Voice(s) with various inst. SKU: BR.DV-9515-01 The people that walked ...(+)
Voice(s) with various
inst.
SKU:
BR.DV-9515-01
The
people that walked in
darkness. Composed by
Johann Georg Reichard.
Edited by Wolfram Steude.
Voice; stapled. Deutscher
Verlag. Baroque period.
Full Score. 24 pages.
Deutscher Verlag fur
Musik #DV 9515-01.
Published by Deutscher
Verlag fur Musik
(BR.DV-9515-01).
ISBN
9790200490596. 9 x 12
inches. German /
English.
In the
latter half of the 18th
and in the 19th century
the Old Preface Testament
Christmas prophecy
(Isaiah 9, 1-6) formed
the basis for numerous
motetto- and cantata-like
compositions originating
from the Erzgebirge and
the Vogtland of Saxony.
From very early times,
this text was included in
Matins for Christmas day,
hut until the period
specified it was usually
intoned on a reciting
note. The present cantata
is one of the few
surviving testimonies to
musical activity in the
small Thuringian town of
Schleiz. The prophecy Das
Volk, so im Finstern
wandelt was written -
probably for performance
at court services - in
all likelihood by Johann
Georg Reichard, a
magistrate in the
Grafschaft (County) of
Reuss who later held
higher judicial
appointments. Reichard
was born at Oels
(Olefoica) in Silesia in
1710 and studied law at
Leipzig from 1732. He
then went to Schleiz and
rose from the position of
archivist to high legal
office, at the same time
succeeding Gottfried
Siegmund Liebich (d.
1736) as director of the
court chapel. He died in
Schleiz on 2 June 1782. A
few of his church
cantatas and other pieces
(serenades etc) written
for the court at Schleiz
once belonged to the
Fursten- and Landesschule
of St Augustine at Grimma
whose music holdings are
now preserved in Dresden.
Some of Reichard's
compositions are
autograph, some in copies
made by his son Heinrich
Gottfried Reichard
(1742-1801) who pursued
an active career at
Grimma both in music and
ancient philology, first
as cantor, finally as
co-rector. The 'Prophecy'
cantata survives
anonymously in a score
copied by Heinrich
Gottfried Reichard who
may well have sung it
himself when he was
fourteen, before bis
voice broke - as the date
Anno 17 56 suggests. He
probably prepared the
score in bis later years
from the original parts,
now no langer existent,
as he did in the case of
other works of his
father's. Whether he
revised the musical text,
and to what extent,
cannot now be
established. This short
and attractive work has
all the lightness and
exuberance of the rococo
as well as genuine
emotional depth. In
addition, it is easy to
perform and should prove
very popular.
Liturgically, it still
occupies a place in
Christmas matins or
vespers. Permission for
this publication was
kindly given by Dr.
Wolfgang Reich of the
Sachsische
Landesbibliothek Dresden,
Musikabteilung. Wolfram
Steude, Dresden, January
1972.
(A sacred oratorio). By George Frideric Handel (1685-1759). Edited by Watkins Sh...(+)
(A sacred oratorio). By
George Frideric Handel
(1685-1759). Edited by
Watkins Shaw. For soprano
solo voice, alto solo
voice, tenor solo voice,
bass solo voice, SATB
choir and piano
accompaniment. Novello
Handel Edition. Baroque,
Choral, Christmas and
Easter. Difficulty:
medium. Vocal score
(paperback). Choral
notation and piano
reduction. 257 pages.
Published by Novello and
Co Ltd
Arranged by
Arnold B. Sherman. Sing &
Ring Series. Hymntune,
Ring & Sing, Christmas,
Children, Sacred.
Handbell score. Hope
Publishing Company #1726.
Published by Hope
Publishing Company
(HP.1726).
UPC:
763628017262. 1 Peter
1:10-12.
Familiar
French Carol Here is a
simple, bright 'ring and
sing' setting of the
familiar French carol, He
Is Born. This
ever-popular Christmas
title shimmers with joy,
and comes with a number
of performance options.
Both the SATB and
Two-Part setting can be
accompanied by keyboard
or handbells. For
handbell choirs there are
separate 3-octave and
5-octave arrangements.
All the settings are
completely compatible
with each other providing
ample opportunity to
involve multiple choirs
and groups in your
Christmas
celebrations.
Violin 1 SKU: BR.DV-9515A-15 The people that walked in darkness. C...(+)
Violin 1
SKU:
BR.DV-9515A-15
The
people that walked in
darkness. Composed by
Johann Georg Reichard.
Voice; stapled. Deutscher
Verlag. Baroque period.
Part. 4 pages. Deutscher
Verlag fur Musik #DV
9515a-15. Published by
Deutscher Verlag fur
Musik (BR.DV-9515A-15).
ISBN 9790200490602. 9
x 12 inches.
German.
In the
latter half of the 18th
and in the 19th century
the Old Preface Testament
Christmas prophecy
(Isaiah 9, 1-6) formed
the basis for numerous
motetto- and cantata-like
compositions originating
from the Erzgebirge and
the Vogtland of Saxony.
From very early times,
this text was included in
Matins for Christmas day,
hut until the period
specified it was usually
intoned on a reciting
note. The present cantata
is one of the few
surviving testimonies to
musical activity in the
small Thuringian town of
Schleiz. The prophecy Das
Volk, so im Finstern
wandelt was written -
probably for performance
at court services - in
all likelihood by Johann
Georg Reichard, a
magistrate in the
Grafschaft (County) of
Reuss who later held
higher judicial
appointments. Reichard
was born at Oels
(Olefoica) in Silesia in
1710 and studied law at
Leipzig from 1732. He
then went to Schleiz and
rose from the position of
archivist to high legal
office, at the same time
succeeding Gottfried
Siegmund Liebich (d.
1736) as director of the
court chapel. He died in
Schleiz on 2 June 1782. A
few of his church
cantatas and other pieces
(serenades etc) written
for the court at Schleiz
once belonged to the
Fursten- and Landesschule
of St Augustine at Grimma
whose music holdings are
now preserved in Dresden.
Some of Reichard's
compositions are
autograph, some in copies
made by his son Heinrich
Gottfried Reichard
(1742-1801) who pursued
an active career at
Grimma both in music and
ancient philology, first
as cantor, finally as
co-rector. The 'Prophecy'
cantata survives
anonymously in a score
copied by Heinrich
Gottfried Reichard who
may well have sung it
himself when he was
fourteen, before bis
voice broke - as the date
Anno 17 56 suggests. He
probably prepared the
score in bis later years
from the original parts,
now no langer existent,
as he did in the case of
other works of his
father's. Whether he
revised the musical text,
and to what extent,
cannot now be
established. This short
and attractive work has
all the lightness and
exuberance of the rococo
as well as genuine
emotional depth. In
addition, it is easy to
perform and should prove
very popular.
Liturgically, it still
occupies a place in
Christmas matins or
vespers. Permission for
this publication was
kindly given by Dr.
Wolfgang Reich of the
Sachsische
Landesbibliothek Dresden,
Musikabteilung. Wolfram
Steude, Dresden, January
1972.
Violin 2 SKU: BR.DV-9515A-16 The people that walked in darkness. C...(+)
Violin 2
SKU:
BR.DV-9515A-16
The
people that walked in
darkness. Composed by
Johann Georg Reichard.
Voice; stapled. Deutscher
Verlag. Baroque period.
