Performed by Elton John. For voice, piano and guitar chords. Format: piano/vocal...(+)
Performed by Elton John.
For voice, piano and
guitar chords. Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names and guitar
chord diagrams. Rock and
pop rock. 94 pages. 9x12
inches. Published by Hal
Leonard.
Piano Accompaniment; Voice (Klavier (fur Die Papiertragodie mit Papierbogen prap...(+)
Piano Accompaniment;
Voice (Klavier (fur Die
Papiertragodie mit
Papierbogen prapariert))
- advanced
SKU:
HL.49045436
For 2
Singers and Piano
Accompaniment.
Composed by Wilfried
Hiller. This edition:
Saddle stitching. Sheet
music. Vocal. Classical.
Softcover. Composed
1979-1984/1996. 64 pages.
Duration 60'. Schott
Music #ED 22594.
Published by Schott Music
(HL.49045436).
ISBN
9790001161282. UPC:
841886029385.
9.0x12.0x0.22 inches.
German.
'Our
theatre is not like other
theatres we count on your
participation, Ladies and
Gentlemen!' These words
from the prologue of the
theatre singer are
typical of our flea
market of dreams. The
audience shall be
encouraged to think,
dream, fantasize.
(Wilfried Hiller in the
programme of the world
premiere)Without
explicitly meaning to,
the flea market and
amusement racket theatre
of Hiller and Ende has to
be understood as
alienation from the great
opera in general and for
children in particular.
Here, imagination finds
old and new stories, here
is the home of the
theatre, here is the
place where the
'extravaganza music of
Hiller' can be heard.
Here is not just
melancholy and
remembrance, sorrow for
things past, lost. Here,
dawdling also has another
meaning: silence,
standstill, leisure, time
- for dreaming. Jumble,
dawdling - these are
things that do not go
well with the rush and
urge for action of our
time. But they suit the
theatre, the music for
children, the children's
music theatre of Hiller
and Ende.' (from: Gunter
Reiss, Trodelmarkt der
Traume []; in Uben &
Musizieren, 2/1991, p.
19ff).
Compiled by Peter Wernick. For voice and guitar (or banjo). Format: fake book (s...(+)
Compiled by Peter
Wernick. For voice and
guitar (or banjo).
Format: fake book
(simplified 3 string
guitar tablature). With
vocal melody (simplified
3 string guitar
tablature), lyrics, chord
names, performance notes,
introductory text and
black
Grade 1 SKU: CL.024-4708-01 Composed by Benson and Swearingen. Young Conc...(+)
Grade 1
SKU:
CL.024-4708-01
Composed by Benson and
Swearingen. Young Concert
Band. Extra full score.
C.L. Barnhouse
#024-4708-01. Published
by C.L. Barnhouse
(CL.024-4708-01).
Create a
routine that will instill
a lifelong understanding
of why warming up is
important and carry over
from group to individual
practice. This quick, yet
highly efficient warm up
is a perfect way to start
your rehearsal. Students
will instantly become
more focused as you
transition into your
valuable
rehearsal/teaching time.
Kim Benson and James
Swearingen, two
well-respected music
educators, have teamed up
to make your instruction
more effective, your
musicians stronger and
your program highly
successful. A must-have
for today’s
approach to teaching
instrumental music!
Grade 1 SKU: CL.024-4708-00 Composed by Benson and Swearingen. Young Conc...(+)
Grade 1
SKU:
CL.024-4708-00
Composed by Benson and
Swearingen. Young Concert
Band. Score and set of
parts. C.L. Barnhouse
#024-4708-00. Published
by C.L. Barnhouse
(CL.024-4708-00).
Create a
routine that will instill
a lifelong understanding
of why warming up is
important and carry over
from group to individual
practice. This quick, yet
highly efficient warm up
is a perfect way to start
your rehearsal. Students
will instantly become
more focused as you
transition into your
valuable
rehearsal/teaching time.
Kim Benson and James
Swearingen, two
well-respected music
educators, have teamed up
to make your instruction
more effective, your
musicians stronger and
your program highly
successful. A must-have
for today’s
approach to teaching
instrumental music!
Grade 1 SKU: CL.023-4670-01 Composed by Benson and Swearingen. Young Conc...(+)
Grade 1
SKU:
CL.023-4670-01
Composed by Benson and
Swearingen. Young Concert
Band. Sound Foundations
Series. Extra full score.
Composed 2018. Duration 2
minutes, 37 seconds. C.L.
