Format : Sheet music
Par WIDMANN JORG. La pièce de cor ' Air ' exige une technique hautement virtuose, comme il se doit en effet puisqu'elle a été composée en 2005 comme la pièce obligatoire pour la 54e concours International de musique de l'ARD. Dans le même temps, cependant, il est complètement orientée vers un air vocal simple-' air ' dans son sens littéral et dans son sens remis en bas de ' melody '. Le matériau sonore se compose de diverses lignes harmoniques naturels, dont certaines sont entrecroisés. Ce cosmos microtonal et le changement constant d'ouvert et arrêté de jouer créent une pièce passionnante de la nature sur la proximité et la distance./ Recueil / Cor
SKU: HL.49033270
ISBN 9790001136860. 9.25x12.0x0.3 inches.
The Jagdquartett (Hunt Quartet), which Jorg Widmann wrote as his third string quartet in 2003, following the Choralquartett, also begins with a visible gesture. After a short signal cry from the performers, the piece starts by quoting Robert Schumann's Papillons op. 2, and for its full duration retains this gesture, these starting sounds. The degrees of recognizability do change continuously, to be sure, in the furious, racing organism of the score. The contours change into forms on another level, yet now and then the begining material returns clearly to the fore, initiated anew by a cry from the performers, and is then digested or mutated as a rhythmic study into a field of harmonic experimentation. On rare occasions, there are moments of pause - as though the musicians were testing the atmosphere, as though they were sensing the weather, so as ultimately to continue playing the quartet across the fields an forests of notes. A hunt after joyful performance, a chase, the whip cracking, after the thing to be shot, the sound, its performer, perhaps the composer himself? - A last shout, morendo, dal niente... - The victim is not the audience, at any rate.When comparing the output of string quartets from the 18th century to thetime of Schumann, it appears to have dropped considerably. Schumann composed only three complete quartets, all of them in the so-called 'chamber music year' 1842. Jorg Widmann, who counts Robert Schumann among his greatest inspirations, finished a series of five string quartets in 2005, at the same age as Schumann. The quartets in the cycle form in themselves the characters of the movements of the classical quartet. Jagdquartett represents the fast middle movement, the scherzo. Widmann's work appears rough and wild in the style of Schumann's alter ego Florestan. His hunt begins in the tempo of 'allegro vivace assai' with the final theme of Schumann's Papillons which often appears or is cited in many of Schumann's compositions. Widmann eventually dismantles the thematic material of his fierce quartet, thus skeletonising his prey.
SKU: HL.49033268
ISBN 9790001136846. 9.25x12.0x0.175 inches.
The five strings quartets by Jorg Widmann are compact studies, like those of his teacher Wolfgang Rihm. Performed individually, the focus is on the respective central technical and aesthetic idea. Performed as a cycle, however, they get closer to the well-known classical multi-movement form.The theme of the first string quartet is the quintessential beginning: in an introduction, it takes some time for the strained sounds to turn into harmonics. Then it is the viola, the 'poor cousin' in the string quartet literature, which takes up and defines the musical work. The workconcludes with a demanding eight-part double-stopping polyphony of all instruments.
SKU: HL.49033276
ISBN 9790001137096. 9.25x12.0x0.094 inches.
This is one of the early works by which the clarinettest Jorg Widmann also made himself a name as a composer. The form develops from the - at first only tentative - interaction of the three instruments. Sound-sensitive and eruptive moments alternate unexpectedly. Between 'jazzy-secco' and the 'Spieluhr' solo, the piano announces the passage of time: '12 Glockenschlage Mitternacht'.
SKU: HL.49033269
ISBN 9790001136853. UPC: 884088567088. 9.0x12.0x0.092 inches.
