Chorale Setting.
Composed by Georg Philipp
Telemann. Edited by Ute
Poetzsch. Arranged by
Andreas Kohs. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Single part. VWV
1. 7 pages. Baerenreiter
Verlag #BA05897_75.
Published by Baerenreiter
Verlag (BA.BA05897-75).
ISBN 9790006563067.
32.5 x 25.5 cm
inches.
Chorale
settings form a central
part of Telemann's
oeuvre. His 1754 setting
of the church hymn
Christus, der ist mein
Leben, based on Melchoir
Vulpius' melody from the
Hamburg Hymnal, is
especially well-suited to
display his mastery in
depicting the words of
the chorale. The
so-called Ausfullungsbass
(a vocal bass added to
the principal bass in
tutti passages) was
probably necessitated by
the acoustical properties
of Hamburg's
churches.
This
is the first Urtext
edition of this highly
successful chorale
setting which is based on
Georg Philipp Telemann
Musical Works. The score
contains a realisation of
the continuo
part.
* First
Urtext edition based on
Georg Philipp Telemann
Musical Works * An
attractive addition to
the repertoire with a
view to the Telemann Year
2017 * Bilingual
Foreword (Ger/Eng) *
Uncluttered idiomatic
piano reduction.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
New music
(post-2000). Score.
Composed 2016/17/20. 12
pages. Duration 8'.
Breitkopf and Haertel #EB
9253. Published by
Breitkopf and Haertel
(BR.EB-9253).
ISBN
9790004185537. 9 x 12
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.
Chorus a cappella SKU: BR.CHB-3145-02 Urtext. Composed by Giovanni...(+)
Chorus a cappella
SKU:
BR.CHB-3145-02
Urtext. Composed
by Giovanni Pierl da
Palestrina. Edited by
Rudolf Ewerhart. Choir;
stapled. Chor-Bibliothek
(Choral Library). Mass;
Renaissance/early
Baroque. Choral score. 28
pages. Breitkopf and
Haertel #ChB 3145-02.
Published by Breitkopf
and Haertel
(BR.CHB-3145-02).
ISBN
9790004403501. 7.5 x 10.5
inches.
Palestrina'
s Missa Paternoster is
one of the masses by this
composer that were
published neither during
his lifetime nor after
his death. The work has
come down to us in one
single manuscript source
from the collections of
the Cappella Sistina in
Rome, a copy transcribed
by D. Brancadore in
1618.The mass is written
on motifs from the
ancient plainchant Pater
noster melody from the
mass liturgy, which
underlays the movements
in an admirable
multiplicity of melodic
forms. New counterpoints
are repeatedly
intertwined with the
themes of the title
melody over the course of
the mass. Certain
idiosyncrasies in the
voice-leading and the
austere sonorities that
recall the late
Netherlandish tradition
give rise to the
hypothesis that this is a
relatively early work of
Palestrina.Several
decades ago, the Missa
Paternoster was published
by Breitkopf & Hartel in
a performance edition
prepared by Hermann
Bauerle. The present
edition is based on the
copy of the work printed
in the Choirbook 68
(Cappella Sistina) of the
Biblioteca Vaticana in
Rome. The poor condition
of the source made it
necessary to compare it
with Haberl's Complete
Edition as weil, after
which two errors have to
be corrected. Our edition
cannot pretend to offer a
definitive reading of the
accidentals, since they
are difficult to
distinguish in the
original. The work was
transposed, as this
seemed more appropriate
to present-day choral
practice. Finally, the
note values were reduced
by a half and the closing
notes reproduced
uniforrnly as longae.
Palestrina's Missa
,,Pater noster occupies a
distinguished position
next to its better known,
four-part fellow works.
lt deserves this rank
thanks to its dignified
and broadly sweeping
themes, the archaic
loftiness of its sound,
and the wealth of motivic
work contained within it.
We sincerely hope that
this new edition will
stimulate choirs to turn
their attention once
again to this rarely sung
mass by the great Roman
master.Rudolf
Ewerhart,January 1962,
Munster (Westf.).
Mezzo-Soprano/Belter Book Only. Composed by Various. Edited by Richard Walters...(+)
Mezzo-Soprano/Belter Book
Only. Composed by
Various.
