Piano SKU: PA.H07911 Fur Klavier. Composed by Luboš Fišer. S...(+)
Piano
SKU:
PA.H07911
Fur
Klavier. Composed by
Luboš Fišer.
Stapled. Performance
score. With Text
Language:
Czech/German/English.
Editio Baerenreiter Praha
#H07911_00. Published by
Editio Baerenreiter Praha
(PA.H07911).
ISBN
9790260104457. 31 x 23.5
cm inches.
Lubos
Fiser (1935-1999) was one
of the most talented
Czech composers of his
generation. Born in
Prague, he studied at the
Prague Conservatoire from
1952-1956 and then at the
Academy of Music. He was
known to the public for
his many film scores but
it was his other
compositions, many of
them written under
difficult political
conditions, which mark
him out as a composer of
significance.
Fise
r's eight piano sonatas
have a special place in
his oeuvre. Fiser
subsequently eliminated
his second sonata (1956)
from his compositional
repertoire. From the
third sonata onwards
(1960), subtitled
Fantasia, the composer
wrote a two-movement
composition, in which he
continued to incorporate
as his fundamental
musical device the
confrontation of sharp
contrasts in tempo and
mood. Beginning with his
fourth sonata
(1962-1964), Fiser
created a single-movement
work in an expressive,
formally focused
composition which betrays
a progression towards
greater compactness of
musical shape in a
concise yet effective
musical testimony. The
fifth sonata was written
in 1974, the sixth sonata
in 1978. The seventh
sonata from 1985 was
dedicated to Frantisek
Maxian, the eighth sonata
was written in
1995.
Piano Sonata
No.1 was written in 1955.
Fiser worked on it during
his last year at the
Prague Conservatoire
under the supervision of
Emil Hlobil. The piece is
one of Fiser's early
works which still respect
a traditional
compositional approach.
Unlike his major and late
piano sonatas, this
sonata has three
movements, each
representing the
traditional
Classical-Romantic form.
The sonata was premiered
by Fiser's fellow-student
and friend Antonin
Jemelik in Theatre D34 on
30 January
1956.
The new
setting for this piece is
based on the single
edition to date (SNKLHU,
1957); only with regard
to a few inconsistencies
in the score was it
necessary to consult the
composer's manuscript
(kept at the National
Museum - Czech Museum of
Music, acquisition number
297/2006).
Oboe and Violin SKU: BT.MUSM570205509 Composed by Elisabeth Lutyens. Mote...(+)
Oboe and Violin
SKU:
BT.MUSM570205509
Composed by Elisabeth
Lutyens. Motet. Score
Only. 5 pages. University
of York Music Press
#MUSM570205509. Published
by University of York
Music Press
(BT.MUSM570205509).
English.
Publish
ed 1977. First
performance: Janet
Craxton, Perry Hart,
Redcliffe Concert, 21st
January 1981.
SKU: FG.55011-604-7 Composed by Ann-Elise Hannikainen. Fennica Gehrman #5...(+)
SKU:
FG.55011-604-7
Composed by Ann-Elise
Hannikainen. Fennica
Gehrman #55011-604-7.
Published by Fennica
Gehrman (FG.55011-604-7).
ISBN
9790550116047.
Ann-
Elise Hannikainen
(1946-2012) was born in
Hanko, Southern Finland,
but lived mainly abroad,
her father working as
diplomat. Her
grandfather's father was
P.J. Hannikainen, the
head of a prominent
Finnish musical family.
Ann-Elise's attraction to
music was first found at
age of five, when her
family, then living in
Warsaw, bought a grand
piano. Hannikainen
started to study piano
playing at the Sibelius
Academy in 1967, but
rheumatoid arthritis
prevented her from
pursuing a carrier as a
concert pianist. In 1972
she moved to Madrid and
started to study
composition with Ernesto
Halffter Ercriche, a
student of Manuel de
Falla. Hannikainen
advanced quickly in her
career, and her piano
concerto was premiered in
Helsinki Festival in
1976. Her composing style
evolved into luminous
melodies, free atonal
harmonies and
improvisatory forms.