Part. 4 pages. Deutscher
Verlag fur Musik #DV
9515a-16. Published by
Deutscher Verlag fur
Musik (BR.DV-9515A-16).
ISBN 9790200490619. 9
x 12 inches.
German.
In the
latter half of the 18th
and in the 19th century
the Old Preface Testament
Christmas prophecy
(Isaiah 9, 1-6) formed
the basis for numerous
motetto- and cantata-like
compositions originating
from the Erzgebirge and
the Vogtland of Saxony.
From very early times,
this text was included in
Matins for Christmas day,
hut until the period
specified it was usually
intoned on a reciting
note. The present cantata
is one of the few
surviving testimonies to
musical activity in the
small Thuringian town of
Schleiz. The prophecy Das
Volk, so im Finstern
wandelt was written -
probably for performance
at court services - in
all likelihood by Johann
Georg Reichard, a
magistrate in the
Grafschaft (County) of
Reuss who later held
higher judicial
appointments. Reichard
was born at Oels
(Olefoica) in Silesia in
1710 and studied law at
Leipzig from 1732. He
then went to Schleiz and
rose from the position of
archivist to high legal
office, at the same time
succeeding Gottfried
Siegmund Liebich (d.
1736) as director of the
court chapel. He died in
Schleiz on 2 June 1782. A
few of his church
cantatas and other pieces
(serenades etc) written
for the court at Schleiz
once belonged to the
Fursten- and Landesschule
of St Augustine at Grimma
whose music holdings are
now preserved in Dresden.
Some of Reichard's
compositions are
autograph, some in copies
made by his son Heinrich
Gottfried Reichard
(1742-1801) who pursued
an active career at
Grimma both in music and
ancient philology, first
as cantor, finally as
co-rector. The 'Prophecy'
cantata survives
anonymously in a score
copied by Heinrich
Gottfried Reichard who
may well have sung it
himself when he was
fourteen, before bis
voice broke - as the date
Anno 17 56 suggests. He
probably prepared the
score in bis later years
from the original parts,
now no langer existent,
as he did in the case of
other works of his
father's. Whether he
revised the musical text,
and to what extent,
cannot now be
established. This short
and attractive work has
all the lightness and
exuberance of the rococo
as well as genuine
emotional depth. In
addition, it is easy to
perform and should prove
very popular.
Liturgically, it still
occupies a place in
Christmas matins or
vespers. Permission for
this publication was
kindly given by Dr.
Wolfgang Reich of the
Sachsische
Landesbibliothek Dresden,
Musikabteilung. Wolfram
Steude, Dresden, January
1972.
Moyses Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Scomegna Edizioni Musicali
(Biblical Poem). By Federico Agnello. For concert band. Grade 4.5. Score and...(+)
(Biblical Poem). By
Federico
Agnello. For concert
band.
Grade 4.5. Score and full
set
of parts. Duration 16
minutes.
Published by Scomegna
Edizioni
Musical srl
He Is Born Cloches [Conducteur] - Facile Hope Publishing Company
Edited by Michael Perry. Arranged by Cynthia Dobrinski. Handbell choir. For 3-5 ...(+)
Edited by Michael Perry.
Arranged by Cynthia
Dobrinski. Handbell
choir. For 3-5 octave
handbells. Christmas and
Sacred. Grade 2 .
Handbell Score. 8 pages.
Published by Hope
Publishing Company
Guitar solo - Advanced SKU: DZ.DZ-4287 Composed by Francisco Braga. Arran...(+)
Guitar solo - Advanced
SKU: DZ.DZ-4287
Composed by Francisco
Braga. Arranged by
Luciano Lima. Score. Les
Productions d'OZ #DZ
4287. Published by Les
Productions d'OZ
(DZ.DZ-4287).
ISBN
9782898522048.
Ant
nio Francisco Braga
(1868-1945) belongs to
the generation of
Brazilian composers of
the first republican
period, aesthetically
tied to romanticism,
alongside Henrique Oswald
(1852-1931), Leopoldo
Miguez (1850-1902),
Glauco Velásquez
(1884-1914), and Barrozo
Neto (1881-1941). Born in
Rio de Janeiro, on April
15th, 1868, he began his
musical studies at the
Asilo dos Meninos
Desvalidos, in 1876. In
1883, he enrolled at the
Imperial Conservatório
de Música where he
studied harmony and
counterpoint with Carlos
de Mesquita – a former
student of César Franck,
Durand, and Massenet –
and clarinet with
Antônio Luís de Moura.
Braga's first
compositions date from
this period: Sonho de
Dante (1885), Dolce far
niente (1886), the first
Valse Romantique for
piano (1886), among
others. In 1887, he
premiered his first
symphonic work,
Fantasia-Abertura. In
1890, being one of the
finalists in a
competition to choose the
new Brazilian national
anthem, Braga was awarded
a scholarship to study in
Europe, where he took
classes with Jules
Massenet at the Paris
Conservatory. During this
period, he wrote some of
his most important
symphonic works, Paysage,
Cauchemar, Episódio
Sinfônico, and Marabá
(which was performed by
Richard Strauss and the
Vienna Philharmonic in
1920, in Brazil). His
opera Jupyra is
considered one of the
greatest Brazilian
compositions of that
genre. Back in Brazil,
he was appointed
professor of
counterpoint, fugue, and
composition at the
Instituto Nacional de
Música, in 1902. There,
some of the finest
Brazilian composers
studied with him, like
Glauco Velásquez and
Lorenzo
Fernândez. Braga
wrote operas, symphonic
works, songs, sacred
music, two Masses, music
for piano, different
chamber formations, band,
and choir. He is the
author of many patriotic
hymns, the most popular
of which is Hino à
Bandeira (with lyrics by
Olavo Bilac). He explored
Brazilian nationalist
elements in some of his
works, as in Variações
sobre um Tema Brasileiro
and in the Trio for
violin, cello and piano,
whose third movement is
based on a lundu (a
musical genre and dance
of Afro-Brazilian
origin). In addition
to being a composer,
Braga was one of the most
active conductors of his
time, having been ahead
of three orchestras in
Rio de Janeiro: Instituto
Nacional de Música,
Sociedade de Concertos
Sinfônicos, and Theatro
Municipal. Braga
conducted the Brazilian
premiere of major
symphonic works such as
La Mer (Debussy), Pacific
231 (Honegger) besides
other numerous Brazilian
compositions. In 1938,
he retired from Instituto
Nacional de Música. He
passed away on March
14th, 1945, in Rio de
Janeiro. Unfortunately
, Francisco Braga never
wrote for the guitar.
However, over a century
ago his music had already
been incorporated to its
repertoire. According to
information found in
newspapers of the time,
Spanish guitarist
Josefina Robledo included
transcriptions of pieces
by Braga in her programs
when she performed in
Brazil: Gavota e Minuete
(from the melodrama
Contratador de
Diamantes), in 1919, in
São Paulo, and the
waltz-caprice Corrupio,
in 1921, in Rio de
Janeiro. The piano
score of Madrigal Pavane
was dedicated to Alexina
Leitão and published by
Casa Vieira Machado, in
1901. According to the
composer’s catalogue,
there are two other
versions of this piece:
strings orchestra (1901)
and quartet (which is
still in manuscript).
Dedicated to Braga’s
childhood friend José de
Souza Rocha, Timburibá
(the name of a Brazilian
tree) is a tango for
piano from 1886,
published by Narciso &
Arthur
Napoleão.