Edited by Richard
Walters.
Vocal Collection.
Broadway,
Musicals. Softcover. 256
pages. Published by Hal
Leonard
Composed by Howard J. Buss (1951-). For solo flute. The 4 movements explore imag...(+)
Composed by Howard J.
Buss (1951-). For solo
flute. The 4 movements
explore imaginary
scenarios one may
experience during future
space travel and the
colonization of distant
worlds.. 21st Century.
Grade 5-6. Solo part.
Composed 2013. Duration
7'45 . Published by
Brixton Publications
Boids again Quatuor à cordes: 2 violons, alto, violoncelle Breitkopf & Härtel
String Quartet (2vl,va,vc) SKU: BR.EB-9383 Composed by Misato Mochizuki. ...(+)
String Quartet
(2vl,va,vc)
SKU:
BR.EB-9383
Composed
by Misato Mochizuki.
Chamber music; stapled.
Edition Breitkopf. New
music (post-2000). Full
score. Composed
2019/2020. 12 pages.
Duration 7'. Breitkopf
and Haertel #EB 9383.
Published by Breitkopf
and Haertel (BR.EB-9383).
ISBN 9790004188538. 9
x 12 inches.
Two
years ago in Rome, I
encountered a murmuration
of starlings and I was
amazed with its
overwhelming beauty,
changing shape as it
moved. Moving of a fish
school that you can watch
in an aquarium, has the
same beauty and the
energy. According to the
scientists, their fine
movement in a flock is
based on the following
three simple rules: -
steer to avoid crowding
local flockmates - steer
towards the average
heading of local
flockmates - steer to
move towards the average
position (center of mass)
of local flockmates The
word Boids refers to
bird-like objects
(bird-oids), representing
the beauty of their
movements in a flock
which is a result of
balancing out with each
other, following the
principle of least
effort. I wonder if these
rules can be applied to
the way a string quartet
is shaped. Boids again
has been written as a
sequel to the piece Boids
(2017), a 4 minute study
for string quartet in the
frame of the Kronos
Quartet's educational
project 50 for the
Future. (Misato
Mochizuki)
World
premiere: Osaka,
International Chamber
Music Competition,
February 12, 2021
Commissioned by Osaka
International Chamber
Music Competition and
Festa Commission.
Boids again Quatuor à cordes: 2 violons, alto, violoncelle Breitkopf & Härtel
String Quartet (2vl,va,vc) SKU: BR.EB-9384 Composed by Misato Mochizuki. ...(+)
String Quartet
(2vl,va,vc)
SKU:
BR.EB-9384
Composed
by Misato Mochizuki.
Chamber music; stapled.
Edition Breitkopf. New
music (post-2000). Set of
parts. Composed
2019/2020. 36 pages.
Duration 7'. Breitkopf
and Haertel #EB 9384.
Published by Breitkopf
and Haertel (BR.EB-9384).
ISBN 9790004188545. 9
x 12 inches.
Two
years ago in Rome, I
encountered a murmuration
of starlings and I was
amazed with its
overwhelming beauty,
changing shape as it
moved. Moving of a fish
school that you can watch
in an aquarium, has the
same beauty and the
energy. According to the
scientists, their fine
movement in a flock is
based on the following
three simple rules: -
steer to avoid crowding
local flockmates - steer
towards the average
heading of local
flockmates - steer to
move towards the average
position (center of mass)
of local flockmates The
word Boids refers to
bird-like objects
(bird-oids), representing
the beauty of their
movements in a flock
which is a result of
balancing out with each
other, following the
principle of least
effort. I wonder if these
rules can be applied to
the way a string quartet
is shaped. Boids again
has been written as a
sequel to the piece Boids
(2017), a 4 minute study
for string quartet in the
frame of the Kronos
Quartet's educational
project 50 for the
Future. (Misato
Mochizuki)
World
premiere: Osaka,
International Chamber
Music Competition,
February 12, 2021
Commissioned by Osaka
International Chamber
Music Competition and
Festa Commission.
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.
