SKU: FJ.B1768
UPC: 241444399224. English.
The teenage composer writes that this piece signifies strength and durability. The bold statements at the beginning and end represent the power with which a force field stands, while the middle lyrical section depicts protection. Highly engaging music written by an emerging young composer!
About FJH Young Band
Appropriate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5
SKU: FJ.B1768S
English.
Appro priate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5
SKU: HL.50511769
ISBN 9790080144718. Bach (23 x 30,2 cm) inches. Hungarian, English. Gyula Csapo.
The composer writes the following about this work: 'As if we could only walk sideways in a tilted force field, Petruska-Harlequin in my piece evokes waltz fragments on a capsized 'Titanic', or Berlioz's Romeo und Juliet. Vertiginous chromatic martellato-staccato sequences keep tearing apart the clarinet's virtuosic aerial gymnastics interspersed among the fragments and half-heard wisps of sound. We suddenly find ourselves now in the depths, now in the highest regions, sidelong, as if all these fragments of musical memories were dancing on the edge of the event-horizon of a black hole...' This work, dedicated to the clarinettist Csaba Klenyan, was composed in 2002 in Saskatoon (Canada).
SKU: M7.DUX-944
ISBN 9783868493931.
Prim al Forces is a composition for trombone and piano by Martin Gasselsberger. A very powerful and effective work in the medium-advanced difficulty level, located in the wide field between blues & funk. It is a popular piece for competitions (e.g. prima la musica in Austria) and is also ideally suited for the contemporary contribution to a transitional or final examination at music schools. Audio stream of full version and play-along version included. The edition contains a 3-page insert for solo trombone.
SKU: CF.CM9735
ISBN 9781491161159. UPC: 680160919741. Key: A minor. Latin, English. Christopher Smart and ZRS.
Origins of the Tarantella The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (little spider), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the poison, the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship. Origins of the Text Christopher Smart (1722-1771), also known as Kit Smart or Jack Smart, was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke's Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor's prison, was common during this period if one's debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [Rejoice in the Lamb] was set to music by English composer, Benjamin Britten.) Smart's writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart's Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance: theraphosa [teh-rah-fo-sa] a genus of tarantula spiders bellicose [beh-lee-ko-sah] hostile; aggressive odiosa [o-dee-o-sa] hateful; vexation tenebrosa [teh-neh-bro-sa] creeping; dark nemorosa [neh-mo-ro-sa] wooded; shady lapidosa [lah-pee-do-sa] stony area; gritty The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work. About the Composer Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico. Performance Notes Text: In Latin, the r is flipped; use s instead of z on endings such as phosa, cosa, and so on; the Latin o is a cross between oh and aw; in the transliteration above, I chose to simply use an o for consistency. The director will blend the oh and aw in the rehearsals to his/her own preference. Lastly, tarantula is pronounced tah-rah-n-too-lah (avoid teh-ran-choo-luh) within the confines of this text. Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (“little spiderâ€), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the “poison,†the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship.Christopher Smart (1722-1771), also known as “Kit Smart†or “Jack Smart,†was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke’s Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor’s prison, was common during this period if one’s debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [“Rejoice in the Lambâ€] was set to music by English composer, Benjamin Britten.) Smart’s writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart’s Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance:The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work.Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico. In Latin, the “r†is flipped; use “s†instead of “z†on endings such as “phosa,†“cosa,†and so on; the Latin “o†is a cross between “oh†and “awâ€; in the transliteration above, I chose to simply use an “o†for consistency. The director will blend the “oh†and “aw†in the rehearsals to his/her own preference. Lastly, “tarantula†is pronounced “tah-rah-n-too-lah € (avoid “teh-ran-choo-luhâ €) within the confines of this text.Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (“little spiderâ€), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the “poison,†the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship.Christopher Smart (1722-1771), also known as “Kit Smart†or “Jack Smart,†was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke’s Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor’s prison, was common during this period if one’s debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [“Rejoice in the Lambâ€] was set to music by English composer, Benjamin Britten.) Smart’s writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart’s Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance:The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work.Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico.In Latin, the “r†is flipped; use “s†instead of “z†on endings such as “phosa,†“cosa,†and so on; the Latin “o†is a cross between “oh†and “awâ€; in the transliteration above, I chose to simply use an “o†for consistency. The director will blend the “oh†and “aw†in the rehearsals to his/her own preference. Lastly, “tarantula†is pronounced “tah-rah-n-too-lah € (avoid “teh-ran-choo-luhâ €) within the confines of this text.Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.
SKU: FG.55011-438-8
ISBN 9790550114388.
