Edited by Jan Kelley. Arranged by Daniel Kelley. For Cello and Piano. Solos. Recital, Wedding. Level: Intermediate/Advanced. Piano Score and Solo Part. Published by Last Resort Music Publishing.

Compiled by William Gangel, edited by Steve Siktberg. For Guitar (Fingerpicking). Solos. MBGU. Acoustic Music. Level: Intermediate. Book/CD Set. Size 8.75x11.75. 96 pages. Published by Mel Bay Publications, Inc.

Composed by Elaine Hagenberg. Octavo. Beckenhorst Press #BP2212. Published by Beckenhorst Press

Composed by Elaine Hagenberg. Sacred. Octavo. Published by Beckenhorst Press (BP.CU1050).

Piano

SKU: SA.41311

Composed by Claude Debussy. Suites, Original Works. Reprint Source: Edwardsville: Petrucci Library Press, 2012. Impressionist, French. Piano score. Composed 1905. 24 pages. Petrucci Library Press #41311. Published by Petrucci Library Press (SA.41311).

ISBN 9781608741311. 9.5 x 12.5 inches.

This is a new urtext score of Debussy's masterwork first published in 1905. Unlike so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is readable. The score is beautifully printed on large size (9 x 12) off-white stock with a quality cover, all saddle-stitched in the traditional sheet music binding. As with all PLP scores a percentage of each sale is donated to the amazing online archive of free music scores and recordings, IMSLP - Petrucci Music Library.

SATB choir

SKU: GH.CG-3568

Composed by Selim Segerstam. Octavo. With Language: Swedish. Gehrmans Musikforlag #CG 3568. Published by Gehrmans Musikforlag (GH.CG-3568).

ISBN 9790070009584. 185 x 262 mm inches. Text: Traditional.

Composed by Elaine Hagenberg. Hinshaw Music. Octavo. 12 pages. Hinshaw Music Inc. #HMC2523. Published by Hinshaw Music Inc.

Performed by Various Artists. By Traditional. Arranged by Patrice Bourges. For piano with lyrics. This edition: Editions Bourges R. Comptine. Comptine (Counting Rhyme). Level: 3. Sheet music. Size 8.19 x 11.583. 2 pages. Published by Editions Bourges (French import).

By Robin Desmet (Arranger). For Recorder, with chord symbols. Traditional. Sheet Music. 32 pages. Published by Music Sales.

Guitar

SKU: VT.VT-410

Composed by Jan van den Langenberg. Solo. Van Teeseling #VT 410. Published by Van Teeseling (VT.VT-410).

Arranged by Neil Ginsberg. For SSA. Choral music. Level: Medium. Published by Santa Barbara Music Publishing. (SBMP 285)

(Thirty-Seven Soprano Descants). By Dan Locklair (1949-). For Soprano Solo. Choral Score. Composed 2007-08. Published by Subito Music Corporation

Orchestra Solo STB, Coro SATB (auch Mannerchor TTTBB), 2 Fl, 2 Ob, 2 Clt, 2 Fg, 2 Cor, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Vc, Cb

SKU: CA.2302007

Composed by Ludwig van Beethoven. Edited by Clemens Harasim. Innovative practice aids, Sacred vocal music, Oratorios. Study score. Op. 85. Duration 54 minutes. Carus Verlag #CV 23.020/07. Published by Carus Verlag (CA.2302007).

ISBN M-007-24884-0. German/English. Text: Franz Xaver Huber.

In his Passion oratorio Christus am Olberge [The Mount of Olives], Beethoven succeeded firstly in building on the 18th century tradition, and secondly in putting his own personal stamp on the nascent genre of German-language oratorio - the Vienna performances of Haydn's Die Schopfung and Die Jahreszeiten had only taken place a few years earlier. In composing the work he looked towards contemporary opera, using a text by an opera librettist to depict in music the dramatic situation of the doubting Jesus in the Garden of Gethsemane and his arrest. Yet we do not do justice to Beethoven's work if we simply regard it as a successor work to Graun's Der Tod Jesu or even Bach's St Matthew Passion. Beethoven's Christus am Olberge is characterized less by religious devotion and much more by the dramatic realization of a specific situation in the Passion story in deeply-felt musical scenes. With its magnificent, almost operatic music, this is a different Passion oratorio which is definitely worth hearing and experiencing - and in this form it is without doubt unique in the history of vocal-instrumental sacred music. The edition follows the first printed edition in music and text; differences in the text in the libretto originally set by Beethoven are given as a second text, and a singable English translation is underlaid. Score available separately - see item CA.2302000.

