SKU: BA.BA11071
ISBN 9790006562015. 42 x 29.7 cm inches.
“Now II†is the second part of a triptych of chamber pieces entitled “Profiles of Lightâ€. The first part is written for solo piano (Now I, BA 11073), the second for unaccompanied cello. The two instruments are then combined in the concluding third part, Uriel (BA 11013).All three pieces were inspired by the Abstract Expressionist paintings of the American artist Barnett Newman. Newman's work has had a formative impact on Matthias Pintscher's artistic philosophy: what does it mean to reduce things to essentials while seeking maximum immediacy of expression? Several of Newman's paintings have a radiant light of uncommon intensity, yet resembling a dark illumination. The same sort of thing is found in the late works of Franz Schubert, where a comparable profundity and retrospective yearning likewise shine through the surface of even the brightest tonalities.This is a piece about resonances, about the inward and outward givens of existence, about life itself: 'I find the cello a highly suitable instrument for depicting such existential conditions'.
SKU: HL.14043771
ISBN 9788759836910. 12.0x16.75x0.44 inches. English.
Three Nocturnal Movements - For Violin Solo, Violoncello Solo And Orchestra by Per Norgard (2015). Based on Remembering Child for Viola and Orchestra(1986). Premiered by Peter Herresthal (violin) and Jakob Kullberg (cello) with Bergen Philharmonic June 6th 2015 in Bergen, Norway. The original version was premiered by Pinchas Zukerman and the St. Paul' s Chamber Orchestra, conducted by Arturo di Mecke, on September 12th 1986. Programme Note: The news of the tragic death of Samantha Smith reached me in the early stages of preparation for the commissioned work for viola and chamber orchestra. Already an admirerer of this childworker for peace and nuclear disarmament, I completed mywork strongly inspired by this unique and uniquely symbolic fate of our time. Music from humble sources - including my composition Beach Poppy , a choral work from 1960 - are woven into the texture of the composition. I was guided by the original meaning of the word remembering (making whole, healing) in opposition to dismembering (tearing apart): The healing power of the child. (Per Norgard).
SKU: HL.49045339
ISBN 9790001159654. UPC: 841886030633. 9.0x12.0x0.069 inches.
Chaya Czernowin wrote this composition for violin solo as early as 1981, it is thus one of her early works. The world premiere took place in Berlin in 1983, shortly after the Israeli composer had come to Germany from her home country to study on a scholarship. In this early creative period, her tonal language shows the slow introduction of the sound of new music. In 2015, Czernowin also arranged the piece for viola solo and for violoncello solo.
SKU: HL.49045338
ISBN 9790001159661. UPC: 841886030640. 9.0x12.0x0.07 inches.
The original version for violin dates from 1981, thus being one of the early works by the Israeli composer who teaches at Harvard University. About 35 years later, Chaya Czernowin wrote the arrangement for viola which was first performed by Maria Ritzenthaler at the University of Minnesota in Minneapolis in 2015. In the same year, she composed another version for violoncello solo.
SKU: HL.49046534
ISBN 9781705122556. UPC: 840126946895. 9.0x12.0x0.083 inches.
Das Originalwerk zu dieser Bearbeitung ist die Ciaccona fur Streichorchester aus dem Jahre 2005, die aus Anlass des Todes Papst Johannes Paul II. entstand. Als instrumentales Zwischenspiel hat sie der Komponist in sein grosses oratorisches Werk, das Polnische Requiem, ubernommen. In den folgenden Jahren entstanden bereits Bearbeitungen fur Violine und Viola, fur zwei Klaviere, fur drei Akkordeons und fur funf Violoncelli. Die vorliegende Ausgabe integriert das Werk nun auch ins Repertoire fur Klavier solo.
SKU: BR.EB-9268
ISBN 9790004185681. 12 x 9 inches.
