Concert band - Grade 2

SKU: ND.OGWK92-CSC

Composed by J. Jourquin. Original works. Original Works. Conductor's score. Published by Edition Andel (ND.OGWK92-CSC).

Flute, clarinet and bassoon

SKU: M7.BG-1345

Composed by Slavco Osterc. Sheet music. Deutscher Verlag fur Musik #BG 1345. Published by Deutscher Verlag fur Musik (M7.BG-1345).

SKU: M7.EBDV-31064

Edited by Fritz Rösler. Sheet music. Deutscher Verlag fur Musik #EBDV 31064. Published by Deutscher Verlag fur Musik (M7.EBDV-31064).

ISBN 9790200415520.

Voice, recorder, guitar - Advanced

SKU: DY.DO-1520

Composed by Dusan Bogdanovic. Score. Les Editions Doberman-Yppan #DO 1520. Published by Les Editions Doberman-Yppan (DY.DO-1520).

ISBN 9782897963002.

Flute

SKU: NR.110451

Sonata per flauto solo (grande e alto), 1970. Composed by Yoram Paporisz. Woodwind music. Score. Noten Roehr #110451. Published by Noten Roehr (NR.110451).

Orchestra (3(picc).3(ob.d'am.cor angl.).3(Eb-clar.B-clar). S-Sax,T-Sax(S-Sax).3(dble bsn) - 4.4.3.1 - timp.perc(4) - hp - cel - str)

SKU: BR.PB-5524

Urtext. Composed by Maurice Ravel. Edited by Jean-Francois Monnard. Orchestra; Softbound. Partitur-Bibliothek (Score Library). Dances/marches; Early modern. Study Score. Duration 16'. Breitkopf and Haertel #PB 5524. Published by Breitkopf and Haertel (BR.PB-5524).

ISBN 9790004212134. 6.5 x 9 inches.

Jean-Franco is Monnard's new Urtext edition is the first to be based on a musicologically well-founded source comparison. Ravel's first sketch of the score as well as his final handwritten score were laid down as the principal sources.Jean-Francois Monnard's new Urtext edition is the first to be based on a musicologically well-founded source comparison. Ravel's first sketch of the score as well as his final handwritten score were laid down as the principal sources. In his preface, Monnard examines Ravel's sound aesthetics against the background of concert reception and historical recordings. Moreover, he also provides insights into Ravel's ideas concerning the tempo: ,,I must say that the Bolero is rarely conducted the way I think it should. Mengelberg speeds up and slows down excessively. Toscanini takes it twice as fast as it should be and broadens the tempo at the close, which is indicated nowhere. No: the Bolero should be played in one single tempo from the beginning to the end, in the plaintive and monotonous style of Spanish-Arabian melodies. The performance material to Ravel's Bolero can now also be purchased in its entirety for the first time.

Jean-Francoi s Monnard's new Urtext edition is the first to be based on a musicologically well-founded source comparison. Ravel's first sketch of the score as well as his final handwritten score were laid down as the principal sources.

Flute

SKU: NR.21053

Für Querflöte solo, 1969. Composed by Yoram Paporisz. Woodwind music. Score. Noten Roehr #21053. Published by Noten Roehr (NR.21053).

ISBN 9780711947757.

Clarinet and orchestra (2.2.0.2 - 2.2.0.0 - timp - str)

SKU: BR.PB-15145

Urtext. Composed by Louis Spohr. Orchestra; stapled. Partitur-Bibliothek (Score Library). Solo concerto; Classical. Study Score. Duration 20'. Breitkopf and Haertel #PB 15145. Published by Breitkopf and Haertel (BR.PB-15145).

ISBN 9790004803394. 6.5 x 9 inches.

Louis Spohr's First Clarinet Concerto was written in winter 1808/09, at a time when the clarinet had just established itself as an orchestral and solo instrument. The concertos of Spohr and Weber which we know today and which date from these pioneer days around 1810 are due to the in-depth collaboration between composer and performer. Spohr wrote his technically very demanding clarinet concertos for the virtuoso Johann Simon Hermstedt. After the first successful performances, the composer decided to simplify the solo part for the printed edition. The Breitkopf Urtext edition is based on the autograph of the score and the first printing of the parts, which frequently differ from it. In the solo part, we have kept the easier variants along with the original version.

