Oboe(s) solo SKU: BR.EB-8343 Composed by Nicolaus A. Huber. Solo instrume...(+)
Oboe(s) solo
SKU:
BR.EB-8343
Composed
by Nicolaus A. Huber.
Solo instruments;
stapled. Edition
Breitkopf. World
premiere: Montepulciano,
July 1982. Music
post-1945; New music
(post-2000). Score.
Composed 1981. 12 pages.
Duration 14'30. Breitkopf
and Haertel #EB 8343.
Published by Breitkopf
and Haertel (BR.EB-8343).
ISBN 9790004176511. 9
x 12 inches.
Vor
und zuruck ist aus einem
Rhythmus-Modell der 13.
Diabelli-Variation von
Beethoven entwickelt.
Daraus sind alle
rhythmischen Verhaltnisse
nach den einzeln
veranderbaren Kategorien
a) Lange des Modells, b)
Zahl der Anschlage, c)
Proportion der Dauern
abgeleitet. Die
verschiedenen
spieltechnischen
Moglichkeiten der Oboe
hinsichtlich der Dynamik,
der Klangfarbe
(Alternativgriffe fur
einen Ton), der
Klangcharakteristik, der
Register, der
Artikulationen und deren
vielfaltige Mischung
sowie die einkomponierte
korperliche Anstrengung
des Interpreten farben
und ,,instrumentieren,
ebenfalls dem
Rhythmus-Modell
gehorchend, drei
Ausdruckscharakteristiken
. Diese knupfen in stets
veranderter Reihenfolge
aneinander an und bilden
dadurch, dass sie bei
jedem Auftauchen
kompositorisch neu
formuliert sind, die Form
des Stuckes als eines
fortlaufenden,
spiralartigen Prozesses.
Neben diesem ,,Vor und
zuruck gibt es auch ein
historisches: Aus
Beethovens Rhythmusmodell
wird ein Stuck mit
fortschrittlichen
Elementen unserer Zeit.
(Nicolaus A. Huber, 1981)
CDs: Matthias Arter CD
col legno WWE 1CD 20009
Christian Hommel CD ars
musici FMF AM 1224-2
Bibliography : Nimczik ,
Ortwin: Konzeptionelle
Rhythmuskomposition.
,,Vor und zuruck fur Oboe
(1981) von Nicolaus A.
Huber, in: Neue Musik
vermitteln. Analysen -
Interpretationen -
Unterricht, hrsg. von
Hans Bassler, Ortwin
Nimczik und Peter W.
Schatt, Mainz: Schott
2004, pp. 98-111. Schick
, Tobias Eduard:
Weltbezuge in der Musik
Mathias Spahlingers
(Beihefte zum Archiv fur
Musikwissenschaft, Band
80), Stuttgart; Franz
Steiner 2018, here p.
101.
Cello solo SKU: BR.EB-9074 (Plainte sur la perte de la reflexion music...(+)
Cello solo
SKU:
BR.EB-9074
(Plainte sur la perte
de la reflexion
musicale). Composed
by Klaus Huber. Edited by
Michael Bach. Arranged by
Michael Bach. Solo
instruments; stapled.
Edition Breitkopf. You
will need a copy of BG
1002 for each player to
perform the version for
variable instrumentation
(BG 1004). Music
post-1945; New music
(post-2000). Score.
Composed 1972. 12 pages.
Duration 20'. Breitkopf
and Haertel #EB 9074.
Published by Breitkopf
and Haertel (BR.EB-9074).
ISBN 9790004179499. 9
x 12 inches.
World
premieres:I version for
flute: Wiesbaden, 1972II
version for piano: Nyon,
1972III version for var.
insts.: Cologne, May 29,
1976VI version for
accordeon: Fribourg, June
25, 1987VIII version for
violoncello Tokyo:
October 14, 1989X version
for organ: Stuttgart,
March 28, 2018This work
(A Breath of the
Untimely) was first
written for solo Flute
and dedicated to Aurele
Nicolet. Its bears the
subtitle Lament on the
Loss of Musical Thought -
some Madrigals for Solo
Flute or Flute with any
other Instruments. This
serves as a playing
instruction but doubles
at the same time as an
outmoded programme: it
refers back to the
musical origin of the
opening lamenting motif,
a tradition which was
once of its time but is
not of our time - namely
the Lamento genre which
gave the title to the
Chaconne in Purcell's
opera Dido and Aeneas.
