By Michael Proksch. For Piano, 4-hands. This edition: Piano, 4-hands. Edition Br...(+)
By Michael Proksch. For
Piano, 4-hands. This
edition: Piano, 4-hands.
Edition Breitkopf.
Attached. 48 pages.
Published by Breitkopf
and Haertel (German
import).
Solo voices, mixed choir, orchestra Urtext based on the new Complete Edition. ...(+)
Solo voices, mixed choir,
orchestra
Urtext based on the new
Complete Edition.
Composed by
Johannes Brahms
(1833-1897).
Edited by Michael
Musgrave
and Michael Struck.
Breitkopf
and Haertel #OB 16109-30.
Published by Breitkopf
and
Haertel
Pression Contre Basse [Conducteur] 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.
Kognitionswissenschaftlic
he 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.
Violin(s) solo SKU: BR.EB-8773 Materials for Violin Lessons. Compo...(+)
Violin(s) solo
SKU:
BR.EB-8773
Materials for Violin
Lessons. Composed by
Michael Dartsch. Solo
instruments; Softbound.
Edition Breitkopf.
With the Geigenkasten
through the intermediate
levelMichael Dartsch has
filled his third violin
case with 50 works from
five centuries for
advanced students.
Music pedagogy. Score.
188 pages. Breitkopf and
Haertel #EB 8773.
Published by Breitkopf
and Haertel (BR.EB-8773).
ISBN 9790004182918. 9
x 12 inches.
German.
The palette
ranges from Corelli to
Cage and Stockhausen,
from pieces with continuo
accompaniment to violin
parts from choral works,
and from solo capriccios
to single movements for
violin and piano.
Arrangements are also
included. The expansion
of the performance
technique in the realm of
virtuosity is in the
forefront and,
consequently, one or
several technical themes
are treated in every
piece. Intermediate level
playing never gets boring
with these pieces!
Dartsch has arranged many
continuo parts for a
second violin or viola,
and there is also a piano
part for all pieces with
piano accompaniment. Jazz
pieces are also among
them! As a special
challenge for inquisitive
students, there are
special research projects
in which they must solve
various tasks from the
fields of music history
and theory.
With
his Violin Case (Der
Geigenkasten), Michael
Dartsch offers an ideal
supplement to every
violin method and
teaching situation.
SKU: HL.49015392 Beitrage zu Leben und Werk. Composed by Heinrich ...(+)
SKU: HL.49015392
Beitrage zu Leben und
Werk. Composed by
Heinrich Poos. Edited by
Heinrich Poos. This
edition: Hardback/Hard
Cover. Book. Edition
Schott. Classical. 417
pages. Schott Music #ED
7903. Published by Schott
Music (HL.49015392).
ISBN 9783795718640.
German.
Vorwort -
P. Rummenholler: Er ist
der Vater, wir sind die
Buben - H.-G. Ottenberg:
Die Klaviersonaten Wq 55
im Verlage des Autors -
G. Wagner: Anmerkungen
zur historischen
Auffuhrungspraxis am
Beispiel von C.Ph.E.
Bachs Versuch - L.
Hoffmann-Erbrecht: Mit
aller Freyheit und zu
meinem eigenen Gebrauch
gemacht - G. Puchelt: Fur
Kenner und Liebhaber - P.
Dinslage: Anspruch und
Anpassung - I. Pfingsten:
Er ubersetzte, indem er
phantasierte, die Sprache
des Verstandes in die
Sprache der Empfindungen:
denn dazu diente ihm die
Musik - H. Poos: C.P.E.
Bachs Rondo a-Moll aus
der Zweiten Sammlung...
fur Kenner und Liebhaber
- C. Thorau: Kuhn, nie
gehort und doch
sachrichtig - U.
Ringhandt: Die Litaneien
von C.P.E. Bach als
musikalische Lehrgedichte
- R. Brandt: Der Konig
und sein Zuhorer - W.
Busch: Joseph Wright of
Derby: Das Experiment mit
der Luftpumpe - D.
Diderot: Aus der
Klavierschule von
Bemetzrieder - J.N.
Forkel: Reszension - J.J.
Engel: Uber die
musikalsiche Malerei -
G.J. Vogler: Wie
verhalten sich die zwei
grossen Clavierspieler
C.P.E. Bach und Alberti
von Rom gegeneinander -
J.F. Reichhardt: Uber die
musikalische Idylle -
C.F.Cramer: Rezension -
C.F. Michaelis: Einige
Bemerkungen uber das
Erhabene der Musik - H.G.
Nageli: Vorlesungen uber
Musik mit
Berucksichtigung der
Dilettanten -
F.Chrysander: Eine
Klavier-Phantasie von
Karl Philipp Emanuel Bach
mit nachtraglich von
Gerstenberg eingefugten
Gesangsmelodien zu zwei
verschiedenen Texten - H.
