/ Contrebasse, 2 Flûtes Traversières, 2 Hautbois, 2 Clarinettes, Basson, Contrebasse Et 2 Cors
SKU: HL.49007047
ISBN 9790001075503. UPC: 884088096922. 9.0x12.0x0.072 inches.
Ein musikalisches Kleinod, das mit jeder Note den ebenso sensiblen wie schalkhaften Tonkunstler verrat. Jean Francaix' Mozart New Look ist ein typisches Beispiel seiner heiteren Spielmusik, die Spass macht und gefallt. In seinem dreiminutigen Stuck ist der Geist Mozarts allgegenwartig: Wahrend der Kontrabass eine Arie aus Don Giovanni spielt, lasst Francaix mit einem Augenzwinkern gleichzeitig eine Arie aus Carmen erklingen. Eine wahre Musique pour faire plaisir!
SKU: HL.49007048
ISBN 9790001075510. UPC: 884088096915. 9.0x12.0x0.117 inches.
Ein musikalisches Kleinod, das mit jeder Note den ebenso sensiblen wie schalkhaften Tonkunstler verrat. Jean Francaix' 'Mozart New Look' ist ein typisches Beispiel seiner heiteren Spielmusik, die Spass macht und gefallt. In seinem dreiminutigen Stuck ist der Geist Mozarts allgegenwartig: Wahrend der Kontrabass eine Arie aus 'Don Giovanni' spielt, lasst Francaix mit einem Augenzwinkern gleichzeitig eine Arie aus 'Carmen' erklingen. Eine wahre 'Musique pour faire plaisir'!
SKU: HL.49007049
ISBN 9790001075527. UPC: 884088017538. 9.0x12.0x0.059 inches.
Little fantasy of the Standchen from Don Giovanni for double bass, 2 flutes, 2 oboes, 2 clarinets, bassoon, contrabassoon and 2 horns. Piano reduction with solo part.
SKU: BR.EB-9253
World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017
Have a look into EB 9283.
ISBN 9790004185537. 9 x 12 inches.
Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.
SKU: BR.PB-5432
ISBN 9790004212790. 10 x 12.5 inches.
SKU: PR.362034230
ISBN 9781598069556. UPC: 680160624225. Letter inches. English.
When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental.When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?â€Â THE CREATION already contains a prologue; it’s called “Representation of Chaosâ€, and it’s Haydn’s way of showing the formless universe. How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense. The Age of Enlightenment’s idea of “Chaos†was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them. Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overtureâ€, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause. I crafted this five minute piece to begin with a kind of “music of the spheres†universe-hum, created by tuned wine glasses and violin harmonics. The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus. The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent†until we finally hear actual pitches, melodies, and words. Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now. It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come. At the end of the piece, the chorus finally finds its voice with a single word: “God!â€, and the orchestra finally finds its own pulse as well. The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense. Neither was Haydn, nor Mozart, nor Beethoven. But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history. The gospel according to John begins with a parody of Genesis: “In the beginning was the Word, and the Word was with God, and the Word was God.â€Â  I love that phrase, and it’s in that spirit that I offer my humble “opener†to the finest work of one of the greatest composers Western music has ever known. My piece is not supposed to sound like Haydn. It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear.
SKU: HH.HH188-FSP
ISBN 9790708059639.
The present set of three string quartets, published in Vienna in 1799 by André, are arranged from two violin sonatas and a piano trio; a certain independence is noticeable in the anonymous arranger, but the result is three strikingly effective new quartets to add to the Mozart oeuvre which will delight all players familiar with the originals and prove a gracious alternative to quartets who look for some escape from the familiar and over exposed repertoire.
SKU: BT.CMP-0905-05-140
English.
If you seek truly dramatic music, look to opera. Opera has been enormously influential on Classical, Popular, and Film and Television music over the years. James L. Hosay’s new intermediate level piece, Operatica, incorporates the important elements of Opera and Classical music to bring exhilarating drama to the concert band stage. Style and technical considerations make this a rich learning experience for the band. Add in the dimension of music history by studying Opera and Classical music, and you have a wonderful teaching tool! The grand theme explores a multitude of colours as it twists and turns its way through opera-style development and variation. Whether for formal,festival, or just concert use, you will find this to be a thrilling addition to your library. Opera heeft in de loop der jaren enorm veel invloed gehad op klassieke, populaire, film- en televisiemuziek. In Operatica zijn belangrijke elementen (drama, spanning en passie) uit de operamuziek van de achttiende en negentiendeeeuw verwerkt. Deze ouverture, voornamelijk in de stijlen van Wagner en Mozart geschreven, is meeslepend en geeft uw muzikanten tevens de mogelijkheid om belangrijke aspecten uit de klassieke muziek te leren kennen. Het hoofdthemaomvat een veelvoud van kleuren terwijl het zijn weg vindt in opera-achtige variaties. Operatica: een aanwinst voor uw repertoire!Sind Sie auf der Suche nach wahrhaft dramatischer Musik? Denken Sie an die Oper. James L. Hosays Komposition verbindet wichtige Elemente von Oper und klassischer Musik miteinander und bringt somit ganz große Dramatik auf Ihre Konzertbühne. Das großartige Thema von Operatica entwickelt eine Fülle an Klangfarben, während es sich durch zahlreiche Variationen im Stil der Oper schlängelt. Eine wunderbare neue Erfahrung für die Musiker und ein Erlebnis für das Publikum!