Barnhouse #023-4670-01.
Published by C.L.
Barnhouse
(CL.023-4670-01).
Are you
searching for a quick,
yet highly efficient
warm-up routine for your
younger players? Then
search no more. In less
than five minutes, lip
slurs, mini-scales,
intervals, rhythm
patterns and chorales can
all be addressed. Using
these exercises will
instill a lifelong
understanding of why
warming up is important.
In addition, students
will instantly become
more focused as you
transition into your
valuable
rehearsal/teaching time.
Kim Benson and James
Swearingen, two
well-respected music
educators, have teamed up
to make your instruction
more effective, your
musicians stronger and
your program highly
successful. A must-have
for today’s
approach to teaching
instrumental music!
Pre 1 SKU: CL.023-4647-01 Composed by Benson and Swearingen. Young Concer...(+)
Pre 1
SKU:
CL.023-4647-01
Composed by Benson and
Swearingen. Young Concert
Band. Sound Foundations
Series. Extra full score.
Composed 2018. Duration 2
minutes, 17 seconds. C.L.
Barnhouse #023-4647-01.
Published by C.L.
Barnhouse
(CL.023-4647-01).
Are you
searching for a quick,
yet highly efficient
warm-up routine for your
younger players? Then
search no more. In less
than five minutes, lip
slurs, mini-scales,
intervals, rhythm
patterns and chorales can
all be addressed. Using
these exercises will
instill a lifelong
understanding of why
warming up is important.
In addition, students
will instantly become
more focused as you
transition into your
valuable
rehearsal/teaching time.
Kim Benson and James
Swearingen, two
well-respected music
educators, have teamed up
to make your instruction
more effective, your
musicians stronger and
your program highly
successful. A must-have
for today’s
approach to teaching
instrumental music!
Pre 1 SKU: CL.023-4647-00 Composed by Benson and Swearingen. Young Concer...(+)
Pre 1
SKU:
CL.023-4647-00
Composed by Benson and
Swearingen. Young Concert
Band. Sound Foundations
Series. Score and set of
parts. Composed 2018.
Duration 2 minutes, 17
seconds. C.L. Barnhouse
#023-4647-00. Published
by C.L. Barnhouse
(CL.023-4647-00).
Are you
searching for a quick,
yet highly efficient
warm-up routine for your
younger players? Then
search no more. In less
than five minutes, lip
slurs, mini-scales,
intervals, rhythm
patterns and chorales can
all be addressed. Using
these exercises will
instill a lifelong
understanding of why
warming up is important.
In addition, students
will instantly become
more focused as you
transition into your
valuable
rehearsal/teaching time.
Kim Benson and James
Swearingen, two
well-respected music
educators, have teamed up
to make your instruction
more effective, your
musicians stronger and
your program highly
successful. A must-have
for today’s
approach to teaching
instrumental music!
Grade 1 SKU: CL.023-4670-00 Composed by Benson and Swearingen. Young Conc...(+)
Grade 1
SKU:
CL.023-4670-00
Composed by Benson and
Swearingen. Young Concert
Band. Sound Foundations
Series. Score and set of
parts. Composed 2018.
Duration 2 minutes, 37
seconds. C.L. Barnhouse
#023-4670-00. Published
by C.L. Barnhouse
(CL.023-4670-00).
Are you
searching for a quick,
yet highly efficient
warm-up routine for your
younger players? Then
search no more. In less
than five minutes, lip
slurs, mini-scales,
intervals, rhythm
patterns and chorales can
all be addressed. Using
these exercises will
instill a lifelong
understanding of why
warming up is important.
In addition, students
will instantly become
more focused as you
transition into your
valuable
rehearsal/teaching time.
Kim Benson and James
Swearingen, two
well-respected music
educators, have teamed up
to make your instruction
more effective, your
musicians stronger and
your program highly
successful. A must-have
for today’s
approach to teaching
instrumental music!
Chorus (with soloists) and piano (solos: SAATBB - choir: SSAATB - 2rec.B-fl.2.0....(+)
Chorus (with soloists)
and piano (solos: SAATBB
- choir: SSAATB -
2rec.B-fl.2.0.0. -
0.2.0.0. - timp - str -
bc)
SKU:
BR.ED-10296
Hail!
Bright Cecilia.
Composed by Henry
Purcell. Edited by
Christopher Hogwood.
Choir; stapled.
Renaissance/early
Baroque; Baroque.
