie das Zentrum der ,,Sieben Freien Kunste in alten Zeiten bilden ... (Heinrich Schutz sagte, dass sie zu diesen - also zu den mathematisch-astronomischen und den literarischen Kunsten - wie die ,,Sonne zu den Planeten sich verhalte.) Mir scheint, dass wir die Komposition seit 50 Jahren zu einseitig nur von der Zahl her definieren; sie hat geschichtlich ebenso viel mit Sprachstruktur zu tun. Wir konnen Neuland gewinnen, wenn wir als heutige Musiker dies neu durchdenken.Es handelt sich hier um meinen dritten Versuch einer Annaherung an das Problem einer ,,Verzeitlichung der Holderlinschen Texte d.h. einer Moglichkeit, diese Texte in einer Performance darzustellen: da die Musik das eigentliche Element der zeitlichen Darstellung ist, werden die Holderlinschen Worte mit Tonen konfrontiert.Im Fall von denn wiederkommen geht es um neun Zeilen aus Holderlins Patmos-Hymne. Je eine solche Zeile wird einem Formabschnitt der Musik zugeordnet (das Stuck ist also, wie meine Lo-Shu-Stucke, neunteilig). Die betreffende Zeile erklingt nicht nur einmal, sondern wird, in der gleichen Weise wie auch das musikalische Material, nach einem chaotischen Repetitionsprinzip mehrfach wiederholt.Auffallig ist ferner, dass fur jeden der neun Teile ein von einem der vier Quartettspieler festgehaltener ,,Grundton gewahlt wurde; durch diese orgelpunktartige Wirkung wird jeder der neun Teile zusammengehalten, und der Horer kann die langsame Bewegung der Grossform im unmittelbaren Horprozess mitvollziehen.Die neun Satze von Holderlin lauten:1. Furchtlos gehen die Sohne der Alpen uber den Abgrund weg auf leicht gebaueten Brucken...2. Sie horen ihn und liebend tont es wieder von den Klagen des Manns...3. Im goldenen Rauche bluhte schnell aufgewachsen mit Schritten der Sonne, mit tausend Gipfeln duftend, mir Asia auf, und geblendet...4. Gegangen mit dem Sohne des Hochsten, unzertrennlich, denn es liebte der Gewittertragende die Einfalt des Jungers...5. Wenn aber stirbt alsdenn, an dem am meisten die Schonheit hing...6. Eingetrieben war wie Feuer in Eisen das, und ihnen ging zur Seite der Schatten des Lieben. Drum sandt er ihnen den Geist und freilich bebte das Haus und die Wetter Gottes rollten ferndonnernd...7. Uber die Berge zu gehn allein, wo zwiefach erkannt, war einstimmig und gegenwartig der Geist...8. Und hier ist der Stab des Gesanges, niederwinkend, denn nichts ist gemein. Die Toten wecket er auf...9. Denn wiederkommen sollt es, zu rechter Zeit. Nicht war es gut gewesen, spater, und schroff abbrechend...(Hans Zender)CD:Salome Kammer (voice), Arditti String QuartetCD Montaigne MO 782094Bibliography:Nyffeler, Max: Fluchtpunkt Patmos. Hans Zenders Komposition ,,Denn wiederkommen. Holderlin lesen III, in: Neue Zeitschrift fur Musik 180 (2019), Heft 1, S. 44-47.ders.: Lesen, Schreiben, Horen. Zum Verhaltnis von Musik und Sprache bei Hans Zender, dargestellt an der Komposition ,,,denn wiederkommen`. Holderlin lesen III, in: ,,Ein Zeichen sind wir, deutungslos. Holderlin lesen, Ikkyu Sojun horen, Musik denken, hrsg. von Violetta L. Waibel, Gottingen: Wallstein 2020, S. 299-329Waibel, Violetta L.: Holderlin Lesen, Ikkyu Sojun Horen, Musik Denken, in: Festivalkatalog Wien Modern 29 (2016), Essays, pp. 196-198.Zenck, Martin: Holderlin lesen - seiner ,,Stimme zuhoren. Holderlin-Lekturen von Klaus Michael Gruber, Hans Zender und Bruno Ganz, in: Neue Zeitschrift fur Musik 172 (2011), Heft 6, pp. 25-29.Zender, Hans: Zu meinem Zyklus ,,Holderlin lesen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, pp. 26-40.World premiere: Museum Island Hombroich, May 31, 1992.
