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.
Interieur III. Composed by Helmut Lachenmann. World premiere: Nuremberg (Ars ...(+)
Interieur III. Composed
by
Helmut Lachenmann. World
premiere: Nuremberg (Ars
nova), June 4, 1970.
Breitkopf and Haertel #EB
9395. Published by
Breitkopf
and Haertel
For
Vocal and Instrumental
Ensemble. Composed by
Mark Andre. Full Score.
Peters Contemporary
Library. Classical;
Contemporary. Book. 104
pages. Edition Peters
#98-EP14504. Published by
Edition Peters
(PE.EP14504).
ISBN
9790014136536.
German.
rw?
2 by Mark Andre is a
contemporary work for
Vocal and Instrumental
Ensemble which is part of
a four-part cycle. The
word rw? (pronounced
rúach) comes from
Aramaic and covers a
whole field of words:
wind, breath, soul,
spirit. In the Bible it
stands for 'Holy Spirit'.
In his cycle, the French
composer and sound
researcher Mark Andre
makes this 'holy' breath
concretely and
existentially tangible.
rw? 2 was
commissioned by
Internationale
Bachakademie Stuttgart
and was first performed
on 12 June 2020 in
Stuttgart by Gaechinger
Cantorey. The complete
cycle was first performed
on 15 May 2022 at the
KunstFestSpiele
Herrenhausen, Hannover by
more than 200 singers and
Ensemble Modern,
conducted by Ingo
Metzmacher.
The
full score is available
for sale as part of the
Peters Contemporary
Library series. The
performance material is
available for rent. This
product is Printed on
Demand and may take
several weeks to fulfill.
Please order from your
favorite
retailer.
About Peters
Contemporary
Library
Ma
rk Andre Milton
Babbitt Daniel
Bjarnason Earle
Brown John
Cage Henry
Cowell James
Dillon Jonathan
Dove Brian
Ferneyhough Roxanna
Panufnik Rebecca
Saunders Erkki-Sven
Tuur Charles
Wuorinen
These
are just a few of the
composers whose most
adventurous scores are
now available to purchase
through the Peters
Contemporary Library. A
new global initiative of
the Edition Peters Group,
the Peters Contemporary
Library is a project
designed to put these
bold 20th- and
21st-century works, once
available only for
rental, into the
collections of libraries,
performers, scholars, and
conductors alike.
Kicked off in 2016,
the Peters Contemporary
Library already contains
many cutting-edge works
and is constantly
expanding. We are proud
to offer these bold new
scores for sale, for the
first time ever, to
modern musicians and
students of music all
around the world.
Guitar SKU: FG.55011-582-8 Composed by Tuomas Turriago. Fennica Gehrman #...(+)
Guitar
SKU:
FG.55011-582-8
Composed by Tuomas
Turriago. Fennica Gehrman
#55011-582-8. Published
by Fennica Gehrman
(FG.55011-582-8).
ISBN
9790550115828.
Tuom
as Turriago's (b. 1979)
Sonata for Guitar solo
(2019, rev. 2020)
reflects the main source
of anguish of the 21st
century: according to the
composer things are
growing so fast that we
can't keep up with the
pace. That is true of
global warming, of
population, of economy,
of pandemics. The second
movement builds up to a
huge climax after which
the material of the fist
slow part returns, but in
a distorted and
ghost-like manner. The
Sonata dies away
gloomily. Janne Malinen
commissioned the work and
premiered it in Tampere,
Finland in June 2019.
Score SKU: HL.50603519 For Orchestra Score. Composed by Eivind Bue...(+)
Score
SKU:
HL.50603519
For
Orchestra Score.
Composed by Eivind Buene.
Score. Softcover. Edition
Wilhelm Hansen #WH33299.
Published by Edition
Wilhelm Hansen
(HL.50603519).
UPC:
840126930948.
Spoli
a for orchestra was
commissioned by TONALi
and is programmed to be
first performed in June
2020 at Elbphilharmonie
Hamburg conducted by
Christoph Eschenbach.
Trumpet SKU: PE.EP73537 For Solo Trumpet. Composed by Roxanna Panu...(+)
Trumpet
SKU:
PE.EP73537
For
Solo Trumpet.
Composed by Roxanna
Panufnik. Trumpet Book.
Form: Fanfare. Classical;
Contemporary. Book. 4
pages. Edition Peters
#98-EP73537. Published by
Edition Peters
(PE.EP73537).
