| Boosey and Hawkes Opera Anthology - Baritone/Bass Baritone voice, Piano Boosey and Hawkes
Composed by Various. Edited by Richard Walters. Boosey and Hawkes Voice. Opera...(+)
Composed by Various. Edited
by Richard Walters. Boosey and
Hawkes Voice. Opera.
Softcover. 258 pages.
Published by Boosey and Hawkes
$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| tellement froid que Carus Verlag
Bass Flute, Electronics, Scene SKU: CA.1631000 (georgiques I), fur bas...(+)
Bass Flute, Electronics, Scene SKU: CA.1631000 (georgiques I), fur bass flute and live electronics. Composed by Walter Feldmann. This edition: Paperbound. (r)TELLEMENT FROID QUE- (GEORGIQUES I). Full score. Composed 1995-96. 66 pages. Duration 20 minutes. Carus Verlag #CV 16.310/00. Published by Carus Verlag (CA.1631000). ISBN 9790007242800. Language: all languages. 1989. Stay in Aix-en-Provence, France, doing a language course. Reading, discussing and analyzing Les Georgiques; this pursuit is going to be the foundation of the multiple intellectual and literary levels of my composing. 2. THE WOODEN PLATFORM IS COVERED WITH FINE WHITE SAND (OR SALT), THE TWO SHELVES WITH BLACK CLOTH ... At the time I work on my first serious piece, still a far cry from the under-standing of writing music I have today. << tellement froid que >> (georgiques I) for bass flute, electronics and scene (1995-96), sections 1-7. << comme si le froid >> (georgiques II) for baritone saxophone, timpani and piano (1998), sections 18-24. << n'etait le froid >> (georgiques III) for orchestra (2000-2002), sections not yet decided. 3. THE INTERPRETER WILL BE DRESSED IN BLACK AND WHITE, MAINLY WHITE IF BLUISH LIGHT IS AT HAND ... The enormously rich vocabulary and the accuracy of expression - in temporal, spatial and material terms - is particularly impressive. To comprehend all of it, a reading on three different levels is called for: a first reading of one passage, then the acquisition of unknown vocabulary; thirdly a repeated - knowing - reading, which points out the utopia of precise expression: The text is treated in a rather problematic (cold: le froid?) manner: it's not the semantic content that is primarily dominant, but rather the outward appearance, the mise en page and the syntactic structure. 4. THE INTERPRETER ENTERS THE STAGE WITH ALL THE FLUTES (S)HE WILL PLAY DURING THE CONCERT AND DEPOSITS THEM - EXCEPT FOR THE BASS FLUTE - ON SHELF B; IF (S)HE ONLY PLAYS THIS PIECE, (S)HE SHOULD PUT THE PROGRAMME OF THE CONCERT THERE; IN ANY CASE THE INSTRUCTIONS IN BAR 195 MUST BE FOLLOWED ... In concrete terms the 10 centimetres of a line in the minuit edition correspond to 10 seconds of musical structure (which is three times as slow as the average reading speed). Only seven years later is the term / expression casse ferique changed into casse ferrique, and thus its secret is revealed, which almost becomes - due to its unreadability - the key to the planned musical cycle. The text is measured from section to section (big format: each section is marked with a continuous, ,,cold chord by the bass flute, played on tape recorder), from full stop to full stop (new entry of keynote material), from comma to comma (tripling of continuous resonances) etc. 5. DURING THE PERFORMANCE UP TO BAR 195, THE INTERPRETER WILL TRY - IN A KIND OF THEATRICAL ADAPTATION - TO EXPRESS HIS/HER OWN FEELING OF IRREPRESSIBLY GROWING FRUSTRATION; FROM BAR 195 ONWARDS (S)HE WILL DEFINITELY HAVE PUT UP WITH THE BASS FLUTE ... Brackets in the text bring about a reduction of sound (the differentiating micro tones are no longer used), the syntactical progression to subordinate clauses of the remotest degree has its immediate effect on dynamics (degree of volume). Then: the perception of a logical and yet erratic syntax, vastly progressive layers of subordinate clauses and brackets (lowering tone of voice?), a polyphony of ,,memoire, which leads to a maelstrom of attention, a tonally centric / concentrated (main material?) and progressive (subordinate and brackets-material?) reading, listening and proceeding. The different levels are constantly in touch - transferring the sensuous moment of scenes of bodily encounter (Tryptique) that are evoked again and again - in perpetual excitement of text and imagination, memory and remembering sensitivity. 