My 2nd string quartet is one single slow movement. The piece does not directly reflect Joseph Haydn's Seven Last Words but I would not have been able to write it without knowing that work. The movements in Haydn's quartets (except the final earthquake) are slow movements of shocking forcefulness. What makes the work even more unsettling for me is the relaxed and cheerful acceptance of death (the 'smile' of the A major pizzicato thirds!). When I made myself familiar with the subject matter of crucifixion I discovered that terms like 'walking' and 'the last walk' were most important to me. My piece starts at the final stage of this experience. It contains a number of lost sounds, phrases of futility which come from nowhere and lead to nowhere. The horrifying rubbing and sanding of skin and wood become the 'theme' of the piece which is combined with tonal, choral-like melodies. I am interested in how to make noises no longer symbolize desolation and tonal phrases no longer represent confidence.- Jorg Widmann.
SKU: HL.49033265
ISBN 9790001136778.
With the title of this composition, Fever Fantasy, Jorg Widmann refers to its musical air: 'I often feel Robert Schumann's melodic shape to be like the amplitude of a temperature curve: nervous, flickering, feverish, an infinite number of small and large wave crests and troughs within the principal line.'The composer approaches this sound phenomenon with a setting for acoustic instruments. Nevertheless, he succeeds in conjuring up very unusual sound spectrums. Over long sections, the notation of this score mirrors the musical progressions, containing no concrete pitches but detailed performance instructions instead. Slowly, individual tones emergefrom ascending pizzicato lines, colourless sound surfaces, sounds of harmonics roughened by tremolos, and virtuoso clarinet scales, tones that do not reveal their origin until the work ends: C - F - E - D sharp, the beginning of Schumann's first violin sonata.
SKU: HL.49033330
ISBN 9790001138642. 9.0x12.0x0.122 inches.
This piece was composed by Jorg Widmann for the Italian pianist Irene Russo in 2003. Consisting only of sharp pulse patterns and their lingering sound, it explores the tonal possibilities of the whole instrument in a fascinating way.
SKU: HL.49018708
ISBN 9790001175838. 8.25x11.75x0.225 inches.
Jorg Widmann dedicated 'Freie Stucke' to his teacher Wolfgang Rihm on his fiftieth birthday in 2002. The ten pieces for mixed ensemble or orchestra are 'inspired by the wish for concentration and reduction. Each piece focusses on one sound phenomenon (pulse, shaking ground, noise, monophony, overtone structures, etc.). All parts are locked together, however. The ending of each piece is the beginning of the next one. Thus, something disparate becomes something continuously narrated.' (Jorg Widmann)2 (2. auch Picc.) * 1 (auch Engl. Hr.) * 2 (1. auch Bassklar., 2. auch Kb-Klar., beide auch Pedalp.) * 1 (auch Kfg. und Lotosfl.) - 1 * 1 (auch Lotosfl.) * 1 * 0 - S. (I: Crot. * Lotosfl. * Wassergong [kl. Tamt.] * Wassergong [c']* Tamt. * Xylorimba * gr. Tr. * Beck. * Glsp. * 5 Woodbl. * 2 Peking-Oper-Gongs * Trillerpf. * hohes Tomt. * 2 hohe Tamb. * Steel Drum * Rototoms [chrom.] * Buckelgongs; II: Chin. Beck. * 5 Woodbl. * Lotosfl. * Pedalpauke [auch m. schwerem 20-Zoll-Ride-Beck. m. Kuppe aufgelegt] * 5 Beck. * Xylorimba * Peitsche * gr. Tr. * Crot. * Trgl. * Glsp * Flex. * Guiro * Peking-Oper-Gong * Trillerpf. * Rohrengl.) (2 Spieler) - Str. (1 * 1 * 1 * 1 * 1 [Kb. mit 5. Saite H], oder chorisch).
SKU: HL.49018097
ISBN 9790001170406. UPC: 884088653767. 9.0x12.0x0.263 inches.
