Nightlife in Paris Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 3.5 SKU: BT.DHP-1216333-215 Co...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 3.5
SKU:
BT.DHP-1216333-215
Composed by Peter Kleine
Schaars. Peter's Compact
Collection. Original
Light Music. Score Only.
Composed 2021. 26 pages.
De Haske Publications
#DHP 1216333-215.
Published by De Haske
Publications
(BT.DHP-1216333-215).
English-German-French-
Dutch.
The
magnificent shows at the
Moulin Rouge have left
their mark on the
collective imagination of
all who read about them.
For decades, a small but
spectacular band formed
one of the basic
ingredients in this
internationally
famedcabaret theatre.
With the first sounds of
this composition by Peter
Kleine Schaars, the
exciting Parisian
nightlife immediately
comes to mind. The
musette takes us to
quartier Pigalle, the
red-light district of
Paris, and when thedoors
of the Moulin Rouge open,
we hear the recognizable
rhythms of a contemporary
disco: a combination of
the rhythmic cells 8 / 4
and 3 / 14. In addition,
the composition has been
highlighted with a
plentiful and varied use
of rhythmic cell 5.
Naturally, the themes and
accompaniments have been
divided equally among all
parts.
Die
großartigen Shows im
Moulin Rouge prägten
das kollektive
Bewusstsein all jener,
die sich damit
beschäftigt haben.
Jahrzehntelang war eine
kleine, aber fantastische
Band Bestandteil dieses
international
bekanntenKabaretttheaters
. Mit den ersten
Klängen der
Komposition von Peter
Kleine Schaars fühlt
man sich sofort in das
aufregende Pariser
Nachtleben versetzt. Die
Musette führt uns ins
Quartier Pigalle, das
Rotlichtviertel von
Paris, undwenn sich die
Türen des Moulin Rouge
öffnen, erklingen die
bekannten Rhythmen einer
modernen Disco: eine
Kombination der
Rhythmus-Einheiten 8 / 4
und 3 / 14. Darüber
hinaus ist die
Komposition durch eine
vielfältige Verwendung
derRhythmus-Einheit 5
geprägt. Die Themen
und Begleitungen
verteilen sich dabei
gleichmäßig auf
alle Stimmen.
Es kommt ein Schiff, geladen Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2 SKU: BT.DHP-1012590-010 Composed by Tradi...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.DHP-1012590-010
Composed by Traditional.
Arranged by Roland
Kernen. Musica Sacra.
Sacred. Set (Score &
Parts). Composed 2001. De
Haske Publications #DHP
1012590-010. Published by
De Haske Publications
(BT.DHP-1012590-010).
Roland Kernen
hat in seiner Bearbeitung
des bekannten und
beliebten Adventsliedes
die vier Liedverse mit
verschiedenen
Verzierungen
ausgeschmückt und um
ein Vorspiel, ein
Nachspiel und mehrere
Zwischenspiele
ergänzt. Dabei blieb
der für das 17.
Jahrhundert typische
Rhythmuswechsel erhalten.
So entstand eine
abwechslungsreiche
Komposition als
Künderin der Frohen
Botschaft.
Percussion solo SKU: BR.KM-2511 Set of parts. Composed by Jorg Bir...(+)
Percussion solo
SKU:
BR.KM-2511
Set of
parts. Composed by
Jorg Birkenkotter. Solo
instruments; Folder.
Kammermusik-Bibliothek
(Chamber Music Library).
World premiere:
Cologne, October 24,
1992
Music post-1945;
New music (post-2000).
Set of parts. Composed
1990- 92. 130 pages.
Duration 21'. Breitkopf
and Haertel #KM 2511.
Published by Breitkopf
and Haertel (BR.KM-2511).
ISBN 9790004502921. 16
x 11.5 inches.