This piece originated as an introduction to instrumental musique-concrete. In this sort of piece it is common for sound phenomena to be so refined and organised that they are not so much the results of musical experiences as of their own acoustic attributes. Timbres, dynamics and so on arise not of their own volition but as components of a concrete situation characterised by texture, consistency, energy, resistance.This does not come from within but from a liberated compositional technique. At the same time it implies that our customary sharply-honed auditory habit is thwarted. The result is aesthetic provocation: beauty denying habit.(Helmut Lachenmann),,Cette nouvelle edition est une invitation faite aux violoncellistes qui souhaiteraient redecouvrir leur instrument et la maniere de la faire sonner en realisant dessus un nouveau genre de polyphonie: une polyphonie d'actions. (Francois-Xavier Feron, Circuit, Heft 25, Juni 2015)CDs/LPs:Michael Bach CD cpo 999 102-2 Lucas Fels CD Montaigne Auvidis MO 782075 Walter Grimmer CD col legno WWE 31863 Taco Kooistra CD Attacca Babel 9369-1 Pierre Strauch CD Accord 202082 Michael Bach LP ABE ERZ 1003 Werner Taube LP ABE ERZ 1003ensemble phorminxCD WER 6682 2Michael M. KasperCD Michael M. Kasper rounds per minute, Ensemble Modern Medien, EMCD-006Michael Svoboda (trombone)CD Wittener Tage fur neue Kammermusik 2011Bibliography:Deltz, Eberhard: begegnung im grenzbereich. Zwei Werke von Helmut Lachenmann und Hideaki Yamanobe im Spiegel eines Haiku von Matsuo Basho, in: Neue Zeitschrift fur Musik 167 (2006), Heft 1, pp. 36-41.Feron, Francois-Xavier: Enjeux et evolution du systeme de notation dans ,,Pression pour un(e) violoncelliste de Helmut Lachenmann, in: Circuit, Heft 25, 2015, pp. 55-65.GoGwilt, Keir: Templates for Technique in Mantel and Lachenmann. Between Transcendence and Immanence, in: The Dark Precursor: Deleuze and Artistic Research. Band I: The Dark Precursor in Sound and Writing, hrsg. von Paulo de Assis und Paolo Giudici, Leuven: Leuven University Press 2017, pp. 105-113.Griffiths, Paul: ModernMusic and After, 3rd edition, Oxford University Press 2010, pp. 216-219.Handschick, Matthias: Musik als ,,Medium der sich selbst erfahrenden Wahrnehmung. Moglichkeiten der Vermittlung Neuer Musik unter dem Aspekt der Auflosung und Reflexion von Gestalthaftigkeit (= Schriften der Hochschule fur Musik Freiburg 3), Hildesheim u. a.: Olms 2015, dort pp. 161-167.Hiekel, Jorn Peter: Helmut Lachenmann und seine Zeit, Laaber: Laaber 2023, S. 169-172, 231-232.Jahn, Hans-Peter: simultan eine Erinnerung, in: Neue Zeitschrift fur Musik 167 (2006), Heft 1, pp. 12-15.Lessing, Wolfgang: Musizieren als Prozess. Zur didaktischen Dimension von Helmut Lachenmanns Pression, in: Musik inszeniert. Prasentation und Vermittlung zeitgenossischer Musik heute, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 46), Mainz u. a.: Schott 2006, pp. 73-83.ders.: Verweigerung von Gewohnheit. Instrumentaldidaktische Annaherungen an Pression von Helmut Lachenmann, in: Darstellen und Mitteilen. Ein Handbuch der musikalischen Interpretation, hrsg. von Ursula Brandstatter, Martin Losert, Christoph Richter und Andrea Welte, Mainz: Schott 2010, pp. 111-122.ders.: Interpretation, Verstehen und Vermittlung, in: Ans Licht gebracht. Zur Interpretation Neuer Musik, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 53), Mainz u. a.: Schott 2013, pp. 24-39.Mosch, Ulrich: Das Unberuhrte beruhren Anmerkungen zur Interpretation von Helmut Lachenmanns Werken Pression und Allegro sostenuto, in: Musik inszeniert. Prasentation und Vermittlung zeitgenossischer Musik heute, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 46), Mainz u. a.: Schott 2006, pp. 25-46.Musik als Bildkritik Gesprach zwischen Gottfried Boehm, Helmut