| Ein Hauch von Unzeit Breitkopf & Härtel
SKU: BR.EB-9397 (Plainte sur la perte de la reflexion musicale). C...(+)
SKU: BR.EB-9397
(Plainte sur la perte
de la reflexion
musicale). Composed
by Klaus Huber. Stapled.
Edition Breitkopf. World
premieres: I version for
flute: Wiesbaden, 1972.
Music post-1945; New
music (post-2000). Score.
Composed 1972. 12 pages.
Duration 20'. Breitkopf
and Haertel #EB 9397.
Published by Breitkopf
and Haertel (BR.EB-9397).
ISBN 9790004188712. 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. $30.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Ein Hauch von Unzeit Orgue Breitkopf & Härtel
Organ SKU: BR.EB-9300 (Plainte sur la perte de la reflexion musicale)<...(+)
Organ SKU:
BR.EB-9300
(Plainte sur la perte
de la reflexion
musicale). Composed
by Klaus Huber. Arranged
by A. Digby and M.
Sattelberger. Solo
instruments; stapled.
Edition Breitkopf. World
premieres: I version for
flute: Wiesbaden, 1972.
Music post-1945; New
music (post-2000). Score.
Composed 1972. 20 pages.
Duration 20'. Breitkopf
and Haertel #EB 9300.
Published by Breitkopf
and Haertel (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. $39.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Ein Hauch von Unzeit Breitkopf & Härtel
Trombone(s) solo SKU: BR.EB-9160 (Plainte sur la perte de la reflexion...(+)
Trombone(s) solo SKU:
BR.EB-9160
(Plainte sur la perte
de la reflexion
musicale). Composed
by Klaus Huber. Edited by
Andrew Digby. Arranged by
Andrew Digby. Solo
instruments; stapled.
Edition Breitkopf. You
will need a copy of BG
1002 for each player to
perform the version for
variable instrumentation
(BG 1004). Music
post-1945; New music
(post-2000). Score.
Composed 1972. 12 pages.
Duration 20'. Breitkopf
and Haertel #EB 9160.
Published by Breitkopf
and Haertel (BR.EB-9160).
ISBN 9790004181966. 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. $30.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| The Performer's Complete Fake Book - C Edition Hal Leonard
(C Edition). By Various. For voice and C instrument. Hal Leonard Fake Books. Pop...(+)
(C Edition). By Various.
For voice and C
instrument. Hal Leonard
Fake Books. Pop Vocal and
Vocal Standards.
Difficulty: easy-medium.
Fakebook. Vocal melody,
lyrics and chord names.
396 pages. Published by
Hal Leonard fakebook
Pop Vocal and Vocal
Standards
$19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Historia Musica. Prima e seconda parte della teorica Ut Orpheus
Books and Journals SKU: UT.LB-8 Composed by Giovanni Andrea Angelini Bont...(+)
Books and Journals
SKU: UT.LB-8
Composed by Giovanni
Andrea Angelini Bontempi.
Edited by Biancamaria
Brumana. Paperback (Soft
Cover). Classical. Books
and Journals. Ut Orpheus
#LB 8. Published by Ut
Orpheus (UT.LB-8).
ISBN 9788881094660.
6.5 x 9.5
inches. L’
Historia musica di
Giovanni Andrea Angelini
Bontempi (1625-1705),
edita nel 1695, non
è la
‘narrazione’
delle vicende legate a
quest’arte, ma una
esposizione sistematica
dei principi della
musica; un trattato di
teoria musicale
riconducibile alla
tipologia della
Historia
naturalis, intesa
come conoscenza
scientifica acquisita
attraverso
l’indagine e la
ricerca. Cantante,
compositore e teorico
musicale, Bontempi fu
anche letterato (autore
dei testi delle proprie
opere), storico,
architetto teatrale e
scenografo, pittore,
costruttore di strumenti
musicali e di orologi,
nonché abile
intagliatore di pietre
dure. In sostanza,
Bontempi fu un uomo
eclettico nel senso
rinascimentale del
termine e con la
pubblicazione
dell’Historia musica ottenne
il riconoscimento della
sua appartenenza alla
‘res publica’
letteraria
dell’Europa di fine
Seicento.
