Crescent Moon Orchestre d'harmonie - Avancé De Haske Publications
Score Only Concert Band (Score) - Grade 5 SKU: HL.44011703 Grand Overt...(+)
Score Only Concert Band
(Score) - Grade 5
SKU:
HL.44011703
Grand
Overture. Composed by
Jan Van der Roost. De
Haske Concert Band.
Concert Piece. Score
Only. Composed 2012. 52
pages. De Haske
Publications #1115232140.
Published by De Haske
Publications
(HL.44011703).
Crescent Moon
is a festive overture
composed by Jan Van der
Roost and was
commissioned by a
Japanese wind band. The
piece begins solemnly in
the middle register but
gradually becomes
brighter and more
brilliant as the moon
rises in the sky and
begins to give more
light. After this
somewhat stately
introduction, a virtuoso
allegro emerges,
displaying technical
prowess in all registers,
before the piece
culminates with a joyful
mood of optimism. An
ideal concert opener,
Crescent Moon will fill
your ears with joy and
happiness!
Safe With Me Chorale SATB SATB, Piano Heritage Music Press
SATB choir, piano SKU: LO.15-3435H Composed by Bryan Sharpe. Choral. Octa...(+)
SATB choir, piano
SKU:
LO.15-3435H
Composed
by Bryan Sharpe. Choral.
Octavo. Heritage Music
Press #15/3435H.
Published by Heritage
Music Press
(LO.15-3435H).
ISBN
9780787756277.
Thou
gh the sky is dark,
though the stars in
heaven can’t be
seen, though the world is
cold, you will be safe,
safe with me. Brilliant
opportunities for
teaching phrasing,
dynamic contours, breath
support, and general
musicianship abound. The
depth of beauty and
sensitivity in this Bryan
Sharpe original make it a
stunning addition to any
concert program.
Everest Fanfare - Intermédiaire De Haske Publications
Fanfare Band - Grade 3 SKU: BT.DHP-1043638-020 Composed by Jacob De Haan....(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1043638-020
Composed by Jacob De
Haan. Brilliant Marches.
March. Set (Score &
Parts). Composed 2004. De
Haske Publications #DHP
1043638-020. Published by
De Haske Publications
(BT.DHP-1043638-020).
Everest is the
name of a restaurant on
the 40th floor of a
skyscraper in Chicago. In
2003 the composer Jacob
de Haan had dinner there
together with his
publishers and other
fellow composers. The
idea of composing a march
to honour the excellent
cuisine, the magnificent
view of the skyline and
the pleasant atmosphere
in the restaurant arose
during the visit. The
results can be heard in
this delightful and
unusual work.
Everest is de
naam van een restaurant
op de veertigste
verdieping van een
wolkenkrabber in Chicago.
Jacob de Haan liet zich
daar inspireren door de
voortreffelijke keuken,
het magnifieke uitzicht
op de skyline en de
bijzonder aangenamesfeer.
Dit werk is een prachtige
hommage aan Chicago en
aan de chef-kok van
Everest.
Everest
ist der Name eines
Restaurants im 40. Stock
eines Wolkenkratzers in
Chicago. Jacob de Haan
ließ sich dort von der
ausgezeichneten Küche,
dem wundervollen Ausblick
auf die Skyline und von
der angenehmen
Atmosphäre inspirieren
und schrieb diesen
Marsch. Eine Hommage an
die Stadt und den
Restaurantchef, wie man
sie sich passender nicht
vorstellen kann.
Everest Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1043638-140 Composed by Jacob...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1043638-140
Composed by Jacob De
Haan. Brilliant Marches.
March. Score Only.
Composed 2004. 24 pages.
De Haske Publications
#DHP 1043638-140.
Published by De Haske
Publications
(BT.DHP-1043638-140).
Everest is the
name of a restaurant on
the 40th floor of a
skyscraper in Chicago. In
2003 the composer Jacob
de Haan had dinner there
together with his
publishers and other
fellow composers. The
idea of composing a march
to honour the excellent
cuisine, the magnificent
view of the skyline and
the pleasant atmosphere
in the restaurant arose
during the visit. The
results can be heard in
this delightful and
unusual work.
