SKU: HL.51489059
UPC: 840126932898. 6.75x9.5x0.22 inches.
Haydn's three Symphonies nos. 90-92 might rightly be dubbed his “Paris Symphonies Part II,†as they were commissioned in 1788/89, likewise by the Société Olympique, for which Haydn had already composed his six “Paris Symphonies†nos. 82-87 just a few years earlier. Ironically enough, Haydn would later sell these three a second time to Prince von Oettingen-Wallerstein who requested he “receive 3 new symphonies from him.†Regardless of such mercantile entanglements, Haydn shows himself to be at the full height of his mastery as a symphonist in these works. Completed in 1788 according to the autograph manuscript, the Symphony in E flat major no. 91 astonishes, even for Haydn’s standards, with its many idiosyncrasies, such as the Baroque, contrapuntal theme of the first movement or the strings of trills in the slow variation movement. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy scorean ideal companion for all current and soon-to-be Haydn fans.
About Henle Urtext
What I can expect from Henle Urtext editions:
SKU: HL.287551
ISBN 9781540043269. UPC: 888680904661. 9x12 inches. - Bolcom - Eng. -.
Manhattan socialite Millicent Jordan plans a lavish dinner party for visiting English nobility, unaware that her guest list abounds with people linked by business intrigues and romantic entanglements. In adapting the witty and biting depression-era play by Kaufman and Ferber, Pulitzer Prize- and Grammy-Award winning composer William Bolcom (A View from the Bridge, A Wedding) and renowned librettist Mark Campbell (Silent Night, The Shining), have created a winning opera that successfully weds American musical comedy and opera.
SKU: HL.51489060
UPC: 840126932843. 6.75x9.5x0.226 inches.
SKU: HL.4002396
UPC: 884088012007. 9.0x12.0x0.08 inches.
From the Broadway show Wonderful Town comes this entertaining and witty production number from the legendary Leonard Bernstein. As the title implies, this rag finds its way into some curious melodic entanglements, as well as unexpected rhythmic twists and turns as only maestro Bernstein can conjure up. A delightful number for any occasion! (3:00).
SKU: M7.DOHR-26307
ISBN 9790202013076.
SKU: HL.51489058
UPC: 840126932904. 6.75x9.5x0.232 inches.
Haydn's three Symphonies nos. 90-92 might rightly be dubbed his “Paris Symphonies Part II,†as they were commissioned in 1788/89, likewise by the Société Olympique, for which Haydn had already composed his six “Paris Symphonies†nos. 82-87 just a few years earlier. Ironically enough, Haydn would later sell these three a second time to Prince von Oettingen-Wallerstein who requested he “receive 3 new symphonies from him.†Regardless of such mercantile entanglements, Haydn shows himself to be at the full height of his mastery as a symphonist in these works. According to the autograph manuscript, the Symphony in C major no. 90 was completed in 1788 and highlights its festive character with the addition of timpani and trumpets. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.
SKU: HL.49002642
ISBN 9790220107672. UPC: 073999347685. 8.25x11.75x0.832 inches. English.
A house, too, can be a battlefield, and a garden a wilderness. The house here belongs to Faber and Thea: middle-class, middle-aged, probably more than middle-income and in a mid-matrimonial rut of mutual laissez-faire. Also in the house is their young ward Flora, to whom Faber has been making sexual advances. And there are visitors. Thea's sister Denise is taking a break from other distant battlefields, where she is engaged in the struggle against oppression. A black writer, Mel, is here as well with his white lover Dov, a musician: the first homosexual couple to be 'out' on the operatic stage.These people's entanglementswith each other but also, and more importantly, within themselveshave to be addressed, as in Tippett's first opera. But this time the Mozart model is Cosi fan tutte, and the lessons of myth are clothed in the language of psychiatry, as practised by Mangus, the Don Alfonso who may not be as much in control as he would hope. In the last act he stages a performance of The Tempest, which comes adrift. Perhaps more has been achieved in the middle act, a swirl of short scenes ending in an exchange of songs between Flora and Dovan exchange, too, of homages to Schubert and the blues, both held in the magic of this lustrous score.(Paul Griffiths)2 (2pic).1.ca.Ebcl.2 (2: bcl).1.cbn-4.4.2.1-timp.3 perc (s.d., t.d., b.d., jazz kit, cym., sus.cym., w.bl., t.bl., tamb., casts., wh., metal bar or heavy triangle, tam-tam, xyl., vib., glock., claves, small rattle)-hp.cel.pno.egtr/e hpd-str Reduced version: 1 (pic).1 (ca).1 (Ebcl, bcl).1 (cbn)-3.2.2.0-2perc (timp., t.d., jazz kit, cym., t.bl., tamb., casts., metal bar or heavy tri., tam-tam, vib., glock., tub.bells, cl., rattle)-hp.pno (cel).egtr-str: 3 vns (3: va).va.vc.db.