Dall’oratorio
filippino di Perugia,
dove ricevette la prima
formazione musicale,
passò a Roma sotto
la protezione del
cardinale Francesco
Barberini. Attivo nella
cappella di S. Marco a
Venezia all’epoca
di Monteverdi, trascorse,
poi, circa trenta anni al
servizio della corte di
Dresda. Nella Prima e
seconda parte della
teorica è dato
ampio spazio alla musica
greca, ma la musica
antica è vista
sempre in funzione della
moderna. E così vi
troviamo l’analisi
dei vari tipi di versi e
dei corrispondenti valori
musicali in una perfetta
armonia tra parola e
musica; il testo
dell’oratorio di S.
Emiliano; note sulla
costruzione dei
clavicembali di Girolamo
Zenti;
l’organizzazione
della scuola di canto a
Roma; una piccola
monografia sul cantante
evirato Baldassarre
Ferri; esempi di
composizioni polifoniche.
Non mancano, poi,
suggestivi riferimenti
all’astrologia e
alla consonanza tra
Musica mondana e
Musica humana
oppure all’anatomia
e al contrasto tra anima
e corpo. La presente
edizione conserva tutto
il sapore
dell’originale, ivi
comprese le grafie
erudite o quelle
oscillanti di alcuni
termini, ma permette al
tempo stesso la lettura
agevole di un testo
fondamentale nella storia
del pensiero
musicale.
Biancamaria
Brumana è
professore ordinario di
Musicologia e Storia
della musica
all’Universit&agrav
e; di Perugia. Laureata
in Lettere e diplomata in
Pianoforte, ha
successivamente condotto
studi di specializzazione
presso la Scuola di
Paleografia e Filologia
Musicale
dell’Universit&agra
ve; di Pavia ed ha fruito
di borse di studio a
Parigi e a Londra.
È stata docente di
ruolo nei Conservatori ed
ha insegnato in varie
università. Ha
pubblicato numerosi
volumi e articoli editi
in sedi specializzate in
Italia e
all’estero. Essi
riguardano vari aspetti
della storia della musica
dal Medioevo agli inizi
del Novecento, con
particolare riferimento
alla musica italiana e
francese,
all’oratorio
musicale, alla storia di
istituzioni, ai rapporti
tra letteratura e musica,
all’iconografia
musicale. Ha redatto
cataloghi di fondi
musicali e di singoli
autori in collegamento
con il
Répertoire
International des Sources
Musicales. Tra i
volumi pubblicati:
Orvieto. Una
cattedrale e la sua
musica (1450-1610),
Teatro musicale e
accademie a Perugia tra
dominazione francese e
restaurazione
(1801-1830), Catalogo
delle composizioni
musicali di Francesco
Morlacchi (1784-1841),
Frammenti musicali del
Trecento
nell’incunabolo
Inv. 15755 N. F. della
Biblioteca del Dottorato
dell’Universit&agra
ve; degli Studi di
Perugia. È
direttore della rivista
Esercizi. Musica e
Spettacolo, della
acclusa collana di
quaderni monografici e
della collana di edizioni
musicali «Note di
passaggio». Ha
promosso la prima ripresa
moderna di musiche
inedite anche in
collegamento con
importanti festival e
istituzioni musicali,
presso le quali ha
talvolta ricoperto
incarichi organizzativi.
Ha diretto ricerche
finanziate dal CNR, dal
MURST e dal MIUR. $46.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Arias for Mezzo-Soprano - Complete Package Voix Mezzo-Soprano, Piano [Partition + Accès audio] Schirmer
With Diction Coach and Accompaniment Audio Online G. Schirmer Opera Anthology. E...(+)
With Diction Coach and
Accompaniment Audio
Online G. Schirmer Opera
Anthology. Edited by
Robert L. Larsen. Vocal
Collection. Opera,
Classical. Softcover
Audio Online. 288 pages.
Published by G. Schirmer
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Diction Coach - G. Schirmer Opera Anthology Voix Mezzo-Soprano [Partition + Accès audio] Schirmer
Arias for Mezzo-Soprano. Composed by Various. Vocal Collection. Opera, Classical...(+)
Arias for Mezzo-Soprano.
Composed by Various.
Vocal Collection. Opera,
Classical. Softcover
Audio Online. 60 pages.