Piano/Vocal Score. 80
pages. Duration 60'.
Breitkopf and Haertel #ED
10296. Published by
Breitkopf and Haertel
(BR.ED-10296).
ISBN
9790220101977. 7.5 x 11
inches.
The Ode was
admirably set by Mr.
Henry Purcell, and
performed twice with
universal applause.
(The Gentlemen's
Journal, 1692)
The
popularity of Purcell's
setting is apparent from
the many sources that
survive and from the
printed extracts which
appeared almost
immediately after its
first performance. The
primary source for this
edition is the largely
autograph manuscript in
the Bodleian Library.
Rather to reduce the
orthography to a norm,
the capitalization of the
vocal text favours
Purcell's
preferences. (Christop
her Hogwood)
Vokalensemble Stuttgart
und den Kammerchor des
Kopernikus-Gymnasiums
Wasseralfingen. Fur diese
beiden ganz
unterschiedlichen
Chorformationen hat
Martin Smolka 2012 auch
gezielt seine Partitur
angelegt. Biografisch ist
das Agnus Dei eine Art
kleines Requiem fur
seinen kurz zuvor
verstorbenen Vater. Das
liturgische Agnus Dei
rahmt den deutschen Text
Eh das Madchen entschlief
... der bei Auffuhrungen
in anderen Landern durch
eine Ubersetzung ersetzt
werden soll.
Der
SWR-Redakteur Hans-Peter
Jahn schreibt dazu im
Programmheft: Die fur
Smolka typischen
minimalistischen
Taktzellen schaffen eine
archaische Sinnlichkeit.
Eine einfache und
zugleich streng gebaute
Vokalmusik mit
Tiefenwirkung.
Nac
h der Urauffuhrung war
die Esslinger Zeitung
hellauf begeistert:
Smolka ist ein Meister
der Stimmbehandlung und
der chorischen
Klanggestaltung. Im
Zentrum des Stucks gerat
die Musik zum Stillstand:
im leisen gleichmassigen
Summen uber dem plotzlich
fortissimo ein
tschechisches Kinderlied
erklingt eines das der
Vater seinen Kindern
haufig vorgesungen hat.
Das alles war sehr
beruhrend. Und eigentlich
noch mehr als das. My
father PhDr. Jaroslav
Smolka (1933-2011) was a
leading Czech
musicologist author of
books Czech Cantata and
Oratorium Fuga in Czech
Music Smetana's Orchestra
Music Smetana's Vocal
Music monography of Jan
Dismas Zelenka and many
others. He was a
legendary teacher of
Music History at Prague
Music Academy critic
recording producer
composer; for almost 50
years he was an important
and highly respected
personality of Prague
musical life. My
father devoted a lot of
time and energy to
musical education and
activities of my sister
and me using often quite
original methods such as
teaching of intervals and
counterpoint through
Bartok's Microcosmos ear
training filling all
imaginable moments of
everyday life or lessons
of harmony analysis
starting with Overture to
Tristan and Musorgsky's
Catacombs. The Martinu
song Wondering Maiden was
his solo number in our
home vocal productions
which he used to sing
with amazing devotion
while his huge voice was
audible in several
neighboring
streets. My Agnus Dei
is closely bound to all
this history e.g. by
using canon and
preferring beauty of
dissonant seconds like
Bartok or quoting Martinu
and his refined
neoclassical harmony.
Father would be probably
a bit critical about the
minimalistic monotony of
the main body of the
piece. Nevertheless
firstly he would
improvise a short lecture
of history of Agnus Dei
in Requiem in Czech Music
naming by heart many
dates and all examples of
changes of order of the
traditional text by
composers. Examples would
be sung
probably. (Martin
Smolka).
Tuba (trombone) SKU: M7.AHW-412 Composed by Bob Stewart. Sheet music. 21 ...(+)
Tuba (trombone)
SKU:
M7.AHW-412
Composed
by Bob Stewart. Sheet
music. 21 pages. Charles
Colin Corp. #AHW 412.
Published by Charles
Colin Corp. (M7.AHW-412).
English.
In the
jazz tradition the Tuba
was the bass in the
rhythm section up until
the mid-twenties. It was
then the upright bass
replaced the Tuba in many
ensembles as the jazz
music moved north and
continued to develop.