SKU: PR.11441123S
UPC: 680160016303. 8.5 x 11 inches.
The Quintet for Piano and String Quartet was written for the American String Quartet in the summer of 2000. It is in one movement but has two distinct parts. The first is a slow movement characterized by dotted rhythms. It is a fantasy with some long flowing lines interrupted by short fragments usually in the piano. After a rather agitated section in 6/8 time, this section comes to a quiet close on a G-sharp major chord. The second section of this thirteen-minute work is marked Fast and Energetic. It begins with chords that recur throughout the movement and after two measures a long main theme is introduced which is developed and altered during the rest of the fast portion of the work. One could call this second part a sort of rondo form since this long lyrical theme returns always after contrasts. When it does return, it is treated often by means of imitation, but at the climax returns played in unison by the strings while the piano renders an energetic sixteenth note background. The work ends on an E-flat major chord though the piece is certainly not in any one key, but rather features quick modulations. One might call this non-tonal music which nevertheless always feels like it has a tonal center. --Samuel Adler.
SKU: PR.114410380
UPC: 680160015160. 9.5 x 13 inches.
My second String Quartet was written twenty years after the first, Opus 4 from 1978. The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond. I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so. The Second Quartet is in four movements: Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement. An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work. While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work's intended emotional impact. The quartet is pervaded by a sense of seriousness, even mournfulness. The second movement's scherzo is an aggressively animated piece of musical machinery. The third movement's Variations unfold into a greater variety of moods than the others - but the moments of lyricism are countered by aggressive or ironic outbursts. The final movement's attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major. The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.My second String Quartet was written twenty years after the first, Opus 4 from 1978. The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond. I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so.The Second Quartet is in four movements: Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement.An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work. While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work’s intended emotional impact. The quartet is pervaded by a sense of seriousness, even mournfulness. The second movement’s scherzo is an aggressively animated piece of musical machinery. The third movement’s Variations unfold into a greater variety of moods than the others – but the moments of lyricism are countered by aggressive or ironic outbursts. The final movement’s attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major.The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.
SKU: CF.BE10F
ISBN 9780825891175. UPC: 798408091170. 8.5 x 11 inches. Key: G major.
Commissioned by the Princeton-Columbia Electronic Music Center for Speculum Musicae in 1981. The first movement, In Preparation, is a study in tuning and intonation and is based on the open strings in perfectly tuned fifths, with the violins D string tuned 294 hertz. The first moments of the piece provide opportunity to tune to the tape part. (This tuning probably differs imperceptibly from a tempered tuning since the E string of the violin is only 1/33 of a semitone sharper then in a tempered system and the C strings of the viola and cello 1/33 of a semitone flatter.) Most subsequent pitches in the movement are either the open strings or major and minor thirds above and below the open strings. The minor thirds will be slightly sharp with respect to equal tempered tuning about 15 cents or 1/6 of a semitone and the major thirds will be slightly flat about 14 cents, or one seventh of a semitone. Listen to the tape part as a guide. All harmonics in this movement are to be played as natural harmonics and open strings are to be used whenever possible. In the second movement, At a Distance, the tape part largely doubles selected pitches in the string parts and should be thought of as a backdrop rather then counterpart. In this and the remaining movements equal tempered tuning is used though it will probably not be necessary to retune the instruments for this reason alone. The third movement, In Practice, is a study in modes of performance particularly with respect to rhythmic rigidity and flexibility. While the tape part may seem to bend and sway a great deal, the string parts are to be played with as much rhythmic precision as possible. At many points it may be necessary to delay or anticipate beats in order to coincide with the arrival of beats in the tape part, though in general the quarter equals 120 is accurate. In the fourth movement, In Distinction, different kinds of musical conceptions are counter-pointed and counter-posed. Here the