Chachara (1980) is her
first composition for
solo instrument and
piano, and it was also
Hannikainen's last work
to be premiered during
her lifetime. The flute
has the main role
shifting between
virtuosic and bel canto
modes. The window of
love, a distinct section
of tonal harmony and
singing melody was
typical in many of
Hannikainen's
compositions. In Chachara
this confession of love
is heard in the middle of
the piece (Molto
moderato). In January
1981 Chachara was
recognized in Barcelona
with the first prize in
the competition for young
composers.
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult
SKU:
HL.49046544
For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544).
ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches.
I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti).
Composed by Geraldine Green. Classical; 21st century. Complete set of parts, co...(+)
Composed by Geraldine
Green. Classical; 21st
century. Complete set of
parts, conductor's
score. Composed 1992.
Duration 23 minutes.
Published by Alea
Publishing
(A7.ALEA1067A).
Composed by Geraldine Green. For bass clarinet and piano. Classical; 21st centur...(+)
Composed by Geraldine
Green. For bass clarinet
and piano. Classical;
21st century. Solo part
and piano reduction.
Composed 1992. Duration
23 minutes. Published by
Alea Publishing
Voice and Clarinet SKU: AY.CM3202PM Composed by Joaquim Homs. Ensembles -...(+)
Voice and Clarinet
SKU: AY.CM3202PM
Composed by Joaquim Homs.
Ensembles - Chamber
Music. Score & Parts.
Duration 3'30. Periferia
Publishing #CM3202PM.
Published by Periferia
Publishing (AY.CM3202PM).
ISBN
9790543574366.
LES
HORES Two songs for voice
and clarinet about S.
Espriu's poems)The 5th of
January 1938, in the
middle of the civil war,
the excellent poet from
Majorca Bartomeu
Rossello- Porcel passed
away in the Sanatorium of
Brull (Osona) at the age
of 24. His close friend
Salvador Espriu was with
him in his lasts days of
life and expressed his
awful experience in
fifteen short poems under
the title of Les hores,
that were published in
1952. In 1955 I put
music in two of them,
Espera and Nova claror
where only two melodic
lines get crossed and
composed, in a way that
is similar to the
exchange of sensations
and feelings that express
the poems. The music
tends to suggest and to
deepen in our spirit the
emotive climate and the
deep sadness that come
from all the
poems. The next year
I composed five more
songs of the same series
for voice, flute, oboe
and clarinet, and
eventually in 1970,
another six for voice and
string quartet. The
premiere of the last two
series of songs took
place in 1956 and 1974
respectively. The premier
of the first series of
1955 took place the 21st
of November 1988 by the
Group L.I.M at the
Contemporary Arts room of
the Museum of Fine Arts
of Bilbao within the
framework of the Ninth
Music Festival of the
XXth Century. Joaquim
Homs.
For Brass Quintet (2
Bb Trumpets, Horn,
Trombone, Bass Trombone
or Tuba). Composed by
Sydney F. Hodkinson.
First Performance:
January 19, 1974 by the
Canadian Brass, Toronto,
Ontario. Contemporary.
Set of Score and Parts.
With Standard notation.
Composed 1970. 20 + 16
pages. Duration 7:30.
Theodore Presser Company
#144-40067. Published by
Theodore Presser Company
(PR.144400670).
Organ solo SKU: CA.5280700 Composed by Max Reger. Edited by Alexander Bec...(+)
Organ solo
SKU:
CA.5280700
Composed
by Max Reger. Edited by
Alexander Becker,
Christopher Grafschmidt,
Stefan Konig, and
Stefanie Steiner-Grage.
This edition: clothbound.
Max Reger - Hybrid
Edition of works. With
DVD. Free organ music.
Full score (complete
edition / selected
edition). 240 pages.
Carus Verlag #CV
52.807/00. Published by
Carus Verlag
(CA.5280700).
ISBN
9790007164164.
Sinc
e January 2008, the first
scholarly, critical
edition of the works of
Max Reger (RWA) is being
produced at the
Max-Reger-Institute,
Karlsruhe. Its design as
a hybrid edition breaks
new ground in the methods
of editorial practice. It
comprises three areas of
Reger's compositional
output: Organ works,
Lieder and choruses and,
for the first time, Max
Reger's arrangements of
works by other composers.