Mermann: Ein Programmtrio
K.P.E. Bachs - A.
Schering: C.P.E. Bach und
das redende Prinzip in
der Musik - R. Peters:
Chronologische
Bibliographie des
Schrifttums zu C.P.E.
Bach - Sach- und
Personenregister zur
Bibliographie.
Piano seul [Partition] - Intermédiaire Alfred Publishing
The Greatest Love Of All Composed by Michael Masser, Linda Creed Homecoming Com...(+)
The Greatest Love Of All
Composed by Michael
Masser, Linda Creed
Homecoming Composed by
Hagood Hardy
Weve Got Tonight Composed
by Bob Seger
Song From M*a*s*h
(Suicide Is Painless)
Composed by Johnny
Mandel, Mike Altman
Misty Composed by Erroll
Garner, Johnny Burke
Other Side Of Midnight
Composed by Michel
Legrand
The Rose Composed by
Amanda Mc Broom
Tears In Heaven Composed
by Eric Clapton, Will
Jennings
Theme From New York, New
York Composed by Fred
Ebb, John Kander
Heart Composed by Richard
Adler, Jerry Ross
Hey There Composed by
Richard Adler, Jerry Ross
Colors Of My Life
Composed by Cy Coleman,
Michael Stewart
Over The Rainbow Composed
by Harold Arlen, E.y.
Harburg
Separate Lives Love Theme
From "white Nights"
Theme From Ice Castles
Composed by Marvin
Hamlisch, Carole Bayer
Sager
Tonight I Celebrate My
Love Composed by Michael
Masser, Gerry Goffin
In This Life Composed by
Mike Reid, Allen Shamblin
Up Where We Belong
Composed by W Jennings, B
Sainte, Marie, J Nitzsche
From A Distance Composed
by Julie Gold
I Will Always Love You
Composed by Dolly Parton
Oh! What It Seemed To Be
Composed by Bennie
Benjamin, George David
Weiss, Frankie
I Believe I Can Fly
Composed by R. Kelly
Valentine Composed by Jim
Brickman, Jack Kugell
How Do I Live Composed by
Diane Warren
Colors Of The Wind
Composed by Stephen
Schwartz, Alan Menken
A Dream Is A Wish Your
Heart Makes Composed by
Mack David, Al Hoffman,
Jerry Livingston
see less... Tell Him
Composed by Linda
Thompson, David Foster
Con Te Patiro / Time To
Say Goodbye Composed by
Lucio Quarantotto,
Francesco Sartori
Karen's Theme Composed by
Richard Carpenter
The Prayer Composed by
Carole Bayer Sager, David
"babyface" Foster
My One True Friend
Composed by Carole Bayer
Sager, Carole King
Love Solo Composed by Dan
Coates
I Don't Want To Miss A
Thing Composed by Diane
Warren
As Time Goes By Composed
by Herman Hupfeld
La Vie En Rose Composed
by Louiguy, Piaf
(French), David (Eng.)
What's New? Composed by
Bob Haggart, Johnny Burke
Summer Me, Winter Me
Composed by Michel
Legrand, Alan, Marilyn
Bergman
Evergreen Composed by
Barbra Streisand, Paul
Williams
Arthur's Theme (Best That
You Can Do) Composed by
Burt Bacharach, Carole
Bayer Sager
Can You Read My Mind
Composed by John
Williams, Leslie Bricusse
Love And Marriage
Composed by Jimmy Van
Heusen, Sammy Cahn
Desperado Composed by Don
Henley, Glenn Frey
The Wind Beneath My Wings
Composed by Jeff Silbar,
Larry Henley
How Do You Keep The Music
Playing? Composed by
Michel Legrand, Alan
Bergman
Anywhere The Heart Goes
Composed by Henry
Mancini, Will Jennings
Once Before I Go Composed
by Dean Pitchford, Peter
Allen
Star Wars - Main Theme
Composed by John Williams
Open Arms Composed by
Steve Perry, Jonathan
Cain
Canon In D Composed by
Johann Pachelbel
That's What Friends Are
For Composed by Burt
Bacharach, Carole Bayer
Sager
Friends Or Lovers Both To
Each Composed by Paul
Gordon, Jay Gruska
Forever Composed by Kenny
Loggins, Eva Loggins,
David Foster
Saving All My Love For
You Composed by Gerry
Goffin, Michael Masser
Miss Celie's Blues
Composed by Quincy Jones,
Rod Temperton, And
Anne's Theme Composed by
Hagood Hardy
One Moment In Time
Composed by Albert
Hammond, John Bettis
Kei's Song Composed by
David Benoit
I Say A Little Prayer
Composed by Burt
Bacharach, Hal David
Happy Birthday To You
Composed by Mildred J.