SKU: HL.49007092

Aspekte zum Werk und Wirken von Gustav Mahler. Composed by Rudi Stephan. Edited by Rudolf Stephan. This edition: Paperback/Soft Cover. Book. Edition Schott. Classical. 196 pages. Schott Music #ED 7260. Published by Schott Music (HL.49007092).

ISBN 9783795717889. German.

Dieser Band enthalt die (zum Teil erheblich erweiterten) Referate, die aus Anlass des Internationalen Gustav-Mahler-Symposiums in Dusseldorf gehalten wurden. Neben die Ergrundung der musikalischen Werke Mahlers (und ihrer oft verschlungenen Entstehunsgeschichte) tritt hier reprasentativ die der Arbeit des Dirigenten Mahler, seine Tatigkeit als Bearbeiter klassischer Werke. Diese Bearbeitungen - Retouchen sagte man damals - dienten stets der Interpretation: der Verdeutlichung des musikalischen Inhalts, wie Mahler ihn erkannte. Dem selben Ziel galten auch die standigen Anderungen der Instrumentation eigener Werke.Ein wesentlicher Aspekt der Mahlerforschung ist die Aufarbeitung der Geschichte der Rezeption der Werke, ihrer Wirkung und ihr sich wandelndes Verstandnis. Besonders gewichtig erscheinen die Bemuhungen um die Begrundung einer verlasslichen Interpretationsanalyse als der Voraussetzung einer angemessenen Erkenntnis der wahren Mahler-Tradition.

Introduction to Act 3. By Richard Wagner. (Study Score). Schott. 8 pages. Published by Eulenburg.

Soloists (MezTBarB), choir and orchestra (STP)

SKU: HL.49034080

Composed by Hector Berlioz. Edited by Roger Fiske. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Study Score. Op. 25. 270 pages. Eulenburg Edition #ETP 1092. Published by Eulenburg Edition (HL.49034080).

ISBN 9783795767495. 5.25x7.5x0.667 inches. German - English - French.

With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.

Composed by Rex Isenberg. E.C. Schirmer Publishing #8866. Published by E.C. Schirmer Publishing

SKU: HL.49007906

Symphonie - Kirchenmusik - Melodrama. Composed by Christine Heyter-Rauland and Christoph Hellmut Mahling. Edited by Christine Heyter-Rauland and Christoph Hellmut Mahling. This edition: Hardback/Hard Cover. Book. Edition Schott. Classical. 314 pages. Schott Music #ED 8309. Published by Schott Music (HL.49007906).

ISBN 9783795713331. German.

Im Fruhjahr 1987 hat ein Kolloquium zu Fragen der deutsch-tschechischen Musikbeziehungen, veranstaltet von der Arbeitsgemeinschaft fur Mittelrheinische Musikgeschichte e.V., von der Mozartgemeinde Kurpfalz und vom Musikwissenschaftlichen Institut der Johannes Gutenberg-Universitat Mainz, in Mannheim stattgefunden. Die auf dieser Tagung gehaltenen Referate lieferten Beitrage zu dem Generalthema allgemein, aber auch speziell zu den Gattungen Symphonie, Kirchenmusik und Melodrama. Die vorliegende Publikation fasst diese Untersuchungen zusammen und versucht auf diese Weise, einen weiteren Beitrag zur Geschichte der Musikverbindungen zwischen Mannheim und den Gebieten Bohmens und Mahrens beizusteuern.

By Franz Schubert. Arranged by Teresa Reichenberger. (Study Score). Schott. Size 5.25x7.5 inches. 108 pages. Published by Eulenburg Germany (Schott).