Everest is de
naam van een restaurant
op de veertigste
verdieping van een
wolkenkrabber in Chicago.
Jacob de Haan liet zich
daar inspireren door de
voortreffelijke keuken,
het magnifieke uitzicht
op de skyline en de
bijzonder aangenamesfeer.
Dit werk is een prachtige
hommage aan Chicago en
aan de chef-kok van
Everest.
Everest
ist der Name eines
Restaurants im 40. Stock
eines Wolkenkratzers in
Chicago. Jacob de Haan
ließ sich dort von der
ausgezeichneten Küche,
dem wundervollen Ausblick
auf die Skyline und von
der angenehmen
Atmosphäre inspirieren
und schrieb diesen
Marsch. Eine Hommage an
die Stadt und den
Restaurantchef, wie man
sie sich passender nicht
vorstellen kann.
Everest Fanfare - Intermédiaire De Haske Publications
Fanfare Band - Grade 3 SKU: BT.DHP-1043638-120 Composed by Jacob De Haan....(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1043638-120
Composed by Jacob De
Haan. Brilliant Marches.
March. Score Only.
Composed 2004. De Haske
Publications #DHP
1043638-120. Published by
De Haske Publications
(BT.DHP-1043638-120).
Everest is the
name of a restaurant on
the 40th floor of a
skyscraper in Chicago. In
2003 the composer Jacob
de Haan had dinner there
together with his
publishers and other
fellow composers. The
idea of composing a march
to honour the excellent
cuisine, the magnificent
view of the skyline and
the pleasant atmosphere
in the restaurant arose
during the visit. The
results can be heard in
this delightful and
unusual work.
Everest is de
naam van een restaurant
op de veertigste
verdieping van een
wolkenkrabber in Chicago.
Jacob de Haan liet zich
daar inspireren door de
voortreffelijke keuken,
het magnifieke uitzicht
op de skyline en de
bijzonder aangenamesfeer.
Dit werk is een prachtige
hommage aan Chicago en
aan de chef-kok van
Everest.
Everest
ist der Name eines
Restaurants im 40. Stock
eines Wolkenkratzers in
Chicago. Jacob de Haan
ließ sich dort von der
ausgezeichneten Küche,
dem wundervollen Ausblick
auf die Skyline und von
der angenehmen
Atmosphäre inspirieren
und schrieb diesen
Marsch. Eine Hommage an
die Stadt und den
Restaurantchef, wie man
sie sich passender nicht
vorstellen kann.
Alto Saxophone, Violin & Piano SKU: PE.EP68604 For Violin, Alto Saxoph...(+)
Alto Saxophone, Violin &
Piano
SKU:
PE.EP68604
For
Violin, Alto Saxophone
and Piano. Composed
by David Amram. Chamber
Ensemble; Solo Small
Ensembles; Trio. Edition
Peters. Living Composer.
Score and Part(s). 132
pages. Duration 00:25:00.
Edition Peters
#98-EP68604. Published by
Edition Peters
(PE.EP68604).
ISBN
9790300760018. 232 x
303mm
inches.
THRE
E LOST LOVES is
based on stories which
took place in the novels
of three authors: Willa
Cather, Zora Neale
Hurston and Jack Kerouac.
The work was commissioned
by the founders of the
AMRAM ENSEMBLE violin
virtuoso Elmira Darvarova
and master classical
saxophonist Ken Radnofsky
and premiered October
3,2016 at the
Center for Arts and Media
(ZKM) in Karlsruhe,
Germany. Darvarova and
Radnofsky were joined in
the USA by the third
member of the Ensemble,
the brilliant young
pianist and composer
Thomas Weaver. I want to
thank Elmira Darvarova
and Ken Radnofsky for
making it possible for me
to write this piece for
them, and to thank Dr.
Audrey Sprenger for
helping me to find two of
the three stories for
this piece by suggesting
the stories by Willa
Cather and Zora Neale
Hurston.
SATB choir SKU: WD.080689655173 Composed by Daniel Semsen. Choral, cantat...(+)
SATB choir
SKU:
WD.080689655173
Composed by Daniel
Semsen. Choral, cantatas.