From the early years of the clarinet concerto.

Flute/recorder and orchestra (solo: rec - 2.0.0.0 - 0.0.0.0 - str: 4.4.3.2.1 - offstage instruments: vl.va)

SKU: BR.PB-5431

Black Earth / Tierra negra. Composed by Jose Maria Sanchez-Verdu. Orchestra; stapled. Partitur-Bibliothek (Score Library). Solo concerto; New music (post-2000). Study Score. Composed 2015/16. Duration 14'. Breitkopf and Haertel #PB 5431. Published by Breitkopf and Haertel (BR.PB-5431).

ISBN 9790004212783. 9 x 12 inches.

World premiere: Dresden, Dresdner Philharmonie, June 3, 2016 Commissioned by Dresdner Philharmonie during the Composer-in-residence season 2015/16.

(solo: S - 2.2.2.B-clar.2 - 4.2.3.0 - 2timp - 2hp - str)

SKU: BR.PB-5514

Tone Poem - Urtext based on the Complete Edition Jean Sibelius Works (JSW). Composed by Jean Sibelius. Edited by Timo Virtanen. Stapled. Partitur-Bibliothek (Score Library). Cantata; Early modern; Late-romantic. Study Score. Duration 10'. Breitkopf and Haertel #PB 5514. Published by Breitkopf and Haertel (BR.PB-5514).

ISBN 9790004211618. 6.5 x 9 inches.

Luonnotar was planned especially for the tessitura and for the type and for the color of the voice of Aino Ackte (1876-1944). The score thus tells a great deal about this singers abilities. The total range needed for the vocal part is two full octaves, and the pianissimo high c-flat is a well-known trial for sopranos. Luonnotar is the last of the tone poems based directly on the Kalevala. Sibelius himself chose the text. It does not form any clear and unified whole nor does it outline a plot. Rather than telling a story, the text gives a series of impressions, a kind of Finnish version of the creation of the world.The music text of the study score is based on Volume VIII/1 of the Complete Edition Jean Sibelius Works. This volume also contains a detailed introduction of the work, as well as a Critical Commentary in English.

The first performance of Luonnotar took place on September 10, 1913, in Shire Hall, Gloucester. It is one of the cornerstones of his entire production.

Orchestra (3(2picc).3(cor ang).2.B-clar.A-sax.2.dbl e bsn - 4.3.3.1 - timp.perc(4) - 2 hp - cel - str)

SKU: BR.PB-5614

Urtext of the Orchestration. Composed by Maurice Ravel and Modest Petrovich Mussorgsky. Edited by Jean-Francois Monnard. Arranged by Ravel. Maurice. Orchestra; Softbound. Partitur-Bibliothek (Score Library). Symphonic poem; Early modern. Study Score. Duration 30'. Breitkopf and Haertel #PB 5614. Published by Breitkopf and Haertel (BR.PB-5614).

ISBN 9790004215111. 6.5 x 9 inches.

Ravel's brilliant compositional interpretation of the Pictures at an Exhibition is, to this day, the most famous and independent orchestration of Mussorgsky's masterpiece. When the French composer turned his attention to his Russian colleague's piano cycle in 1922, he was at the height of his mastery and Paris was enraptured by Russian music. Notated with remarkable accuracy in an autograph score, Ravel's orchestration was an audience favorite from the very start. Jean-Francois Monnard, who previously edited the Breitkopf Urtext editions of Bolero, La Valse and Rapsodie espagnole, presents a text in which even the tiniest detail is authentic. The edition not only eliminates many previously undiscovered errors, but also offers a wealth of practical information on the long and multi-faceted performance history of the work, including the metronome markings of great conductors who were connected to the work in a very special manner.Bibliography:Mayer , Stephan: Sonne fur die Seele. Ein lehrreicher Nachmittag am Genfer See, in: Musikforum, 2015, Heft 4, pp. 32-35.

Flute/recorder and orchestra (solo: fl - 2.2.0.0 - 2.0.0.0 - str)

SKU: BR.PB-5301

Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Henrik Wiese. Orchestra; stapled. Partitur-Bibliothek (Score Library). Solo concerto; Classical. Study Score. Duration 25'. Breitkopf and Haertel #PB 5301. Published by Breitkopf and Haertel (BR.PB-5301).