By Dave Black and Sandy Feldstein. For Snare Drum. Artist/Personality; Book; Met...(+)
By Dave Black and Sandy
Feldstein. For Snare
Drum. Artist/Personality;
Book; Method/Instruction;
Percussion - Snare Drum
Method; Poster;
SmartMusic. Alfred's Drum
Method. Beginner. 160
pages. Published by
Alfred Music Publishing
Choral (SATB) SKU: HL.35007834 Eartraining. Composed by Tomá...(+)
Choral (SATB)
SKU:
HL.35007834
Eartraining.
Composed by Tomá
and s Luis de Victoria.
Arranged by James
McKelvy. Mark Foster.
Advent, Christmas Sacred,
Christmas/Advent Sacred,
Classical, Concert.
Octavo. 8 pages. Shawnee
Press #MF0404. Published
by Shawnee Press
(HL.35007834).
UPC:
747510051954.
7.0x10.5x0.016 inches.
French.
Avoir
une bonne oreille
musicale fait
indéniablement
partie des
éléments
requis pour être ou
devenir un bon pianiste.
C’est bien
simple... tout part de
là ! Et tout passe
par là !Mais
à l’instar
des doigts qui sont au
contact du clavier,
l’oreille doit
aussi être
formée et
entraînée
pour devenir performante.
Et cela passe
inévitablement par
des
exercicesspécifiqu
es, tels que ceux qui
vous sont proposés
dans cette
méthode. Savoir
reconnaître les
intervalles entre les
notes est la base de la
formation auditive (ear
training, en anglais).
C’estpourquoi un
premier grand chapitre
est consacré ici
à leur
étude approfondie.
Dans les suivants, vous
serez alors en mesure
d’aborder, pas
à pas, les
arpèges et accords
de 3 et 4 sons,ainsi que
les gammes... qui sont
autant d’outils
indispensables pour
identifier à
l’oreille les
mélodies et
accompagnements
joués par le
piano. Chaque
étape de
l’apprentissage
estponctuée
d’un quiz musical,
permettant
d’évaluer
vos acquis, vos
progrès... mais
aussi votre aptitude
à passer à
la suite. Vous trouverez
sur le disque MP3 joint
tous lesenregistrements
audios (au format mp3)
correspondant aux
multiples exercices et
autres quiz de la
méthode.
Avoir une bonne oreille
musicale fait
indeniablement partie des
elements requis pour etre
ou devenir un bon
pianiste. C'est bien
simple... tout part de la
! Et tout passe par la !
Mais a l'instar des
doigts qui sont au
contact du clavier,
l'oreille doit aussi etre
formee et entrainee pour
devenir performante. Et
cela passe inevitablement
par des exercices
specifiques, tels que
ceux qui vous sont
proposes dans cette
methode. Savoir
reconnaitre les
intervalles entre les
notes est la base de la
formation auditive (ear
training, en anglais).
C'est pourquoi un premier
grand chapitre est
consacre ici a leur etude
approfondie. Dans les
suivants, vous serez
alors en mesured'aborder,
pas a pas, les arpeges et
accords de 3 et 4 sons,
ainsi que les gammes...
qui sont autant d'outils
indispensables pour
identifier a l'oreille
les melodies et
accompagnements joues par
le piano. Chaque etape de
l'apprentissage est
ponctuee d'un quiz
musical, permettant
d'evaluer vos acquis, vos
progres... mais aussi
votre aptitude a passer a
la suite. Vous trouverez
sur le disque MP3 joint
tous les enregistrements
audios (au format mp3)
correspondant aux
multiples exercices et
autres quiz de la
methode.
By George Gershwin (1898-1937). Arranged by Joachim Linckelmann. For woodwind qu...(+)
By George Gershwin
(1898-1937). Arranged by
Joachim Linckelmann. For
woodwind quintet.
Stapled. Score and set of
parts. Language:
German/English.
16/9/9/11/7/7 pages.
Published by Baerenreiter
Verlag
7 Recital Pieces in First Position for Viola and Piano or Two Violas. Edited b...(+)
7 Recital Pieces in First
Position for Viola and
Piano
or Two Violas. Edited by
Lusk, Melissa /
Sassmannshaus, Christoph
/
Sassmannshaus, Kurt.
Stapled.
Barenreiter's
Sassmannshaus.
Performance Score(s),
Part(s). 11/11/11 pages.
