Langue : Français
Langue : Français Éditeur : Éditions L'Express (2 juin 2005) Collection : Les guides MusicBook Format : Poche
SKU: BT.YE0030
An easy virtuoso work published here for the first time and now much performed. Recorded Slatford/Academy of St Martin-in-the-Fields (EMI). AMEB (Australian Syllabus) 2004. Orchestral material on hire from Yorke Edition (notSpartan).Pr ogramme Note:As a young professional player in the 1960s, my work as a double bassist with chamber ensembles and small orchestras took me all over the world. This presented an unparalleledopportunity to scour libraries and archives wherever I went. Long before the advent of the photocopier and e-mail, research was far more challenging than it is today. Eastern Europe was particularly difficult to access, withmanycollections kept under lock and key for all but a few hours a week. One quickly found colleagues who were keen to share information gleaned in passing, even though they had no specific interest in one's own particularspecialism (it is so often the peripheral topics that fascinate as much as the main subject under investigation, and one can quickly be side-tracked into political and social issues that have only slender bearing on the job inhand!).In the early 1970s James Brown, the then sub-principal oboist of the English Chamber Orchestra with whom I was working at the time, stumbled across a small collection of double bass manuscripts at the RoyalDanish State Library in Copenhagen. They were by Franz Anton Leopold Keÿper (b. c.1756, d. Copenhagen 7 June 1815), a double bassist of Dutch origin who worked as principal of the Royal Chapel Orchestra in Copenhagen.Keÿper's son was the bassoonist Franz Jacob August Keÿper (1792-1859). The collection included a number of concertos, some chamber music, and various naïve fragments. Although hardly the work of a Mozart or Haydn,the style is characteristic of the period. For an instrument such as the double bass, whose 18th century solo repertoire is largely written for tunings that are no longer in everyday use, Keÿper's music is easily approachablein its.
SKU: BT.DHP-0930507-010
Grieg’s suite from ‘Sigurd Jorsalfar’ remains one of his most popular works and here, arranged by Wil van der Beek, we are pleased to be able to offer a version for Concert Band. This one will be a sure-fire hit with any fans of classical music. In 1872 - Twee jaar voor hij Peer Gynt gegon te werken - componeerde Grieg de muziek bij het toneelstuk Sigurd Jorsalfar (Sigurd de kruisvaarder) van Bjørnsterne Bjørnsons. Enkele jaren later voegde hij de drie belangrijksteorkestgedeel ten samen tot een gelijknamige concertsuite. In The King's Hall is overigens de orkestversie van een inn 1867 door Grieg geschreven gavotte voor viool en piano. Wil van der Beek schreef de versie voor armonieorkest. In der Königshalle erweckt die Atmosphäre der historischen Szenerie, in der sich das mittelalterliche Drama Sigurd Jorsalfar abspielt, zum Leben. In der Bühnenmusik wird mit diesem Stück der zweite Akt eingeleitet, in dem die beiden Brüder zum Wortgefecht um den Königsthron in der Königshalle antreten. Wil van der Beek schuf eine authentische, überzeugende Bearbeitung für Blasorchester von Edvard Griegs Komposition. Bjørnstjerne Bjørnson influença profondément la littérature norvégienne du XIXème siècle. En 1872, Grieg écrivit une musique de scène pour la nouvelle pièce de thé tre de son ami, intitulée Sigurd Jorsalfar (‘‘Sigurd, le croisé’’ ). La musique comporte huit pièces, dont deux chorals. En 1892, Grieg remaniait trois de ces pièces qu’il faisait publier un an après, sous forme de suite séparée, Op. 56. La première pièce, Prélude : dans le hall du roi (In The King’sHall) développe un thème solennel qui chemine vers des mélodies plus intimistes auxquelles les bois apportent une coloration nostalgique.
SKU: BT.DHP-0930507-040
SKU: BT.YE0036
Four movements, top part advanced. Several recordings and many broadcasts. Duration c.13'.Programme Notes:The Swiss composer Joseph Lauber was born at Ruswil near Lucerne in 1864. After studying with Heger in Zürich and Rheinberger in Munich, Lauber worked with Diémer and Massenet in Paris. With Massenet he learnt a great deal about orchestration, a subject that he subsequently taught until the end of his life at the Geneva conservatoire as well as piano and composition. He died in 1952.Lauber's 193 catalogued works are many and varied. He wrote for all instruments and in every genre except oratorio and opera. Among his output areseveral works for double bass, most written for Prof. Hans Fryba, a personal friend with whom he worked as a double bass and piano recital duo. Fryba was one of the leading players in Europe in his day and was principal of the Berlin Philharmonic Orchestra. First was Theme and Variations (1936-7) and a Rhapsodie with orchestra (1937). Three Walzes followed in 1939, a Gavotte and Gigue, a Sonata and then in 1943 Fantasie de Concert, written for the Geneva Competition. Four Caprices appeared in 1942, the same date as the Quartet for double basses which was dedicated to Fryba and written for the Berlin Philharmonic Double Bass Quartet, one of the first ever such ensembles to exist. The Quartet for double basses was revived by Klaus Stoll in the 1970s for the Philharmonic Double Bass Quartet at that time to play. It was subsequently published in 1975 by Yorke Edition by kind permission of the composer's son Edmund Lauber. Rodney Slatford 2004
SKU: HL.49047172
UPC: 196288143406.
