(Orchestra) SKU: HL.49013026 Dance drama by Luchino Visconti. One set<...(+)
(Orchestra)
SKU:
HL.49013026
Dance
drama by Luchino
Visconti. One set.
Composed by Hans Werner
Henze. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Composed 1956. 168
pages. Duration 50'.
Schott Music #ED 9416.
Published by Schott Music
(HL.49013026).
ISBN
9790001131476.
1
(auch Picc.) * 1 * Engl.
Hr. * 1 * Bassklar. * 1 -
2 * 2 * 1 * 0 - P. - Hfe.
- Str.Jazzband (kann nach
Belieben verandert
werden): Fl. * Altsax. *
Tenorsax. * Jazztrp. *
Jazzpos. - S. (hg. Beck.
* Tamt. * kl. Tr. [mit
Schnarrs.] * Tomt. *
Jazztr. * Bong. * gr. Tr.
[mit Ped.] * Mar. * Tubo)
(3 Spieler) - Klav. -
Kb.
1 (auch Picc.)
* 1 * Engl. Hr. * 1 *
Bassklar. * 1 - 2 * 2 * 1
* 0 - P. - Hfe. -
Str. Jazzband (kann
nach Belieben verandert
werden): Fl. * Altsax. *
Tenorsax. * Jazztrp. *
Jazzpos. - S. (hg.
Beck. * Tamt. * kl. Tr.
[mit Schnarrs.] * Tomt. *
Jazztr. * Bong. * gr. Tr.
[mit Ped.] * Mar. *
Tubo) (3 Spieler) - Klav.
- Kb.
Soprano, baritone, spoken
voice, mixed choir
(SSSSAAAATTTTBBBB, and 9
boys' voices, S/A) and
orchestra (Score) -
difficult
SKU:
HL.49006187
(The
Raft of the Medusa).
Composed by Hans Werner
Henze. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Composed
1968/1990. 168 pages.
Duration 70'. Schott
Music #ED6326. Published
by Schott Music
(HL.49006187).
ISBN
9790001067270. UPC:
884088099282.
8.25x11.75x0.41 inches.
German - English.
Concert Overture No. 3
- Urtext based on the
Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Christian
Martin Schmidt.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
Overture; Romantic. Full
score. 80 pages. Duration
13'. Breitkopf and
Haertel #PB 5503.
Published by Breitkopf
and Haertel (BR.PB-5503).
ISBN 9790004211465. 10
x 12.5
inches.
Mendelssohn
s overture drew its
inspiration from two
poems by Goethe which had
already inspired Ludwig
van Beethoven to write a
choral work on them with
orchestral accompaniment.
The larger part of the
work on this piece must
have been carried out in
the summer of 1828. The
first public performance
took place in Berlin on 1
December 1832. The
revised version of the
work was first performed
in Leipzig on 20 April
1834. Its ranking as No.
3 of the concert
overtures was laid down
when the score was first
printed in 1835
(Breitkopf &
Hartel).(Ralf Wehner in
the Study Edition of the
Mendelssohn Work
Catalogue).
Orchestra (Picc. * 2 * 2
* Engl. Hr. * 2 *
Bassklar. * 2 * Kfg. - 2
* 3 * 3 * 1 - P. S.
(Trgl. * hg. Beck. *
Beckenpaar * Basstamt. *
3 Bong. * 3 Tomt. * Mil.
Tr. * gr. Tr. [mit Beck.]
* gr. Tr. * Xyl. * Vibr.
* Gl.) (3 Spieler) - Hfe.
* Cel. * Klav. - Str.)
SKU: HL.49005737
Fantasia per
orchestra. Composed
by Hans Werner Henze.
This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Composed 1963. 116
pages. Duration 20'.
Schott Music #ED 5501.
Published by Schott Music
(HL.49005737).
Concert Overture No. 4
- Urtext based on the
Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Christian
Martin Schmidt.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library).