To begin the series, the
first seven volumes have
been published and
contain the organ works,
which have been eagerly
awaited by many. The
Max-Reger-Institut (MRI),
located in Karlsruhe,
Germany, has initiated
the first ever
scholarly-critical
edition of works by Max
Reger. The
Reger-Werkausgabe (RWA)
is sponsored by the
Mainzer Akademie der
Wissenschaften und der
Literatur and with its
design as a hybrid
edition breaks new ground
in the editorial
techniques. The seventh
and final volume in the
series of organ works
includes, in
chronological order, the
organ pieces Max Reger
composed in 1904 and 1906
in Munich, in 1912 in
Berchtesgaden, in 1913 in
Kolberg, and in 1915 to
1916 in Jena.
Christmas Day Orchestre d'harmonie, Chorale-Voix [Conducteur et Parties séparées] - Intermédiaire Baton Music
(Choral Fantasy on Old Carols). Composed by Gustav Holst (1874-1934). Arranged b...(+)
(Choral Fantasy on Old
Carols). Composed by
Gustav Holst (1874-1934).
Arranged by Douglas
McLain. For Choir and
Concert Band. Christmas.
Grade 3. Full score and
set of parts. Duration
8:00. Published by Baton
Music
Heptameron Piano seul [Conducteur] Breitkopf & Härtel
Piano SKU: BR.EB-6473 7 Pieces. Composed by Jurg Baur. Solo instru...(+)
Piano
SKU:
BR.EB-6473
7
Pieces. Composed by
Jurg Baur. Solo
instruments; Softcover.
Edition Breitkopf.
World premiere:
Dusseldorf, January 19,
1965
Music post-1945.
Score. Composed 1964/65.
20 pages. Duration 14'.
Breitkopf and Haertel #EB
6473. Published by
Breitkopf and Haertel
(BR.EB-6473).
ISBN
9790004167335. 9 x 12
inches.
Das
siebenteilige Klavierwerk
Heptameron ist streng
dodekaphonisch
konzipiert, - sieben
charakteristische
Studien, Szenen,
Epigramme. In jedem Stuck
wird ein kompositorischer
Gedanke mit einem
spieltechnischen Problem
(Sekundketten, Triller,
Tremolo, Repetition)
konfrontiert.
Spiegelstrukturen
dominieren in einzelnen
Abschnitten (Nr. 3, 5 und
6), oder bestimmen den
gesamten Satzverlauf (Nr.
1). Im Finale deutet sich
eine Losung an: aus einem
signalhaften Klangmotiv
zu Beginn entwickeln sich
Bruchstucke eines
marionettenhaften
Menuetts. Heptameron ist
der Versuch, die
Tonsprache Schonbergs und
Weberns in eigenstandiger
Weise zur Synthese zu
fuhren. CDs: Oliver
Drechsel CD Telos 024
Wolfgang Leibnitz (Piano)
CD Gallo
1027
Souvenirs Violoncelle, Piano - Intermédiaire Salabert
Cello and Piano - intermediate SKU: BT.SLB-00595900 Extrait de la musi...(+)
Cello and Piano -
intermediate
SKU:
BT.SLB-00595900
Extrait de la musique
de scène pour « Le
Voyageur sans bagages
». Composed by
Francis Poulenc.
Classical. Book and
Part(s). Composed 2016. 5
pages. Editions Salabert
#SLB 00595900. Published
by Editions Salabert
(BT.SLB-00595900).
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.
Autumnal Violon et Piano [Conducteur et Parties séparées] Faber Music Limited
By Oliver Knussen (1952-). For Violin and Piano. Masterworks; Part(s); Score; So...(+)
By Oliver Knussen
(1952-). For Violin and
Piano. Masterworks;
Part(s); Score; Solo;
String - Violin and
Piano. Faber Edition.
20th Century; Masterwork.
Published by Faber Music
Orchestre d'harmonie [Conducteur et Parties séparées] - Facile FJH
By Brian Balmages. Young Band. FJH Young Band. Moscow, 1941 was commissioned by ...(+)
By Brian Balmages. Young
Band. FJH Young Band.
Moscow, 1941 was
commissioned by the Perry
Hall Middle School Band
and funded by the PTA.
Directors Nwil Fishler
and Kelly Clavell asked
that the piece be
dedicated to Larry
Bondar, a music teacher
who has been affecting
the lives of students for
over 40 years, and an
icon in the Baltimore
area. Mr. Bondar is of
Russian descent, so it
seemed fitting that the
commission be based on
one of Russia's most
famous songs,
Meadowlands. Score for
this title: B1320S.
