Composed by Edward Taylor Paull. Arranged by Judith Katz. Published by Imagine Music (IG.CMS164).

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.

By Benjamin Britten. (CHORAL SCORE). Boosey and Hawkes Large Choral. Size 6.8x10.5 inches. 80 pages. Published by Boosey and Hawkes.

Chamber Music Piano

SKU: PR.110418140

Composed by James Matheson. Performance Score. 24 pages. Duration 25 minutes. Theodore Presser Company #110-41814. Published by Theodore Presser Company (PR.110418140).

ISBN 9781491129432. UPC: 680160640379.

Mathe son’s five-movement work is a setting of stained glass windows created by Marc Chagall and Henri Matisse for a rustic country church adjoining the Rockefeller estate near Sleepy Hollow on the Hudson River. Matheson’s suite draws from four Chagall windows: 1. Jeremiah, 2. Isaiah, 3. Crucifixion, 4. The Good Samaritan, and culminates with Matisse’s 5. The Rose.
In 1954, the Rockefeller family asked Henri Matisse to create a stained glass Rose Window for the Union Church of Pocantico Hills, New York as a memorial to Abby Aldrich Rockefeller, the great art patroness and a founder of the Museum of Modern Art. It was to be the artist’s last work. A few years later, Mrs. Rockefeller’s youngest son, David, acting on behalf of the family, commissioned Marc Chagall to create an entire series of stained glass windows to fill the rest of the small church resulting in the large, majestic “Good Samaritan” window and eight sublime smaller windows, each depicting a biblical figure or scene. In 2015, Premiere Commission commissioned James Matheson to compose WINDOWS to celebrate the centennial of the Union Church of Pocantico Hills and the 100th birthday of David Rockefeller.  This deeply touching, epic cycle distills into music the intimate, often heart-rending, visions of Chagall as well as the powerful simplicity of Matisse’s modern design which utilizes the striking collage forms he employed in his final years. Matheson’s work also reflects the influence of Olivier Messiaen’s own theologically-inspired music. Like the French master, Matheson utilizes large-scale blocks of harmonies with organ-like sonorities to support and shift the music’s kaleidoscopic planes of color and set into relief the work’s piercing motifs and intricate patterns. The universal themes of love and sacrifice (“Jeremiah” and “Isaiah†), loss and altruism (“Crucifixionâ€� � and “The Good Samaritan”) and the jubilant celebration of life and nature (“The Rose”) are memorably portrayed in this poignant tribute to the human spirit.—Bruce Levingston.

Piano

SKU: PR.510076960

Pour Piano. Composed by Stephane Delplace. Full score. With Standard notation. 28 pages. Duration 25 minutes, 37 seconds. Gerard Billaudot Editeur #510-07696. Published by Gerard Billaudot Editeur (PR.510076960).

1. Choral: An improbably superimposing of Beethoven and Brahms. At the end of the first performance of the latter's 1st Symphony, someone asked the composer: Don't you find that your main theme remin ds one of the Ode to Joy? To which he retorted: Even an idiot would have noticed it! 2. Fugue: in the last exposition, the subject of Fugue I from volume 1 of Bach's Well-Tempered Keyboard is super imposed on the theme from Mozart's so-called easy sonata. 3. Passion: In his Violin Concerto, Mendelssohn, to whom we owe the rediscovery of Bach's Passions, seems to have borrowed a theme from a lost Passion. 4. Recitativo: Tribute to Franck's tribute to Bach in his Sonata for violin and piano. 5. Invention: A private revenge, after a bitter failure. Debussy's Toccata was on the compulsory list for the Conservatory piano class entrance exam. 6. Arpeggione: In which the listener realizes the similarity in the introduction to Schubert's Unfinished Symphony and Arpeggione Sonata. 7. Sarabande: The most iconoclastic, for Bach's 5th Cello Suite is already suffused with harmony. There might be an evocatioin of a Brahms-like overarching structure, though... 8. Variation: The slowest variation ever written on Paganini's 24th Caprice. 9. Scene: Schumann's Reverie as a Prelude. 10. Finale: In order to capture the elusive harmony of the Finale of Chopin's Sonate Funebre. 11. Fugue on Au clair de la lune: Our greatest nursery rhymes, fugue fitted and choralized. 12. Fugue de Noel (Christmas fugue): Quite appropriate. 13. Fugue on J'ai du bon tabac: Prohibited counterpoint. 14. Fugue on La Marseillaise: Franco-German reconciliation. 15. Pedal - Exercitium: Realization and conclusion of Bach's organ pedal exercies.

SATB choir with some divisi, organ - Medium

SKU: PL.0122

Composed by Peter Pindar Stearns. Parish. Choral, General. Octavo. Paraclete Press #0122. Published by Paraclete Press (PL.0122).

This imaginative setting of words by John White Chadwick creates a feeling of eternal strength from its constant musical flow. Peter Pindar Stearns is well known for his sensitivity to text and choir alike and this anthem reflects his keen imagination as well. The first verse is set in unison with a lovely soaring melody while the second verse supports the melody in four-part writing. A brief organ interlude ensues before the final verse which is for two part women and men's voices concluding in a spirit of unity.

Peter Pindar Stearns has surpassed even my highest expectations for him with his Eternal Ruler, a tribute to Edwardian and post-Edwardian hymn anthems. Where to begin? Imagine the finest, broadest melody Gustav Holst could write, add the impassioned fervor of Balfour Gardiner's Evening Hymn or Stanford in B-flat, and hold all that together with Stearns's ultimate integrity and infallible taste. Every time I play and sing through this, it leaves me in tears, and I haven't even mentioned the amazing subtlety of Stearns's harmony, the genius of his part writing, and the overwhleming sweep of his lines. This is gorgeous, glorious music. - Dr. John Hooker AAM Journal November 2001.

