Piano Duet (Piano)

SKU: HL.14031423

Composed by Wilhelm Stenhammer. Music Sales America. 20th Century. Score. Composed 2002. Edition Wilhelm Hansen #WH14796. Published by Edition Wilhelm Hansen (HL.14031423).

ISBN 9788759856284. English.

Wilhelm Stenhammar (1871-1927) was a Swedish composer, pianist and conductor.

Piano

SKU: BT.DV-21601

Composed by Wilhelm Stenhammar. Book Only. Composed 2020. 40 pages. Da Vinci Publishing #DV 21601. Published by Da Vinci Publishing (BT.DV-21601).

Solo piano

SKU: GH.MAN216P

Composed by Wilhelm Stenhammar. This edition: manuscript copy. Score. Published by Gehrmans Musikforlag (GH.MAN216P).

MS copy.

Piano, voice (solo and accompaniment)

SKU: GH.CG-2610

Composed by Wilhelm Stenhammar. With Language: Swedish. 12 pages. Gehrmans Musikforlag #CG 2610. Published by Gehrmans Musikforlag (GH.CG-2610).

ISBN 979-0-070-04409-7. A4 inches. Text: Gustaf Froding / Bo Bergman.

Five songs for voice and piano set to poems by Gustaf Froding and Bo Bergman.

Composed by Karl Wilhelm Eugen Stenhammar. For voice solo and piano. Vocal music. Language: Swedish. Published by Noten Roehr

Piano

SKU: SA.41328

Composed by Stenhammar. Suites, Original Works. Reprint Source: Copenhagen: Wilhelm Hansen, 1916. Plate 16377. Post-Romantic, Scandinavian. Piano. Composed 1914. 24 pages. Duration 15 minutes. Petrucci Library Press #41328. Published by Petrucci Library Press (SA.41328).

ISBN 9781608741328. 9.5 x 12.5 inches.

Completed in 1914, this suite (whose title translates as Nights of Late Summer) is one of the Swedish masters last and greatest piano works, with a wistful and bittersweet quality that is quite unlike anything else. Originally to include seven sections, Stenhammar cut out two for the final version, which is the one offered here - in a handsome digitally-restored reissue of the edition first published in 1916 by Wilhelm Hansen of Copenhagen. In contrast to many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is readable. The score is beautifully printed on large size (9 x 12) off-white stock with a quality cover, all saddle-stitched in the traditional sheet music binding. As with all PLP scores a percentage of each sale is donated to the amazing online archive of free music scores and recordings, IMSLP - Petrucci Music Library.

Piano solo + orchestra (2222-4220-10-0-strings)

SKU: GH.GE-11914

Composed by Wilhelm Stenhammar. Score. 174 pages. Duration 50 minutes. Gehrmans Musikforlag #GE 11914. Published by Gehrmans Musikforlag (GH.GE-11914).

ISBN 979-0-070-11914-6. A3 inches.

Piano and String Quartet

SKU: HL.14043128

Composed by Bent Sorensen. Music Sales America. Softcover. Composed 2014. 68 pages. Edition Wilhelm Hansen #WH32036. Published by Edition Wilhelm Hansen (HL.14043128).

ISBN 9788759830376. 10.5x14.25x0.5 inches. English.

Bent Sorensen 's Rosenbad - Papillons , scored for Piano and String Quartet. This 24 minute piece was commissioned in 2013 by Stenhammar Quartet and Katrine Gislinge with funds from The Swedish Arts Council (Kulturradet).

(Kart att raka dig nattviol). Composed by Wilhelm Stenhammar. For piano, voice (solo and accompaniment). Language: Swedish. 4 pages. Published by Gehrmans Musikforlag

(ur kantaten Ett Folk). Composed by Wilhelm Stenhammar. For piano, voice (solo and accompaniment). Language: Swedish. Published by Gehrmans Musikforlag

(ur kantaten Ett Folk). Composed by Wilhelm Stenhammar. For piano, voice (solo and accompaniment). Language: Swedish. Published by Gehrmans Musikforlag

Composed by Wilhelm Stenhammar. For piano, voice (solo and accompaniment). Language: Swedish. Published by Gehrmans Musikforlag

SKU: BR.EB-9397

(Plainte sur la perte de la reflexion musicale). Composed by Klaus Huber. Stapled. Edition Breitkopf. World premieres: I version for flute: Wiesbaden, 1972. Music post-1945; New music (post-2000). Score. Composed 1972. 12 pages. Duration 20'. Breitkopf and Haertel #EB 9397. Published by Breitkopf and Haertel (BR.EB-9397).

ISBN 9790004188712. 9 x 12 inches.

World premieres:I version for flute: Wiesbaden, 1972II version for piano: Nyon, 1972III version for var. insts.: Cologne, May 29, 1976VI version for accordeon: Fribourg, June 25, 1987VIII version for violoncello Tokyo: October 14, 1989X version for organ: Stuttgart, March 28, 2018This work (A Breath of the Untimely) was first written for solo Flute and dedicated to Aurele Nicolet. Its bears the subtitle Lament on the Loss of Musical Thought - some Madrigals for Solo Flute or Flute with any other Instruments. This serves as a playing instruction but doubles at the same time as an outmoded programme: it refers back to the musical origin of the opening lamenting motif, a tradition which was once of its time but is not of our time - namely the Lamento genre which gave the title to the Chaconne in Purcell's opera Dido and Aeneas. Almost simultaneously I wrote a second version for Piano (for Piano one-and-a-half hands), which already formulates possible approaches for the performer, in some detail, to the indicated, quasi-canonic version of the piece in the programme. The multiple version Ein Hauch von Unzeit III realizes a concrete version of a formal state which floats between strict canon and aleatoric principles: each of the musicians who are spread throughout the hall introduces their own idiomatic translation of the flute part. And so the music exists, omnipresent, not only spatially throughout the hall, but also formally in a sort of fluctuating simultaneity. For that reason, it was my express wish to any potential interpreter that they should construct entirely their own version of the piece. A healthy number of musicians have responded to my suggestion - versions of the piece have now been made for guitar (Cornelius Schwehr, Gunther Schneider), accordion (Hugo Noth), double bass (Fernando Grillo), violin (Hansheinz Schneeberger), viola, violoncello, and double bass (trio basso, Koln), violoncello (Michael Bach), trombone (Andrew Digby) and, created by myself, a sung version for voice (to words by Georg Wilhelm Friedrich Hegel und Max Bense), and for viola.The most important requirement for the whole piece is absolute stillness, which should as far as possible emanate from the performer. The pauses are occasionally in this respect the most important element. These may, if one can find the necessary stillness, become very long.Ein Hauch von Unzeit (A Breath of the Untimely) - time almost dissolves!(Klaus Huber, 1989/2014 - translation: David Alberman)CD:Jean-Luc Menet (Bass flute)CD Traversieres 120.270Jean-Luc Menet (fl)CD STR 37039Bibliography:Zimmermann, Heidy: Zeitgestaltung im Kompositionsprozess bei Klaus Huber - dargestellt anhand von Skizzen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, S. 90-109.