(Warm-up Exercises for Tone and Technique for Advanced String Orchestra (Piano A...(+)
(Warm-up Exercises for
Tone and Technique for
Advanced String Orchestra
(Piano Acc.)). Composed
by Bob Phillips and Kirk
Moss. Orchestra. For
Piano Acc.. This edition:
Piano Accompaniment.
Book; Method/Instruction;
SmartMusic; String
Orchestra
Method/Supplement. Sound
Innovations Series for
Strings. 108 pages.
Published by Alfred Music
(Warm-up Exercises for Tone and Technique for Advanced String Orchestra (Bass))....(+)
(Warm-up Exercises for
Tone and Technique for
Advanced String Orchestra
(Bass)). By Bob Phillips
and Kirk Moss. Orchestra.
For Bass. This edition:
Bass. Book;
Method/Instruction;
SmartMusic; String
Orchestra
Method/Supplement. Sound
Innovations Series for
(Bekannte Melodien im Foxtrot-Rhythmus). By Walter Kollo / Paul Lincke. For comb...(+)
(Bekannte Melodien im
Foxtrot-Rhythmus). By
Walter Kollo / Paul
Lincke. For combo (2
violin I/II, violin III,
1st part B-flat, 1st/2nd
part E-flat, 2nd part
B-flat, 3rd part
E-flat/B-flat, 4th part
E-flat/B-flat, 5th part,
accordion, guitar, bass,
percussion). Orchestra.
Piano score and parts. 20
pages. Published by
Apollo Verlag
Orchestra SKU: CA.4076707 Composed by Wolfgang Amadeus Mozart. Mozart; Kl...(+)
Orchestra
SKU:
CA.4076707
Composed
by Wolfgang Amadeus
Mozart. Mozart; Kleinere
Kirchenwerke, Exsultate
Jub. Hymns, Praise and
thanks, Tantum ergo.
Study score. Composed
1773. Carus Verlag #CV
40.767/07. Published by
Carus Verlag
(CA.4076707).
ISBN
9790007087395.
Scor
e available separately -
see item CA.4076700.
Orchestra SKU: JK.20034 Composed by K. Newell Dayley. Arranged by Sam Car...(+)
Orchestra
SKU:
JK.20034
Composed by
K. Newell Dayley.
Arranged by Sam Cardon.
Difficulty Medium,
Orchestral
Orchestrations, Jesus
Christ - Savior, Love.
Christian, Inspirational.
Duration 3:40. Jackman
Music Corporation #20034.
Published by Jackman
Music Corporation
(JK.20034).
John
15:10-12.
Score and
parts to accompany the
full-choir arrangement of
I Feel My Savior's Love,
recorded by the Mormon
Tabernacle Choir
(#00402). Orchestratio
n includes: Full
Score Flute
Oboe Clarinet in B
Flat Harp Piano
Percussion I (Light
Triangle, Finger Cymbals)
Percussion II (B.D.,
Sus. Cymbal) Violin I
(4) Violin II (4)
Viola (4)
Violoncello (3)
Doublebass
(2) Composer: K.
Newell Dayley
Arranger: Sam Cardon
Lyricist: Ralph G.
Rogers, K. Newell Dayley
and Laurie Huffman
Difficulty: Medium
Performance time:
3:40 Reference: John
15:10-12.
First flute, second flute, first oboe (oboe-dam), second oboe, Ob 3, first basso...(+)
First flute, second
flute, first oboe
(oboe-dam), second oboe,
Ob 3, first bassoon,
second bassoon,
Cor-daccordion, first
trumpet, second trumpet,
third trumpet, timpani
(1. Flute, 2. Flute, 1.
Oboe (Oboe d´amore),
2. Oboe, 3. Oboe, 1.
Bassoon, 2. Bassoon,
Corno da caccia, 1.
Trumpet, 2. Trumpet, 3.
Trumpet, Timpani)
SKU:
BA.BA05293-65
Missa BWV 230I
(version of 1733). Credo
in unum Deum BVW II/1
(early version in G maj).
Sanctus BWV 232III
(version of 1724).
Composed by Johann
Sebastian Bach. Edited by
Uwe Wolf. This edition:
urtext edition. Stapled.