beat is quite accurate although the notation of the synthetic saxophone part is only approximate. All the tape parts are based on computer reprocessed violin except for parts of the fourth movement in which synthetic saxophone is used. The tape part was synthesized on the IBM 3033 and 3081 computers at Princeton University and converted at the Winham Laboratory. The violin source was performed by Cyrus Stevens.Commissioned by the Princeton-Columbia Electronic Music Center for Speculum Musicae in 1981. The first movement, In Preparation, is a study in tuning and intonation and is based on the open strings in perfectly tuned fifths, with the violinas D string tuned 294 hertz. The first moments of the piece provide opportunity to tune to the tape part. (This tuning probably differs imperceptibly from a tempered tuning since the E string of the violin is only 1/33 of a semitone sharper then in a tempered system and the C strings of the viola and acello 1/33 of a semitone flatter.) Most subsequent pitches in the movement are either the open strings or major and minor thirds above and below the open strings. The minor thirds will be slightly sharp with respect to equal tempered tuning about 15 cents or 1/6 of a semitone and the major thirds will be slightly flat about 14 cents, or one seventh of a semitone. Listen to the tape part as a guide. All harmonics in this movement are to be played as natural harmonics and open strings are to be used whenever possible. In the second movement, At a Distance, the tape part largely doubles selected pitches in the string parts and should be thought of as a backdrop rather then counterpart. In this and the remaining movements equal tempered tuning is used though it will probably not be necessary to retune the instruments for this reason alone. The third movement, In Practice, is a study in modes of performance particularly with respect to rhythmic rigidity and flexibility. While the tape part may seem to bend and sway a great deal, the string parts are to be played with as much rhythmic precision as possible. At many points it may be necessary to delay or anticipate beats in order to coincide with the arrival of beats in the tape part, though in general the quarter equals 120 is accurate. In the fourth movement, In Distinction, different kinds of musical conceptions are counter-pointed and counter-posed. Here the beat is quite accurate although the notation of the synthetic saxophone part is only approximate. All the tape parts are based on computer reprocessed violin except for parts of the fourth movement in which synthetic saxophone is used. The tape part was synthesized on the IBM 3033 and 3081 computers at Princeton University and converted at the Winham Laboratory. The violin source was performed by Cyrus Stevens.Commissioned by the Princeton-Columbia Electronic Music Center for Speculum Musicae in 1981. The first movement, In Preparation, is a study in tuning and intonation and is based on the open strings in perfectly tuned fifths, with the violin's D string tuned 294 hertz. The first moments of the piece provide opportunity to tune to the tape part. (This tuning probably differs imperceptibly from a tempered tuning since the E string of the violin is only 1/33 of a semitone sharper then in a tempered system and the C strings of the viola and 'cello 1/33 of a semitone flatter.) Most subsequent pitches in the movement are either the open strings or major and minor thirds above and below the open strings. The minor thirds will be slightly sharp with respect to equal tempered tuning about 15 cents or 1/6 of a semitone and the major thirds will be slightly flat about 14 cents, or one seventh of a semitone. Listen to the tape part as a guide. All harmonics in this movement are to be played as natural harmonics and open strings are to be used whenever possible. In the second movement, At a Distance, the tape part largely doubles selected pitches in the string parts and should be thought of as a backdrop rather then counterpart. In this and the remaining movements equal tempered tuning is used though it will probably not be necessary to retune the instruments for this reason alone. The third movement, In Practice, is a study in modes of performance particularly with respect to rhythmic rigidity and flexibility. While the tape part may seem to bend and sway a great deal, the string parts are to be played with as much rhythmic precision as possible. At many points it may be necessary to delay or anticipate beats in order to coincide with the arrival of beats in the tape part, though in general the quarter equals 120 is accurate. In the fourth movement, In Distinction, different kinds of musical conceptions are counter-pointed and counter-posed. Here the beat is quite accurate although the notation of the synthetic saxophone part is only approximate. All the tape parts are based on computer reprocessed violin except for parts of the fourth movement in which synthetic saxophone is used. The tape part was synthesized on the IBM 3033 and 3081 computers at Princeton University and converted at the Winham Laboratory. The violin source was performed by Cyrus Stevens.Commissioned by the Princeton-Columbia Electronic Music