SKU: HL.373786
ISBN 9781705149867. UPC: 196288016519. 6.75x10.5x0.631 inches.
Die Schöpfung is not only a decisive high point in Joseph Haydn's career as a composer, but also marks a turning point in the history of the oratorio in general. On the threshold of the 19th century, Haydn broke with the traditional dominance of arias, gave the chorus much greater importance and thus paved the way for a new ??chororatorio? - one of the main pillars of the up-and-coming bourgeois concert life. The name SAM-Klang takes the three voice parts from the arrangements -- Soprano, Alto and Men -- and combines it with the Scandinavian and German words for ??sound? to create the portmanteau word ??sound together? or ??harmony.? The series offers basic and advanced choral repertoire. In addition to new repertoire and new arrangements, you will also find essential parts of the classical German, Scandinavian, French and English SATB repertoire, carefully and considerately reworked for SAM. The arrangements retain the characteristic features of the original movements and have almost the same richness of timbre, resulting in works which sound nearly unchanged to an audience. Piano reductions of all choral movements facilitate rehearsal preparation. The arrangements offer development opportunities for all voice sections, bringing new life and new quality to SAM choir work. SAM-Klang enables youth choirs to gain access to classical choral literature and ensures that mixed choirs who face challenges in finding singers for all male voice parts continue to have access to well-loved repertoire.
Die Schöpfung is not only a decisive high point in Joseph Haydn's career as a composer, but also marks a turning point in the history of the oratorio in general. On the threshold of the 19th century, Haydn broke with the traditional dominance of arias, gave the chorus much greater importance and thus paved the way for a new “chororatorio” - one of the main pillars of the up-and-coming bourgeois concert life. The name SAM-Klang takes the three voice parts from the arrangements -- Soprano, Alto and Men -- and combines it with the Scandinavian and German words for “sound” to create the portmanteau word “sound together” or “harmony.” The series offers basic and advanced choral repertoire. In addition to new repertoire and new arrangements, you will also find essential parts of the classical German, Scandinavian, French and English SATB repertoire, carefully and considerately reworked for SAM. The arrangements retain the characteristic features of the original movements and have almost the same richness of timbre, resulting in works which sound nearly unchanged to an audience. Piano reductions of all choral movements facilitate rehearsal preparation. The arrangements offer development opportunities for all voice sections, bringing new life and new quality to SAM choir work. SAM-Klang enables youth choirs to gain access to classical choral literature and ensures that mixed choirs who face challenges in finding singers for all male voice parts continue to have access to well-loved repertoire.
SKU: BR.EB-9387
ISBN 9790004188576. 0 x 0 inches.
Commissione d by the Kolner Philharmonie (KolnMusik) for the non bthvn projekt 2020 and the Cite de la musique / Philharmonie de Paris Dedicated to Arditti Quartet Each movement of this quartet explores a single state, its lights and its shadows. Each movement, you could say, is a moment . And these moments could last for more or less time without compromising their essential nature. The processes could be extended or compressed, repeated or reversed, but the core ideas - if they are ideas, but maybe they are simply experiences? - are what they are. Despite this, the precise sequence of movements matters a great deal. Heard together they do articulate some kind of linear narrative, maybe even a metaphorical journey (albeit a circular one where the arrival might, who knows, prove to be a new departure). One situation gives way to another and instrumental relationships within the quartet vary, but ultimately the imaginative impulse behind the piece preferences states of unity. Whether or not this unity is expressed texturally - sometimes literal unisons pervade, but not always - there is generally a sense that even seemingly diverse aspects relate to a fundamental condition of concord: a conscious limitation in the pitch structure to spectral emanations of the root notes E-flat and C. At the opening this is unambiguously audible in the perpetual alternation of these two notes in the low cello register. Later the two spectra are woven into a micro-tonal 'double-spectral-mode' (derived from the first 24 partials of the C and E-flat fundamentals), which defines the subtle melodic inflection of the second movement, and the never-quite-chromatic ascending scales of the third. For now this feels like a rich source of melodic possibility, so far only just glimpsed... And why the insistence on E-flat? Probably by way of historical anecdote. Apparently Karl Holz (a member of the Schuppanzigh