Barenreiter Urtext. Set
of wind parts. BWV 230,
BWV 232. Baerenreiter
Verlag #BA05293_65.
Published by Baerenreiter
Verlag (BA.BA05293-65).
ISBN 9790006532674.
32.5 x 25.5 cm inches.
Key: B minor.
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
Orchestra SKU: LO.765762081406 Composed by David Ruis. Arranged by David ...(+)
Orchestra
SKU:
LO.765762081406
Composed by David Ruis.
Arranged by David Shipps.
Conductor's score and
instrumental parts.
Lillenas Publishing
Company #765762081406.
Published by Lillenas
Publishing Company
(LO.765762081406).
UPC:
765762081406.
Core
Instruments: Rhythm, 2
Tpts, A or T Sax, Tbn;
Optional Woodwind/F Horn
Line: Fl, Ob, Cl, Hn, S
Sax; Keyboard/StringPart:
Kybd (Vln and Vla
provided to cover the
right hand); Bass Line
Part: El Bass, Tbn, Tba,
B Cl, B Sax, Cello, or
Bass (provided in C bass
clef, B-flat treble clef,
and E-flat treble clef);
Additional Optional
Parts: Perc, Harp.
Orchestra SKU: LO.765762076204 Composed by Andy Park. Arranged by Ed Hoga...(+)
Orchestra
SKU:
LO.765762076204
Composed by Andy Park.
Arranged by Ed Hogan.
Allegis. Conductor's
score and instrumental
parts. Lillenas
Publishing Company
#765762076204. Published
by Lillenas Publishing
Company
(LO.765762076204).
UPC:
765762076204.
Core
Instruments: Rhythm, 2
Tpts, A or T Sax, Tbn;
Optional Woodwind/F Horn
Line: Fl, Ob, Cl, Hn, S
Sax; Keyboard/StringPart:
Kybd (Vln and Vla
provided to cover the
right hand); Bass Line
Part: El Bass, Tbn, Tba,
B Cl, B Sax, Cello, or
Bass (provided in C bass
clef, B-flat treble clef,
and E-flat treble clef);
Additional Optional
Parts: Perc, Harp.
La navette Orchestre [Conducteur d'étude / Miniature] Peters
Composed by James Dillon (1950-). For orchestra (3(II=Picc, III=A-fl).2.Ca.3(ClE...(+)
Composed by James Dillon
(1950-). For orchestra
(3(II=Picc,
III=A-fl).2.Ca.3(ClEb,
B-cl).2.Cbsn-4.3.2.B-Tbn.
B-Tba-Timp-Perc and
piano-Cel-Hp-Str(14.12.10
.8.6)). Modern. Study
score. Composed 2001.
Duration 20 minutes.
Published by Edition
Peters
Large orchestra SKU: HL.49003201 For large orchestra. Composed by ...(+)
Large orchestra
SKU:
HL.49003201
For
large orchestra.
Composed by Mark-Anthony
Turnage. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Composed
1992-1993. 86 pages.
Duration 22'. Schott
Music #ED 12446.
Published by Schott Music
(HL.49003201).
ISBN
9790220116247. UPC:
841886023086.
8.25x11.75x0.269
inches.
3(2afl,
pic).3 (ca).3
(2bcl).2ssax
(2barsax).2.cbn-4.4.3
(euph).1-5perc
(timp.,sn.dr. (with
brushes), large b.d.,
large pedal b.d., large
sus.cym., large w.bl.,
tamb., large ratch.,
large gng, large c.b.,
mar., vib., hand bells,
tub.bell, boobams, cong.,
large metal bar)-pno
(cel).hp-str
(16.16.12.12.8).
Orchestra SKU: HL.49013511 Set of Parts. Composed by Richard Wagne...(+)
Orchestra
SKU:
HL.49013511
Set of
Parts. Composed by
Richard Wagner. Sheet
music. Edition Schott.
Classical. Set of Parts.
96 pages. Schott Music
#BSS 23576-10. Published
by Schott Music
(HL.49013511).
ISBN
9790001106344.
10.5x13.25x0.22
inches.