6. THE BODY MOVEMENTS AND FIXATION (FIGE) , BOTH CLEARLY PERCEPTIBLE, WILL EVOKE AND SUPPORT THE SAME EMOTIONS ... The basic moods of the text will be reflected in the relationship (which is very important here) of the interpreter to the music; (s)he is somehow at the mercy of given (and not always transparent) structures on the one hand and the complexity of musical sensations on the other, which has to be defeated inspite of exhaustion. It's not only here that semantic agreement (besides the materialistic structure) of music and text can be felt: On top of that there's the existential helplessness in view of the mercilessly flowing polyphony of levels and events -- as a mirror of this there are the remembered scenes of the Flemish cold in the second chapter (Les Georgiques). The interpreters are confronted with unusual directions which correspond to the adjectives in the respective passages of the text: anachronique, engourdi, glace et acre, monotone et desert etc. The possibilities of interpretation are amplified, the ability to perceive and personal reaction is opened. The impression of this inexorability is multiplied in the extremest way by the fact that the particular layers can be found in Simon's complete works. It's a continuous work of art in which each novel turns into a chapter of a complex, cyclic whole; its title denoting only one main strand, as it were. A personal comment is made also as regards the clearly defined stage; the mise en scene points out the extra-musical elements and the correlation between text, human being and music. 7. THE INTERPRETER IS ASKED TO MOVE FREELY WITHIN A DEFINED SPOT WITHOUT LOOKING ARTIFICIAL; SOUNDS CAUSED BY THE FEET MOVING ON THE SAND ARE WELCOME DURING THE WHOLE PIECE ... And here the idea of a cycle is born, an attempt to transfer these nuances of memorized structures, this clarity and coldness, to transform the text into musical material. Walter Feldmann. $45.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Pression Double Bass Breitkopf & Härtel
Double bass solo SKU: BR.EB-9268 Revised Version 2010. Composed by...(+)
Double bass solo SKU: BR.EB-9268 Revised Version 2010. Composed by Helmut Lachenmann. Arranged by Caleb Salgado. Solo instruments; Folder. Edition Breitkopf. Music post-1945; New music (post-2000). Score. Composed 1969/2010. 26 pages. Duration 9'. Breitkopf and Haertel #EB 9268. Published by Breitkopf and Haertel (BR.EB-9268). ISBN 9790004185681. 12 x 9 inches. This piece originated as an introduction to instrumental musique-concrete. In this sort of piece it is common for sound phenomena to be so refined and organised that they are not so much the results of musical experiences as of their own acoustic attributes. Timbres, dynamics and so on arise not of their own volition but as components of a concrete situation characterised by texture, consistency, energy, resistance.This does not come from within but from a liberated compositional technique. At the same time it implies that our customary sharply-honed auditory habit is thwarted. The result is aesthetic provocation: beauty denying habit.(Helmut Lachenmann),,Cette nouvelle edition est une invitation faite aux violoncellistes qui souhaiteraient redecouvrir leur instrument et la maniere de la faire sonner en realisant dessus un nouveau genre de polyphonie: une polyphonie d'actions. (Francois-Xavier Feron, Circuit, Heft 25, Juni 2015)CDs/LPs:Michael Bach CD cpo 999 102-2 Lucas Fels CD Montaigne Auvidis MO 782075 Walter Grimmer CD col legno WWE 31863 Taco Kooistra CD Attacca Babel 9369-1 Pierre Strauch CD Accord 202082 Michael Bach LP ABE ERZ 1003 Werner Taube LP ABE ERZ 1003ensemble phorminxCD WER 6682 2Michael M. KasperCD Michael M. Kasper rounds per minute, Ensemble Modern Medien, EMCD-006Michael Svoboda (trombone)CD