| Nachgedanken S.s. Orchestre Schott
Orchestra (2 (2. auch Picc.) * 2 (2. auch Engl. Hr.) * 3 * 2 - 2 * 1 * 3 * 0 - S...(+)
Orchestra (2 (2. auch
Picc.) * 2 (2. auch Engl.
Hr.) * 3 * 2 - 2 * 1 * 3
* 0 - S. (Marimba und
Vibr. (beide uber
Verstarker) * Glspl. *
Gong in D) - Str.)
SKU: HL.49006519
Composed by Wilhelm
Killmayer. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Composed 1973. 56
pages. Duration 15'.
Schott Music #ED 6658.
Published by Schott Music
(HL.49006519). ISBN
9790001070782. Sich
einfach mal dem Spiel der
Klange hinzugeben,
empfiehlt Wilhelm
Killmayer den Horern
seiner 'Nachtgedanken'.
Wie in der Nacht
verdrangte Gedanken aus
dem Unterbewusstsein
aufsteigen, so entfalten
und verdichten sich
Killmayers spharische
Klange in seinem 1973
komponierten Werk. Das
eindrucksreiche
Phantasiestuck des
Orff-Schulers ist mal
friedlich und eingangig,
mal bohrend und erregend
beklemmend. Es schliesst
mit hohen eindringlichen
Geigentonen. $40.00 - Voir plus => Acheter | | |
| Night On Bald Mountain Orchestre [Conducteur d'étude / Miniature] Eulenburg
Orchestrated by Rimsky-Korsakov. By Modest Petrovich Mussorgsky. Arranged by Nik...(+)
Orchestrated by
Rimsky-Korsakov. By
Modest Petrovich
Mussorgsky. Arranged by
Nikolay Andreyevich
Rimsky-Korsakov, Gerald
Abraham. (Study Score).
Schott. 96 pages.
Published by Eulenburg.
$17.99 - Voir plus => Acheter | | |
| Es Ward Ein Stern Entzundet Score Orchestre Schott
Choir for three voices and unison men's choir with string quartet or string orch...(+)
Choir for three voices
and unison men's choir
with string quartet or
string orchestra SKU:
HL.49005611 Eine
Weihnachtskantate.
Composed by Carl Maria
von Weber. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical. Score. 24
pages. Duration 8' 15''.
Schott Music #ED 5381.
Published by Schott Music
(HL.49005611). ISBN
9790001149082. $23.95 - Voir plus => Acheter | | |
| Suite for Orchestra in D Orchestre Lucks Music Library
Orchestra (2D1.2.2.2/4.2.3.0,timp,p erc,hp,str) SKU: TM.08756SET Composed...(+)
Orchestra
(2D1.2.2.2/4.2.3.0,timp,p
erc,hp,str) SKU:
TM.08756SET Composed
by Vassili Kalinnikov.
Set Type: D. Set of
parts. Lucks Music
Library #A7562. Published
by Lucks Music Library
(TM.08756SET).
Weihnachts-Gloc
ken, Kind Jesus Ward
Welts Gebracht,
Weihnachtsbaum, Tanz der
Kleinen Madchenht, Gut
Nacht. $225.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Floss Der Medusa Study Score Orchestre [Conducteur] Schott
Soprano, baritone, spoken voice, mixed choir (SSSSAAAATTTTBBBB, and 9 boys' voic...(+)
Soprano, baritone, spoken
voice, mixed choir
(SSSSAAAATTTTBBBB, and 9
boys' voices, S/A) and
orchestra (Score) -
difficult SKU:
HL.49006187 (The
Raft of the Medusa).
Composed by Hans Werner
Henze. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Composed
1968/1990. 168 pages.
Duration 70'. Schott
Music #ED6326. Published
by Schott Music
(HL.49006187). ISBN
9790001067270. UPC:
884088099282.
8.25x11.75x0.41 inches.