Je 1
Violine 1, Violine 2,
Viola, Violoncello,
Kontrabass, Flote 1,
Flote 2, Flote 3, Oboe 1,
Oboe 2, Oboe 3, Englisch
Horn, Klarinette 1 in B,
Klarinette 2 in B,
Klarinette 3 in B,
Bassklarinette,
Kontrafagott, Fagott 1,
Fagott 2, Fagott 3, Horn
1 in F, Horn 2 in F, Horn
3 in F, Horn 4 in F,
Trompete 1 in F, Trompete
2 in F, Trompete 3 in F,
Posaune 1, Posaune 2,
Posaune 3, Pauken,
Bass-Tuba, Harfe 1, Harfe
2, oder alternativ
Einrichtung der 1. + 2.
Harfe fur eine Harfe.
Orchestra SKU: HL.49014883 For orchestra. Composed by John Casken....(+)
Orchestra
SKU:
HL.49014883
For
orchestra. Composed
by John Casken. This
edition: Paperback/Soft
Cover. Sheet music.
Edition Schott.
Commissioned by the BBC
for the 1984 Musica Nova
Festival. Classical.
Study Score. 92 pages.
Duration 20'. Schott
Music #ED 12335.
Published by Schott Music
(HL.49014883).
By Edward Elgar. Edited by Christopher Hogwood. For Orchestra. Score; Urtext Edi...(+)
By Edward Elgar. Edited
by Christopher Hogwood.
For Orchestra. Score;
Urtext Edition
(paperbound). Op. 36.
Published by
Baerenreiter-Ausgaben
(German import).
Soprano saxophone and orchestra SKU: HL.49003203 For soprano saxophone...(+)
Soprano saxophone and
orchestra
SKU:
HL.49003203
For
soprano saxophone and
orchestra. Composed
by Mark-Anthony Turnage.
Sheet music. Edition
Schott. Classical. Study
Score. Composed
1992-1993. 84 pages.
Duration 24'. Schott
Music #ED 12448.
Published by Schott Music
(HL.49003203).
ISBN
9790220117275. UPC:
196288104278.
8.25x11.75x0.25
inches.
3(2afl,
pic).3.2
(bcl).cbcl.2.cbn-4.3.2.bt
bn.1-5perc (brake dr.,
large b.d., pedal b.d., 2
darabukas/2 large bng., 2
bodhrans, sizz.cym.,
w.bl., large wh., large
untuned gng, tuned c.b.,
xyl., mar., vib., crots.,
hand bells, tub.bells,
djembe, large
saucepan)-cimbalom (large
ratch.)-hp.pno (cel)-str
(16.16.12.12.8).
Christmastime Orchestre [Set de Parties séparées] Hope Publishing Company
By Michael W. Smith and Joanna Carlson. Arranged by Lloyd Larson. For Orchestra....(+)
By Michael W. Smith and
Joanna Carlson. Arranged
by Lloyd Larson. For
Orchestra. Call To
Worship, Children,
Hymntune, Contemporary,
Hymntune and Sacred.
Print Music Single
(Orchestration).
Published by Hope
Publishing Company.
Orchestra SKU: HL.14028645 Composed by Aulis Sallinen. Music Sales Americ...(+)
Orchestra
SKU:
HL.14028645
Composed
by Aulis Sallinen. Music
Sales America. 20th
Century. Book
[Softcover]. Music Sales
#NOV890196. Published by
Music Sales
(HL.14028645).
ISBN
9780853609674.
A
facsimile study score for
one of Sallinen's most
recent works, A Solemn
Overture. Orchestration:
3 flutes, 3 oboes, 3
clarinets in B flat, 3
bassoons, 4 horns in F, 3
trumpets in B flat, 3
trombones in C, Tuba,
Timpani, Harp and
Strings. Duration
approximately 10mins.
Orchestra SKU: BP.2160B Composed by Mark Hayes. Arranged by Mark Hayes. B...(+)
Orchestra
SKU:
BP.2160B
Composed by
Mark Hayes. Arranged by
Mark Hayes. Band &
orchestra. Orchestration.
Beckenhorst Press #2160B.
Published by Beckenhorst
Press (BP.2160B).