Antôni
o Francisco Braga
(1868-1945) appartient à
la génération des
compositeurs brésiliens
de la première période
républicaine,
esthétiquement liés au
romantisme, aux côtés
de Henrique Oswald
(1852-1931), Leopoldo
Miguez (1850-1902),
Glauco Velásquez
(1884-1914) , et Barrozo
Neto (1881-1941). Né à
Rio de Janeiro, le 15
avril 1868, il commence
ses études musicales à
l'Asilo dos Meninos
Desvalidos, en 1876. En
1883, il s'inscrit au
Imperial Conservatório
de Música où il étudie
l'harmonie et le
contrepoint avec Carlos
de Mesquita – ancien
élève de César Franck,
Durand et Massenet – et
clarinette avec Antônio
Luís de Moura. De cette
période datent les
premières compositions
de Braga : « Sonho de
Dante » (1885), « Dolce
far niente » (1886), la
première « Valse
Romantique » pour piano
(1886), entre
autres. En 1887, il
crée sa première œuvre
symphonique, «
Fantasia-Abertura ». En
1890, étant l'un des
finalistes d'un concours
pour choisir le nouvel
hymne national
brésilien, Braga obtient
une bourse pour étudier
en Europe, où il suit
les cours de Jules
Massenet au Conservatoire
de Paris. Durant cette
période, il écrit
certaines de ses œuvres
symphoniques les plus
importantes, « Paysage
», « Cauchemar », «
Episódio Sinfônico »
et « Marabá »
(interprétée par
Richard Strauss et la
Philharmonie de Vienne en
1920, au Brésil). Son
opéra « Jupyra » est
considéré comme l'une
des plus grandes
compositions
brésiliennes de ce
genre. De retour au
Brésil, il fut nommé
professeur de
contrepoint, de fugue et
de composition à
l'Instituto Nacional de
Música, en 1902. Là,
certains des meilleurs
compositeurs brésiliens
étudièrent avec lui,
comme Glauco Velásquez
et Lorenzo
Fernândez. Braga a
écrit des opéras, des
œuvres symphoniques, des
chansons, de la musique
sacrée, deux messes, de
la musique pour piano,
différentes formations
de chambre, un orchestre
et une chorale. Il est
l'auteur de nombreux
hymnes patriotiques, dont
le plus populaire est «
Hino à Bandeira » (avec
des paroles d'Olavo
Bilac). Il a exploré des
éléments nationalistes
brésiliens dans
certaines de ses œuvres,
comme dans « Variações
sobre um Tema Brasileiro
» et dans le Trio pour
violon, violoncelle et
piano, dont le troisième
mouvement est basé sur
un « lundu » (un genre
musical et une danse
afro-américaine).
Origine
brésilienne). En plus
d'être compositeur,
Braga a été l'un des
chefs d'orchestre les
plus actifs de son
époque, ayant dirigé
trois orchestres à Rio
de Janeiro : « Instituto
Nacional de Música »,
« Sociedade de Concertos
Sinfônicos » et «
Theatro Municipal ».
Braga a dirigé la
première brésilienne
d'œuvres symphoniques
majeures telles que « La
Mer » (Debussy), «
Pacific 231 » (Honegger)
ainsi que de nombreuses
autres compositions
brésiliennes. En
1938, il prend sa
retraite de l'Instituto
Nacional de Música. Il
est décédé le 14 mars
1945 à Rio de
Janeiro. Malheureuseme
nt, Francisco Braga n’a
jamais écrit pour la
guitare. Cependant, il y
a plus d'un siècle, sa
musique était déjà
incorporée à son
répertoire. Selon des
informations trouvées
dans les journaux de
l'époque, la guitariste
espagnole Josefina
Robledo incluait des
transcriptions de pièces
de Braga dans ses
programmes lorsqu'elle se
produisait au Brésil :
« Gavota e Minuete »
(du mélodrame «
Contratador de Diamantes
»), en 1919, à São
Paulo, et la
valse-caprice « Corrupio
», en 1921, à Rio de
Janeiro. La partition
pour piano de « Madrigal
Pavane » a été
dédiée à Alexina
Leitão et publiée par
« Casa Vieira Machado
», en 1901. Selon le
catalogue du compositeur,
il existe deux autres
versions de cette pièce
: orchestre à cordes
(1901) et quatuor (qui
est encore manuscrit).
Dédié à José de Souza
Rocha, ami d'enfance de
Braga, « Timburibá »
(nom d'un arbre
brésilien) est un tango
pour piano de 1886,
publié par « Narciso &
Arthur Napoleão
». Envoyer des
commentaires Panneaux
latéraux HistoriqueEnregistrées.
Chamber Music Piano, alto Saxophone SKU: PR.114419850 Composed by Stacy G...(+)
Chamber Music Piano, alto
Saxophone
SKU:
PR.114419850
Composed
by Stacy Garrop. Sws. See
lengthy program note on
prefatory page. Set of
Score and Parts. 44+24
pages. Duration 23
minutes. Theodore Presser
Company #114-41985.
Published by Theodore
Presser Company
(PR.114419850).
ISBN
9781491135808. UPC:
680160681044. 9 x 12
inches.
Both a
spectacular concerto for
saxophone, and a dramatic
tone poem on Roman
mythology, QUICKSILVER is
a 23-minute concerto for
Alto Saxophone and Wind
Ensemble by one of the
sax literature’s
most commissioned and
admired composers.Through
worded captions as well
as gorgeously expressive
tone painting, Movement 1
depicts the birth and
childhood pranks of
Mercury, Movement 2 shows
him escorting souls to
the gates of the
Underworld, and Movement
3 is a phantasmagoric
finale portraying Mercury
as messenger amid the
conflicts of other
mythological figures.
There are many YouTube
performances available,
both in the original
version with Wind
Ensemble, and with
Piano. In addition to
being another name for
the element mercury,
“quicksilverâ€
is used to describe
something that changes
quickly or is difficult
to contain. My concerto
of the same name was
inspired by the Roman god
Mercury, as well as the
mercurial nature of the
saxophone: unpredictable,
very lively, and
volatile. Mercury (known
as Hermes in Greek
mythology) is best known
for his winged shoes,
which allowed him to fly
swiftly as the messenger
of his fellow Olympians.
Mercury had other duties
too, including serving as
the god of merchants,
travelers, and
tricksters; he also
ushered souls of the
departed to the
Underworld.Quicksilver
tells three tales of the
Roman god. The first
movement (Antics of a
Newborn God) opens with
the birth of Mercury;
after he takes his first
steps, he toddles around,
gleefully looking for
mischief. He stumbles
across a herd of cows
that belong to his
brother Apollo; Mercury
slyly lets the cows out
of their pen before
toddling onward with his
mischief-making.In the
second movement (Guiding
Souls to the Underworld),
Pluto, god of the
Underworld, bids Mercury
to bring him fresh souls.
The movement begins with
death-knells tolling for
humans who are about to
die; Mercury picks up
these souls and leads
them down to the gates of
the Underworld.The third
and final movement
(Messenger of Olympus)
depicts Mercury as he is
busily running errands
for various gods and
goddesses. We first
encounter him mid-flight
as he dashes to earth to
find Aeneas, a Trojan
lieutenant who had been
run out of Troy by the
invading Greeks. Aeneas
is on a quest to find
land on which to
establish a new city that
would eventually become
Rome. While traveling, he
is distracted from his
quest when he meets the
beautiful queen Dido.