(Violoncello and Wind Quintet Score and Parts). By Peter Ilyich Tchaikovsky (1840-1893). Arranged by David Stromberg. For Cello, Woodwind Quintet (Score and Parts). Ensemble. Book only. Sikorski #SIK1736. Published by Sikorski

Choral Bass 1, Bass 2, baritone voice tenor 1, tenor 2

SKU: CF.CM9634

Composed by Traditional Christmas Spiritual. Arranged by Ken Berg. Sws. Performance Score. 16 pages. Duration 3 minutes, 40 seconds. Carl Fischer Music #CM9634. Published by Carl Fischer Music (CF.CM9634).

ISBN 9781491157060. UPC: 680160915620. 6.875 x 10.5 inches. Key: G major. English, English. Traditional Christmas Spiritual.

Berg's fantastic setting of this beloved American Christmas spiritual for advanced tenor-bass choirs tells a story of hope and meaning. The various textures throughout the a cappella arrangement with solos add much variety and musical interest. A holiday programming must!.
This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!) The entrance at m. 8 from the upper three voices (we'll call them the trio part henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song. The trio part, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener's ear with sound and rhythm. The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song. There is enough repetition to make for easy learning, but this also means that the chords need to snap into position cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58...this only happens once). The Refrain (mm. 30-37) is the part of the song where the singers switch from the Jazz Trio role and actually become a Men's Choral Ensemble. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners! Measures 72-75 is known in the business as a vamp. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience. It is important that there be a clear signal from the conductor as to how to end the vamp and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon! Faces bright; words clean; melody clear; rhythms precise! Enjoy.
This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!)The entrance at m. 8 from the upper three voices (we’ll call them the “trio part” henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song.The “trio part”, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener’s ear with sound and rhythm.The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song.There is enough repetition to make for easy learning, but this also means that the chords need to “snap into position” cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58…this only happens once).The Refrain (mm. 30-37) is the part of the song where the singers switch from the “Jazz Trio” role and actually become a “Men’s Choral Ensemble”. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners!Measures 72-75 is known in the business as a “vamp”. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience.It is important that there be a clear signal from the conductor as to how to end the “vamp” and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon!Faces bright; words clean; melody clear; rhythms precise! Enjoy.

Piano

SKU: BR.EB-9420

Based upon a Theme by Franz Schubert. Composed by Helmut Lachenmann. Solo instruments; stapled. Edition Breitkopf. World premiere: Stuttgart, 1957. Variations; Music post-1945; New music (post-2000). Score. Composed 1956. 12 pages. Duration 7'. Breitkopf and Haertel #EB 9420. Published by Breitkopf and Haertel (BR.EB-9420).

ISBN 9790004188972. 9 x 12 inches.

Obwohl die Variationen vorwiegend von rationalen Kompositionsmitteln in Anlehnung an Reihentechniken Schonbergs und des spaten Strawinsky gepragt sind, ist in ihnen das spielerische musikantische Element und der tanzerische Charakter, wenn auch immer wieder anders gebrochen, erhalten geblieben. (Helmut Lachenmann, 1985) Das burgerliche Denken ist gekennzeichnet durch ein hochentwickeltes System von Verdrangungsmechanismen, welche die Isolation, Entfremdung, Angst und Sprachlosigkeit des Individuums uberspielen sollen. Unser Kulturbetrieb ist ein wesentlicher Teil dieses Verdrangungssystems. In diesem Sinn hat er die Tradition in Beschlag genommen: die Illusion einer in Wirklichkeit langst verlorenen gemeinsamen Verstandigungsbasis bewahrt er durch die Konservierung und Fetischisierung historischer asthetischer Kategorien und daran gebundener Wertvorstellungen; als Synonym fur tabuisierte Konvention bildet Tradition heute einen verraterischen Teil dieser unserer Wirklichkeit. Die Funf Variationen uber ein Thema von Franz Schubert sind 1956, also noch vor meinem Studium bei Nono, entstanden. In ihnen ist jener oben ausgefuhrte gesellschafts- und kulturbetriebskritische Ansatz noch kaum erkennbar, eher keimhaft verborgen. Ich mag das Stuck so, wie einer vielleicht Souvenirs aus seiner Jugend mag. Es ist vorwiegend von rationalen Prinzipien in Anlehnung an Motivtechniken Schonbergs und des spaten Strawinsky gepragt, und doch ist das musikantische Element und der tanzerische Charakter, wenn auch immer anders gebrochen, erhalten geblieben. Noch nicht ausgepragt ist hierin der Widerstand gegen Tradition, insofern deren Kategorien als herrschende Konventionen jenen zuvor erwahnten burgerlichen Verdrangungsmechanismen unterstellt sind. Helmut Lachenmann (aus: Programmheft Tage der Neuen Musik, Wurzburg 1989) CDs: Roland Keller CD col legno 429 356-2 Lars Vogt CD EMI 567-754446-2 Susanne Kessel (piano) CD Arte Nova 74321 75498 2 Herbert Schuch (piano) (Mitschnitt des Preistragerkonzerts des Klavier-Festivals Ruhr vom 27. Mai 2006 in Dusseldorf) Intitiativkreis Ruhrgebiet in Zusammenarbeit mit der Zeitschrift FonoForum und WDR3 (Beilage FonoForum August 2006) Herbert Schuch (piano) CD Oehms Classics, OC 593 CD Oehms Classics, OC 012 (8 CDs)

