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.
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.
Piano - easy to intermediate SKU: HL.49018409 Piano Solo. Composed...(+)
Piano - easy to
intermediate
SKU:
HL.49018409
Piano
Solo. Composed by
Edward Elgar. Arranged by
Wolfgang Birtel. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical, March. Op.
39/1. 10 pages. Schott
Music #ED09885. Published
by Schott Music
(HL.49018409).
ISBN
9790001175654. UPC:
841886016361.
9.25x12.0x0.045
inches.
A 'Last
Night of the Proms'
without this march -
unthinkable! 'Pomp and
Circumstance Military
March No. 1' with its
middle section, the
hymn-like 'Land of Hope
and Glory' by Edward
Elgar (1857-1934),
belongs to the finale of
the London music event
like the Radetzky March
usually played as last
piece to the New Year's
Concert of the Vienna
Philharmonic Orchestra.
The fame and popularity
of the other four
military marches composed
by Elgar between 1901 and
1907 fade in comparison
to this secret national
anthem of Great Britain
(although strongly
rivalled by 'Rule,
Britannia!'). It is,
indeed, an equally
rousing and catchy piece
of music, and the catchy
tune in the middle has
just become a classical
'hit'. Thanks to the
present edition, all
those who do not have a
large symphony orchestra
at home can now play this
rousing march by
themselves.
Clarinet; Piano Accompaniment - easy to intermediate SKU: HL.49018403 ...(+)
Clarinet; Piano
Accompaniment - easy to
intermediate
SKU:
HL.49018403
B-flat
Clarinet and Piano.
Composed by Edward Elgar.
Arranged by Wolfgang
Birtel. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical, March. Op.
39/1. 14 pages. Schott
Music #ED09890. Published
by Schott Music
(HL.49018403).
ISBN
9790001175708. UPC:
841886016415.
9.25x12.0x0.052
inches.
A 'Last
Night of the Proms'
without this march -
unthinkable! 'Pomp and
Circumstance Military
March No. 1' with its
middle section, the
hymn-like 'Land of Hope
and Glory' by Edward
Elgar (1857-1934),
belongs to the finale of
the London music event
like the Radetzky March
usually played as last
piece to the New Year's
Concert of the Vienna
Philharmonic Orchestra.
The fame and popularity
of the other four
military marches composed
by Elgar between 1901 and
1907 fade in comparison
to this secret national
anthem of Great Britain
(although strongly
rivalled by 'Rule,
Britannia!'). It is,
indeed, an equally
rousing and catchy piece
of music, and the catchy
tune in the middle has
just become a classical
'hit'. Thanks to the
present edition, all
those who do not have a
large symphony orchestra
at home can now play this
rousing march by
themselves.
Piano Accompaniment; Viola - easy to intermediate SKU: HL.49018407 Vio...(+)
Piano Accompaniment;
Viola - easy to
intermediate
SKU:
HL.49018407
Viola
and Piano. Composed
by Edward Elgar. Arranged
by Wolfgang Birtel. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical, March. Op.
39/1. 16 pages. Schott
Music #ED09887. Published
by Schott Music
(HL.49018407).
ISBN
9790001175678. UPC:
841886016385.
9.0x12.0x0.067
inches.
A 'Last
Night of the Proms'
without this march -
unthinkable! 'Pomp and
Circumstance Military
March No. 1' with its
middle section, the
hymn-like 'Land of Hope
and Glory' by Edward
Elgar (1857-1934),
belongs to the finale of
the London music event
like the Radetzky March
usually played as last
piece to the New Year's
Concert of the Vienna
Philharmonic Orchestra.
The fame and popularity
of the other four
military marches composed
by Elgar between 1901 and
1907 fade in comparison
to this secret national
anthem of Great Britain
(although strongly
rivalled by 'Rule,
Britannia!'). It is,
indeed, an equally
rousing and catchy piece
of music, and the catchy
tune in the middle has
just become a classical
'hit'. Thanks to the
present edition, all
those who do not have a
large symphony orchestra
at home can now play this
rousing march by
themselves.
Pass in Review Orchestre d'harmonie [Conducteur et Parties séparées] Belwin
A Medley of British Military Band March Themes. Composed by Various. Arra...(+)
A Medley of British
Military Band March
Themes. Composed by
Various. Arranged by
Douglas E. Wagner.
Concert Band; Performance
Music Ensemble; Single
Titles. Belwin Concert
Band. Form: March.
Multicultural. Part(s);
Score. 228 pages.
Duration 3:00. Belwin
Music #00-43134.
Published by Belwin Music
(AP.43134).
By Franz Schubert. For Piano. This edition: 2 copies required. Piano Quartet (Tw...(+)
By Franz Schubert. For
Piano. This edition: 2
copies required. Piano
Quartet (Two Pianos,
Eight Hands). Masterwork.
Level: Early
Intermediate. 20 pages.
Published by Alfred
Publishing.