They live together for
many years before Mercury
intervenes; he chastises
Aeneas for giving up on
his quest and persuades
him to pick it up again.
As Aeneas mournfully
resumes his journey, we
hear Dido perish of a
broken heart. Mercury
then takes to the skies
to seek out Perseus, who
is preparing to kill
Medusa, the hideous
gorgon who has snakes for
hair and a gaze that
turns those who catch her
glance into stone.
Mercury advises Perseus
on how to slay Medusa and
lends Perseus his sword
to do the deed. We hear
Perseus victorious in the
beheading of Medusa,
after which Mercury takes
to the skies once more to
fly home to Olympus.
Score Orchestra SKU: HL.14032248 Composed by Aulis Sallinen. Music Sales ...(+)
Score Orchestra
SKU:
HL.14032248
Composed
by Aulis Sallinen. Music
Sales America. Classical.
Book [Softcover]. 150
pages. Edition Wilhelm
Hansen #NOV890171.
Published by Edition
Wilhelm Hansen
(HL.14032248).
ISBN
9780853605331.
8.25x11.75x0.505
inches.
Aulis
Sallinen was born in 1935
in Salmi on the northern
shore of Lake Ladoga
(which the Soviet Union
claimed in 1944). His
early musical experience
was playing the violin.
Improvising (including
jazz) on the piano led
him to write his first
compositions as a
teenager. After studying
with Aarre Merikanto and
Joonas Kokkonen at the
Sibelius Academy, he
joined the staff there.
He was Administrator of
the Finnish Radio
Symphony Orchestra
(1960-69); Secretary and
member of the Board
(1958-73), then Chairman
(1971-73) of the Finnish
Composers' Society;
member of the board of
TEOSTO (Finnish copyright
society) from 1970-84,
then Chairman from
1988-90; he also served
for several years on the
Board of the Finnish
National Opera. Here is
the Facsimile of the
Sixth Symphony that was
composed over 1989-1990,
and commissioned and
first performed by the
New Zealand Symphony
Orchestra.
Piano SKU: BR.EB-8990 After R (A Portrait for Piano and Orchestra)...(+)
Piano
SKU:
BR.EB-8990
After R
(A Portrait for Piano and
Orchestra). Composed
by Nicola Campogrande.
Solo instruments;
stapled. Edition
Breitkopf.
He
re you will find the
concerto R (A Portrait
for Piano and
Orchestra).
Solo
concerto; Music
post-1945; New music
(post-2000). Score.
Composed 2015. 36 pages.
Duration 15'. Breitkopf
and Haertel #EB 8990.
Published by Breitkopf
and Haertel (BR.EB-8990).
ISBN 9790004187197. 9
x 12 inches.
A
Musical Portrait In 2012
Nicola Campogrande
received a rather
singular commission when
a total stranger asked
him to compose a musical
portrait of his fiancee.
The man knew exactly what
he wanted: a concerto for
piano and orchestra.
After some reflection,
Campogrande realised that
he would be able to paint
with music. It would
never be possible, of
course, to recognise the
shape of the woman's face
or the colour of her
hair, but the score could
evoke the way in which
she occupied space and
time, and the different
movements of the
composition would be like
the faces on a rotating
prism. Campogrande thus
accepted the commission
and the stranger sent him
a few photos of his
fiancee, spoke to him
about her and, finally,
introduced him to her.
This is how R (A portrait
for piano and orchestra)
was born, first performed
in April 2013 by Lilya
Zilberstein with the
Orchestra Verdi in Milan.
Subsequently, following
other performances and a
TV documentary, a number
of different pianists
asked Campogrande to
write a version for solo
piano. Hence Nudo
emerged, a piece that
would be very similar to
R , were it not for the
fact that, as the title
suggests, the pianist is
naked, without orchestral
clothing. Information on
Nudo on the composer's
website Audio recording
of Nudo (YouTube) Un
portrait musical En 2012,
Nicola Campogrande s'est
vu proposer une
commission fort
singuliere ; un parfait
etranger lui demandait de
composer le portrait
musical de sa compagne.
L'homme savait exactement
ce qu'il voulait : un
concert pour piano et
orchestre. Apres quelques
hesitations, Campogrande
s'est rendu compte qu'il
pouvait se servir de la
musique comme d'un
pinceau. Bien entendu, il
ne serait jamais possible
de reconnaitre la forme
du visage de la femme ou
la couleur de ses
cheveux, mais la
partition pourrait
evoquer la facon dont
elle se deplacait dans
l'espace et dans le
temps, et les differents
mouvements de la piece
seraient comme les
figures d'un prisme en
rotation. Campogrande a
donc accepte la
commission ; l'etranger
lui a envoye des photos
de sa compagne, il lui a
parle d'elle, avant de
les faire se rencontrer
personnellement. Ainsi
est ne R (Un portrait
pour piano et orchestre)
, interprete pour la
premiere fois en avril
2013 par Lilya
Zilberstein et
l'orchestre Verdi de
Milan. D'autres
executions ont suivi,
ainsi qu'un documentaire
televise, apres quoi
plusieurs pianistes ont
prie Campogrande d'ecrire
une version pour piano
seul. C'est ainsi que
Nudo a vu le jour : un <<
nu >> tres semblable au
premier portrait, si ce
n'est que le piano s'y
trouve, comme le suggere
le titre, depouille de
son vetement orchestral.
Ritrarre con la musica
Nel 2012 Nicola
Campogrande ha ricevuto
la piu singolare delle
commissioni, quando un
perfetto sconosciuto gli
ha chiesto di comporre il
ritratto musicale della
sUrauffuhrung fidanzata.
L'uomo sapeva esattemente
cio che voleva: un
concerto per pianoforte e
orchestra. Dopo qualche
esitazione, Campogrande
si e reso conto di poter
dipingere con la musica;
certo, non sarebbe stato
possibile riconoscere la
forma del viso della
donna o il colore dei
suoi capelli, ma la
partitura avrebbe evocato
il modo nel quale lei si
muoveva nello spazio e
nel tempo, e i vari
movimenti del brano
sarebbero stati come le
facce di un prisma in
rotazione. Campogrande ha
dunque accettato la
commissione e lo
sconosciuto gli ha
mandato alcune foto della
sUrauffuhrung fidanzata,
gli ha parlato di lei e,
alla fine, gliela ha
presentata personalmente.
E cosi nato cosi R (Un
ritratto per pianoforte e
orchestra ), eseguito per
la prima volta
nell'aprile 2013 da Lilya
Zilberstein insieme
all'Orchestra Verdi di
Milano.In seguito, dopo
altre esecuzioni e un
documentario tv, diversi
pianisti hanno chiesto a
Campogrande di preparare
una versione per
pianoforte solo. E stato
cosi che ha preso forma
Nudo , un brano del tutto
simile a R tranne per il
fatto che, come
suggerisce il titolo, il
pianista e nudo, senza un
abito orchestrale. 'Nudo'
is a scintillating work
that paints a vivid and
fascinating sequence of
musical portraits of its
subject. And the
Breitkopf score is simply
superb.
(www.pianodao.com).
New music
(post-2000). Full score.
Composed 2016/17/20. 48
pages. Duration 8'.