Den
beiden (quasi
solistischen)
Hauptinstrumenten
Marimbaphon (Holz) und
Vibraphon (Metall) sind
jeweils verschiedene
Zusatzinstrumente
zugeordnet, im Sinne
eines Kontinuums von
bestimmten uber
unbestimmte Tonhohen bis
zum Gerausch. In
Beziehung hierzu tritt
die dritte, zunachst
eigenstandig gedachte
Schicht der
Fellinstrumente. Durch
eine spezifische
Raumaufstellung (die
beiden Haupt-Instrumente
in normaler, frontaler
Buhnenaufstellung werden
von den ubrigen drei
Schlagzeugern ,,umstellt)
werden bestimmten Klangen
bzw. Klangkonstellationen
bestimmte Klang-Orte
zugeordnet. Gleiche oder
ahnliche Instrumente an
verschiedenen Orten
ermoglichen Klang-Wege,
Richtung. Der so im
voraus entworfenen,
vorgeformten
Klang-Landschaft
entspricht eine ebenfalls
vorformulierte, jedoch im
Hintergrund verborgene
Intervallstruktur
(,,unendliche Melodie).
Diese abtastend und durch
Projektion der primaren
,,Duo-Struktur auf die
,,Aussenspieler
erweiternd,
interpretierend und
letztlich aufbrechend,
durchlauft die Musik eine
Folge verschiedener
Spielmuster und
-situationen, die
fortsetzend, erweiternd,
kontrastierend oder
qualitativ umschlagend
aufeinander bezogen sind.
Dabei tauchen
verschiedene Struktur-,
Klang- oder
Raumkonstellationen
innerhalb des Stuckes
mehrmals auf und bekommen
durch die jeweils neue
Umgebung, die neue
Perspektive und den
Zeitpunkt ihres
Auftauchens im Verlauf
der Komposition jedesmal
eine andere, eine neue
Bedeutung. Die Art und
Weise des Durchlaufens
der vorgeformten
Materiallandschaft wirkt
auf diese zuruck, zeigt
sie als veranderbare und
sich verandernde,
entwirft sie jeweils neu
und bietet Moglichkeiten
fur neue, offene, nicht
pradisponierte Raume
(musikalischer)
Phantasie. (Jorg
Birkenkotter)
Chorus a cappella (solos: SATB - choir: SATB - 1.2.2.2 - 2.2.3.0 - timp - org - ...(+)
Chorus a cappella (solos:
SATB - choir: SATB -
1.2.2.2 - 2.2.3.0 - timp
- org - str)
SKU:
BR.CHB-5314-02
Urtext. Composed
by Franz Schubert. Edited
by Peter Jost. Choir;
stapled. Chor-Bibliothek
(Choral Library). To
strive for the highest in
art - these are the words
with which Franz Schubert
announced his A flat
major Mass in 1828. Mass;
Romantic. Choral score.
48 pages. Duration 45'.
Breitkopf and Haertel
#ChB 5314-02. Published
by Breitkopf and Haertel
(BR.CHB-5314-02).
ISBN
9790004412381. 7.5 x 10.5
inches.
To strive
for the highest in art -
these are the words with
which Franz Schubert
announced his A flat
major Mass in 1828, a
work which he designated
as Missa solemnis in his
autograph. Alone the
genesis of the work shows
the importance which the
composer placed on this
work. Schubert wrote the
score between 1819 and
1822, an unusually long
period of time for him.
He later fundamentally
revised the mass when he
applied for the post of
Vice Court Kapellmeister
in Vienna, which he did
not obtain. After this
disappointment, he
rejected his original
intent of dedicating the
mass to the Emperor or
Empress. Thanks to Peter
Jost's Breitkopf Urtext
edition, Schubert's Missa
solemnis once again adds
its luster to the
publisher's catalogue:
Breitkopf & Hartel
published its final
version in the Schubert
Gesamtausgabe in 1887.
Previously Jost produced
an equally exemplarily
prepared edition of
Schubert's E flat major
Mass D 950.Wie immer bei
Breitkopf ist das
Satzbild der Neuausgabe
der Zweitfassung in der
Gestalt vorbildlich.
(Goede,
Kirchenmusikfuhrer)Eine
Ausgabe, die hochsten
wissenschaftlichen
Anspruch mit bester
Praktikabilitat ganz
selbstverstandlich
verbindet. (Chor
aktuell).