Hill, Patty S. Hill
May You Always Composed
by Larry Marks, Dick
Charles
If My Friends Could See
Me Now Composed by Cy
Coleman, Dorothy Fields
You Can Always Count On
Me Composed by Cy
Coleman, David Zippel
Ashokan Farewell Composed
by Jay Ungar
Everything I Do I Do It
For You Composed by Bryan
Adams, Robert Lange,
Michael Kamen
Send In The Clowns
Composed by Stephen
Sondheim
She Loves Me Composed by
Sheldon Harnick, Jerry
Bock
How Could I Ever Know?
Composed by Marsha
Norman, Lucy Simon
My Unknown Someone
Composed by Cy Coleman,
Adolph Green, Betty
Comden
Favorite Son Composed by
Cy Coleman, Adolph Green,
Betty Comden
I Swear Composed by Gary
Baker, Frank Myers
I Can Love You Like That
Composed by S Diamond, M
Derry, J Kimball
Beauty And The Beast
Composed by Howard
Ashman, Alan Menken
Angel Eyes Composed by
Jim Brickman
If You Believe Composed
by Jim Brickman
Because You Loved Me
Composed by Diane Warren
Un-break My Heart
Composed by Diane Warren
Ragtime Composed by
Stephen Flaherty, Lynn
Ahrens
Complete Advanced Piano
Solos (Music for All
Occasions). Arranged by
Dan Coates. For solo
piano. Piano -
Intermediate / Advanced
Collection; Piano
Supplemental. The
Professional Touch
Series. Contemporary
Instrumental and Pop. SMP
Level 9 (Advanced).
Collection. Standard
notation (does not
include words to the
songs). 304 pages.
Published by Alfred Music
Publishing
Urtext based on the
new Complete Edition.
Composed by Johannes
Brahms. Edited by Michael
Musgrave and Michael
Struck. Choir; stapled.
Orchester-Bibliothek
(Orchestral Library).
Requiem; Romantic;
Late-romantic. Part. 16
pages. Duration 75'.
Breitkopf and Haertel #OB
16109-11. Published by
Breitkopf and Haertel
(BR.OB-16109-11).
ISBN
9790004347362. 10 x 12.5
inches.
The German
Requiem is one of the
world's most famous
requiems, even though it
does not set the
customary requiem text to
music. Brahms did not
want to follow the Latin
Catholic funeral mass,
addressing the Last
Judgment's terror and
sinful human beings'
redemption through death
on the cross. His
attention, on the
contrary, was on Biblical
texts that focus on human
transience and comfort:
comfort to the bereaved
and comfort to all who
fear death. To some
extent, it could be
called the epitome of
Brahms's work. In the
relevant volume of the
new Brahms Complete
Edition, on which this
new practical edition is
based, editors Michael
Musgrave and Michael
Struck clear up all sorts
of legends, errors, and
erroneous readings.
Brahms's subsequent minor
compositional changes are
taken into account, poor
decisions in previous
editions are corrected,
and the Bible texts sung
contain writing and
meaning corrections. In
addition, the texts
elucidate many myths
about the composition's
origin. Thus, this Urtext
edition creates a fresh
perspective on the
People's Requiem, as
Brahms would have
preferred to call the
composition. This new B&H
publication is extremely
good value, and it really
does breathe new life
into an old master. The
pages of the full score
are delightfully easy on
the eye. The edition's
visual effect is precise,
lucid, and sympathetic -
as, indeed, a good
performance of Brahms's
choral masterpiece should
be.(Jeremy Summerly,
Choir &
Organ)
authoritati
ve music text based on
the current state of
research; erroneous
traditional readings
corrected; orchestra
material tried and
tested; new piano vocal
score (compact engraving,
clear legibility).
Urtext based on the
new Complete Edition.
Composed by Johannes
Brahms. Edited by Michael
Musgrave and Michael
Struck. Choir; stapled.
Orchester-Bibliothek
(Orchestral Library).
Requiem; Romantic;
Late-romantic. Part. 20
pages. Duration 75'.
Breitkopf and Haertel #OB
16109-15. Published by
Breitkopf and Haertel
(BR.OB-16109-15).
ISBN
9790004347379. 10 x 12.5
inches.
The German
Requiem is one of the
world's most famous
requiems, even though it
does not set the
customary requiem text to
music. Brahms did not
want to follow the Latin
Catholic funeral mass,
addressing the Last
Judgment's terror and
sinful human beings'
redemption through death
on the cross. His
attention, on the
contrary, was on Biblical
texts that focus on human
transience and comfort:
comfort to the bereaved
and comfort to all who
fear death. To some
extent, it could be
called the epitome of
Brahms's work. In the
relevant volume of the
new Brahms Complete
Edition, on which this
new practical edition is
based, editors Michael
Musgrave and Michael
Struck clear up all sorts
of legends, errors, and
erroneous readings.