Breitkopf and Haertel #PB
5432. Published by
Breitkopf and Haertel
(BR.PB-5432).
ISBN
9790004212790. 10 x 12.5
inches.
Marche
fatale is an incautiously
daring escapade that may
annoy the fans of my
compositions more than my
earlier works, many of
which have prevailed only
after scandals at their
world premieres. My
Marche fatale has,
though, little
stylistically to do with
my previous compositional
path; it presents itself
without restraint, if not
as a regression, then
still as a recourse to
those empty phrases to
which modern civilization
still clings in its daily
utility music, whereas
music in the 20th and
21st centuries has long
since advanced to new,
unfamiliar soundscapes
and expressive
possibilities. The key
term is banality. As
creators we despise it,
we try to avoid it -
though we are not safe
from the cheap banal even
within new aesthetic
achievements.Many
composers have
incidentally accepted the
banal. Mozart wrote Ein
musikalischer Spass [A
Musical Jape], a
deliberately amateurishly
miscarried sextet.
Beethoven's Bagatellen
op. 119 were rejected by
the publisher on the
grounds that few will
believe that this minor
work is by the famous
Beethoven. Mauricio Kagel
wrote, tongue in cheek,
so to speak, Marsche, um
den Sieg zu verfehlen
[Marches for being
Unvictorious], Ligeti
wrote Hungarian Rock; in
his Circus Polka
Stravinsky quoted and
distorted the famous, all
too popular Schubert
military march, composed
at the time for piano
duet. I myself do not
know, though, whether I
ought to rank my Marche
fatale alongside these
examples: I accept the
humor in daily life, the
more so as this daily
life for some of us is
not otherwise to be
borne. In music, I
mistrust it, considering
myself all the closer to
the profounder idea of
cheerfulness having
little to do with humor.
However: Isn't a march
with its compelling claim
to a collectively martial
or festive mood absurd, a
priori? Is it even music
at all? Can one march and
at the same time listen?
Eventually, I resolved to
take the absurd seriously
- perhaps bitterly
seriously - as a
debunking emblem of our
civilization that is
standing on the brink.
The way - seemingly
unstoppable - into the
black hole of all
debilitating demons: that
can become serene. My old
request of myself and my
music-creating
surroundings is to write
a non-music, whence the
familiar concept of music
is repeatedly re-defined
anew and differently, so
that derailed here -
perhaps? - in a
treacherous way, the
concert hall becomes the
place of mind-opening
adventures instead of a
refuge in illusory
security. How could that
happen? The rest is -
thinking.(Helmut
Lachenmann, 2017)CD
(Version for
Piano):Nicolas Hodges CD
Wergo WER 7393 2
Bibliography:Ich bin
nicht ,,pietistisch
verformt. Ein Gesprach
[von Jan Brachmann] mit
dem Komponisten Helmut
Lachenmann, in: FAZ vom
7. Juni 2018, p.
15.
World premiere
of the piano version:
Mito/Japan, June 17,
2017, World premiere of
the orchestral version:
Stuttgart, January 1,
2018, World premiere of
the ensemble version:
Frankfurt, December 9,
2020.
New music
(post-2000). Score.
Composed 2016/17/20. 12
pages. Duration 8'.
Breitkopf and Haertel #EB
9253. Published by
Breitkopf and Haertel
(BR.EB-9253).
ISBN
9790004185537. 9 x 12
inches.
Marche
fatale is an incautiously
daring escapade that may
annoy the fans of my
compositions more than my
earlier works, many of
which have prevailed only
after scandals at their
world premieres. My
Marche fatale has,
though, little
stylistically to do with
my previous compositional
path; it presents itself
without restraint, if not
as a regression, then
still as a recourse to
those empty phrases to
which modern civilization
still clings in its daily
utility music, whereas
music in the 20th and
21st centuries has long
since advanced to new,
unfamiliar soundscapes
and expressive
possibilities. The key
term is banality. As
creators we despise it,
we try to avoid it -
though we are not safe
from the cheap banal even
within new aesthetic
achievements.Many
composers have
incidentally accepted the
banal. Mozart wrote Ein
musikalischer Spass [A
Musical Jape], a
deliberately amateurishly
miscarried sextet.
Beethoven's Bagatellen
op. 119 were rejected by
the publisher on the
grounds that few will
believe that this minor
work is by the famous
Beethoven. Mauricio Kagel
wrote, tongue in cheek,
so to speak, Marsche, um
den Sieg zu verfehlen
[Marches for being
Unvictorious], Ligeti
wrote Hungarian Rock; in
his Circus Polka
Stravinsky quoted and
distorted the famous, all
too popular Schubert
military march, composed
at the time for piano
duet. I myself do not
know, though, whether I
ought to rank my Marche
fatale alongside these
examples: I accept the
humor in daily life, the
more so as this daily
life for some of us is
not otherwise to be
borne. In music, I
mistrust it, considering
myself all the closer to
the profounder idea of
cheerfulness having
little to do with humor.
However: Isn't a march
with its compelling claim
to a collectively martial
or festive mood absurd, a
priori? Is it even music
at all? Can one march and
at the same time listen?
Eventually, I resolved to
take the absurd seriously
- perhaps bitterly
seriously - as a
debunking emblem of our
civilization that is
standing on the brink.
The way - seemingly
unstoppable - into the
black hole of all
debilitating demons: that
can become serene. My old
request of myself and my
music-creating
surroundings is to write
a non-music, whence the
familiar concept of music
is repeatedly re-defined
anew and differently, so
that derailed here -
perhaps? - in a
treacherous way, the
concert hall becomes the
place of mind-opening
adventures instead of a
refuge in illusory
security. How could that
happen? The rest is -
thinking.(Helmut
Lachenmann, 2017)CD
(Version for
Piano):Nicolas Hodges CD
Wergo WER 7393 2
Bibliography:Ich bin
nicht ,,pietistisch
verformt. Ein Gesprach
[von Jan Brachmann] mit
dem Komponisten Helmut
Lachenmann, in: FAZ vom
7. Juni 2018, p.
15.
World premiere
of the piano version:
Mito/Japan, June 17,
2017, World premiere of
the orchestral version:
Stuttgart, January 1,
2018, World premiere of
the ensemble version:
Frankfurt, December 9,
2020.
Chorale SATB SATB A Cappella [Partition] - Intermédiaire Schirmer
Mixed chorus vocal songbook for SATB choir (a cappella). With SATB vocal score a...(+)
Mixed chorus vocal
songbook for SATB choir
(a cappella). With SATB
vocal score and piano
accompaniment (rehearsal
only). 176 pages.
Published by G. Schirmer,
Inc.
Handbell Ensemble handbell SKU: HP.2977 Arranged by Jason W. Krug. Small(...(+)
Handbell Ensemble
handbell
SKU:
HP.2977
Arranged by
Jason W. Krug. Small(er)
But Mighty. Handbell
score. 20 pages. Hope
Publishing Company #2977.
Published by Hope
Publishing Company
(HP.2977).
UPC:
763628129774.
Eight
Settings for 12 Bells
Intended for the small
ensemble, this collection
includes 8 arrangements
that have been written
for the treble clef,
F5-C7. They can be used
for 3 to 6 ringers.
Solo
concerto; Music
post-1945; New music
(post-2000). Solo part.
Composed 2012. 32 pages.
Duration 17'. Breitkopf
and Haertel #OB 5693-03.
Published by Breitkopf
and Haertel
(BR.OB-5693-03).
