Score and Parts Clarinet; Piano; Viola (Score & Parts) SKU: HL.49045889 <...(+)
Score and Parts Clarinet;
Piano; Viola (Score &
Parts)
SKU:
HL.49045889
Five
pieces in fairy-tale
style for Clarinet, Viola
and Piano Score and
Parts. Composed by
Joerg Widmann. Ensemble.
Classical. Softcover. 120
pages. Duration 1740
seconds. Schott Music
#ED22487. Published by
Schott Music
(HL.49045889).
9.0x12.0x0.33
inches.
As far back
as I can remember, I have
always been fascinated
with fairy tales: with
their archetypal
characters and set
phrases like'Once upon a
time...'and'...they all
lived happily ever
after'. Fairy tales were
however also a source of
unrest for me as a
seismograph of mankinds
underlying primal fears
and desires. So as a
performer and composer I
have always felt that
Robert Schumann's
Marchenerzahlungen [Fairy
Tales] (scored for the
same instrumentation as
my own composition) was a
disjointed, complex
contemporary work -
despite the innocence and
naivety of its initial
appearance. I therefore
do not intend my own Es
war einmal (Once upon a
time...)to be a mere
sentimental, nostalgic
flight into the distant
past, but as a naive and
fantastical alternative
concept to our genuine
world with all its
upheavals. Jorg
Widmann.
Viola and piano SKU: BR.EB-9441 Urtext based on the Brahms Complete Ed...(+)
Viola and piano
SKU:
BR.EB-9441
Urtext
based on the Brahms
Complete Edition of the
Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms. Solo
instruments; stapled.
Edition Breitkopf.
Sonata; Romantic. Sheet
Music. Duration 21'.
Breitkopf and Haertel #EB
9441. Published by
Breitkopf and Haertel
(BR.EB-9441).
ISBN
9790004189184. 9 x 12
inches.
The two
sonatas of Johannes
Brahms's op. 120 are
widely hailed as crowning
points of the repertoire
for clarinet and piano.
Moreover, in the version
for viola and piano
arranged by Brahms
himself, they rank among
the most frequently
played viola works of the
19th century. They far
surpass in compositional
substance the relatively
few original sonatas
written for these
instrumentations during
the same period.Of the
two fellow works, the
Sonata No. 2 in E flat
major is the more
accessible. Diverging
from the
classical-romantic
tradition, Brahms used
the key of E flat major
here not to express the
heroic or monumental, but
to obtain lyrical,
chiefly restrained
characterizations. The
serenade-like beauty of
the principal theme,
which opens the sonata,
has always been
particularly admired. In
his review of the world
premiere, the renowned
Viennese music critic
Eduard Hanslick, a friend
of Brahms's, raves with
the words it was as if it
had fallen from the
Heavens. The closing set
of variations also
follows with gentle
gracefulness this lyrical
character. However, the
middle movement, with its
tempestuous outer
sections in E flat minor
and the hymnic trio in B
major provides a
passionate and serious
contrast, which allows
the flanking idyll to
unfold its beauties all
the more insistently.