Brahms's subsequent minor
compositional changes are
taken into account, poor
decisions in previous
editions are corrected,
and the Bible texts sung
contain writing and
meaning corrections. In
addition, the texts
elucidate many myths
about the composition's
origin. Thus, this Urtext
edition creates a fresh
perspective on the
People's Requiem, as
Brahms would have
preferred to call the
composition. This new B&H
publication is extremely
good value, and it really
does breathe new life
into an old master. The
pages of the full score
are delightfully easy on
the eye. The edition's
visual effect is precise,
lucid, and sympathetic -
as, indeed, a good
performance of Brahms's
choral masterpiece should
be.(Jeremy Summerly,
Choir &
Organ)
authoritati
ve music text based on
the current state of
research; erroneous
traditional readings
corrected; orchestra
material tried and
tested; new piano vocal
score (compact engraving,
clear legibility).
Urtext based on the
new Complete Edition.
Composed by Johannes
Brahms. Edited by Michael
Musgrave and Michael
Struck. Choir; stapled.
Orchester-Bibliothek
(Orchestral Library).
Requiem; Romantic;
Late-romantic. Part. 20
pages. Duration 75'.
Breitkopf and Haertel #OB
16109-16. Published by
Breitkopf and Haertel
(BR.OB-16109-16).
ISBN
9790004347386. 10 x 12.5
inches.
The German
Requiem is one of the
world's most famous
requiems, even though it
does not set the
customary requiem text to
music. Brahms did not
want to follow the Latin
Catholic funeral mass,
addressing the Last
Judgment's terror and
sinful human beings'
redemption through death
on the cross. His
attention, on the
contrary, was on Biblical
texts that focus on human
transience and comfort:
comfort to the bereaved
and comfort to all who
fear death. To some
extent, it could be
called the epitome of
Brahms's work. In the
relevant volume of the
new Brahms Complete
Edition, on which this
new practical edition is
based, editors Michael
Musgrave and Michael
Struck clear up all sorts
of legends, errors, and
erroneous readings.
Brahms's subsequent minor
compositional changes are
taken into account, poor
decisions in previous
editions are corrected,
and the Bible texts sung
contain writing and
meaning corrections. In
addition, the texts
elucidate many myths
about the composition's
origin. Thus, this Urtext
edition creates a fresh
perspective on the
People's Requiem, as
Brahms would have
preferred to call the
composition. This new B&H
publication is extremely
good value, and it really
does breathe new life
into an old master. The
pages of the full score
are delightfully easy on
the eye. The edition's
visual effect is precise,
lucid, and sympathetic -
as, indeed, a good
performance of Brahms's
choral masterpiece should
be.(Jeremy Summerly,
Choir &
Organ)
authoritati
ve music text based on
the current state of
research; erroneous
traditional readings
corrected; orchestra
material tried and
tested; new piano vocal
score (compact engraving,
clear legibility).
Urtext based on the
new Complete Edition.
Composed by Johannes
Brahms. Edited by Michael
Musgrave and Michael
Struck. Choir; stapled.
Orchester-Bibliothek
(Orchestral Library).
Requiem; Romantic;
Late-romantic. Part. 20
pages. Duration 75'.
Breitkopf and Haertel #OB
16109-23. Published by
Breitkopf and Haertel
(BR.OB-16109-23).
ISBN
9790004347409. 10 x 12.5
inches.
The German
Requiem is one of the
world's most famous
requiems, even though it
does not set the
customary requiem text to
music. Brahms did not
want to follow the Latin
Catholic funeral mass,
addressing the Last
Judgment's terror and
sinful human beings'
redemption through death
on the cross. His
attention, on the
contrary, was on Biblical
texts that focus on human
transience and comfort:
comfort to the bereaved
and comfort to all who
fear death. To some
extent, it could be
called the epitome of
Brahms's work. In the
relevant volume of the
new Brahms Complete
Edition, on which this
new practical edition is
based, editors Michael
Musgrave and Michael
Struck clear up all sorts
of legends, errors, and
erroneous readings.
Brahms's subsequent minor
compositional changes are
taken into account, poor
decisions in previous
editions are corrected,
and the Bible texts sung
contain writing and
meaning corrections. In
addition, the texts
elucidate many myths
about the composition's
origin. Thus, this Urtext
edition creates a fresh
perspective on the
People's Requiem, as
Brahms would have
preferred to call the
composition. This new B&H
publication is extremely
good value, and it really
does breathe new life
into an old master. The
pages of the full score
are delightfully easy on
the eye. The edition's
visual effect is precise,
lucid, and sympathetic -
as, indeed, a good
performance of Brahms's
choral masterpiece should
be.(Jeremy Summerly,
Choir &
Organ)
authoritati
ve music text based on
the current state of
research; erroneous
traditional readings
corrected; orchestra
material tried and
tested; new piano vocal
score (compact engraving,
clear legibility).
Urtext based on the
new Complete Edition.
Composed by Johannes
Brahms. Edited by Michael
Musgrave and Michael
Struck. Choir; stapled.
