SKU: HL.50603247
ISBN 9781540085702. UPC: 840126909531.
L'ope ra va in analisi grazie alle intuizioni e provocazioni di due tra i massimi filosofi del mondo d'oggi: Mladen Dolar e Slavoj Zizek rileggono la storia di una delle forme piu complesse del teatro occidentale alla luce delle teorie di Jacques Lacan. Nata gia morta in quanto celebrazione fantasmatica della tragedia greca, l'opera officia la sua seconda morte agli inizi del Novecento proprio in concomitanza con l'avvento della psicanalisi. Ne nasce un libro che affronta alcuni temi fondamentali (amore, morte, pulsioni, perversioni) concentrandosi su due autori paradigmatici come Mozart e Wagner. Un saggio illuminante e controverso per rimettere in discussione tutte le nostre certezze su opera e dintorni. Il volume e introdotto da una prefazione di Carlo Lanfossi, che interpreta in chiave lacaniana alcuni aspetti della musicologia italiana, e da una postfazione di Alberto Toscano, che considera il saggio di Dolar e Zizek nel contesto del pensiero critico contemporaneo.
SKU: HL.49047042
UPC: 196288111016.
In this monographic study, the well-known historian Oliver Rathkolb not only discusses the most important previous research results on this controversial topic, but also supplements them with numerous new, source-based findings. Orff's behavior before, during and after the NS dictatorship is discussed, in particular his contacts with NS potentates. The artistic and political reception of the Orff Schulwerk, Carmina Burana and other stage works is also analyzed. Book in German.
SKU: BR.OB-5208-30
ISBN 9790004333440. 10 x 12.5 inches.
This edition is based on authentic sources con sisting of the autograph and contemporary performance material. It goes without saying that the issue of the proper numbering of the Schubert symphonies - as controversial as ever today - is given a decisive and definitive treatment in the Preface.Peter Hauschilds Urtext edition of the Great C major Symphony i the first source critical edition of the posthumously published work which can be used in performance as well.
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-e dition.com and Takte online
SKU: XC.ICB2015
UPC: 812598033731. 9 x 12 inches.
Kvetchers (translation: complainers) is a fun and quirky concert march in the style of a musical joke. Wonderfully scored, each section has its own surprise, perfect for working independant section playing. Audiences will really enjoy this one!
SKU: CF.W2682
ISBN 9781491144954. UPC: 680160902453. 9 x 12 inches. Key: E major.
Edited by Elisa Koehler, Associate Professor and Chair of the Music Department at Goucher College, this new edition of Johann Nepomuk Hummel's Concerto in E Major for trumpet in E and piano presented in its original key.The concerto by Johann Nepomuk Hummel (1778–1837)holds a unique place in the trumpet repertoire. Like theconcerto by Joseph Haydn (1732–1809) it was written forthe Austrian trumpeter Anton Weidinger (1766–1852) andhis newly invented keyed trumpet, performed a few timesby Weidinger, and then forgotten for more than 150 yearsuntil it was revived in the twentieth century. But unlikeHaydn’s concerto in Eb major, Hummel’s Concerto a Trombaprincipale (1803) was written in the key of E major for atrumpet pitched in E, not E≤. This difference of key proved tobe quite a conundrum for trumpeters and music publishersin the twentieth century. The first modern edition, publishedby Fritz Stein in 1957, transposed the concerto down onehalf step into the key of E≤ to make it more playable on atrumpet in Bb, which had become the standard instrumentfor trumpeters by the middle of the twentieth century.Armando Ghitalla made the first recording of the Hummel in1964 in the original key of E (on a C-trumpet) after editinga performing edition in 1959 in the transposed key of E≤ (forBb trumpet) published by Robert King Music. Needless tosay, the trumpet had changed dramatically in terms of design,manufacture, and cultural status between 1803 and 1957, andthe notion of classical solo repertoire for the modern trumpetwas still in its formative stages when the Hummel concertowas reborn.These factors conspired to create confusion regarding thenumerous interpretative challenges involved in performingthe Hummel concerto according to the composer’s originalintentions on modern trumpets. For those seeking the