Fragment of a Japonisme. Composed by Oliver Knussen (1952-). Full Orchestra; Performance Music Ensemble; Single Titles. Faber Edition. Form: Concerto. 20th Century; Folk. Score. Faber Music #12-0571541119. Published by Faber Music

Composed by Colin Matthews (1964-). Series; Solo; Solo Small Ensembles; Vocal Collection. Faber Edition. 20th Century; Masterwork. Book. Faber Music #12-0571511732. Published by Faber Music

Concert Band - Grade 1.5

SKU: AP.41921S

Composed by Scott Watson. Concert Band; Performance Music Ensemble; Single Titles. Challenger Band Series. Multicultural. Score. 8 pages. Alfred Music #00-41921S. Published by Alfred Music (AP.41921S).

UPC: 038081471198. English.

In Dorian Haiku, two centuries-old cultural artifacts---one Western (the Dorian mode) and one Eastern (Haiku poetry)---are fused together, resulting in an engaging and beautiful composition for intermediate band. This unique work offers many wonderful opportunities for teaching both musical and cross-curricular concepts.

Voice (Female)

SKU: AP.12-0571541151

For Female Voice and Piano. Composed by Jonathan Harvey. Series; Vocal Collection. Faber Edition. Secular. Book. Faber Music #12-0571541151. Published by Faber Music (AP.12-0571541151).

ISBN 9780571541157. English.

Two haiku (the first for piano alone---the only piece here to have been published before---the latter by Basho) bookend three love songs dedicated to Harvey's wife, Rosa. The grouping of the pieces into an eight-minute cycle was the composer's own idea, and it mixes Eastern and Western poets in a totally characteristic manner. Both Tagore and e. e. cummings are represented, poets who are featured in some of Harvey's finest works (Song Offerings and Forms of Emptiness, respectively), and a third song sets Tennyson's Now Sleeps the Crimson Petal.

SKU: HL.50486614

Piano. 36 pages. Hal Leonard #SIK1949. Published by Hal Leonard (HL.50486614).

8.25x11.75x0.115 inches.

(SATB Chorus and Vibraphone). Composed by Bertold Hummel (1925-2002). For Choral, Vibraphone (SATB). Schott. Softcover. 20 pages. Schott Music #SKR20068. Published by Schott Music

(SSA Choir)

SKU: HL.48019452

Composed by Karl Jenkins. Boosey & Hawkes Sacred Choral. Classical, Contemporary. Boosey & Hawkes #M060118883. Published by Boosey & Hawkes (HL.48019452).

7.25x10.25x0.054 inches.

Taken from Karl Jenkins' major choral work Requiem (setting the standard Latin texts alongside five Japanese haiku poems). Arranged for SSA voices with piano accompaniment.

SATB choir

SKU: GH.GE-12111

Composed by Fredrik Sixten. Tre korta satser till texter av japanska 1700-talspoeter. With Language: Japanese. Gehrmans Musikforlag #GE 12111. Published by Gehrmans Musikforlag (GH.GE-12111).

ISBN 979-0-070-12111-8. 185 x 262 mm inches.

Texts from the breviary of the Dominicans. 2 movement with four soli. Hommage a Arvo Part.

Piano & Electronics

SKU: UM.11667

Composed by Stephen Montague. United Music Publishing #11667. Published by United Music Publishing (UM.11667).

ISBN 9790224400915.

Orchestra

SKU: PR.416411800

Composed by Richard Wernick. With Standard notation. Theodore Presser Company #416-41180. Published by Theodore Presser Company (PR.416411800).

UPC: 680160091546.

Voice and Piano. By Jack Gottlieb. Boosey and Hawkes Voice. Book only. 12 pages. Published by Boosey & Hawkes.

Piano (Piano) - difficult

SKU: HL.49013734

On His 75th Birthday. Composed by Toshio Hosokawa. This edition: Saddle stitching. Sheet music. Piano. Classical. Softcover. Composed 2000/2003. 8 pages. Duration 3'. Schott Music #SJ1161. Published by Schott Music (HL.49013734).

ISBN 9784890664610. UPC: 840126958751. 9.0x12.0x0.053 inches.

Piano solo.