Baerenreiter Verlag
#BA08992.
Published by Baerenreiter
Verlag
Chorus a cappella SKU: BR.CHB-3069-02 Urtext. Composed by Giovanni...(+)
Chorus a cappella
SKU:
BR.CHB-3069-02
Urtext. Composed
by Giovanni Pierl da
Palestrina. Edited by
Rudolf Ewerhart. Choir;
stapled. Chor-Bibliothek
(Choral Library). Mass;
Renaissance/early
Baroque. Choral score. 32
pages. Breitkopf and
Haertel #ChB 3069-02.
Published by Breitkopf
and Haertel
(BR.CHB-3069-02).
ISBN
9790004403099. 7.5 x 10.5
inches.
Palestrinas
Missa ,,Dies
sanctificatus steht in
den ,,Missae ... Liber
Sextus, dem sechsten
Messenbuch, das 1594 in
Rom erstmals gedruckt
wurde. Die sechs Messen
dieses Druckes sind dem
kunstliebenden Kardinal
Pietro Aldobrandini
gewidmet, dem Neffen des
Papstes Clemens VIII.Als
Modell fur diese Messe
diente Palestrina seine
gleichnamige,
vierstimmige
Weihnachtsmotette, welche
er im Jahre 1563 in den
,,Motecta festorum anni
hatte veroffentlichen
lassen. Die Themen dieser
Motette bestimmen das
melodische und
harmonische Gefuge der
Messe: fast alle
Satzanfange sind vom
Initialthema der Motette
gespeist, und der
jubelnde Dreiertakt des
,,Exultemus et laetemur
beschliesst Gloria und
Credo sowie das
funfstimmige Agnus Dei,
das nach Palestrinas
Gewohnheit einen Kanon
durchfuhrt, hier im
Intervall der Oberquart
zwischen Tenor und Alt
2.Bereits vor mehreren
Jahrzehnten war die Missa
,,Dies sanctificatus in
einer praktischen Ausgabe
von Hermann Bauerle im
Verlag Breitkopf & Harte!
veroffentlicht worden.
Unsere Ausgabe geht auf
den Druck von 1594
zuruck, der in den
Exemplaren des Liceo
Musicale in Bologna
(Cantus) und der
Proske-Bibliothek in
Regensburg (Altus, Tenor,
Bassus) vorlag. Durch die
Transposition des
hochgeschlusselten Satzes
wird die Ausfuhrung durch
einen gemischten Chor
moglich. Die Notenwerte
wurden auf die Halfte
gekurzt; der Dreiertakt
ist im Originaldruck
durch Schwarzung
angezeigt. Einige
Druckfehler, so der
Schluss des Alt im Credo,
wurden verbessert. Die
schwungvolle, von der
freudigen Grundstimmung
der Weihnachtsmotette
inspirierte Messe zahlt
zu den Werken des
romischen Meisters, die
auch fur verhaltnismassig
einfache Chorverhaltnisse
erreichbar, in der Praxis
aber weniger bekannt
sind. Unsere Neuausgabe,
die das Original in einer
moglichst getreuen Form
ohne Zusatze bietet,
mochte dieser Messe in
weiteren Kreisen Freunde
gewinnen.Rudolf Ewerhart,
im Dezember 1959, Munster
(Westf.).
Chorus with inst. (choir: SATB - org - glsp or trg(ad lib) - str(without va)) (+)
Chorus with inst. (choir:
SATB - org - glsp or
trg(ad lib) - str(without
va))
SKU:
BR.CHB-3566-02
Pastorella.
Composed by Jiri Ignaz
Linek. Edited by Diethard
Hellmann. Choir; stapled.
Chor-Bibliothek (Choral
Library). Baroque period.
Choral score. 4 pages.
Duration 4'. Breitkopf
and Haertel #ChB 3566-02.
Published by Breitkopf
and Haertel
(BR.CHB-3566-02).
ISBN
9790004404942. 7.5 x 10.5
inches.