ISBN
9790577023557.
<
em>Fanfare for Broadway
Tower by Roxanna
Panufnik is a short
contemporary work for
Solo Trumpet. It was
first performed on 15
June 2020 by Alan Thomas
at Broadway
Tower.
This
product is Printed on
Demand and may take
several weeks to fulfill.
Please order from your
favorite retailer.
Mi lagnerò tacendo Piano, Voix SATB, Orchestre Music Distribution Services
Voice and piano SKU: M7.DOHR-28821 Composed by Gioachino Rossini. Edited ...(+)
Voice and piano
SKU:
M7.DOHR-28821
Composed by Gioachino
Rossini. Edited by Guido
Johannes Joerg. Sheet
music. MDS (Music
Distribution Services)
#DOHR 28821. Published by
MDS (Music Distribution
Services)
(M7.DOHR-28821).
Memories Basson, Piano (duo) Music Distribution Services
Bassoon and piano SKU: M7.DOHR-88837 Concertino. Composed by Adria...(+)
Bassoon and piano
SKU:
M7.DOHR-88837
Concertino.
Composed by Adrian
Connell. Sheet music.
Score and part. Duration
10'. MDS (Music
Distribution Services)
#DOHR 88837. Published by
MDS (Music Distribution
Services)
(M7.DOHR-88837).
ISBN
9790202098370.
Ther
e comes a time in life
when your parents have
passed on. What we are
left with is the memories
of their love, guidance,
support, and the happy
times together. Last
August when my mum sadly
passed away, I wrote an
Elegy as part of my
grieving. However, as a
family we had happy times
together and it seemed
only right to compose a
work which would
celebrate this. So, I
added a first and last
movement to create a
short concertino. The
movements are: Prelude:
Peter John Connell: The
Cheeky Chap Elegy: Mavis
June Connell (Time To
Remember) Rondo: Family
Fun (Adrian Connell)
Performance note The work
can also be performed
with accompaniment of
string orchestra and harp
using the set of parts
for the version for
clarinet and orchestra
(E.D. 88833).
Viola and piano SKU: M7.DOHR-88836 Concertino. Composed by Adrian ...(+)
Viola and piano
SKU:
M7.DOHR-88836
Concertino.
Composed by Adrian
Connell. Sheet music.
Score and part. Duration
10'. MDS (Music
Distribution Services)
#DOHR 88836. Published by
MDS (Music Distribution
Services)
(M7.DOHR-88836).
ISBN
9790202098363.
Ther
e comes a time in life
when your parents have
passed on. What we are
left with is the memories
of their love, guidance,
support, and the happy
times together. Last
August when my mum sadly
passed away, I wrote an
Elegy as part of my
grieving. However, as a
family we had happy times
together and it seemed
only right to compose a
work which would
celebrate this. So, I
added a first and last
movement to create a
short concertino. The
movements are: Prelude:
Peter John Connell: The
Cheeky Chap Elegy: Mavis
June Connell (Time To
Remember) Rondo: Family
Fun (Adrian Connell)
Performance note The work
can also be performed
with accompaniment of
string orchestra and harp
using the set of parts
for the version for
clarinet and orchestra
(E.D. 88833).
Memories Clarinette et Piano Music Distribution Services
Clarinet and piano SKU: M7.DOHR-88835 Concertino. Composed by Adri...(+)
Clarinet and piano
SKU: M7.DOHR-88835
Concertino.
Composed by Adrian
Connell. Sheet music.
Score and part. Duration
10'. MDS (Music
Distribution Services)
#DOHR 88835. Published by
MDS (Music Distribution
Services)
(M7.DOHR-88835).
ISBN
9790202098356.
Ther
e comes a time in life
when your parents have
passed on. What we are
left with is the memories
of their love, guidance,
support, and the happy
times together. Last
August when my mum sadly
passed away, I wrote an
Elegy as part of my
grieving. However, as a
family we had happy times
together and it seemed
only right to compose a
work which would
celebrate this. So, I
added a first and last
movement to create a
short concertino. The
movements are: Prelude:
Peter John Connell: The
Cheeky Chap Elegy: Mavis
June Connell (Time To
Remember) Rondo: Family
Fun (Adrian Connell)
Performance note A
version with
accompaniment of string
orchestra and Harp is
also available (E.D.
88833). This version for
clarinet and piano is
also the piano reduction
of that version.