SKU: M7.DOHR-20405
ISBN 9790202044056.
Hugo Wolf ist vor allem durch seine über 300 Liedschöpfungen bekannt, in denen er - von Schumann ausgehend - der begleitenden Klavierstimme eine geradezu sinfonisch ausgearbeitete poetische Interpretation des Textgedankens übertrug. Das Scherzo [Zwischenspiel aus der Oper Der Corregidor HWW 158] fungiert als Zwischenspiel im zweiten Akt der Komischen Oper Der Corregidor, der einzigen Oper Hugo Wolfs, die 1896 in Mannheim ihre Uraufführung erfuhr. Seine unbefangene Frische macht es zu einem Bravourstück, dem eine wachsende Verbreitung und Bekanntheit nur zu wünschen ist. Als Liedkomponist zeigt sich Hugo Wolf in seiner schlicht-bezaubernden Berceuse [1880, HWW 65]. Dieses kleine, ursprünglich für Klavier geschriebene Werk hat nicht nur zahlreiche Bearbeitungen erfahren, sondern ist auch unter zahlreichen Titeln veröffentlicht worden. Die Orgeltranskription rechnet für das Zwischenspiel mit einer dreimanualigen Orgel mit ausgebautem Schwellwerk. (Otto Depenheuer).
SKU: HL.14025052
UPC: 884088488697. 8.5x11.0x0.125 inches.
The works included in the Hugo Parry Organ Album Book 2 are the Toccata and Fugue (The Wanderer), Chorale Fantasia on O God Our Help and Chorale Fantasia on An Old English Theme.The later years of Organist, teacher and composer Hubert Parry's life were a fruitful time of composition and academic output. In these three works, his commitment to diatonic music and his assimilation of both Brahms and indigenous British music are apparent, as well as his mastery and understanding of his instrument.
SKU: GH.LUN-570-0850
In arrangement for organ by G Jahn.
SKU: BR.EB-9300
ISBN 9790004187647. 9 x 12 inches.
World premieres:I version for flute: Wiesbaden, 1972II version for piano: Nyon, 1972III version for var. insts.: Cologne, May 29, 1976VI version for accordeon: Fribourg, June 25, 1987VIII version for violoncello Tokyo: October 14, 1989X version for organ: Stuttgart, March 28, 2018This work (A Breath of the Untimely) was first written for solo Flute and dedicated to Aurele Nicolet. Its bears the subtitle Lament on the Loss of Musical Thought - some Madrigals for Solo Flute or Flute with any other Instruments. This serves as a playing instruction but doubles at the same time as an outmoded programme: it refers back to the musical origin of the opening lamenting motif, a tradition which was once of its time but is not of our time - namely the Lamento genre which gave the title to the Chaconne in Purcell's opera Dido and Aeneas. Almost simultaneously I wrote a second version for Piano (for Piano one-and-a-half hands), which already formulates possible approaches for the performer, in some detail, to the indicated, quasi-canonic version of the piece in the programme. The multiple version Ein Hauch von Unzeit III realizes a concrete version of a formal state which floats between strict canon and aleatoric principles: each of the musicians who are spread throughout the hall introduces their own idiomatic translation of the flute part. And so the music exists, omnipresent, not only spatially throughout the hall, but also formally in a sort of fluctuating simultaneity. For that reason, it was my express wish to any potential interpreter that they should construct entirely their own version of the piece. A healthy number of musicians have responded to my suggestion - versions of the piece have now been made for guitar (Cornelius Schwehr, Gunther Schneider), accordion (Hugo Noth), double bass (Fernando Grillo), violin (Hansheinz Schneeberger), viola, violoncello, and double bass (trio basso, Koln), violoncello (Michael Bach), trombone (Andrew Digby) and, created by myself, a sung version for voice (to words by Georg Wilhelm Friedrich Hegel und Max Bense), and for viola.The most important requirement for the whole piece is absolute stillness, which should as far as possible emanate from the performer. The pauses are occasionally in this respect the most important element. These may, if one can find the necessary stillness, become very long.Ein Hauch von Unzeit (A Breath of the Untimely) - time almost dissolves!(Klaus Huber, 1989/2014 - translation: David Alberman)CD:Jean-Luc Menet (Bass flute)CD Traversieres 120.270Jean-Luc Menet (fl)CD STR 37039Bibliography:Zimmermann, Heidy: Zeitgestaltung im Kompositionsprozess bei Klaus Huber - dargestellt anhand von Skizzen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, S. 90-109World premiere: Stuttgart, Hospitalkirche, March 28, 2018.
SKU: GH.CG-7072
No. 4 from the orchestral suite The Mountain Suite arranged for organ solo by Gunnar Idenstam.
SKU: CA.4083300
ISBN 9790007135522. Language: Latin.
Among the numerous Requiem settings of the 19th century, only very few are scored for male voices. Although several compositions (by, amongst others, Max Reger and Peter Cornelius) are designated 'Requiem', these are usually only single-movement works, not settings of the entire text of the ordinary. To date, only four complete settings for male choir - by Luigi Cherubini, Franz Liszt, Hugo Kaun and Lorenzo Perosare - are known. With the first edition of the Requiem by Johann Christian Heinrich Rinck for solo voices, male choir and organ, a further work is being made available for performance. Rinck, celebrated as the Rhenish Bach and as a worldwide famous composer, wrote it in 1836.
SKU: GH.CG-6376
For orgel.
SKU: VD.ED20405
ISBN 9790202044056. 12 x 9 inches.
SKU: HL.49006375
ISBN 9790001069076. 9.0x12.0x0.12 inches.
