Music
for Orchestra with String
Quartet. Composed by
Helmut Lachenmann.
Softcover.
Partitur-Bibliothek
(Score Library). Solo
concerto; Dances/marches;
Music post-1945. Sheet
Music. Composed 1979/80.
176 pages. Duration 36'.
Breitkopf and Haertel #PB
5714. Published by
Breitkopf and Haertel
(BR.PB-5714).
ISBN
9790004216514. 10.5 x 14
inches.
More than
my earlier works, this
one is interspersed with
metrically bound rhythms
and musicianly characters
that constantly
recrystallize and drift
towards or away from
familiar situations.The
familiar: These are
dance-like figures and
music-making formulas,
but also songs and, in
two cases fragments of
Bach's music - playfully
collected memories of
impressions in which -
consciously and
unconsciously - I am
embodied with that
collective comfort in
whose protection
bourgeois thinking and
feeling, magically
protected, grow up and
emerge apart.(It is well
known that such security
has its fetishes from the
childlike to the adult
stage: Home, religious
bond, holidays,
tradition, longing for
childhood - the
superficiality may have
little idea of the depth
that opens up underneath.
There is also no question
that we are still marked
by such security even
when the contradictions
and alienation of
existence force us to
step out of their
protection, to recognize
and act upon reality, and
to oppose the domination
of such inner bonds where
their original truth has
become the fatal untruth
of comfortable illusion,
stubbornly and fearfully
conjured idyll and
reactionary
narrow-mindedness.My
music feeds on figures in
which such memories are
encapsulated. It deals
with them not much
differently than in other
pieces with the elements
of the traditional
musical concept of
material, having already
always reflected
compositionally as a
product of sociality and
anticipation of musical
expression, i.e. it moved
into a structurally
expanded context and
expressively redefined
from there.Such an
approach aims at
overcoming lack of
freedom: grasping as part
of conceiving, i.e. not
philosophical reflection,
but rather an
artistically gripping
reflex by intervening in
the physical immediacy of
such predetermined
elements. These penetrate
and infect the structural
events, inducing a
musicianship that cannot
be relied upon; the music
jumps onto rhythms like
onto moving vehicles,
allows for being carried
by them until they deform
or disintegrate. This
creates an incline of
rhythmically shaped
situations: sequence and
interweaving of dances
and structures.The role
of the solo string
quartet is versatile,
obbligato and
concertante, leading and
accompanying in a
changing sense. Set as a
chamber music apparatus
in an orchestral
landscape, it repeatedly
forces its own sound
dimensions onto the
orchestra, it must accept
being drowned out at
times, it nests in the
holes of tutti fields, it
acts as a louse in the
fur, forcing one to
listen in and out.The
Tanzsuite with
Deutschlandlied is
structured as follows:I.
Section. 1. Introduction
- 2. Waltz - 3. March -
4. Bridge -II. Section.
5. Siciliano - 6.
Capriccio - 7. Valse
lente -III. Section. 8.
Bridge - 9. Gigue - 10.
Tarantelle - 11. Bridge
-IV. Section. 12 Aria I -
13 Polka - 14 Aria IIV.
Section. 15. Introduction
- 16 Gallop - 17 Coda
(Aria III)All 17 parts
merge into one
another.(Helmut
Lachenmann,
1980)CDs/LP/DVD:Arditti-Q
uartett, Deutsches
Symphonie-Orchester
Berlin, cond. Olaf
HenzoldCD Montaigne
Auvidis MO 782019Berner
Streichquartett,
Sinfonieorchester des
SWF, cond. Sylvain
Cambreling (Excerpt)CD
BMG/RCA 74321 73510 2
(Musik in Deutschland
1950-2000)Berner
Streichquartett,
Sinfonieorchester des
SWF, cond. Sylvain
CambrelingLP DMR
1028-30Arditti Quartet,
SWR Sinfonieorchester
Baden-Baden und Freiburg,
cond. Hans Zender Excerpt
on CD ,,Auswahl von zehn
Urauffuhrungen aus 70
Jahren, SWR
Sinfonieorchester
Baden-Baden und Freiburg
Arditti Quartet,
Staatsorchester
Stuttgart, cond. Sylvain
Cambreling DVD
,,Lachenmann-Perspektiven
6 (Breitkopf & Hartel,
BHM 7816)
Bibliography:Cavalotti,
Pietro: Differenzen.
