| Text and Beyond. The Process of Music Composition from the 19th to the 20th Century Ut Orpheus
Books and Journals SKU: UT.APS-8 Edited by Jonathan Goldman. Paperback (S...(+)
Books and Journals
SKU: UT.APS-8
Edited by Jonathan
Goldman. Paperback (Soft
Cover). Ad Parnassum
Studies. Essays by
Giacomo Albert, Nicola
Bernardini, Remy Campos,
Michael Dias, Mylene
Gioffredo, Jonathan
Goldman, Robert Hasegawa,
Joel V. Hunt, Anna Stoll
Knecht, Benjamin M.
Korstvedt, Federico
Lazzaro, Alessandra
Carlotta Pellegrini,
Camille Rondeau, Friedem.
Classical. Books and
Journals. 320 pages. Ut
Orpheus #APS 8. Published
by Ut Orpheus (UT.APS-8).
ISBN 9788881094967.
6.5 x 9.5
inches. Saggi di
Giacomo Albert, Nicola
Bernardini, Remy Campos,
Michael Dias, Mylene
Gioffredo, Jonathan
Goldman, Robert Hasegawa,
Joel V. Hunt, Anna Stoll
Knecht, Benjamin M.
Korstvedt, Federico
Lazzaro, Alessandra
Carlotta Pellegrini,
Camille Rondeau,
Friedemann
Sallis
A
growing number of music
scholars have lately
shifted their attention
from musical works to the
creative processes that
produced them. The study
of these processes serves
as a springboard for
interdisciplinary
research that goes beyond
the traditional
boundaries of musical
philology. These recent
orientations adopt a
heuristic approach to
musical craft in the
composer's workshop and
build on the rich
heritage of sketch
studies, while
incorporating
psychological,
anthropological,
sociological, historical
and analytical methods.
The study of the creative
process in music also
seeks to adapt the
apparatus of literary
critique
genetique. Scholars
of creative process also
regularly turn their
attention to artistic
situations in which
sketches and scores may
not be available as loci
of investigation and seek
to adapt the tools of
creativity studies to
research not only on
composers, but also
performers, improvisers,
and even artistic
directors, recording
engineers, radio
producers, commissioners
or any other actor in the
musical
field. Texts and
Beyond offers new
orientations in the study
of the creative process
in music. The essays
included here show a
particular interest in
unfinished works and in
the logic of their
completion, as well as in
the creative interaction
of music coupled with
other arts. In twelve
chapters and an
Afterword, this volume
explores a wide variety
of topics, including
compositions by Anton
Bruckner, Gustav Mahler,
Charles Koechlin,
Giacinto Scelsi, Henry
Brant, Luciano Berio,
Brian Ferneyhough,
Jacques Hetu and Jose
Evangelista, as well as
extending to the realm of
ballet staging, composing
for the cinema and video
art. $93.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| St. Matthew Passion Soli, choeur mixte et accompagnement [Conducteur] Carus Verlag
By Johann Sebastian Bach (1685-1750). Edited by Klaus Hofmann. For vocal soli, S...(+)
By Johann Sebastian Bach
(1685-1750). Edited by
Klaus Hofmann. For vocal
soli, SATB/SATB choir,
soprano voice in ripieno
(Cantus-firmus-Chor fur
Sopran), 2 orchestras -
I: 2 recorders, 2 flutes,
2 oboes (2 oboe d'amore,
2 oboe d'caccia/english
horn), viola da gamba, 2
violins, viola, basso
continuo (cello,
violone/double. This
edition: Clothbound
edition. Stuttgart Urtext
editions. Passions, Lent
and Passiontide. Full
score (clothbound
edition). Language:
German/English. BWV 244.
296 pages. Duration 175
min. Published by Carus
Verlag
$172.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| St. Matthew Passion Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Set de Parties séparées] Carus Verlag
Composed by Johann Sebastian Bach (1685-1750). Edited by Klaus Hofmann. This edi...(+)
Composed by Johann
Sebastian Bach
(1685-1750). Edited by
Klaus Hofmann. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Matthauspassion.
Passions, Lent and
Passiontide. Complete
orchestral parts. BWV
244. Duration 175
minutes. Published by
Carus Verlag
(CA.3124419).
$553.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Innovation in the Ensemble Arts GIA Publications
SKU: GI.G-9362 Sustaining Creativity. Composed by Tim Sharp. Music...(+)
SKU: GI.G-9362
Sustaining
Creativity. Composed
by Tim Sharp. Music
Education. 176 pages. GIA
Publications #9362.
Published by GIA
Publications (GI.G-9362).
ISBN 9781622772247.