World premiere: Stuttgart, 1957.

Jazz Band Jazz Band - intermediate

SKU: XC.ZJE2101FS

Composed by Traditional English. Arranged by Kris Berg. Up-tempo Swing, Concert, Festival. Jazz Zenith. Up-tempo Swing, Concert, Festival. Score. Excelcia Music Publishing #ZJE2101FS. Published by Excelcia Music Publishing (XC.ZJE2101FS).

UPC: 812598037913. 9 x 12 inches.

Written for the wonderful saxophonist Chris Vadala, arranger Kris Berg has fashioned a contemporary sounding chart in D minor that moves from a loose, open swing to a straight-ahead swing groove. Terrific development of melodic material from the tune is paired with a recurring triplet figure that ties the chart together. Solo space for Tenor Saxophone and Trumpet (with Harmon mute) is included.

Jazz Band Jazz Band - intermediate

SKU: XC.ZJE2101

Composed by Traditional English. Arranged by Kris Berg. Up-tempo Swing, Concert, Festival. Jazz Zenith. Up-tempo Swing, Concert, Festival. Set of parts. Excelcia Music Publishing #ZJE2101. Published by Excelcia Music Publishing (XC.ZJE2101).

UPC: 812598038132. 9 x 12 inches.

Written for the wonderful saxophonist Chris Vadala, arranger Kris Berg has fashioned a contemporary sounding chart in D minor that moves from a loose, open swing to a straight-ahead swing groove. Terrific development of melodic material from the tune is paired with a recurring triplet figure that ties the chart together. Solo space for Tenor Saxophone and Trumpet (with Harmon mute) is included.

(solos: fl,tbne - TTTTBBBB - 3(3picc).4.3.0.dble bsn. - 4.3.0.2. - timp.perc(3) - hp.e-guit - str: 16.8.8.8.8.)

SKU: BR.PB-5420

Composed by Helmut Lachenmann. Softbound. Partitur-Bibliothek (Score Library). Music post-1945; New music (post-2000). Study Score. Composed 1997-1999/2003. Duration 38'. Breitkopf and Haertel #PB 5420. Published by Breitkopf and Haertel (BR.PB-5420).

ISBN 9790004211830. 9 x 12 inches.