Concert Band. Level: 2.5.
Score and Set of Parts.
Composed 2006. Published
by The FJH Music Company
Inc.
Chamber Music Clarinet, Flute, Percussion, Piano, Tape, Violoncello, soprano voi...(+)
Chamber Music Clarinet,
Flute, Percussion, Piano,
Tape, Violoncello,
soprano voice
SKU:
PR.11140180S
For
Mezzo-soprano Voice and
Chamber Ensemble with
Tape. Composed by
Shulamit Ran. Text: Five
Poems of Nelly Sachs,
Translation from German
of Nos. I, III and IV by
Ruth and Matthew Mead, of
No. II by Michael Roloff
and No. V by Michael
Hamburger. Contemporary.
Set of performance
scores. With Standard
notation. Composed 1969.
52 pages. Duration 18
minutes. Theodore Presser
Company #111-40180S.
Published by Theodore
Presser Company
(PR.11140180S).
UPC:
680160601691. Text: Nelly
Sachs. Nelly Sachs. Text:
Five Poems of Nelly
Sachs, Translation from
German of Nos. I, III and
IV by Ruth and Matthew
Mead, of No. II by
Michael Roloff and No. V
by Michael
Hamburger.
O The
Chimneys is a setting of
five poems by Nelly
Sachs, the great
German-Jewish 1966 Nobel
Prize co-winner in
literature, whose writing
concerned itself almost
entirely with the subject
of the holocaust.
Composed in 1969, the
work was my own personal
way of saying, through my
own art, do not forget.
Shockingly, these words
have as much relevance
today as they did when
the work was written.
Today we find ourselves
having to say do not
forget, do not distort,
do not deny it ever
happened. I
selected the five poems
from Sachs' O The
Chimneys collection,
retaining its grimly
evocative title even
though I did not include
the actual poem by that
name. In scoring the work
for female voice, flute,
clarinet/bass clarinet,
cello, piano and
percussion, I aimed to
give myself the broadest
possible palette of
instrumental colors while
using the smallest number
of participants. Yet as I
was planning the final
moments of my cycle, I
felt that instrumental
sound alone would not
suffice to express the
horror. An electronic
tape segment was added to
the work's final climax.
The first two
poems (A Dead Child
Speaks and Already
Embraced by the Arm of
Heavenly Solace), both
depicting the tearing of
a child away from his
mother, are treated
essentially as one unit,
with the first acting as
an introduction to the
second. These two, and
the cycle's apocalyptic
fifth poem (Hell is Naked
from Glowing Enigmas II),
act as the two weighty
pillar points, so to
speak, surrounding the
more introspective two
middle poems (Fleeing and
Someone Comes). To
maximize dramatic
differentiation within
the constraints of a
relentlessly tragic
subject matter, I used
range as a means to
delineate contrast, by
dividing the sounds
available to me into low
and dark (mvt. III) vs.
high and, at times,
eerily bright (mvt. IV)
colors. Thus the two
middle poems are intended
to balance the frenzied
madness of which the
work's outer parts are
made. The work
received its first
performance in New York
at the Metropolitan
Museum of Art's Grace
Rainey Auditorium on
January 19, 1970.
--Shulamit Ran.
Chamber Music Clarinet, Flute, Mezzo-soprano voice, Percussion, Piano, Tape, Vio...(+)
Chamber Music Clarinet,
Flute, Mezzo-soprano
voice, Percussion, Piano,
Tape, Violoncello
SKU:
PR.111401800
For
Mezzo-soprano Voice and
Chamber Ensemble with
Tape. Composed by
Shulamit Ran. Arranged by
Nelly Sachs. Text: Five
Poems of Nelly Sachs,
Translation from German
of Nos. I, III and IV by
Ruth and Matthew Mead, of
No. II by Michael Roloff
and No. V by Michael
Hamburger. Contemporary.
Set of Score and Parts.
With Standard notation.
Composed 1969.
51+16+14+20+14+15 pages.
Duration 18 minutes.
Theodore Presser Company
#111-40180. Published by
Theodore Presser Company
(PR.111401800).