Quartet) said to Beethoven: We performed your Quartet in E-flat Op. 127 in his [Weber's] honour; he found the Adagio too long; but I told him: Beethoven also has a longer feeling and a longer imagination than anyone standing or not standing today. - Since then, even Linke (another member of the quartet) can no longer stand him: we cannot forgive him for this. Listening again to Op. 127, in light of these comments, I was struck by the opening moment: the unfolding of an E-flat 7th chord over the course of a few bars. Every time I hear it I find myself wishing that Beethoven would have lingered longer there, without resolution or progression, just enjoying that sonority. And maybe - why not? - tune the 7th naturally. And what would it be to stretch that moment into an entire piece? What would Weber think of that?! In the end I was not so extreme in my self-limitation, and other concerns took over, but it was from these thoughts that the composition process began... Lastly, about the title: it comes from a book called 'The Clock of the Long Now' by Stewart Brand, published at the turn of the millennium. It's about the creation of a thousand-year clock to embody the aspiration to thinking in terms of longer time-spans than are presently habitual. If the music of Beethoven embodied a 'longer' feeling and imagination than some of his contemporaries were able to appreciate, what is our relation to time now? Longer or shorter? Maybe it depends who you ask... It's probably more extreme in both directions: attention spans might be diminishing in the digital world, but conversely there is an awareness of distant pasts and potential futures which would have been inconceivable at the time of Beethoven. In any case, the interesting thing is to ponder how societal conditions, assumptions and expectations might - whether consciously or unconsciously - influence the time of art, for listeners and creators alike. And what if time is running out? (Christian Mason)World premiere: Paris, Cite de la musique, January 14, 2020.
SKU: CA.5199011
ISBN 9790007225469. Language: German/English. Text: von Swieten, Gottfried. Text: Baron von Swieten.
The primary source on which the new Carus Urtext edition is based is the first edition of the score from 1800. Contrary to normal custom, Haydn published the score himself in order to avoid unauthorized publications and to present an optimally designed edition from an authentic hand. With this original document, which has been compared with additional relevant sources, Carus now offers a musical text based on the latest musicological findings. The critical report provides all of the important data concerning the edition in a compact form suitable for practical use [practical performance]. A detailed foreword offers insight into the genesis of the work, its construction and reception and illuminates compositional and theological and spiritual-historical aspects. In addition to the score, with singing texts in two languages (G. van Swieten's original German and English text), in the interest of legibility, vocal and choral scores will be offered in two separate editions (German or English). This work is now available in carus music, the choir app. Score and part available separately - see item CA.5199000.
SKU: CA.5199012
ISBN 9790007225476. Language: German/English. Text: von Swieten, Gottfried. Text: Baron von Swieten.
SKU: CA.5199015
ISBN 9790007225506. Language: German/English. Text: von Swieten, Gottfried. Text: Baron von Swieten.
SKU: CA.5199013
ISBN 9790007225483. Language: German/English. Text: von Swieten, Gottfried. Text: Baron von Swieten.
SKU: CA.5199009
ISBN 9790007225452. Language: German/English. Text: von Swieten, Gottfried. Text: Baron von Swieten.
The primary source on which the new Carus Urtext edition is based is the first edition of the score from 1800. Contrary to normal custom, Haydn published the score himself in order to avoid unauthorized publications and to present an optimally designed edition from an authentic hand. With this original document, which has been compared with additional relevant sources, Carus now offers a musical text based on the latest musicological findings. The critical report provides all of the important data concerning the edition in a compact form suitable for practical use [practical performance]. A detailed foreword offers insight into the genesis of the work, its construction and reception and illuminates compositional and theological and spiritual-historical aspects. In addition to the score, with singing texts in two languages (G. van Swieten's original German and English text), in the interest of legibility, vocal and choral scores will be offered in two separate editions (German or English). This work is now available in carus music, the choir app. Score and parts available separately - see item CA.5199000.
SKU: CA.5199014
ISBN 9790007225490. Language: German/English. Text: von Swieten, Gottfried. Text: Baron von Swieten.
SKU: CA.5199050
ISBN 9790007188481. Language: German/English. Text: van Swieten, Gottfried.