Overture; Romantic. Full
score. 72 pages. Duration
12'. Breitkopf and
Haertel #PB 5505.
Published by Breitkopf
and Haertel (BR.PB-5505).
ISBN 9790004211519. 10
x 12.5 inches.
A
visit to the opera
whetted the composers
creative appetite to
explore the
fairy-tale-like theme of
Knight Raimunds love for
the beautiful mermaid
Melusine, which provided
the basis for
Mendelssohns fourth
concert overture. As
usual, Mendelssohn worked
out the composition in
his mind before
committing it to paper, a
task he most likely began
towards the end of March
1833. The works premiere
performance took place in
London on 7 April 1834;
the revised version was
given its first account
in Leipzig on 23 November
1835. Its ranking as No.
4 of the concert
overtures was assigned
around 1857 in a
posthumous edition.(Ralf
Wehner in the Study
Edition of the
Mendelssohn Work
Catalogue).
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.
Orchestra SKU: BA.BA06861 Sinfonie (1923-1928). Composed by Leos J...(+)
Orchestra
SKU:
BA.BA06861
Sinfonie
(1923-1928). Composed
by Leos Janacek. Arranged
by Leoš Faltus and
Miloš Štedron. This
edition: complete
edition, urtext edition.
Linen. Complete Critical
Edition of the Works of
Leos Janacek H/3.
Complete edition, Score,
Set of parts. Duration 40
minutes. Baerenreiter
Verlag #BA06861_00.
Published by Baerenreiter
Verlag (BA.BA06861).
ISBN 9790260104211.
34.3 x 27 cm
inches.
Leoš
Janácek’s
symphonic fragment Dunaj
(The Danube) dates from
the period of the
composition of
“Katya
Kabanovaâ€. The
composer was not
concerned with a
musical-picturesque
description of a river
landscape, but with the
mythical link between
women’s destinies
and
water.
“Pale
green waves of the
Danube! There are so many
of you, and one followed
by another. You remain
interlocked in a
continuous flow. You
surprise yourselves where
you ended up – on
the Czech shores! Look
back downstream and you
will have an impression
of what you have left
behind in your haste. It
pleases you here. Here I
will rest with my
symphony.†Thus
Leoš Janácek
described the idea behind
the composition project
which occupied him in
1923/24. However, after
further work, it remained
incomplete in 1926. His
“symphonyâ€
entitled Dunaj has
survived as a
continuously-notated,
four-movement bundle of
sketches in score form.
It is one of the works
which occupied him until
his death. The scholarly
reconstruction by the two
Brno composers Miloš
Štedron and Leoš
Faltus closely follows
the original
manuscript.
A
whole conglomeration of
motifs stands behind the
incomplete work. What at
first seems like a
counterpart to
Smetana’s Vltava,
in fact doesn’t
turn out to be a musical
depiction of the Danube.
On the contrary, the
fateful link between the
destiny of women, water
and death permeates the
range of motifs found in
the work. It seems to be
no coincidence that
Janácek, whilst
working on the opera
Katya Kabanova, in which
the Volga, as the river
bringing death plays an
almost mythical role,
planned a Danube
symphony, and that its
content was linked with
the destiny of women: in
the sketches, two poems
were found which may have
provided the stimulus for
several movements of the
symphony. He copied a
poem by Pavla
Kriciková into the
second movement, in which
a girl remarks that
whilst bathing in a pond,
she was observed by a
man. Filled with shame,
the young naked woman
jumps into the water and
drowns. The outer
movements likewise draw
on the poem
“Lola†by the
Czech writer Sonja
Špálová,
published under the
pseudonym Alexander
Insarov. This is about a
prostitute who asks for
her heart’s
desire: she is given a
palace, but then goes on
a long search for it and
is finally no longer
wanted by anyone. She
suffers, feels cold and
just wants a warm fire.
Janácek adds his
remark “she jumps
into the Danube†to
the inconclusive
ending.