All of Heininen's sonatas have different characters that are informed by the force fields created by classic solos and melodies in orchestral repertoire. There is also a certain encyclopaedic nature to the sonata cycle; many have been composed to various instruments. The character of the bassoon sonata is serious and classical, somewhat solemn.
SKU: FG.55011-436-4
ISBN 9790550114364.
Acco rding to Paavo Heininen, his sonata for piccolo associates in his mind with Schroeder from the Peanuts comic strip. He plays a toy grand piano crouching on the floor and responding to the sound of a tiny flute from above. Until a large, real grand piano sends out its gravity waves. All of Heininen's sonatas have different characters that are informed by the force fields created by classic solos and melodies in orchestral repertoire. There is also a certain encyclopaedic nature to the sonata cycle; many have been composed to various instruments.
SKU: FG.55011-439-5
ISBN 9790550114395.
All of Heininen's sonatas have different characters that are informed by the force fields created by classic solos and melodies in orchestral repertoire. There is also a certain encyclopaedic nature to the sonata cycle; many have been composed to various instruments. The contrabassoon sonata is an homage to the extreme situations that the deep sound of the instrument creates.
SKU: FG.55011-437-1
ISBN 9790550114371.
All of Heininen's sonatas have different characters that are informed by the force fields created by classic solos and melodies in orchestral repertoire. There is also a certain encyclopaedic nature to the sonata cycle; many have been composed to various instruments. The sonata for English Horn takes distance from the Swan of Tuonela and the melancholy of Tristan.
SKU: CF.CM9563
ISBN 9781491153635. UPC: 680160911134. 6.75 x 10.5 inches. Key: G minor. Latin, English. Hidegard Von Bingen transcribed by Michael John Trotta.
Trotta's composition is an energetic reimagining of timeless text and tune from the 12th century poet, composer, and philosopher Hildegard of Bingen. The marriage of the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works) creates an entirely new work that expresses themes of empowerment. There is a reflective sense of the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself.This commissioned work for womens choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2].This commissioned work for womenas choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2].This commissioned work for womenas choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2].This commissioned work for women's choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2].This commissioned work for women's choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2].This commissioned work for women’s choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself.This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment.An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish.I am the great and fiery force,That breathes life into all things:I am what awakens and supports lifeAnd enkindles all living thingsI am the great and fiery force,That breathes life into all things:Everything in the cosmosIs encircled with my wisdom.I am the beauty in the fields,The force, that moves like a graceful windI shine in the waters, and burn in the sun,Glimmering in the stars.Caritas abundat in omnia (Grace abounds for everyone)[Liber Divinorum Operum (The Book of Divine Works), I.I.2].
SKU: GI.G-10678
ISBN 9781622776436.
Draw ing from his five decades of success as a conductor and educator in the choral field, Will Kesling has compiled a comprehensive choral methods resource that addresses every necessary fundamental for achieving artistry in the choral art. Written in clear and conversational language, this resource covers: Building a healthy and beautiful choral sound Dealing with vocal issues Selecting repertoire and programming concerts Developing score study skills and interpretive insights Understanding the characteristics of musical periods and composers Planning, preparing for, and running rehearsals The Voices I Hear also explores important but often overlooked topics, including a discussion of performing sacred music in secular education settings, techniques for performing choral-orchestral works, choral versus orchestral conducting, and how to become a true “maestro.†Individual chapters also function as standalone topics of study. A valuable read for emerging and seasoned conductors alike, The Voices I Hear is an expert study of the aesthetic, intellectual, and practical aspects of the choral art. Dr. Will Kesling is Professor of Choral and Orchestral Conducting at the University of Florida, where he has taught for two decades. He has conducted hundreds of choral ensembles and nearly fifty of the world’s finest symphony orchestras. His ensembles have received international attention for their excellence and musical expression.  