Die
Veroffentlichung der
Weihnachts-Pastorella
erfolgt nach den alten
Stimmen, die das
Nationalmuseum in Prag
unter der Signatur XII A
148 aufbewahrt.Der
Bibliothek sei an dieser
Stelle fur die
Anfertigung der
Photokopien herzlichst
Dank gesagt. Der
Originaltext ist in
tschechischer Sprache
abgefasst, dessen Anfang
lautet ,,Narodil se
Kristus Pan; das alte,
tschechische
Weihnachtslied gleichen
Textanfangs ist in der
Komposition verarbeitet.
In Deutschland ist dieser
Weihnachtsgesang mit dem
Text ,,Freu dich, Erd und
Sternenzelt bekannt und
weit verbreitet.Die
wortliche Ubersetzung,
die der gereimten Version
dieser Ausgabe als
Unterlage diente,
erstellte
dankenswerterweise Herr
Peter Geeringer,
Frankfurt/Main; sie hat
folgenden
Wortlaut:,,Christus, der
Herr, ist geboren, freut
euch, der Rose ist eine
Blute entsprossen, freut
euch. Eia, also freuen
wir uns alle miteinander,
durch Christi Geburt
werden wir alle
getrostet. Freuen wir
uns, feiern wir diesen
Geburtstag, lasst uns
wohlklingende Musik
machen! - Michel, wo hast
du deinen Dudelsack?
Saume nicht, geh ihn
holen! lgnaz, sei auch
bereit, hole schnell den
Dudelsack! Ruft gleich
den Tobias, er soll nicht
zaudern und sein
Instrument nehmen und
sogleich mit euch kommen!
Michel, lgnaz und Tobias,
seid ihr da? - Christus,
der Herr, ist geboren,
freut euch, der Rose ist
eine Blute entsprossen,
freut euch. Eia, also
freuen wir uns alle
miteinander, lasst uns
zusammen zur Krippe
gehen, lasst uns diesen
Geburtstag feiern, auf
dem Dudelsack lasst uns
spielen! Dem kleinen
Jesulein erweisen wir
Ehre, Lob und Preis.Die
vorliegende
Veroffentlichung teilt
die Lesart der alten
Stimmen mit. Zusatzliche,
analoge Bogensetzungen
sind durch Strichelungen,
originale Angaben zur
Dynamik durch
Ausschreibung als solche
kenntlich gemacht.
Flute with 1 other inst. SKU: BR.EB-9067 5 Haikai. Composed by Han...(+)
Flute with 1 other inst.
SKU: BR.EB-9067
5 Haikai. Composed
by Hans Zender. Solo
instruments; stapled.
Edition Breitkopf.
World premiere:
Stuttgart, March 10,
1990The 5 Haikai
can be performed
individually or in
groups.
Music
post-1945; New music
(post-2000). Performance
score. Composed 1989. 20
pages. Duration 25'.
Breitkopf and Haertel #EB
9067. Published by
Breitkopf and Haertel
(BR.EB-9067).
ISBN
9790004179420. 9 x 12
inches.
Ich schrieb
Lo-Shu VI auf der Suche
nach einer weiteren
Verknappung meiner
musikalischen Sprache.
Die Form der klassischen
japanischen
Haiku-Dichtung wird hier
- wie schon in fruheren
Werken - in folgendem
Sinn ubernommen: Die 17
Silben des Haiku
entsprechen 17
Grosstakten eines
musikalischen Satzes;
jeder dieser Takte ist im
Sinn von Tempo und
Harmonik eine autonome
musikalische Einheit,
vergleichbar der ,,Phrase
unserer klassischen Musik
(er dauert zwischen 6 und
ca. 12 Sekunden). Die
Gliederung 5-7-5 des
Haiku wird durch zwei
lange Pausen deutlich;
die Takte selber sind
nicht im Sinne einer
Entwicklungsform
aneinander gefugt,
sondern tragen ihr
Zentrum in sich selbst.