Orchester-Bibliothek
(Orchestral Library).
Requiem; Romantic;
Late-romantic. Part. 28
pages. Duration 75'.
Breitkopf and Haertel #OB
16109-19. Published by
Breitkopf and Haertel
(BR.OB-16109-19).
ISBN
9790004347393. 10 x 12.5
inches.
The German
Requiem is one of the
world's most famous
requiems, even though it
does not set the
customary requiem text to
music. Brahms did not
want to follow the Latin
Catholic funeral mass,
addressing the Last
Judgment's terror and
sinful human beings'
redemption through death
on the cross. His
attention, on the
contrary, was on Biblical
texts that focus on human
transience and comfort:
comfort to the bereaved
and comfort to all who
fear death. To some
extent, it could be
called the epitome of
Brahms's work. In the
relevant volume of the
new Brahms Complete
Edition, on which this
new practical edition is
based, editors Michael
Musgrave and Michael
Struck clear up all sorts
of legends, errors, and
erroneous readings.
Brahms's subsequent minor
compositional changes are
taken into account, poor
decisions in previous
editions are corrected,
and the Bible texts sung
contain writing and
meaning corrections. In
addition, the texts
elucidate many myths
about the composition's
origin. Thus, this Urtext
edition creates a fresh
perspective on the
People's Requiem, as
Brahms would have
preferred to call the
composition. This new B&H
publication is extremely
good value, and it really
does breathe new life
into an old master. The
pages of the full score
are delightfully easy on
the eye. The edition's
visual effect is precise,
lucid, and sympathetic -
as, indeed, a good
performance of Brahms's
choral masterpiece should
be.(Jeremy Summerly,
Choir &
Organ)
authoritati
ve music text based on
the current state of
research; erroneous
traditional readings
corrected; orchestra
material tried and
tested; new piano vocal
score (compact engraving,
clear legibility).
Urtext based on the
new Complete Edition.
Composed by Johannes
Brahms. Edited by Michael
Musgrave and Michael
Struck. Choir; Softbound.
Partitur-Bibliothek
(Score Library). Requiem;
Romantic; Late-romantic.
Full score. 224 pages.
Duration 75'. Breitkopf
and Haertel #PB 16109.
Published by Breitkopf
and Haertel
(BR.PB-16109).
ISBN
9790004214367. 10 x 12.5
inches.
The German
Requiem is one of the
world's most famous
requiems, even though it
does not set the
customary requiem text to
music. Brahms did not
want to follow the Latin
Catholic funeral mass,
addressing the Last
Judgment's terror and
sinful human beings'
redemption through death
on the cross. His
attention, on the
contrary, was on Biblical
texts that focus on human
transience and comfort:
comfort to the bereaved
and comfort to all who
fear death. To some
extent, it could be
called the epitome of
Brahms's work. In the
relevant volume of the
new Brahms Complete
Edition, on which this
new practical edition is
based, editors Michael
Musgrave and Michael
Struck clear up all sorts
of legends, errors, and
erroneous readings.
Brahms's subsequent minor
compositional changes are
taken into account, poor
decisions in previous
editions are corrected,
and the Bible texts sung
contain writing and
meaning corrections. In
addition, the texts
elucidate many myths
about the composition's
origin. Thus, this Urtext
edition creates a fresh
perspective on the
People's Requiem, as
Brahms would have
preferred to call the
composition. This new B&H
publication is extremely
good value, and it really
does breathe new life
into an old master. The
pages of the full score
are delightfully easy on
the eye. The edition's
visual effect is precise,
lucid, and sympathetic -
as, indeed, a good
performance of Brahms's
choral masterpiece should
be.(Jeremy Summerly,
Choir &
Organ)
authoritati
ve music text based on
the current state of
research; erroneous
traditional readings
corrected; orchestra
material tried and
tested; new piano vocal
score (compact engraving,
clear legibility).
Urtext based on the
new Complete Edition.
Composed by Johannes
Brahms. Edited by Michael
Musgrave and Michael
Struck. Choir; stapled.
Orchester-Bibliothek
(Orchestral Library).
Requiem; Romantic;
Late-romantic. Part. 16
pages. Duration 75'.
Breitkopf and Haertel #OB
16109-27. Published by
Breitkopf and Haertel
(BR.OB-16109-27).
ISBN
9790004347416. 10 x 12.5
inches.
The German
Requiem is one of the
world's most famous
requiems, even though it
does not set the
customary requiem text to
music. Brahms did not
want to follow the Latin
Catholic funeral mass,
addressing the Last
Judgment's terror and
sinful human beings'
redemption through death
on the cross. His
attention, on the
contrary, was on Biblical
texts that focus on human
transience and comfort:
comfort to the bereaved
and comfort to all who
fear death. To some
extent, it could be
called the epitome of
Brahms's work. In the
relevant volume of the
new Brahms Complete
Edition, on which this
new practical edition is
based, editors Michael
Musgrave and Michael
Struck clear up all sorts
of legends, errors, and
erroneous readings.