To these
tangible literary models
is added Adolf
Veselý’s verbal
account which reports
that the composer wanted
to portray “in the
Danube, the female sex
with all its passions and
driving forcesâ€.
The third movement is
said to characterise the
city of Vienna in the
form of a
woman.
It is
evident that in his
composition, Janácek
was not striving for a
simple, natural lyricism.
The River Danube is
masculine in the Slavic
language –
“ten Dunajâ€
– and assumes an
almost mythical
significance in the
national character,
indeed often also a role
bringing death. The four
movements are motivically
conceived. Elements of
sound painting, small
wave-like figures in the
first movement, motoric,
driving movements in the
third are obvious
evocations of water. And
the content and the
literary level are easy
to discover. The
“tremolo of the
four timpaniâ€,
which was amongst
Janácek’s first
inspirations, appears in
the second movement. It
is not difficult to
retrace in it the fate of
the drowning bather. The
oboe enters lamentoso
towards the end of the
movement over timpani
playing tremolo, its
descending figure is
taken over by the flute,
then upper strings and
intensified considerably.
The motif of drowning
– Lola’s
despair – returns
again in the fourth
movement in the clarinet,
before the work ends
abruptly and
dramatically.
One
special effect is the use
of a soprano voice in the
motor-driven third
movement. The singer
vocalises mainly in
parallel with the solo
oboe, but also in
dialogue with other parts
such as the viola
d’amore, which
Janácek used in
several late works as a
sort of “voice of
loveâ€.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
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.
Orchestra (Picc. * 2 (2.
auch Picc.) * 2 (2. auch
Engl. Hr.) * 2 * 2 - 3 *
2 * 3 * Basstb. - 2 Paar
P. S. (Trgl. * 2 Beck. *
kl. Tr. * gr. Tr.) (2
Spieler) - Str. (mogl.
stark besetzt))
SKU:
HL.49008321
Composed
by Harald Genzmer. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Study Score.
Composed 1959. 52 pages.
Duration 10'. Schott
Music #ED 9168. Published
by Schott Music
(HL.49008321).
ISBN
9790001126717.
6.0x9.0x0.166
inches.
There is no
greater virtue befitting
to Mankind than faith,
which manifested, doth
friendship firmly bind.
This verse was written by
Simon Dach, the leader of
the Konisberg circle of
poets, during the Thirty
Years' War, and a little
later was set to music by
Heinrich Albert. The
anxieties and
tribulations of the
period are reflected in
the songs and make it
particularly applicable
to us as survivors of the
strife and disorder of
our own day. Thus, Harald
Genzmer has adopted it as
the cantus firmus of his
Prologue for Orchestra,
in which we are reminded
of it throughout, in its
original form, in
inversion, fanfare
introduction, funeral
march, intermezzo and
final allegro.
Soli, Choir and Orchestra SKU: HL.49013489 Oper in einem Akt. Comp...(+)
Soli, Choir and Orchestra
SKU: HL.49013489
Oper in einem Akt.
Composed by Krzysztof
Penderecki. This edition:
Saddle stitching. Book.
Edition Schott.
Classical. Text
book/libretto. Composed
1984-1986. 52 pages.
Duration 100'. Schott
Music #BN 3651-10.
Published by Schott Music
(HL.49013489).
ISBN
9783795736514.
German.
Wortlich
ubersetzt ist das
Libretto ein 'kleines
Buch', ein 'Buchlein'.
Doch nicht irgendein
Buchlein. Seit es Opern
gibt, gibt es die
Textbucher dazu. Oft
erzahlen die
Universalsprache Musik
und der Ausdruck der
Darsteller die
Geschichte, auch wenn man
die Worte nicht versteht.
Trotzdem ist ein Libretto
sehr hilfreich fur das
Verstandnis der Details.