When the 24-year-old Richard Strauss, assistant conductor in Munich, began the composition of his third tone poem in the summer of 1888, he saw himself close to the aspiration prescribed by his mentor Alexander Ritter: to become the successor of Richard Wagner as a musical dramatist. Strauss had already been working on the text of his first opera Guntram for a year and additionally devoted himself to programmatic orchestral works oriented to the musical language of Liszt and Wagner in order to prepare himself compositionally for his new task. With the aid of Strauss and other musicians including Ludwig Thuille and Friedrich Rösch who had been gathering for “Ritter's round table†in Munich between 1886 and 1889, RitterÂ’s intention was to achieve success on a broad front with the New German School following the death of its two protagonists Wagner and Liszt. We do not know whether Ritter and his supporters jointly planned Strauss's compositional path towards opera, determined the subjectsof his prospective tone poems and considered various strategies of their musical realization, but the influence of this group shouldnot be underestimated. It cannot be ruled out that the number of three tone poems was fixed, as was their sequence of composition, which would progressively achieve its zenith in an increasing orientation to Liszt and Wagner. The circle could possibly have also discussed initial links to literary subjects (Macbeth and Don Juan) and ultimately the abstention from this practice in the third and final tone poem. The subject of the work, or rather in StraussÂ’s formulation its “poetic modelâ€, has occasionally been interpreted from an autobiographical aspect. Strauss however did not experience serious illness until May 1891 and once more in June 1892, long after Tod und Verklärung had been composed. Even without an external reason, the material would have been only too attractive for an admirer of Wagner and Liszt like Strauss, not to mention for his mentor Alexander Ritter. The concept of 'death and transfiguration' had already played a central role in LisztÂ’s symphonic poems Tasso and Prometheus.
SKU: BT.DHP-0940598-010
Along with the movement In the King’s Hall, The Homage March from Act III of Sigurd Jorsalfar remains one of the most popular Scandinavian pieces of classical music. This arrangement has, once again, has been skilfully crafted by Wil van der Beek for a younger Concert Band and will be a popular addition to any concert. Grieg schreef Homage March voor het toneelstuk Sigurd Jorsalfar (Sigurd de kruisvader) van Bjørnsterne Bjørnsons. Dit voorstreffelijke en feestelijke werk inspireerde Wil van der Beek tot het schrijven van een schitterendebewerking voor harmonieorkest. Een uitstekende keuze!Sigurd Jorsalfar ist die Bühnenmusik zum gleichnamigen Drama des berühmten norwegischen Dichters Bjørnsterne Bjørnson. Das Werk basiert auf einer altnordischen Sage von zwei Brüdern, die beide um den Königsthron kämpfen und einer Frau, die den Streit schlichten soll. Wil van der Beek bearbeitete den feierlichen Huldigungsmarsch aus diesem Werk für Blasorchester. La Marche d’Hommage de l’acte III de la suite orchestrale Sigurd Jorsalfar d’Edvard Grieg, se trouve l’opposé des marches au caractère sombre ou martial. L’introduction en forme de fanfare est superbement lyrique. Puis vient l’exposition d’un thème joué cantabile. L’instrumentation développe quelque peu le thème initial avec des accents rythmiques la basse. Le thème de la marche est ainsi amorcé. Un trio central, lumineux et serein, précède le retour du thème de marche au tutti.