ISBN 9790004212295. 6.5 x 9 inches.

When and where did Mozart write his Flute Concerto, and for whom? Was it in 1777 or 1778? In Salzburg or in Mannheim? And how much did Ferdinand Dejean actually pay for it: 96 gulden or the promised 200 gulden? Henrik Wiese sheds new light into the confusion wrought by Mozart himself. Wiese, solo flutist of the Bavarian State Orchestra, has made an outstanding name for himself as soloist and editor, and is viewed in professional circles as one of the best specialists of Mozart's wind works. He has focused on the work's genesis, but especially on the music text, having consulted all known scribal copies of the work and all available copies of the first edition. The version for flute and piano also contains a facsimile of the solo part from the first edition as well as cadenzas which stem from the earliest hand-written sources or which were composed by the editor in Mozart's style.

When and where did Mozart write his Flute Concerto, and for whom? Was it in 1777 or 1778? In Salzburg or in Mannheim? And how much did Ferdinand Dejean actually pay for it: 96 gulden or the promised 200 gulden?

Clarinet and orchestra (solo: clar - 2.2.0.2 - 2.2.0.0 - timp - str)

SKU: BR.PB-15146

Urtext. Composed by Louis Spohr. Orchestra; stapled. Partitur-Bibliothek (Score Library). Solo concerto; Classical; Romantic. Study Score. Duration 20'. Breitkopf and Haertel #PB 15146. Published by Breitkopf and Haertel (BR.PB-15146).

ISBN 9790004803400. 6.5 x 9 inches.

Louis Spohr's technically, extremely demanding concertos have long been part of clarinetists' standard repertoire. Like the first clarinet concerto, this second concerto was composed for the clarinetist Johann Hermstedt, probably in the spring of 1810. Critics praised the concerto at its premiere, stating that it was undeniably one of the most accomplished works of art of its kind. Emphasized was also the great and brilliant treatment of the solo instrument, combined with a very original orchestra accompaniment, where every part, even the timpani, is obbligato. The concerto was even then a great success with the audience. For publication, Spohr supplemented the solo part with various ossia passages as simplifying alternatives. These can of course be found in the score as well as in the piano reduction presented in Ullrich Scheideler's new critical Urtext edition in collaboration with G. Henle Verlag, now for the first time in a reliable edition.

Viola (picc.4.4(cor ang).5(Eb-clar.Bb-clar).4 (dble bsn) - 4.3.3.1 - 2hp.timp.perc(4) - str)

SKU: BR.OB-35639-19

Textcritical Edition. Composed by Gustav Mahler. Edited by Vorname Nachname. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). Symphony; Late-romantic. Sheet Music. Duration 75'. Breitkopf and Haertel #OB 35639-19. Published by Breitkopf and Haertel (BR.OB-35639-19).

ISBN 9790004351895. 10.5 x 14 inches.

(solos: ob - 0.2.0.0 - 2.0.0.0 - str)

SKU: BR.PB-5526

Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Henrik Wiese. Stapled. Partitur-Bibliothek (Score Library). Solo concerto; Classical. Study Score. Duration 20'. Breitkopf and Haertel #PB 5526. Published by Breitkopf and Haertel (BR.PB-5526).

ISBN 9790004212554. 6.5 x 9 inches.

Mozart is believed to have written an oboe concerto for the Salzburg virtuoso Giuseppe Ferlendis in 1777. The work was considered lost until 1920, when Bernhard Paumgartner discovered a copy of the parts that must have been written shortly before Mozart's death. Nevertheless, this copy proved to be much more unreliable than the copy of the parts of the flute concerto. Every source-critical edition must take these parts into consideration, as there is otherwise no extant source material aside from a brief autograph sketch. Henrik Wiese's new edition consistently distinguishes between what can be regarded as Urtext and what the informed player must interpret himself. To this end, the edition for oboe and piano also contains a study part in which the solo parts for flute and oboe are placed synoptically opposite each other.,,This handsome urtext edition from Breitkopf is edited by Henrik Wiese and comprises the complete suit of full score, orchestral parts, oboe copy and piano accompaniment. (Double Reed News)

This handsome urtext edition from Breitkopf is edited by Henrik Wiese and comprises the complete suit of full score, orchestral parts, oboe copy and piano accompaniment. (Double Reed News).

