Arranged by Michael Story. For Opt. Baritone T.C. (Tuba Double). Marching Band Collection. Big and Easy. Pop. Level: 2 (Easy). Book. 16 pages. Published by Alfred Publishing.

Arranged by Michael Story. For Xylophone. Marching Band Collection. Big and Easy. Pop. Level: 2 (Easy). Book. 16 pages. Published by Alfred Publishing.

Arranged by Michael Story. For Tuba. Marching Band Collection. Big and Easy. Pop. Level: 2 (Easy). Book. 16 pages. Published by Alfred Publishing.

Arranged by Michael Story. For Opt. Tonal Bass Drums (4 Pitch). Marching Band Collection. Big and Easy. Pop. Level: 2 (Easy). Book. 16 pages. Published by Alfred Publishing.

Arranged by Michael Story. For Horn in B-Flat. Marching Band Collection. Big and Easy. Pop. Level: 2 (Easy). Book. 16 pages. Published by Alfred Publishing.

Arranged by Michael Story. For Quad-Toms. Marching Band Collection. Big and Easy. Pop. Level: 2 (Easy). Book. 16 pages. Published by Alfred Publishing.

Arranged by Michael Story. For Conductor. Marching Band Collection. Big and Easy. Pop. Level: 2 (Easy). Book. 132 pages. Published by Alfred Publishing.

Arranged by Michael Story. For Opt. B-Flat Clarinet. Marching Band Collection. Big and Easy. Pop. Level: 2 (Easy). Book. 16 pages. Published by Alfred Publishing.

Arranged by Michael Story. For Cymbals. Marching Band Collection. Big and Easy. Pop. Level: 2 (Easy). Book. 16 pages. Published by Alfred Publishing.

By Michael Burkhardt. For keyboard, optional Orff Instruments or handbells (Unison Treble Voices, 2-part Equal Voices, 2-part Mixed Voices, 2-part Women's Voices, 3-part Women's Voices, SSAA choir, 3-part Men's Voices, TTBB choir, 3-part Treble Voices, Four-Part Treble Voices, or SATB). Choral Music. Choral. Spiritual. Easy to Medium. Choral Score. Published by MorningStar Music Publishers

Arranged by Michael Story. For E-Flat Baritone Saxophone. Marching Band Collection. Big and Easy. Pop. Level: 2 (Easy). Book. 16 pages. Published by Alfred Publishing.

Arranged by Michael Story. For B-Flat Tenor Saxophone, Baritone T.C. Marching Band Collection. Big and Easy. Pop. Level: 2 (Easy). Book. 16 pages. Published by Alfred Publishing.

Arranged by Michael Story. For 1st B-Flat Trumpet. Marching Band Collection. Big and Easy. Pop. Level: 2 (Easy). Book. 16 pages. Published by Alfred Publishing.

Arranged by Michael Story. For Trombone. Marching Band Collection. Big and Easy. Pop. Level: 2 (Easy). Book. 16 pages. Published by Alfred Publishing.

Arranged by Michael Story. For 2nd B-Flat Trumpet. Marching Band Collection. Big and Easy. Pop. Level: 2 (Easy). Book. 16 pages. Published by Alfred Publishing.

Arranged by Michael Brown. Discovery Plus. Size 9x12 inches. Published by Hal Leonard

Arranged by Michael Story. For Bass Drum / Tenor Drum. Marching Band Collection. Big and Easy. Pop. Level: 2 (Easy). Book. 16 pages. Published by Alfred Publishing.

SATB vocal soli, SATB choir, 2 oboes, 2 c trumpets, timpani, 2 violins and organ

SKU: CA.5453005

Composed by Michael Haydn. Edited by Armin Kircher. This edition: urtext. Stuttgart Urtext Edition: Johann Michael Haydn. Missa In Hon. Sti Gotthardi Mh 530. Sacred vocal music, Masses, Latin. Choral Score. MH 530. 16 pages. Duration 40 minutes. Carus Verlag #CV 54.530/05. Published by Carus Verlag (CA.5453005).