Almost simultaneously I
wrote a second version
for Piano (for Piano
one-and-a-half hands),
which already formulates
possible approaches for
the performer, in some
detail, to the indicated,
quasi-canonic version of
the piece in the
programme. The multiple
version Ein Hauch von
Unzeit III realizes a
concrete version of a
formal state which floats
between strict canon and
aleatoric principles:
each of the musicians who
are spread throughout the
hall introduces their own
idiomatic translation of
the flute part. And so
the music exists,
omnipresent, not only
spatially throughout the
hall, but also formally
in a sort of fluctuating
simultaneity. For that
reason, it was my express
wish to any potential
interpreter that they
should construct entirely
their own version of the
piece. A healthy number
of musicians have
responded to my
suggestion - versions of
the piece have now been
made for guitar
(Cornelius Schwehr,
Gunther Schneider),
accordion (Hugo Noth),
double bass (Fernando
Grillo), violin
(Hansheinz Schneeberger),
viola, violoncello, and
double bass (trio basso,
Koln), violoncello
(Michael Bach), trombone
(Andrew Digby) and,
created by myself, a sung
version for voice (to
words by Georg Wilhelm
Friedrich Hegel und Max
Bense), and for viola.The
most important
requirement for the whole
piece is absolute
stillness, which should
as far as possible
emanate from the
performer. The pauses are
occasionally in this
respect the most
important element. These
may, if one can find the
necessary stillness,
become very long.Ein
Hauch von Unzeit (A
Breath of the Untimely) -
time almost
dissolves!(Klaus Huber,
1989/2014 - translation:
David
Alberman)CD:Jean-Luc
Menet (Bass flute)CD
Traversieres
120.270Jean-Luc Menet
(fl)CD STR
37039Bibliography:Zimmerm
ann, Heidy:
Zeitgestaltung im
Kompositionsprozess bei
Klaus Huber - dargestellt
anhand von Skizzen, in:
Mnemosyne. Zeit und
Gedachtnis in der
europaischen Musik des
ausgehenden 20.
Jahrhunderts, hrsg. von
Dorothea Redepenning und
Joachim Steinheuer,
Saarbrucken: Pfau 2006,
S. 90-109
World
premiere: VIII version
for violoncello Tokyo:
October 14, 1989.
Organ SKU: BR.EB-9300 (Plainte sur la perte de la reflexion musicale)<...(+)
Organ
SKU:
BR.EB-9300
(Plainte sur la perte
de la reflexion
musicale). Composed
by Klaus Huber. Arranged
by A. Digby and M.
Sattelberger. Solo
instruments; stapled.
Edition Breitkopf. World
premieres: I version for
flute: Wiesbaden, 1972.
Music post-1945; New
music (post-2000). Score.
Composed 1972. 20 pages.
Duration 20'. Breitkopf
and Haertel #EB 9300.
Published by Breitkopf
and Haertel (BR.EB-9300).
ISBN 9790004187647. 9
x 12 inches.
World
premieres:I version for
flute: Wiesbaden, 1972II
version for piano: Nyon,
1972III version for var.
insts.: Cologne, May 29,
1976VI version for
accordeon: Fribourg, June
25, 1987VIII version for
violoncello Tokyo:
October 14, 1989X version
for organ: Stuttgart,
March 28, 2018This work
(A Breath of the
Untimely) was first
written for solo Flute
and dedicated to Aurele
Nicolet. Its bears the
subtitle Lament on the
Loss of Musical Thought -
some Madrigals for Solo
Flute or Flute with any
other Instruments. This
serves as a playing
instruction but doubles
at the same time as an
outmoded programme: it
refers back to the
musical origin of the
opening lamenting motif,
a tradition which was
once of its time but is
not of our time - namely
the Lamento genre which
gave the title to the
Chaconne in Purcell's
opera Dido and Aeneas.