Thank you, Dr. Kesling, for the decade you gave of yourself to write the most complete and comprehensive writing on the topics of choral techniques, methods, and conducting I have seen. It is in-depth yet practical, to the point of being a valuable resource for both the young conductors entering the choral field to the well-established professionals. You have given us a solid foundation in all significant areas of the choral art, including, among many others, the production of beautiful vocal tone, detailed physical vocal production, textual and physical components of English diction, repertoire programming, appropriate style, interpretation and phrasing, and a pathway to successful conducting of combined choral and orchestral forces. Your enormous and highly successful career, with worldwide performances and numerous awards and honors, has enabled you to bring validity and integrity to the entire writing. —Donald Neuen   Distinguished Professor Emeritus, UCLA   Former member of the Robert Shaw Chorale   Mr. Shaw’s Assistant Conductor with the Atlanta Symphony Orchestra and Choruses For more than 50 years, Dr. Will Kesling has been and continues to be a prominent figure and voice in the International and American choral profession. His new book, The Voices I Hear, is the distillation of his long and distinguished career as a conductor and choral music educator. The driving and consuming passion throughout Kesling’s life is the preparation and performance of the world’s rich and diverse choral and orchestral repertoire and the education, development, and growth of those who perform and conduct it. This book is a summation of a lifetime immersed in the choral art and all its many aspects. It overflows with insights into the choral art that will not only instruct the beginning conductor but also will enlighten and entertain the seasoned professional conductor and educator. It is filled with wit, wisdom, and practical advice to all practitioners of the choral arts. I enthusiastically recommend Kesling’s enlightening new book as an important addition to the choral pedagogy bibliography and for use as an invaluable new text for choral practicum classes for both graduate and undergraduate students. Dr. Kesling has brought to the choral profession significant new insights to all lovers of the choral art. —Craig Jessop   Professor of Music, University of Utah   Former Music Director of the Tabernacle Choir and Orchestra at Temple Square   and the United States Air Force Singing Sergeants Will Kesling’s book, The Voices I Hear, is practical and philosophical, useful and inspirational, focused and comprehensive. The observations and advice are based on his vast personal experiences on the podium with choirs and orchestras, and the book is a monumental resource for both the young conductor and the veteran. Containing a broad spectrum of musical styles, composers, and topics, Kesling’s direct and practical writing connects immediately with today’s choral musician. Keep The Voices I Hear nearby as there will be many times down the road where the information and opinions in Dr. Kesling’s book will answer the questions you have, as well as the ones you didn’t even know to ask! —Jerry Blackstone   Professor Emeritus of Music (conducting) and Director of Choirs (retired)   School of Music, Theatre & Dance, University of Michigan This is the textbook I wish had been available when I was beginning my studies. It is comprehensive in scope, practical and helpful in its suggestions, and, perhaps most surprising in a book from an academic, superbly written in clear and powerful English. Kesling speaks with conviction, clarity, and polish, and he finds colorful and memorable ways of making his points and presents the material from the perspective of one who has done all these things for decades at a highly professional level. I give this volume the highest possible recommendation. —Daniel Gawthrop   Composer & Conductor.
SKU: BR.PB-5714
ISBN 9790004216514. 10.5 x 14 inches.
More than my earlier works, this one is interspersed with metrically bound rhythms and musicianly characters that constantly recrystallize and drift towards or away from familiar situations.The familiar: These are dance-like figures and music-making formulas, but also songs and, in two cases fragments of Bach's music - playfully collected memories of impressions in which - consciously and unconsciously - I am embodied with that collective comfort in whose protection bourgeois thinking and feeling, magically protected, grow up and emerge apart.(It is well known that such security has its fetishes from the childlike to the adult stage: Home, religious bond, holidays, tradition, longing for childhood - the superficiality may have little idea of the depth that opens up underneath. There is also no question that we are still marked by such security even when the contradictions and alienation of existence force us to step out of their protection, to recognize and act upon reality, and to oppose the domination of such inner bonds where their original truth has become the fatal untruth of comfortable illusion, stubbornly and fearfully conjured idyll and reactionary narrow-mindedness.My music feeds on figures in which such memories are encapsulated. It deals with them not much differently than in other pieces with the elements of the traditional musical concept of material, having already always reflected compositionally as a product of sociality and anticipation of musical