Orchestra (2(2picc).2.cor ang.2.Bb-clar.2 - 4.3.3.1 - timp.perc - hp - str)

SKU: BR.PB-5576

4 Legends - Urtext based on the Complete Edition Jean Sibelius Works (JSW). Composed by Jean Sibelius. Edited by Tuija Wicklund. Orchestra; Softcover. Partitur-Bibliothek (Score Library). Suite; Early modern. Study Score. Duration 50'. Breitkopf and Haertel #PB 5576. Published by Breitkopf and Haertel (BR.PB-5576).

ISBN 9790004213865. 6.5 x 9 inches.

Little is known about the actual composition process of Lemminkainen, and the performance and publication history is rather complex, resulting in a first complete printing of all four movements en suite through the complete edition of Jean Sibelius Works only in 2013.In summer 1894 Sibelius went to Central Europe, carrying among others a plan for an opera freely based on the Kalevala in his mind. But during this trip he reassessed his composing: I think I have found my old self again, musically speaking. I think I really am a tone painter and a poet. As a result he abandoned his opera plans, but musical parts may have found their way into the Lemminkainen pieces which he started composing during that time. Definitely the overture had, it is now known and loved as The Swan of Tuonela.Lemminkainen became popular from the beginning and has attained a fixed position in the concert repertoire.On Lemminkainen and the Maidens on the Island a critic opined: We do not hesitate to award this tone painting of Lemminkainen's erotic emotional world the first prize among all the young composer's works. Sibelius himself said about Lemminkainen in Tuonela: The cradle song at the end of the work is maternal love, which rakes the pieces of Lemminkainen together from the River Tuonela. and commented on Lemminkainen's Return: I would like to see more pride in us Finns. Why should we be ashamed? This is the underlying thought in Lemminkainen's Return. Lemminkainen is just as good as the noblest of earls. He is an aristocrat, without question an aristocrat!.

Violin 1 (picc.4.4(cor ang).5(Eb-clar.Bb-clar).4 (dble bsn) - 4.3.3.1 - 2hp.timp.perc(4) - str)

SKU: BR.OB-35639-15

Textcritical Edition. Composed by Gustav Mahler. Edited by Vorname Nachname. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). Symphony; Late-romantic. Sheet Music. Duration 75'. Breitkopf and Haertel #OB 35639-15. Published by Breitkopf and Haertel (BR.OB-35639-15).

ISBN 9790004351871. 10.5 x 14 inches.

Oboe and orchestra

SKU: M7.BP-1148-10

Composed by Francesco Antonio Rosetti. Edited by Johannes Moesus. Sheet music. Set of parts, parts: 6/6/4/6+Harmonie. Amadeus Verlag #BP 1148-10. Published by Amadeus Verlag (M7.BP-1148-10).

Rosetti schrieb das um 1781/82 entstandene Werk für den ersten Oboisten der Wallersteiner Hofkapelle Gottfried Klier - einen Meister seines Instruments, wie der Solopart des Konzerts unschwer verrät.

(2(picc.).2.2(Bbclar.).2. - 4.3.3.0. - timp.perc. - str)

SKU: BR.PB-5564

Tone Poem - Urtext based on the Complete Edition Jean Sibelius Works (JSW). Composed by Jean Sibelius. Edited by Tuija Wicklund. Softbound. Partitur-Bibliothek (Score Library). Symphonic poem; Early modern; Late-romantic. Study Score. Duration 22'. Breitkopf and Haertel #PB 5564. Published by Breitkopf and Haertel (BR.PB-5564).

ISBN 9790004213742. 6.5 x 9 inches.

It was indeed a minor sensation when conductor Osmo Vanska introduced curious listeners to the music of Skogsraet (English: The Wood Nymph) in a concert and on a CD recording in 1996. Who would have thought that there were still over 20 minutes of superb orchestral music by Sibelius to be discovered? It should be said that this is no early work that the composer later rejected. The Wood Nymph was written in 1895, thus shortly after the Kullervo Symphony and the first version of En saga.After the first performances, the Wood Nymph fell into a long sleep. It caught the public's attention momentarily in 1936 when it was performed in Helsinki at an official state ceremony and transmitted live on the radio.