Wittener Tage fur neue Kammermusik 2011Bibliography:Deltz, Eberhard: begegnung im grenzbereich. Zwei Werke von Helmut Lachenmann und Hideaki Yamanobe im Spiegel eines Haiku von Matsuo Basho, in: Neue Zeitschrift fur Musik 167 (2006), Heft 1, pp. 36-41.Feron, Francois-Xavier: Enjeux et evolution du systeme de notation dans ,,Pression pour un(e) violoncelliste de Helmut Lachenmann, in: Circuit, Heft 25, 2015, pp. 55-65.GoGwilt, Keir: Templates for Technique in Mantel and Lachenmann. Between Transcendence and Immanence, in: The Dark Precursor: Deleuze and Artistic Research. Band I: The Dark Precursor in Sound and Writing, hrsg. von Paulo de Assis und Paolo Giudici, Leuven: Leuven University Press 2017, pp. 105-113.Griffiths, Paul: ModernMusic and After, 3rd edition, Oxford University Press 2010, pp. 216-219.Handschick, Matthias: Musik als ,,Medium der sich selbst erfahrenden Wahrnehmung. Moglichkeiten der Vermittlung Neuer Musik unter dem Aspekt der Auflosung und Reflexion von Gestalthaftigkeit (= Schriften der Hochschule fur Musik Freiburg 3), Hildesheim u. a.: Olms 2015, dort pp. 161-167.Hiekel, Jorn Peter: Helmut Lachenmann und seine Zeit, Laaber: Laaber 2023, S. 169-172, 231-232.Jahn, Hans-Peter: simultan eine Erinnerung, in: Neue Zeitschrift fur Musik 167 (2006), Heft 1, pp. 12-15.Lessing, Wolfgang: Musizieren als Prozess. Zur didaktischen Dimension von Helmut Lachenmanns Pression, in: Musik inszeniert. Prasentation und Vermittlung zeitgenossischer Musik heute, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 46), Mainz u. a.: Schott 2006, pp. 73-83.ders.: Verweigerung von Gewohnheit. Instrumentaldidaktische Annaherungen an Pression von Helmut Lachenmann, in: Darstellen und Mitteilen. Ein Handbuch der musikalischen Interpretation, hrsg. von Ursula Brandstatter, Martin Losert, Christoph Richter und Andrea Welte, Mainz: Schott 2010, pp. 111-122.ders.: Interpretation, Verstehen und Vermittlung, in: Ans Licht gebracht. Zur Interpretation Neuer Musik, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 53), Mainz u. a.: Schott 2013, pp. 24-39.Mosch, Ulrich: Das Unberuhrte beruhren Anmerkungen zur Interpretation von Helmut Lachenmanns Werken Pression und Allegro sostenuto, in: Musik inszeniert. Prasentation und Vermittlung zeitgenossischer Musik heute, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 46), Mainz u. a.: Schott 2006, pp. 25-46.Musik als Bildkritik Gesprach zwischen Gottfried Boehm, Helmut Lachenmann und Matteo Nanni, in: Helmut Lachenmann: Musik mit Bildern? Hrsg. von Matteo Nanni und Matthias Schmidt (= eikones, hrsg. von Nationalen Forschungsschwerpunkt Bildkritik an der Universitat Basel), Munchen: Wilhelm Fink 2012, pp. 237-269.Neuwirth, Markus: Strukturell vermittelte Magie. Kognitionswissenschaftliche Annaherungen an Helmut Lachenmanns Pression und Allegro sostenuto, in: Musik als Wahrnehmungskunst. Untersuchungen zu Kompositionsmethodik und Horasthetik bei Helmut Lachenmann, hrsg. von Christian Utz und Clemens Gadenstatter (= musik.theorien der gegenwart 2), Saarbrucken: Pfau 2008, pp. 73-100.Orning, Tanja: The Polyphonic Performer. A Study of Performance Practice in Music for Cello Solo by Morton Feldman, Helmut Lachenmann, Klaus K. Hubler and Simon Steen-Andersen, Diss. Oslo 2014, Oslo: NMH-publikasjoner (mit DVD).Sparrer, Walter-Wolfgang: Wider den geolten Gleichlauf. Von der Notwendigkeit strukturierender Verfahrensweisen bei der Interpretation von Musik. Modell I: Kompositionen fur Violoncello solo von J. S. Bach, Isang Yun und Helmut Lachenmann, in: Musikalische Produktion und Interpretation, hrsg. von Otto Kolleritsch, Wien/Graz 2003 (= Studien zur Wertungsforschung, Band 43), pp. 75-100.Utz, Christian: Erinnerte Gestalt und gebannter Augenblick. Zur Analyse und Interpretation post-tonaler Musik als Wahrnehmungspraxis Klangorganisation und Zeiterfahrung bei Morton Feldman, Helmut Lachenmann und Brian Ferneyhough, in: Ans Licht gebracht. Zur Interpretation Neuer Musik, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 53), Mainz u. a.: Schott 2013, pp. 40-67.