ISBN 9790007130121. Language: Latin.

The names of Michael Haydn's masses are associated either with a specific commission or with the composition's dedicatee. Thus, Haydn composed the Missa in honorem Sti. Gotthardi, also known as the Admont Mass, for the Admont Abbey located in the region of Styria, Austria, where Gotthard Kuglmayr was the Abbot. The mass combines formal concentration with liturgical function. The songlike melody, the unity of the motivic material, and the balanced harmony of solemn and lyrical passages show how intensively Haydn concerned himself with the genre. Due to its length and its orchestration the mass can be considered a type of missa solemnis. Fugues and fugal movements are completely missing from the Missa Admontis as is any kind of contrapuntal (including imitative) composition. In so doing, Haydn assured that the required understanding of the liturgical text would be achieved. Score available separately - see item CA.5453000.

SATB vocal soli, SATB choir, 2 oboes, 2 c trumpets, timpani, 2 violins and organ

SKU: CA.5453049

Composed by Michael Haydn. Edited by Armin Kircher. This edition: urtext. Stuttgart Urtext Edition: Johann Michael Haydn. Missa In Hon. Sti Gotthardi Mh 530. Sacred vocal music, Masses, Latin. Single Part, Organ. Composed 1793. MH 530. 28 pages. Duration 40 minutes. Carus Verlag #CV 54.530/49. Published by Carus Verlag (CA.5453049).

ISBN 9790007226183. Language: Latin.

The names of Michael Haydn's masses are associated either with a specific commission or with the composition's dedicatee. Thus, Haydn composed the Missa in honorem Sti. Gotthardi, also known as the Admont Mass, for the Admont Abbey located in the region of Styria, Austria, where Gotthard Kuglmayr was the Abbot. The mass combines formal concentration with liturgical function. The songlike melody, the unity of the motivic material, and the balanced harmony of solemn and lyrical passages show how intensively Haydn concerned himself with the genre. Due to its length and its orchestration the mass can be considered a type of missa solemnis. Fugues and fugal movements are completely missing from the Missa Admontis as is any kind of contrapuntal (including imitative) composition. In so doing, Haydn assured that the required understanding of the liturgical text would be achieved. Score and part available separately - see item CA.5453000.

SATB vocal soli, SATB choir, 2 oboes, 2 c trumpets, timpani, 2 violins and organ

SKU: CA.5453013

Composed by Michael Haydn. Edited by Armin Kircher. This edition: urtext. Stuttgart Urtext Edition: Johann Michael Haydn. Missa In Hon. Sti Gotthardi Mh 530. Sacred vocal music, Masses, Latin. Single Part, Cello/Double Bass. MH 530. 16 pages. Duration 40 minutes. Carus Verlag #CV 54.530/13. Published by Carus Verlag (CA.5453013).

ISBN 9790007226176. Language: Latin.

The names of Michael Haydn's masses are associated either with a specific commission or with the composition's dedicatee. Thus, Haydn composed the Missa in honorem Sti. Gotthardi, also known as the Admont Mass, for the Admont Abbey located in the region of Styria, Austria, where Gotthard Kuglmayr was the Abbot. The mass combines formal concentration with liturgical function. The songlike melody, the unity of the motivic material, and the balanced harmony of solemn and lyrical passages show how intensively Haydn concerned himself with the genre. Due to its length and its orchestration the mass can be considered a type of missa solemnis. Fugues and fugal movements are completely missing from the Missa Admontis as is any kind of contrapuntal (including imitative) composition. In so doing, Haydn assured that the required understanding of the liturgical text would be achieved. Score and part available separately - see item CA.5453000.

SATB vocal soli, SATB choir, 2 oboes, 2 c trumpets, timpani, 2 violins and organ

SKU: CA.5453011

Composed by Michael Haydn. Edited by Armin Kircher. This edition: urtext. Stuttgart Urtext Edition: Johann Michael Haydn. Missa In Hon. Sti Gotthardi Mh 530. Sacred vocal music, Masses, Latin. Single Part, Violin 1. MH 530. 24 pages. Duration 40 minutes. Carus Verlag #CV 54.530/11. Published by Carus Verlag (CA.5453011).