SKU: BA.BVK02075
ISBN 9783761820759. 24.7 x 17 cm inches. Language: German.
This music is both unsettled and unsettling. It begins with short, seemingly disjoined piano sonorities. As the other instruments join in, the reverberations of the piano spawnresonance threadsthat gradually take on lives of their own. The compositional materials seem to entangle themselves in a net. Lurking in the wild, impulsive gestures of this music isthe astonishing expression of dishevelled savagery(Gordon Kampe).
SKU: WD.080689352973
UPC: 080689352973.
High in the mountains in the impenetrable Agape Fortress, General Agape has called the mighty Agape League together to solve a crisis in Suburbiana City! Calling on the super-powered fruits of the spirit available to every follower of Christ, these heroes must also face an enemy within their own ranks when Ironblade forgets his superhero identity (self-control) and becomes entangled in the pervasive worldly culture. Will the League recover their powers? Will the citizens of Suburbiana City be saved? Will the source of true power - God's Word - finally be utilized before time runs out? Acclaimed children's writer Christy Semsen has delivered another high-powered production that is super-sized in every way: a high-octane story, clever dialogue, dynamic contemporary songs, and uncompromised spiritual truth. Daniel Semsen's cinema-worthy accompaniment tracks positively soar and the always amazing Teacher Resource Kit and performance IVD will grant you all the production power you need.
SKU: BA.BA04050
ISBN 9790006443598. 33 x 26 cm inches. Language: German. Text: Feustking, Friedrich Christian.
“A lmiraâ€, Handel’s first opera, was well received when premiered in 1705 at the Theater am Gänsemarkt in Hamburg. The director was Reinhard Keiser, who, remarkably, had himself already set Friedrich Christian Feustking’s text to music. The role of Fernando was sung by Johann Mattheson. The translation used by Handel leaves several Italian arias in their original language, resulting in a delightful mixture of German and Italian.The opera which, after sundry entangled romances, ends in the wedding of three couples, is characterised by exuberant scenes: the procession at Almira’s crowning ceremony, a duel, a prison scene and a masked-ball involving the three continents Europe, Africa and Asia. The vocal score to “Almira†by George Frideric Handel brings about a small sensation: Whilst conducting a reenactment of this work in 1732, Georg Philipp Telemann removed the Aria no. 28 “Ingrato, spietato†from his conducting score. Since then this aria has been deemed lost. Due to necessity only the edited vocal text devoid of any music was presented in the 1994 volume of the “Halle Handel Editionâ€. Thanks to a recently discovered contemporary manuscript copy from the beginning of the 18th century which was found in the music library of the Mariengymnasium in Jever, this aria has now been made available to performers for the first time in this new vocal score edition. Previous to this the corresponding pages could only be seen as a facsimile in an article of the “Göttinger Händel-Beiträgeâ .Now the aria can be performed again. Furthermore, with the help of this new source, missing measures in the basso continuo which had initially been completed by the editor of the “Halle Handel Edition†volume, could be reconstructed from the basso continuo part of the Bellante aria “Ich brenne zwar†(no. 71).