German - English. 4
(1., 2. auch Picc., 3.,
4. auch Altfl.) * 1 * Ob.
d'am. * Engl. Hr. *
Heckelphon * Es-Klar. * 1
* Altklar. (oder
Bassetthr.) * Bassklar. *
Sopransax. * Tenorsax. *
2 * Kfg. - 4 * Picc.-Trp.
* 2 * Basstrp. * Altpos.
* 1 * Basspos. *
Alt-Ofikleide (oder
Bombardino) *
Bass-Ofikleide (oder Pos.
mit Quartventil) *
Bombardino (oder Tb. in
F) * Wagnertb. * 1 *
Kb.-Tb. - P. S. (3 Trgl.
* 3 hg. Beck. *
Beckenpaar * 3 Gongs *
Kuhgl. * 5 Tamt. * Tamb.
* Mil. Tr. * 3 Bong. *
Tabla * orient. Woodbl. *
gr. Tr. * 2 Tempelbl. *
Metallbl. * Woodbl. *
Mar. * Guiro *
Bambusbundel * 3
Metallplatten *
Shell-Chimes * Vibr. *
Marimba * Rohrengl.) (12
Spieler) - E-Git. *
E-Bassgit. * 2 Hfn. *
Klav. * E-Org. - Str. (12
* 0 * 8 * 6 * 4). $51.00 - Voir plus => Acheter | | |
| Requiem Orchestre [Conducteur d'étude / Miniature] Schott
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (St...(+)
Soprano, tenor,
Knabensoprano,
flugelhorn, mixed choir
and chamber orchestra
(Study Score) SKU:
HL.49018099 Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099). ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German. On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009. $93.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Music with Robert Schumann Orchestre Breitkopf & Härtel
Orchestra (2.2.2.2. - 4.3.3.0. - timp.perc - hp -str) SKU: BR.PB-4862-07 ...(+)
Orchestra (2.2.2.2. -
4.3.3.0. - timp.perc - hp
-str) SKU:
BR.PB-4862-07
Study score.
Composed by Jurg Baur.
Softbound.
Partitur-Bibliothek
(Score Library). World
premiere: Hannover, March
13, 1972 Music
post-1945. Study Score.
Composed 1972. 82 pages.
Duration 15'. Breitkopf
and Haertel #PB 4862-07.
Published by Breitkopf
and Haertel
(BR.PB-4862-07). ISBN
9790004206591. 7 x 9.5
inches. Variationen
(Ouverture / Thema /
Variation / Coda),
Lyrisches Intermezzo
(Sostenuto), Symphonische
Nachklange (Allegro con
moto).Immer wieder lassen
sich Komponisten von
Themen alterer oder auch
zeitgenossischer Meister
zu Variations-Zyklen
anregen (Brahms: Handel-
und Haydn-Variationen,
Reger:
Mozart-Variationen,
Holler:
Sweelinck-Variationen).
Themen von Robert
Schumann fanden bisher
relativ selten Beachtung
- (Regers
Schumann-Variationen fur
zwei Klaviere sind eine
Ausnahme) - vielleicht,
weil sie zu sehr in sich
vollendet und
abgeschlossen sind und
deshalb kaum
Moglichkeiten zur
Veranderung enthalten.
Dennoch beschaftigte mich
schon langer die Idee,
eine ,,Musik mit
Schumann, Nachklange oder
Erinnerungen an Schumann
zu gestalten, mit der
Absicht, ein heiteres,
liebenswurdiges (und
nachdenkliches) Werk zu
schreiben, einmal ohne
Experimente-, als
,,Divertimento fur den
Normalhorer, gelegentlich
behutsam verbunden mit
modernen Techniken -
nicht ohne
hintergrundigen Humor.