De IJswoestijn Fanfare [Conducteur] - Intermédiaire Gobelin Music Publications
Fanfare Band - Grade 5 SKU: BT.GOB-000899-120 Composed by Jan Bosveld. Sc...(+)
Fanfare Band - Grade 5
SKU:
BT.GOB-000899-120
Composed by Jan Bosveld.
Score Only. Gobelin Music
Publications #GOB
000899-120. Published by
Gobelin Music
Publications
(BT.GOB-000899-120).
Reusachtige
ijskappen en met sneeuw
bedekte bergketens,
torenhoge door wind en
water gemodelleerde
ijsbergen, pingu?ns,
walvissen en duizenden
zeevogels. Dit zijn de
ongeëvenaarde
landschapsbeelden die
Antarctica tot het
laatste
ongereptenatuurgebied van
onze aarde maakt.
Ongeveer 160 miljoen jaar
geleden kwam het
arctische continent los
van het oer-continent
Gondwana en belandde op
de tegenwoordige positie
op de zuidpool. Uit
de vele fossielen
blijktdat daar een
subtropisch klimaat
heerste. Ongeveer 25
miljoen jaar geleden werd
Antarctica met ijs
overdekt en daarmee
ontstond de grootste
ijswoestijn op aarde.
In 1838 werd vanuit de
Verenigde Staten een
ontdekkingstochtop touw
gezet om nieuwe gebieden
te vinden voor de walvis-
en robbenjacht. Zo werd
de antarctische
ijswoestijn ontdekt.
Vanaf het begin van de
twintigste eeuw zijn het
vooral wetenschappelijke
expedities geweest die
deze ongerepteijswoestijn
aandeden. Onder de meest
bizarre omstandigheden
werden er
onderzoekstations gebouwd
en belangwekkend
wetenschappelijk werk
verricht. Sinds kort
wordt Antarctica zelfs
door toeristen bezocht.
Meerdaagse bootreizendoor
dit fascinerende
landschap laten
onvergetelijke indrukken
achter. Langzamerhand
wordt ook dit laatste
natuurreservaat op de
wereld ontsloten.
De compositie “De
IJswoestijn” van Jan
Bosveld beschrijft de
antarctischewereld en de
invloed die de mens
hierop uitoefent. In
deel 1 horen we de
ontdekking van de
ijswoestijn. Een schip
laveert tussen de
ijsschotsen en de
bemanning kijkt hoog op
naar de reusachtige
ijskappen. De
temperatuuris 50 graden
onder Celsius en in het
heldere licht ziet men
ijskristallen
oplichten. Deel 2
beschrijft de walvisjacht
rond 1900. Vanuit kleine
wendbare bootjes worden
harpoenen op walvissen
gegooid. Totdat hij is
uitgeput sleept.
Trumpet - intermediate SKU: HL.44003400 Play With a Real Brass Ensembl...(+)
Trumpet - intermediate
SKU: HL.44003400
Play With a Real Brass
Ensemble. De Haske
Play-Along Book. Play
Along. Book and CD.
Composed 1999. 24 pages.
De Haske Publications
#991446. Published by De
Haske Publications
(HL.44003400).
ISBN
9789043106146. UPC:
073999965001.
International (more than
one language).
This
innovative book allows
trumpet players the
chance to perform with a
brass quartet without the
need for other players!
The remaining three parts
are included on the CD
together with complete
performances to show you
how it should be done.
Includes works by Mozart,
Verdi, Smetana and more.
Bewerkingen van
klassieke werken en
originele composities
voor solotrompet en
koperensemble. Op de
begeleidings-cd staat
niet alleen van elk stuk
een opname van een
voltallig kwintet, maar
ook een versie zonder de
eerste
trompetpartij.Inhoud:
March of the Students'
Legion (Van der Beek)
* Vivat Mozart
(Schoonenbeek) * March
from Aida (Verdi) *
Premier Essay Jazz
(Waignein)
e.a.
Bearbeitungen
klassischer Werke und
originale Kompositionen
fur Solo-Tromptete mit
einem
Blechblaserensemble. Auf
der Begleit-CD ist nicht
nur eine Aufnahme des
vollstandigen Quintetts
eingespielt, sondern auch
ein Track ohne die 1.
Trompetenstimme.