Double bass solo

SKU: BR.EB-9268

Revised Version 2010. Composed by Helmut Lachenmann. Arranged by Caleb Salgado. Solo instruments; Folder. Edition Breitkopf. Music post-1945; New music (post-2000). Score. Composed 1969/2010. 26 pages. Duration 9'. Breitkopf and Haertel #EB 9268. Published by Breitkopf and Haertel (BR.EB-9268).

ISBN 9790004185681. 12 x 9 inches.

This piece originated as an introduction to instrumental musique-concrete. In this sort of piece it is common for sound phenomena to be so refined and organised that they are not so much the results of musical experiences as of their own acoustic attributes. Timbres, dynamics and so on arise not of their own volition but as components of a concrete situation characterised by texture, consistency, energy, resistance.This does not come from within but from a liberated compositional technique. At the same time it implies that our customary sharply-honed auditory habit is thwarted. The result is aesthetic provocation: beauty denying habit.(Helmut Lachenmann),,Cette nouvelle edition est une invitation faite aux violoncellistes qui souhaiteraient redecouvrir leur instrument et la maniere de la faire sonner en realisant dessus un nouveau genre de polyphonie: une polyphonie d'actions. (Francois-Xavier Feron, Circuit, Heft 25, Juni 2015)CDs/LPs:Michael Bach CD cpo 999 102-2 Lucas Fels CD Montaigne Auvidis MO 782075 Walter Grimmer CD col legno WWE 31863 Taco Kooistra CD Attacca Babel 9369-1 Pierre Strauch CD Accord 202082 Michael Bach LP ABE ERZ 1003 Werner Taube LP ABE ERZ 1003ensemble phorminxCD WER 6682 2Michael M. KasperCD Michael M. Kasper rounds per minute, Ensemble Modern Medien, EMCD-006Michael Svoboda (trombone)CD Wittener Tage fur neue Kammermusik 2011Bibliography:Deltz, Eberhard: begegnung im grenzbereich. Zwei Werke von Helmut Lachenmann und Hideaki Yamanobe im Spiegel eines Haiku von Matsuo Basho, in: Neue Zeitschrift fur Musik 167 (2006), Heft 1, pp. 36-41.Feron, Francois-Xavier: Enjeux et evolution du systeme de notation dans ,,Pression pour un(e) violoncelliste de Helmut Lachenmann, in: Circuit, Heft 25, 2015, pp. 55-65.GoGwilt, Keir: Templates for Technique in Mantel and Lachenmann. Between Transcendence and Immanence, in: The Dark Precursor: Deleuze and Artistic Research. Band I: The Dark Precursor in Sound and Writing, hrsg. von Paulo de Assis und Paolo Giudici, Leuven: Leuven University Press 2017, pp. 105-113.Griffiths, Paul: ModernMusic and After, 3rd edition, Oxford University Press 2010, pp. 216-219.Handschick, Matthias: Musik als ,,Medium der sich selbst erfahrenden Wahrnehmung. Moglichkeiten der Vermittlung Neuer Musik unter dem Aspekt der Auflosung und Reflexion von Gestalthaftigkeit (= Schriften der Hochschule fur Musik Freiburg 3), Hildesheim u. a.: Olms 2015, dort pp. 161-167.Hiekel, Jorn Peter: Helmut Lachenmann und seine Zeit, Laaber: Laaber 2023, S. 169-172, 231-232.Jahn, Hans-Peter: simultan eine Erinnerung, in: Neue Zeitschrift fur Musik 167 (2006), Heft 1, pp. 12-15.Lessing, Wolfgang: Musizieren als Prozess. Zur didaktischen Dimension von Helmut Lachenmanns Pression, in: Musik inszeniert. Prasentation und Vermittlung zeitgenossischer Musik heute, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 46), Mainz u. a.: Schott 2006, pp. 73-83.ders.: Verweigerung von Gewohnheit. Instrumentaldidaktische Annaherungen an Pression von Helmut Lachenmann, in: Darstellen und Mitteilen. Ein Handbuch der musikalischen Interpretation, hrsg. von Ursula Brandstatter, Martin Losert, Christoph Richter und Andrea Welte, Mainz: Schott 2010, pp. 111-122.ders.: Interpretation, Verstehen und Vermittlung, in: Ans Licht gebracht. Zur Interpretation Neuer Musik, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 53), Mainz u. a.: Schott 2013, pp. 24-39.Mosch, Ulrich: Das Unberuhrte beruhren Anmerkungen zur Interpretation von Helmut Lachenmanns Werken Pression und Allegro sostenuto, in: Musik inszeniert. Prasentation und Vermittlung zeitgenossischer Musik heute, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 46), Mainz u. a.: Schott 2006, pp. 25-46.Musik als Bildkritik Gesprach zwischen Gottfried Boehm, Helmut Lachenmann und Matteo Nanni, in: Helmut Lachenmann: Musik mit Bildern? Hrsg. von Matteo Nanni und Matthias Schmidt (= eikones, hrsg. von Nationalen Forschungsschwerpunkt Bildkritik an der Universitat Basel), Munchen: Wilhelm Fink 2012, pp. 237-269.Neuwirth, Markus: Strukturell vermittelte Magie. Kognitionswissenschaftlic he Annaherungen an Helmut Lachenmanns Pression und Allegro sostenuto, in: Musik als Wahrnehmungskunst. Untersuchungen zu Kompositionsmethodik und Horasthetik bei Helmut Lachenmann, hrsg. von Christian Utz und Clemens Gadenstatter (= musik.theorien der gegenwart 2), Saarbrucken: Pfau 2008, pp. 73-100.Orning, Tanja: The Polyphonic Performer. A Study of Performance Practice in Music for Cello Solo by Morton Feldman, Helmut Lachenmann, Klaus K. Hubler and Simon Steen-Andersen, Diss. Oslo 2014, Oslo: NMH-publikasjoner (mit DVD).Sparrer, Walter-Wolfgang: Wider den geolten Gleichlauf. Von der Notwendigkeit strukturierender Verfahrensweisen bei der Interpretation von Musik. Modell I: Kompositionen fur Violoncello solo von J. S. Bach, Isang Yun und Helmut Lachenmann, in: Musikalische Produktion und Interpretation, hrsg. von Otto Kolleritsch, Wien/Graz 2003 (= Studien zur Wertungsforschung, Band 43), pp. 75-100.Utz, Christian: Erinnerte Gestalt und gebannter Augenblick. Zur Analyse und Interpretation post-tonaler Musik als Wahrnehmungspraxis Klangorganisation und Zeiterfahrung bei Morton Feldman, Helmut Lachenmann und Brian Ferneyhough, in: Ans Licht gebracht. Zur Interpretation Neuer Musik, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 53), Mainz u. a.: Schott 2013, pp. 40-67.