UPC:
680160618132. 8.5 x 11
inches. Text: Nelly
Sachs. Nelly Sachs. Text:
Five Poems of Nelly
Sachs, Translation from
German of Nos. I, III and
IV by Ruth and Matthew
Mead, of No. II by
Michael Roloff and No. V
by Michael
Hamburger.
O The
Chimneys is a setting of
five poems by Nelly
Sachs, the great
German-Jewish 1966 Nobel
Prize co-winner in
literature, whose writing
concerned itself almost
entirely with the subject
of the holocaust.
Composed in 1969, the
work was my own personal
way of saying, through my
own art, do not forget.
Shockingly, these words
have as much relevance
today as they did when
the work was written.
Today we find ourselves
having to say do not
forget, do not distort,
do not deny it ever
happened. I
selected the five poems
from Sachs' O The
Chimneys collection,
retaining its grimly
evocative title even
though I did not include
the actual poem by that
name. In scoring the work
for female voice, flute,
clarinet/bass clarinet,
cello, piano and
percussion, I aimed to
give myself the broadest
possible palette of
instrumental colors while
using the smallest number
of participants. Yet as I
was planning the final
moments of my cycle, I
felt that instrumental
sound alone would not
suffice to express the
horror. An electronic
tape segment was added to
the work's final climax.
The first two
poems (A Dead Child
Speaks and Already
Embraced by the Arm of
Heavenly Solace), both
depicting the tearing of
a child away from his
mother, are treated
essentially as one unit,
with the first acting as
an introduction to the
second. These two, and
the cycle's apocalyptic
fifth poem (Hell is Naked
from Glowing Enigmas II),
act as the two weighty
pillar points, so to
speak, surrounding the
more introspective two
middle poems (Fleeing and
Someone Comes). To
maximize dramatic
differentiation within
the constraints of a
relentlessly tragic
subject matter, I used
range as a means to
delineate contrast, by
dividing the sounds
available to me into low
and dark (mvt. III) vs.
high and, at times,
eerily bright (mvt. IV)
colors. Thus the two
middle poems are intended
to balance the frenzied
madness of which the
work's outer parts are
made. The work
received its first
performance in New York
at the Metropolitan
Museum of Art's Grace
Rainey Auditorium on
January 19, 1970.
--Shulamit Ran.
Chorus a cappella SKU: BR.CHB-3145-02 Urtext. Composed by Giovanni...(+)
Chorus a cappella
SKU:
BR.CHB-3145-02
Urtext. Composed
by Giovanni Pierl da
Palestrina. Edited by
Rudolf Ewerhart. Choir;
stapled. Chor-Bibliothek
(Choral Library). Mass;
Renaissance/early
Baroque. Choral score. 28
pages. Breitkopf and
Haertel #ChB 3145-02.
Published by Breitkopf
and Haertel
(BR.CHB-3145-02).
ISBN
9790004403501. 7.5 x 10.5
inches.
Palestrina'
s Missa Paternoster is
one of the masses by this
composer that were
published neither during
his lifetime nor after
his death. The work has
come down to us in one
single manuscript source
from the collections of
the Cappella Sistina in
Rome, a copy transcribed
by D. Brancadore in
1618.The mass is written
on motifs from the
ancient plainchant Pater
noster melody from the
mass liturgy, which
underlays the movements
in an admirable
multiplicity of melodic
forms. New counterpoints
are repeatedly
intertwined with the
themes of the title
melody over the course of
the mass. Certain
idiosyncrasies in the
voice-leading and the
austere sonorities that
recall the late
Netherlandish tradition
give rise to the
hypothesis that this is a
relatively early work of
Palestrina.Several
decades ago, the Missa
Paternoster was published
by Breitkopf & Hartel in
a performance edition
prepared by Hermann
Bauerle. The present
edition is based on the
copy of the work printed
in the Choirbook 68
(Cappella Sistina) of the
Biblioteca Vaticana in
Rome. The poor condition
of the source made it
necessary to compare it
with Haberl's Complete
Edition as weil, after
which two errors have to
be corrected. Our edition
cannot pretend to offer a
definitive reading of the
accidentals, since they
are difficult to
distinguish in the
original. The work was
transposed, as this
seemed more appropriate
to present-day choral
practice. Finally, the
note values were reduced
by a half and the closing
notes reproduced
uniforrnly as longae.