Music of the Spheres Orchestre d'harmonie [Conducteur] - Intermédiaire/avancé Anglo Music
Concert Band/Harmonie - Grade 6 SKU: BT.AMP-028-140 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 6
SKU:
BT.AMP-028-140
Composed by Philip
Sparke. Elite Series.
Concert Piece. Score
Only. Composed 2005. 68
pages. Anglo Music Press
#AMP 028-140. Published
by Anglo Music Press
(BT.AMP-028-140).
English-German-French-
Dutch.
The piece
reflects the composer's
fascination with the
origins of the universe
and deep space in
general. The title comes
from a theory, formulated
by Pythagoras, that the
cosmos was ruled by the
same laws he had
discovered that govern
the ratios of note
frequencies of the
musical scale.
(‘Harmonia’
in Ancient Greek, which
means scale or tuning
rather than harmony -
Greek music was
monophonic). He also
believed that these
ratios corresponded to
the distances of the six
known planets from the
sun and that the planets
each produced a musical
note which combined to
weave a continuous
heavenly melody (which,
unfortunately, we humans
cannot hear). In this
work, these six notesform
the basis of the sections
MUSIC OF THE SPHERES and
HARMONIA. The pieces
opens with a horn solo
called t = 0, a name
given by some scientists
to the moment of the Big
Bang when time and space
were created, and this is
followed by a depiction
of the BIG BANG itself,
as the entire universe
bursts out from a single
point. A slower section
follows called THE LONELY
PLANET which is a
meditation on the
incredible and unlikely
set of circumstances
which led to the creation
of the Earth as a planet
that can support life,
and the constant search
for other civilisations
elsewhere in the
universe. ASTEROIDS AND
SHOOTING STARS depicts
both the benign and
dangerous objects that
are flying through space
and which constantly
threaten our planet, and
the piece ends with THE
UNKNOWN, leaving in
question whether our
continually expanding
exploration of the
universe will eventually
lead to enlightenment or
destruction.
Dit
werk weerspiegelt de
fascinatie van de
componist voor het
heelal. Het begint met
een hoornsolo met de naam
t = 0, waarmee
sommige wetenschappers de
oerknal aanduiden. Dan
volgt een weergave van de
oerknal zelf. Het
volgendegedeelte, The
Lonely Planet, is een
meditatie over het
ongelooflijke samenspel
van omstandigheden dat
leidde tot het ontstaan
van de Aarde.
Asteroids and Shooting
Stars beschrijft
objecten in de ruimte.
Het werkeindigt met
The Unknown,
waarmee we in het
ongewisse blijven over de
gevolgen van onze verdere
verkenning van het
universum. In 2005 won
Philip Sparke met
Music of the
Spheres de National
Band Association/William
D.Revelli Memorial Band
Composition
Contest.
Dieses
Werk handelt vom Weltall
und unserem Platz im
Universum, auf dem
Weltbild von Pythagoras
basierend. Am einfachsten
lässt sich diese
außergewöhnliche
Komposition wohl als
Filmmusik ähnliches
Stück beschreiben ?
Musik zu einem
Science-Fiction-Film
eines Ripley Scott oder
Steven Spielberg oder
auch Musik, wie sie ein
John Williams oder Danny
Elfman schreiben
würde: absolut
stimmungsvoll, brillant
instrumentiert mit
Klangfarben, Strukturen,
Effekten und Timbres,
gemischt mit
fließenden
musikalischen Linien, die
die Substanz des Themas
auf den Punkt treffen.
Dieses atemberaubende
neue Stück hebt Ihr
Blasorchester auf ein
höheres Niveau, sowohl
im technischen als
auchmusikalischen Sinn.
Music of the
Spheres evidenza il
fascino che le origini
dell’universo
esercitano su Philip
Sparke. Il titolo
proviene da una teoria
del matematico greco
Pitagora, secondo la
quale il cosmo è retto
dalle stesse leggi che
governano i rapporti di
frequenza tra le note
della scala musicale.
Questa composizione
inizia con un assolo di
corno chiamato t = 0,
nozione che definisce il
momento del big-bang.
The Lonely Planet
(Il pianeta solitario)
è una meditazione
sulle circostanze che
hanno portato alla
creazione della terra.