Who would have thought that there were still over 20 minutes of superb orchestral music by Sibelius to be discovered?

Orchestra (3(picc).2.cor angl.2.B-clar.2.dble bsn. - 4.3.3.0. - timp - str)

SKU: BR.PB-5587

Tone Poem - Urtext based on the Complete Edition Jean Sibelius Works (JSW). Composed by Jean Sibelius. Edited by Kari Kilpelainen. Orchestra; stapled. Partitur-Bibliothek (Score Library). Symphonic poem; Late-romantic; Early modern. Study Score. Duration 20'. Breitkopf and Haertel #PB 5587. Published by Breitkopf and Haertel (BR.PB-5587).

ISBN 9790004213971. 6.5 x 9 inches.

... a forest god in New YorkThe symphonic poem Tapiola is the final major composition for orchestra that Sibelius was able to complete and publish. In January 1926 he had accepted the commission from the conductor Walter Damrosch to compose an orchestral work of at most 20 minutes in length for a performance in New York at the end of that year. Shortly thereafter Sibelius was successful in getting Breitkopf & Hartel to do the first publication of this tone poem. The premiere of Tapiola took place on 26 December 1926. The edition takes over the music text published in volume I/16 of the complete edition Jean Sibelius Works.

Violoncello (picc.4.4(cor ang).5(Eb-clar.Bb-clar).4 (dble bsn) - 4.3.3.1 - 2hp.timp.perc(4) - str)

SKU: BR.OB-35639-23

Textcritical Edition. Composed by Gustav Mahler. Edited by Vorname Nachname. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). Symphony; Late-romantic. Sheet Music. Duration 75'. Breitkopf and Haertel #OB 35639-23. Published by Breitkopf and Haertel (BR.OB-35639-23).

ISBN 9790004351901. 10.5 x 14 inches.

(solos: fl,tbne - TTTTBBBB - 3(3picc).4.3.0.dble bsn. - 4.3.0.2. - timp.perc(3) - hp.e-guit - str: 16.8.8.8.8.)

SKU: BR.PB-5420

Composed by Helmut Lachenmann. Softbound. Partitur-Bibliothek (Score Library). Music post-1945; New music (post-2000). Study Score. Composed 1997-1999/2003. Duration 38'. Breitkopf and Haertel #PB 5420. Published by Breitkopf and Haertel (BR.PB-5420).

ISBN 9790004211830. 9 x 12 inches.

