SKU: PR.41641488L
UPC: 680160616312.
3 Flutes (3rd double Piccolo), 3 Oboes, 2 Clarinets in Bb, Bass Clarinet, 2 Bassoons, Contrabassoon, 4 Horns in F, 3 Trumpets in Bb, 2 Trombones, Bass Trombone, Tuba, Timpani, 3 Percussion:, I: Glockenspiel, Xylophone, Metal Plate, Mark-tree, Tam-tam, II: Vibraphone, Sus. Cymbal, Metal Plate, Snare Drum, Tam-tam, III: Bass Drum, Tam-tam, 4 Tom-toms, Snare Drum, Piano, Strings.
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: BR.EB-9459
ISBN 9790004189368. 10.5 x 14 inches.
TemA was written in the summer of 1968. In spite of Ligeti's Aventures it may be considered one of the first compositions in which the breathing plays a role as an accoustically transmitted energy process (Holliger, Globokar, Kagel, Schnebel and Stockhausen in Hymnen have already worked on this phenomenon independently of each other and from different points of view). Moreover, temA marks for me the first step into that musique concrete instrumentale in which the mechanical conditions of the sound production are incorporated into the composition. This characterizes my later pieces such as Kontrakadenz, Air, Pression etc. more consistently. In temA, unlike what happened in my previous works, the naturalistic extreme cases were consciously accepted but at the same time integrated into a very rigorous musical context which was also to give a new meaning to the traditional playing conceptions. The violation of the tabus felt in the nearly 70s (not only regarding this piece) lay to a less degree in the phenomenon of the sound deformation (snoring, pressed strings, soundless blowing etc.), since such an alienation was perfectly tolerated as an humoristic, dadaistic or expressionistic element. Rather the shock was caused by the technical logic of the movements which rendered relative the sheer surrealistic effect and had to be taken seriously instead of in an humoristic way.(Helmut Lachenmann, translation: Roger Clement)CD:Linda Hirst, Martin Fahlenbock, Lucas Fels CD Montaigne Auvidis MO 782023ensemble phorminxCD WER 6682 2Bibliography:Hiekel, Jorn Peter: Escaped from Paradise? Construction of Identity and Elements of Ritual in Vocal Works by Helmut Lachenmann and Giacinto Scelsi, in: Vocal Music and Contemporary Identities. Unlimited Voices in East Asia and the West (= Routledge Research in Music 3), hrsg. von Christian Utz und Frederick Lau, London und New York: Routledge 2013, pp. 158-174.ders.: Helmut Lachenmann und seine Zeit, Laaber: Laaber 2023, S. 202-213.Meyer-Kalkus, Reinhart: Klangmotorik und verkorpertes Horen in der Musik Helmut Lachenmanns, in: Der Atem des Wanderers. Der Komponist Helmut Lachenmann, hrsg. von Hans-Klaus Jungheinrich, Mainz: Schott 2006, pp. 91-110.ders.: Stimme und Atemsyntax in Vortragskunst, Prosa und Musik, in: Musik & Asthetik, Heft 51 (Juli 2009), pp. 73-106.Nonnenmann, Karl Rainer: Auftakt der instrumentalen musique concrete. Helmut Lachenmanns temA, in: MusikTexte 67/68 (1997), pp. 106-114.Saxer, Marion: Kunstgesang als Klangsymbol. Belcanto in experimenteller Vokalmusik nach 1960, in: Musik & Asthetik, Heft 92 (Oktober 2019), S. 5-25 Weber,Barbara Balba: ,,Es musste einfach schick sein, beim Musikhoren etwas zuriskieren. Weltbezuge bei Lachenmann: Perspektive der Musikvermittlung, in:Zuruck zur Gegenwart? Weltbezuge in neuer Musik, hrsg. von Jorn Peter Hiekel(Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt55), Mainz: Schott 2015, pp. 160-169.World premiere: Stuttgart, February 19, 1969.
SKU: HL.49018099
ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.
On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.