Brahms's subsequent minor
compositional changes are
taken into account, poor
decisions in previous
editions are corrected,
and the Bible texts sung
contain writing and
meaning corrections. In
addition, the texts
elucidate many myths
about the composition's
origin. Thus, this Urtext
edition creates a fresh
perspective on the
People's Requiem, as
Brahms would have
preferred to call the
composition. This new B&H
publication is extremely
good value, and it really
does breathe new life
into an old master. The
pages of the full score
are delightfully easy on
the eye. The edition's
visual effect is precise,
lucid, and sympathetic -
as, indeed, a good
performance of Brahms's
choral masterpiece should
be.(Jeremy Summerly,
Choir &
Organ)
authoritati
ve music text based on
the current state of
research; erroneous
traditional readings
corrected; orchestra
material tried and
tested; new piano vocal
score (compact engraving,
clear legibility).
Urtext based on the
new Complete Edition.
Composed by Johannes
Brahms. Choir; Softbound.
Edition Breitkopf.
Requiem; Romantic;
Late-romantic.
Piano/Vocal Score. 104
pages. Duration 75'.
Breitkopf and Haertel #EB
9362. Published by
Breitkopf and Haertel
(BR.EB-9362).
ISBN
9790004188323. 7.5 x 10.5
inches. German.
The
German Requiem is one of
the world's most famous
requiems, even though it
does not set the
customary requiem text to
music. Brahms did not
want to follow the Latin
Catholic funeral mass,
addressing the Last
Judgment's terror and
sinful human beings'
redemption through death
on the cross. His
attention, on the
contrary, was on Biblical
texts that focus on human
transience and comfort:
comfort to the bereaved
and comfort to all who
fear death. To some
extent, it could be
called the epitome of
Brahms's work. In the
relevant volume of the
new Brahms Complete
Edition, on which this
new practical edition is
based, editors Michael
Musgrave and Michael
Struck clear up all sorts
of legends, errors, and
erroneous readings.
Brahms's subsequent minor
compositional changes are
taken into account, poor
decisions in previous
editions are corrected,
and the Bible texts sung
contain writing and
meaning corrections. In
addition, the texts
elucidate many myths
about the composition's
origin. Thus, this Urtext
edition creates a fresh
perspective on the
People's Requiem, as
Brahms would have
preferred to call the
composition. This new B&H
publication is extremely
good value, and it really
does breathe new life
into an old master. The
pages of the full score
are delightfully easy on
the eye. The edition's
visual effect is precise,
lucid, and sympathetic -
as, indeed, a good
performance of Brahms's
choral masterpiece should
be.(Jeremy Summerly,
Choir & Organ)
new
piano vocal score with
compact engraving and
clear legibility;
music-text page better
spaced out to facilitate
reading; page division
largely retained overall
to facilitate rehearsals;
vocal-text reading
corrected to conform to
the Bible.
Composed by Hal H. Hopson. Arranged by Jack Schrader. For SATB choir. MERLE'S TU...(+)
Composed by Hal H.
Hopson. Arranged by Jack
Schrader. For SATB choir.
MERLE'S TUNE, Hymntune,
General, Sacred. Octavo.
8 pages. Published by
Hope Publishing Company
Violin(s) solo SKU: BR.EB-8639 I. Saitenspiele, II. Auf 8 Saiten - mit...(+)
Violin(s) solo
SKU:
BR.EB-8639
I.
Saitenspiele, II. Auf 8
Saiten - mit CD.
Composed by Frank
Michael. Solo
instruments; Softcover.
Edition Breitkopf.
Michael's duets are
conceived for young as
well as older beginning
students and can be
played in the first
position.
Music
pedagogy. Score. 36
pages. Breitkopf and
Haertel #EB 8639.
Published by Breitkopf
and Haertel (BR.EB-8639).
ISBN 9790004182857. 9
x 12 inches.
2 x 4
little duets on 8 strings
Frank Michael's duets are
conceived for young as
well as older beginning
students. Both cycles are
designed with contrasting
sounds and can
essentially be played in
the first position. The
pieces specifically call
for techniques that are
uncommon among beginners,
such as pizzicato,
glissando, col legno
battuto and harmonics.
The String Games are very
easy and perfectly suited
to children. The closing
cycle On 8 Strings was
written shortly before
the other pieces and is
intended to give students
the experience of having
fun with acrobatics,
enjoying all kinds of
sonorities, including
'forbidden' ones, making
a more unusual use of the
instrument, and to
combine this with clear
forms, melodies and
rhythms. All eight little
pieces are ideal for
recitals. The book also
contains special
suggestions for practice
and improvisation;
working them out will
enhance the
interpretation of the
pieces. The enclosed CD
is intended as an aid for
practicing at
home.