Ich arbeitete nur zum
Teil logisch-konstruktiv;
ebenso stark sind
informelle, verwischende
Elemente zu finden. Die
Zeit wird in diesem Stuck
im dramatischen, vorwarts
drangenden Sinn dauernd
negiert, ja aufgehoben;
es entsteht ein
Schwebe-Zustand um eine
Art Nullpunkt herum. Die
Musik tritt immer wieder
in den Zustand des
Schweigens ein, in dem
die rezeptive
Aufmerksamkeit sich
regenerieren kann. Die 5
Haikai bilden keinen
Zyklus; sie konnen
deswegen auch einzeln
oder in beliebigen
Kombinationen gespielt
werden. Die
Metronomangaben dienen
nur der Orientierung. Die
Stucke sollen wie in
tiefer Versunkenheit
improvisiert klingen. Die
Pausen sollen so lange
gehalten werden, dass die
Abschnitte der einzelnen
Haikai nicht im Sinne
,,logischer Kontinuitat
verbunden erscheinen.
Spielt man einen Zyklus,
ist darauf zu achten,
dass die Pause zwischen
zwei Haikai langer als
eine grosse Fermate im
Innern des Haiku ist.
(Hans Zender)
Bibliography : Class ,
Oliver: La flute dans le
cycle ,,Lo-Shu de Hans
Zender, in: Unite -
Pluralite. La musique de
Hans Zender. Colloque
Strasbourg 2012, hrsg.
von Pierre Michel, Marik
Froidefond und Jorn Peter
Hiekel, Paris: Hermann
2015, pp.
55-73.
World
premiere: Stuttgart,
March 10, 1990 The 5
Haikai can be performed
individually or in
groups.
Piano SKU: M7.AV-5851 Melodienfolge. Composed by Paul Lincke. Arra...(+)
Piano
SKU:
M7.AV-5851
Melodienfolge.
Composed by Paul Lincke.
Arranged by Franz
Marszalek. This edition:
Folding. Sheet music. 7
pages. MDS (Music
Distribution Services)
#AV 5851. Published by
MDS (Music Distribution
Services) (M7.AV-5851).
Chopin * Intermediate to Advanced Piano Solos composed by Frederic Chopin (1810-...(+)
Chopin * Intermediate to
Advanced Piano Solos
composed by Frederic
Chopin (1810-1849).
Arranged by Erika
Feuchtner Macris. For
piano. This edition:
Paperback. Collection.
Classical Composer
Series. Classical.
Intermediate to Advanced.
Book. Text Language:
English. 64 pages.
Published by Santorella
Publications
Second violin (2. Violin) SKU: BA.BA09079-75 Composed by Felix Bartholdy ...(+)
Second violin (2. Violin)
SKU: BA.BA09079-75
Composed by Felix
Bartholdy Mendelssohn.
Edited by John Michael
Cooper. This edition:
urtext edition. Stapled.
Barenreiter Urtext.
Single part. Opus 31, MWV
A 9. 7 pages.
Baerenreiter Verlag
#BA09079_75. Published by
Baerenreiter Verlag
(BA.BA09079-75).
ISBN
9790006531400. 32.5 x
25.5 cm inches. Text:
Felix Mendelssohn
Bartholdy.
Latin
text from the Vulgate
(Psalm 113). German text
by Felix Mendelssohn
Bartholdy after Psalm 115
from the Lutheran
Bible.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
First violin (1. Violin) SKU: BA.BA09079-74 Composed by Felix Bartholdy M...(+)
First violin (1. Violin)
SKU: BA.BA09079-74
Composed by Felix
Bartholdy Mendelssohn.
Edited by John Michael
Cooper. This edition:
urtext edition. Stapled.
Barenreiter Urtext.
Single part. Opus 31, MWV
A 9. 7 pages.
Baerenreiter Verlag
#BA09079_74. Published by
Baerenreiter Verlag
(BA.BA09079-74).
ISBN
9790006531394. 32.5 x
25.5 cm inches. Text:
Felix Mendelssohn
Bartholdy.
Latin
text from the Vulgate
(Psalm 113). German text
by Felix Mendelssohn
Bartholdy after Psalm 115
from the Lutheran
Bible.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Violin-second solo (2. Violin solo) SKU: BA.BA04672-78 Composed by Franz ...(+)
Violin-second solo (2.
Violin solo)
SKU:
BA.BA04672-78
Composed by Franz Joseph
Haydn. Edited by
Jürgen Braun and Sonja
Gerlach. This edition:
urtext edition. Stapled.
Single part. Hob. I:7,
No. 7. Baerenreiter
Verlag #BA04672_78.
Published by Baerenreiter
Verlag (BA.BA04672-78).