With this arrangement it is possible to present the work in a performance space of limited size. Haydn's original orchestration is filled with vivid tone painting and this reduced version represents Haydn's score using accurate colors for the obligato melodies and appropriate instrumental voices for the colla parte passages. It follows the format and content of the critical edition by Carus (ed. W. Gersthofer) and may be used together with the other materials from Carus 51.990 (choral and vocal scores, string parts). Modern performances of Creation use sometimes 50-60 players. It is hoped that the present reduction will make this beautiful work available to smaller groups, smaller performance venues, and groups with smaller budgets. Score available separately - see item CA.5199000.
SKU: CA.5199002
ISBN M-007-24967-0. German/English. Text: von Swieten, Gottfried.
The primary source on which the new Carus Urtext edition is based is the first edition of the score from 1800. Contrary to normal custom, Haydn published the score himself in order to avoid unauthorized publications and to present an optimally designed edition from an authentic hand. With this original document, which has been compared with additional relevant sources, Carus now offers a musical text based on the latest musicological findings. The critical report provides all of the important data concerning the edition in a compact form suitable for practical use [practical performance]. A detailed foreword offers insight into the genesis of the work, its construction and reception and illuminates compositional and theological and spiritual-historical aspects. In addition to the score, with singing texts in two languages (G. van Swieten's original German and English text), in the interest of legibility, vocal and choral scores will be offered in two separate editions (German or English). This work is now available in carus music, the choir app. Score available separately - see item CA.5199000.
SKU: CA.4031600
ISBN 9790007104573. Language: German.
SKU: CA.2705305
ISBN 9790007113520. Key: A major. Language: Latin.
Since the days of Renaissance composers - beyond accusations of plagiarism - the admiration for a fellow composer has taken the form of quotations from his works or even new versions of his works. No less a work from the classical period than Joseph Haydn's oratorio The Creation (first performed in 1798), was the basis for the Schopfungsmesse (Creation Mass) by the Salzburg Court and Cathedral Music Director, Luigi Gatti. Gatti heard the oratorio in Salzburg performances conducted by Johann Michael Haydn in 1800. With great skill and sensitivity Gatti was able to underlay the choruses and arias of The Creation with the text of the Mass (at times he reduced and adapted the instrumentation), without doing harm to the admired original. Score available separately - see item CA.2705300.
SKU: CA.2705314
ISBN 9790007199593. Key: A major. Language: Latin.
Since the days of Renaissance composers - beyond accusations of plagiarism - the admiration for a fellow composer has taken the form of quotations from his works or even new versions of his works. No less a work from the classical period than Joseph Haydn's oratorio The Creation (first performed in 1798), was the basis for the Schopfungsmesse (Creation Mass) by the Salzburg Court and Cathedral Music Director, Luigi Gatti. Gatti heard the oratorio in Salzburg performances conducted by Johann Michael Haydn in 1800. With great skill and sensitivity Gatti was able to underlay the choruses and arias of The Creation with the text of the Mass (at times he reduced and adapted the instrumentation), without doing harm to the admired original. Score and part available separately - see item CA.2705300.
SKU: CA.2705319
ISBN 9790007133887. Key: A major. Language: Latin.
Since the days of Renaissance composers - beyond accusations of plagiarism - the admiration for a fellow composer has taken the form of quotations from his works or even new versions of his works. No less a work from the classical period than Joseph Haydn's oratorio The Creation (first performed in 1798), was the basis for the Schopfungsmesse (Creation Mass) by the Salzburg Court and Cathedral Music Director, Luigi Gatti. Gatti heard the oratorio in Salzburg performances conducted by Johann Michael Haydn in 1800. With great skill and sensitivity Gatti was able to underlay the choruses and arias of The Creation with the text of the Mass (at times he reduced and adapted the instrumentation), without doing harm to the admired original. Score and parts available separately - see item CA.2705300.
SKU: CA.2705349
ISBN 9790007199616. Key: A major. Language: Latin.
SKU: CA.4032740
ISBN 9790007104641. Language: all languages.
Autograp hs in facsimile; excerpt from Die Vorstellung des Chaos, 1796. Score available separately - see item CA.4032700.
SKU: CA.2705309
ISBN 9790007199555. Key: A major. Language: Latin.
SKU: CA.2705313
ISBN 9790007199586. Key: A major. Language: Latin.
SKU: CA.2705315
ISBN 9790007199609. Key: A major. Language: Latin.
SKU: CA.2705311
ISBN 9790007199562. Key: A major. Language: Latin.
SKU: CA.2705312
ISBN 9790007199579. Key: A major. Language: Latin.