ISBN
9790004347232. 10 x 12.5
inches.
A Musical
Portrait In 2012 Nicola
Campogrande received a
rather singular
commission when a total
stranger asked him to
compose a musical
portrait of his fiancee.
The man knew exactly what
he wanted: a concerto for
piano and orchestra.
After some reflection,
Campogrande realised that
he would be able to paint
with music. It would
never be possible, of
course, to recognise the
shape of the woman's face
or the colour of her
hair, but the score could
evoke the way in which
she occupied space and
time, and the different
movements of the
composition would be like
the faces on a rotating
prism. Campogrande thus
accepted the commission
and the stranger sent him
a few photos of his
fiancee, spoke to him
about her and, finally,
introduced him to her.
This is how R (A portrait
for piano and orchestra)
was born, first performed
in April 2013 by Lilya
Zilberstein with the
Orchestra Verdi in Milan.
Subsequently, following
other performances and a
TV documentary, a number
of different pianists
asked Campogrande to
write a version for solo
piano. Hence Nudo
emerged, a piece that
would be very similar to
R, were it not for the
fact that, as the title
suggests, the pianist is
naked, without orchestral
clothing.Un portrait
musical En 2012, Nicola
Campogrande s'est vu
proposer une commission
fort singuliere ; un
parfait etranger lui
demandait de composer le
portrait musical de sa
compagne. L'homme savait
exactement ce qu'il
voulait : un concert pour
piano et orchestre. Apres
quelques hesitations,
Campogrande s'est rendu
compte qu'il pouvait se
servir de la musique
comme d'un pinceau. Bien
entendu, il ne serait
jamais possible de
reconnaitre la forme du
visage de la femme ou la
couleur de ses cheveux,
mais la partition
pourrait evoquer la facon
dont elle se deplacait
dans l'espace et dans le
temps, et les differents
mouvements de la piece
seraient comme les
figures d'un prisme en
rotation. Campogrande a
donc accepte la
commission ; l'etranger
lui a envoye des photos
de sa compagne, il lui a
parle d'elle, avant de
les faire se rencontrer
personnellement. Ainsi
est ne R (Un portrait
pour piano et orchestre),
interprete pour la
premiere fois en avril
2013 par Lilya
Zilberstein et
l'orchestre Verdi de
Milan. D'autres
executions ont suivi,
ainsi qu'un documentaire
televise, apres quoi
plusieurs pianistes ont
prie Campogrande d'ecrire
une version pour piano
seul. C'est ainsi que
Nudo a vu le jour : un <<
nu >> tres semblable au
premier portrait, si ce
n'est que le piano s'y
trouve, comme le suggere
le titre, depouille de
son vetement orchestral.
Ritrarre con la musica
Nel 2012 Nicola
Campogrande ha ricevuto
la piu singolare delle
commissioni, quando un
perfetto sconosciuto gli
ha chiesto di comporre il
ritratto musicale della
sua fidanzata. L'uomo
sapeva esattemente cio
che voleva: un concerto
per pianoforte e
orchestra. Dopo qualche
esitazione, Campogrande
si e reso conto di poter
dipingere con la musica;
certo, non sarebbe stato
possibile riconoscere la
forma del viso della
donna o il colore dei
suoi capelli, ma la
partitura avrebbe evocato
il modo nel quale lei si
muoveva nello spazio e
nel tempo, e i vari
movimenti del brano
sarebbero stati come le
facce di un prisma in
rotazione. Campogrande ha
dunque accettato la
commissione e lo
sconosciuto gli ha
mandato alcune foto della
sua fidanzata, gli ha
parlato di lei e, alla
fine, gliela ha
presentata personalmente.
E cosi nato cosi R (Un
ritratto per pianoforte e
orchestra), eseguito per
la prima volta
nell'aprile 2013 da Lilya
Zilberstein insieme
all'Orchestra Verdi di
Milano.In seguito, dopo
altre esecuzioni e un
documentario tv, diversi
pianisti hanno chiesto a
Campogrande di preparare
una versione per
pianoforte solo. E stato
cosi che ha preso forma
Nudo, un brano del tutto
simile a R tranne per il
fatto che, come
suggerisce il titolo, il
pianista e nudo, senza un
abito orchestrale.
Information on R on the
composer's
websiteRecording of the
premiere of R in Milano
(YouTube).
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1053830-010 Composed by Jacqu...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1053830-010
Composed by Jacques
Offenbach. The Great
Classics. Transcription.
Set (Score & Parts).
Composed 2005. De Haske
Publications #DHP
1053830-010. Published by
De Haske Publications
(BT.DHP-1053830-010).
English-German-French-
Dutch.
Jacques
Offenbach was born in
1819 in Cologne, Germany,
but as a child he moved
to Paris where he
received a thorough
musical education. In his
operetta Orpheus in the
Underworld, Offenbach
parodies the famous Greek
legend of Orpheus and
Euridice. Indirectly,
however, he criticises
the complacency of many
of his contemporaries.
The overture was not
written entirely by
Offenbach, Carl Binder
added various pieces to
it for a Viennese
production of this
operetta in 1860 and
since then, these pieces
have remained part of the
composition. This
appealing transcription
includes the famous Can
Can which is sure to get
your audience high
kicking in the
aisles!
Jacques Offenbach
(1819-1880) coltivava
l’arte di
ironizzare sulla
frivolezza delle
abitudini parigine,
sull’amore, sulla
vita politica e la vita
militare. La sua operetta
Orfeo agli Inferni (1858)
è una parodia del mito
greco di Orfeo ed
Euridice, ma dietro la
facciata
dell’antichit , si
abbandona ad una critica
severa del comportamento
di sufficienza di
numerosi suoi
contemporanei.
L’Ouverture come
noi la conosciamo oggi,
non è la versione
originale di Offenbach,
ma una versione
completata da Carl Binder
per una produzione a
Vienna nel 1860. Wil van
der Beek ne ha realizzato
una trascrizione
irresistibile che
contiene il brillante
Cancan, una delle pagine
più celebri
dellospartito.
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1053830-140 Composed by Jacqu...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1053830-140
Composed by Jacques
Offenbach. The Great
Classics. Transcription.
Score Only. Composed
2005. 44 pages. De Haske
Publications #DHP
1053830-140. Published by
De Haske Publications
(BT.DHP-1053830-140).
English-German-French-
Dutch.
Jacques
Offenbach was born in
1819 in Cologne, Germany,
but as a child he moved
to Paris where he
received a thorough
musical education. In his
operetta Orpheus in the
Underworld, Offenbach
parodies the famous Greek
legend of Orpheus and
Euridice. Indirectly,
however, he criticises
the complacency of many
of his contemporaries.
The overture was not
written entirely by
Offenbach, Carl Binder
added various pieces to
it for a Viennese
production of this
operetta in 1860 and
since then, these pieces
have remained part of the
composition. This
appealing transcription
includes the famous Can
Can which is sure to get
your audience high
kicking in the
aisles!
Jacques Offenbach
(1819-1880) coltivava
l’arte di
ironizzare sulla
frivolezza delle
abitudini parigine,
sull’amore, sulla
vita politica e la vita
militare. La sua operetta
Orfeo agli Inferni (1858)
è una parodia del mito
greco di Orfeo ed
Euridice, ma dietro la
facciata
dell’antichit , si
abbandona ad una critica
severa del comportamento
di sufficienza di
numerosi suoi
contemporanei.