Jorg Widmann treats the violon at first as a vocal instrument, just in the tradition of the great violin concertos of the 19th century through to Alban Berg. But from the cantabile lines, often written 'sul tasto' and 'flautando', emerges again and again a virtuosity which is just as important to the genre and which, based on contemporary playing techniques, causes enticing problems for every player. As the orchestra is reduced to a demanding, yet rather accompanying function during the almost 30 minutes' duration, the piano reduction, already tried in Hamburg by the world premiere performer Christian Tetzlaff with Jorg Widmann on the piano, offers more than ever an opportunity for concert performances off the major stages.2 (2. auch Picc.) * 2 (2. auch Engl. Hr.) * 2 (2. auch Bassklar.) * 2 (2. auch Kfg.) - 4 * 0 * 0 * 0 - P. S. (Glsp. * Crot. [2 zwei-oktavige Sets] * 3 Beck. [h./m./t.] * Tamt. [m.] * gr. Tr. * Vibraslap) (2 Spieler) - Hfe. * Cel. (auch 2. gr. Tr.) - Str. (14 * 12 * 10 * 8 * 6 [alle mit 5. Saite H]).
SKU: HL.49044665
ISBN 9790001200103. UPC: 841886022928. 9.0x12.0x0.213 inches.
This 'Suite' is not one of my 'epic' instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom.Almost every individual movement allots the solo flute a specific tonal colouring and an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra (including alto and bass flute and later also piccolo to include the entire flute family); the string section in the Sarabande; in both chorales (extremely muted in the first and brutalist in the second), the brass etc.; and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously.This permits the flute to remain the provider of all impulses; it attaches itself to the wide variety of instrumental colours, becomes suffused with these colours and thereby shines in different lights - acerbic, pale and radiant. This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound (which is indeed treated as such with the sum of its parts) and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flute en suite. Jorg WidmannThis 'Suite' is not one of my 'epic' instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom.Every individual movement allots the solo flute an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra; the string section in the Sarabande; in both chorales the brass etc.; and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously.This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flute en suite. Jorg Widmann3 (2. auch Altfl., 3. auch Bassfl., alle auch Picc.) * 3 (2. auch Ob. d'am., 3. auch Engl. Hr.) * 0 * 3 (3. auch Kfg.) - 4 * 4 * 3 * 1 - S. (Glsp. * Vibr. * 3 hg. Beck. [h./m./t.] * chin. Beck. * 4 Gongs * 4 Buckelgongs * 2 Tamt. [m./t.] * Wassertamt. * gr. Tr. * Metal Chimes * Peitsche) (2 Spieler) - Hfe. * Cel. (auch Cemb.) - Str. (10 * 8 * 6 * 4 * 3).
SKU: HL.49046297
ISBN 9781540069986. UPC: 841886033672.
Jorg Widmann paraphrases Mendelssohn's famous wedding march from the Midsummer Night's Dream solo in this piece for violin solo. Theparaphrase was actually written for a wedding that took place in Rome in 2016 and for which Jorg Widmann's sister, Carolin Widmann, performed the work for the first time.
SKU: HL.49017964
ISBN 9790001152938. 9.25x12.0x0.325 inches. German.