English. Foreword
by Eric Whitacre
Innovation in the
Ensemble Arts caps a
trilogy of volumes that
delves into the building
blocks necessary for a
vibrant, growing music
organization. In the
first
volume—Mentoring
in the Ensemble Arts:
Helping Others Find Their
Voice—author Tim
Sharp examines the
mentor/ proteÌgeÌ
dynamic and its critical
impact on the lives of
ensembles and their
conductors. In the second
volume—Collaborati
on in the Ensemble Arts:
Working and Playing Well
with Others— he
challenges us to think
beyond our traditional
confines and to expand
our worldview to one that
encompasses creative new
ideas, concepts, and
connections. Now
Innovation in the
Ensemble Arts lays out
the techniques of
transformative renewal
that enable music
educators to lead
individual ensemble
members in the personal
growth that fuels the
ensemble’s
contributions to the
community. Sharp
establishes a mindset
that can lead to ongoing
relevancy and create
public value for
today’s ensembles.
Tim Sharp (BM, MCM, DMA),
an active choral
conductor, researcher,
and writer, is Executive
Director of the American
Choral Directors
Association (ACDA), the
national professional
association for choral
conductors, educators,
scholars, students, and
choral music industry
representatives in the
United States. He is also
Artistic Director and
Conductor of the Tulsa
Oratorio Chorus. In
language informed by
years of research and
personal experience, this
book leads us through
“Stages in the
Process of
Innovation,â€
“Foundational
Pillars for Building an
Innovation
Mindset,â€
“Creativity versus
Innovation,†and
“Moving from
Innovation to
Impact.†Along the
way, Sharp presents
concrete and practical
plans for turning insight
into action. Innovation
in the Ensemble Arts is
not only
thought-provoking and
inspirational, but it
also illustrates how to
generate momentum that
can propel music
ensembles forward in the
pursuit of musical
excellence. $22.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto Piano seul Theodore Presser Co.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202. What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement. $47.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Symphony No. 3 Orchestre [Critical Reports] Breitkopf & Härtel
Final Version 1906 - Textcritical Edition. Composed by Gustav Mahler (1860-19...(+)
Final Version 1906 -
Textcritical Edition.
Composed by Gustav Mahler
(1860-1911). Edited by
Christian Rudolf Riedel.
Set
of parts. Breitkopf and
Haertel #OB 5633-60.
Published by Breitkopf
and
Haertel
$3987.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| St. Matthew Passion (Matthaus-Passion) Chorale SATB [Conducteur et Parties séparées] Carus Verlag
Orchestra vocal soli, SATB/SATB choir, soprano voice in ripieno (cantus-firmus-c...(+)
Orchestra vocal soli,
SATB/SATB choir, soprano
voice in ripieno
(cantus-firmus-chor for
soprano), 2 orchestras -
I: 2 recorders, 2 flutes,
2 oboes (2 oboe d'amore,
2 oboe d'caccia/english
horn), viola da gamba, 2
violins, viola, basso
continuo (cello,
violone/doubl SKU:
CA.3124409 Composed
by Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext. 1x
31.244/20 viola da gamba,
1x 31.244/21 choir 1:
flute 1, 1x 31.244/22
choir 1: flute 2, 1x
31.244/23 choir 1: oboe
1, 1x 31.244/24 choir 1:
oboe 2, 2x 31.244/25
choir 2: recorder 1+2, 1x
31.244/26 choir 2: flute
1, 1x 31.244/27 choir 2:
flute 2, 1x 31. Stuttgart
Urtext Edition: Bach
vocal; Carus sheet music
series: Vocal scores XL.
German title:
Matthauspassion.
Innovative practice aids,
Passions, Lent and
Passiontide, Holy Week.
Set of Orchestra Parts.
BWV 244. 184 pages.
Duration 175 minutes.
Carus Verlag #CV
31.244/09. Published by
Carus Verlag
(CA.3124409). ISBN
9790007211271. Language:
German/English. Pra
ctical performing Urtext
edition based on the
latest state of Bach
research. Every era hears
and interprets Bach anew,
and every era also
evaluates the sources
afresh and with new eyes.
40 years after the
publication of the St.
Matthew Passion in the
New Bach Edition, Klaus
Hofmann, Director of the
Johann Sebastian Bach
Institute Gottingen for
many years and a
contributing editor to
the New Bach Edition,
presents a new edition.
Hofmann has placed the
study of the sources at
the service of musical
practice and the detailed
investigation of Bach's
intentions. Bach scholars
are well aware that
Bach's original score and
performance parts,
running to almost 500
pages of music, are full
of ambiguities and
contradictions,
particularly regarding
articulation, which
constantly challenge
performers to new
interpretations. Hofmann
discusses these and other
problems in a concise
critical report,
frequently arriving at
new conclusions in the
process. Extensive notes
about parallel passages
offer valuable help for
interpretation. Special
attention was devoted to
the performance material
with regard to practical
needs. Thus, for example
the text incipits are
also printed in the
instrumental parts
(including tacet
passages). In short - an
Urtext edition for
practical performance
based on the latest
findings in Bach
research. Score and parts
available separately -
see item CA.3124400. $118.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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