Full score and
parts for flute 1, 2,
oboe, clarinet in B-flat,
horn 1, 2, trumpet in
B-flat 1, 2, trombone 1,
2, tuba, pitched
percussion (bells,
chimes, timpani),
non-pitched percussion
(mark tree, suspended
cymbal), violin I, II,
viola, cello and bass.
Printed copy.
Orchestra SKU: BR.EOS-1527 Score with basso continuo. Composed by ...(+)
Orchestra
SKU:
BR.EOS-1527
Score
with basso continuo.
Composed by William
Boyce. Orchestra;
Softbound. Eulenburg
Orchestral Series.
Symphony;
Baroque. Score with
continuo realization. 172
pages. Breitkopf and
Haertel #EOS 1527.
Published by Breitkopf
and Haertel
(BR.EOS-1527).
ISBN
9790004786475. 8.5 x 11.5
inches.
No. 1
in B major 8 2.2.0.0.
0.0.0.0. str
bc(hps)
No. 2 in
A major 5 0.2.0.0.
0.0.0.0. str
bc(hps)
No. 3 in
C major 5 0.2.0.2.
0.0.0.0. str
bc(hps)
No. 4 in
F major 7 0.2.0.2.
2.0.0.0. str
bc(hps)
No. 5 in
D major 8 0.2.0.0.
0.2.0.0. timp str
bc(hps)
No. 6 in
F major 7 0.2.0.0.
0.0.0.0. str
bc(hps)
No. 7 in
B major 9 2.2.0.0.
0.0.0.0. str
bc(hps)
No. 8 in
D minor 11 2.2.0.0.
0.0.0.0. str bc(hps)
Die einzige bekannte
Quelle befindet sich in
Heft 66 von Band 25 der
Meslanges-Autographen die
an die Bibliotheque
Royale (heute
Bibliotheque Nationale)
Paris verkauft wurde. Das
Manuskript ist sehr
sorgfaltig geschrieben.
Alle Zusatze des
Herausgebers stehen in
eckigen
Klammern. (Jean-Paul
Montagnier)
(Jean-Paul
Montagnier) The
present edition is based
on the manuscript from
the Bibliotheque
Nationale de France
(Paris). It it the oldest
known source of the work.
The very few errors have
been corrected.
(Jean-Paul
Montagnier) Vokalensemble
Stuttgart und den
Kammerchor des
Kopernikus-Gymnasiums
Wasseralfingen. Fur diese
beiden ganz
unterschiedlichen
Chorformationen hat
Martin Smolka 2012 auch
gezielt seine Partitur
angelegt. Biografisch ist
das Agnus Dei eine Art
kleines Requiem fur
seinen kurz zuvor
verstorbenen Vater. Das
liturgische Agnus Dei
rahmt den deutschen Text
Eh das Madchen entschlief
... der bei Auffuhrungen
in anderen Landern durch
eine Ubersetzung ersetzt
werden.
Composed by Gabriel Faure (1845-1924). Edited by Robin Tait. This edition: compl...(+)
Composed by Gabriel Faure
(1845-1924). Edited by
Robin Tait. This edition:
complete edition, urtext
edition. Linen. Gabriel
Faure. Oeuvres completes
IV/2. Score
(cloth-bound). Published
by Baerenreiter Verlag
(BA.BA9475-01).
Composed by Helmut
Lachenmann. Orchestra;
Softcover.
Partitur-Bibliothek
(Score Library). Music
post-1945; New music
(post-2000). Full score.
Composed 2003/04. 108
pages. Duration 25'.
Breitkopf and Haertel #PB
5435. Published by
Breitkopf and Haertel
(BR.PB-5435).
ISBN
9790004212820. 11.5 x
16.5 inches.
Meine
eigene neue
Orchesterkomposition hat
den Titel ,,SCHREIBEN.
Die praktische Aktion des
Schreibens, als
mechanisches Einwirken
per Hand, Stift, Pinsel,
auf eine Flache (Papier,
Pergament, Stein etc.),
ausgelost und gesteuert
von einem kommunikativen
Bedurfnis und, bei aller
Spontaneitat, beherrscht
durch die Regeln von
Schrift und Sprache, ist
fur mich einer der
geheimnisvollsten
Vorgange im
zwischenmenschlichen
Alltag, bei dem
menschlicher Geist und
tote Materie einander
begegnen: Gedanken bzw.