Gerade dann, und das fast
immer, wenn die Oper in
der Originalsprache
aufgefuhrt wird. In den
Libretti ist in der Regel
das Original der
Ubersetzung
gegenubergestellt. Sie
konnen so problemlos
parallel Handlung und
Inhalt folgen. In den
meisten Fallen existiert
das Textbuch Oper bevor
die Musik dazu komponiert
wird. Spannende und
dramatische Geschichten
bilden die Grundlage fur
faszinierende
Opernkompositionen. 3 (3. auch Picc.) * 2 *
Engl. Hr. * 3 * Bassklar.
* Sopr.-Sax. * 2 Alt-Sax.
* 2 * Kfg. - 4 * 3 * 3 *
1 - P. S. (Trgl.-Set *
Bell tree * Gl. *
Crotales * 2 Gongs * hg.
Beck. * Beck. * Tamb. *
Mil. Tr. * Ruhrtr. * 6
Tomt. * Rototom * 6 Timb.
* kl. Tr. * gr. Tr. *
Guiro * Sage * Flex. * 3
Tamt. * Rohrengl. *
Turmgl. * Lotosfl. *
Kast. * Peitsche * Glspl.
* Xyl. * Vibr. * Marimba)
(2 Spieler) - Cel. * Org.
- StrBuhnenmusik: 2 Picc.
* SAT Blfl. * 2 Klar. in
Es - 0 * 3 * 3 * 0 - S.
(Tamb. * 2 Mil. Tr. *
Ruhrtr. * kl. Tr. * 2
Ratschen * Kast. *
Schellen * Holzbl. *
Vibraslap * Timb.) -
Cemb. - Vlc.
3 (3.
auch Picc.) * 2 * Engl.
Hr. * 3 * Bassklar. *
Sopr.-Sax. * 2 Alt-Sax. *
2 * Kfg. - 4 * 3 * 3 * 1
- P. S. (Trgl.-Set * Bell
tree * Gl. * Crotales * 2
Gongs * hg. Beck. * Beck.
* Tamb. * Mil. Tr. *
Ruhrtr. * 6 Tomt. *
Rototom * 6 Timb. * kl.
Tr. * gr. Tr. * Guiro *
Sage * Flex. * 3 Tamt. *
Rohrengl. * Turmgl. *
Lotosfl. * Kast. *
Peitsche * Glspl. * Xyl.
* Vibr. * Marimba) (2
Spieler) - Cel. * Org. -
Str Buhnenmusik: 2
Picc. * SAT Blfl. * 2
Klar. in Es - 0 * 3 * 3 *
0 - S. (Tamb. * 2 Mil.
Tr. * Ruhrtr. * kl. Tr. *
2 Ratschen * Kast. *
Schellen * Holzbl. *
Vibraslap * Timb.) -
Cemb. - Vlc.
Soloists, children's choir and chamber orchestra (Study Score) SKU: HL.490326...(+)
Soloists, children's
choir and chamber
orchestra (Study Score)
SKU: HL.49032629
Rundfunkoper auf die
Erzahlung von Franz Kafka
(revidierte Fassung
1994). Composed by
Hans Werner Henze. Sheet
music. Edition Schott.
Softcover. Composed
1951/1994. 80 pages.
Duration 40'. Schott
Music #ED8481. Published
by Schott Music
(HL.49032629).
ISBN
9790001112840.
8.25x11.75x0.242 inches.
German.
Vocal soloists, choir and orchestra SKU: HL.49013479 Libretto (German)...(+)
Vocal soloists, choir and
orchestra
SKU:
HL.49013479
Libretto (German).
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Book.
Edition Schott.
Classical. Text
book/libretto. Composed
1974-1977/1996. 61 pages.
Duration 120'. Schott
Music #BN 3501-70.
Published by Schott Music
(HL.49013479).
ISBN
9783795735012. UPC:
884088060664.
5.75x8.25x0.235 inches.
German.
Wortlich
ubersetzt ist das
Libretto ein 'kleines
Buch', ein 'Buchlein'.
