Voice and piano (Soli: SBar(T) - 1(picc.A-fl).1(cor ang).1(Ebclar.Bclar).0. - 1.1.2.0. - perc - hp - pno - str: 1.1.1.1.1.)

SKU: BR.DV-6140

Scenes for 2 Singers and 15 Instrumentalists. Composed by Udo Zimmermann. Voice; Softbound. Deutscher Verlag. World premiere: Hamburg, February 27, 1986DV 1140 awarded the German Music Edition Prize. Opera; Music theatre; Music post-1945; New music (post-2000). Piano/Vocal Score. Composed 1984/85. 140 pages. Duration 75'. Deutscher Verlag fur Musik #DV 6140. Published by Deutscher Verlag fur Musik (BR.DV-6140).

ISBN 9790200460230. 13.5 x 10.5 inches.

Translation : Engl. (S. Wadsworth) (1988) / (Norbert Rubesaat) (1993); French (Jean-Pierre Wurtz) (1997) Place and time: Jail Munchen-Stadelheim, in the hour before the execution on 22nd February 1943 Characters: Sophie Scholl (soprano) / Hans Scholl (baritone or tenor) >>Weisse Rose<< (White Rose) was the name of the resistance group to which Hans and Sophie Scholl belonged. Udo Zimmermann's composition is characterized by the varying structure of its scenes: dramatic, visionary scenes, e.g. the remembered wartime experiences on the front, Sophie's anxiety about the removal of the children and the wish to see her parents one last time, contrast with contemplative monologues that are intended to provide insights into the individual's particular situation. The composer interweaves into the structure of the piece dream sequences with sudden bursts of anxiety that are not triggered by the execution that is about to take place but by the consequences of one's own actions. The result is a deliberate fusion of the various parts into one another. More than 100 different productions prove that the topic is as important as ever and that the work is both artistically rewarding and practicable. Udo Zimmermann About the piece Two young people, the siblings Sophie and Hans Scholl, are in a prison cell, one hour before they are to be put to death by their fascist executioners. Their christian convictions and sense of responsibility gave them the courage to put up resistance, resistance against the lies, the contempt for humanity and all human values. Sophie and Hans Scholl took their stand in the full knowledge that they were taking a deadly risk. They would simply not have been able to live with their feelings of shame had they not grasped the chance of fighting for what they believed in, even though it was a dangerous thing to do. Memories of past events, doubts, hopes and fears, justification of deeds and an acceptance of death, all these things happen and move in, and between, these two people during this representation of the hour before death. The orchestra provides a psycho-physical shorthand of their inner mental state. Musical effects and gestures search for their identity in human behaviour. The moments of stillness and silence provide moments of musical tension, which are just as powerful as the eruptions of fear and desperation. CDs: Gabriele Fontana (soprano), Lutz-Michael Harder (tenor), Instrumentalensemble, cond. Udo Zimmermann CD Orfeo C 162 871 Grazyna Szklarecka (soprano), Frank Schiller (tenor), musica viva-ensemble dresden, cond. Udo Zimmermann CD Berlin Classics Eterna BC 0120 060-2 CD (excerpts): Gabriele Fontana (soprano), Lutz-Michael Harder (tenor), Ein Instrumentalensemble, cond. Udo Zimmermann CD BMG 74321 73628 2 Bibliography : Kornel , Attila: ,,Tief unter uns nur Schweigen - Die Asthetik der Stille in Udo Zimmermanns Kammeroper ,,Weisse Rose, in: Die Tonkunst 11 (2017), pp. 368-377. Rheinlander , Matthias: Im Osten nichts Neues? Ostalgie ohne Kitsch am Beispiel von Udo Zimmermanns Oper Die weisse Rose, in: Musik und Unterricht, Heft 73 (2003), pp. 34-40.

World premiere: Hamburg, February 27, 1986DV 1140 Awarded the German Music Edition Prize.

3.2.2.2: 4.2.3.0: Timp.Perc(2): Str (9-8-7-6-5 in set): [Solo Piano]

SKU: AP.36-A219801

Composed by Peter Ilyich Tchaikovsky. Chamber Orchestra; Performance Music Ensemble. Edwin F. Kalmus. Form: Concerto. Romantic. Score. LudwigMasters Publications #36-A219801. Published by LudwigMasters Publications (AP.36-A219801).

UPC: 660355013270. English.

Captivated by the playing of famed Franz Liszt pupil Eugen d'Albert during the 1883-1884 concert season, Peter Ilyitch Tchaikovsky (1840-1893) began work on Concert Fantasia. After an arduous composition process, on which the composer himself remarked, I stopped playing around and came up with something... but it still sounded too poor and unoriginal... Tchaikovsky laid aside Concert Fantasia and began sketching out his Third Orchestral Suite. He eventually returned to and finished Concert Fantasia in June of 1884, with the surprising addition of the second movement Contrastes. Originally composed as the first movement of his Third Orchestral Suite but ultimately rejected, Tchaikovsky reservedly added it as a second movement to Concert Fantasia. While recognizing and wishing to use the movement for its own merits, he still harbored doubts and added an alternative solo cadenza to the end of the first movement in case Contrastes was to be omitted. The Russian Musical Society under the direction of Max Erdmannsdörfer premiered the work in 1855. In the two decades after its debut, Concert Fantasia received many performances but disappeared from the repertoire until it underwent a revival in the latter part of the 20th century. Instrumentation: 3.2.2.2: 4.2.3.0: Timp.Perc(2): Str (9-8-7-6-5 in set): [Solo Piano].

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