Vielleicht so etwas wie ein ,,Parergon zu meiner Madchen-Oper Zwei Klangquellen - unter ambivalenten Aspekten zugleich homogen und heterogen, nicht so ohne weiteres zusammenpassend: - Posaune und Flote/Bassflote - (mit Resonanzen aus zwei Konzertflugeln), 8 Mannerstimmen - alle erzeugen Tone, und Luft, Zweiklange, Vibrationen, Schwebungen, Rattern, Konsonanzen. Und rattern und sprechen - und japsen, Orchester mit 4 Oboen, 3 Floten, 3 Klarinetten, zwei Kontrafagotten (unterbeschaftigt), 4 Horner, drei Trompeten, keinen Posaunen, 2 Tuben, die in der Tiefe rappeln, zwei Klavieren, Gitarre-Harfe, Streicher (,,Perforateure), 3 Schlagzeuger, rappeln (Fellwirbel), - und schwingen China-Becken durch die Luft, dampfen aus und vorzeitig ab (,,japsen) und: halten aus. Musik zum Aushalten, ist nicht zum Aushalten. Ein Orchester mit vielen Unisono-Quellen Es ist immer wieder auf andere Weise - jedes Mal das gleiche: Musik, nicht als Text, nicht als diskursiver Verlauf, gar als klingendes Drama, - eher eine Art kunstliches und als Produkt einer komplexen Spekulation zugleich transzendentes Natur-Schauspiel, als ,,reine Prasenz - (Das sind allerdings Wort-Hulsen, die schlecht an das erinnern, was sie nicht mehr zu nennen, zu fassen wagen bzw. imstande sind. Begriffe, die es abzurufen und zugleich im Blick auf die Sache selbst auszustreichen gilt.): Sie zu beschworen, ohne dabei in schlecht besinnliche ,,meditative Idyllen, bzw. idyllische Standards zu verfallen, gehort zu meinen zentralen Utopien - Ihre Wunschbarkeit/Stringenz/e xistentielle Notwendigkeit, ,,Wahrheit ist hienieden nicht zu trennen von ihrer Unmoglichkeit, wegen der Standardisiertheit aller Mittel, auf der ihre Verwirklichung, ihre Anpeilung, ihre Ins-Werk-Setzung verwiesen ist. Aber: alles soll/wird in dieser wie auch immer vermittelten Prasenz beruhrt, erlost, befreit sein. Kann man Erfahrungen, deren Unmoglichkeit, deren Verschuttetheit man sich bewusst macht, vermitteln durch den Kampf gegen diese Unmoglichkeiten, Verschuttetheiten (= Unfreiheiten)??? Wer bin ich? Was ist das: das ich, das solche Suche, solches Abenteuer, solchen Kampf gegen die Materie auf sich nimmt?? Das ,,Ich ist kein Ding, sondern ein Ort (Kitaro Nishida - aber ich bin kein Buddhist, und auch kein Zen-Monch, sondern ein Anfanger in allem, auch im Komponieren des jeweilig konzipierten Stucks.) Das Wasser wascht das Wasser nicht - das Feuer verbrennt das Feuer nicht - der Schmerz selbst tut nicht weh. Der Genuss geniesst nicht. Das Horen hort nicht, das Leben lebt nicht - und so lebt es. Das Ich ist nicht das ich. Musik ist nicht Musik, ist Nicht-Musik: die einzige Musik, die den Namen in seiner emphatischen Bedeutung verdient. Musik sei Nicht Musik?? Sondern?? Ja - sondern. Komponieren heisst: sondern. Utopien kompositorisch zu beschworen, bedeutete fur meinen Mechanismus stets: ihre Verschuttetheit. Und das was - nicht zufallig - sie verschuttet hat. Oder zu verschutten droht, in den Griff zu nehmen.Helmut Lachenmann (Skizze)Mitten in meiner Oper Das Madchen mit den Schwefelholzern - nach Hans Christian Andersen -, die im winterlichen eiskalten Kopenhagen spielt, gibt es einen Sprung in die mediterrane Vulkanlandschaft Suditaliens, wo - nach einem Text von Leonardo Da Vinci - ,,die Schwefelfeuer den grossen Berg offnen, um Steine und Erde samt den heraustretenden und herausgespieenen Flammen durch die Luft zu schleudern, und im Ausbruch ,,jedes Hindernis verjagen, das sich ihrem ungestumen Wuten entgegenstellt. Leonardo sieht in diesem Naturvorgang eine Metapher fur die Unruhe des menschlichen Herzens bei der Suche nach Erkenntnis. Er beschreibt eine Wanderung durch die schattigen Klippen hindurch bis vor den Eingang einer grossen Hohle, vor welcher der Erzahlende ,,im Gefuhl der Unwissenheit eine Zeitlang verharrt: ,,Ich hockte mit gekrummtem Rucken, die mude Hand aufs Knie gestutzt, beschattete ich mit der Rechten die gesenkten und geschlossenen Wimpern: - und n u n -, da ich mich mehrmals hin und her beugte, um in die Hohle hineinzublicken, verbot mir das die grosse Dunkelheit, die darin herrschte. Als ich aber eine Zeitlang verharrt hatte, erwachten in mir zwei Gefuhle: Furcht und Verlangen - Furcht vor der drohenden Dunkelheit der Hohle, Verlangen aber, mit eigenen Augen zu sehen, was an Wunderbarem darin sein mochte. Diesem ,,n u n ist meine Komposition gewidmet: Sie - ahnlich wie auf