bestscholarly information, a facsimile of Hummel’s originalmanuscript score was published in 2011 with a separatevolume of analytical commentary by Edward H. Tarr,1 whoalso published the first modern edition of the concertoin the original key of E major (Universal Edition, 1972).This present edition—available in both keys: Eb and Emajor—strives to build a bridge between scholarship andperformance traditions in order to provide viable options forboth the purist and the practitioner.Following the revival of the Haydn trumpet concerto, acase could be made that some musicians were influencedby a type of normalcy bias that resulted in performancetraditions that attempted to make the Hummel morelike the Haydn by putting it in the same key, insertingunnecessary cadenzas, and adding trills where they mightnot belong.2 Issues concerning tempo and ornamentationposed additional challenges. As scholarship and performancepractice surrounding the concerto have become betterknown, trumpeters have increasingly sought to performthe concerto in the original key of E major—sometimes onkeyed trumpets—and to reconsider more recent performancetraditions in the transposed key of Eb.Regardless of the key, several factors need to be addressedwhen performing the Hummel concerto. The most notoriousof these is the interpretation of the wavy line (devoid of a “tr†indication), which appears in the second movement(mm. 4–5 and 47–49) and in the finale (mm. 218–221). InHummel’s manuscript score, the wavy line resembles a sinewave with wide, gentle curves, rather than the tight, buzzingappearance of a traditional trill line. Some have argued that itmay indicate intense vibrato or a fluttering tremolo betweenopen and closed fingerings on a keyed trumpet.3 In Hummel’s1828 piano treatise, he wrote that a wavy line without a “trâ€sign indicates uneigentlichen Triller oder den getrillertenNoten [“improper†trills or the notes that are trilled], andrecommends that they be played as main note trills that arenot resolved [ohne Nachschlag].4 Hummel’s piano treatisewas published twenty-five years after he wrote the trumpetconcerto, and his advocacy for main note trills (rather thanupper note trills) was controversial at the time, so trumpetersshould consider all of the available options when formingtheir own interpretation of the wavy line.Unlike Haydn, Hummel did not include any fermatas wherecadenzas could be inserted in his trumpet concerto. The endof the first movement, in particular, includes something likean accompanied cadenza passage (mm. 273–298), a featureHummel also included at the end of the first movement ofhis Piano Concerto No. 5 in Ab Major, Op. 113 (1827). Thethird movement includes a quote (starting at m. 168) fromCherubini’s opera, Les Deux Journées (1802), that diverts therondo form into a coda replete with idiomatic fanfares andvirtuosic figuration.5 Again, no fermata appears to signal acadenza, but the obbligato gymnastics in the solo trumpetpart function like an accompanied cadenza.Other necessary considerations include tempo choicesand ornamentation. Hummel did not include metronomemarkings to quantify his desired tempi for the movements,but clues may be gleaned through the surface evidence(metric pulse, beat values, figuration) and from the stratifiedtempo table that Hummel included in his 1828 piano treatise,where the first movement’s “Allegro con spirito†is interpretedas faster than the “Allegro†(without a modifier) of the finale.6In the realm of ornamentation, Hummel includes severalturns and figures that are open to interpretation. This editionincludes Hummel’s original symbols (turns and figuration)along with suggested realizations to provide musicians withoptions for forming their own interpretation.Finally, trumpeters are encouraged to listen to Mozart pianoconcerti as an interpretive context for Hummel’s trumpetconcerto. Hummel was a noted piano virtuoso at the end ofthe Classical era, and he studied with Mozart in Vienna asa young boy. Hummel also composed his own cadenzas forsome of Mozart’s piano concerti, and the twenty-five-year-oldcompo ser imitated Mozart’s orchestral gestures and melodicfiguration in the trumpet concerto (most notably in the secondmovement, which resembles the famous slow movement ofMozart’s Piano Concerto No. 21 in C Major, K. 467).
SKU: BR.PB-5208
ISBN 9790004210390. 10 x 12.5 inches.