SKU: BT.DHP-0940598-040
Along with the movement In the Kingâ??s Hall, The Homage March from Act III of Sigurd Jorsalfar remains one of the most popular Scandinavian pieces of classical music. This arrangement has, once again, has been skilfully crafted by Wil van der Beek for a younger Concert Band and will be a popular addition to any concert. Grieg schreef Homage March voor het toneelstuk Sigurd Jorsalfar (Sigurd de kruisvader) van Bjørnsterne Bjørnsons. Dit voorstreffelijke en feestelijke werk inspireerde Wil van der Beek tot het schrijven van een schitterendebewerking voor harmonieorkest. Een uitstekende keuze!Sigurd Jorsalfar ist die Bühnenmusik zum gleichnamigen Drama des berühmten norwegischen Dichters Bjørnsterne Bjørnson. Das Werk basiert auf einer altnordischen Sage von zwei Brüdern, die beide um den Königsthron kämpfen und einer Frau, die den Streit schlichten soll. Wil van der Beek bearbeitete den feierlichen Huldigungsmarsch aus diesem Werk für Blasorchester. La Marche dâ??Hommage de lâ??acte III de la suite orchestrale Sigurd Jorsalfar dâ??Edvard Grieg, se trouve lâ??opposé des marches au caractère sombre ou martial. Lâ??introduction en forme de fanfare est superbement lyrique. Puis vient lâ??exposition dâ??un thème joué cantabile. Lâ??instrumentation développe quelque peu le thème initial avec des accents rythmiques la basse. Le thème de la marche est ainsi amorcé. Un trio central, lumineux et serein, précède le retour du thème de marche au tutti.
SKU: HL.49044074
ISBN 9790220134586. UPC: 841886021976. 9.0x12.0x0.075 inches.
Stimulated by my love of automata, this work for solo oboe takes its name from the invention of Wolfgang von Kempelen, who in the late eighteenth century constructed an extraordinary mechanical man powered by clockwork, dressed in a stylish Turkish costume and capable of playing chess. The chess player turned out to be a fraud but sparked many other thinkers and inventors to pondering what the possibilities of automation might be. In Hesketh's highly virtuosic work, the through-composed melody is subjected to a series of distortions by pulleys, cams, gears and cranks. There are also the onomatopoeic effects of winding up and whirring noises that add to the air of the mechanical.
SKU: BR.EB-9306
ISBN 9790004187708. 12 x 9 inches.
This edition is the result of Harald Vogel's many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17th- and 18th-century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the Einzelanmerkungen. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude's free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary).Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on Die Fuge um Bach. Besides the description of the inclusion of triple measures into the C notation and the irregularities of the voice mutation in the polyphonic structures, this also included a discussion about the justification of the inner textual criticism. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude's work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the indicators of the fantastic style is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude's work.In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude's organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands.pure source edition (no mixture of different transmissions) comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only))good page turnsflexible division of voices (on 2 or 3 systems, good legibility)contains facsimiles.
SKU: BR.EB-9415
ISBN 9790004188897. 12 x 9 inches.
SKU: BR.EB-9305
ISBN 9790004187692. 12 x 9 inches.
This edition is the result of Harald Vogel's many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17th- and 18th-century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the Einzelanmerkungen. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude's free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary).Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on Die Fuge um Bach. Besides the description of the inclusion of triple measures into the C notation and the irregularities of the voice mutation in the polyphonic structures, this also included a discussion about the justification of the inner textual criticism. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude's work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the indicators of the fantastic style is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude's work.In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude's organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands.pure source edition (no mixture of different transmissions); comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only)); good page turnsflexible division of voices (on 2 or 3 systems, good legibility); contains facsimiles. Contains the Critical Commentary of the subvolumes I/1 and I/2.
SKU: BR.EB-9304
ISBN 9790004187685. 12 x 9 inches.
This edition is the result of Harald Vogel's many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17th- and 18th-century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the Einzelanmerkungen. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude's free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary).Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on Die Fuge um Bach. Besides the description of the inclusion of triple measures into the C notation and the irregularities of the voice mutation in the polyphonic structures, this also included a discussion about the justification of the inner textual criticism. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude's work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the indicators of the fantastic style is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude's work.In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude's organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands.pure source edition (no mixture of different transmissions); comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only)); good page turnsflexible division of voices (on 2 or 3 systems, good legibility); contains facsimiles. The corresponding Critical Commentary is contained in Volume I/2 (EB 9305).
SKU: BT.WHFU38A
SKU: HL.14064466
SKU: HL.14064467
SKU: HL.49020804
ISBN 9783254001184. German.