World premiere: Como (Autunno musicale), September 30, 1970. $49.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Quintet in 3 Movements, Op. 26 Brass Quintet: 2 trumpets, horn, trombone, tuba [Parts] Wiltshire Music/Cor Publishing Co.
Composed by A. Simon. Arranged by Walter Sear. For brass quintet. Parts. Publish...(+)
Composed by A. Simon. Arranged by Walter Sear. For brass quintet. Parts. Published by Wiltshire Music/Cor Publishing Co.
$10.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Herr, unser Herrscher for two four part Choirs, five part Instrumental Accompaniment ad lib and Basso continuo SWV 27 Barenreiter
Organ, basso continuo SKU: BA.BA02399-67 Psalm 8. Composed by Hein...(+)
Organ, basso continuo SKU: BA.BA02399-67 Psalm 8. Composed by Heinrich Schutz. Edited by Walter Simon Huber. This edition: urtext edition. Stapled. Aus Psalmen Davids. Single part. SWV 27. Baerenreiter Verlag #BA02399_67. Published by Baerenreiter Verlag (BA.BA02399-67). ISBN 9790006420803. 27 x 19 cm inches. $6.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Historia der Auferstehung Jesu Christi SWV 50 Barenreiter
Soprano first voice, soprano second voice (1. Soprano (Choral voice), 2. Soprano...(+)
Soprano first voice, soprano second voice (1. Soprano (Choral voice), 2. Soprano (Choral voice)) SKU: BA.BA00242-96 Oster-Oratorium. Composed by Heinrich Schutz. Edited by Walter Simon Huber. This edition: urtext edition. Stapled. Single part. SWV 50. 3 pages. Baerenreiter Verlag #BA00242_96. Published by Baerenreiter Verlag (BA.BA00242-96). ISBN 9790006400959. 27 x 19 cm inches. $5.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Historia der Auferstehung Jesu Christi SWV 50 Barenreiter
Tenor Voice 1, Tenor Voice 2 (1. Tenor (Choral voice), 2. Tenor (Choral voice)) ...(+)
Tenor Voice 1, Tenor Voice 2 (1. Tenor (Choral voice), 2. Tenor (Choral voice)) SKU: BA.BA00242-98 Oster-Oratorium. Composed by Heinrich Schutz. Edited by Walter Simon Huber. This edition: urtext edition. Stapled. Single part. SWV 50. 4 pages. Baerenreiter Verlag #BA00242_98. Published by Baerenreiter Verlag (BA.BA00242-98). ISBN 9790006400973. 27 x 19 cm inches. $5.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Herr, unser Herrscher for two four part Choirs, five part Instrumental Accompaniment ad lib and Basso continuo SWV 27 Choral, Orchestra Barenreiter
Choir, Orchestra (2. Favoritchor / soloists' choir (SATB)) SKU: BA.BA02399-92...(+)
Choir, Orchestra (2. Favoritchor / soloists' choir (SATB)) SKU: BA.BA02399-92 Psalm 8. Composed by Heinrich Schutz. Edited by Walter Simon Huber. This edition: urtext edition. Stapled. Aus Psalmen Davids. Choral score. SWV 27. 6 pages. Baerenreiter Verlag #BA02399_92. Published by Baerenreiter Verlag (BA.BA02399-92). ISBN 9790006420889. 27 x 19 cm inches. About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
$6.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Streichquartett Nr. 11 String Quartet: 2 violins, viola, cello Doblinger
String quartet SKU: DB.36-00126 Composed by Walter Kaufmann. Edited by Si...(+)
String quartet SKU: DB.36-00126 Composed by Walter Kaufmann. Edited by Simon Wynberg. Strings Chamber Music. Score and parts. Doblinger Music Publishers #36-00126. Published by Doblinger Music Publishers (DB.36-00126). ISBN 9790012208594. $41.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Improvisation Vol. 2 Amadeus Verlag
SKU: M7.BP-2145 13 Beiträge. Edited by Walter Fahndrich. This e...(+)
