| Blaserquintett Nr. 2 Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor [Conducteur et Parties séparées] Moseler Verlag
Flute, oboe, clarinet, horn and bassoon SKU: M2.MOS-42199 Souvenirs de...(+)
Flute, oboe, clarinet,
horn and bassoon SKU:
M2.MOS-42199
Souvenirs de Friedrich
Kuhlau. Composed by
Meinrad Schmitt. Aulos.
Score and parts. 80
pages. Möseler Verlag
#MOS 42199. Published by
Möseler Verlag
(M2.MOS-42199). ISBN
9790203746997. $46.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Collected Writings Paul Sacher Stiftung
Composed by Gyorgy Ligeti (1923-2006). Edited by Monika Lichtenfeld. This editio...(+)
Composed by Gyorgy Ligeti
(1923-2006). Edited by
Monika Lichtenfeld. This
edition: 2 volumes;
hardcover with
dustjacket. Books /
Librettos. Publications
from the Paul Sacher
Foundation Band 10. Die
erste umfassende
Schriftenausgabe des
bedeutenden ungarischen
Komponisten. Text
Language: German. 876
pages. Published by Paul
Sacher Stiftung
$94.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Une Geometrie, Nr. 1 - Figurations de memoire [Conducteur] Carus Verlag
Alto flute in G, English horn, Bass Clarinet, Bassoon, Horn SKU: CA.1632800(+)
Alto flute in G, English
horn, Bass Clarinet,
Bassoon, Horn SKU:
CA.1632800
Synchroniestudie Nr. 2
fur tiefes
Blaserquintett.
Composed by Walter
Feldmann. This edition:
Paperbound. German title:
Une Geometrie.
Synchronstudie F Blaser.
Full score. Composed
2005. 54 pages. Duration
14 minutes. Carus Verlag
#CV 16.328/00. Published
by Carus Verlag
(CA.1632800). ISBN
9790007112745. Language:
all languages. E
texts of the French
author Anne-Marie Albiach
have long been the point
of departure for my
works. Following the
viola concerto <<
monstrueuse vecut dans le
cadre >> la memoire,
which is based on her <<
H II>> lineaires, the
three texts entitled <<
une geometrie >> have
generated a new cycle. As
in the other two works of
the cycle, << figurations
de memoire >> is
predicated on two
different readings of the
text: on the one hand a
(private) reading by
Anne-Marie Albiach in
which time is measured
[demarcated] out; while
on the other hand the
graphic text is measured
millimeter by millimeter.
The latter serves as the
basis - the genetic code
- for the temporal,
horizontal structure of
the quintet, whereas the
reading of the author
appears in rhythmic
surfaces which interrupt
the horizontal plane. In
<< figurations de memoire
>> two clearly
recognizable elements are
repeated: the tone b
(which plays a central
roll in most of my works)
and a chord of fifths
built around the tone b -
a piece of memory
(memoire) from viola
concerto. In contrast,
the extended chords of
the reading consist of
five tones which in their
frequencies are
equidistant from each
other (like an overtone
chord). For the
generation of tone
materials the chords of
both levels are
compressed and stretched
within the ranges
(frames) of tones from
which the horizontal
positions of the text
fragments are derived:
lower, borderline tones
on the left margin, and
higher borderline tones
on the right margin. Thus
the disposition on the
page, essential for
Anne-Marie Albiach (and
first introduced in
poetry by Mallarme in Un
coup de des jamais
n'abolire le hasard), is
rendered in sound.
Naturally each element of
the text serves to mold
structure and dynamic, to
include typography:
fragments within
quotation marks, in
italics, etc., yield
different sonorous images
[sonorities] and
movements. Each word from
the typographical reading
is orchestrated
[instrumentated]
differently, which is
important for the whole
cycle (however, the
chords of the spoken
reading are always played
by five instruments; here
only speech and pauses in
speech [[interruptions of
speech]are distinguished
from each other). Thus a
tight network of
instrumental combinations
is created in which, word
for word, the text is
made audible. The most
important element in the
process: the vertical,
synchronized playing
together of the
individual instruments
(Synchorniestudie),
ranging from solo to
quintet. $33.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Une Geometrie, Nr. 1 - Figurations de memoire [Conducteur et Parties séparées] Carus Verlag
Alto flute in G, English horn, Bass Clarinet, Bassoon, Horn SKU: CA.1632809(+)
Alto flute in G, English
horn, Bass Clarinet,
Bassoon, Horn SKU:
CA.1632809
Synchroniestudie Nr. 2
fur tiefes
Blaserquintett.
Composed by Walter
Feldmann. Une Geometrie.
Synchronstudie F Blaser.
Set of Orchestra Parts.
Composed 2005. 100 pages.
Duration 14 minutes.
Carus Verlag #CV
16.328/09. Published by
Carus Verlag
(CA.1632809).
Language: all
languages. E texts
of the French author
Anne-Marie Albiach have
long been the point of
departure for my works.
Following the viola
concerto << monstrueuse
vecut dans le cadre >> la
memoire, which is based
on her << H II>>
lineaires, the three
texts entitled << une
geometrie >> have
generated a new cycle. As
in the other two works of
the cycle, << figurations
de memoire >> is
predicated on two
different readings of the
text: on the one hand a
(private) reading by
Anne-Marie Albiach in
which time is measured
[demarcated] out; while
on the other hand the
graphic text is measured
millimeter by millimeter.
The latter serves as the
basis - the genetic code
- for the temporal,
horizontal structure of
the quintet, whereas the
reading of the author
appears in rhythmic
surfaces which interrupt
the horizontal plane. In
<< figurations de memoire
>> two clearly
recognizable elements are
repeated: the tone b
(which plays a central
roll in most of my works)
and a chord of fifths
built around the tone b -
a piece of memory
(memoire) from viola
concerto. In contrast,
the extended chords of
the reading consist of
five tones which in their
frequencies are
equidistant from each
other (like an overtone
chord). For the
generation of tone
materials the chords of
both levels are
compressed and stretched
within the ranges
(frames) of tones from
which the horizontal
positions of the text
fragments are derived:
lower, borderline tones
on the left margin, and
higher borderline tones
on the right margin. Thus
the disposition on the
page, essential for
Anne-Marie Albiach (and
first introduced in
poetry by Mallarme in Un
coup de des jamais
n'abolire le hasard), is
rendered in sound.
Naturally each element of
the text serves to mold
structure and dynamic, to
include typography:
fragments within
quotation marks, in
italics, etc., yield
different sonorous images
[sonorities] and
movements. Each word from
the typographical reading
is orchestrated
[instrumentated]
differently, which is
important for the whole
cycle (however, the
chords of the spoken
reading are always played
by five instruments; here
only speech and pauses in
speech [[interruptions of
speech]are distinguished
from each other). Thus a
tight network of
instrumental combinations
is created in which, word
for word, the text is
made audible. The most
important element in the
process: the vertical,
synchronized playing
together of the
individual instruments
(Synchorniestudie),
ranging from solo to
quintet. Score and parts
available separately -
see item CA.1632800. $52.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Wind Quintet No. 2 / Blaserquintett Nr. 2 (2014) - parts Quintette à Vent [Set de Parties séparées] Fennica Gehrman
| | |
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