Doch nicht irgendein
Buchlein. Seit es Opern
gibt, gibt es die
Textbucher dazu. Oft
erzahlen die
Universalsprache Musik
und der Ausdruck der
Darsteller die
Geschichte, auch wenn man
die Worte nicht versteht.
Trotzdem ist ein Libretto
sehr hilfreich fur das
Verstandnis der Details.
Gerade dann, und das fast
immer, wenn die Oper in
der Originalsprache
aufgefuhrt wird. In den
Libretti ist in der Regel
das Original der
Ubersetzung
gegenubergestellt. Sie
konnen so problemlos
parallel Handlung und
Inhalt folgen. In den
meisten Fallen existiert
das Textbuch Oper bevor
die Musik dazu komponiert
wird. Spannende und
dramatische Geschichten
bilden die Grundlage fur
faszinierende
Opernkompositionen. 3 (2. u. 3. auch Picc.)
* 3 (2. auch Ob. d'am.,
3. auch Engl. Hr.) * 3
(2. auch Klar. in Es und
Altsax. in Es, 3. auch
Bassklar. in B) * 3 (3.
auch Kontrafag.) - 4 * 4
Tromp. in C (1. u. 2. ad
lib. auch kl. Tromp. in
D) * 1 Basstromp. in C *
3 Pos. (Tenor,
Tenor-Bass, Kontrabass) *
Kb.-Tb. - P.S. (Xyl. *
Vibr. * Glspl. * Marimb.
* 12 mechan. Autohupen *
4 Spieluhren * 6 elektr.
Turklingeln * 2
Schellentr. * Militartr.
* 2 kl. Tr. * 3 Bong. *
Conga * Ruhrtr. *
Paradetr. * 4 Tomt. * 2
gr. Tr. * 2 Trgl. * 3
Paar Crot. * 3 hg. Beck.
* 1 Paar kl. Beck. * 2
Paar norm. Beck. * Gong *
2 Tamt. * Rohrengl. * 2
jap. Tempelgl. [Rin] *
Mar. * 2 Gueros * 2
Peitschen * 1 Paar Claves
* 1 Paar Kast. * Ratsche
* 3 Woodbl. * Holztr. * 5
Tempelbl. * gr.
Holzhammer * Holzlatten *
Lotosfl. * Trillerpfeife
* Kuckuckspfeife *
Signalpfeife *
Sirenenpfeife *
Dampfschiffpfeife * 2
Sirenen * 2 Flex. *
Entengequake * 2
Brummtopfe * gr.
Weckeruhr * gr.
pyramidenform. Metronom *
Papierbogen, Seiden- oder
Zeitungspapier * 1 Paar
Sandpapierblocke *
Windmaschine * Papiertute
* Tablett voll Geschirr *
Kochtopf * Pistole) (4
Spieler) - 3 chrom.
Mundharmonikas (werden
von den Blasern oder
Schlagzeugern gespielt) *
Cel. (auch Cemb.) *
Konzertflugel (auch
elektr. Klav.) * elektr.
Org. (nur Manual) (auch
Regal) * Mand. * Hfe. -
Str. (3 * 0 * 2 * 6 * 4)
Buhnenmusik:
Instrumentalisten aus dem
Orchestergraben
3
(2. u. 3. auch Picc.) * 3
(2. auch Ob. d'am., 3.
auch Engl. Hr.) * 3 (2.
auch Klar. in Es und
Altsax. in Es, 3. auch
Bassklar. in B) * 3 (3.
auch Kontrafag.) - 4 * 4
Tromp. in C (1. u. 2. ad
lib. auch kl. Tromp. in
D) * 1 Basstromp. in C *
3 Pos. (Tenor,
Tenor-Bass, Kontrabass) *
Kb.-Tb. - P.S. (Xyl. *
Vibr. * Glspl. * Marimb.
* 12 mechan. Autohupen *
4 Spieluhren * 6 elektr.
Turklingeln * 2
Schellentr. * Militartr.