L’Ouverture come
noi la conosciamo oggi,
non è la versione
originale di Offenbach,
ma una versione
completata da Carl Binder
per una produzione a
Vienna nel 1860. Wil van
der Beek ne ha realizzato
una trascrizione
irresistibile che
contiene il brillante
Cancan, una delle pagine
più celebri
dellospartito.
Voice SKU: HL.14022962 Arranged by Ulla Hjorth Nielsen. Music Sales Ameri...(+)
Voice
SKU:
HL.14022962
Arranged
by Ulla Hjorth Nielsen.
Music Sales America.
TV-Film-Musical-Show.
Book [Softcover].
Composed 2005. 213 pages.
Edition Wilhelm Hansen
#WH30515. Published by
Edition Wilhelm Hansen
(HL.14022962).
ISBN
9788759810941.
Tune
s from the movie -
Musical, melodrama, farce
and comedy - well known
film genres have through
the last 70 years
produced film songs, that
deserve to be remembered,
played and sung. Many of
which have become beloved
evergreens. Toner fra
filmen contains 100 songs
that explain why. Tunes
from the movie - Toner
fra filmen is the first
Danish song book, that
concentrates on songs
written directly to the
film medium - from 1932
until 2002. From swing
music to a sailor's
waltz, from rock'n'roll
to rap music, and the
publication contains 100
compositions and lyrics
and with that the answer
to why a specific film
song book is relevant.
The answer is quality and
diversity.Toner fra
filmen is a song book
that is supposed to
strengthen the joy of
singing and the memory of
everyone interested in
songs and films.
Predictable catchy tunes
by eg. Sven Gyldmark
standing side by side
with surprises that have
almost been forgotten by
most but deserve a
renaissance. Toner fra
filmen is released now as
the quality in the
national film production
makes people walk away
from the television and
into the darkness of the
movie theatre to laugh
and cry. Back at the
television screen we
enjoy the old Danish
movies that make us wish
to refresh the film
songs. Most of us
seldomly remember more
than the refrain, and
then the need to look at
the score arises. The
songs chosen to Toner fra
filmen has of course been
an integrated part of the
movies' set up, but they
can manage on their own.
There are a lot of love
songs, but there are also
songs for every taste and
temperament, nice as well
as sexy, short, long,
poetic etc etc. The book
makes you want to sing
and play and is at the
same time a piece of
Danish cultural
history.
Composed by
Cooper Minnis. Sps. Set
of Score and Parts.
1+8+8+4+1+8+8+8+2+2+2+2+2
+2+2+3+3+3+2+2+2+2+3+3+3+
3+2+3+1+2+2+1+2+2+24
pages. Duration 7:48.
Carl Fischer Music
#SPS94. Published by Carl
Fischer Music (CF.SPS94).
ISBN 9781491161449.
UPC:
680160920037.
On
November 5th, 2017, a
mass shooting took place
at the First Baptist
Church in Sutherland
Springs, Texas.
Twenty-six innocent
people lost their lives
that day, including an
unborn child. Overture to
a Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America's cities and
towns. The opening
moments of this piece
should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being aggressive.
The textural layering in
mm. 48-53 should be
executed with
machine-like precision of
both rhythm and
articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte dynamic.
In mm. 65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal. In mm. 69-73:
If there is no English
Horn available to the
ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage together.
This impressionistic
composition about these
vanished structures,
although written for more
advanced ensembles, has
only one flute, clarinet,
trumpet, horn and
trombone part. As a
result, smaller bands can
play this composition
without having to look
for a flex-band
arrangement. Use this to
develop the essential
skills of syncopation and
counting while also
offering the security of
only having one part for
each instrument voice. An
exciting contrasting
selection for bands
looking for a
harmonically interesting
composition, this also
works well as a contest
selection.  . On
November 5th, 2017, a
mass shooting took place
at the First Baptist
Church in Sutherland
Springs, Texas.
Twenty-six innocent
people lost their lives
that day, including an
unborn child. Overture to
a Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America’s cities
and towns.  The
opening moments of this
piece should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being
aggressive.  The
textural layering in mm.
48-53 should be executed
with machine-like
precision of both rhythm
and articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte
dynamic.  In mm.
65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal.  In mm.
69-73: If there is no
English Horn available to
the ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage together.This
impressionistic
composition about these
vanished structures,
although written for more
advanced ensembles, has
only one flute, clarinet,
trumpet, horn and
trombone part. As a
result, smaller bands can
play this composition
without having to look
for a flex-band
arrangement. Use this to
develop the essential
skills of syncopation and
counting while also
offering the security of
only having one part for
each instrument voice. An
exciting contrasting
selection for bands
looking for a
harmonically interesting
composition, this also
works well as a contest
selection. .
Arranged by Sandra
Eithun. Christmas,
Sacred. Handbell score.
12 pages. Hope Publishing
Company #2728. Published
by Hope Publishing
Company (HP.2728).
UPC:
763628127282.
Chris
tmas hymn With suspended
bells quietly calling, O
Come, O Come, Emmanuel,
the scene is set for the
urgency and excitement
that is to follow -
proclaim the good news
that He Is Born! The
faster tempo, minor
backdrop and tabled
mallet accompaniment
drive the piece forward
with the urgent message
of the Christ Child's
birth. The contrasting
middle section offers a
warmer, more thoughtful
statement that includes
lingering LV passages and
optional handchimes. The
piece closes by reprising
the spirited section and
is capped off with a
celebratory fanfare in
major tonalities.
Music
for Orchestra with String
Quartet. Composed by
Helmut Lachenmann.
Softcover.
Partitur-Bibliothek
(Score Library). Solo
concerto; Dances/marches;
Music post-1945. Sheet
Music. Composed 1979/80.
176 pages. Duration 36'.
Breitkopf and Haertel #PB
5714. Published by
Breitkopf and Haertel
(BR.PB-5714).
ISBN
9790004216514. 10.5 x 14
inches.
More than
my earlier works, this
one is interspersed with
metrically bound rhythms
and musicianly characters
that constantly
recrystallize and drift
towards or away from
familiar situations.The
familiar: These are
dance-like figures and
music-making formulas,
but also songs and, in
two cases fragments of
Bach's music - playfully
collected memories of
impressions in which -
consciously and
unconsciously - I am
embodied with that
collective comfort in
whose protection
bourgeois thinking and
feeling, magically
protected, grow up and
emerge apart.(It is well
known that such security
has its fetishes from the
childlike to the adult
stage: Home, religious
bond, holidays,
tradition, longing for
childhood - the
superficiality may have
little idea of the depth
that opens up underneath.