ISBN 9790007226152. Language: Latin.

The names of Michael Haydn's masses are associated either with a specific commission or with the composition's dedicatee. Thus, Haydn composed the Missa in honorem Sti. Gotthardi, also known as the Admont Mass, for the Admont Abbey located in the region of Styria, Austria, where Gotthard Kuglmayr was the Abbot. The mass combines formal concentration with liturgical function. The songlike melody, the unity of the motivic material, and the balanced harmony of solemn and lyrical passages show how intensively Haydn concerned himself with the genre. Due to its length and its orchestration the mass can be considered a type of missa solemnis. Fugues and fugal movements are completely missing from the Missa Admontis as is any kind of contrapuntal (including imitative) composition. In so doing, Haydn assured that the required understanding of the liturgical text would be achieved. Score and part available separately - see item CA.5453000.

SATB vocal soli, SATB choir, 2 oboes, 2 c trumpets, timpani, 2 violins and organ

SKU: CA.5453009

Composed by Michael Haydn. Edited by Armin Kircher. This edition: urtext. 1x 54.530/21 oboe 1, 1x 54.530/22 oboe 2, 1x 54.530/31 clarino 1, 1x 54.530/32 clarino 2, 1x 54.530/41 timpani. Stuttgart Urtext Edition: Johann Michael Haydn. Missa In Hon. Sti Gotthardi Mh 530. Sacred vocal music, Masses, Latin. Set of Orchestra Parts. MH 530. 60 pages. Duration 40 minutes. Carus Verlag #CV 54.530/09. Published by Carus Verlag (CA.5453009).

ISBN 9790007226145. Language: Latin.

The names of Michael Haydn's masses are associated either with a specific commission or with the composition's dedicatee. Thus, Haydn composed the Missa in honorem Sti. Gotthardi, also known as the Admont Mass, for the Admont Abbey located in the region of Styria, Austria, where Gotthard Kuglmayr was the Abbot. The mass combines formal concentration with liturgical function. The songlike melody, the unity of the motivic material, and the balanced harmony of solemn and lyrical passages show how intensively Haydn concerned himself with the genre. Due to its length and its orchestration the mass can be considered a type of missa solemnis. Fugues and fugal movements are completely missing from the Missa Admontis as is any kind of contrapuntal (including imitative) composition. In so doing, Haydn assured that the required understanding of the liturgical text would be achieved. Score and parts available separately - see item CA.5453000.

SATB vocal soli, SATB choir, 2 oboes, 2 c trumpets, timpani, 2 violins and organ

SKU: CA.5453003

Composed by Michael Haydn. Edited by Armin Kircher. This edition: urtext. Stuttgart Urtext Edition: Johann Michael Haydn. Missa In Hon. Sti Gotthardi Mh 530. Sacred vocal music, Masses, Latin. Vocal score. MH 530. 72 pages. Duration 40 minutes. Carus Verlag #CV 54.530/03. Published by Carus Verlag (CA.5453003).

ISBN 9790007094348. Language: Latin.

The names of Michael Haydn's masses are associated either with a specific commission or with the composition's dedicatee. Thus, Haydn composed the Missa in honorem Sti. Gotthardi, also known as the Admont Mass, for the Admont Abbey located in the region of Styria, Austria, where Gotthard Kuglmayr was the Abbot. The mass combines formal concentration with liturgical function. The songlike melody, the unity of the motivic material, and the balanced harmony of solemn and lyrical passages show how intensively Haydn concerned himself with the genre. Due to its length and its orchestration the mass can be considered a type of missa solemnis. Fugues and fugal movements are completely missing from the Missa Admontis as is any kind of contrapuntal (including imitative) composition. In so doing, Haydn assured that the required understanding of the liturgical text would be achieved. Score available separately - see item CA.5453000.