Michael's
duets are conceived for
young as well as older
beginning students and
can be played in the
first position.
Sweet Babe Carol Chorale SATB SATB A Cappella H.T. FitzSimons Company
Composed by Michael Eglin. For Choral (SATB a cappella). H.T. Fitzsimons Co. 4 p...(+)
Composed by Michael
Eglin. For Choral (SATB a
cappella). H.T.
Fitzsimons Co. 4 pages.
H.T. FitzSimons Company
#F2361. Published by H.T.
FitzSimons Company
Trumpet SKU: HL.49007263 Composed by Michael Schmidt. This edition: Paper...(+)
Trumpet
SKU:
HL.49007263
Composed
by Michael Schmidt. This
edition: Paperback/Soft
Cover. Sheet music.
Edition Schott.
Classical. 128 pages.
Schott Music #ED 7464.
Published by Schott Music
(HL.49007263).
ISBN
9790001078047.
German.
Im 2. Band
werden mit Kapiteln uber
Zungentechnik,
Verzierung, Artikulation
und Chromatik die in Band
1 erworbenen Grundlagen
erweitert. Spezielle
Bindeubungen verhelfen
zur Steigerung der
Ausdauer und Hohe. Wie
jazzige Stucke zu blasen
sind, wird in einem
besonderen Kapitel
behandelt. Die Schule ist
sowohl fur den Einzel-
als auch fur den
Gruppenunterricht
geeignet.
Child of Peace Chorale SATB SATB A Cappella H.T. FitzSimons Company
Composed by Michael Lee. H.T. Fitzsimons Co. Anthem, A Cappella, Advent, Sacr...(+)
Composed by Michael Lee.
H.T. Fitzsimons Co.
Anthem, A Cappella,
Advent, Sacred. Octavo.
4 pages. H.T. FitzSimons
Company #F2378. Published
by H.T. FitzSimons
Company (HL.145536).
More
and more people are
looking for a way to
offset the demands of
everyday life by making
music. Particularly
welcome are pieces that
often evoke poetic,
meditative moods and are
good for the soul through
their simple harmonies.
The majority of the
pieces in this book arose
from this premise. They
also explore the
multi-faceted expressive
possibilities of the
piano as well: they can
convey exuberance,
comfort, joy, longing,
compassion, mourning,
anger and ecstasy, but
also mystical moments.
Short programmatic
annotations in the
musical text, along with
the titles and the music
on the audiotracks,
awaken inner
relationships that infuse
more spirit into ones
playing. And the
possibility of expressing
feelings while playing
can also be a motivation
to expand ones own
piano-technical
resources.,,Dans la
selection de Michael
Proksch, tout est propice
a l'improvisation, plus
classique que reellement
jazz. Le CD joint donne
une bonne
idee.(Pianiste).
Cello solo SKU: BR.EB-9074 (Plainte sur la perte de la reflexion music...(+)
Cello solo
SKU:
BR.EB-9074
(Plainte sur la perte
de la reflexion
musicale). Composed
by Klaus Huber. Edited by
Michael Bach. Arranged by
Michael Bach. Solo
instruments; stapled.
Edition Breitkopf. You
will need a copy of BG
1002 for each player to
perform the version for
variable instrumentation
(BG 1004). Music
post-1945; New music
(post-2000). Score.
Composed 1972. 12 pages.
Duration 20'. Breitkopf
and Haertel #EB 9074.
Published by Breitkopf
and Haertel (BR.EB-9074).
ISBN 9790004179499. 9
x 12 inches.
World
premieres:I version for
flute: Wiesbaden, 1972II
version for piano: Nyon,
1972III version for var.
insts.: Cologne, May 29,
1976VI version for
accordeon: Fribourg, June
25, 1987VIII version for
violoncello Tokyo:
October 14, 1989X version
for organ: Stuttgart,
March 28, 2018This work
(A Breath of the
Untimely) was first
written for solo Flute
and dedicated to Aurele
Nicolet. Its bears the
subtitle Lament on the
Loss of Musical Thought -
some Madrigals for Solo
Flute or Flute with any
other Instruments. This
serves as a playing
instruction but doubles
at the same time as an
outmoded programme: it
refers back to the
musical origin of the
opening lamenting motif,
a tradition which was
once of its time but is
not of our time - namely
the Lamento genre which
gave the title to the
Chaconne in Purcell's
opera Dido and Aeneas.