Es war 1996, als mir Christoph Poppen, der damalige Leiter des Munchener Kammerorchesters, von einem kuriosen Konzert in Munsing (Ammerland) erzahlte: wahrend eines seiner Konzerte mit dem Orchester in der dortigen Kirche gab es, fur alle hor- und sichtbar, eines der grossten Unwetter, das die Region je gesehen hatte. Dabei schlug der Blitz ein in eine Art Wahrzeichen des Ortes, eine mehrere Jahrhunderte alte Linde. Unter den Zuhorern damals: die dort lebende Dichterin und Schriftstellerin Diana Kempff. Sie war unmittelbar erschuttert vom Tod der Linde und schrieb unter diesem Eindruck einige Gedichte. Christoph Poppen wiederum war - wie in vielen anderen Zusammenhangen auch - genialer Vermittler und stellte alsbald den Kontakt zu mir her. Die Idee: am Ort des Geschehens, in der Munsinger Kirche, solle ein Jahr spater die Urauffuhrung einer Art Requiem fur diesen Baum, der so vieles 'gesehen' hatte, erklingen. Im Rahmen der Holzhauser Musiktagen mit den Texten von Diana Kempff und meiner (noch zu schreibenden) Musik.Es gab bald eine wunderbare, sehr intensive Begegnung von Diana Kempff und mir, bei der sie etwas fur Schriftsteller nicht gerade Typisches tat: sie stellte mir frei, aus den vorliegenden Gedichten nach Belieben lediglich Teile, sogar nur Zeilenfragmente zu verwenden und auch die Reihenfolge nach meinen Bedurfnissen anzuordnen und zu gestalten. Sie begriff sofort (und wunschte!), dass durch die Musik ohnehin etwas Drittes, etwas ganz Anderes entstehen wurde. Die Tatsache, dass wir Monate spater eine sichtlich bewegte Diana Kempff auf die Buhne holen durfte, freute uns alle besonders. Ihre Lyrik ist Ausdruck einer offenkundig zutiefst gequalten Seele und kommt uns oft wunderlich-versponnen entgegen. Einer zerbrechlichen Zartheit steht eine bisweilen fast brutale Harte unversohnlich gegenuber. Das Schubert'sche 'Fremd bin ich eingezogen' gilt fur sie in besonderer Weise und aussert sich in ihren Versen in einer Nahe zu allem Fremden (trotz des gleichzeitigen manischen Umkreisens des Eigenen und der eigenen Erinnerung), Abseitigen und auch (bei aller gleichzeitigen Skepsis) Ubernaturlichen. Dieses geisterhaft-spukige Element versuchte ich durch meine Textauswahl und mit musikalischen Mitteln in diesen nun 'Sieben Abgesangen' zu verdeutlichen. Das erste Stuck ist eine karge Studie uber das Verrinnen der Zeit, das Nichts; das Zweite beschwort den Regen (den heilbringenden) herbei, der dann spater - wenngleich mit entsetzlicher Wirkung - auch kommt. Den dritten Abgesang habe ich 'Tanz der toten Seelen' betitelt; es ist ein Zwiefacher, der jedoch durch seine duster-halbseidene 'Wiener' Chromatik alles Liebenswurdig-Oberbayerische langst verloren hat. Das klanglich vielleicht avancierteste und dichteste Stuck ist der vierte Abgesang, der ganz aus der Perspektive der Linde selbst erzahlt wird. Der funfte Abgesang zu den Worten 'Und wenn der Tod so kommen mag' ist im Stile einer traurigen Volksweise bewusst schlicht gehalten. Wahrend der sechste Satz in seinem expressionistischen Gestus nicht ungefahrlich das Monodram streift, ist es schliesslich die Seele (die ausgehauchte, die weiterexistierende?), die wortlich den letzten Abgesang uber die Baume und die Seelen pragt. Diana Kempffs Gedichte, der Enthusiasmus Christoph Poppens, die phantastischen Urauffuhrungs-Interpreten, allen voran die Sangerin Juliane Banse, haben mich zur Komposition dieser 'Sieben Abgesange auf eine tote Linde' angeregt.Die 'Sieben Abgesange' sind nunmehr auch eine Erinnerung an die erst jungst verstorbene Diana Kempff. Jorg Widmann,im Juni 2008.
SKU: HL.49044532
ISBN 9790001176071. UPC: 888680080570. 9.0x12.0x0.24 inches.
I wrote the first movement of my Sommersonate in the summer of 2010, and though a self-contained work, it called out for continuation or a companion piece. I imagine the first movement, marked moderato, to be bright, free, weightless, transparent, flooded in sunlight. In contrast, the newly composed second movement is nocturnal and cryptic, with a restrained glow. A Romance, a (summer) night piece. Jorg Widmann.