SATB vocal soli, SATB choir, 2 oboes, 2 c trumpets, timpani, 2 violins and organ

SKU: CA.5453012

Composed by Michael Haydn. Edited by Armin Kircher. This edition: urtext. Stuttgart Urtext Edition: Johann Michael Haydn. Missa In Hon. Sti Gotthardi Mh 530. Sacred vocal music, Masses, Latin. Single Part, Violin 2. MH 530. 24 pages. Duration 40 minutes. Carus Verlag #CV 54.530/12. Published by Carus Verlag (CA.5453012).

ISBN 9790007226169. Language: Latin.

The names of Michael Haydn's masses are associated either with a specific commission or with the composition's dedicatee. Thus, Haydn composed the Missa in honorem Sti. Gotthardi, also known as the Admont Mass, for the Admont Abbey located in the region of Styria, Austria, where Gotthard Kuglmayr was the Abbot. The mass combines formal concentration with liturgical function. The songlike melody, the unity of the motivic material, and the balanced harmony of solemn and lyrical passages show how intensively Haydn concerned himself with the genre. Due to its length and its orchestration the mass can be considered a type of missa solemnis. Fugues and fugal movements are completely missing from the Missa Admontis as is any kind of contrapuntal (including imitative) composition. In so doing, Haydn assured that the required understanding of the liturgical text would be achieved. Score and part available separately - see item CA.5453000.

SATB vocal soli, SATB choir, 2 oboes, 2 c trumpets, timpani, 2 violins and organ

SKU: CA.5453019

Composed by Michael Haydn. Edited by Armin Kircher. This edition: urtext. Stuttgart Urtext Edition: Johann Michael Haydn. Missa In Hon. Sti Gotthardi Mh 530. Sacred vocal music, Masses, Latin. Set of Orchestra Parts. MH 530. Duration 40 minutes. Carus Verlag #CV 54.530/19. Published by Carus Verlag (CA.5453019).

ISBN 9790007145378. Language: Latin.

The names of Michael Haydn's masses are associated either with a specific commission or with the composition's dedicatee. Thus, Haydn composed the Missa in honorem Sti. Gotthardi, also known as the Admont Mass, for the Admont Abbey located in the region of Styria, Austria, where Gotthard Kuglmayr was the Abbot. The mass combines formal concentration with liturgical function. The songlike melody, the unity of the motivic material, and the balanced harmony of solemn and lyrical passages show how intensively Haydn concerned himself with the genre. Due to its length and its orchestration the mass can be considered a type of missa solemnis. Fugues and fugal movements are completely missing from the Missa Admontis as is any kind of contrapuntal (including imitative) composition. In so doing, Haydn assured that the required understanding of the liturgical text would be achieved. Score and parts available separately - see item CA.5453000.

DVD. Dvd. DVD (Digital Video Disc). Size 5.3x7.5 inches. Published by Hudson Music.

String Quartet (fem vce - str quar - electronics (tape) and projection of lyrics ad lib.)

SKU: BR.KM-2483-07

Holderlin lesen IV. Composed by Hans Zender. Chamber music; stapled. Kammermusik-Bibliothek (Chamber Music Library). Music post-1945; New music (post-2000). Study Score. Composed 2000. 56 pages. Duration 40'. Breitkopf and Haertel #KM 2483-07. Published by Breitkopf and Haertel (BR.KM-2483-07).

ISBN 9790004502587. 9 x 12 inches.