SKU: BT.EMBZ14779
The arranger of this work (a well-known Hungarian composer living in Romania) writes: This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinate one, may refer to its ostinato character. This is close to Liszt's programme concept, but the French word 'obstiné' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the latter suggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration ofstubborn resistance and defiance to the point of exhaustion was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltán Kocsis played the piece in Transylvania. At that time, I asked the composer, Is the character of the continuous staccato in the left hand sharp, short, or an accompanying background like a constant shadow? Is it a weighty Brahmsian staccato, an ominous knocking? - and so on. Then there are the Bartókian false relations that keep recurring in the work, the B-E flat-G, etc. That foreshadows Debussy, creating harmonic thrills that, when I hear the work, keep my continuing interest alive for it. Finally, my immediate reason for arranging the work was of a family nature: in connection with Liszt's jubilee year, my daughter, who is a cellist, wanted a 'more energetic' piece to play at a bicentenary concert an addition to the existing slow, lyrical, or sombre works written by Liszt for the cello. The arranger of this work, the well-known Romania-based Hungarian composer Cs ky Boldizsár writes: This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinateone, may refer to its ostinato character, this is close to Liszt's programme concept, but the French word 'obstiné' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the lattersuggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration of stubbornresistance , defiance to the point of exhaustion, was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltán Kocsis played the piece here in Transylvania (Romania).Der Bearbeiter des Werkes, der renommierte ungarische Komponist aus Rumänien, schreibt: Dieses Stück reizte immer schon meine Phantasie, sogar in vielerlei Hinsicht. Als erstes sein Name. Der deutsche Titel ‚Hartnäckiger' kann auf den ihm innewohnenden ostinativen Charakter hinweisen, was der Liszt'schen Programm-Konzeption näher kommt, das französische ,obstiné' steht jedoch eher dem Wort ‚dickköpfig' nah. Das sind nur geringfügige Unterschiede, mir ist das dennoch wichtig, weil aus Letzterem die Darstellung eines Verhaltens, der in Tanzgesten ausgedrückte, zur Bewegung abstrahierte innere emotionale Zustand eines Tänzers durchscheint, und das ist eine überaus beeindruckendeErklärung. Die Demonstration des bis zur Erschöpfung reichenden Trotzes, der störrischen Kraft erscheint bei Liszt selten. Der zweite Aspekt: Zu Beginn der 70er Jahre spielte bei uns Zoltán Kocsis das Stück. Schon damals (und seitdem) frage ich den Komponisten:.
SKU: PR.114419080
ISBN 9781491114216. UPC: 680160671595. 9 x 12 inches.
Composing for Boston Music Viva on a Fromm Foundation grant, Melinda Wagner drewinspiration from an astounding video of an industrious little pufferfish and his sand artistry.Working 24 hours a day, he carves out a beautiful medallion of swirls and ridges, in the hopeof attracting a sweetheart. Wagner has written, “I was so moved by the careful preparation,determination, patience, and artistry of this little fish, who has no guarantees of finding true love.The phenomenon reminded me very much of the act of composing – of creating something outof nothing, with few guarantees.â€.Several years ago, a friend shared the most marvelous video with me. In it, an industrious little puffer fish begins to prepare an elaborate work of artistry – his “etchings†– in hopes of attracting a sweetheart. Using only his fins, he prepares the “canvas†(the sandy ocean floor), and for the next week, working 24 hours a day, he carves a beautiful medallion of swirls and ridges. Shell pieces and pebbles are collected to adorn the masterpiece. And he waits.I was so moved by the careful preparation, determination, patience, and artistry of this little fish who has no guarantees of finding true love. The phenomenon reminded me very much of the act of composing – of creating something out of nothing with few guarantees. Rather than attempting to capture any action programmatically, I tried instead to express, in the abstract, the sense of anticipation, lovelorn hopefulness – and the optimism of a tiny, unsung hero. [The puffer fish is a member of the Chordata phylum.]-Melinda WagnerAugust 2018.
SKU: HL.14048329
ISBN 9783865439543. 9.0x12.0x0.277 inches. German.
20 easy and medium difficulty pieces. Minimal and New Age music dominates these very emotional compositions by Hans-Gunter Heumann.
SKU: LM.27895
ISBN 9790230978958.