Lachenmann und Matteo Nanni, in: Helmut Lachenmann: Musik mit Bildern? Hrsg. von Matteo Nanni und Matthias Schmidt (= eikones, hrsg. von Nationalen Forschungsschwerpunkt Bildkritik an der Universitat Basel), Munchen: Wilhelm Fink 2012, pp. 237-269.Neuwirth, Markus: Strukturell vermittelte Magie. Kognitionswissenschaftliche Annaherungen an Helmut Lachenmanns Pression und Allegro sostenuto, in: Musik als Wahrnehmungskunst. Untersuchungen zu Kompositionsmethodik und Horasthetik bei Helmut Lachenmann, hrsg. von Christian Utz und Clemens Gadenstatter (= musik.theorien der gegenwart 2), Saarbrucken: Pfau 2008, pp. 73-100.Orning, Tanja: The Polyphonic Performer. A Study of Performance Practice in Music for Cello Solo by Morton Feldman, Helmut Lachenmann, Klaus K. Hubler and Simon Steen-Andersen, Diss. Oslo 2014, Oslo: NMH-publikasjoner (mit DVD).Sparrer, Walter-Wolfgang: Wider den geolten Gleichlauf. Von der Notwendigkeit strukturierender Verfahrensweisen bei der Interpretation von Musik. Modell I: Kompositionen fur Violoncello solo von J. S. Bach, Isang Yun und Helmut Lachenmann, in: Musikalische Produktion und Interpretation, hrsg. von Otto Kolleritsch, Wien/Graz 2003 (= Studien zur Wertungsforschung, Band 43), pp. 75-100.Utz, Christian: Erinnerte Gestalt und gebannter Augenblick. Zur Analyse und Interpretation post-tonaler Musik als Wahrnehmungspraxis Klangorganisation und Zeiterfahrung bei Morton Feldman, Helmut Lachenmann und Brian Ferneyhough, in: Ans Licht gebracht. Zur Interpretation Neuer Musik, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 53), Mainz u. a.: Schott 2013, pp. 40-67.World premiere: Como (Autunno musicale), September 30, 1970.
SKU: SU.23145161
Includes: Piano reduction score & Solo Violoncello partsolo vcl; 2(1) 2(1) 2(1) 2; 2220; timp, perc; stgs Duration: 21' Composed: 2015 Published by: Bruce Wolosoff Music Performance materials available on rental only:.
SKU: HF.FH-3097
ISBN 9790203430971. 9 x 12 inches.
Homenatge a Pau Casals (Hommage an Pau Casals) wurde vom amerikanischen Cellisten David James Kim in Auftrag gegeben. Anlass war eine Premiere auf dem 'Mas i Mas Festival' in Barcelona am 7. August 2015. In diesem Werk fur Violoncello solo wird der katalanische Cellist Pau Casals gewurdigt, indem sein traditionell katalanisches Weihnachtslied 'El cant dels ocells' (der Gesang der Vogel) genutzt wird. Dieses Lied wurde durch Pau Casals international als Symbol fur Frieden und Freiheit bekannt. Im gesamten Stuck wird die aufsteigende Melodie des Liedes als immer wiederkehrendes Motiv genutzt, welches in die melodische Struktur eingebettet ist. Die Melodie erscheint erst am Ende des Stuckes vollstandig als Symbol fur die Hoffnung in die Zukunft.
SKU: HL.49045324
ISBN 9790001159678. UPC: 841886030657. 9.0x12.0x0.069 inches.
The original version for violin dates from 1981, thus being one of the early works by the Israeli composer who teaches at Harvard University. About 35 years later, in 2015, Chaya Czernowin arranged the solo piece for the cellist Christina Meissner and also wrote a version for viola solo. In this early creative period, her tonal language shows the slow introduction of the sound of new music.
SKU: SU.29120150
Aurora Borealis for solo cello evokes the mystery and drama of the northern lights, also known as the Aurora Borealis. The Aurora Borealis was out. It hung and moved with majesty in folds like an infinite traveler upstage in an infinite theater. In colors of rose and lavender and purple it moved and pulsed against the night, and the frost-sharpened stars shone through it. What a thing to see!... ― John Steinbeck Level of difficulty - music school student to professional Solo Violoncello Duration: 6' Composed: 2020 Published by: Todd Mason Aurora Borealis for Solo cello (Youtube):.