andere Weise mein Klavierkonzert Ausklang - ist sozusagen ,,meine Alpensymphonie. Anders als bei Strauss allerdings beschwort sie Energien und Eruptionen in einer Klanglandschaft weitab von jeglicher musiksprachlichen Geborgenheit. Wahrend im Strauss'schen Meisterwerk der Wanderer aus stimmungsvollem b-moll-Morgennebel aufbricht - allerdings erst den in A-Dur strahlenden Sonnenaufgang abwartet ... - und in frohlichem Es-Dur lossturmend auf tonal gesicherten Wegen zum majestatischen C-dur-Gipfel glucklich hinaufgelangt - den er allerdings bei hereinbrechendem Unwetter eilends verlasst, um ins schutzende Tal hinabzufluchten -, verharrt der Wanderer Leonardos in NUN in unwirtlicher Hohe vor jener Furcht und Verlangen erregenden Hohle. Meine Musik, sozusagen als brodelnder Krater beginnend, verwandelt sich in eine Sequenz von Rufen, deren Widerhall die ,,drohende Finsternis zu durchdringen und auszuloten versucht, und sie mundet - auf dem Umweg uber eine Art ,,Tanz auf dem Vulkan der beiden Solo-Instrumente - in eine instrumental paraphrasierte Sprech-Landschaft, als ob das Zischen und Fauchen, nichts weiter wiedergabe als die erweiterten Konsonanten eines gesprochenen imaginaren Textes. Dieser schliesslich - als Botschaft des im Ungeborgenen nach Erkenntnis Suchenden - konkretisiert sich zu jenem abgrundigen Satz des japanischen Philosophen und Grunders der ,,Kyoto-Schule, Kitaro Nishida: ,,Das Ich ist kein Ding, sondern ein Ort. Die Beziehung meines Werks zur Strauss'schen Alpensymphonie - der Komponist wollte sie ursprunglich nennen ,,der Antichrist - ist in ihrer antipodischen Gegensatzlichkeit evident. Es ist eine machtvolle, letztlich aber gutige, dem Menschen zugewandte, idyllische Natur, die bei Strauss beschworen wird, und den nachtlich in die hausliche Behaglichkeit Heimkehrenden erfullt Ehrfurcht und Dankbarkeit: es ist ein ,,glaubiger Antichrist, und die Pastorale Beethovens lasst grussen. Wie alles von Strauss war es ein - s e i n - letzter (oder vorletzter ...) Blick auf ein zerfallendes Paradies (1915 geschrieben ...). Heute ist vielleicht jedes Werk, welches sich den innovativen Anspruch von musikalischer Tradition zu Eigen gemacht hat und im 21. Jahrhundert den Musikbegriff jenseits tonaler Sprachvertrautheit in ungesichertem Klang-Terrain neu zu bestimmen sucht - eine Art Bergbesteigung in weglosem Gelande, und wenn schon nicht eine ,,Alpensymphonie, so doch eine Gratwanderung: abenteuerlich - verlockend - nicht ungefahrlich: ,,non hay caminos .... Helmut Lachenmann (Februar 2003)CDs: Gaby Pas-Van Riet (flute), Michael Svoboda (trombone), Neue Vocalsolisten Stuttgart, WDR Sinfonieorchester Koln, cond. Jonathan Nott CD KAIROS 0012142KAIDietmar Wiesner (flute), Uwe Dierksen (trombone), SCHOLA Heidelberg, Ensemble Modern Orchestra, cond. Markus StenzEMCD-004Bibliography :Hidalgo, Manuel: Mozart in Lachenmann, in: auf (-) und zuhoren. 14 essayistische Reflexionen uber die Musik und die Person Helmut Lachenmanns, hrsg. von Hans-Peter Jahn, Hofheim: Wolke 2005, pp. 35-46.Hiekel, Jorn Peter: Interkulturalitat als existentielle Erfahrung. Asiatische Perspektiven in Helmut Lachenmanns Asthetik, in: Nachgedachte Musik. Studien zum Werk von Helmut Lachenmann, hrsg. von Jorn Peter Hiekel und Siegfried Mauser, Saarbrucken: Pfau 2005, pp. 62-84.Kaltenecker, Martin: Was nun? Die Musik Helmut Lachenmanns als Beispiel, in: Der Atem des Wanderers. Der Komponist Helmut Lachenmann, hrsg. von Hans-Klaus Jungheinrich, Mainz: Schott 2006, pp. 113-128.Maier, Birgit; Britz, Vanessa; Arnold, Miriam: Helmut Lachenmann: NUN, in: Flote aktuell (2003), Heft 4, pp. 20-24.Pas-Van Riet, Gaby: On NUN, in: Helmut Lachenmann Inward Beauty, hrsg. von Dan Albertson, Contemporary Music Review 23 (2004), Heft 3/4, p. 165f.Svoboda, Mike: NUN An Inside View, in: Helmut Lachenmann Inward Beauty, hrsg. von Dan Albertson, Contemporary Music Review 23 (2004), Heft 3/4, pp. 161-164.Wellmer, Albrecht: Helmut Lachenmann: Die Befreiung des Klangs in der konstruktivistischen Tradition der europaischen Moderne, in: ders., Versuch uber Musik und Sprache, Munchen: Hanser 2009, pp. 270-299.Utz, Christian: Paradoxien musikalischer Temporalitat. Die Konstruktion von Klanggegenwart im Spatwerk Bernd Alois Zimmermanns im Kontext der Prasenzasthetik bei Giacinto Scelsi, Gyorgy Ligeti, Morton Feldman und Helmut Lachenmann, in: Die Musikforschung 68 (2015), pp. 22-52.