BACH : Recitatif - HAENDEL : Joshua, Air de Kaleb - HAYDN : Les Saisons, Cavatine - SCHUMANN : Resignation Op.83 n. 1 - ROSSINI : Mi lagnera tacendo - Petite messe solennelle, Crucifixus - BRAHMS : Ich legte mich unter den Iindenbaum - Ach wende diesen blick - BIZET : Absence - CHAUSSON : Serre d'ennui - DEBUSSY : Ariettes oubliees, C'est l'Extase - PUCCINI : La Boheme, Mi chiamano Mimi - BRITTEN : extrait de Rejoice in the Lamb - MACHAUT : Amours me fait desirer - MONTEVERDI - Lasciate mi morire (5e livre de madrigal) - HAYDN : Alles hat seine zeit - MENDELSSOHN : Aus der motette Op.39 n. 3 - SCHUMANN : Erste Begegnung Op.74 n. 1 - Liebesgram Op.74 n. 3 - LISZT : Ave verum corpus - BRAHMS : Phanomen Op.61 n. 3 - Am Strande Op.66 n. 3 - DEBUSSY : Il pleure dan mon coeur - L'Echelonnement des haies - POULENC : Ave verum corpus - STRAYHORN : Lush-life.
SKU: HL.44011765
UPC: 884088896621. 9x12 inches. English-German-French-Dutch.
A flashback is an interesting psychological phenomenon: a seemingly random trigger can bring back long-forgotten memories from the subconscious mind. The composer underwent a similar experience before writing this piece. He was asked to write a piece for The National Youth Fanfare Band in the Netherlands, one which he heard perform many years ago. All of a sudden he remembered Deep Harmony, a piece frequently programmed back then. He used his own flashback-experience as an inspiration to weave an old English hymn into his new composition, much like a musical flashback. The right idea at the right moment, as this piece will prove!Een flashback is een psychologisch fenomeen: een hedendaagse belevenis roept zomaar uit het niets herinneringen uit het verleden op. Zo verging het ook Jan de Haan, toen hij een muziekstuk voor het Nationaal Jeugd Fanfare Orkest inopdracht kreeg. Het is het orkest waarin hij zelf ooit speelde. Plotseling viel hem het werk Deep Harmony in, een werk dat hij destijds vaak had gespeeld. Zijn flashback op dit Engelse kerklied nam hij als inspiratiebronen hij verwerkte het in dit nieuwe muziekstuk. De juiste inval op het juiste moment, zoals nu iedereen kan horen!Ein Flashback ist ein psychologisches Phanomen: Eine Erfahrung weckt scheinbar aus dem Nichts die Erinnerung an lang Zurückliegendes. So ging es auch Jan de Haan, als er ein Stück für ein Jugendauswahlorchester der Niederlande, in dem er selbst einst mitspielte, schreiben sollte. Plotzlich fiel ihm ein damals oft programmiertes Stück namens Deep Harmony ein und er nahm diesen Flashback als Inspiration, dieses englische Kirchenlied in seinem neuen Werk zu verarbeiten. Der richtige Einfall im richtigen Moment, wie das Resultat beweist!Le flash-back est un phenomene psychologique. Des evenements du passe, imprimes dans la memoire a long terme, resurgissent comme une reponse inconsciente et soudaine a un stimulus lie a une experience anterieure.Cette œuvre a ete composee a l'occasion du cinquantieme anniversaire de l'Orchestre de Fanfare National des Jeunes des Pays-Bas, une formation talentueuse, dont Jan de Haan fut lui-meme membre, au cours des annees 1960. Jeune musicien, il eprouvait un profond respect pour le chef d'alors, Piebe Bakker (1929-2002), un homme passionne, avec un style de direction tres stimulant. En revenant sur cette periode, quarante ans apres, Jan de Haan a revecu lesnombreuses interpretations de la piece Deep Harmony. La melodie scintillante - extraite d'un cantique anglais - lui est alors apparue comme un flash-back et c'est comme un eclair mental qu'il a choisi de lui redonner vie dans le passage final de cette œuvre.
SKU: HL.49032755
ISBN 9783795787295. 5.75x8.25x0.384 inches. German.
'How can I play cleaner - even cleaner?' This question bothers every critical string instrument player during his/her daily practice. According to a survey, more than 70 per cent of the actual practising time and attention of a string instrument player is spent on intonation.In this book, Gerhard Mantel provides basic information on the phenomenon of intonation, presenting practical methods which go far beyond a simple, spontaneous determination of 'too high - too low'. His approaches to a solution, some of them quite unconventional, enable every sting instrument player to find his/her individual way to the best possible intonation and eliminate seemingly insoluble problems in the ensemble playing with other string instrument, wind instrument or piano players. The author attaches particular importance to dealing with intonation playfully and use it specifically for the artistic expression.