Der 1. Satz wurde
inspiriert von den
,,Papillons (opus 2 fur
Klavier); er gliedert
sich in vier
variationsahnliche
Abschnitte. Die
,,Ouverture exponiert
drei kurze Themen, die
sich trotz ihres
gegensatzlichen
Charakters wie
selbstverstandlich
erganzen
(Einleitungsgirlande und
Schlussfanfare der
Papillons und das
bekannte Anfangsmotiv aus
,,Vogel als Prophet). Die
Abschnitte ,,Thema,
,,Variationen und ,,Coda
entwickeln und verandern
das Hauptthema der
,,Papillons; dieses
dominiert uber weite
Strecken des Satzes und
wird mit den Motiven der
Ouverture kombiniert.
Vielfaltig gegliedert ist
das ,,Lyrische
Intermezzo. Zu Beginn
gewinnt ein Motiv aus den
,,Nachtstucken (fur
Klavier) Bedeutung,
taucht mehrere Male auf,
von mehrtonigen b-a-c-h
Clustern ,,gestort. Im
Mittelpunkt stehen das
Thema des 2. Satzes der
g-moll Klavier-Sonate op.
22 (ein Mondnachtlied
ohne Worte; Holzblaser)
und ein Adagio-Gedanke
aus dem Klavier-Zyklus
,,Kreisleriana (tiefe
Streicher); beide Themen
werden kontrapunktiert
von zwolftonigen
Strukturen und
Klangbandern
(Holzblaser). Die
,,Fruhlings-Symphonie-Fan
fare eroffnet das Finale.
Danach bilden sich uber
rotierenden Klangflachen
(Streicher) einzelne Tone
und Intervalle,
aleatorisch frei,
verdichten sich, wie aus
der Erinnerung
auftauchend, zu Motiven
aus Schumanns
bekanntester Symphonie.
Nach diesem zogernden
Beginn entwickelt sich
ein fast klassisch
anmutender
Sonaten-Durchfuhrungsteil
mit mehreren melodischen
Gedanken (Kopfmotiv der
g-moll Klaviersonate,
tanzerische und ostinate
Themen aus der
Fruhlings-Symphonie), die
zum Teil in- und
ubereinander geschichtet
werden, bis auf dem
Hohepunkt des Satzes das
Schlussthema der
Klavierfantasie op. 17,
pathetisch-ironisch in
den Blechblasern
erklingt. Eine kurze
Reprise mit dem
Hauptgedanken fuhrt zur
Anfangsfanfare zuruck;
der Satz verklingt im
pianissimo. Wollte man
dem ganzen opus ein Motto
voranstellen, dann die
Schumann-Uberschrift (aus
den Kinderszenen) :
,,Fast zu ernst - aber
eben nur ,,fast. (Jurg
Baur)CD:Sinfonieorchester
des Bayerischen
Rundfunks, cond.
Hanns-Martin SchneidtCD
Thorofon CTH 2270
Bibliography:Wallerang,
Lars: Die Orchesterwerke
Jurg Baurs als Dialog
zwischen Tradition und
Moderne, Koln: Dohr
2003.Nonnenmann, Rainer:
Vergegenwartigungen.
Umgang mit historischem
Material bei Zimmermann,
Baur, Killmayer, Schnebel
und Zender, in: Jurg
Baur, hrsg. von Ulrich
Tadday (= Musik-Konzepte.
Neue Folge, Heft
184/185), Munchen:
Edition Text+Kritik 2019,
S. 26-46. $79.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Knab A Solokantaten 2 (fk) Orchestre Schott
Soprano voice, Flute and String Orchestra SKU: HL.49031390 Composed by Kn...(+)
Soprano voice, Flute and
String Orchestra SKU:
HL.49031390 Composed
by Knab. Sheet music.
Edition Schott. Score. 30
pages. Schott Music #ED
4038-10. Published by
Schott Music
(HL.49031390). ISBN
9790001048224. Die
Kantaten Vanitas mundi
und Engelsgruss konnen
einzeln oder miteinander
aufgefuhrt werden. Eine
zusammenhangende grossere
Vortragsfolge ergeben die
drei Kantaten von Armin
Knab Mariae Geburt,
Engelsgruss und
Weihnachtskantate. $23.95 - Voir plus => Acheter | | |
1 |