Viola (solo: vl - 2.2.cor ang.2.B-clar.A-sax.2.dbl bsn - 4.2.2.1 - timp.perc(2) - hp - str)

SKU: BR.OB-15113-19

In Memory of an Angel - Urtext. Composed by Alban Berg. Edited by Michael Kube. Stapled. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag. Solo concerto; Early modern. Part. 8 pages. Duration 25'. Breitkopf and Haertel #OB 15113-19. Published by Breitkopf and Haertel (BR.OB-15113-19).

ISBN 9790004340202. 10 x 12.5 inches.

The tragic circumstances surrounding the origin of the concerto are well known: Manon Gropius, the daughter of Berg's friend Alma Mahler, died of polio after the composer had written the first sketches to his violin concerto. In remembrance of her, he dedicated the work to the memory of an angel. Later, Berg decided to incorporate into the score the Bach chorale Es ist genug as a quote. He also worked on the solo part directly and intensely with the American violinist Louis Krasner, who had commissioned the work. Berg was no longer able to witness the first performance and the first edition of the concerto since he passed away in late 1935. This new edition is the first Urtext version of Berg's work, which was created in the midst of a spate of epoch-making violin concertos by Stravinsky (1931), Schoenberg (1936), Prokofiev (1937), Bartok (1938), Hindemith (1939) a. o. Errors from the first edition were corrected after an in-depth comparison with the autograph score, the short score and, in some cases, with the twelve-tone row structure.The entire performance material can be purchased; however, due to copyright reasons, the score and orchestral parts are not available the United States.Werden die Urtextausgaben von Breitkopf & Hartel aufgrund ihres hellblauen Umschlags augenzwinkernd die Himmlischen genannt, so ist dies in Bezug auf die neu vorgelegte Partitur Programm. (Florian Henri Besthorn, neue musikzeitung)

In Cooperation with G. Henle Verlag.

Piano

SKU: HL.49045098

34 Miniatures for Piano. Composed by Wilfried Hiller. This edition: Saddle stitching. Sheet music. Piano. Eine Hommage an die Kunst: 34 kurze Klavierstucke unterschiedlichen Charakters bestehend aus alten und neuen Kompositionen wurden hier zusammengefuhrt - beschwingte Tanze, ergreifende Seufzermotive, jubilierende Akkorde. Fur Wiedereinsteiger und eingerost. Classical. Softcover. Composed 2003-2015. 68 pages. Duration 41'. Schott Music #ED22483. Published by Schott Music (HL.49045098).

ISBN 9790001159951. 9.0x12.0x0.215 inches.

In a film portrait of dancer, painter and sculptor Antje Tesche-Mentzen, I learned that in former times she was a proficient pianist. When she told me that she intended to begin playing again, I promised to compose her a cycle for her new beginning: 34 miniatures, some of them with a direct connection to her paintings and sculptures.The main part of Kosmos was composed in 2014, 400 years after Albrecht Durer created his copperplate engraving 'Melencolia I', in which a magic square appears. In a magicsquare, numbers are arranged in a grid so that their sum in each column, row, and the two diagonals is the same number. In the square I have chosen, the magic number is 34. Wilfried Hiller.

SATB vocal soli, SATB choir, 2 oboes, 2 bassoons, 2 violins, 2 violas, basso continuo

SKU: CA.3550219

As a pasticcio by Johann Sebastian Bach, with arias from Hande'ls Brockes-Passion. Composed by George Frideric Handel and fruher zugeschrieben Reinhard Keiser. Edited by Christine Blanken. Arranged by Johann Sebastian Bach. Edition Bach-Archiv Leipzig - Musical Monuments. German title: Markuspassion. Sacred vocal music, Passions, Lent and Passiontide, Holy Week. Set of Orchestra Parts. Composed circa 1747. Duration 90 minutes. Carus Verlag #CV 35.502/19. Published by Carus Verlag (CA.3550219).

ISBN 9790007139629. Language: German.

Third version, first performed around 1747 in Leipzig. First version available under 35.304/00. The St. Mark Passion, which probably originated in the first decade of the 18th century, by a composer known until now only as Kaiser, is only preserved in various copies. It occupies a prominent place in Bach's music library as the only music for Passion by another composer which he performed several times, usually in different forms. For the young Bach in Weimar this St. Mark Passion was a didactic piece for learning the art of the modern narrative recitative; as the Leipzig Thomaskantor he also performed it (1726). The present edition reconstructs the third version, first performed in Leipzig (1747), in which Bach inserted seven arias from Handel's famous Brockes-Passion. Only in this pasticcio did a direct encounter occur between him and his famous compatriot in London, a real encounter which Bach longed for, but which never came about. Score and parts available separately - see item CA.3550200.

Orchestra

SKU: PR.11641867S

Composed by William Kraft. Full score. Duration 16 minutes, 25 seconds. Theodore Presser Company #116-41867S. Published by Theodore Presser Company (PR.11641867S).

UPC: 680160683208.

Conte xtures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.