Center for SpeculumMusicae in 1981.The first movement, In Preparation, is a study in tuning and intonation and isbased on the open strings in perfectly tuned fifths, with the violin’s D stringtuned 294 hertz. The first moments of the piece provide opportunity to tuneto the tape part. (This tuning probably differs imperceptibly from a temperedtuning since the E string of the violin is only 1/33 of a semitone sharper then ina tempered system and the C strings of the viola and ‘cello 1/33 of a semitoneflatter.) Most subsequent pitches in the movement are either the open stringsor major and minor thirds above and below the open strings. The minor thirdswill be slightly sharp with respect to equal tempered tuning about 15 cents or1/6 of a semitone and the major thirds will be slightly flat about 14 cents, or oneseventh of a semitone. Listen to the tape part as a guide. All harmonics in thismovement are to be played as natural harmonics and open strings are to be usedwhenever possible.In the second movement, At a Distance, the tape part largely doubles selectedpitches in the string parts and should be thought of as a backdrop rather thencounterpart. In this and the remaining movements equal tempered tuning is usedthough it will probably not be necessary to retune the instruments for this reasonalone.The third movement, In Practice, is a study in modes of performance particularlywith respect to rhythmic rigidity and flexibility. While the tape part may seemto bend and sway a great deal, the string parts are to be played with as muchrhythmic precision as possible. At many points it may be necessary to delay oranticipate beats in order to coincide with the arrival of beats in the tape part,though in general the quarter equals 120 is accurate.In the fourth movement, In Distinction, different kinds of musical conceptions arecounter-pointed and counter-posed. Here the beat is quite accurate although thenotation of the synthetic saxophone part is only approximate.All the tape parts are based on computer reprocessed violin except for parts ofthe fourth movement in which synthetic saxophone is used. The tape part wassynthesized on the IBM 3033 and 3081 computers at Princeton University andconverted at the Winham Laboratory. The violin source was performed by CyrusStevens.
SKU: KU.GM-1911
ISBN 9790206202384. 9 x 12 inches.
Monumentum, Music for String Sextet, was written in 2014 to a commission from the Moritzburg Festival, The Chamber Music Society of Lincoln Center New York and the Kathe Kollwitz House in Moritzburg. It is dedicated to the cellist Jan Vogler. The world premiere took place on 19 August 2014 at the Moritzburg Festival, performed by Timothy Chooi & Mira Wang (violins), Roberto Diaz & Hartmut Rohde (violas), Jan Vogler & Harriet Krijgh (cellos). The American premiere took place on 7 May 2015 in the Lincoln Center with the Amphion String Quartet, the violist Yura Lee and the cellist Jan Vogler.The String Sextet Momentum commemorates the outbreak of the First World War, the death of Peter Kollwitz – who died as a volunteer, aged just 18, in the early weeks of the war – and the manner in which his mother, the artist Kathe Kollwitz, mourned the loss of her son. The artist worked through her pain by creating her most famous sculpture, The Mourning Parents. It stands today at the German soldiers’ cemetery at Vladslo in western Flanders, where her son Peter also lies buried. During the 18 years that she worked on the Parents, Kathe Kollwitz attended several concerts at the Volksbuhne in Berlin, where from January to February 1927 she heard Arthur Schnabel’s cycle of all the Beethoven piano sonatas. Schnabel performed the Sonata op. 111 in c minor on 26 February 1927, and this work touched her in particular, as we can read in her diary: “The strange flickering notes turned into flames – a moment of rapture, taking one into a different sphere, and the heavens opened almost as in the Ninth (Symphony). Then one found one’s way back – but it was a return after having been assured that there is a heaven. These notes are serene – confident – and good. Thank you, Schnabel!” This encounter with Beethoven’s last sonata inspired the artist to take up work again on her sculpture after a long interruption and to consider different possibilities for arranging the two figures. For this reason, the first minutes ofMomentum are derived from this sonata by Beethoven – though without it being quoted in an audible manner – and they leave their mark on the form of the Sextet. The number 18 and the date of Peter Kollwitz’s death (23 October 1914) also have a direct impact on the work’s dramaturgy. This music is mostly calm in nature, but is time and again interrupted unexpectedly, being disturbed by unruly sounds and vehement eruptions until time itself seems to dissolve in an aleatoric passage. The work ends with an extended lament on “seed corn should not be ground”, a line from Goethe’s Wilhelm Meister’s Journeyman Years. Kathe Kollwitz often quoted this phrase to argue for peace, and also took it as the title for a lithograph that she made in 1942. - David Philip Hefti
SKU: PR.11641373S
UPC: 680160680344.
The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.
