PARTITIONS GRATUITES : 2 ALTOS (DUO)
- Mozart new-look

Double bass, 2 flutes, 2 oboes, 2 clarinets, bassoon, contrabassoon and 2 horns - difficult

SKU: HL.49007047

Little fantasy for double bass and wind instruments of the serenade from Don Giovanni. Composed by Jean Franç and aix. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Score. Composed 1981. 16 pages. Duration 3'. Schott Music #ED7205. Published by Schott Music (HL.49007047).

ISBN 9790001075503. UPC: 884088096922. 9.0x12.0x0.072 inches.

Ein musikalisches Kleinod, das mit jeder Note den ebenso sensiblen wie schalkhaften Tonkunstler verrat. Jean Francaix' Mozart New Look ist ein typisches Beispiel seiner heiteren Spielmusik, die Spass macht und gefallt. In seinem dreiminutigen Stuck ist der Geist Mozarts allgegenwartig: Wahrend der Kontrabass eine Arie aus Don Giovanni spielt, lasst Francaix mit einem Augenzwinkern gleichzeitig eine Arie aus Carmen erklingen. Eine wahre Musique pour faire plaisir!

Double bass, 2 flutes, 2 oboes, 2 clarinets, bassoon, contrabassoon and 2 horns (PARTS) - difficult

SKU: HL.49007048

Little fantasy for double bass and wind instruments of the serenade from Don Giovanni. Composed by Jean Francaix. Sheet music. Edition Schott. Classical. Set of Parts. Composed 1981. 23 pages. Duration 3'. Schott Music #ED7206. Published by Schott Music (HL.49007048).

ISBN 9790001075510. UPC: 884088096915. 9.0x12.0x0.117 inches.

Ein musikalisches Kleinod, das mit jeder Note den ebenso sensiblen wie schalkhaften Tonkunstler verrat. Jean Francaix' 'Mozart New Look' ist ein typisches Beispiel seiner heiteren Spielmusik, die Spass macht und gefallt. In seinem dreiminutigen Stuck ist der Geist Mozarts allgegenwartig: Wahrend der Kontrabass eine Arie aus 'Don Giovanni' spielt, lasst Francaix mit einem Augenzwinkern gleichzeitig eine Arie aus 'Carmen' erklingen. Eine wahre 'Musique pour faire plaisir'!

By Wolfgang Amadeus Mozart (1756-1791). Edited by Ernst Herttrich. Henle Music Folios. Book only. 28 pages. G. Henle #HN1041. Published by G. Henle

Written by Christine H. Braden, E. L. Lancaster, Gayle Kowalchyk. Instructional book for easy piano. 48 pages. Published by Alfred Publishing.

Piano

SKU: BR.EB-9253

Composed by Helmut Lachenmann. Solo instruments; stapled. Edition Breitkopf.

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

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.

Orchestra

SKU: BR.PB-5432

Composed by Helmut Lachenmann. Orchestra; stapled. Partitur-Bibliothek (Score Library).

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

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.

Composed by John Brimhall and Jonathon Robbins. Collection; Classical. Book. Santorella Publications #O114. Published by Santorella Publications