SKU: GI.G-8994

ISBN 9781622771486. English.

This easy-to-read, pastoral introduction to body mapping will interest musicians of all abilities and experience. With dozens of figures—drawings as well as photos—the author deftly explains the integral structures of the human body and their use in music making without sounding like an anatomy textbook. Her practical applications of the “body map” will be most welcome to singers, pianists, organists, and others and will leave them eager to know more. —Meg Matuska, Pastoral Music Magazine, September 2017 Body Mapping for Music Ministers is devoted to helping pastoral musicians find ease, efficiency, and embodiment in their ministry. Like the popular What Every Musician Needs to Know about the Body by Barbara Conable, this book offers principles that will protect a pastoral musician from injury, promote the physical freedom and sensitivity for technical mastery, and secure the embodied intelligence that grounds musical power and subtlety. This book also offers a deeper understanding of the connectedness between the pastoral music minister and the assembly, the shared purpose of celebrating the Mass together, and the complete awareness necessary to be fully present to oneself, the work of the Holy Spirit, and the Lord. As author Bridget Jankowski states, “we can’t be fully present to the Lord until we are fully present to ourselves.” Topics covered include: cantors, the assembly, handbell choirs, pianists who play the organ, movement, balance, breath, and much more. Check out these videos about Body Mapping for Music Ministers.

SKU: BR.DV-8100

ISBN 9790200482713. 12 x 9 inches.

World premiere Halle, January 27, 1987 The composition was inspired by the sculpture La Meditation by Auguste Rodin which the composer came into contact with during an exhibition at the Nationalgalerie in Berlin. Rilke wrote about this sculpture: never before has a human body been concentrated like this around its inner essence never before has it been strained like this by its own soul and eased again by the elasticity of its own blood.
(Paul-Heinz Dittrich) The composition was inspired by the sculpture La Meditation by Auguste Rodin which the composer came into contact with during an exhibition at the Nationalgalerie in Berlin. Rilke wrote about this sculpture: never before has a human body been concentrated like this around its inner essence never before has it been strained like this by its own soul and eased again by the elasticity of its own blood.
(Paul-Heinz Dittrich)
CD Dreyer Gaido 21044

Helmut Gerhold (Fl) Werner F. Selge (Klav)
CD Dreyer Gaido 21046

SKU: BR.BG-1397

ISBN 9790004122907. 9 x 12 inches.

World premiere Witten 1979This composition is the result of an intense study of the timbre element. It was premiered in 1979 during the Wittener Tage fur neue Kammermusik. The composition is bipartite; it contains a multitude of differentiation processes concerning articulation, linked with a tremendous rhythmic accuracy in every detail, and extremely small melodious shifts. Consequently the sound material is freed from its strait jacket of preconceived, external, and imposed structural restrictions. Minimal tone movements arise, sound spaces with an intense drama, out of which a new time-experience is created for the listener.The composition was inspired by the sculpture La Meditation by Auguste Rodin, which the composer came into contact with during an exhibition at the Nationalgalerie in Berlin. Rilke wrote about this sculpture: never before has a human body been concentrated like this around its inner essence, never before has it been strained like this by its own soul and eased again by the elasticity of its own blood.(Paul-Heinz Dittrich).

SKU: BR.DV-8084

ISBN 9790200482690. 9 x 12 inches.

world premiere Berlin, February 17, 1991

Bibliograph y
Ernst Helmuth Flammer: Paul-Heinz Dittrich, Wanderer zwischen den Welten. Notate zu Paul-Heinz Dittrichs Klavierwerk, in: Programmbuch 5. Internationales Pianoforum Heilbronn, 12.-16. September 2001, S. 41-66

CD
Jeffrey Burns (piano)
Pool 76023

SKU: AP.12-0571543251

ISBN 9780571543250. English.

What happened to the heart? It's the most important, beautiful, and sad question I've ever wondered in my life. AURORA

In April 2022, Aurora discovered a love letter to Earth, written by indigenous activists from Brazil. The letter was a plea for mankind to heal the land, reforest our minds, and celebrate our connection to Mother Nature. The profound impression this letter left on Aurora became the inspiration for her fourth studio album, What Happened to the Heart?

Complete with full album lyrics and striking photography, this beautiful clothbound reproduction of Aurora's personal album notebook gives fans intimate insight into her creative process and takes readers on a journey through the human body as she seeks the soul of humanity.