SKU: M7.BP-2145 13 Beiträge. Edited by Walter Fahndrich. This edition: Paperback/Softcover. Book. 205 pages. Amadeus Verlag #BP 2145. Published by Amadeus Verlag (M7.BP-2145). ISBN 9783905049626. Mit Originalbeiträgen von Peter Widmer, Christian Kaden, Dorothea Baumann, Eero Tarasti, Bert Noglik, Kjell Keller, Stasa Bader, Ernst Lichtenhahn, Arthur Simon, Kenneth Zuckerman, Joachim Latacz, Konrad Volk. $27.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| 14 Preludes and Fugues Organ Schott
Organ SKU: HL.49004478 Organ. Composed by Johann Caspar Simon. Edi...(+)
Organ SKU: HL.49004478 Organ. Composed by Johann Caspar Simon. Edited by Rudolf Walter. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. 32 pages. Schott Music #ED3877. Published by Schott Music (HL.49004478). ISBN 9790001046558. UPC: 073999867671. 12.0x8.75x0.428 inches. $21.99 - See more - Buy online | | |
| Herr, unser Herrscher for two four part Choirs, five part Instrumental Accompaniment ad lib and Basso continuo SWV 27 Barenreiter
First violin, first trumpet (1. Violin, 1. Trumpet) SKU: BA.BA02399-74 (+)
First violin, first trumpet (1. Violin, 1. Trumpet) SKU: BA.BA02399-74 Psalm 8. Composed by Heinrich Schutz. Edited by Walter Simon Huber. This edition: urtext edition. Stapled. Aus Psalmen Davids. Single part. SWV 27. Baerenreiter Verlag #BA02399_74. Published by Baerenreiter Verlag (BA.BA02399-74). ISBN 9790006420810. 27 x 19 cm inches. $6.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Herr, unser Herrscher' fur zwei vierstimmige Chore, funfstimmige Instrumental-Capella ad lib. und Basso continuo SWV 27 [Choral score] Barenreiter
(Capell-Chor (vokal)). By Heinrich Schutz (1585-1672). Edited by Walter Simon Hu...(+)
(Capell-Chor (vokal)). By Heinrich Schutz (1585-1672). Edited by Walter Simon Huber. For SSATB choir (2 Mixed Choirs: SATB/Orchestra). This edition: Stapled, Urtext edition. Stapled. Psalm no. 8 from Psalmen Davids . Choral score. SWV 27. Published by Ba Choral score
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| Historia der Auferstehung Jesu Christi SWV 50 Barenreiter
2 violas da gamba, viola (Viola da gambas (2), Viola) SKU: BA.BA00242-88 ...(+)
2 violas da gamba, viola (Viola da gambas (2), Viola) SKU: BA.BA00242-88 Oster-Oratorium. Composed by Heinrich Schutz. Edited by Walter Simon Huber. This edition: urtext edition. Stapled. Single part. SWV 50. Baerenreiter Verlag #BA00242_88. Published by Baerenreiter Verlag (BA.BA00242-88). ISBN 9790006400942. 27 x 19 cm inches. $8.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Historia der Auferstehung Jesu Christi SWV 50 Barenreiter
3 viola da gamba-S, V (Soprano viola da gambas (3), Violin) SKU: BA.BA00242-8...(+)
3 viola da gamba-S, V (Soprano viola da gambas (3), Violin) SKU: BA.BA00242-87 Oster-Oratorium. Composed by Heinrich Schutz. Edited by Walter Simon Huber. This edition: urtext edition. Stapled. Single part. SWV 50. Baerenreiter Verlag #BA00242_87. Published by Baerenreiter Verlag (BA.BA00242-87). ISBN 9790006400935. 27 x 19 cm inches. $8.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Herr, unser Herrscher for two four part Choirs, five part Instrumental Accompaniment ad lib and Basso continuo SWV 27 Barenreiter
Cello, third trombone (Violoncello, 3. Trombone) SKU: BA.BA02399-82 Ps...(+)
Cello, third trombone (Violoncello, 3. Trombone) SKU: BA.BA02399-82 Psalm 8. Composed by Heinrich Schutz. Edited by Walter Simon Huber. This edition: urtext edition. Stapled. Aus Psalmen Davids. Single part. SWV 27. Baerenreiter Verlag #BA02399_82. Published by Baerenreiter Verlag (BA.BA02399-82). ISBN 9790006420858. 27 x 19 cm inches. $6.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| monstrueuse vecut dans le cadre Carus Verlag