Almost simultaneously I
wrote a second version
for Piano (for Piano
one-and-a-half hands),
which already formulates
possible approaches for
the performer, in some
detail, to the indicated,
quasi-canonic version of
the piece in the
programme. The multiple
version Ein Hauch von
Unzeit III realizes a
concrete version of a
formal state which floats
between strict canon and
aleatoric principles:
each of the musicians who
are spread throughout the
hall introduces their own
idiomatic translation of
the flute part. And so
the music exists,
omnipresent, not only
spatially throughout the
hall, but also formally
in a sort of fluctuating
simultaneity. For that
reason, it was my express
wish to any potential
interpreter that they
should construct entirely
their own version of the
piece. A healthy number
of musicians have
responded to my
suggestion - versions of
the piece have now been
made for guitar
(Cornelius Schwehr,
Gunther Schneider),
accordion (Hugo Noth),
double bass (Fernando
Grillo), violin
(Hansheinz Schneeberger),
viola, violoncello, and
double bass (trio basso,
Koln), violoncello
(Michael Bach), trombone
(Andrew Digby) and,
created by myself, a sung
version for voice (to
words by Georg Wilhelm
Friedrich Hegel und Max
Bense), and for viola.The
most important
requirement for the whole
piece is absolute
stillness, which should
as far as possible
emanate from the
performer. The pauses are
occasionally in this
respect the most
important element. These
may, if one can find the
necessary stillness,
become very long.Ein
Hauch von Unzeit (A
Breath of the Untimely) -
time almost
dissolves!(Klaus Huber,
1989/2014 - translation:
David
Alberman)CD:Jean-Luc
Menet (Bass flute)CD
Traversieres
120.270Jean-Luc Menet
(fl)CD STR
37039Bibliography:Zimmerm
ann, Heidy:
Zeitgestaltung im
Kompositionsprozess bei
Klaus Huber - dargestellt
anhand von Skizzen, in:
Mnemosyne. Zeit und
Gedachtnis in der
europaischen Musik des
ausgehenden 20.
Jahrhunderts, hrsg. von
Dorothea Redepenning und
Joachim Steinheuer,
Saarbrucken: Pfau 2006,
S. 90-109
World
premiere: Stuttgart,
Hospitalkirche, March 28,
2018.
By Franz Schubert (1797-1828). Edited by Hans-Peter Huber. Arranged by Paul Horn...(+)
By Franz Schubert
(1797-1828). Edited by
Hans-Peter Huber.
Arranged by Paul Horn.
For soprano voice solo, 2
clarinets (2 oboes), 2
horns, 2 violins, viola,
basso continuo. This
edition: paperbound. D
27. Full score available
separately - see item
CA.7005400. Stuttgart
Urtext Editions; Use /
Occasion: Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary. Organ
reduction. Language:
Latin. Composed 1812. 12
pages. Duration 10 min.
Published by Carus Verlag
Chorus a cappella SKU: BR.CHB-5243-02 1. Tenebrae - 2. Chanson einer D...(+)
Chorus a cappella
SKU:
BR.CHB-5243-02
1.
Tenebrae - 2. Chanson
einer Dame im
Schatten. Composed by
Nicolaus A. Huber. Choir;
stapled. Chor-Bibliothek
(Choral Library). Music
post-1945. Choral score.
Composed 1965. 16 pages.
Duration 7'. Breitkopf
and Haertel #ChB 5243-02.
Published by Breitkopf
and Haertel
(BR.CHB-5243-02).
ISBN
9790004411599. 9 x 12
inches.
German.