Christmas. Book. Word
Music #080689655173.
Published by Word Music
(WD.080689655173).
UPC:
080689655173.
Dove
Award winning songwriters
Joel Lindsey and Jeff
Bumgardner, with Dove
Award winning arranger/
orchestrator Daniel
Semsen, have, once again,
brought to life an
astoundingly appealing
new musical for
Christmas, Love Was
Born a King. With a
slew of critically
acclaimed dramatic
musicals for Christmas
under their belt, this
highly awarded creative
team has done it again,
this time with a twist!
Their newest offering,
Love Was Born a
King, is actually 2
musicals in one! Fully
developed as a dramatic
musical in the vein of
their previous successes
(How to Have the Best
Christmas Ever, An
Unexpected Christmas,
Welcome to Bethlehem,
Under a Starry Sky),
Love Was Born a
King certainly
doesn’t disappoint
those in search of their
next, new, dramatic
musical. For others, who
love the music heard in
those previously released
musicals but
aren’t looking for
a dramatic musical, Joel
and Jeff have delivered
an amazing choir with
narrator musical option
that fully utilizes all
the songs found in the
drama version…
literally, 2 musicals in
1! The option with drama
deals poignantly and
sensitively with the
plight of the homeless,
drawing on the
responsibility of
God’s people to
minister and care for
those in need. And in the
course of helping others,
finding that we just
might find ourselves
being ministered to in
the process! If instead
you’re looking for
a choir with narrator
option, you’ll
discover the same
brilliantly written songs
wrapped in a beautifully
expressed narrative
highlighting the
traditional Christmas
story focusing on the
power and beauty of
God’s Love come
down to earth, manifested
in the birth of the
Christ Child.
Please note,
customers using Macintosh
computers running macOS
Catalina (version 10.5)
have reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac.
Russian Song.
Composed by Nikolay
Andreyevich
Rimsky-Korsakov. Arranged
by Victor Lopez. Full
Orchestra; Masterworks;
Performance Music
Ensemble; Single Titles.
Belwin Concert Full
Orchestra. Form:
Transcription. Masterwork
Arrangement; Romantic.
Score. 28 pages. Belwin
Music #00-38450S.
Published by Belwin Music
(AP.38450S).
UPC:
038081432366.
English.
A full
orchestra transcription
of this brilliant Russian
tone poem that features a
new introduction and
simplifications, yet
maintains the feel of the
original. Perfect for
contest or festival!
Concert March.
Composed by Takamasa
Sakai. Inspiration
Series. Score Only.
Composed 2006. 44 pages.
De Haske Publications
#DHP 1063947-140.
Published by De Haske
Publications
(BT.DHP-1063947-140).
9x12 inches.
English-German-French-Dut
ch.
The Banquet of
Light is an easily
accessible piece which
takes itsinspiration from
?light? both in terms of
it representing good news
andjoy together with
scenes inspired by light,
such as a sunset over
water,fireworks lighting
up the sky and sunlight
as it streams through a
thickforest. Banquet of
Light will bring a ray of
light to any concert.
De componist werd
voor deze concertmars ge
nspireerd door het woord
‘licht’, dat
staat voor het goede. Ook
een bron van inspiratie
vormde het gegeven
‘licht’ op
zich: het schijnen van de
zon op het water, het
licht van vuurwerk
enzonlicht door de bomen.
The Banquet of
Light begint
briljant, waarna
krachtige passages door
trombones en trompetten
volgen - deze thematiek
wordt overgenomen door
houtblazers. De melodie
van het trio is gebaseerd
op de notene, a, b en d.
Na een aantal herhalingen
komt de fanfare van het
begin terug en leidt naar
een stralend
slot.
Das
brillante und leicht
zugängliche
Eröffnungsstück
weckt verschiedenste
Assoziationen zum Thema
Licht“. Nach der
Fanfare ähnlichen
Einleitung folgen
Passagen in den Posaunen
und Trompeten und deren
Variationen in den
Holzbläsern, die
schließlich in einem
strahlenden Finale enden.
Lassen Sie sich
inspirieren und entdecken
Sie in The Banquet of
Light ein Feuerwerk
aus Sonnenlicht und purer
Freude!