Recorded by the Dizzy Gillespie Alumni All-Stars. Edited by Dylan Canterbury, Rob DuBoff, and Jeffrey Sultanof. Arranged by Benny Golson. Jazz, Ballad. Score and parts. Published by Jazz Lines Publications (JL.JLP-7340).

Orchestra (Study Score)

SKU: HL.51489054

Orchestra Study Score. Composed by Franz Joseph Haydn. Edited by Klaus Lippe and Sonja Gerlach. Study Score. Paperbound. Henle Study Scores. Classical. Softcover. 66 pages. G. Henle #HN9054. Published by G. Henle (HL.51489054).

ISBN 9790201890548. UPC: 888680950606. 7.0x9.0x0.287 inches. Preface: Ullrich Schneidler.

Joseph Haydn's so-called Paris Symphonies were composed in 1785 and 1786 for the masonic lodge “Société Olympique” in Paris, which ran a large orchestra and organised regular concerts. These six works are notable for their artful motivic work and playful wit. Haydn here pays tribute both to the discerning taste of the Paris audience and to the excellent abilities of the musicians in the orchestra. These symphonies rapidly became famous and popular throughout Europe, thanks to editions published variously in Paris, Vienna and London. In this D-major symphony, composed in 1786, the slow movement entitled “Capriccio” is very free in its form, and its introverted mood stands in marked contrast to the exuberance of the other movements. This study edition reproduces the musical text of the Haydn Complete Edition, which is a guarantor of the finest scholarship. An informative preface and a brief critical report make this handy score an ideal companion for all Haydn fans, both present and future.

Orchestra (Study Score)

SKU: HL.51489052

Orchestra Study Score. Composed by Franz Joseph Haydn. Edited by Klaus Lippe and Sonja Gerlach. Study Score. Clothbound. Henle Study Scores. Classical. Softcover. 60 pages. G. Henle #HN9052. Published by G. Henle (HL.51489052).

ISBN 9790201890524. UPC: 888680950682. 7.0x9.0x0.238 inches. Preface: Ullrich Schneidler.

Joseph Haydn's so-called Paris Symphonies were composed in 1785 and 1786 for the masonic lodge “Société Olympique” in Paris, which ran a large orchestra and organised regular concerts. These six works are notable for their artful motivic work and playful wit. Haydn here pays tribute both to the discerning taste of the Paris audience and to the excellent abilities of the musicians in the orchestra. These symphonies rapidly became famous and popular throughout Europe, thanks to editions published variously in Paris, Vienna and London. This E-flat major Symphony, composed in 1786, is notable for its colourful use of the woodwind, which are also allowed to come to the fore in solo passages. This study edition reproduces the musical text of the Haydn Complete Edition, which isa guarantor of the finest scholarship. An informative preface and a brief critical report make this handy score an ideal companion for all Haydn fans, both present and future.

Composed by Robert Buckley. MusicWorks Grade 3. Contest, Festival. Softcover. Published by Hal Leonard

Score Only Concert Band (Score) - Grade 3

SKU: HL.4006591

Composed by Robert Buckley. MusicWorks Grade 3. Contest, Festival. Softcover. 36 pages. Duration 195 seconds. Published by Hal Leonard (HL.4006591).

UPC: 840126916713. 9.0x12.0x0.092 inches.

Written as a celebratory piece, Above and Beyond is a stirring overture that explodes with energy and enthusiasm - a tribute to the quest for the extraordinary and the desire to do more than is required. Built around three distinct themes which are organically developed, the work contains powerful and triumphant melodies, driving percussion, dynamic contrasts and a marvelous cantabile. This exhilarating concert opener exemplifies joy and spirit.

Mixed choir (SATB), 2 flutes, 2 oboes, 2 clarinets, 2 bassoons - 2 horns, 2 trumpets, 3 trombones, timpani and strings (P+KRB)

SKU: HL.49042434

Composed by Carl Maria von Weber. Edited by Frank Ziegler and Johannes Kepper. This edition: Full-cloth binding. Sheet music. Edition Schott. Score and critical commentary, complete edition. 306 pages. Schott Music #WGA1021. Published by Schott Music (HL.49042434).

ISBN 9783795794491. 10.25x13.5x1.141 inches. German.

Carl Maria von Weber's fame rests mainly on 'Der Freischutz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as 'Preciosa', 'Oberon', and 'Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music; cantatas, odes and other occasional works; stage works; lieder and vocal works; orchestral works; chamber music; music for piano; piano reductions; miscellanea, arrangements and orchestrations; works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references.

Piano (P+KRB)

SKU: HL.49042462

No. 1-4. Composed by Carl Maria von Weber. Edited by Markus Bandur. This edition: Full-cloth binding. Sheet music. Edition Schott. Score and critical commentary, complete edition. Op. 24+39+49+70. 372 pages. Schott Music #WGA1071. Published by Schott Music (HL.49042462).

ISBN 9783795794637. German - English.

Carl Maria von Weber's fame rests mainly on 'Der Freischutz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as 'Preciosa', 'Oberon', and 'Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music; cantatas, odes and other occasional works; stage works; lieder and vocal works; orchestral works; chamber music; music for piano; piano reductions; miscellanea, arrangements and orchestrations; works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references.