SKU: BR.EB-9367

ISBN 9790004188378. 10 x 12.5 inches.

I got the word ambig[uous] from Thomas Bauer: Die Vereindeutigung der Welt (Stuttgart: Reclam 2018). In this booklet, the author speaks out against a restrictive, perhaps even limited unambiguity and sets fundamentaism against cultures of ambiguity. Born out of the duality of the human body, I work in this piece with two hands, two fingers, two feet and the combinations of sound and touch developed from them. Only at the end, a new (double or single) sound is added. This does not at all correspond to a cohesive concept of material, just as the use of our body limbs in reverse is deliberately very close to the subject, even when several performers play synchronously or choreographed. In Schnebel's case, this was still material available to everyone. I think of it more as a counter to VR (virtual reality). I do like to still be able to open my refrigerator with my own hand, and not have a hacker interfering. In Clash Music, a pair of cymbals, the proletarians of many kinds of music, is elevated to an instrument capable of expression and structure. Clash Music and ambig ought to be played together as one piece - rather RV than VR! Added as a third piece can be rappig (25 seconds, see page IV). Any possible combination of two or three pieces can be selected. (Nicolaus A. Huber, 2019)On the audio sample Luk Wolf performs the text of rappig.

World premiere: Odessa, June 24, 2019 (Michael Murphy (perc))ambig can be played on its own or together with Clash Music (EB 9054) and/or can be performed with the text of rappig (in EB 9367).

SKU: GI.G-10288

ISBN 9781622774890.

How does an artist come to terms with a brain tumor? A compelling storyteller, Lynn Eustis reveals her experiences with immediacy and intimacy. Her journal entries along with curated Bible verses and quotations from poems and literature are inspiring. Blending self-reflection and humor, she explains how a deeper understanding of singing, teaching, music, and mortality has transformed her life for the better. —MaryJean Allen     Co-author of What Every Singer Needs to Know About the Body     Certified Alexander Technique teacher For more than twenty years, I have greatly admired Dr. Eustis for her bravery and generosity in sharing the most difficult aspects of her own artistic self-examination. This extraordinary book chronicles her profound connection of health and music, channeling the same emotional strength that fortifies her singing, teaching, and humanity. Learning the details of her harrowing journey has inspired me, with a gentle reminder that friendship and kindness are not to be underestimated, at any level. All my gratitude to Lynn for allowing us to see straight into her beautiful heart. —Craig Terry     Music Director, Ryan Opera Center at Lyric Opera Chicago Lynn Eustis is a brain tumor survivor and faculty member at Boston University, where she teaches voice. She is the author of The Singer’s Ego: Finding Balance between Music and Life and The Teacher’s Ego: When Singers Become Voice Teachers. A native of Long Island, New York, she lives in Boston with her two cats.

SKU: HL.49044838

ISBN 9790220134418. UPC: 841886027602. 9.0x12.0x0.067 inches.

Vier Seiten for violoncello is an attempt to present an event that in reality takes about two seconds in extreme slow motion, thus making even the micromovements visible or audible beyond the straight line of motion.When I composed the piece, the fatal accident of Ayrton Senna came to my mind again and again - an accident which was shown on TV in slow motion again and again until it became unbearable. The fast motion of the car immediately before the crash into a concrete wall, a motion which was no longer purposeful but out of control and which had the car pulled to and fro and from side to side, was followed by that crash. In this extreme slow motion, it is no longer shown as a crash but as the fast telescoping of carbon fibre, metal and human body parts.After this crash, as a postlude so to speak, everything suddenly slowed down, tyres and automotive particles floating in the air, the torso of the vehicle swinging until the motion stopped. It was not until this moment that I realized that the whole presentation of the incident had been accompanied by paralyzing silence.- Thomas Larcher

Vier Seiten is a response to Ayrton Senna's fatal car accident, portrayed in slow motion, as it was repeatedly shown on television at the time. In this poignant work, a violent fast section represents the crash, followed by a long epilogue, reflecting the apparent stillness of the immediate aftermath.

SKU: BA.BA11049

ISBN 9790006523061. 42 x 29.5 cm inches.