After this period the
Tuba's roll, as bass in
the rhythm section, was
at a standstill and did
not develop through Swing
and Bebop. It wasn't
until Cool Jazz of the
1950's when the Tuba was
used by Miles Davis and
Gil Evans in 'Birth of
the Cool' as an ensemble
horn. The Tuba, like
swimming, is something
you can't do any longer
than you can hold your
breath. In order to
maintain a steady beat
while playing in the
rhythm section I have
developed a system of
breathing called Pant
Breathing. Using this
method, the player can
maintain a steady beat
within the rhythm
section, without losing
time while taking deep
breaths.
Chorus (with soloists) and piano (solos: TTB - choir: SST(A)TBB - 2.0.0.0. - 0.0...(+)
Chorus (with soloists)
and piano (solos: TTB -
choir: SST(A)TBB -
2.0.0.0. - 0.0.0.0. -
vl.2va.vc/db)
SKU:
BR.ED-12658
Requiem. Composed
by Andre Campra. Edited
by Jean-Paul Montagnier.
Choir; Softbound. Mass;
Requiem; Baroque.
Piano/Vocal Score. 70
pages. Duration 55'.
Breitkopf and Haertel #ED
12658. Published by
Breitkopf and Haertel
(BR.ED-12658).
ISBN
9790220121760. 7.5 x 11
inches.
Among
Campra's Latin works, the
,Messe de mort' is
perhaps one of the more
successful and today it
is one of the more
frequently performed. It
is also the most
enigmatic score of his
entire output. Despite
extensive researches, no
evidence of any sort has
yet been brought to light
to document its origin,
purpose, date of
composition, first
performance or reception.
A stylistic analysis
indubitably supports the
contention that the
,Messe de mort' is a late
work, composed perhaps
between 1722 and 1729.
The present edition
is based on the
manuscript from the
Bibliotheque Nationale de
France (Paris). It it the
oldest known source of
the work. The very few
errors have been
corrected. (Jean-Paul
Montagnier) Vokalensemble
Stuttgart und den
Kammerchor des
Kopernikus-Gymnasiums
Wasseralfingen. Fur diese
beiden ganz
unterschiedlichen
Chorformationen hat
Martin Smolka 2012 auch
gezielt seine Partitur
angelegt. Biografisch ist
das Agnus Dei eine Art
kleines Requiem fur
seinen kurz zuvor
verstorbenen Vater. Das
liturgische Agnus Dei
rahmt den deutschen Text
Eh das Madchen entschlief
... der bei Auffuhrungen
in anderen Landern durch
eine Ubersetzung ersetzt
werden soll.
Der
SWR-Redakteur Hans-Peter
Jahn schreibt dazu im
Programmheft: Die fur
Smolka typischen
minimalistischen
Taktzellen schaffen eine
archaische Sinnlichkeit.
Eine einfache und
zugleich streng gebaute
Vokalmusik mit
Tiefenwirkung.
Nac
h der Urauffuhrung war
die Esslinger Zeitung
hellauf begeistert:
Smolka ist ein Meister
der Stimmbehandlung und
der chorischen
Klanggestaltung. Im
Zentrum des Stucks gerat
die Musik zum Stillstand:
im leisen gleichmassigen
Summen uber dem plotzlich
fortissimo ein
tschechisches Kinderlied
erklingt eines das der
Vater seinen Kindern
haufig vorgesungen hat.
Das alles war sehr
beruhrend. Und eigentlich
noch mehr als das. My
father PhDr. Jaroslav
Smolka (1933-2011) was a
leading Czech
musicologist author of
books Czech Cantata and
Oratorium Fuga in Czech
Music Smetana's Orchestra
Music Smetana's Vocal
Music monography of Jan
Dismas Zelenka and many
others. He was a
legendary teacher of
Music History at Prague
Music Academy critic
recording producer
composer; for almost 50
years he was an important
and highly respected
personality of Prague
musical life. My
father devoted a lot of
time and energy to
musical education and
activities of my sister
and me using often quite
original methods such as
teaching of intervals and
counterpoint through
Bartok's Microcosmos ear
training filling all
imaginable moments of
everyday life or lessons
of harmony analysis
starting with Overture to
Tristan and Musorgsky's
Catacombs. The Martinu
song Wondering Maiden was
his solo number in our
home vocal productions
which he used to sing
with amazing devotion
while his huge voice was
audible in several
neighboring
streets. My Agnus Dei
is closely bound to all
this history e.g. by
using canon and
preferring beauty of
dissonant seconds like
Bartok or quoting Martinu
and his refined
neoclassical harmony.