Vielleicht so etwas wie ein ,,Parergon zu meiner Madchen-Oper Zwei Klangquellen - unter ambivalenten Aspekten zugleich homogen und heterogen, nicht so ohne weiteres zusammenpassend: - Posaune und Flote/Bassflote - (mit Resonanzen aus zwei Konzertflugeln), 8 Mannerstimmen - alle erzeugen Tone, und Luft, Zweiklange, Vibrationen, Schwebungen, Rattern, Konsonanzen. Und rattern und sprechen - und japsen, Orchester mit 4 Oboen, 3 Floten, 3 Klarinetten, zwei Kontrafagotten (unterbeschaftigt), 4 Horner, drei Trompeten, keinen Posaunen, 2 Tuben, die in der Tiefe rappeln, zwei Klavieren, Gitarre-Harfe, Streicher (,,Perforateure), 3 Schlagzeuger, rappeln (Fellwirbel), - und schwingen China-Becken durch die Luft, dampfen aus und vorzeitig ab (,,japsen) und: halten aus. Musik zum Aushalten, ist nicht zum Aushalten. Ein Orchester mit vielen Unisono-Quellen Es ist immer wieder auf andere Weise - jedes Mal das gleiche: Musik, nicht als Text, nicht als diskursiver Verlauf, gar als klingendes Drama, - eher eine Art kunstliches und als Produkt einer komplexen Spekulation zugleich transzendentes Natur-Schauspiel, als ,,reine Prasenz - (Das sind allerdings Wort-Hulsen, die schlecht an das erinnern, was sie nicht mehr zu nennen, zu fassen wagen bzw. imstande sind. Begriffe, die es abzurufen und zugleich im Blick auf die Sache selbst auszustreichen gilt.): Sie zu beschworen, ohne dabei in schlecht besinnliche ,,meditative Idyllen, bzw. idyllische Standards zu verfallen, gehort zu meinen zentralen Utopien - Ihre Wunschbarkeit/Stringenz/e xistentielle Notwendigkeit, ,,Wahrheit ist hienieden nicht zu trennen von ihrer Unmoglichkeit, wegen der Standardisiertheit aller Mittel, auf der ihre Verwirklichung, ihre Anpeilung, ihre Ins-Werk-Setzung verwiesen ist. Aber: alles soll/wird in dieser wie auch immer vermittelten Prasenz beruhrt, erlost, befreit sein. Kann man Erfahrungen, deren Unmoglichkeit, deren Verschuttetheit man sich bewusst macht, vermitteln durch den Kampf gegen diese Unmoglichkeiten, Verschuttetheiten (= Unfreiheiten)??? Wer bin ich? Was ist das: das ich, das solche Suche, solches Abenteuer, solchen Kampf gegen die Materie auf sich nimmt?? Das ,,Ich ist kein Ding, sondern ein Ort (Kitaro Nishida - aber ich bin kein Buddhist, und auch kein Zen-Monch, sondern ein Anfanger in allem, auch im Komponieren des jeweilig konzipierten Stucks.) Das Wasser wascht das Wasser nicht - das Feuer verbrennt das Feuer nicht - der Schmerz selbst tut nicht weh. Der Genuss geniesst nicht. Das Horen hort nicht, das Leben lebt nicht - und so lebt es. Das Ich ist nicht das ich. Musik ist nicht Musik, ist Nicht-Musik: die einzige Musik, die den Namen in seiner emphatischen Bedeutung verdient. Musik sei Nicht Musik?? Sondern?? Ja - sondern. Komponieren heisst: sondern. Utopien kompositorisch zu beschworen, bedeutete fur meinen Mechanismus stets: ihre Verschuttetheit. Und das was - nicht zufallig - sie verschuttet hat. Oder zu verschutten droht, in den Griff zu nehmen.Helmut Lachenmann (Skizze)Mitten in meiner Oper Das Madchen mit den Schwefelholzern - nach Hans Christian Andersen -, die im winterlichen eiskalten Kopenhagen spielt, gibt es einen Sprung in die mediterrane Vulkanlandschaft Suditaliens, wo - nach einem Text von Leonardo Da Vinci - ,,die Schwefelfeuer den grossen Berg offnen, um Steine und Erde samt den heraustretenden und herausgespieenen Flammen durch die Luft zu schleudern, und im Ausbruch ,,jedes Hindernis verjagen, das sich ihrem ungestumen Wuten entgegenstellt. Leonardo sieht in diesem Naturvorgang eine Metapher fur die Unruhe des menschlichen Herzens bei der Suche nach Erkenntnis. Er beschreibt eine Wanderung durch die schattigen Klippen hindurch bis vor den Eingang einer grossen Hohle, vor welcher der Erzahlende ,,im Gefuhl der Unwissenheit eine Zeitlang verharrt: ,,Ich hockte mit gekrummtem Rucken, die mude Hand aufs Knie gestutzt, beschattete ich mit der Rechten die gesenkten und geschlossenen Wimpern: - und n u n -, da ich mich mehrmals hin und her beugte, um in die Hohle hineinzublicken, verbot mir das die grosse Dunkelheit, die darin herrschte. Als ich aber eine Zeitlang verharrt hatte, erwachten in mir zwei Gefuhle: Furcht und Verlangen - Furcht vor der drohenden Dunkelheit der Hohle, Verlangen aber, mit eigenen Augen zu sehen, was an Wunderbarem darin sein mochte. Diesem ,,n u n ist meine Komposition gewidmet: Sie - ahnlich wie auf