SKU: SU.47000010

2222; 2000; stgs Duration: 4' Composed: 1993 Published by: Ben Rena Music.

SKU: HL.14020631

SKU: HL.14019846

SKU: KN.60810S

UPC: 822795608106.

Dedicated to Ned Corman, director of The Commission Project, this tenor saxophone feature pulls from the tradition of great blues tenor players like Stanley Turrentine and Gene Ammons. Listening to recordings of these players will give your soloist an idea of the personality and conviction that will guarantee a winning performance. Contrasting dynamics and solid ensemble writing are also hallmarks of this hard-swinging shuffle original for developing groups. Each set includes a guitar chord chart by Jim Greeson. Duration 4:30.

SKU: PR.141400980

ISBN 9781491112953. UPC: 680160671229. 9 x 12 inches. Text: Stanley Moss. Stanley Moss, Ubuntu.

The opening of Stanley Moss’s poem unfurls the spirit captured in Zwilich’s musical setting for Bass Voice, Djembe (African drum), and Piano: “I salute a word, I stand up and give it my chair, because this one Zulu word, ubuntu, holds what English takes seven to say: ‘the essential dignity of every human being.’ I give my hand to ubuntu —” Zwilich’s six-minute work proudly declaims Moss’s message, using a djembe to add African-inspired color and punctuation to the musical whole.

SKU: UT.APS-9

ISBN 9788881095001. 6.5 x 9.5 inches.

Saggi di Robert Abels, Fabian Brinkmann, Bernd Edelmann, Thomas Emmerig, Vincent Grau, Hartmuth Kinzler, Michael Klaper, Beate Angelika Kraus, Heinz von Loesch, Albrecht von Massow, Gerhard Poppe, Michael Raab, Wilhelm Seidel, Bernhold Schmid, Christian Speck, Glenn Stanley, Andreas Traub, Reinhard Wiesend


Musical composition is always related to the work's realisation in sound. A written form is required in order to give shape to the compositional intention. Consequently it is text, the musical text, which mediates between the act of composition and the performance. The object of the musical edition is to prepare the text so that the will of the composer is presented to the musicians in a way that allows the composition to become realised musically. The edition thus inevitably establishes a conflict between divergent orientations, such as between science and practice, preservation and actualization, as well as textual criticism and hermeneutics. Because his editorial decisions are fundamentally interpretive the editor must know and understand the historical and hermeneutical problems of his subject, especially when it comes to determining what stage of the work is to be presented. The editing of music is not always restricted to mediation; it may also represent a translation.
The present collection of essays -- all but one, in German -- is a Festschrift for Petra Weber's 60th birthday. It combines contributions on music and music editing by Robert Abels, Fabian Brinkmann, Bernd Edelmann, Thomas Emmerig, Vincent Grau, Hartmuth Kinzler, Michael Klaper, Beate Angelika Kraus, Heinz von Loesch, Albrecht von Massow, Gerhard Poppe, Michael Raab, Bernhold Schmid, Wilhelm Seidel, Glenn Stanley, Andreas Traub, and Reinhard Wiesend. Among the composers treated, Ludwig van Beethoven will occupy a prominent place. Special consideration will also given to Didier Lupi, Francesco Cavalli, Johann Sebastian Bach, Johann Adolf Hasse, Franz Schubert, Giovanni Simone Mayr, Ferruccio Busoni, Carl Orff, and Sandor Veress.