Asteroids and Shooting
Stars (Asteroidi e
Stelle cadenti) descrive
i molteplici oggetti che
si muovono nello spazio e
che rappresentano
unrischio per il nostro
pianeta. Le battute
finali portano verso
l’ignoto (The
Unknown) sollevando
una domanda la cui
risposta resta in
sospeso: la nostra
continua avanzata
nell’esplorazione
dell’Universo
porter un giorno alla
scoperta o alla
distruzione?
Organ (solos: SATB - choir: SATB - 1.2.2.2 - 2.2.3.0 - timp - org - str) SKU:...(+)
Organ (solos: SATB -
choir: SATB - 1.2.2.2 -
2.2.3.0 - timp - org -
str)
SKU:
BR.OB-5506-11
Urtext. Composed
by Franz Schubert. Edited
by Peter Jost. This
edition: organ part.
Choir; stapled.
Orchester-Bibliothek
(Orchestral Library).
To strive for the
highest in art - these
are the words with which
Franz Schubert announced
his A flat major Mass in
1828.
Mass; Romantic.
Part. 28 pages. Duration
45'. Breitkopf and
Haertel #OB 5506-11.
Published by Breitkopf
and Haertel
(BR.OB-5506-11).
ISBN
9790004338803. 10 x 12.5
inches.
To strive
for the highest in art -
these are the words with
which Franz Schubert
announced his A flat
major Mass in 1828, a
work which he designated
as Missa solemnis in his
autograph. Alone the
genesis of the work shows
the importance which the
composer placed on this
work. Schubert wrote the
score between 1819 and
1822, an unusually long
period of time for him.
He later fundamentally
revised the mass when he
applied for the post of
Vice Court Kapellmeister
in Vienna, which he did
not obtain. After this
disappointment, he
rejected his original
intent of dedicating the
mass to the Emperor or
Empress. Thanks to Peter
Jost's Breitkopf Urtext
edition, Schubert's Missa
solemnis once again adds
its luster to the
publisher's catalogue:
Breitkopf & Hartel
published its final
version in the Schubert
Gesamtausgabe in 1887.
Previously Jost produced
an equally exemplarily
prepared edition of
Schubert's E flat major
Mass D 950.Wie immer bei
Breitkopf ist das
Satzbild der Neuausgabe
der Zweitfassung in der
Gestalt vorbildlich.
(Goede,
Kirchenmusikfuhrer)Eine
Ausgabe, die hochsten
wissenschaftlichen
Anspruch mit bester
Praktikabilitat ganz
selbstverstandlich
verbindet. (Chor
aktuell).
Children's choir (SMezA) with speakers, piano (organ), 2 melody instruments in C...(+)
Children's choir (SMezA)
with speakers, piano
(organ), 2 melody
instruments in C or in Bb
and percussion (Score) -
easy
SKU:
HL.49006665
Ein
Kinder-Musical.
Composed by Reimund Hess.
This edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Score. 68
pages. Duration 25'.
Schott Music #ED 6800.
Published by Schott Music
(HL.49006665).
ISBN
9790001072090.
German.
Drei alte
Dampfloks, die sich mit
ihrem Dasein als
ausrangiertes Altmetall
nicht abfinden wollen,
machen sich selbstandig
auf den Weg von
Delfterlaan zum fernen
Delfter Hauptbahnhof,
sehr zum Entsetzen des
Bahnhofsvorstehers und
der Erwachsenen. Als
diese jedoch merken, dass
die Kinder vor allem an
der Bimmelbahn-Lok einen
Riesenspass haben,
dampfen die drei
Ausreisser zum guten Ende
ins Eisenbahnmuseum, wo
sie zur Freude der Kinder
und Erwachsenen bleiben
durfen.Keineswegs ein
„Starlight Express
fur Arme”, vielmehr
ein lebendiges, flott
erzahltes kleines
Kinder-Musical, das
vielfaltige Moglichkeiten
fur phantasievolle
szenische Gestaltung
bietet, z.B. in der
Umsetzung der drei
unterschiedlichen
Lok-”Charaktere&rdq
uo; durch Requisiten und
Kostume.Fur Grundschulen,
Musikschulen und den
theater- und
spielpadagogischen
Einsatz in Kindertheatern
besonders zu
empfehlen.