There is also no question
that we are still marked
by such security even
when the contradictions
and alienation of
existence force us to
step out of their
protection, to recognize
and act upon reality, and
to oppose the domination
of such inner bonds where
their original truth has
become the fatal untruth
of comfortable illusion,
stubbornly and fearfully
conjured idyll and
reactionary
narrow-mindedness.My
music feeds on figures in
which such memories are
encapsulated. It deals
with them not much
differently than in other
pieces with the elements
of the traditional
musical concept of
material, having already
always reflected
compositionally as a
product of sociality and
anticipation of musical
expression, i.e. it moved
into a structurally
expanded context and
expressively redefined
from there.Such an
approach aims at
overcoming lack of
freedom: grasping as part
of conceiving, i.e. not
philosophical reflection,
but rather an
artistically gripping
reflex by intervening in
the physical immediacy of
such predetermined
elements. These penetrate
and infect the structural
events, inducing a
musicianship that cannot
be relied upon; the music
jumps onto rhythms like
onto moving vehicles,
allows for being carried
by them until they deform
or disintegrate. This
creates an incline of
rhythmically shaped
situations: sequence and
interweaving of dances
and structures.The role
of the solo string
quartet is versatile,
obbligato and
concertante, leading and
accompanying in a
changing sense. Set as a
chamber music apparatus
in an orchestral
landscape, it repeatedly
forces its own sound
dimensions onto the
orchestra, it must accept
being drowned out at
times, it nests in the
holes of tutti fields, it
acts as a louse in the
fur, forcing one to
listen in and out.The
Tanzsuite with
Deutschlandlied is
structured as follows:I.
Section. 1. Introduction
- 2. Waltz - 3. March -
4. Bridge -II. Section.
5. Siciliano - 6.
Capriccio - 7. Valse
lente -III. Section. 8.
Bridge - 9. Gigue - 10.
Tarantelle - 11. Bridge
-IV. Section. 12 Aria I -
13 Polka - 14 Aria IIV.
Section. 15. Introduction
- 16 Gallop - 17 Coda
(Aria III)All 17 parts
merge into one
another.(Helmut
Lachenmann,
1980)CDs/LP/DVD:Arditti-Q
uartett, Deutsches
Symphonie-Orchester
Berlin, cond. Olaf
HenzoldCD Montaigne
Auvidis MO 782019Berner
Streichquartett,
Sinfonieorchester des
SWF, cond. Sylvain
Cambreling (Excerpt)CD
BMG/RCA 74321 73510 2
(Musik in Deutschland
1950-2000)Berner
Streichquartett,
Sinfonieorchester des
SWF, cond. Sylvain
CambrelingLP DMR
1028-30Arditti Quartet,
SWR Sinfonieorchester
Baden-Baden und Freiburg,
cond. Hans Zender Excerpt
on CD ,,Auswahl von zehn
Urauffuhrungen aus 70
Jahren, SWR
Sinfonieorchester
Baden-Baden und Freiburg
Arditti Quartet,
Staatsorchester
Stuttgart, cond. Sylvain
Cambreling DVD
,,Lachenmann-Perspektiven
6 (Breitkopf & Hartel,
BHM 7816)
Bibliography:Cavalotti,
Pietro: Differenzen.
Poststrukturalistische
Aspekte in der Musik der
1980er Jahre am Beispiel
von Helmut Lachenmann,
Brian Ferneyhough und
Gerard Grisey (= Sonus.
Schriften zur Musik,
hrsg. von Andreas
Ballsteadt, Band 8),
Schliengen: Argus 2006,
pp. 79-128.Das sind doch
alles Deutschlandlieder!
Helmut Lachenmann im
Gesprach mit Michael
Rebhahn, in: Der
Taktgeber. Das Magazin
der Jungen Deutschen
Philharmonie, Heft 40
(Sommer 2019), S.
6f.Stawowy, Milena:
Fluchtversuche in die
Hohle des Lowen. Helmut
Lachenmanns Tanzsuite mit
Deutschlandlied, in:
MusikTexte 67/68 (1997),
pp. 77-90.Toop, Richard:
Concept and Context: A
Historiographic
Consideration of
Lachenmanns Orchestral
Works, in: Helmut
Lachenmann Inward Beauty,
hrsg. von Dan Albertson,
Contemporary Music Review
23 (2004), Heft 3/4, pp.
125-144.
World
premiere: Donaueschingen
(Donaueschinger
Musiktage), October 18,
1980.
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano,...(+)
Chamber Music Piano,
Trumpet
SKU:
CF.W2682
For
Trumpet in E and Piano,
S.49. Composed by
Johann Hummel. Edited by
Elisa Koehler. Set of
Score and Parts. With
Standard notation. 36+8
pages. Carl Fischer Music
#W2682. Published by Carl
Fischer Music (CF.W2682).
ISBN 9781491144954.
UPC: 680160902453. 9 x 12
inches. Key: E
major.
Choir Secular Double Choir and Violoncello SKU: PE.EP73479 Composed by Fr...(+)
Choir Secular Double
Choir and Violoncello
SKU: PE.EP73479
Composed by Francis Pott.
Choral Works (inc.
Oratorios). Edition
Peters. Living Composer.
Vocal Score. 164 pages.
Edition Peters
#98-EP73479. Published by
Edition Peters
(PE.EP73479).
ISBN
9790577019888. 297 x
210mm inches.
English.
At
First Light was
commissioned by Eric
Bruskin, a resident of
Philadelphia, USA, in
memory of his mother.
Eric had a longstanding
enthusiasm for my work,
and I was touched to be
the person he approached
for a task which is both
a privilege and a
daunting responsibility.
In a sense, no music can
ever measure up to the
weight of love or the
hope of consolation
vested in it under such
circumstances - but in
memory I carry the deaths
of both my own parents,
and I was able to draw
upon that. Eric's
fondness for my Cello
Sonata (itself written in
memoriam) led him to ask
that I include a solo
'cello part in the new
work - but his attachment
also to my polyphonic
sacred choral writing
meant that he wanted a
centrepiece which would
be both a showcase of
that approach and the
celebration of a life
well lived. Therefore,
the seven movements of At
First Light arrange
themselves as a series of
slow meditations
surrounding an exuberant
9-minute motet in which
the lamenting cello falls
temporarily
silent.
Eric's
Jewish faith meant that
approaching an agnostic
humanist brought up
within the Anglican
tradition was hardly free
of problems! Gradually,
though, I was able to win
his approval for a
collated mosaic of texts.
This embraces some
liturgical Latin
(necessary for the motet)
as the shared preserve of
broad western culture in
general, but balances it
with a secular approach
to loss, celebration,
remembrance and the many
shades of our mourning
those whom we see no
longer. Eric was adamant
that he did not want the
title Requiem; but what
has emerged is still a
form of semi-secular
Requiem in all but name,
taking its title instead
from a phrase in the poem
by Thomas Blackburn set
as the third movement.
This seemed to suggest
succinctly how the loss
of one very close to us
is an awakening into an
unfamiliar world where
everything is changed.
Following the exuberant
central movement, the
texts by the
Lebanese-born Kahlil
Gibran and the US,
Kentuckian poet Wendell
Berry first address the
departed loved one
directly, then place us
within an imaginary
funeral cortege, where
the perennial and
universal in human
experience become
personal without
subscribing explicitly to
any particular faith (or
lack of it). The final
text of all is a
translation of a Hebraic
prayer, requested and
provided by Eric Bruskin,
which serves to mirror
its Latin counterpart
heard at the
outset.
Throughout
, the lamenting cello
represents a commentary
on the experience
articulated in the text.
It evokes and, in a
sense, tries to embrace
and sanctify the
individual existential
journeys of the bereft,
as they in turn seek to
make their own sense of
what the short-lived
Second World War poet
Alun Lewis called 'the
unbearable beauty of the
dead' (movement
5).
In a modern
world hostage to ever
greater menace,
displacement, bloodshed
and anguish, I hope
fervently that this music
not only brings a measure
of solace to the person
who commissioned it, but
also makes its own small
contribution to bailing
out the sinking ship of
humanity.