Friedrich HolderlinMnemosyne Ein Zeichen sind wir, deutungslos,Schmerzlos sind wir und haben fastDie Sprache in der Fremde verloren.Wenn namlich uber MenschenEin Streit ist an dem Himmel und gewaltigDie Monde gehn, so redetDas Meer auch und Strome mussenDen Pfad sich suchen. ZweifellosIst aber Einer, derKann taglich es andern. Kaum bedarf erGesetz. Und es tonet das Blatt und Eichbaume wehn dann nebenDen Firnen. Denn nicht vermogenDie Himmlischen alles. Namlich es reichenDie Sterblichen eh an den Abgrund. Also wendet es sich, das Echo,Mit diesen. Lang istDie Zeit, es ereignet sich aberDas Wahre. Wie aber Liebes? SonnenscheinAm Boden sehen wir und trockenen StaubUnd heimatlich die Schatten der Walder und es bluhetAn Dachern der Rauch, bei alter KroneDer Turme, friedsam; gut sind namlich,Hat gegenredend die SeeleEin Himmlisches verwundet, die Tageszeichen.Denn Schnee, wie MaienblumenDas Edelmutige, woEs seie, bedeutend, glanzet aufDer grunen WieseDer Alpen, halftig, da, vom Kreuze redend, dasGesetzt ist unterwegs einmalGestorbenen, auf hoher StrassEin Wandersmann geht zornigFern ahnend mitDem andern, aber was ist dies?Am Feigenbaum ist meinAchilles mir gestorben,Und Ajax liegtAn den Grotten der See,An Bachen, benachbart dem Skamandros.An Schlafen Sausen einst, nachDer unbewegten Salamis steterGewohnheit, in der Fremd, ist grossAjax gestorben,Patroklos aber in des Koniges Harnisch. Und es starbenNoch andere viel. Am Kitharon aber lagEleuthera, der Mnemosyne Stadt. Der auch, alsAblegte den Mantel Gott, das Abendliche nachher losteDie Locken. Himmlische namlich sindUnwillig, wenn einer nicht die Seele schonend sichZusammengenommen, aber er muss doch; demGleich fehlet die TrauerIn 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.Sind wir uns selbst zu einem ,,Zeichen...deutungslos geworden, wie es Holderlins Anfangszeilen sagen, so erscheinen auch die Zeichen, die wir selber setzen, sich immer mehr einer Deutbarkeit zu entziehen. Mein Stuck, das den vollstandigen Text von Holderlins Mnemosyne integriert, stellt auf seine Weise die Frage nach dem ,,Zeichen. ,,Was ist dies? Klang? Wort? Schrift? Wie sind die Grenzen, die Ubergange, die gegenseitigen Beeinflussungen der einzelnen Zeichenregionen? Was liegt ihnen zugrunde? Worte und musikalische Zeichen bewegen sich im Medium der Zeit; Schriftzeichen erscheinen zunachst als Verraumlichung, aber man muss daran erinnern, dass der Vorgang des Schreibens - wie er in der ostasiatischen Kalligraphie zu hochster Kunst entwickelt wurde - auch zeitlichen Charakter hat. Mnemosyne - die Kraft des Sich-Erinnerns - schafft die Zeichen, indem sie Gestalten durch Wiederholung fixiert und so aus dem endlosen Fluss der wahrgenommenen Vorgange herauslost. Die so entstehende artikulierte Zeit schafft wiederum durch das Wechselspiel von fixierten und sich bewegenden Gestalten das Bewusstsein fur differenzierte Formablaufe. Der Formverlauf meines Stuckes zeichnet solche genetischen Prozesse nach. Der Horer wird schnell merken, dass die Wortzeichen oft einer zuerst erscheinenden musikalischen Klangwelt entspringen (ich stimme Walter Benjamin zu, wenn er sagt, dass die Sprache in ihrer grundlegenden Schicht expressiven - und nicht darstellenden - Charakter hat). Die Schrift auf der Leinwand folgt zunachst den sprachlichen Aktionen der Stimme, erhalt dann aber auch eigene Teile der Form zugeteilt, in der sie sich als autonomes Zeichen darstellt. In der durch die drei Strophen Holderlins notwendigerweise dreiteiligen Gesamtform