* 2 kl. Tr. * 3 Bong. *
Conga * Ruhrtr. *
Paradetr. * 4 Tomt. * 2
gr. Tr. * 2 Trgl. * 3
Paar Crot. * 3 hg. Beck.
* 1 Paar kl. Beck. * 2
Paar norm. Beck. * Gong *
2 Tamt. * Rohrengl. * 2
jap. Tempelgl. [Rin] *
Mar. * 2 Gueros * 2
Peitschen * 1 Paar Claves
* 1 Paar Kast. * Ratsche
* 3 Woodbl. * Holztr. * 5
Tempelbl. * gr.
Holzhammer * Holzlatten *
Lotosfl. * Trillerpfeife
* Kuckuckspfeife *
Signalpfeife *
Sirenenpfeife *
Dampfschiffpfeife * 2
Sirenen * 2 Flex. *
Entengequake * 2
Brummtopfe * gr.
Weckeruhr * gr.
pyramidenform. Metronom *
Papierbogen, Seiden- oder
Zeitungspapier * 1 Paar
Sandpapierblocke *
Windmaschine * Papiertute
* Tablett voll Geschirr *
Kochtopf * Pistole) (4
Spieler) - 3 chrom.
Mundharmonikas (werden
von den Blasern oder
Schlagzeugern gespielt) *
Cel. (auch Cemb.) *
Konzertflugel (auch
elektr. Klav.) * elektr.
Org. (nur Manual) (auch
Regal) * Mand. * Hfe. -
Str. (3 * 0 * 2 * 6 * 4)
Buhnenmusik:
Instrumentalisten aus dem
Orchestergraben.
Vocal soloists, choir and orchestra SKU: HL.49013492 Musiktheater fur ...(+)
Vocal soloists, choir and
orchestra
SKU:
HL.49013492
Musiktheater fur
Kinder und Erwachsene in
zwei Akten und einer
Pause. Composed by
Harald Weiss. This
edition: Paperback/Soft
Cover. Book. Edition
Schott. Classical. Text
book/libretto. Composed
1995-1996. 79 pages.
Duration 90'. Schott
Music #BN 3933. Published
by Schott Music
(HL.49013492).
ISBN
9783795739331.
German.
Wortlich
ubersetzt ist das
Libretto ein 'kleines
Buch', ein 'Buchlein'.
Doch nicht irgendein
Buchlein. Seit es Opern
gibt, gibt es die
Textbucher dazu. Oft
erzahlen die
Universalsprache Musik
und der Ausdruck der
Darsteller die
Geschichte, auch wenn man
die Worte nicht versteht.
Trotzdem ist ein Libretto
sehr hilfreich fur das
Verstandnis der Details.
Gerade dann, und das fast
immer, wenn die Oper in
der Originalsprache
aufgefuhrt wird. In den
Libretti ist in der Regel
das Original der
Ubersetzung
gegenubergestellt. Sie
konnen so problemlos
parallel Handlung und
Inhalt folgen. In den
meisten Fallen existiert
das Textbuch Oper bevor
die Musik dazu komponiert
wird. Spannende und
dramatische Geschichten
bilden die Grundlage fur
faszinierende
Opernkompositionen. 1 * 1 (auch Engl. Horn)
* 1 (auch Bassklar.) * 1
- 2 * 0 * 0 * 0 - P. S.
(Trgl. * Gl. * Crot. *
Gongs * Rohrengl. * 2 hg.
Beck. * chin. Beck. *
Tamt. * kl. Tr. * gr. Tr.
* Donnerblech *
Muschelwindspiel *
Bambuswindspiel * Xyl.)
(2 Spieler) - Klavi. -
Str. (4 Viol. * 2 Vla. *
2 Vcl. * 1 Kb.) -
Tonbandpart (Dat-Cassette
oder CD mit
Toneinspielungen ist Teil
des
Auffuhrungsmaterials).