andere Weise mein Klavierkonzert Ausklang - ist sozusagen ,,meine Alpensymphonie. Anders als bei Strauss allerdings beschwort sie Energien und Eruptionen in einer Klanglandschaft weitab von jeglicher musiksprachlichen Geborgenheit. Wahrend im Strauss'schen Meisterwerk der Wanderer aus stimmungsvollem b-moll-Morgennebel aufbricht - allerdings erst den in A-Dur strahlenden Sonnenaufgang abwartet ... - und in frohlichem Es-Dur lossturmend auf tonal gesicherten Wegen zum majestatischen C-dur-Gipfel glucklich hinaufgelangt - den er allerdings bei hereinbrechendem Unwetter eilends verlasst, um ins schutzende Tal hinabzufluchten -, verharrt der Wanderer Leonardos in NUN in unwirtlicher Hohe vor jener Furcht und Verlangen erregenden Hohle. Meine Musik, sozusagen als brodelnder Krater beginnend, verwandelt sich in eine Sequenz von Rufen, deren Widerhall die ,,drohende Finsternis zu durchdringen und auszuloten versucht, und sie mundet - auf dem Umweg uber eine Art ,,Tanz auf dem Vulkan der beiden Solo-Instrumente - in eine instrumental paraphrasierte Sprech-Landschaft, als ob das Zischen und Fauchen, nichts weiter wiedergabe als die erweiterten Konsonanten eines gesprochenen imaginaren Textes. Dieser schliesslich - als Botschaft des im Ungeborgenen nach Erkenntnis Suchenden - konkretisiert sich zu jenem abgrundigen Satz des japanischen Philosophen und Grunders der ,,Kyoto-Schule, Kitaro Nishida: ,,Das Ich ist kein Ding, sondern ein Ort. Die Beziehung meines Werks zur Strauss'schen Alpensymphonie - der Komponist wollte sie ursprunglich nennen ,,der Antichrist - ist in ihrer antipodischen Gegensatzlichkeit evident. Es ist eine machtvolle, letztlich aber gutige, dem Menschen zugewandte, idyllische Natur, die bei Strauss beschworen wird, und den nachtlich in die hausliche Behaglichkeit Heimkehrenden erfullt Ehrfurcht und Dankbarkeit: es ist ein ,,glaubiger Antichrist, und die Pastorale Beethovens lasst grussen. Wie alles von Strauss war es ein - s e i n - letzter (oder vorletzter ...) Blick auf ein zerfallendes Paradies (1915 geschrieben ...). Heute ist vielleicht jedes Werk, welches sich den innovativen Anspruch von musikalischer Tradition zu Eigen gemacht hat und im 21. Jahrhundert den Musikbegriff jenseits tonaler Sprachvertrautheit in ungesichertem Klang-Terrain neu zu bestimmen sucht - eine Art Bergbesteigung in weglosem Gelande, und wenn schon nicht eine ,,Alpensymphonie, so doch eine Gratwanderung: abenteuerlich - verlockend - nicht ungefahrlich: ,,non hay caminos .... Helmut Lachenmann (Februar 2003)CDs: Gaby Pas-Van Riet (flute), Michael Svoboda (trombone), Neue Vocalsolisten Stuttgart, WDR Sinfonieorchester Koln, cond. Jonathan Nott CD KAIROS 0012142KAIDietmar Wiesner (flute), Uwe Dierksen (trombone), SCHOLA Heidelberg, Ensemble Modern Orchestra, cond. Markus StenzEMCD-004Bibliography :Hidalgo, Manuel: Mozart in Lachenmann, in: auf (-) und zuhoren. 14 essayistische Reflexionen uber die Musik und die Person Helmut Lachenmanns, hrsg. von Hans-Peter Jahn, Hofheim: Wolke 2005, pp. 35-46.Hiekel, Jorn Peter: Interkulturalitat als existentielle Erfahrung. Asiatische Perspektiven in Helmut Lachenmanns Asthetik, in: Nachgedachte Musik. Studien zum Werk von Helmut Lachenmann, hrsg. von Jorn Peter Hiekel und Siegfried Mauser, Saarbrucken: Pfau 2005, pp. 62-84.Kaltenecker, Martin: Was nun? Die Musik Helmut Lachenmanns als Beispiel, in: Der Atem des Wanderers. Der Komponist Helmut Lachenmann, hrsg. von Hans-Klaus Jungheinrich, Mainz: Schott 2006, pp. 113-128.Maier, Birgit; Britz, Vanessa; Arnold, Miriam: Helmut Lachenmann: NUN, in: Flote aktuell (2003), Heft 4, pp. 20-24.Pas-Van Riet, Gaby: On NUN, in: Helmut Lachenmann Inward Beauty, hrsg. von Dan Albertson, Contemporary Music Review 23 (2004), Heft 3/4, p. 165f.Svoboda, Mike: NUN An Inside View, in: Helmut Lachenmann Inward Beauty, hrsg. von Dan Albertson, Contemporary Music Review 23 (2004), Heft 3/4, pp. 161-164.Wellmer, Albrecht: Helmut Lachenmann: Die Befreiung des Klangs in der konstruktivistischen Tradition der europaischen Moderne, in: ders., Versuch uber Musik und Sprache, Munchen: Hanser 2009, pp. 270-299.Utz, Christian: Paradoxien musikalischer Temporalitat. Die Konstruktion von Klanggegenwart im Spatwerk Bernd Alois Zimmermanns im Kontext der Prasenzasthetik bei Giacinto Scelsi, Gyorgy Ligeti, Morton Feldman und Helmut Lachenmann, in: Die Musikforschung 68 (2015), pp. 22-52.