De IJswoestijn Fanfare [Conducteur et Parties séparées] - Intermédiaire Gobelin Music Publications
Fanfare Band - Grade 5 SKU: BT.GOB-000899-020 Composed by Jan Bosveld. Se...(+)
Fanfare Band - Grade 5
SKU:
BT.GOB-000899-020
Composed by Jan Bosveld.
Set (Score & Parts). 36
pages. Gobelin Music
Publications #GOB
000899-020. Published by
Gobelin Music
Publications
(BT.GOB-000899-020).
Reusachtige
ijskappen en met sneeuw
bedekte bergketens,
torenhoge door wind en
water gemodelleerde
ijsbergen, pingu?ns,
walvissen en duizenden
zeevogels. Dit zijn de
ongeëvenaarde
landschapsbeelden die
Antarctica tot het
laatste
ongereptenatuurgebied van
onze aarde maakt.
Ongeveer 160 miljoen jaar
geleden kwam het
arctische continent los
van het oer-continent
Gondwana en belandde op
de tegenwoordige positie
op de zuidpool. Uit
de vele fossielen
blijktdat daar een
subtropisch klimaat
heerste. Ongeveer 25
miljoen jaar geleden werd
Antarctica met ijs
overdekt en daarmee
ontstond de grootste
ijswoestijn op aarde.
In 1838 werd vanuit de
Verenigde Staten een
ontdekkingstochtop touw
gezet om nieuwe gebieden
te vinden voor de walvis-
en robbenjacht. Zo werd
de antarctische
ijswoestijn ontdekt.
Vanaf het begin van de
twintigste eeuw zijn het
vooral wetenschappelijke
expedities geweest die
deze ongerepteijswoestijn
aandeden. Onder de meest
bizarre omstandigheden
werden er
onderzoekstations gebouwd
en belangwekkend
wetenschappelijk werk
verricht. Sinds kort
wordt Antarctica zelfs
door toeristen bezocht.
Meerdaagse bootreizendoor
dit fascinerende
landschap laten
onvergetelijke indrukken
achter. Langzamerhand
wordt ook dit laatste
natuurreservaat op de
wereld ontsloten.
De compositie “De
IJswoestijn” van Jan
Bosveld beschrijft de
antarctischewereld en de
invloed die de mens
hierop uitoefent. In
deel 1 horen we de
ontdekking van de
ijswoestijn. Een schip
laveert tussen de
ijsschotsen en de
bemanning kijkt hoog op
naar de reusachtige
ijskappen. De
temperatuuris 50 graden
onder Celsius en in het
heldere licht ziet men
ijskristallen
oplichten. Deel 2
beschrijft de walvisjacht
rond 1900. Vanuit kleine
wendbare bootjes worden
harpoenen op walvissen
gegooid. Totdat hij is
uitgeput sleept.
Chorus (with soloists) and piano (solos: SATB - choir: SATB - 1.2.2.2 - 2.2.3.0 ...(+)
Chorus (with soloists)
and piano (solos: SATB -
choir: SATB - 1.2.2.2 -
2.2.3.0 - timp - org -
str)
SKU:
BR.EB-8638
Urtext. Composed
by Franz Schubert. Edited
by Peter Jost. Arranged
by Julius Spengel. This
edition: piano
reduction/vocal score.
Choir; Softbound. Edition
Breitkopf.
To strive
for the highest in art -
these are the words with
which Franz Schubert
announced his A flat
major Mass in 1828.
Mass; Romantic.
Piano/Vocal Score. 96
pages. Duration 45'.
Breitkopf and Haertel #EB
8638. Published by
Breitkopf and Haertel
(BR.EB-8638).
ISBN
9790004182628. 7.5 x 10.5
inches.
To strive
for the highest in art -
these are the words with
which Franz Schubert
announced his A flat
major Mass in 1828, a
work which he designated
as Missa solemnis in his
autograph. Alone the
genesis of the work shows
the importance which the
composer placed on this
work. Schubert wrote the
score between 1819 and
1822, an unusually long
period of time for him.