World premiere: Cologne (Musik der Zeit), October 20, 1999 World premiere of the revised version: Berlin, Konzerthaus, January 17, 2003.

Flute Choir (4 Fls, Afl, Bfl.) - Grade 6+

SKU: WN.E004

Composed by Edward Elgar. Arranged by A. Hopkins. Flutets series. Wonderful Winds #E004. Published by Wonderful Winds (WN.E004).

ISBN 9790570743780.

A classic little Elgar gem - composed originally for Violin and Piano as a present for his future wife, and also reworked by the composer for Piano, Cello and Chamber Orchestra. This gorgeous flute choir setting gives groups an opportunity to work on sound, ensemble skills and dynamics, and makes an ideal concert piece.

Flute; Recorder; Violin; Orchestra; Early Music

SKU: UT.GCE-20

Composed by Francesco Geminiani. Edited by Rudolf Rasch. Francesco Geminiani Opera Omnia. Classical. Score. Ut Orpheus #GCE 20. Published by Ut Orpheus (UT.GCE-20).

ISBN 9790215328259. 9 x 12 inches.

Given that appendices have since been included in other volumes, it now seems appropriate to compile an appendix for Volume 1A in the form of a separate publication, Volume 1C of the series. Even with a whole volume available, however, it is impossible to include all known arrangements. Such a publication would be of disproportionate size: it would require about 600 pages, due largely to the two complete or near-complete sets of concerto arrangements. The present volume thus includes only selections from these sets of concerto arrangements and also only a selection from Edward Finch’s complete set of arrangements in the form of transverse-flute sonatas. The smaller sets of arrangements—eithe r as solo sonatas or as trio sonatas—are included in their entirety.
The available arrangements fall into three distinct categories: solo sonatas, trio sonatas, and concertos. There are fourteen arrangements by Edward Finch for transverse flute with figured bass; they are found in the so-called Armstrong-Finch manuscript and comprise a full set of twelve plus two duplicate versions. Four of these arrangements are included in the present volume. Three more arrangements for transverse flute or recorder with figured bass are found in anthologies of sonatas for these instruments published in the 1720s; they are all of them edited here. Geminiani’s Sonatas VII-XII were transformed into trio sonatas by Francesco Barsanti and published in this format in 1727. These arrangements are included here in complete form as well. A near-complete set of concerto arrangements—Sonat a XI is missing—was composed by Charles Avison and a complete set by Gerhard Christoph Raupach, both sets composed probably in the 1730s. From each of these two sets, two examples were selected for inclusion in the present volume. They are supplemented by single concerto arrangements by William Hayes (after Sonata IV) and Johan Helmich Roman (after Sonata VI), composed at all probability in the 1730s as well. None of these concerto arrangements was published in the eighteenth century.

Clarinet

SKU: HL.49047392

For Clarinet Solo. Composed by Toshio Hosokawa. Woodwind Solo. Classical. Softcover. Duration 300 seconds. Schott Music #SJ1219. Published by Schott Music (HL.49047392).

ISBN 9784890665372. UPC: 196288211952.

2 Performing Scores Alto Saxophone; Voice (Performance Score)

SKU: HL.49047393

For Voice and Alto Saxophone 2 Performaing Scores. Composed by Toshio Hosokawa. Edition Schott. Classical, Duet. Softcover. Duration 840 seconds. Schott Music #SJ1226. Published by Schott Music (HL.49047393).

ISBN 9784890665303. UPC: 196288211969.