Palestrina's Missa
,,Pater noster occupies a
distinguished position
next to its better known,
four-part fellow works.
lt deserves this rank
thanks to its dignified
and broadly sweeping
themes, the archaic
loftiness of its sound,
and the wealth of motivic
work contained within it.
We sincerely hope that
this new edition will
stimulate choirs to turn
their attention once
again to this rarely sung
mass by the great Roman
master.Rudolf
Ewerhart,January 1962,
Munster (Westf.).
Orchestra orchestra SKU: AP.12-057152379X The Early Works (1901). ...(+)
Orchestra orchestra
SKU:
AP.12-057152379X
The Early Works
(1901). Composed by
Ralph Vaughan Williams.
Full Orchestra (Study
Score); Larger Works;
Masterworks; Performance
Music Ensemble. Faber
Edition. 20th Century;
Masterwork. Score. Faber
Music #12-057152379X.
Published by Faber Music
(AP.12-057152379X).
ISBN 9780571523795.
English.
Ralph
Vaughan Williams' Heroic
Elegy and Triumphal
Epilogue was composed in
1901. The Elegy dates
from January and the
Epilogue towards the end
of the year, in early
November. After some
revision by the composer,
both movements were
performed by the Leeds
Municipal Orchestra,
conducted by Vaughan
Williams, on the 21st
January 1905 and this
appears to have been the
last performance of the
work in the UK. The
manuscript surfaced in
the US in 1966 and is now
in the Beinecke Library
of Yale University.
Piano Accompaniment; Violin (Violin/Piano) SKU: HL.48025445 For Violin...(+)
Piano Accompaniment;
Violin (Violin/Piano)
SKU: HL.48025445
For Violin and
Piano. Composed by
Hans Winterberg. Boosey
and Hawkes Chamber Music.
Classical. Softcover.
Duration 420 seconds.
Boosey and Hawkes
#M202538852. Published by
Boosey and Hawkes
(HL.48025445).
ISBN
9783793145820. UPC:
196288216438.
Hans
Winterberg's
extraordinary life was
written in two chapters,
one Czech and one German,
split right down the
middle by the experience
of the Shoah, which
Winterberg, unlike his
colleagues Ullmann,
Krása, Haas and Klein,
miraculously survived. In
1947, the Prague-born
composer moved to Munich,
where he worked for the
Bavarian Broadcasting
Corporation. As a student
of Alexander Zemlinsky
and Alois Hába, he
belongs both to the Czech
tradition following
Janácek and to the
circle of the Second
Viennese School. He saw
himself as a bridge
builder between Western
and Eastern culture. The
circumstances under which
Winterberg was able to
compose during the war
years are still unclear.
Although his “mixed
marriage” initially
saved him from
deportation, he had to
perform forced labour and
was eventually sent to
the Terezin ghetto in
January 1945. The Suite
for Violin and Piano was
composed in 1942, the
year in which both
Winterberg's mother and
his piano professor
Thérèse Wallerstein
were murdered by the
Nazis. Compared to the
violin sonata from 1936,
the Suite is much more
condensed, lasting less
than seven minutes. A
melody dominated by
chromatic turns and
expressionist harmony
lend the work its
melancholy character,
which gives way, however,
to an almost
irrepressible defiance in
the rhythmically
percussive last
movement.
(For Unaccompanied Trumpet in Bb). By William Schuman (1910-1992). For Trumpet S...(+)
(For Unaccompanied
Trumpet in Bb). By
William Schuman
(1910-1992). For Trumpet
Solo. Premiere: On the
occasion of the
Metropolitan Opera's
celebration of the 100th
birthday of Eleanor
Robson Belmont, January
10, 1979, New York City;
Melvyn Broiles soloist,
Principal Trumpet
Metropolitan Opera
Orchestra, and Frank
Hosticka. Classical. Solo
part. Standard notation.
Composed DECEMBER 25
1978. 4 pages. Duration 5
minutes. Published by
Theodore Presser Company
2
Pianos, 4 Hands.
Composed by Maurice
Ravel. Edited by Peter
Jost. Henle Music Folios.
Classical. Softcover. 68
pages. G. Henle #HN1508.
Published by G. Henle
(HL.51481508).