Father would be probably
a bit critical about the
minimalistic monotony of
the main body of the
piece. Nevertheless
firstly he would
improvise a short lecture
of history of Agnus Dei
in Requiem in Czech Music
naming by heart many
dates and all examples of
changes of order of the
traditional text by
composers. Examples would
be sung
probably. (Martin
Smolka).
Requiem. Composed
by Andre Campra. Edited
by Jean-Paul Montagnier.
Choir; stapled. Eulenburg
Orchestral Series. Mass;
Requiem; Baroque. Part.
12 pages. Duration 55'.
Breitkopf and Haertel
#EOS 8047-20. Published
by Breitkopf and Haertel
(BR.EOS-8047-20).
ISBN
9790004789759. 8.5 x 11.5
inches.
Among
Campra's Latin works, the
,Messe de mort' is
perhaps one of the more
successful and today it
is one of the more
frequently performed. It
is also the most
enigmatic score of his
entire output. Despite
extensive researches, no
evidence of any sort has
yet been brought to light
to document its origin,
purpose, date of
composition, first
performance or reception.
A stylistic analysis
indubitably supports the
contention that the
,Messe de mort' is a late
work, composed perhaps
between 1722 and 1729.
The present edition
is based on the
manuscript from the
Bibliotheque Nationale de
France (Paris). It it the
oldest known source of
the work. The very few
errors have been
corrected. (Jean-Paul
Montagnier) Vokalensemble
Stuttgart und den
Kammerchor des
Kopernikus-Gymnasiums
Wasseralfingen. Fur diese
beiden ganz
unterschiedlichen
Chorformationen hat
Martin Smolka 2012 auch
gezielt seine Partitur
angelegt. Biografisch ist
das Agnus Dei eine Art
kleines Requiem fur
seinen kurz zuvor
verstorbenen Vater. Das
liturgische Agnus Dei
rahmt den deutschen Text
Eh das Madchen entschlief
... der bei Auffuhrungen
in anderen Landern durch
eine Ubersetzung ersetzt
werden soll.
Der
SWR-Redakteur Hans-Peter
Jahn schreibt dazu im
Programmheft: Die fur
Smolka typischen
minimalistischen
Taktzellen schaffen eine
archaische Sinnlichkeit.
Eine einfache und
zugleich streng gebaute
Vokalmusik mit
Tiefenwirkung.
Nac
h der Urauffuhrung war
die Esslinger Zeitung
hellauf begeistert:
Smolka ist ein Meister
der Stimmbehandlung und
der chorischen
Klanggestaltung. Im
Zentrum des Stucks gerat
die Musik zum Stillstand:
im leisen gleichmassigen
Summen uber dem plotzlich
fortissimo ein
tschechisches Kinderlied
erklingt eines das der
Vater seinen Kindern
haufig vorgesungen hat.
Das alles war sehr
beruhrend. Und eigentlich
noch mehr als das. My
father PhDr. Jaroslav
Smolka (1933-2011) was a
leading Czech
musicologist author of
books Czech Cantata and
Oratorium Fuga in Czech
Music Smetana's Orchestra
Music Smetana's Vocal
Music monography of Jan
Dismas Zelenka and many
others. He was a
legendary teacher of
Music History at Prague
Music Academy critic
recording producer
composer; for almost 50
years he was an important
and highly respected
personality of Prague
musical life. My
father devoted a lot of
time and energy to
musical education and
activities of my sister
and me using often quite
original methods such as
teaching of intervals and
counterpoint through
Bartok's Microcosmos ear
training filling all
imaginable moments of
everyday life or lessons
of harmony analysis
starting with Overture to
Tristan and Musorgsky's
Catacombs. The Martinu
song Wondering Maiden was
his solo number in our
home vocal productions
which he used to sing
with amazing devotion
while his huge voice was
audible in several
neighboring
streets. My Agnus Dei
is closely bound to all
this history e.g. by
using canon and
preferring beauty of
dissonant seconds like
Bartok or quoting Martinu
and his refined
neoclassical harmony.
Father would be probably
a bit critical about the
minimalistic monotony of
the main body of the
piece. Nevertheless
firstly he would
improvise a short lecture
of history of Agnus Dei
in Requiem in Czech Music
naming by heart many
dates and all examples of
changes of order of the
traditional text by
composers. Examples would
be sung
probably. (Martin
Smolka).
Requiem. Composed
by Andre Campra. Edited
by Jean-Paul Montagnier.