Gedachtes werden auf
einer Flache - Papier,
Pergament, Stein -
festgehalten, ihr
sozusagen anvertraut. Und
auf diesem Umweg uber
Sprache, Schrift und
Gravur begegnen sie dem
Geist des lesenden oder
entziffernden
Mitmenschen. Als
Komponist aber frage ich:
gibt es auch einen
anderen
Kausalitatszusammenhang,
gibt es z. B. ein
,,autonomes Schreiben,
eine sinn-freie
Zeichengebung, durch
entfesselte, losgelassene
Fortbewegung der
schreibenden Hand, wo der
Schreibende seinem
eigenen Schreiben nur
noch staunend zusieht?
Werden nicht in Japan
Bilder, auch ,,abstrakte,
geschrieben??? (In einem
Underground-Film der
70er-Jahre uber den
jungen Mozart sieht sich
der Zuschauer versetzt in
ein Zimmer eines
italienischen Gasthauses,
in dem der junge
durchreisende Mozart am
Tisch eilig die
Rezitative einer seiner
italienischen Opern zu
Papier bringt. Mehr als
eine Viertelstunde lang
sind wir dabei, horen
nicht die entstehende
Musik, sondern das
nervose Kratzen der Feder
auf dem groben
Notenpapier in
nachmittaglicher Stille -
nur der gleichmassige
Pendelschlag der Wanduhr
ist noch zu horen -, und
wir erleben diese
sekundare Klangwelt kaum
weniger intensiv als
nachher andere Horer die
dabei stumm entstehende
Musik.) Das Orchester in
meinem Stuck ,,schreibt.
Es fugt Strich zu Strich,
versteht sich selbst als
eine Art vielfaltiges
,,Schreib-Gerat. Wir als
Horer lesen nicht das
,,Geschriebene, aber wir
horen den Vorgang des
Schreibens, den
Bogenstrich, die Bewegung
des scharrenden Holzstabs
auf Fell oder Tamtam, und
wir beobachten dessen
Imitation bzw.
Transformation durch -
zeitweise auch tonlos -
sich zu linearen
Gestalten verbindende
Blasinstrumente als eine
Art klingender
Schreib-Zeremonie. Es
ergibt sich eine Musik,
die gelegentlich ihren
gedanklichen
Ausgangspunkt vergisst
und sich als autonome
Klang-Situation
fortentwickelt und
verwandelt, und die
schliesslich im hochsten
Register eine Art
,,Kantilene be-schreibt.
Wer das deutsche Wort
,,Schreiben (engl. ,,to
write) schreibt, der
schreibt dabei auch
unweigerlich das Wort
,,Schrei (engl. ,,shout),
und er schreibt auch das
Wort ,,reiben (engl. ,,to
rub). So emotional der
erste Begriff gedacht
werden kann, so
nuchtern-praktisch ist
der zweite. Von beiden
Aspekten, samt ihrer
Gegensatzlichkeit, ist
mein Stuck gepragt.
(Helmut Lachenmann,
2003)
Orchestra (Orchestra) SKU: BA.BA04593-01 Composed by Wolfgang Amadeus Moz...(+)
Orchestra (Orchestra)
SKU: BA.BA04593-01
Composed by Wolfgang
Amadeus Mozart. Edited by
Gerhard Allroggen. This
edition: complete
edition, urtext edition.
Linen. New Mozart Edition
(Neue Mozart Ausgabe -
NMA) Series IV, Volume
11, No. 1.
Musikwissenschaft,
Klassik (Critical
Commentary, Classical).
Complete edition, Score,
anthology. Baerenreiter
Verlag #BA04593_01.
Published by Baerenreiter
Verlag (BA.BA04593-01).
ISBN 9790006451371. 33
x 26 cm
inches.
Urtext der
Neuen Mozart-Ausgabe.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Vocal
score. Composed
1728/1729. BWV 197a /
197.1. Duration 25
minutes. Carus Verlag
#3140203. Published by
Carus Verlag
(CA.3140203).
ISBN
9790007295080.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Composed
1728/1729. BWV 197a /
197.1. Duration 25
minutes. Carus Verlag
#3140212. Published by
Carus Verlag
(CA.3140212).