expression, i.e. it moved into a structurally expanded context and expressively redefined from there.Such an approach aims at overcoming lack of freedom: grasping as part of conceiving, i.e. not philosophical reflection, but rather an artistically gripping reflex by intervening in the physical immediacy of such predetermined elements. These penetrate and infect the structural events, inducing a musicianship that cannot be relied upon; the music jumps onto rhythms like onto moving vehicles, allows for being carried by them until they deform or disintegrate. This creates an incline of rhythmically shaped situations: sequence and interweaving of dances and structures.The role of the solo string quartet is versatile, obbligato and concertante, leading and accompanying in a changing sense. Set as a chamber music apparatus in an orchestral landscape, it repeatedly forces its own sound dimensions onto the orchestra, it must accept being drowned out at times, it nests in the holes of tutti fields, it acts as a louse in the fur, forcing one to listen in and out.The Tanzsuite with Deutschlandlied is structured as follows:I. Section. 1. Introduction - 2. Waltz - 3. March - 4. Bridge -II. Section. 5. Siciliano - 6. Capriccio - 7. Valse lente -III. Section. 8. Bridge - 9. Gigue - 10. Tarantelle - 11. Bridge -IV. Section. 12 Aria I - 13 Polka - 14 Aria IIV. Section. 15. Introduction - 16 Gallop - 17 Coda (Aria III)All 17 parts merge into one another.(Helmut Lachenmann, 1980)CDs/LP/DVD:Arditti-Q uartett, Deutsches Symphonie-Orchester Berlin, cond. Olaf HenzoldCD Montaigne Auvidis MO 782019Berner Streichquartett, Sinfonieorchester des SWF, cond. Sylvain Cambreling (Excerpt)CD BMG/RCA 74321 73510 2 (Musik in Deutschland 1950-2000)Berner Streichquartett, Sinfonieorchester des SWF, cond. Sylvain CambrelingLP DMR 1028-30Arditti Quartet, SWR Sinfonieorchester Baden-Baden und Freiburg, cond. Hans Zender Excerpt on CD ,,Auswahl von zehn Urauffuhrungen aus 70 Jahren, SWR Sinfonieorchester Baden-Baden und Freiburg Arditti Quartet, Staatsorchester Stuttgart, cond. Sylvain Cambreling DVD ,,Lachenmann-Perspektiven 6 (Breitkopf & Hartel, BHM 7816) Bibliography:Cavalotti, Pietro: Differenzen. Poststrukturalistische Aspekte in der Musik der 1980er Jahre am Beispiel von Helmut Lachenmann, Brian Ferneyhough und Gerard Grisey (= Sonus. Schriften zur Musik, hrsg. von Andreas Ballsteadt, Band 8), Schliengen: Argus 2006, pp. 79-128.Das sind doch alles Deutschlandlieder! Helmut Lachenmann im Gesprach mit Michael Rebhahn, in: Der Taktgeber. Das Magazin der Jungen Deutschen Philharmonie, Heft 40 (Sommer 2019), S. 6f.Stawowy, Milena: Fluchtversuche in die Hohle des Lowen. Helmut Lachenmanns Tanzsuite mit Deutschlandlied, in: MusikTexte 67/68 (1997), pp. 77-90.Toop, Richard: Concept and Context: A Historiographic Consideration of Lachenmanns Orchestral Works, in: Helmut Lachenmann Inward Beauty, hrsg. von Dan Albertson, Contemporary Music Review 23 (2004), Heft 3/4, pp. 125-144.World premiere: Donaueschingen (Donaueschinger Musiktage), October 18, 1980.
SKU: HL.4008568
ISBN 9798350110692. UPC: 196288180050.
Nico Samitz has been composing for chamber ensembles since his school days. For over ten years he has been writing works in a wide variety of genres for the “BlechReiz BrassQuintett†ensemble, in which he himself plays trumpet and piano. His field of expertise ranges from classical pieces to jazz and meditative music—and even to pop-oriented compositions. While honing his skills in ear-training and composition at the Mozarteum, Salzburg, Nico became acquainted with a wide repertoire of works as a trumpet player with the Munich Symphony Orchestra, The Munich Philharmonic Orchestra, and the Bavarian State Opera, all of which have influenced his writing style. The driving force behind his creative work is a winning combination of passion, the fun of music-making and a desire to express, through the medium of music, feelings that are difficult to put into words.
SKU: HL.4008607
ISBN 9798350112566. UPC: 196288183174.
This set also includes a Bb Trombone TC solo part. Nico Samitz has been composing for chamber ensembles since his school days. For over ten years he has been writing works in a wide variety of genres for the “BlechReiz BrassQuintett†ensemble, in which he himselfplays trumpet and piano. His field of expertise ranges from classical pieces to jazz and meditative music—and even to pop-oriented compositions. While honing his skills in ear-training and composition at the Mozarteum, Salzburg, Nico became acquainted with a widerepertoire of works as a trumpet player with the Munich Symphony Orchestra, The Munich Philharmonic Orchestra, and the Bavarian State Opera, all of which have influenced his writing style. The driving force behind his creative work is a winning combination of passion, the fun of music-making and a desire to express, through the medium of music, feelings that are difficult to put into words. Like many of his works, Nico composed The Joy of Freedom for the “BlechReiz BrassQuintetâ€. The catchy tune is reworked in a variety of styles throughout the entire work, giving it the quality of a true 'earworm'.
SKU: CF.SC49
ISBN 9780825847196. UPC: 798408047191. 9 X 12 inches.