SKU: PR.11641373L
UPC: 680160680337.
SKU: CF.BF118
ISBN 9781491149812. UPC: 680160907311. 9 x 12 inches.
Continuing on the success of the popular Compatible series,Compatible Duets for Strings, Volume II contains 29 duets in avariety of styles (classical, folk music, new original pieces) thatcan be played with any combination of two string instruments.Students can develop their chamber ensemble skills whileplaying with their friends, no matter what string instrumentthey play. Ranging from grade levels 2–3, Compatible Duetsfor Strings, Volume II is perfect for orchestra directors to buyfor use in the classroom, and its flexibility makes it a musthavefor any string player.Having students play in small chamber music groups is a very beneficial exercise to improvethe student’s overall musicianship. The simplest form of chamber music is the duet. It is anopportunity for the student to play with a teacher or to play with another student of similarabilities. Aspects of playing such as tone quality, intonation, technique and ensemble skillscan be developed during the process of studying duets.These duets are different in that they have many different performance options since all ofthe books in this series are compatible. As former long time music educators we alwayshad student that wanted to come to the music room during lunch or after school and theyjust wanted to play with their friends. That was not possible since there is very little duetmaterial available that is compatible with all of the string instruments. This book and thefirst volume in the series takes care of that. A student can now grab their friend no matterwhat instrument they play and have hours of fun playing duets together. Most importantthey will learn something in the process.The duets have been generally placed in the book in order of difficulty and cover a rangeof keys that are appropriate for this ability level. Special care was given to making surethat both of the duet parts were on a similar ability level and that each line was givenan opportunity to play a lead role at some point during the arrangement. Also, most ofthe musical markings are attached to both systems and the point size of the music wasconsidered for ease of reading.It is our hope that this collection will help to stimulate and enhance the musicianship of theperformers. It was a pleasure for me to have the opportunity to put together this collection.We hope it is a useful tool for you for years to come.
SKU: CF.BF115
ISBN 9781491150993. UPC: 680160908493. 9x12 inches.
Johann Sebastian Bach’s (1685—1750) SixSonatas and Partitas have captivated violinistsfor centuries. Rachel Barton Pine—havingspent decades studying the music of Bach,his contemporaries, and his predecessors—now offers this unparalleled edition completewith detailed historical notes, performancesuggestions, and downloadable study materialsincluding a new Urtext edition and a speciallyprepared manuscript. Pine’s interpretationis informed by thorough historical study, which has been polished byyears of performance insight, but also encourages those studying Bach’srepertoire to craft their own unique interpretation of these timelessmasterpieces. This edition closely follows Pine’s critically acclaimed 2016recording “Testament: Complete Sonatas and Partitas for Solo Violin byJ.S. Bach†(Avie 2360) making it an invaluable resource for any student,teacher, or performer enthralled with J.S. Bach’s long standing legacy.Ms. Pine holds the distinction of being the only American and youngestperson to win the gold medal at the J.S. Bach International ViolinCompetition in Leipzig, Germany, 1992.here is no one right way to play Bach. More thanalmost any repertoire, each individual’s interpretation isas unique as their personality. Though I have spent decadesstudying Bach’s music as well as that of his contemporariesand predecessors, my final rationale for artisticdecisions is often taste and instinct. Every violinist whoundertakes a lifetime’s journey with this incredible repertoireis continually discovering new ideas. Thus, theopinions on the following pages may evolve over time.However, everything in the sheet music closely follows my2016 recording “Testament: Complete Sonatas and Partitasfor Solo Violin by J.S. Bach†(Avie 2360), which I trulyfeel represents the culmination of my exploration intothese extraordinary works.In choosing to present this edition, my hope is thatyou will find useful solutions to challenges of fingering,bowing, and polyphony, and helpful information aboutphrasing. I have also included additional dynamic suggestionswith the hope that trying these ideas will help inspireyou to discover your own. All of these markings aredesigned to work with a baroque violin and baroque bow,a modern violin and baroque bow, or a modern violinand modern bow. While the information in this editionis unusually dense, there is much that I did not include,such as lifts, breaths, articulations, whether to play on oroff the string, metronome markings, details of timing,and emphases other than hemiolas.I offer this book to you in the spirit of Bach: “SoliDeo Gloria.â€.
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