ISBN
9790007301590.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.
5 Konzerte, Anhang. Composed by George Frideric Handel (1685-1759). Edite...(+)
5 Konzerte,
Anhang. Composed by
George Frideric Handel
(1685-1759). Edited by
Frederick Hudson. This
edition: complete
edition, urtext edition.
Linen. Halle Handel
Edition. Series IV,
Volume 16. Score,
anthology. Published by
Baerenreiter Verlag
(BA.BA4037).
Orchestra (picc.2.2.cor
ang.2.B-clar.2.dble bsn -
4.3.3.1. - timp.perc(3) -
hp - cel - str)
SKU:
BR.PB-5105-07
Study score.
Composed by Jurg Baur.
Softbound.
Partitur-Bibliothek
(Score Library).
World
premiere: Bremen,
February 1, 1982
Symphony; Music
post-1945. Study Score.
Composed 1981. 68 pages.
Duration 17'. Breitkopf
and Haertel #PB 5105-07.
Published by Breitkopf
and Haertel
(BR.PB-5105-07).
ISBN
9790004208557. 9 x 12
inches.
Gesualdo,
Don Carlo, Furst von
Venosa (1560-1613) gehort
zu den eigenwilligsten
italienischen
Madrigal-Komponisten der
Spatrenaissance. Seine
ungewohnlich kuhne,
selbst fur heutige Ohren
modern klingende
Harmonik, seine
chromatischen
Stimmfortschreitungen,
seine ubersteigerte
expressive Tonsprache
regten mich schon vor
Jahren zu einer grosseren
Orgelkomposition an und
inspirierten mich 1981 zu
den >>Sinfonischen
Metamorphosen<<. Dieses
Werk ist eine
vielgestaltige
weitausgesponnene
Fantasie. Sieben
choralartige typische
Klangbeispiele aus
Gesualdos spaten
funfstimmigen Madrigalen
(4., 5. u. 6. Band)
werden teils streng,
teils frei zitiert und
von Holz- oder
Blechblasern intoniert.
Diese Zitate gliedern,
als formale und
inhaltliche Schwer- und
Ruhepunkte, den Verlauf
des gesamten Werks. Jedes
Zitat steht zu Beginn
eines neuen
Satzabschnitts; die
darauffolgenden
>>Metamorphosen<<
entwickeln sich als
rhapsodische
kontrastreiche
Charakterstucke. Im
>>Preludio<< werden aus
den vertonbaren
Buchstaben vom Namen
>>Gesualdo<< (G - E - Es
- A - D) schwebende
Klangflachen,
rezitativische Gedanken
und ein pragnantes
rhythmisches Paukenthema
gebildet. Diese
,,Grundelemente
(Grundstrukturen) tauchen
im Verlauf des Stucks
immer wieder
leitmotivisch auf. Im
zweiten Abschnitt stehen
sich lineare
Streicher-Episoden und
dichte
Blaser-Klangballungen
kontrastierend gegenuber.
Der dritte Teil lauft als
Passacaglia (Thema ist
der Bass eines
Gesualdo-Zitats) in
mehreren Variationen ab.
Im vierten Abschnitt
dominiert lebhafte
Streicherbewegung,
kontrapunktiert von
tiefen Blaser-Signalen.
Der funfte Teil steigert
sich- nach kantablem
Beginn- zum ekstatischen
Trauermarsch. Abschnitt
sechs stellt sich als
>>Rondello<< dar, mit um
sich selbst kreisenden
Klangfiguren (in
verschiedenen Tongruppen
(zwei, drei, funf). Im
siebten und letzten Teil
wird die
verhalten-resignierende
Stimmung des Anfangs
beschworen, ehe eine
knappe Stretta in den
hymnischen Schluss
mundet. In den Textender
ausgewahlten Zitatstellen
geht es meist um
Todessehnsucht,
Liebesqual und
Verzweiflung. z. B. 1.
und 2. Zitat: Moro lasso,
al mio duolo (Ich sterbe,
matt, an meiner Qual) (6.
Buch) 3. Zitat: Gia
piansi nel dolore; o
dolorosa Sorte (Schon
weinte ich in Schmerzen,
oh schmerzliches
Geschick) (6. Buch) 4.