gibt es immer wieder Abschnitte, in denen entweder das musikalische Geschehen oder die Sprachzeichen des Gedichtes oder das Sich-Schreiben der Schrift im Vordergrund stehen; der Komponist versteht sich also hier auch als ,,Zusammensetzer der in unserer Wahrnehmung so verschieden besetzten Zeiten des Schreibens, Sprechens und Musikhorens. Es bilden sich im Verlauf des 40-minutigen Stuckes auch Grenzfalle, wie ,,stumme Musik oder total musikalisierte - ihrer Verstehbarkeit beraubte - Textrezitation. Auch das Singen von Text - in meinen bisherigen Holderlinstucken strikt vermieden - wird als ausserste Moglichkeit gegen Ende des formalen Prozesses zugelassen. An einigen Stellen zeigt die Musik sozusagen direkt auf sich selbst. Es sind Formzustande, die ich in meinem ,,Shir Hashirim als ,,Koan bezeichnet habe: ,,endlose Wiederholungen einer zeichenhaften Konstellation, bei jeder Wiederholung minimal verandert - so wie ein Kalligraph sein Schriftzeichen bei jedem Malvorgang unwillkurlich verandert und neu schafft. Steht im ersten Teil der Grossform der Aspekt des Abstrakten, des Unsinnlichen im Vordergrund, so wird im zweiten Teil Bildhaftigkeit als Eigenschaft nicht nur der Sprache, sondern auch der Musik betont: die Landschaft, halb schnee - halb blutenbedeckt, die der Wanderer ,,zornig durchstreift. Am Ende dieses Teils wird das Schriftbild selber zur Landschaft, die der Leser/Horer durchwandert. Er wird im dritten Teil durch einen Verwandlungsprozess zu den ekstatischen Ursprungen des holderlinschen Dichtens gefuhrt, und damit zur explizit musikalischen Ebene: Die Totenklage um Hektor und Ajax wird zum ,,dithyrambischen Tanz, wie es Holderlins Schlusszeile entwirft: ,,... darum fehlet die Trauer. Es bleibt noch nachzutragen, dass ich den in der Stuttgarter Ausgabe der Werke Holderlins in drei Versionen abgedruckten Text in einer Mischversion verwendet habe: die erste Strophe aus der 2. Fassung, die zweite mit Abweichungen und Widerspruchen aus allen drei Fassungen, und die dritte Strophe aus der 3. Fassung. (Hans Zender) CD:Salome Kammer (voice), Klangforum Wien, cond. Hans ZenderKairos 0012522KAIBibliography:Al lwardt, Ingrid: Nach-Lese. Holderlins Gesang im Resonanzraum der Musik Hans Zenders, in: Hans Zender. Vielstimmig in sich, hrsg. von Werner Grunzweig, Jorn Peter Hiekel und Anouk Jeschke (= Archive zur Musik des 20. und 21. Jahrhunderts, Band 12), Hofheim: Wolke 2008, pp. 43-60.Fuhrmann, Wolfgang: Zender lesen. Die Frage nach dem Zeichen in ,,Mnemosyne, in: ,,Ein Zeichen sind wir, deutungslos. Holderlin lesen, Ikkyu Sojun horen, Musik denken, hrsg. von Violetta L. Waibel, Gottingen: Wallstein 2020, S. 194-211Pragungen im Pluralismus. Hans Zender im Gesprach mit Jorn Peter Hiekel, in: Orientierungen. Wege im Pluralismus der Gegenwartsmusik, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 47), Mainz u. a.: Schott 2007, pp. 130-137.Mosch, Ulrich: Ultrachromatik und Mikrotonalitat. Hans Zenders Grundlegung einer neuen Harmonik, in: Hans Zender. Vielstimmig in sich, hrsg. von Werner Grunzweig, Jorn Peter Hiekel und Anouk Jeschke (= Archive zur Musik des 20. und 21. Jahrhunderts, Band 12), Hofheim: Wolke 2008, pp. 61-76.Schmidt, Dorte: Erfahrung und Erinnerung. Kompositorisches Material zwischen Klang und Bedeutung in der Kammermusik des spaten 20. Jahrhunderts, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, pp. 41-58.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: Witten (Wittener Tage fur neue Kammermusik), May 4, 2001.