Almost simultaneously I
wrote a second version
for Piano (for Piano
one-and-a-half hands),
which already formulates
possible approaches for
the performer, in some
detail, to the indicated,
quasi-canonic version of
the piece in the
programme. The multiple
version Ein Hauch von
Unzeit III realizes a
concrete version of a
formal state which floats
between strict canon and
aleatoric principles:
each of the musicians who
are spread throughout the
hall introduces their own
idiomatic translation of
the flute part. And so
the music exists,
omnipresent, not only
spatially throughout the
hall, but also formally
in a sort of fluctuating
simultaneity. For that
reason, it was my express
wish to any potential
interpreter that they
should construct entirely
their own version of the
piece. A healthy number
of musicians have
responded to my
suggestion - versions of
the piece have now been
made for guitar
(Cornelius Schwehr,
Gunther Schneider),
accordion (Hugo Noth),
double bass (Fernando
Grillo), violin
(Hansheinz Schneeberger),
viola, violoncello, and
double bass (trio basso,
Koln), violoncello
(Michael Bach), trombone
(Andrew Digby) and,
created by myself, a sung
version for voice (to
words by Georg Wilhelm
Friedrich Hegel und Max
Bense), and for viola.The
most important
requirement for the whole
piece is absolute
stillness, which should
as far as possible
emanate from the
performer. The pauses are
occasionally in this
respect the most
important element. These
may, if one can find the
necessary stillness,
become very long.Ein
Hauch von Unzeit (A
Breath of the Untimely) -
time almost
dissolves!(Klaus Huber,
1989/2014 - translation:
David
Alberman)CD:Jean-Luc
Menet (Bass flute)CD
Traversieres
120.270Jean-Luc Menet
(fl)CD STR
37039Bibliography:Zimmerm
ann, Heidy:
Zeitgestaltung im
Kompositionsprozess bei
Klaus Huber - dargestellt
anhand von Skizzen, in:
Mnemosyne. Zeit und
Gedachtnis in der
europaischen Musik des
ausgehenden 20.
Jahrhunderts, hrsg. von
Dorothea Redepenning und
Joachim Steinheuer,
Saarbrucken: Pfau 2006,
S. 90-109
World
premiere: VIII version
for violoncello Tokyo:
October 14, 1989.
Piano SKU: BR.SMV-41003 Klavierschule in 4 Teilen. Composed by Mic...(+)
Piano
SKU:
BR.SMV-41003
Klavierschule in 4
Teilen. Composed by
Michael Proksch. Solo
instruments; stapled.
Monuments of German
Music. Die CD zu Heft 1
und 2 der Klavierschule
mit 72 Miniaturstucken
eingespielt von Michael
Proksch finden Sie
unterKlavier ab Vier
Music pedagogy. Score. 32
pages. Breitkopf and
Haertel #SMV 41003.
Published by Breitkopf
and Haertel
(BR.SMV-41003).
ISBN
9790004571019. 11.5 x 8.5
inches.
Die CD zu
Heft 1 und 2 der
Klavierschule mit 72
Miniaturstucken
eingespielt von Michael
Proksch finden Sie
unter Klavier ab Vier Die
Gangster Seth (George
Clooney) und Richard
Gecko (Quentin Tarantino)
sind auf der Flucht. Auf
dem Weg nach Mexico
nehmen sie den vom
Glauben abgefallenen
Prediger Fuller und
dessen Kinder als
Geiseln. Unterwegs
geraten sie in die Bar
,,Titty Twister nicht
ahnend dass die Spelunke
von Vampiren bevolkert
ist ...
Nun ja
zieht man davon allen
filmischen Klim Bim ab
bleiben einige typische
Reste: das Abgeschlossene
immer neue dramatische
Zweierkonstellationen das
Tote- immer wieder
aufwachend die
Verwandlungen die Unruhen
und Vernichtungen die vor
Vernichtung nur so
strotzende Endverwustung
usw. ... Im Grunde ein
Ruinenmythos in dessen
Struktur die Elemente
austauschbar sind. Man
konnte ihn auch erzahlen
mit ,,stimmiger
Materialkonzeption
,,historisch obsolet
,,veraltet
,,Unabgegoltenheit
,,aufbrausender
Abschaffung ja geht denn
immer wieder alles???
Schon dass das nur in
einer Bar stattfindet und
dass diese Bar uns mit
attraktiver Leuchtschrift
einladt ins ,,Titty
Twister. Unruhige Natur
und Schonheit sind heute
in der Spelunke zu Hause.
Das erleichtert uns die
Leichtigkeit am Spass am
Sein. Und heute gibts ein
Sonderprogramm ... mein
Stuck: ,,Titty Twister
fur Akkordeon Viola
Nepalesische Klangschale
Flipperkugeln und
Minidramoletts.
Al
les Ausdruck oder was???
(Nicolaus A.
Huber
2009)
CD:Anton Hubert (Va)
Wolfgang Dimetrik (Akk)
CD Gramola 98922.
Suite for Orchestra (2001). Composed by Michael Nyman. Music Sales Americ...(+)
Suite for Orchestra
(2001). Composed by
Michael Nyman. Music
Sales America. Classical.
Softcover. 90 pages.
Chester Music #CH81334.
Published by Chester
Music (HL.238313).