SKU: HL.48024565
Most of us, when confronted with the term graffiti, are likely to associate it with the rather desolate wall scrawlings all over our urban landscapes. However, this is not the whole picture: no less artists than Klee, Miro, Dubuffet, and Picasso were interestedin it (the latter painting examples himself on Parisian walls). In our time, there is the highly interesting and controversial phenomenon of Street Art, which has occasionally wittily succeeded in criticizing the commercialization of cities. At their best, street artists have been able to thwart the expectations created by omnipresent mass media and by advertising - one can find some particularly remarkable examples in metropolises such as Berlin, Paris, or New York. Though this was the initial stimulus for Graffiti, it finally branched into rather different directions: it is only very loosely, ifat all, connected to the phenomenon of Street Art (or to the visual arts). The music is not illustrative nor is it programmatic and the main idea was to compose a music which is not restricted as to time or place, and which offers strong contrasts between different modes of expression. The three movements headings give a hint of the changing modes, moods, and structures of the music. The first movement, Palimpsest,is polydimensional and many-layered; one can hear allusions to a multiplicity of styles. The second movement, Notturno urbano, forms a strong contrast to the hyperactive previous movement. It starts with distant and gradually approaching bell-like sounds, from which the whole movement's musical material is being derived. The instruments are often used in an unconventional way: the winds as well as the strings employ extended techniques, which contributes to the aloofness and the mysteriousness of the movement. The third, highly virtuosic, movement, is a kind of an 'urban passacaglia' (the name of this musical form actually derives from the Spanish 'pasar una calle', 'to walk along a street'). It consists of eight incisive chords, which are played continuously by the brass, albeit always in a different way. Two worlds collide in this movement: the brass attacks are commented upon by flitting interjections of different instruments, which are highly varied in character and length. As a whole, the musical language of Graffiti shifts between roughness and refinement, complexity and transparency. It is rich in contrast and labyrinthine, neither tonal nor atonal. Graffiti calls for great agility, virtuosity, and constant changes of perspective from the musicians; each instrument is being treated as a soloist. Graffiti was commissioned by the Los Angeles Philharmonic Association, Barbican, London; Orchestra Ensemble Kanazawa, Kunststiftung NRW and Ensemble musikFabrik. It was first performed on 26th of February 2013 by the Los Angeles Philharmonic New Music Group conducted b.
SKU: SU.12800094
BachScholar Editions Vol. 94: SCHUMANN: Kinderszenen, Op. 15 (18 pages) offers a fine performance edition of Schumann’s popular work, consisting of 13 short and imaginative character pieces (subtitled Easy Pieces for the Piano according the first edition). In addition to presenting a beautiful and robust musical manuscript with optimized page turns, this edition also includes a four-page essay that explains and elucidates the composer’s controversial metronome indications. Also, this edition is replete with useful fingerings and pedalings as well as practical hand redistributions which students and teachers will find innovative and refreshing. This quality edition of Schumann’s masterwork should be in the library of all piano students, teachers, and performers. Published by: BachScholar.
SKU: CY.CC3092
ISBN 9790530110690. 8.5 x 11 in inches.
Alexander Scriabin's music has been described as mystical, lyrical and idiosyncratic. He was known as the most innovative and controversial early modern Russian composer. His works were ignored for many years until recently and are now seen as sincere expression(s) of genius. The Three Etudes for Tuba or Bass Trombone and Piano are early works of Scriabin, originally written for Solo Piano. They show lyricism, passion, moodiness, chromatic harmonies and great expression. Mr. Sauer has brought three wonderful new works for advanced performers who wish to explore this area, largely unknown to the low brass world. The three movements are about 9-10 in length and suitable for advanced performers.
SKU: XC.ICB2015FS
UPC: 812598033748. 9 x 12 inches.
SKU: BA.BA07568
ISBN 9790006558285. 33 x 24 cm inches. Preface: Sylvie Bouissou. Text: Louis Fuzelier.
