SKU: HL.44007194

ISBN 9789043127691. UPC: 884088216009. 9.0x12.0x0.135 inches. English-German-French-Dut ch.

Just like the Fun for... series, these books are ideal for anyone who plays in an ensemble or takes clarinet lessons. The six appealing modern pieces are perfect for the instruments and can be used very flexibly. They are suitable for everyone who has been playing for two to two and a half years.

SKU: BR.EB-8424

You will need a copy of BG 1002 for each player to perform the version for variable instrumentation (BG 1004).

ISBN 9790004185254. 9 x 12 inches.

World premieres:I version for flute: Wiesbaden, 1972II version for piano: Nyon, 1972III version for var. insts.: Cologne, May 29, 1976VI version for accordeon: Fribourg, June 25, 1987VIII version for violoncello Tokyo: October 14, 1989X version for organ: Stuttgart, March 28, 2018This work (A Breath of the Untimely) was first written for solo Flute and dedicated to Aurele Nicolet. Its bears the subtitle Lament on the Loss of Musical Thought - some Madrigals for Solo Flute or Flute with any other Instruments. This serves as a playing instruction but doubles at the same time as an outmoded programme: it refers back to the musical origin of the opening lamenting motif, a tradition which was once of its time but is not of our time - namely the Lamento genre which gave the title to the Chaconne in Purcell's opera Dido and Aeneas. Almost simultaneously I wrote a second version for Piano (for Piano one-and-a-half hands), which already formulates possible approaches for the performer, in some detail, to the indicated, quasi-canonic version of the piece in the programme. The multiple version Ein Hauch von Unzeit III realizes a concrete version of a formal state which floats between strict canon and aleatoric principles: each of the musicians who are spread throughout the hall introduces their own idiomatic translation of the flute part. And so the music exists, omnipresent, not only spatially throughout the hall, but also formally in a sort of fluctuating simultaneity. For that reason, it was my express wish to any potential interpreter that they should construct entirely their own version of the piece. A healthy number of musicians have responded to my suggestion - versions of the piece have now been made for guitar (Cornelius Schwehr, Gunther Schneider), accordion (Hugo Noth), double bass (Fernando Grillo), violin (Hansheinz Schneeberger), viola, violoncello, and double bass (trio basso, Koln), violoncello (Michael Bach), trombone (Andrew Digby) and, created by myself, a sung version for voice (to words by Georg Wilhelm Friedrich Hegel und Max Bense), and for viola.The most important requirement for the whole piece is absolute stillness, which should as far as possible emanate from the performer. The pauses are occasionally in this respect the most important element. These may, if one can find the necessary stillness, become very long.Ein Hauch von Unzeit (A Breath of the Untimely) - time almost dissolves!(Klaus Huber, 1989/2014 - translation: David Alberman)CD:Jean-Luc Menet (Bass flute)CD Traversieres 120.270Jean-Luc Menet (fl)CD STR 37039Bibliography:Zimmerm ann, Heidy: Zeitgestaltung im Kompositionsprozess bei Klaus Huber - dargestellt anhand von Skizzen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, S. 90-109.

SKU: HL.49043916

ISBN 9783795748319. German.

Die Klavierbahn ist eine uber 20 Jahre in der Praxis gewachsene und vielfach erprobte Klavierschule, die insbesondere fur den Unterricht mit kleinen und grossen Gruppen (bis hin zum Klassenunterricht) entwickelt wurde. Unabhangig davon lasst sie sich dank ihrer Materialfulle und Flexibilitat aber auch als Schule fur den klassischen Einzelunterricht einsetzen. Alle Hefte enthalten eine Vielzahl an Spielstucken, Liedern und technischen Ubungen, die in der Gruppe effektvoll als Ensemble-Kompositionen zusammengefuhrt werden konnen. Das vermittelt Schulern von Beginn an gemeinsame Erfolgserlebnisse.Heft 2 fuhrt zur traditionellen Notenschrift und beinhaltetkurze Spielstucke, Lieder sowie kleine Etuden, die miteinander kombiniert als Gruppensatze musiziert werden konnen.

SKU: HL.49045275

ISBN 9790001162661. 8.25x11.5x0.145 inches. Latin - German.

A reflexion on the central Christian values of faith, love and hope, described as 'Sinfonia sacra'. The musical setting of Martin Luther's text is published in a new arrangement for the upcoming Luther Year 2017.

SKU: BR.BV-387

The String Thing ensemble has put together a rich collection of material in Groovy Strings: an introduction to basics and methods, exercises for rhythm and body percussion and, above all, 26 original pieces for all stringed instruments.

Awarde d t. Music pedagogy. Book. 144 pages. Breitkopf and Haertel #BV 387. Published by Breitkopf and Haertel (BR.BV-387).

ISBN 9783765103872. 8.5 x 11.5 inches.