World premiere: Cologne (Musik der Zeit), October 20, 1999 World premiere of the revised version: Berlin, Konzerthaus, January 17, 2003.

Jazz Ensemble standard Jazz ensemble (Kendor Konvertible for 9-17 players) with opt. flute, clarinet, F horn, tuba and vibes - Grade 2

SKU: KN.60340

Composed by Traditional. Arranged by Kris Berg. Jazz Gateway. (Kendor Konvertible for 9-17 players). Bossa Nova. Score and parts. Kendor Music Inc #60340. Published by Kendor Music Inc (KN.60340).

UPC: 822795603408.

Perfe ct for developing groups, the chart starts with a traditional chorale, and then morphs into a clever re-harmonization of the classic carol while embracing the bossa nova style. The open solo section (written or ad lib) can be played by any soloist, with solo sheets provided in all keys along with scales to assist students in improvisation. Featuring Kendor Konvertible scoring for 9-17 players, each set includes a guitar chord chart by Jim Greeson and optional flute, clarinet, horn in F, tuba and vibes parts. Duration 3:30. Available in SmartMusic.

Band concert band - Grade 4.5

SKU: CF.SPS71

Composed by Carl Strommen. Set of Score and Parts. With Standard notation. 2+16+4+8+8+8+4+4+2+4+4+4+ 4+6+6+6+4+4+4+4+6+6+6+6+4 +8+3+2+12+2+4+28 pages. Duration 6 minutes, 26 seconds. Carl Fischer Music #SPS71. Published by Carl Fischer Music (CF.SPS71).

ISBN 9781491143544. UPC: 680160901043. Key: G minor.