ISBN 9790006498321.
32.5 x 25.5 cm inches.
Key: C
major.
Urtext from
the G. Henle Complete
Edition of the Works of
Joseph Haydn.
First violin (1. Violin) SKU: BA.BA04672-74 Composed by Franz Joseph Hayd...(+)
First violin (1. Violin)
SKU: BA.BA04672-74
Composed by Franz Joseph
Haydn. Edited by
Jürgen Braun and Sonja
Gerlach. This edition:
urtext edition. Stapled.
Single part. Hob. I:7,
No. 7. Baerenreiter
Verlag #BA04672_74.
Published by Baerenreiter
Verlag (BA.BA04672-74).
ISBN 9790006493517.
32.5 x 25.5 cm inches.
Key: C
major.
Urtext from
the G. Henle Complete
Edition of the Works of
Joseph Haydn.
Chamber Music Bass Flute, Piano SKU: PR.114418900 Composed by Daniel Dorf...(+)
Chamber Music Bass Flute,
Piano
SKU:
PR.114418900
Composed
by Daniel Dorff. Set of
Score and Parts. 24+8
pages. Duration 14
minutes. Theodore Presser
Company #114-41890.
Published by Theodore
Presser Company
(PR.114418900).
ISBN
9781491129517. UPC:
680160668632.
A
welcome addition to the
bass flute repertoire,
Dorff’s 14-minute
sonata is designed as two
pairs of slow-fast
movements. While composed
as a complete 4-movement
sonata, either half may
be performed alone as a
7-minute recital work.
The movement titles are:
I. Sprawling, burbling;
II. Sparkling,
glistening; III. Under
Winter; and IV. Spring
Spirits. When Peter
Sheridan commissioned me
to write a piece for bass
flute and piano, his only
requests were a
sonata-like
multi-movement work, and
some kind of reference to
New York, where we both
grew up. Just the thought
of a bass flute, with its
broad and mighty
airstream, already
reminded me of the mighty
Hudson River: from the
dense woods of upstate
New York, through the
beautiful landscapes of
New Paltz and
Poughkeepsie, down
through the celebrated
Manhattan waterway.As I
daydreamed how to build a
sonata inspired by the
Hudson, I thought of its
deep primal nature carved
by the Ice Age, and the
life within the river and
on its shores long before
humans arrived. I thought
of how the river’s
magnetism drew Native
Americans who honored and
built their lives around
it. I thought of
beautiful trees and
wildlife, the annual
cycles of ecosystems, and
the natural symbiosis
between the river itself,
the life within, and the
life on land spawned by
the river’s
resources.I wondered what
if Thoreau had sat by the
Hudson rather than by
Walden Pond; I wondered
what if Hesse had set
Siddhartha in the Hudson
Valley with this river as
his metaphor for the flow
of life and time.I
wondered whether the
sonata should flow from
north to south, or have
chronological references.
I wondered if I should
allude to the many poets
and painters who have
drawn inspiration from
the mighty Hudson. Every
thought led to the
river’s essence,
its own spirit and life
— flowing through
raw nature, from skinny
trickles to mightiness
spawning cities;
supporting subtle life,
and becoming a central
commons for human
societies.The subtitle
Spirit of the Hudson
brings it all together.*
* *The sonata is built in
4 movements, with formal
inspiration from the
Baroque: A slow Mvt. 1
“Sprawling,
burbling†leads
directly to the rapid
Mvt. 2 “Sparkling,
glistening,â€
followed by another
slow-fast pair: Mvt. 3
“Under
Winter†which leads
directly into Mvt. 4
“Spring
Spirits.†In
addition to performances
of the complete sonata,
either pair of movements
may be performed on its
own for a shorter concert
segment.SONATA (SPIRIT OF
THE HUDSON) was premiered
at the International Low
Flutes Festival in April
2018 by its commissioner,
bass flutist Peter
Sheridan, with Hyeeun
Hahm as pianist.
Piano SKU: BR.EB-9078 Composed by Nicolaus A. Huber. Solo instruments; st...(+)
Piano
SKU:
BR.EB-9078
Composed
by Nicolaus A. Huber.
Solo instruments;
stapled. Edition
Breitkopf.