Continuity and further development shape Matthias Pintscher’s composing. Thus, in this work, he continues with concepts that he developed in his Flute Concerto “transir”:
“Every sound from a flute is ‘connected to breathing’ – no instrument is articulated so close to the air stream itself. The instrument, vibrating in direct contact with the human breath and acting as an extension of the breathing body, carries within itself the archaism of many millennia and builds its communicative bridge over to the present time.”
The composition refers to Anselm Kiefer’s art project “A.E.I.O.U.”< br>

SKU: FL.FX072354

This composition was created for young musicians (mostly teenagers), and will be played as a pop song. Indeed, its texture (silky and polished) is related to the use of triplets and harmonic series built on the principle of 'verse / chorus'. Its tempo (close to the human body beat) and duration (3 minutes) will make it the hit of the summer!

SKU: FL.FX071870

This composition was created for young musicians (mostly teenagers), and will be played as a pop song. Indeed, its texture (silky and polished) is related to the use of triplets and harmonic series built on the principle of 'verse / chorus'. Its tempo (close to the human body beat) and duration (3 minutes) will make it the hit of the summer!

SKU: FL.FX071867

This composition was created for young musicians (mostly teenagers), and will be played as a pop song. Indeed, its texture (silky and polished) is related to the use of triplets and harmonic series built on the principle of 'verse / chorus'. Its tempo (close to the human body beat) and duration (3 minutes) will make it the hit of the summer!

SKU: FL.FX071866

This composition was created for young musicians (mostly teenagers), and will be played as a pop song. Indeed, its texture (silky and polished) is related to the use of triplets and harmonic series built on the principle of 'verse / chorus'. Its tempo (close to the human body beat) and duration (3 minutes) will make it the hit of the summer!

SKU: FL.FX071871

This composition was created for young musicians (mostly teenagers), and will be played as a pop song. Indeed, its texture (silky and polished) is related to the use of triplets and harmonic series built on the principle of 'verse / chorus'. Its tempo (close to the human body beat) and duration (3 minutes) will make it the hit of the summer!

SKU: FL.FX071868

This composition was created for young musicians (mostly teenagers), and will be played as a pop song. Indeed, its texture (silky and polished) is related to the use of triplets and harmonic series built on the principle of 'verse / chorus'. Its tempo (close to the human body beat) and duration (3 minutes) will make it the hit of the summer!

SKU: FL.FX071865

This composition was created for young musicians (mostly teenagers), and will be played as a pop song. Indeed, its texture (silky and polished) is related to the use of triplets and harmonic series built on the principle of 'verse / chorus'. Its tempo (close to the human body beat) and duration (3 minutes) will make it the hit of the summer!

SKU: FL.FX071872

This composition was created for young musicians (mostly teenagers), and will be played as a pop song. Indeed, its texture (silky and polished) is related to the use of triplets and harmonic series built on the principle of 'verse / chorus'. Its tempo (close to the human body beat) and duration (3 minutes) will make it the hit of the summer!

SKU: FL.FX071869

This composition was created for young musicians (mostly teenagers), and will be played as a pop song. Indeed, its texture (silky and polished) is related to the use of triplets and harmonic series built on the principle of 'verse / chorus'. Its tempo (close to the human body beat) and duration (3 minutes) will make it the hit of the summer!

SKU: PR.466000470

UPC: 680160099405. 11 x 17 inches.

This is the second incarnation of a work I first composed in 1994 for symphonic wind ensemble. The earlier version was intended to be the summation of three-part suite, each part being named for a different national park in the Western United States. This orchestral version, commissioned in 1999 by the Utah Symphony and dedicated to the memory of Aaron Copland, is more than a re-scoring of the earlier piece; it is a re-thinking of all its elements. Zion is a place with unrivaled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both his Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph.

SKU: PR.16500092L

UPC: 680160039531. 11 x 17 inches.

Zion is the third and final installment of a series of works for Wind Ensemble inspired by national parks in the western United States, collectively called Three Places in the West. As in the other two works (The Yellowstone Fires and Arches), it is my intention to convey more an impression of the feelings I've had in Zion National Park in Utah than an attempt at pictorial description. Zion is a place with unrivalled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both is Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph and unbreakable spirit. Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arlington, the University of Texas at Austin, and the University of Oklahoma. It is dedicated to the memory of Aaron Copland.

SKU: HL.364993