Nordanvind is a tour de force symphonic rhapsody that is built on three Scandinavian folk songs. Composer Carl Strommen has composed these Viking-influenced melodies into a concert setting that brings out all of the history of the Scandinavian people. The piece is at times bold and aggressive, at other times beautiful. Carl employs all of the instrumental colors of the concert band to create a new work for more advanced ensembles.
Modern Scandinavians are descendants of the Vikings, an adventuresome people who were known for their love of the sea, their naval prowess, and as fierce fighters . The Scandinavian Vikings were warriors from Denmark, Norway, and Sweden who traded, raided and settled in various parts of Europe, Russia, the North Atlantic islands, and the northeastern coast of North America .Starting around 1850, over one million Swedes left their homeland for the United States in search of religious freedom and open farm land . Augustana College was founded in 1860 by graduates of Swedish universities and is located on the Mississippi River in Rock Island, Illinois . Home of the “Vikings,” Augustana College is the oldest Swedish- American institution of higher learning in the United States . This powerful and lively piece takes inspiration from Swedish history and from Swedish folk songs and hymns .Havsdrake (Dragon of the Sea)The Nordanvind or “North Wind” blows a cold wind during a journey of a group of courageous Viking rowers . The “Dragon-ship” or long ships designed for raiding and war was a sophisticated, fast ship able to navigate in very shallow water . To musically portray these magnificent seafaring vessels, the director is encouraged to use an Ocean Drum (or a rain stick) during the introduction . Wind players may consider blowing air through their instruments to suggest the North wind . Adding men’s voices to accompany the haunting low brass and percussive “rower” sounds can be helpful in creating the dark and ominous portrayal of Viking adventurers .Slangpolska efter Byss - KalleIn Sweden, a “polska” is a partner dance where the dancers spin each other (släng in Swedish “to sling or toss”) . Slangpolska efter Byss - Kalle is attributed to Byss-Kalle, who was a notable Swedish folk musician, specifically a nyckelharpa player . Slangpolska efter Byss - Kalle is a traditional “polska” dance song most often played on the Nyckelharpa or keyed fiddle and is commonly heard in pubs and at festive events throughout Sweden . Approximately 10,000 nyckelharpa players live in Sweden today, and the Swedish and the American Nyckelharpa Associations are dedicated to this Swedish National instrument . The director is encouraged to share video and audio examples of the nyckelharpa playing the original Slangpolska efter Byss - Kalle .Tryggare Kan Ingen Vara (Children of the Heavenly Father)Tryggare Kan Ingen Vara Is a traditional Swedish melody, possibly of German roots, and was believed to be arranged as a hymn by the Swedish hymn writer, Karolina Wilhelmina Sandell-Berg (1832–1903) . As a daughter of a Swedish Lutheran minister, she began writing poems as a teenager and is said to have written over 1,700 different texts . There are two different accounts as to the inspiration for this hymn . The first story is that Lina (as she was called) wrote the hymn to honor her father and to say thank you to him for raising her and protecting her . A second belief is of her witnessing the tragic death of her father . She and her father were on a boat, when a wave threw her father overboard . It was said that the profound effect of watching her father drown is what caused Lina to write the text to this hymn . Although this is a treasured song to people of Swedish descent everywhere, it speaks to all people about a father tending and nourishing his children, and protecting them from evil .SPS71FThe Augustana College Concert BandFounded in 1874, the Augustana Band program is one of the oldest continuously active collegiate band programs in the country . The Concert Band is one of two bands on campus and was formed more than thirty years ago . The Concert Band attracts students of every skill level and from a wide variety of majors . Students in the ensemble play a large part in choosing their music for performance, which include works from the standard repertoire, orchestral transcriptions, and the latest compositions from leading composers .Rick Jaeschke began his musical career as a clarinet player in the 1st US Army Band . He received a Bachelor of Music degree from Susquehanna University, a Masters of Music from James Madison University, and a doctorate from Columbia University in New York . He was also fortunate to study conducting with Donald Hunsburger and with Frederick Fennell .Dr . Jaeschke taught band and choir at Great Mills High School in Southern Maryland, and for fifteen years, he was the district Music Supervisor in Armonk, New York, where he taught high school concert and jazz bands, beginning band, and music technology . During that time, the music program flourished, and the high school band consistently received Gold Medals in the New York State Festivals, as well as in national, and international festivals . As a clarinet and saxophone player, Dr . Jaeschke performed in the New York metropolitan area with the Rockland Symphony Orchestra, the Putnam Symphony Orchestra, Fine Arts Symphony Orchestra, and served as the concert master for the Hudson Valley Wind Symphony .For several years, Dr . Jaeschke served as the Fine Arts Coordinator for the District 204 schools in Naperville, IL, a district selected as One of the Best 100 Schools in America for Music . Currently, Dr . Jaeschke is an Associate Professor at Augustana College where he teaches music and music education courses, and directs the Concert Band . He has served on various educational boards, is a National edTPA scorer, and has presented at state, national and international music conferences . He lives with his family in Bettendorf Iowa, and enjoys any opportunity to explore the open water in his sea kayak .