He later fundamentally
revised the mass when he
applied for the post of
Vice Court Kapellmeister
in Vienna, which he did
not obtain. After this
disappointment, he
rejected his original
intent of dedicating the
mass to the Emperor or
Empress. Thanks to Peter
Jost's Breitkopf Urtext
edition, Schubert's Missa
solemnis once again adds
its luster to the
publisher's catalogue:
Breitkopf & Hartel
published its final
version in the Schubert
Gesamtausgabe in 1887.
Previously Jost produced
an equally exemplarily
prepared edition of
Schubert's E flat major
Mass D 950.Wie immer bei
Breitkopf ist das
Satzbild der Neuausgabe
der Zweitfassung in der
Gestalt vorbildlich.
(Goede,
Kirchenmusikfuhrer)Eine
Ausgabe, die hochsten
wissenschaftlichen
Anspruch mit bester
Praktikabilitat ganz
selbstverstandlich
verbindet. (Chor
aktuell)
To strive
for the highest in art -
these are the words with
which Franz Schubert
announced his A flat
major Mass in 1828.
Arranged by Wil van der
Beek. Great Classics.
Score Only. Composed
2012. 44 pages. De Haske
Publications #DHP
1125039-140. Published by
De Haske Publications
(BT.DHP-1125039-140).
Performed by Frank Loesser. For voice and piano. Format: piano/vocal/chords song...(+)
Performed by Frank
Loesser. For voice and
piano. Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names, black &
white photos and
introductory text.
Broadway. 280 pages. 9x12
inches. Published by
Frank Music Corp..
New music
(post-2000). Score.
Composed 2016/17/20. 12
pages. Duration 8'.
Breitkopf and Haertel #EB
9253. Published by
Breitkopf and Haertel
(BR.EB-9253).
ISBN
9790004185537. 9 x 12
inches.
Marche
fatale is an incautiously
daring escapade that may
annoy the fans of my
compositions more than my
earlier works, many of
which have prevailed only
after scandals at their
world premieres. My
Marche fatale has,
though, little
stylistically to do with
my previous compositional
path; it presents itself
without restraint, if not
as a regression, then
still as a recourse to
those empty phrases to
which modern civilization
still clings in its daily
utility music, whereas
music in the 20th and
21st centuries has long
since advanced to new,
unfamiliar soundscapes
and expressive
possibilities. The key
term is banality. As
creators we despise it,
we try to avoid it -
though we are not safe
from the cheap banal even
within new aesthetic
achievements.Many
composers have
incidentally accepted the
banal. Mozart wrote Ein
musikalischer Spass [A
Musical Jape], a
deliberately amateurishly
miscarried sextet.
Beethoven's Bagatellen
op. 119 were rejected by
the publisher on the
grounds that few will
believe that this minor
work is by the famous
Beethoven. Mauricio Kagel
wrote, tongue in cheek,
so to speak, Marsche, um
den Sieg zu verfehlen
[Marches for being
Unvictorious], Ligeti
wrote Hungarian Rock; in
his Circus Polka
Stravinsky quoted and
distorted the famous, all
too popular Schubert
military march, composed
at the time for piano
duet. I myself do not
know, though, whether I
ought to rank my Marche
fatale alongside these
examples: I accept the
humor in daily life, the
more so as this daily
life for some of us is
not otherwise to be
borne. In music, I
mistrust it, considering
myself all the closer to
the profounder idea of
cheerfulness having
little to do with humor.
However: Isn't a march
with its compelling claim
to a collectively martial
or festive mood absurd, a
priori? Is it even music
at all? Can one march and
at the same time listen?
Eventually, I resolved to
take the absurd seriously
- perhaps bitterly
seriously - as a
debunking emblem of our
civilization that is
standing on the brink.