An early (1938) non-spatial work by Henry Brant, whose Ice Field won the Pulitzer Prize for Music, Whoopee in D is scored for a modestlysized orchestra of single winds, 2 clarinets, 2 horns, 2 trumpets, trombone, piano, percussion (1 player) and strings. The piece satirizes the standard light opera/musical comedy type of overture. The composer describes it as the prelude to a comic-strip opera as revealed in a nightmare. In a brief and rollicking four minutes, Brant takes a fragment of Bach's accompanying melody from the choral prelude Wachet auf! (also familiar from its use in Cantata No. 140) and subjects it to several clever parody-variations in polka, rumba and march style. A tour de force for a chamber orchestra, Whoopee in D has always been a great audience pleaser. Orchestral parts are available on rental.
SKU: HL.4008569
ISBN 9798350110708. UPC: 196288180067.
This set also includes a Eb Horn solo part. Nico Samitz has been composing for chamber ensembles since his school days. For over tenyears he has been writing works in a wide variety of genres for the “BlechReiz BrassQuintett†ensemble, in which he himself plays trumpet and piano. His field of expertise ranges from classical pieces to jazz and meditative music—and even to pop-oriented compositions. While honing his skills in ear-training and composition at the Mozarteum, Salzburg, Nico became acquainted with a wide repertoire of works as a trumpet player with the Munich Symphony Orchestra, The Munich Philharmonic Orchestra, and the Bavarian State Opera, all of which have influenced his writing style. The driving force behind his creative work is a winning combination of passion, the fun of music-making and a desire to express, through the medium of music, feelings that are difficult to put into words.
SKU: HL.4008570
ISBN 9798350110715. UPC: 196288180074.
Nico Samitz has been composing for chamber ensembles since his school days. For over ten years he has been writing works in a wide variety of genres for the “BlechReiz BrassQuintett†ensemble, in which he himself plays trumpet and piano. His field of expertise ranges from classical pieces to jazz and meditative music—and even to pop-oriented compositions. While honing his skills in ear-training and composition at the Mozarteum, Salzburg, Nico became acquainted with a wide repertoire of works as a trumpet player with the Munich Symphony Orchestra, The Munich Philharmonic Orchestra, and the Bavarian State Opera, all of which have influenced his writing style. The driving force behind his creative work is a winning combination of passion, the fun of music-making and a desire to express, through the medium of music, feelings that are difficult to put into words. Like many of his works, Nico composedThe Joy of Freedom for the “BlechReiz BrassQuintetâ€. The catchy tune is reworked in a variety of styles throughout the entire work, giving it the quality of a true 'earworm'.
SKU: HL.4008609
ISBN 9798350112580. UPC: 196288183198.
SKU: HL.4007976
Nico Samitz has been composing for chamber ensembles since his school days. For over ten years he has been writing works in a wide variety of genres for the BlechReiz Brass Quintet ensemble, in which he himself plays trumpet and piano. His field of expertise ranges from classical pieces to jazz and meditative music–and even to pop-oriented compositions. While honing his skills in ear-training and composition at the Mozarteum, Salzburg, Nico became acquainted with a wide repertoire of works as a trumpet player with the Munich Symphony Orchestra, The Munich Philharmonic Orchestra, and the Bavarian State Opera, all of which have influenced his writing style. The driving force behind his creative work is a winning combination of passion, the fun of music-making and a desire to express, through the medium of music, feelings that are difficult to put into words. Like many of his works, Nico composed The Joy of Freedom for the BleckReiz Brass Quintet. The catchy tune is reworked in a variety of styles throughout the entire work, giving it the quality of a true “earworm.â€.
SKU: HL.4008606
ISBN 9798350112559. UPC: 196288183167.
This set also includes a Bb Euphonium TC solo part. Nico Samitz has been composing for chamber ensembles since his school days. For over ten years he has been writing works in a wide variety of genres for the “BlechReiz BrassQuintett†ensemble, in which he himselfplays trumpet and piano. His field of expertise ranges from classical pieces to jazz and meditative music—and even to pop-oriented compositions. While honing his skills in ear-training and composition at the Mozarteum, Salzburg, Nico became acquainted with a widerepertoire of works as a trumpet player with the Munich Symphony Orchestra, The Munich Philharmonic Orchestra, and the Bavarian State Opera, all of which have influenced his writing style. The driving force behind his creative work is a winning combination of passion, the fun of music-making and a desire to express, through the medium of music, feelings that are difficult to put into words. Like many of his works, Nico composed The Joy of Freedom for the “BlechReiz BrassQuintetâ€. The catchy tune is reworked in a variety of styles throughout the entire work, giving it the quality of a true 'earworm'.
SKU: HL.4008571
ISBN 9798350110722. UPC: 196288180081.
SKU: HL.4008608
ISBN 9798350112573. UPC: 196288183181.
