SKU: HL.49033271

ISBN 9790001136877. 9.0x12.0x0.088 inches. German.

Kafka's ouvre is interspersed with moments of utter anxiety. Moments in which, induced by adrenalin, the blood pressure rises. Blood vessels which seem to constrict, pump enormous quantities of blood the pressure of which might make one believe that the head is going to explode. In The Judgment, an innocent opening story leads to one of the most unusual showdowns in world literature: The beloved father sentences his son to death by drowning; the son immediately obeys since his life, his existence almost explodes, becomes blurred, dissolves at the moment the judgment is pronounced. For me, the 'self' driving him - I imagine this as a high sound in the inner ear - could only be a soprano. This is why the actual 'fall' has turned out to be clear, almost friendly and why Georg only seems to want to breathe a soft and quiet 'Dear parents, I have always loved you' during the fall while no longer keeping the singing tone, shortly before death, almost casually, takes hold of him. Christian Jost.

SKU: HL.49000539

ISBN 9790200100990. German.

SKU: HL.49029519

ISBN 9790220103230. 7.0x9.75x0.111 inches. English - German.

SKU: BA.BA01116

ISBN 9790006408405. 27 x 19 cm inches. Text: Hermann Claudius.

The German composer and music teacher Karl Marx wrote these new songs for soprano solo and piano after poems by Hermann Claudius op. 29.

Included are the following songs:
– Mein Lied: Der Wind der weht
– Auf eine kranke Rose: Ist das in dir der Mensch
– Sommerbeet: Es drängt sich auf den Beeten
– Der alte Turm und die Schwalben haben einander gern
– Der alte Turm und die Schwalben haben einander gern
– Auf Brümmerhoff: Es blinken in der Sonne die grünen Gräser (auch Duett [SA])
– Im Januar
– Tage der Gnade brechen herein
– Dezembertag: Des Nordens Wunder ist der Winter
– Im Januar: Zu den winterkahlen Zweigen
– Lied an meinem Tische: Tagtäglich bietest du dich dar

SKU: PR.111403210

UPC: 680160687947.

With an original text by the composer, Nkeiru Okoye’s WE MET AT THE SYMPHONY is a monodrama in three songs for soprano and string quartet or piano. The songs tell the story of a Black woman surprised to find a Black man in the sea of white faces at an orchestra concert, their subsequent romance, and her struggle to trust another Black man after betrayal and heartbreak. Okoye’s poignant, insightful, and sharp-witted poetry is set to dramatic and striking music that blends sensibilities from jazz, Broadway, and contemporary classical styles, with an unforgettable solo role for the soprano.