Zitat: Ahi gia mi
discolero (Ach schon
entfarbte ich mich)
(Wehe, der Tod kommt) (4.
Buch) 5. Zitat:
Dolcissima mia vita (Mein
allerliebstes Leben)
(Dich zu lieben oder zu
sterben) (5. Buch) 6.
Zitat: lo moro (Ich
sterbe) (5. Buch) Dem
Werk liegen zwar eine
Reihe von
dodekaphonischen
Strukturen zugrunde (die
teilweise von Gesualdos
Klangzitaten abgeleitet
wurden), doch sind die
einzelnen Abschnitte
auf,,tonale Pfeiler (G -
E - A - D) gegrundet; das
Stuck beginnt in G und
endet aufD, ist also
ubergeordnet tonal
konzipiert, - der Versuch
einer Synthese moderner
Ausdrucksmittel von
Vergangenheit und
Gegenwart. Die
>>Metamorphosen<< sind
ein Stuck Bekenntnismusik
- Bekenntnis zum Leben
und Schaffen Gesualdos,
eines Mannes, der vom
Schicksal gezeichnet war,
denn der Chronik Neapels
bekannt war durch die
Ermordung seiner ersten
Frau und ihres
Liebhabers. Dieser
eminente Musiker war
zugleich ein Mensch von
ubertriebener
Sensibilitat und wilder
ekstatischer Heftigkeit:
,,Er wurde von einer
Horde von Damonen
heimgesucht, die ihm
keine Ruhe gaben, heisst
es in einem
zeitgenossischen Bericht.
Seine Kunst und sein
Leben stand unter dem
Gesetz der inneren
Zerrissenheit, zwischen
Auflehnung und
Resignation (Verzweiflung
und Hoffnung), zwischen
Zartheit und
Leidenschaft. Davon will
meine Musik etwas
aussagen. (Jurg
Baur)CD:Sinfonieorchester
des Westdeutschen
Rundfunks, cond. Rudolf
BarschaiCD Thorofon CTH
2270Bibliography:Abels,
Robert: Studien zur
Gesualdo-Rezeption durch
Komponisten des 20.
Jahrhunderts (= Studien
zur Musik 20), Leiden u.
a.: Wilhelm Fink 2017,
pp. 277-345,
485-489.Wallerang, Lars:
Die Orchesterwerke Jurg
Baurs als Dialog zwischen
Tradition und Moderne,
Koln: Dohr 2003.
Composed by Franz Schubert (1797-1828). Orchestra. Full Orchestra (Full Score); ...(+)
Composed by Franz
Schubert (1797-1828).
Orchestra. Full Orchestra
(Full Score); Larger
Works; Masterworks. Dover
Edition. Classical;
Masterwork; Romantic.
Full Score. Published by
Dover Publications
Cantata for the 1st
day of Christmas.
Composed by Johann
Sebastian Bach. Edited by
Pieter Dirksen. Composed
1728/1729. BWV 197a /
197.1. Duration 25
minutes. Carus Verlag
#3140211. Published by
Carus Verlag
(CA.3140211).
ISBN
9790007301583.
German/English. Text:
Henrici (Picander),
Christian
Friedrich.
Only the
text and the last page of
the autograph score of
the Christmas Cantata
“Ehre sei Gott in
der Höhe†BWV
197.1 (197a) have
survived, beginning with
the end of the 2nd aria.
This, along with the
complete surviving 3rd
aria are found in parody
versions in the Wedding
Cantata BWV 197 / BWV3
197.2, from which this
cantata takes its BWV
number. For a long time
there has been a
fascinating theory about
the missing opening
chorus: could this have
been the parody source
for the Gloria in the
Mass in B minor?
The musicologist
and organist Pieter
Dirksen has pursued this,
creating a four-part
choral version largely
derived from corrections
made in the autograph of
the Mass in B minor. He
has underlaid this with
the text of the opening
chorus (the German
translation of the
Gloria). What results is
a convincing version of
the Christmas Cantata
– with one of
Bach’s best-known
choruses as the prominent
opening chorus and
plausible solutions for
the other sections
missing in the
autograph.