TENEBRAENah
sind wir, Herr,nahe und
greifbar.Gegriffen schon,
Herr,ineinander
verkrallt, als warder
Leib eines jeden von
unsdein Leib, Herr.Bete,
Herr,bete zu uns,wir sind
nah.Windschief gingen wir
hin,gingen wir hin, uns
zu buckennach Mulde und
Maar.Zur Tranke gingen
wir, Herr.Es war Blut, es
war,was du vergossen,
Herr.Es glanzte.Es warf
uns dein Bild in die
Augen, Herr.Augen und
Mund stehn so offen und
leer, Herr.Wir haben
getrunken, Herr.Das Blut
und das Bild, das im Blut
war, Herr.Bete, Herr.Wir
sind nah.CHANSON EINER
DAME IM SCHATTENWenn die
Schweigsame kommt und die
Tulpen kopft:Wer
gewinnt?Wer verliert?Wer
tritt an das Fenster?Wer
nennt ihren Namen
zuerst?Es ist einer, der
tragt mein Haar.Er tragts
wie man Tote tragt auf
den Handen.Er tragts wie
der Himmel mein Haar trug
im Jahr, da ich liebte.Er
tragt es aus Eitelkeit
so.Der gewinnt.Der
verliert nicht.Der tritt
nicht ans Fenster.Der
nennt ihren Namen
nicht.Es ist einer, der
hat meine Augen.Er hat
sie, seit Tore sich
schliessen.Er tragt sie
am Finger wie Ringe.Er
tragt sie wie Scherben
von Lust und Saphir:er
war schon mein Bruder im
Herbst;er zahlt schon die
Tage und Nachte.Der
gewinnt.Der verliert
nicht.Der tritt nicht ans
Fenster.Der nennt ihren
Namen zuletzt.Es ist
einer, der hat, was ich
sagte.Er tragts unterm
Arm wie ein Bundel.Er
tragts wie die Uhr ihre
schlechteste Stunde.Er
tragt es von Schwelle zu
Schwelle, er wirft es
nicht fort.Der gewinnt
nicht.Der verliert.Der
tritt an das Fenster.Der
nennt ihren Namen
zuerst.Der wird mit den
Tulpen gekopft.Paul Celan
,,Mohn und Gedachtnis(c)
1952 Deutsche
Verlags-Anstalt GmbH,
StuttgartAlle Textrechte
bei S. Fischer Verlag
GmbH,6000
Frankfurt/Main.
Female choir (SSAA) a cappella (SSAA a cappella) SKU: HL.49044341 Compose...(+)
Female choir (SSAA) a
cappella (SSAA a
cappella)
SKU:
HL.49044341
Composed
by Heinrich Poos. This
edition: Saddle
stitching. Sheet music.
Choral. Octavo. 8 pages.
Schott Music #C56385.
Published by Schott Music
(HL.49044341).
ISBN
9790001199605.
German.
Heinrich
Poos is not the first
composer inspired by
Friedrich Gottlieb
Klopstock's poem 'Die
Auferstehung', as even
Gustav Mahler had already
used these verses in the
fifth movement of his
Second Symphony
'Auferstehung'. Mahler
was inspired to use a
choral movement at the
end of his symphony at
the funeral of the
conductor Hans von Bulow
where a choir sang a
chorale based on said
text by Klopstock.
Heinrich Poos wrote his
deeply moving choral
piece in remembrance of
the organist Hubert
Schoonbrodt.
Auferstehn Chorale SSATB SSATB A Cappella - Avancé Schott
Choral (SSATB a cappella) - advanced SKU: HL.49019492 SSATB a cappella...(+)
Choral (SSATB a cappella)
- advanced
SKU:
HL.49019492
SSATB
a cappella, German.
Composed by Heinrich
Poos. This edition:
Saddle stitching. Sheet
music. Choral. Classical,
Contemporary. Octavo. 8
pages. Schott Music
#C55501. Published by
Schott Music
(HL.49019492).
ISBN
9790001192699.
7.75x11.0x0.039 inches.
German.
Heinrich
Poos is not the first
composer inspired by
Friedrich Gottlieb
Klopstock's poem 'Die
Auferstehung', as even
Gustav Mahler had already
used these verses in the
fifth movement of his
Second Symphony
'Auferstehung'. Mahler
was inspired to use a
choral movement at the
end of his symphony at
the funeral of the
conductor Hans von
Bülow where a choir
sang a chorale based on
said text by Klopstock.
Heinrich Poos wrote his
deeply moving choral
piece in remembrance of
the organist Hubert
Schoonbrodt.
By Randall Faber, Nancy Faber. Arranged by Edwin Mclean. For Piano. PreTime! to ...(+)
By Randall Faber, Nancy
Faber. Arranged by Edwin
Mclean. For Piano.
PreTime! to BigTime!
Piano Supplementary
Library. Classics. CD.
Published by The FJH
Music Company, Inc.
Level: Grade 2B.
Arranged by Nancy and Randall Faber. For Piano. PreTime to BigTime Piano Supplem...(+)
Arranged by Nancy and
Randall Faber. For Piano.
PreTime to BigTime Piano
Supplementary Library.
Classics. Level: 2B.
Book. Published by The
FJH Music Company Inc.