Obwohl Charles Ives (1874-1954) eine grundliche musikalische Ausbildung an der Yale University genossen hatte, schlug er sehr bald eine erfolgreiche Laufbahn als Versicherungskaufmann ein und widmete sich seiner musikalischen Arbeit nur abends und an den Wochenenden. In fast volliger Isolation vom Musikgeschehen der Zeit schuf er ein umfangreiches OEuvre, dessen grosse Bedeutung erst in den 60er Jahren entdeckt wurde: Ives entpuppt sich darin als radikaler Neuerer, der sowohl mit der damals gangigen musikalischen Syntax als auch den auffuhrungspraktischen Bedingungen seiner Zeit weitgehend brach. Allerdings ware es verfehlt, ihn bloss zum musikalischen Enfant terrible abzustempeln, das sich dank seiner materiellen Unabhangigkeit uber die Grenzen des Musikbetriebes hinwegsetzen konnte. Dafur war Ives ein viel zu reflektierender, verantwortungsbewusster Mensch, der zudem fest in der denkerischen Tradition des neuenglischen Transzendentalismus verwurzelt war. So gesehen erstaunt es kaum, dass Ives sich ausser der Musik - und gewissermassen parallel dazu - noch eines andern Mediums, des literarisch-philosophisch en Essays, bediente, um seinen Uberzeugungen Ausdruck zu verschaffen.Dies gilt insbesondere fur Ives' tiefsinnigsten und ausgereiftesten Text, die Essays before a Sonata (1920), der als Begleitschrift zur zweiten Klaviersonate (Concord, Mass., 1840-1860) des Komponisten konzipiert war. Allerdings sind die Essays keineswegs ein Werkkommentar im traditionellen Sinne: Sie gehen zwar von konkreten musikasthetischen Fragen (namlich der Problematik der Programmmusik) aus, weiten sich aber zu einer sehr subjektiv gefarbten Darstellung von vier hochbedeutenden amerikanischen Schriftstellern des 19. Jahrhunderts aus - die Rede ist von Ralph Waldo Emerson, Nathaniel Hawthorne, Bronson Alcott und Henry David Thoreau. Die vier Hauptabschnitte der Essays, die den vier behandelten Autoren entsprechen, geben in ihrem innigen Konnex zu den vier Satzen der Concord-Sonata - er erstreckt sich von vagen inhaltlichen Vorstellungen und Bildern bis hin zu ganz konkreten syntaktischen und formalen Parallelen - Aufschluss uber die Kompositionsprinzipien nicht nur der Concord-Sonata, sondern der Musik Ives' ganz allgemein, so dass man die Essays before a Sonata als sehr gelungene und in ihrer Ausfuhrlichkeit wohl einmalige Paraphrase von Musik bezeichnen darf.Das Nachwort zu den 114 Liedern (1922) ist mit den Essays insofern verwandt, als es zwei langere Stellen aus ihnen zitiert. Diese Zitierpraxis - man begegnet ihr auch in Ives' Musik - ist bezeichnend fur Ives' Denkweise: Ives macht von seinem Stoff sehr flexiblen Gebrauch, er setzt ihn in der Art von Versatzstucken immer wieder neu zusammen und kommt so immer wieder zu einem neuen, anders gearteten Ganzen. So geht Ives im Nachwort weniger allgemein kunstphilosphischen Problemen als der ganz individuellen Frage nach, warum er die Musik nur als Nebenberuf ausuben wollte. Seine Antwort, die er mit seinem typischen Yankee-Humor vortragt, macht einerseits deutlich, wie sehr Ives von einem puritanischen Verantwortungsgefuhl gegenuber der Gesellschaft gepragt war, und zeigt andererseits Ives' tiefen Glauben an eine Musik, die fest im Alltagsleben verwurzelt und somit denkbar weit von der europaischen Tradition der art pour l'art entfernt war.Die Memos (ca. 1932-34) schliesslich sind ein Dokument ganz anderer Art: Weder sollten sie, wie die beiden andern hier vorgelegten Texte, ein bestimmtes musikalisches Werk begleiten, noch besitzen sie den hohen gedanklichen Ausspruch der Essays und des Nachworts. Es sind autobiographische Aufzeichnungen, die Ives ursprunglich diktierte, deren Manuskripte er aber danach mehrmals durchsah und korrigierte. Sie gliedern sich in drei lose aneinandergereihte Teile: Im Anlass betitelten Abschnitt nimmt Ives auf teils humoristische, teils sarkastische Weise zu den Anfeindungen Stellung, die ihm die damals sparlichen Auffuhrungen seiner Werke bescherten. Im Sammelalbum gibt er einen chronologischen Uberblick uber Entstehung und Gehalt seiner wichtigsten Werke. Und in den Erinnerungen verschafft Ives nochmals den Grundpositionen seiner idealistischen Musikasthetik, seiner Abneigung gegen jede Form von Kommerz und Routine und seiner Verachtung aller musikalischen Kleingeister Ausdruck. Uberdies sind die Memos - trotz ihrer defensiven Grundhaltung - so humorvoll, engagiert und bildreich verfasst, dass sie nicht nur die detaillierteste, sondern auch die wohl anregendste Primarquelle zum Leben und Werk dieses vielleicht eigenwilligsten Komponisten des fruhen 20. Jahrhunderts bilden.