Orchestra Viola solo, large ensemble in 6 groups: 1) Contrabass clarinet/Bass Cl...(+)
Orchestra Viola solo, large ensemble in 6 groups: 1) Contrabass clarinet/Bass Clarinet; 2) 2 Horns; 3) English Horn, Bassoon, Bassoon/Contrabassoon; 4) Oboe/English Horn, Violin, Cello, Contrabass; 5) 2 Trumpets, 2 Trombones, Tuba; 6) Clarinet/Bass Clarinet, Harp, SKU: CA.1632607 La memoire, fur viola solo and und big ensemble. Composed by Walter Feldmann. (r)MONSTRUEUSE VECUT DANS LE CADRE-. Study score. Composed 2002-2004. 74 pages. Duration 23 minutes. Carus Verlag #CV 16.326/07. Published by Carus Verlag (CA.1632607). ISBN 9790007108120. Language: all languages. Commissioned by the Ensemble Intercontemporain In 1989 I first discovered the writings of Anne-Marie Albiach. H II lineaires especially impressed me, on the one hand through the sensual presence of the words, and on the other hand, above all, through the spatial disposition of the typography. This is a form of writing which has nothing to do with all that has existed before it. This impression was the starting point for a creative work which has since become a kind of a project to which I will dedicate myself throughout my life. Since that time of my first discovery (in which hundreds of pages of sketches and a published excerpt of a score of a syntagma have been composed, namely << monstrueuse vecut dans le cadre >> la memoire) I have attempted to develop a new musical system that encompasses all the parameters of composition. All of these works which I have composed are independent from this enormous project, but at the same time they form the experimental laboratory for the all-encompassing musical system towards which I am working and developing: a new system of determining pitches, metre, dynamics, musical diction, manner of performance, etc. With << monstrueuse vecut dans le cadre >> la memoire it appears that the research for this project has been concluded. After the two large cycles << Les Georgiques >> on texts from Claude Simon and << Tristram Shandy >> from Laurence Sterne, both employing techniques from my work with Albiach's texts, I could finally compose this work, which was originally conceived for voice and 6 instrumental groups - the system was mastered, so to speak. Anne-Marie Albiach's establishes the genetic code for the piece, without the words having to be spoken.. Her text is, in the true sense of the word, measured from one syntagma (syntactical element), from one void (space) to another, and this results in temporal structures of ensemble texture. This is opposed to another texture, which is the temporal measurement of a recitation of the text by the author: her voice, using the range of her voice, is the viola solo - a recitation, in its unique individuality, on which the cold, typographical structure of the ensemble superimposed. Every time I read a text of Anne-Marie Albiach, it seems to me that she is saying that which I do. An extremely rare coincidence, like that with the violist Odile Auboin, the soloist, who I think works in the same manner and has the same approach to things. Score available separately - see item CA.1632600. $71.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Jauchzet dem Herren, alle Welt SWV 36 - Easy Barenreiter
2 Mixed choir-SATB (Mixed choirs (SATB) (2)) - Level 2 SKU: BA.BA00480 Co...(+)
