Medea

SKU: HL.49046425

ISBN 9781540091949. UPC: 840126919806.

In his oboe cycle, Anno Schreier composes a journey through time at various Medea receptions. The six lamentations relate to one another in a kind of variation series and also incorporate influences from other music. For example, Appeals to Cherubini's Medee,or jazz and blues-like elements.

SKU: HL.50601846

UPC: 888680937065.

Cheryl Frances-Hoad's Bouleumata for solo Clarinet.

'Shortly before writing this piece I reached the final of a competition to compose the music for the Cambridge Greek Play, which happened to be Medea that year. Although I didn’t end up winning, Euripides’ play stunned me with its depiction of Medea, a woman who kills her two children to spite her husband Jason (who has just left her for a Corinthian princess). This piece was inspired by the wildly contrasting emotions that Medea experiences during a monologue immediately preceding the double-murder: that she can’t
possibly go through with it, but thatshe must in order to punish her enemies. In one passage she says “I understand that what I am about to do is wrong, but my thumos (emotion) has vanquished my bouleumata (ability to deliberate)'.' - Cheryl Frances-Hoad

SKU: BA.BA08362-01

ISBN 9790006496471. 27.5 x 20 cm inches.

Georg Anton Benda's melodrama ,,Medea(1775) was one of the most successful German musical theatre works of the late 18th century. With a libretto by Friedrich Wilhelm Gotter, the work soon became a great influence within the melodrama genre. For several decades, it was performed all over central Europe, developing an impressive reception history. Between 1775 and about 1790, the melodrama was considered an extremely popular (albeit controversial) part of musical theatre, in particular in German-speaking regions. Consequently, Benda's ,,Medeawas at the center of many heated debates.

Unlike opera, the melodrama does not present the libretto in sung form, but rather, the text is spoken and combined with orchestral music and scenes. The traditional opera forms (aria, recitative, ensemble, chorus) are dissolved and replaced by a new interplay of music, speech, and scenes. A focus on a single protagonist and the quick, delicate alternation between spoken text and music allows for the development of conflicting and contradictory psychological profiles with a heightened intensity within the melodrama.

Near the end of his life, Benda revised the work significantly, drawing from his experience of real performances and their effectiveness. The changes leading to the new version of his ,,Medeamusic were quite extensive, affecting almost every single measure: numerous details of the part writing (tempi, voice leading, rhythms, accompanying figures etc.) were revised, the instrumentation was changed, middle voices were led in a more lively manner, and the music as a whole was shortened and effectively compressed. The composer regarded the latter, modified ,,Medeaas the authorized version of the work. The premiere took place in 1784 in Mannheim, however, the altered work received little attention since then and has become tangible again for the first time with the OPERA Edition. All previous editions of the work - and along with them, all previous recordings - are based on the earlier version of 1775.

The third volume of the OPERA seriesMedeacontains a linen-bound book and the edirom on a USB stick in credit card format. The number of users permitted to simultaneously use the digital content of the edition is not limited.

For further information regarding the work and the OPERA series, please visit www.opera-edition.com and Takte online

SKU: CL.LDP-7175-01

SKU: HL.48024341

5.0x7.5 inches.

Ein unvorhergesehener Theaterwechsel sorgte dafur, dass Cherubinis Oper Medee nicht, wie es der Auftrag an den Librettisten Francois-Benoit Hoffman ursprunglich vorsah, als durchkomponierte Tragedie lyrique, sondern als Opera comique mit gesprochenen Dialogen herauskam. Diese Fassung der Urauffuhrung vom 13. Marz 1797, die durch die Bearbeitung Franz Lachners im 19. Jahrhundert verfalscht und verdrangt wurde, konnte 2006 wiederhergestellt werden. In der kritischen Ausgabe von Heiko Cullmann (Klavierauszug 979-0-2211-2144-8) fand dieses Schlusselstuck einer Zeitenwende mittlerweile seinen verspateten Weg ins Repertoire. Die originale Werkgestalt offenbart eine spektakulare Struktur. Die Konfrontation von Musik und gesprochenem Wort erscheint als semantisch brisant aufgeladen. Luigi Cherubini - das arbeitet Medee. Poetin der Grausamkeit heraus - tritt als revolutionarer, modern inspirierter Opernkomponist auf. Gunter Neds Studie versteht sich auch als Beitrag zur Grausamkeit als asthetischer Kategorie.

SKU: HF.FH-7066

ISBN 9790203470663. 8.3 x 11.7 inches.

Wolfgang Amadeus Mozart: 1. Symphonie, KV 385; 2. Symphonie, KV 425; 3. Symphonie (Prager), KV 504; 4. Symphonie, KV 543; 5. Symphonie, KV 550; 6. Symphonie (Jupiter), KV 551; 7. Klavierkonzert, KV 453; 8. Klavierkonzert, KV 456; 9. Klavierkonzert, KV 466; 10. Klavierkonzert, KV 491; 11. Rezitativ und Arie fur Sopran und Orchester, KV 316 (300b); 12. Die Entfuhrung aus dem Serail, KV 384; 13. Die Hochzeit des Figaro, KV 492; 14. Don Giovanni, KV 527; 15. Cosi fan tutte, KV 588; 16. Die Zauberflote, KV 620; Luigi Cherubini: 1. Medea; 2. Anacreon-Ourverture.

SKU: CL.LDP-7175-00

SKU: HL.50499429

UPC: 884088956462. 8.5x12.0x0.583 inches.

Critical report only.

SKU: FG.55011-717-4

ISBN 9790550117174.

It was through Einar Englund (1916-1999) that the Neoclassicism already familiar elsewhere in the world landed on Finnish shores in the late 1940s. A composer especially of large-scale orchestral and chamber works, Englund is one of the greatest Finnish symphonists.

Sinuhe is an example of a Finnish composition founded on a non-Finnish subject handled in a non-National-Romantic way. This probably partly explains why the score has fallen into oblivion in Finland: the Oriental moods and the Nile do not correspond to the view of a Finnish composition as one favouring topics from the national epic, the Kalevala, and lakeland scenery. The music also incorporates motifs derived from Lapp yoiks used by Englund in his score for the film The White Deer (1952). When it was written, the ballet's combination of a historical subject with an exotic, stylised idiom showed that Englund had his finger on the international pulse, unlike, say, Samuel Barber's ballet Medea (1946) and Aram Khachaturian's ballet Spartacus (1956).

The suite from Sinuhe is in five scenes. It omits the original overture and almost all the music for the second half of the ballet. Sinuhe's hapless love for the courtesan Nefernefer is described with languorous sensuality. His servant Kaptah throws himself into a frenzied dance with the Cretan maidens. The suite ends with the rhythmic war dance of his friend Horemheb.