The way - seemingly
unstoppable - into the
black hole of all
debilitating demons: that
can become serene. My old
request of myself and my
music-creating
surroundings is to write
a non-music, whence the
familiar concept of music
is repeatedly re-defined
anew and differently, so
that derailed here -
perhaps? - in a
treacherous way, the
concert hall becomes the
place of mind-opening
adventures instead of a
refuge in illusory
security. How could that
happen? The rest is -
thinking.(Helmut
Lachenmann, 2017)CD
(Version for
Piano):Nicolas Hodges CD
Wergo WER 7393 2
Bibliography:Ich bin
nicht ,,pietistisch
verformt. Ein Gesprach
[von Jan Brachmann] mit
dem Komponisten Helmut
Lachenmann, in: FAZ vom
7. Juni 2018, p.
15.
World premiere
of the piano version:
Mito/Japan, June 17,
2017, World premiere of
the orchestral version:
Stuttgart, January 1,
2018, World premiere of
the ensemble version:
Frankfurt, December 9,
2020.
New music
(post-2000). Full score.
Composed 2016/17/20. 48
pages. Duration 8'.
Breitkopf and Haertel #PB
5432. Published by
Breitkopf and Haertel
(BR.PB-5432).
ISBN
9790004212790. 10 x 12.5
inches.
Marche
fatale is an incautiously
daring escapade that may
annoy the fans of my
compositions more than my
earlier works, many of
which have prevailed only
after scandals at their
world premieres. My
Marche fatale has,
though, little
stylistically to do with
my previous compositional
path; it presents itself
without restraint, if not
as a regression, then
still as a recourse to
those empty phrases to
which modern civilization
still clings in its daily
utility music, whereas
music in the 20th and
21st centuries has long
since advanced to new,
unfamiliar soundscapes
and expressive
possibilities. The key
term is banality. As
creators we despise it,
we try to avoid it -
though we are not safe
from the cheap banal even
within new aesthetic
achievements.Many
composers have
incidentally accepted the
banal. Mozart wrote Ein
musikalischer Spass [A
Musical Jape], a
deliberately amateurishly
miscarried sextet.
Beethoven's Bagatellen
op. 119 were rejected by
the publisher on the
grounds that few will
believe that this minor
work is by the famous
Beethoven. Mauricio Kagel
wrote, tongue in cheek,
so to speak, Marsche, um
den Sieg zu verfehlen
[Marches for being
Unvictorious], Ligeti
wrote Hungarian Rock; in
his Circus Polka
Stravinsky quoted and
distorted the famous, all
too popular Schubert
military march, composed
at the time for piano
duet. I myself do not
know, though, whether I
ought to rank my Marche
fatale alongside these
examples: I accept the
humor in daily life, the
more so as this daily
life for some of us is
not otherwise to be
borne. In music, I
mistrust it, considering
myself all the closer to
the profounder idea of
cheerfulness having
little to do with humor.
However: Isn't a march
with its compelling claim
to a collectively martial
or festive mood absurd, a
priori? Is it even music
at all? Can one march and
at the same time listen?
Eventually, I resolved to
take the absurd seriously
- perhaps bitterly
seriously - as a
debunking emblem of our
civilization that is
standing on the brink.
The way - seemingly
unstoppable - into the
black hole of all
debilitating demons: that
can become serene. My old
request of myself and my
music-creating
surroundings is to write
a non-music, whence the
familiar concept of music
is repeatedly re-defined
anew and differently, so
that derailed here -
perhaps? - in a
treacherous way, the
concert hall becomes the
place of mind-opening
adventures instead of a
refuge in illusory
security. How could that
happen? The rest is -
thinking.(Helmut
Lachenmann, 2017)CD
(Version for
Piano):Nicolas Hodges CD
Wergo WER 7393 2
Bibliography:Ich bin
nicht ,,pietistisch
verformt. Ein Gesprach
[von Jan Brachmann] mit
dem Komponisten Helmut
Lachenmann, in: FAZ vom
7. Juni 2018, p.
15.
World premiere
of the piano version:
Mito/Japan, June 17,
2017, World premiere of
the orchestral version:
Stuttgart, January 1,
2018, World premiere of
the ensemble version:
Frankfurt, December 9,
2020.
Fakebook (spiral bound) for voice and C instrument. With vocal melody, lyrics, c...(+)
Fakebook (spiral bound)
for voice and C
instrument. With vocal
melody, lyrics, chord
names and leadsheet
notation. Series: Hal
Leonard Fake Books. 407
pages. Published by Hal
Leonard.