2 Mixed choir-SATB (Mixed choirs (SATB) (2)) - Level 2 SKU: BA.BA00480 Composed by Heinrich Schutz. Edited by Walter Simon Huber. Stapled. Psalm no. 100. Choral score. SWV 36. 11 pages. Duration 9 minutes. Baerenreiter Verlag #BA00480_00. Published by Baerenreiter Verlag (BA.BA00480). ISBN 9790006402748. 27 x 19 cm inches. $8.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Herr, unser Herrscher for two four part Choirs, five part Instrumental Accompaniment ad lib and Basso continuo SWV 27 Barenreiter
Cello, double bass, basso continuo (Violoncello, Double bass, Basso continuo) (+)
Cello, double bass, basso continuo (Violoncello, Double bass, Basso continuo) SKU: BA.BA02399-86 Psalm 8. Composed by Heinrich Schutz. Edited by Walter Simon Huber. This edition: urtext edition. Stapled. Aus Psalmen Davids. Single part. SWV 27. Baerenreiter Verlag #BA02399_86. Published by Baerenreiter Verlag (BA.BA02399-86). ISBN 9790006420865. 27 x 19 cm inches. $6.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Historia der Auferstehung Jesu Christi SWV 50 Barenreiter
Alto first voice, alto second voice (1. Alto (Choral voice), 2. Alto (Choral voi...(+)
Alto first voice, alto second voice (1. Alto (Choral voice), 2. Alto (Choral voice)) SKU: BA.BA00242-97 Oster-Oratorium. Composed by Heinrich Schutz. Edited by Walter Simon Huber. This edition: urtext edition. Stapled. Single part. SWV 50. 3 pages. Baerenreiter Verlag #BA00242_97. Published by Baerenreiter Verlag (BA.BA00242-97). ISBN 9790006400966. 27 x 19 cm inches. $5.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Herr, unser Herrscher for two four part Choirs, five part Instrumental Accompaniment ad lib and Basso continuo SWV 27 Barenreiter
Third violin, first trombone (3. Violin, 1. Trombone) SKU: BA.BA02399-76 ...(+)
Third violin, first trombone (3. Violin, 1. Trombone) SKU: BA.BA02399-76 Psalm 8. Composed by Heinrich Schutz. Edited by Walter Simon Huber. This edition: urtext edition. Stapled. Aus Psalmen Davids. Single part. SWV 27. Baerenreiter Verlag #BA02399_76. Published by Baerenreiter Verlag (BA.BA02399-76). ISBN 9790006420834. 27 x 19 cm inches. $6.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Herr, unser Herrscher for two four part Choirs, five part Instrumental Accompaniment ad lib and Basso continuo SWV 27 Barenreiter
Viola, second trombone (Viola, 2. Trombone) SKU: BA.BA02399-79 Psalm 8...(+)
Viola, second trombone (Viola, 2. Trombone) SKU: BA.BA02399-79 Psalm 8. Composed by Heinrich Schutz. Edited by Walter Simon Huber. This edition: urtext edition. Stapled. Aus Psalmen Davids. Single part. SWV 27. Baerenreiter Verlag #BA02399_79. Published by Baerenreiter Verlag (BA.BA02399-79). ISBN 9790006420841. 29 x 21 cm inches. $6.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Historia der Auferstehung Jesu Christi Voice Barenreiter
(Oster-Oratorium). By Heinrich Schutz (1585-1672). Edited by Walter Simon Huber....(+)
(Oster-Oratorium). By Heinrich Schutz (1585-1672). Edited by Walter Simon Huber. For Bass (Choir Voice). Single Part; Urtext Edition. SWV 50
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| Herr, unser Herrscher for two four part Choirs, five part Instrumental Accompaniment ad lib and Basso continuo SWV 27 Barenreiter
Choir, Orchestra (1. Favoritchor / soloists' choir (SATB)) SKU: BA.BA02399-93...(+)
Choir, Orchestra (1. Favoritchor / soloists' choir (SATB)) SKU: BA.BA02399-93 Psalm 8. Composed by Heinrich Schutz. Edited by Walter Simon Huber. This edition: urtext edition. Stapled. Aus Psalmen Davids. Choral score. SWV 27. 8 pages. Baerenreiter Verlag #BA02399_93. Published by Baerenreiter Verlag (BA.BA02399-93). ISBN 9790006420896. 27 x 19 cm inches. About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
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