The new scholarly-critical edition of the score of Rameau’s “ballet hroïque†Les Indes galantes finally clears up its convoluted source history. At the first performance, on 23 August 1735, it consisted of a prologue and three acts: Le Turc gnreux, Les Incas du Prou and Les Fleurs. But Les Fleurs already proved controversial in the early performances, and from 11 September of that same year it was given a wholly new form. For the revival on 10 March 1736 Rameau and Fuzelier added an entirely new act Les Sauvages, and in the years that followed, the “ballet hroïque†was presented either complete (1743, 1751 and 1761) or abridged with a prologue, Les Incas du Prou and Les Sauvages (1751–73). With regard to the instrumental movements (dances and descriptive pieces), the present publication is based on the complete edition Opera Omnia Rameau (OOR) volumes IV/2 and IV/7 edited by Sylvie Bouissou which are currently in preparation. It includes not only the orchestral pieces in the version deemed valid by Rameau in 1736 (with version 2 of Les Fleurs and Les Sauvages), but also those from the first version of Les Fleurs (1735) as well as its 1743 and 1773 revisions. Performers are thus given a complete selection of all the orchestral numbers from one of Rameau’s central stage works for use also in concert performance.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?< /p> MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
What can I expect from a Barenreiter Urtext edition?< /p>
MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: HL.50605479
ISBN 9781705190395. UPC: 196288126164.
Text in Italian. Can the greatness of one of the most important musicians of the western world justify the most ignominious positions taken? And above all: can he justify ignoring them? The manifestation of these positions unfortunately leaves no doubt: we can read them both in his writing Jewishness in music (1850) and in other texts collected in this book in new translations, as well as in an unpublished text for Italy. But can it be said that the librettos and even the music of Wagner's operas are also anti-Semitic? Wagner's anti-Semitism is at least a controversial topic in the specialist literature: in this book you will find both a critical and a polemical balance, in which the criteria of biographical research, general history, music, musicology, semiology, of psychoanalysis and aesthetics. How to explain it? With the fact that perhaps Wagner himself was a Jew? Many of his contemporaries believed this, as the large collection of caricatures brought together in this work testifies. At the end of a rigorous investigation, it is necessary to ask some disturbing questions: should the execution or representation of Wagner's works perhaps beprohibited? Should Bayreuth be closed down?
SKU: HL.48181755
UPC: 888680862909. 9x12.25 inches.
“Jacq ues Ibert (1890-1962) studied at the Paris Conservatoire before embarking upon a successful composing career. The film Don Quichotte increased his popularity when he composed the musical score in 1933. Controversially, the producers of Don Quichotte asked five composers separately to compose songs for the film. Each composer thought only he had been approached, and when Ibert's music was eventually chosen for the film, it caused him some embarrassment as Maurice Ravel, who had also been approached, was a close friend of his. Song of Departure comes toward the beginning of the film, sung by the the main character, Don Quichotte. Addressing a variety of musical aspects and techniques, Ibert's Song of Departure is a challenging yet evocative addition to the Bass repertoire.&rdquo.
SKU: CY.CC2496
* Alexander Scriabin's music has been described as mystical, lyrical and idiosyncratic. * He was a most innovative and controversial early modern Russian composer. * Scriabin's works were ignored for many years until recently and are now seen as sincere expression(s) of genius. * The Three Etudes for Euphonium and Piano are early works of Scriabin, originally written for solo Piano. * They show lyricism, passion, moodiness, chromatic harmonies and great expression. * Mr. Sauer has once again arranged three wonderful new works for advanced performers who wish to explore Scriabin's music, largely unknown to the Euphonium world. * Those who do will be richly rewarded with the great depth of musicianship found in these works. * The three movements are about 9-10 in length and suitable for advanced performers.
SKU: HL.48183463
UPC: 888680865801. 9x12 inches.
“Russ ian composer, Edison Denisov (1929-1996) was a controversial composer of the nonconformist division of Soviet music. He studied at the Moscow Conservatory and his compositions remain popular to this day, Two Pieces for Alto Saxophone and Piano being no exception. Published in 1978, a typical performance of Denisov's Two Pieces lasts about 5 minutes. The work makes use of extended techniques, including quarter and three-quarter tones, variations in ornamentation, complex rhythms, large intervals, differing articulation and exploitation of the ensemble, amongst other aspects. For all advanced saxophonists seeking modern, alternative and exciting repertoire, Denisov's Two Pieces is essential.&rdquo.