SKU: SU.96020150
Japan Songs was originally conceived as a song cycle. In 2019, Kyo-Shin-An Arts asked six beloved composers to each write one song. All six said yes, the premiere was scheduled, and the journey began. When the first rehearsal at long last arrived, in November 2020, we realized we had not commissioned a song cycle but rather a collection of independent gems. Each song captures the personality and style of its creator as well as the deep emotional impact of the pandemic during which it was written. Soprano, Shakuhachi, Violin, Violoncello & Piano Duration: 6’ Composed: 2022 Published by: Subito Music Publishing.
SKU: PR.11441733S
UPC: 680160631865.
String Quartet No. 9 is the fourth that Wernick has written for the Juilliard Quartet. A commission by the Philadelphia Chamber Music Society, Wernick's ninth string quartet was premiered by the Juilliard in November, 2015 and subsequently taken on tour. The first movement's affect (marked 'Assertive, Aggressive') [compares] to Rockport's forbidding coastline in the eyes of the first. settlers. This was an apt analogy since the work's musical language is, in today's vernacular, 'gnarly.' [The second movement]...a 'never-ending throb of repeated notes'...the effect of steadily diminishing life-force, though with a 'final burst of hope from the solo cello.' Again, the composer made intriguing use of many of the different ways stringed instruments can produce sound. Geoffrey Wieting, The Boston Musical Intelligencer.
SKU: PR.114417330
UPC: 680160631841.
SKU: SU.92070550
Instrumentation: Solo Vn, Vc, Pno; 2,1 222; 4330; timp, 3perc; stgs Duration: 23' Composed: 2015 Published by: Subito Music Publishing Performance materials available on rental only: Subito Music Rental Library.
SKU: PR.14440651S
UPC: 680160633760. 9 x 12 inches.
The Oboe Quartet was composed at the request of oboist Peggy Pearson and commissioned by Winsor Music. Tempted to write more for an oboe solo, Primosch consciously shares the spotlight here amongst all four equal performers.
SKU: PR.114417500
UPC: 680160634910. 9.5 x 13 inches.
Stream for Clarinet and String Quartet (2015) was commissioned by the Philadelphia Chamber Music Society in celebration of its 30th Anniversary Season, through support of The William Penn Foundation. The first performance was in April 2016 at the Kimmel Center in Philadelphia. Notes from the composer: The 'line' in Stream is often threaded together into a chain made up of separate 'points' played by the strings, and sometimes by the string and the clarinet. An analogy might be that each instrument, at times, produces a single 'ray of light' from within the larger light source. Moreover, there are many passages where the intended effect is that of the strings providing a 'halo' surrounding the solo clarinet. Similarly, the clarinet often dovetails with, as well as emerges or submerges in and out of, a strand in the string music..What's in a name?   In my titles, I generally aim to capture something that I believe to be essential about the particular work.  At some level this is to offer an entry-point for the listener, a glimpse of the composition in its totality.  STREAM as a title came to be when much of the music was already fully composed, and it encapsulates much of what I wish to say in words about this work: it suggests flow - whether gentle or forceful; it implies a journey, one that could take us onto unexpected terrains yet is always moving forward; embedded into this word is also the idea of stream of consciousness, and with it, free association and unexpected twists of fancy. Approximately 16 minutes in duration, STREAM is to be played without a break, yet there are strong elements of a three-movement structure here. An expository quasi-first-movement lays out important materials of varying character; the middle part, suggesting contrast and repose, is initially slow and reflective, but then embarks on new explorations of the notion of stasis, while the final movement is dominated by fast-moving music of high energy that consolidates the previous materials. Important throughout is the way in which seemingly transitional stretches of music emerge and propel the music onward in ways that are at once unexpected and fantastical. A composer's statement about this work would not be complete without acknowledging the degree to which the work was inspired by the awareness that it was being created for a quintet of extraordinary performers of the most beautiful and flowing musicianship - clarinet virtuoso Anthony McGill and the intrepid Brentano Quartet. Shulamit Ran .
SKU: PR.11441750S
UPC: 680160634934. 9.5 x 13 inches.
SKU: KU.GM-1892
ISBN 9790206201561.
Commissioned by Jurg Dahler for the Swiss Chamber Soloists with the financial support of the Cultural Departement of the City of Zurich.