Violin, piano (solo: vl - 2.2.cor ang.2.B-clar.A-sax.2.dbl bsn - 4.2.2.1 - timp.perc(2) - hp - str)

SKU: BR.EB-10821

In Memory of an Angel - Urtext. Composed by Alban Berg. Edited by Michael Kube. Arranged by Jan Philip Schulze. Solo instruments; Softbound. Edition Breitkopf.

In Cooperation with G. Henle Verlag

Solo concerto; Early modern. Piano reduction. 120 pages. Duration 25'. Breitkopf and Haertel #EB 10821. Published by Breitkopf and Haertel (BR.EB-10821).

ISBN 9790201808215. 9.5 x 12 inches.

The tragic circumstances surrounding the origin of the concerto are well known: Manon Gropius, the daughter of Berg's friend Alma Mahler, died of polio after the composer had written the first sketches to his violin concerto. In remembrance of her, he dedicated the work to the memory of an angel. Later, Berg decided to incorporate into the score the Bach chorale Es ist genug as a quote. He also worked on the solo part directly and intensely with the American violinist Louis Krasner, who had commissioned the work. Berg was no longer able to witness the first performance and the first edition of the concerto since he passed away in late 1935. This new edition is the first Urtext version of Berg's work, which was created in the midst of a spate of epoch-making violin concertos by Stravinsky (1931), Schoenberg (1936), Prokofiev (1937), Bartok (1938), Hindemith (1939) a. o. Errors from the first edition were corrected after an in-depth comparison with the autograph score, the short score and, in some cases, with the twelve-tone row structure.The entire performance material can be purchased; however, due to copyright reasons, the score and orchestral parts are not available the United States.Werden die Urtextausgaben von Breitkopf & Hartel aufgrund ihres hellblauen Umschlags augenzwinkernd die Himmlischen genannt, so ist dies in Bezug auf die neu vorgelegte Partitur Programm. (Florian Henri Besthorn, neue musikzeitung).

Interieur III. Composed by Helmut Lachenmann. World premiere: Nuremberg (Ars nova), June 4, 1970. Breitkopf and Haertel #EB 9395. Published by Breitkopf and Haertel

Trumpet / Flugel Horn / Cornet / Clarinet - intermediate

SKU: BT.0365-98-400-DHI

9 Boogie-Woogies for Windinstruments. Composed by Kurt Brunthaler and Markus Schenk. Jazz. Book with CD. Composed 1998. 16 pages. De Haske International #0365-98-400 DHI. Published by De Haske International (BT.0365-98-400-DHI).

ISBN 9789043101981. English-German-French-Ita lian.

Nine pieces in 1930’s boogie woogie style with play-along backingCD featuring a live band. Titles include: Best Friend Boogie, BlueNote Boogie, Cool Boogie and Game Boy Boogie!

Boogie Woogie, die Musik der 30er-Jahre, erlebt ihre Auferstehung in diesem Buch. Alle Stücke werden swingend von einer Live-Band auf der CD zuerst vorgespielt und dann begleitet.

Le Boogie-Woogie a fait danser l’Amérique puis l’Europe pendant toute une décennie, au point qu’il est difficile de se représenter les années 30 avec un autre fond musical. Avec Boogie for Winds, le Boogie-Woogie a gardé son cachet original. Sur le compact disc, chaque morceau est tout d’abord joué titre de démonstration. L’instrument soliste peut ensuite interpréter les 9 pièces ‘en direct’ avec l’accompagnement d’un ensemble orchestral.

SATB vocal soli, SATB choir, 2 oboes, 2 bassoons, 2 violins, 2 violas, basso continuo

SKU: CA.3550200

As a pasticcio by Johann Sebastian Bach, with arias from Hande'ls Brockes-Passion. Composed by George Frideric Handel and fruher zugeschrieben Reinhard Keiser. Edited by Christine Blanken. Arranged by Johann Sebastian Bach. This edition: Paperbound. Edition Bach-Archiv Leipzig - Musical Monuments. German title: Markuspassion. Sacred vocal music, Passions, Lent and Passiontide, Holy Week. Full score. Composed circa 1747. 136 pages. Duration 90 minutes. Carus Verlag #CV 35.502/00. Published by Carus Verlag (CA.3550200).

ISBN 9790007096106. Language: German.

Third version, first performed around 1747 in Leipzig. First version available under 35.304/00. The St. Mark Passion, which probably originated in the first decade of the 18th century, by a composer known until now only as Kaiser, is only preserved in various copies. It occupies a prominent place in Bach's music library as the only music for Passion by another composer which he performed several times, usually in different forms. For the young Bach in Weimar this St. Mark Passion was a didactic piece for learning the art of the modern narrative recitative; as the Leipzig Thomaskantor he also performed it (1726). The present edition reconstructs the third version, first performed in Leipzig (1747), in which Bach inserted seven arias from Handel's famous Brockes-Passion. Only in this pasticcio did a direct encounter occur between him and his famous compatriot in London, a real encounter which Bach longed for, but which never came about.