Poststrukturalistische
Aspekte in der Musik der
1980er Jahre am Beispiel
von Helmut Lachenmann,
Brian Ferneyhough und
Gerard Grisey (= Sonus.
Schriften zur Musik,
hrsg. von Andreas
Ballsteadt, Band 8),
Schliengen: Argus 2006,
pp. 79-128.Das sind doch
alles Deutschlandlieder!
Helmut Lachenmann im
Gesprach mit Michael
Rebhahn, in: Der
Taktgeber. Das Magazin
der Jungen Deutschen
Philharmonie, Heft 40
(Sommer 2019), S.
6f.Stawowy, Milena:
Fluchtversuche in die
Hohle des Lowen. Helmut
Lachenmanns Tanzsuite mit
Deutschlandlied, in:
MusikTexte 67/68 (1997),
pp. 77-90.Toop, Richard:
Concept and Context: A
Historiographic
Consideration of
Lachenmanns Orchestral
Works, in: Helmut
Lachenmann Inward Beauty,
hrsg. von Dan Albertson,
Contemporary Music Review
23 (2004), Heft 3/4, pp.
125-144.
World
premiere: Donaueschingen
(Donaueschinger
Musiktage), October 18,
1980.
Score and Parts Piano Trio (Score & Parts) SKU: HL.48025073 For Piano ...(+)
Score and Parts Piano
Trio (Score & Parts)
SKU: HL.48025073
For Piano Trio Score
and Parts. Composed
by Elena Kats-Chernin.
Boosey & Hawkes Chamber
Music. Classical.
Softcover. 20 pages.
Duration 180 seconds.
Bote & Bock #M202536155.
Published by Bote & Bock
(HL.48025073).
ISBN
9783793143123. UPC:
196288059714.
9.0x12.0x0.079
inches.
Composer's
note: In 2000 I wrote a
piece called Sand Waltz
for the Canberra Wind
Players. In the middle of
it I wrote a four-chord
progression. WhenI
started working on the
ballet Wild Swans (2003)
I came back to this
material and it became
something that I grew to
rather like. Eventually
it became the basis for
the overture to the whole
ballet. It had somewhat
dreamy quality but also a
sense of anticipationand
mystery. Later, when
writing this as the first
movement of the Concert
Suite Wild Swans I gave
it a title Green Leaf as
it refected the way the
princess Eliza was making
a hole in a green leaf to
look through it,
imagining far-away exotic
lands and birds..
Piano (Piano) - very easy SKU: HL.49015170 33 Christmas Songs (very ea...(+)
Piano (Piano) - very easy
SKU: HL.49015170
33 Christmas Songs
(very easy). Composed
by Draths. Arranged by
Marianne Magolt and Willi
Draths. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Fur Klavier (sehr
leicht). Classical. 32
pages. Schott Music #ED
5325. Published by Schott
Music (HL.49015170).
ISBN 9783795716868.
German. Wilfried
Blecher.
Die
bekanntesten
Weihnachtslieder in
leichten Satzen fur
Unterricht und Hausmusik,
mit Illustrationen von
Wilfried Blecher. In der
Kombination mit parallel
erschienenen Heften
ergeben sich vielfaltige
Besetzungs- und
Auffuhrungsmoglichkeiten.
Zusatzliche
Harmonie-Symbole
ermoglichen auch eine
Begleitung mit Gitarre
(ad lib.). Folgende
Besetzungsmoglichkeiten
sind moglich: 1. Stimme
(Melodie): Querflote I,
Sopranblockflote I,
Violine I, Viola I,
Violoncello I, Gesang -
2. Stimme: Querflote II,
Sopranblockflote II,
Violine II, Viola II,
Violoncello II - dazu:
Klavier, Gitarre ad
lib.
(25 Songs in English for Classical Voice With a CD of Piano Accomp). Edited by R...(+)
(25 Songs in English for
Classical Voice With a CD
of Piano Accomp). Edited
by Richard Walters. Vocal
Collection. Softcover
with CD. 72 pages.
Published by Hal Leonard
Choral SATB choir, piano SKU: PR.312419280 From Terra Nostra. Comp...(+)
Choral SATB choir, piano
SKU: PR.312419280
From Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 12
pages. Duration 5:30.
Theodore Presser Company
#312-41928. Published by
Theodore Presser Company
(PR.312419280).
ISBN
9781491137925. UPC:
680160692613.
Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
The Vocal Library Low Voice. Composed by Various. Edited by Richard Walters. Voc...(+)
The Vocal Library Low
Voice. Composed by
Various. Edited by
Richard Walters. Vocal
Collection. Play Along.