World premiere: Como (Autunno musicale), September 30, 1970.

Mixed choir

SKU: FG.55011-348-0

Composed by Matthew Whittall. Score. Fennica Gehrman #55011-348-0. Published by Fennica Gehrman (FG.55011-348-0).

ISBN 9790550113480.

Shik i began as a request for a short winter-themed piece for the Hamalais-Osakunnan Laulajat choir in Helsinki. It eventually grew into a four seasons-type cycle on haiku by a 20th century Japanese monk Santoka Taneda.
The music of Shiki is a progression through various states of near-stasis. The main impression the composer wished to convey was the one of absolute stillness at the heart of each scene, of communion with the outer world, as if the viewer were drawing the landscape into him, and at the same time dissolving himself into it. The voices are treated texturally, as well as textually, moving on slow masses, with the soft but precisecely colored vowels of Japanese creating the basic sounds, and the sharper consonants giving them shape and definition.

SATB Chorus

SKU: FG.55011-579-8

Composed by Olli Kortekangas. Fennica Gehrman #55011-579-8. Published by Fennica Gehrman (FG.55011-579-8).

ISBN 9790550115798.

Akva relli (A Watercolour, 1994) for mixed choir by Olli Kortekangas is composed to a poem by Matsuo Basho, the greatest master of haiku in the 17th century. The text is translated in Finnish by Kai Nieminen.

(Pour Saxlphone Alto Et Piano - (for Alto Saxophone and Piano)). By Sophie Lacaze (1963-). For Alto Saxophone, Piano. Collection Jean-Yves Fourmeau. ADVANCED. 11 + pages. Duration 10 minutes. Published by Gerard Billaudot Editeur

Leichte Stucke. By Gerald Schwertberger. Guitar. For guitar. Level: 1-2. 16 pages. Published by Doblinger (Austrian import).

Easy-Guitar / Mono-Stereo. By Gerald Schwertberger. Guitar. For guitar (2 guitars). Level: 1-2. 24 pages. Published by Doblinger (Austrian import).