PARTITIONS GRATUITES :
- The Threshold

SKU: HL.373786

ISBN 9781705149867. UPC: 196288016519. 6.75x10.5x0.631 inches.

Die Schöpfung is not only a decisive high point in Joseph Haydn's career as a composer, but also marks a turning point in the history of the oratorio in general. On the threshold of the 19th century, Haydn broke with the traditional dominance of arias, gave the chorus much greater importance and thus paved the way for a new “chororatorio� � - one of the main pillars of the up-and-coming bourgeois concert life. The name SAM-Klang takes the three voice parts from the arrangements -- Soprano, Alto and Men -- and combines it with the Scandinavian and German words for “sound” to create the portmanteau word “sound together” or “harmony.” The series offers basic and advanced choral repertoire. In addition to new repertoire and new arrangements, you will also find essential parts of the classical German, Scandinavian, French and English SATB repertoire, carefully and considerately reworked for SAM. The arrangements retain the characteristic features of the original movements and have almost the same richness of timbre, resulting in works which sound nearly unchanged to an audience. Piano reductions of all choral movements facilitate rehearsal preparation. The arrangements offer development opportunities for all voice sections, bringing new life and new quality to SAM choir work. SAM-Klang enables youth choirs to gain access to classical choral literature and ensures that mixed choirs who face challenges in finding singers for all male voice parts continue to have access to well-loved repertoire.

SKU: HL.254192

UPC: 196288020622. 9.5x12.25 inches.

The songs of Mieczyslaw Karlowicz appeared in the history of Polish song as a rather unusual phenomenon. In the output of this outstanding symphonist - as youthful works - they formed an anacrusis, albeit a significant one, to his fully mature and masterful output. Nearly all of them were written over the course of a single year. Composed on the margins of his academic course in composition, they appear to represent a document of deeply personal feelings and thoughts, seismographically recording his current states of mind. Of the twenty-nine songs known to have existed, twenty-two have come down to us; the seven unpublished works, some merely sketched, were lost during the Second World War. Overlooking a couple of them, of a separate character, they form a remarkably coherent body of work. On closer inspection, it turns out that this cohesion of a distinctive character marks the whole of Karlowicz's oeuvre. Thesymphonic poems of the composer of Eternal songs are set within the same space of ideas and meanings as the songs; they are marked by analogous categories of expression. And it is a space which the composers main biographer, Adolf Chybinski, described as teeming with tragedy and boundless woe, resignation and a longing for another world'. In terms of the style of utterance, Mieczyslaw Karlowiczs songs - although deeply rooted in late Romantic style - have often been described as output standing on the threshold of a modernist phase. Zdzislaw Jachimecki wrote in 1930:A warm lyrical note in many of them, a genuine inspiration manifested in the very natural way inwhich the melodies are drawn, unsophisticated forms of accompaniment, which are nevertheless suited to the mood of the poetry in question and organically linked to the song, and the accomplished declamation and construction of these works have earned Karlowicz's songs deserved popularity in Polish singing circles.