Softcover Audio Online.
56 pages. Published by
Hal Leonard
For Piano. Composed by Vincent Persichetti (1915- 1987). Contemporary. Solo Pa...(+)
For Piano. Composed by
Vincent Persichetti
(1915-
1987). Contemporary. Solo
Part. With Standard
Notation. Composed 1926.
8
pages. Duration 2
minutes,
30 seconds. Theodore
Presser
Company #160-00224.
Published by Theodore
Presser Company
(The Beginner Singing Method). Arranged by Pam Wedgwood. For Voice. This edition...(+)
(The Beginner Singing
Method). Arranged by Pam
Wedgwood. For Voice. This
edition: Piano
Accompaniments. Book;
Method/Instruction; Vocal
Method. Faber Edition:
It's Never Too Late.
Elementary; Late
Elementary. Published by
Faber Music
By Various. E-Z Play Today (Easy big-note right-hand-only arrangements for piano...(+)
By Various. E-Z Play
Today (Easy big-note
right-hand-only
arrangements for piano,
organ, and electronic
keyboard). Size 9x12
inches. 300 pages.
Published by Hal Leonard.
By West Chester University of Pennsylvania Concert Choir; West Chester Universit...(+)
By West Chester
University of
Pennsylvania Concert
Choir; West Chester
University of
Pennsylvania
Mastersingers; West
Chester University of
Pennsylvania Chamber
Ensemble. Release date:
2015. Mark Records.
Listening CD. Published
by Mark Custom Music
(MK.51849-MCD).
(Music of the Stars Volume 15). By Nancy Wilson. Piano/Vocal/Guitar Artist Songb...(+)
(Music of the Stars
Volume 15). By Nancy
Wilson.
Piano/Vocal/Guitar Artist
Songbook. Softcover. 80
pages. Professional Music
Institute #44037.
Published by Professional
Music Institute
Keyboard instruments (KL(CEMB)) SKU: HL.49005929 Ihre Geschichte und C...(+)
Keyboard instruments
(KL(CEMB))
SKU:
HL.49005929
Ihre
Geschichte und
Choreographie.
Composed by Karl Heinz
Taubert. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical. Sheed music
separatly. 32 pages.
Schott Music #ED 5947-01.
Published by Schott Music
(HL.49005929).
ISBN
9790001064248.
Der
Autor hat seit uber 20
Jahren die Praxis der
alten Tanzformen gepflegt
und als
Kunsterziehungsprinzip
wie als buhnenwirksame
Darstellung in vielen
Auffuhrungen im In- und
Ausland unter Beweis
gestellt.Historische
Bilder,
Tanzbeschreibungen und
Musikbeispiele zeigen die
uberraschende Einheit von
Musik und Tanz in den
Stilepochen Renaissance
und Barock. Die Hofischen
Tanze sind als
Tanzlehrbuch, als Lekture
fur Kunstliebhaber und
als Leitfaden fur
Lernende gedacht.
Lemminkainen palaa
kotitienoille - Urtext
based on the Complete
Edition Jean Sibelius
Works (JSW). Composed
by Jean Sibelius. Edited
by Tuija Wicklund.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
Symphonic poem; Suite;
Late-romantic; Early
modern. Full score. 68
pages. Duration 7'.
Breitkopf and Haertel #PB
5585. Published by
Breitkopf and Haertel
(BR.PB-5585).
ISBN
9790004213957. 10 x 12.5
inches.
Little is
known about the actual
composition process of
Lemminkainen and the
performance and
publication history is
rather complex, resulting
in a first complete
printing of all the four
movements en suite
through the complete
edition of Jean Sibelius
Works only in 2013.In
summer 1894 Sibelius went
to Central Europe,
carrying among others a
plan for an opera freely
based on the Kalevala in
his mind. But during this
trip he reassessed his
composing: I think I have
found my old self again,
musically speaking. I
think I really am a tone
painter and a poet. As a
result he abandoned his
opera plans, but musical
material may have found
its way into the
Lemminkainen pieces which
he started composing
during that time.
Lemminkainen became
popular from the
beginning and has
attained a fixed position
in the concert
repertoire.On
Lemminkainen's Return
Sibelius commented: I
would like to see more
pride in us Finns. Why
should we be ashamed?
This is the underlying
thought in Lemminkainen's
Return. Lemminkainen is
just as good as the
noblest of earls. He is
an aristocrat, without
question an
aristocrat!.