SKU: HL.44011764
UPC: 884088896614. 9x12 inches. English(US)/Deutsch/Francais/Nederlands.
SKU: XC.HSO2105FS
UPC: 812598037234. 9 x 12 inches.
The composer describes this work as the feeling you get, awakening from a slumber, only to realize that you have exciting things to do today. Bolting out of bed in a rush, Awakening by Bud Woodruff aims to capture the spirit of that great morning phenomenon.
SKU: BT.DHP-1094779-020
9x12 inches.
A flashback is an interesting psychological phenomenon: a seemingly random trigger can bring back long-forgotten memories from the subconscious mind. The composer underwent a similar experience before writing this piece. He was asked to write a piece for The National Youth Fanfare Band in the Netherlands, one which he heard perform many years ago. All of a sudden he remembered Deep Harmony, a piece frequently programmed back then. He used his own flashback-experience as an inspiration to weave an old English hymn into his new composition, much like a musical flashback. The right idea at the right moment, as this piece will prove!Deze compositie is geschreven ter gelegenheid van Een flashback is een psychologisch fenomeen: een hedendaagse belevenis roept zomaar uit het niets herinneringen uit het verleden op. Zo verging het ook Jan de Haan, toen hij een muziekstukvoor het Nationaal Jeugd Fanfare Orkest in opdracht kreeg. Het is het orkest waarin hij zelf ooit speelde. Plotseling viel hem het werk Deep Harmony in, een werk dat hij destijds vaak had gespeeld. Zijn flashback opdit Engelse kerklied nam hij als inspiratiebron en hij verwerkte het in dit nieuwe muziekstuk. De juiste inval op het juiste moment, zoals nu iedereen kan horen!Ein Flashback“ ist ein psychologisches Phänomen: Eine Erfahrung weckt scheinbar aus dem Nichts die Erinnerung an lang Zurückliegendes. So ging es auch Jan de Haan, als er ein Stück für ein Jugendauswahlorchester der Niederlande, in dem er selbst einst mitspielte, schreiben sollte. Plötzlich fiel ihm ein damals oft programmiertes Stück namens Deep Harmony ein und er nahm diesen Flashback als Inspiration, dieses englische Kirchenlied in seinem neuen Werk zu verarbeiten. Der richtige Einfall im richtigen Moment, wie das Resultat beweist!Le flash-back est un phénomène psychologique. Des événements du passé, imprimés dans la mémoire long terme, resurgissent comme une réponse inconsciente et soudaine un stimulus lié une expérience antérieure.Cette œuvre a été composée l’occasion du cinquantième anniversaire de l’Orchestre de Fanfare National des Jeunes des Pays-Bas, une formation talentueuse, dont Jan de Haan fut lui-même membre, au cours des années 1960. Jeune musicien, il éprouvait un profond respect pour le chef d’alors, Piebe Bakker (1929-2002), un homme passionné, avec un style de direction très stimulant. En revenant sur cette période, quarante ans après, Jan de Haan a revécu lesnombreuses interprétations de la pièce Deep Harmony. La mélodie scintillante - extraite d’un cantique anglais - lui est alors apparue comme un flash-back et c’est comme un éclair mental qu’il a choisi de lui redonner vie dans le passage final de cette œuvre.
SKU: FJ.B1569S
English.
Droning whirly tubes, wind gusts, and other ominous sounds depict the eerie phenomenon known as ghost lights. Opening with a dark and menacing sound, the piece soon moves into a section fueled by adrenaline and intensity. As the ghost lights appear, optional flashlights add to the spectacle as floating orbs of light spontaneously appear, and then disappear. This is one piece you simply have to hear (and see) to believe!
About FJH Concert Band
Designed for high school groups and upper-level middle school groups. Independence is encouraged, but many lines are cross-cued. Usually includes an expanded percussion section. Grades 3 - 3.5
SKU: CL.012-4489-01
Dark Energy, a recently discovered and little-understood phenomenon is forcefully ripping our universe apart. Beginning with nothing less than the creation of the universe, Dark Energy will transport your audiences with depictions of galactic majesty and grandeur. With challenging rhythmic interplay and modern tonalities, Dark Energy will excite students and audiences alike as it expands to an intense and forceful conclusion.