G. Schirmer #ED4404.
Published by G. Schirmer
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Anthology of Italian Opera Voix Mezzo-Soprano Ricordi
| | |
| Arias For Mezzo-Soprano
Piano, Voix [Partition] Schirmer
(Voice and Piano) Compiled by Robert L. Larsen. For voice and piano. Format: pia...(+)
(Voice and Piano)
Compiled by Robert L.
Larsen. For voice and
piano. Format:
piano/vocal songbook.
With vocal melody, lyrics
and introductory text.
Classical period and
romantic period. Text
language Italian,
English, French, German.
224 pages. 8.5x11 inches.
Published by Schirmer.
(1)$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Hymn Fake Book - C Edition
Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
(3)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Opera Arias for Tenor Piano seul Peters
By Various. Edited by Soldan. For tenor, piano. 47 Arias(each in original langua...(+)
By Various. Edited by
Soldan. For tenor, piano.
47 Arias(each in original
language with German
translation). Published
by C.F. Peters.
$44.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Mozart Arias for Tenor Voix Tenor [Partition + CD] Pocket Coach Publications
Tenor solo voice SKU: PC.MWAOTBKCD Composed by Wolfgang Amadeus Mozart. G...(+)
Tenor solo voice SKU:
PC.MWAOTBKCD Composed
by Wolfgang Amadeus
Mozart. Gold Label Arias
Orchestral Collections.
Opera, Classical.
Book/CD. Published by
Pocket Coach Publications
(PC.MWAOTBKCD). ISBN
9781581269550. Orch
estral aria collection CD
includes melody with
orchestral accompaniment
and orchestra in stereo
for each aria.
Word-for-word
translations are printed
on the CD insert. $29.90 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Majestic Prelude Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-0930481-010 Composed by Jacob...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.DHP-0930481-010
Composed by Jacob De
Haan. Inspiration Series.
Opening Pieces. Set
(Score & Parts). Composed
1993. De Haske
Publications #DHP
0930481-010. Published by
De Haske Publications
(BT.DHP-0930481-010).
In Majestic
Prelude the
instrumental music is
closely connected to the
text and vocal music. The
work is based on a
well-known psalm melody.
As the title suggest, it
begins with a majestic
introduction, in which
several sections of the
psalmare heard. Various
instruments play around
with fragments of the
familiar tune. This
composition is an
excellent opening piece
for a
concert!
Eigenlijk
ligt er in Majestic
Prelude al een direct
verband met tekst en
vocale muziek. De
compositie is gebaseerd
op een bekende
psalmmelodie. Zoals uit
de titel al blijkt,
begint Jacob de Haan deze
compositie met een
majestueuze
inleidingwaarin delen van
de psalm al doorklinken.
Diverse instrumenten
omspelen en onderbreken
het bekende thema. Deze
compositie is een
openingswerk voor een
concert bij
uitstek.
In
Majestic Prelude
ist die Musik ganz
unmittelbar mit Text und
Vokalmusik verbunden. Das
Werk basiert auf einer
bekannten Psalmmelodie.
Wie der Titel schon
andeutet, beginnt es mit
einer majestätischen
Einleitung, in der
bereits viele Teiledes
Psalms durchklingen.
Verschiedene Instrumente
umspielen und
unterbrechen das bekannte
Thema. Diese Komposition
ist ein ausgezeichnetes
Eröffnungswerk für
ein
Konzert!
Majest
ic Prelude est une
œuvre très
contrastante, basée
sur la mélodie
d’un célèbre
psaume. Comme son titre
l’indique, cette
pièce
d’ouverture
débute sur une
introduction majestueuse
où le thème du
psaume est exposé par
fragments, puis
reprisdans sa
totalité. Majestic
Prelude se conclut
par un final en
apothéose, tournoyant
de rapidité
!
Majestic
Prelude è un brano
contrastante basato sulla
melodia di un celebre
salmo. Come indica il
titolo, questo brano di
apertura inizia su
un’introduzione
maestosa nella quale il
tema del salmo è
esposto dapprima in
maniera frammentata,
inseguito nella sua
totalit . Majestic
Prelude presenta un
finale in apoteosi e
rapidit sorprendenti. $98.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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