Choir; Softcover.
Eulenburg Orchestral
Series. Mass; Requiem;
Baroque. Part. 24 pages.
Duration 55'. Breitkopf
and Haertel #EOS 8047-15.
Published by Breitkopf
and Haertel
(BR.EOS-8047-15).
ISBN
9790004789735. 8.5 x 11.5
inches.
Among
Campra's Latin works, the
,Messe de mort' is
perhaps one of the more
successful and today it
is one of the more
frequently performed. It
is also the most
enigmatic score of his
entire output. Despite
extensive researches, no
evidence of any sort has
yet been brought to light
to document its origin,
purpose, date of
composition, first
performance or reception.
A stylistic analysis
indubitably supports the
contention that the
,Messe de mort' is a late
work, composed perhaps
between 1722 and 1729.
The present edition
is based on the
manuscript from the
Bibliotheque Nationale de
France (Paris). It it the
oldest known source of
the work. The very few
errors have been
corrected. (Jean-Paul
Montagnier) Vokalensemble
Stuttgart und den
Kammerchor des
Kopernikus-Gymnasiums
Wasseralfingen. Fur diese
beiden ganz
unterschiedlichen
Chorformationen hat
Martin Smolka 2012 auch
gezielt seine Partitur
angelegt. Biografisch ist
das Agnus Dei eine Art
kleines Requiem fur
seinen kurz zuvor
verstorbenen Vater. Das
liturgische Agnus Dei
rahmt den deutschen Text
Eh das Madchen entschlief
... der bei Auffuhrungen
in anderen Landern durch
eine Ubersetzung ersetzt
werden soll.
Der
SWR-Redakteur Hans-Peter
Jahn schreibt dazu im
Programmheft: Die fur
Smolka typischen
minimalistischen
Taktzellen schaffen eine
archaische Sinnlichkeit.
Eine einfache und
zugleich streng gebaute
Vokalmusik mit
Tiefenwirkung.
Nac
h der Urauffuhrung war
die Esslinger Zeitung
hellauf begeistert:
Smolka ist ein Meister
der Stimmbehandlung und
der chorischen
Klanggestaltung. Im
Zentrum des Stucks gerat
die Musik zum Stillstand:
im leisen gleichmassigen
Summen uber dem plotzlich
fortissimo ein
tschechisches Kinderlied
erklingt eines das der
Vater seinen Kindern
haufig vorgesungen hat.
Das alles war sehr
beruhrend. Und eigentlich
noch mehr als das. My
father PhDr. Jaroslav
Smolka (1933-2011) was a
leading Czech
musicologist author of
books Czech Cantata and
Oratorium Fuga in Czech
Music Smetana's Orchestra
Music Smetana's Vocal
Music monography of Jan
Dismas Zelenka and many
others. He was a
legendary teacher of
Music History at Prague
Music Academy critic
recording producer
composer; for almost 50
years he was an important
and highly respected
personality of Prague
musical life. My
father devoted a lot of
time and energy to
musical education and
activities of my sister
and me using often quite
original methods such as
teaching of intervals and
counterpoint through
Bartok's Microcosmos ear
training filling all
imaginable moments of
everyday life or lessons
of harmony analysis
starting with Overture to
Tristan and Musorgsky's
Catacombs. The Martinu
song Wondering Maiden was
his solo number in our
home vocal productions
which he used to sing
with amazing devotion
while his huge voice was
audible in several
neighboring
streets. My Agnus Dei
is closely bound to all
this history e.g. by
using canon and
preferring beauty of
dissonant seconds like
Bartok or quoting Martinu
and his refined
neoclassical harmony.
Father would be probably
a bit critical about the
minimalistic monotony of
the main body of the
piece. Nevertheless
firstly he would
improvise a short lecture
of history of Agnus Dei
in Requiem in Czech Music
naming by heart many
dates and all examples of
changes of order of the
traditional text by
composers. Examples would
be sung
probably. (Martin
Smolka).
Urtext edition based on HN 7248 (G. Henle Verlag, Munich). Composed by Richard...(+)
Urtext edition based on
HN
7248 (G. Henle Verlag,
Munich). Composed by
Richard
Strauss (1864-1949).
Edited
by Hansjorg
Schellenberger.
The piano reduction and
study
edition corresponding to
this
edition have been
published
by G. Henle Verlag,
Munich.
Score. Breitkopf and
Haertel
#PB 15161. Published by
Breitkopf and Haertel