World
premiere: Hannover,
October 7, 1990Dedicated
to the pianist Catherine
Vickers
Music
post-1945; New music
(post-2000). Score.
Composed 1990. 4 pages.
Duration 3'. Breitkopf
and Haertel #EB 9078.
Published by Breitkopf
and Haertel (BR.EB-9078).
ISBN 9790004179536. 9
x 12 inches.
In
,,Beds and Brackets gibt
es ein Stuck im Stuck:
Statement zu einem
Faustschlag Nonos. Kurz
vor seinem Tod war ich
mit Nono zusammen in
einer
Kompositionswettbewerbs-J
ury. Wahrend dieser Tage
schlug er manchmal mit
der Faust schwere,
massige Rhythmen
elementarster Proportion
auf den Tisch. Vierfaches
Forte. Diese
Befreiungsschlage
hafteten die ganze Zeit
wahrend der Arbeit an
Statement in meinem
Gedachtnis. Sie waren
ganz aus dem Nahbereich
des Machens und
Wahrnehmens geboren.
Solcher Nahbereich
menschlicher Sinnenwelt
ist auch musikalisches
Ausfuhrungs- und
Hormodell des ubrigen
Stuckes. Die jeweiligen
Tone werden aus der
88-tastigen Klaviatur
aufgrund von
Bewegungsentwurfen
abgerufen, deren
Streckenmasse und
Geschwindigkeiten,
multipliziert mit den
jeweils zu bewegenden
Organ(gewicht)en, Ton und
Harmonik
charakterisieren. Der
horizontale, zeitliche
Verlauf des Stuckes
verwirrt zeitweise die
Nahbereichswahrnehmung
durch Wiederholung. In
der Partitur zeigen
numerierte Klammern das
jeweilige
Notentextfragment an, das
an einer anderen Stelle
in den musikalischen
Verlauf eingeschoben
werden soll, und zwar so,
als wurde es zum ersten
Mal erklingen. Es geht
also nicht um
psychisch-dynamische
Weiterspinnung, sondern
um eine live simulierte
Wiederholung von
Vergangenem, als ware es
gar nicht vergangen.
Derartige horizontale
Bewegungsentwurfe betonen
an Wiederholung eher das
Fremde, Sprengende, nicht
das
Zusammenhangschaffende.
Gegen Ende argumentiert
der korperliche
Nahbereich, schlagt um in
,,Umgebung: Lauft da
nicht ein Radio, ein
Fernseher, ein
Kuhlschrank? Geht da
nicht ein Wind draussen?
Fahrt nicht ein Auto?
Spielen da nicht Kinder?
Tonbander sind nur eine
schwache Simulation! Im
Optimalfall sollen
Fenster und Turen des
Konzertsaales geoffnet
und wieder geschlossen
werden. (Nicolaus A.
Huber, 1990) CDs:
Kristine Scholz CD Alice
musicproduction ALCD 011
Catherine Vickers CD col
legno AU 31821 CD Koch
Aulos 3-1817-2
Bibliography :
Birkenkotter , Jorg:
Keine Kleinigkeiten:
,,Bagatellen, ,,Shrugs,
,,Statement ... Kurze
Stucke im Werk Nicolaus
A. Hubers, in: Nicolaus
A. Huber, hrsg. von
Ulrich Tadday (=
Musik-Konzepte. Neue
Folge 168/169), Munchen:
edition text + kritik
2015, pp. 153-175. Schat
, Peter W.: Didaktische
Brucken. Ein Kommmentar
zu Nicolaus A. Hubers
Beds and Brackets, Musik
& Bildung 5/1995, pp.
49-51.
World
premiere: Hannover,
October 7, 1990Dedicated
to the pianist Catherine
Vickers.
Composed by Wolfgang
Amadeus Mozart. Edited by
Walter Senn. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Messen, Klassik
(Masses, Classical). Set
of wind parts. K. 192
(186f). 4/4/7/7/7 pages.
Baerenreiter Verlag
#BA04770_65. Published by
Baerenreiter Verlag
(BA.BA04770-65).
ISBN
9790006456123. 32.5 x
25.5 cm inches. Key: F
major.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
B�¤renreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composer�s
intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through