The pieces can be flexibly combined in trio settings and duets, which makes the book ideal for ensemble and individual instruction. The enclosed CD sets new standards. It contains not only audio recordings of all pieces which can also be used as play-alongs, but also video sequences illustrating special techniques. There are also individual performing scores which allow the string player to react to varying circumstances in actual practice, as with the Flexible Strings (KM 2292). Nicht nur Rhythmus, auch Groove ist lernbar, und so groovt es machtig in der Breitkopf PADAGOGIK. (MusikHandel) Dieses Werk macht Mut Neues auszuprobieren und stellt eine grosse Bereicherung fur den Instrumentalunterricht fur StreicherInnen dar. (Bianka Wustehube, Uben & Musizieren)

The String Thing ensemble has put together a rich collection of material in Groovy Strings an introduction to basics and methods, exercises for rhythm and body percussion and, above all, 26 original pieces for all stringed instruments. Awarded the German Music Edition Prize 2010.

SKU: BR.EB-9300

ISBN 9790004187647. 9 x 12 inches.

World premieres:I version for flute: Wiesbaden, 1972II version for piano: Nyon, 1972III version for var. insts.: Cologne, May 29, 1976VI version for accordeon: Fribourg, June 25, 1987VIII version for violoncello Tokyo: October 14, 1989X version for organ: Stuttgart, March 28, 2018This work (A Breath of the Untimely) was first written for solo Flute and dedicated to Aurele Nicolet. Its bears the subtitle Lament on the Loss of Musical Thought - some Madrigals for Solo Flute or Flute with any other Instruments. This serves as a playing instruction but doubles at the same time as an outmoded programme: it refers back to the musical origin of the opening lamenting motif, a tradition which was once of its time but is not of our time - namely the Lamento genre which gave the title to the Chaconne in Purcell's opera Dido and Aeneas. Almost simultaneously I wrote a second version for Piano (for Piano one-and-a-half hands), which already formulates possible approaches for the performer, in some detail, to the indicated, quasi-canonic version of the piece in the programme. The multiple version Ein Hauch von Unzeit III realizes a concrete version of a formal state which floats between strict canon and aleatoric principles: each of the musicians who are spread throughout the hall introduces their own idiomatic translation of the flute part. And so the music exists, omnipresent, not only spatially throughout the hall, but also formally in a sort of fluctuating simultaneity. For that reason, it was my express wish to any potential interpreter that they should construct entirely their own version of the piece. A healthy number of musicians have responded to my suggestion - versions of the piece have now been made for guitar (Cornelius Schwehr, Gunther Schneider), accordion (Hugo Noth), double bass (Fernando Grillo), violin (Hansheinz Schneeberger), viola, violoncello, and double bass (trio basso, Koln), violoncello (Michael Bach), trombone (Andrew Digby) and, created by myself, a sung version for voice (to words by Georg Wilhelm Friedrich Hegel und Max Bense), and for viola.The most important requirement for the whole piece is absolute stillness, which should as far as possible emanate from the performer. The pauses are occasionally in this respect the most important element. These may, if one can find the necessary stillness, become very long.Ein Hauch von Unzeit (A Breath of the Untimely) - time almost dissolves!(Klaus Huber, 1989/2014 - translation: David Alberman)CD:Jean-Luc Menet (Bass flute)CD Traversieres 120.270Jean-Luc Menet (fl)CD STR 37039Bibliography:Zimmerm ann, Heidy: Zeitgestaltung im Kompositionsprozess bei Klaus Huber - dargestellt anhand von Skizzen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, S. 90-109

World premiere: Stuttgart, Hospitalkirche, March 28, 2018.

SKU: HL.49043919

ISBN 9783795748340. German.

Die Klavierbahn ist eine uber 20 Jahre in der Praxis gewachsene und vielfach erprobte Klavierschule, die insbesondere fur den Unterricht mit kleinen und grossen Gruppen (bis hin zum Klassenunterricht) entwickelt wurde. Unabhangig davon lasst sie sich dank ihrer Materialfulle und Flexibilitat aber auch als Schule fur den klassischen Einzelunterricht einsetzen. Alle Hefte enthalten eine Vielzahl an Spielstucken, Liedern und technischen Ubungen, die in der Gruppe effektvoll als Ensemble-Kompositionen zusammengefuhrt werden konnen. Das vermittelt Schulern von Beginn an gemeinsame Erfolgserlebnisse.Heft 1 ist bestimmt furVorschulkinder oder Schulanfanger und enthalt fur die Gruppensatze einfache technische Ubungen und Lieder in grafischer Notation.Heft 2 fuhrt zur traditionellen Notenschrift und beinhaltetkurze Spielstucke, Lieder sowie kleine Etuden, die miteinander kombiniert als Gruppensatze musiziert werden konnen.In Heft 3 wird der Tonumfang auf den weissen Tasten schrittweise erweitert. Der Schwierigkeitsgrad wird nach und nach angehoben.Der Lehrerband enthalt detaillierte Vorschlage fur den Unterrichtsverlauf und die Kombinationsmoglichkeiten , die auf die jeweilige Gruppensituation eingehen. Dazu geben sie Hinweise, wie dasUnterrichtsmaterial an Leistungsunterschiede der Schuler und an die Anzahl der zur Verfugung stehenden Instrumente angepasst werden kann.