Concert March.
Composed by Takamasa
Sakai. Inspiration
Series. Set (Score &
Parts). Composed 2006. De
Haske Publications #DHP
1063947-010. Published by
De Haske Publications
(BT.DHP-1063947-010).
9x12 inches.
English-German-French-Dut
ch.
The Banquet of
Light is an easily
accessible piece which
takes itsinspiration from
?light? both in terms of
it representing good news
andjoy together with
scenes inspired by light,
such as a sunset over
water,fireworks lighting
up the sky and sunlight
as it streams through a
thickforest. Banquet of
Light will bring a ray of
light to any concert.
De componist werd
voor deze concertmars ge
nspireerd door het woord
‘licht’, dat
staat voor het goede. Ook
een bron van inspiratie
vormde het gegeven
‘licht’ op
zich: het schijnen van de
zon op het water, het
licht van vuurwerk
enzonlicht door de bomen.
The Banquet of
Light begint
briljant, waarna
krachtige passages door
trombones en trompetten
volgen - deze thematiek
wordt overgenomen door
houtblazers. De melodie
van het trio is gebaseerd
op de notene, a, b en d.
Na een aantal herhalingen
komt de fanfare van het
begin terug en leidt naar
een stralend
slot.
Das
brillante und leicht
zugängliche
Eröffnungsstück
weckt verschiedenste
Assoziationen zum Thema
Licht“. Nach der
Fanfare ähnlichen
Einleitung folgen
Passagen in den Posaunen
und Trompeten und deren
Variationen in den
Holzbläsern, die
schließlich in einem
strahlenden Finale enden.
Lassen Sie sich
inspirieren und entdecken
Sie in The Banquet of
Light ein Feuerwerk
aus Sonnenlicht und purer
Freude!
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.41641576L
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L).
UPC:
680160636549. 11 x 17
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Cello; Piano Accompaniment (Cello Part And Piano Score) SKU: HL.48025366 ...(+)
Cello; Piano
Accompaniment (Cello Part
And Piano Score)
SKU:
HL.48025366
Cello
and Piano. Composed
by Hans Winterberg.
Boosey & Hawkes Chamber
Music. Classical.
Softcover. Bote & Bock
#M202538104. Published by
Bote & Bock
(HL.48025366).
UPC:
196288194279.
Hans
Winterberg, born in
Prague in 1901, lived
through almost the entire
period of the 20th
century and was
influenced as a composer
by its most important
artistic innovations.
Already a brilliant
pianist as an adolescent,
he studied with Alois
Hába and Alexander von
Zemlinsky in Prague. Both
his life and his music
reflect the
Austrian-Czech-Jewish
cultural symbiosis; he
saw himself as a bridge
builder between Western
and Eastern, i.e. Slavic,
cultures. Owing to his
Jewish ancestry, he was
deported to the Terezin
concentration camp after
the annexation of
Czechoslovakia by Nazi
Germany. He was the only
Jewish representative of
the Czech musical
avant-garde of the 1920s
and 1930s to survive the
Shoah and, in 1947,
followed his non-Jewish
wife and their daughter
to the FRG in the course
of the expulsion of the
German-speaking
population from
Czechoslovakia.
Winterberg's fascinating
oeuvre, which was kept
under lock and key in a
German music archive for
years after his death, is
now being made accessible
in first editions due to
a cooperation between the
Exilarte Center for
Banned Music at the
University of Music in
Vienna and Boosey &
Hawkes. The first printed
edition is Winterberg's
Cello Sonata, composed in
1951, in which all the
characteristics of his
unmistakable personal
style come to the fore:
dance-like energy,
polyrhythm, intimate yet
unsentimental melos,
subtle handling of
folkloristic material,
and an unerring sense of
form and balance. This
work is of medium
technical and great
interpretative
difficulty.
Composed by Ludwig van Beethoven (1770-1827). Edited by Ginevra Petrucci. LKM ...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited
by Ginevra Petrucci. LKM
Music. Classical.
Softcover.
12 pages. Lauren Keiser
Music
Publishing #S113001.
Published by Lauren
Keiser
Music Publishing