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the workÂ
Critical Commentary
in 1 â 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisionsÂ
most beautiful music
engravingÂ
page-turns, fold-out
pages, and cues where you
need themÂ
excellent print
quality and
bindingÂ
largest Urtext
catalogue
world-wideÂ
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Viola(s) solo SKU: BR.DV-8100 13 Fragmente fur Viola. Composed by ...(+)
Viola(s) solo
SKU:
BR.DV-8100
13
Fragmente fur Viola.
Composed by Paul-Heinz
Dittrich. Solo
instruments; Softcover.
Deutscher Verlag. World
premiere Halle, January
27, 1987. Music
post-1945. Score.
Composed 1984. 12 pages.
Duration 10'. Deutscher
Verlag fur Musik #DV
8100. Published by
Deutscher Verlag fur
Musik (BR.DV-8100).
ISBN 9790200482713. 12
x 9 inches.
World
premiere Halle, January
27, 1987 The composition
was inspired by the
sculpture La Meditation
by Auguste Rodin which
the composer came into
contact with during an
exhibition at the
Nationalgalerie in
Berlin. Rilke wrote about
this sculpture: never
before has a human body
been concentrated like
this around its inner
essence never before has
it been strained like
this by its own soul and
eased again by the
elasticity of its own
blood. (Paul-Heinz
Dittrich) The composition
was inspired by the
sculpture La Meditation
by Auguste Rodin which
the composer came into
contact with during an
exhibition at the
Nationalgalerie in
Berlin. Rilke wrote about
this sculpture: never
before has a human body
been concentrated like
this around its inner
essence never before has
it been strained like
this by its own soul and
eased again by the
elasticity of its own
blood. (Paul-Heinz
Dittrich) CD Dreyer
Gaido 21044
Helmut
Gerhold (Fl) Werner F.
Selge (Klav) CD Dreyer
Gaido 21046
CD Dreyer Gaido
21044
Helmut
Gerhold (fl) Werner F.
Selge (pno) CD Dreyer
Gaido 21046
String Quartet No. 5 Quatuor à cordes: 2 violons, alto, violoncelle University Of York Music Press
String Quartet (Score) SKU: HL.268917 Score. Composed by George Ni...(+)
String Quartet (Score)
SKU: HL.268917
Score. Composed by
George Nicholson. Music
Sales America. Classical.
Softcover. 70 pages.
Duration 1320 seconds.
University of York Music
Press #M570368051.
Published by University
of York Music Press
(HL.268917).
George
Nicholson was born in
County Durham in 1949 and
studied at the University
of York with David Blake
and Bernard Rands,
receiving his doctorate
in 1979. For ten years he
pursued a freelance
career in London before
being appointed Lecturer
in Music and Director of
Composition at Keele
University in 1988. In
January 1996 he took up
the post of Senior
Lecturer in Composition
at Sheffield
University.
Priority
Direct Import titles are
specialty titles that are
not generally offered for
sale by US based
retailers. These items
must be obtained from our
overseas suppliers. When
you order a Priority
Direct Import title, our
overseas warehouse will
ship it to you directly
at the time of order,
typically within one
business day. However,
the shipment time will be
slower than items shipped
from our US warehouse. It
may take up to 2-3 weeks
to get to
you.
String Quartet No. 5 Quatuor à cordes: 2 violons, alto, violoncelle University Of York Music Press
String Quartet (Parts) SKU: HL.268916 Parts. Composed by George Ni...(+)
String Quartet (Parts)
SKU: HL.268916
Parts. Composed by
George Nicholson. Music
Sales America. Classical.
Softcover. University of
York Music Press
#M570368068. Published by
University of York Music
Press (HL.268916).
George
Nicholson was born in
County Durham in 1949 and
studied at the University
of York with David Blake
and Bernard Rands,
receiving his doctorate
in 1979. For ten years he
pursued a freelance
career in London before
being appointed Lecturer
in Music and Director of
Composition at Keele
University in 1988. In
January 1996 he took up
the post of Senior
Lecturer in Composition
at Sheffield
University.
Priority
Direct Import titles are
specialty titles that are
not generally offered for
sale by US based
retailers. These items
must be obtained from our
overseas suppliers. When
you order a Priority
Direct Import title, our
overseas warehouse will
ship it to you directly
at the time of order,
typically within one
business day. However,
the shipment time will be
slower than items shipped
from our US warehouse. It
may take up to 2-3 weeks
to get to
you.