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?< /p> MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
What can I expect from a Barenreiter Urtext edition?< /p>
MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: HL.49020938
ISBN 9790200101621. 9.0x12.0x0.132 inches. German.
Two poems of Friedrich Holderlin bearing almost the same title form the basis of the text for 'Zwei Lieder' (Two Songs): 'Die Aussicht' and 'Aussicht'. Unlike as with common musical settings of poems, Detlev Muller-Siemens has split the vocal part in two levels. On the one hand, Holderlin's text is recited, on the other hand, fragments of the poems are sung at a lower, contemplative level. 'Like vague memories, ascending from the inside from afar. An idyll that becomes entangled in its own images.'.
SKU: WD.080689788727
UPC: 080689788727.
SKU: AP.36-M301391
UPC: 660355090905. English.
Clara Schumann (1819-1896), then Clara Wieck, wrote this collection of six Soirées musicales in 1835-1836, when she 16 or 17 years old. Reflecting the influence of Mendelssohn and Chopin, each melodic piece shows her clear understanding of the formal and harmonic tendencies of those two master composers. Her later husband Robert Schumann would say of Clara's Soirées musicales as boasting a wealth of unconventional resources, an ability to entangle the secret, more deeply twisting threads and then to unravel them. Movements: 1. Toccatina, 2. Notturno, 3. Mazurka in G minor, 4. Ballade, 5. Mazurka in G major, 6. Polonaise.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: HL.49044188
ISBN 9790001188517. UPC: 888680071127. 9.0x12.0x0.049 inches.
What dance is this? Is it the dance coming from afar, its remnants too entangled to decipher, one which was brought by a gust of wind, as you stand alone and listen to a far away party in the night? Or is the one so close that the heavy beating keeps the ears grounded onto a distorted repeated detail? Neither is danceable to the legs - but both would like to dance with the imagination, leading notions of distance and closeness astray.The level of difficulty from 1-5 (5 being most difficult) is in terms of technicality around 3.7 and in terms of artistic expression and complexity of text around 4.5. - Chaya Czernowin.
SKU: HL.49016832
ISBN 9783795764500. UPC: 841886009011. 7.75x10.75x1.88 inches. German.
Numerous revisions and adaptations are entangled in the complex history of the work 'Tannhauser'. After the world premiere in Dresden in 1845 had failed to be well received by the audience, Wagner revised large parts of the opera several times in the following decades. The most comprehensive changes were made for the Paris performance in March 1861, but even after that he made further revisions which superseded some of the previous changes and were performed in Vienna in 1875 among others.The study score is based on the version of 1875 which has misleadingly been published as the 'Paris version' until today and has actually to be referred to as 'Viennese version'. The musical text is identical to that of the critical edition within the Wagner Complete Edition, with the errata discovered since then having been corrected.3 (3. auch Picc.) * 2 * 2 * Bassklar. * 2 - 2 Ventilhr. * 2 Waldhr. * 3 * 3 * 1 - P. S. (Trgl. * Beck. * Schellentr. * gr. Tr. * Kast.) (2 Spieler) - Hfe. - Str.Auf der Buhne: Picc. * 2 * 2 * Engl. Hr. * 3 * 0 - 4 * 12 Waldhr. * 12 * 0 * 0 - S. (Trgl. * Beck. * Schellentr.) - Hfe.
SKU: WD.080689406775
UPC: 080689406775.
SKU: BR.EB-9474
ISBN 9790004189542. 9 x 12 inches.
The present piece is a wind trio reduction of my ensemble piece In Time Entwined, In Space Enlaced (2008), which was in turn an expansion of an original trio for bass flute, cor anglais and viola. Throughout the piece, the three instruments find themselves entangled in various contrapuntal and heterophonic webs. Though their individual identities are generally distinct -- by virtue of their timbral differences -- they seek to blur their boundaries, forging relationships through shared material as they attempt to merge with one another. I was inspired by the surreal expression of love in David Gascoyne's poem Antennae:The timeless sleepers tangled in the bedIn the midst of the sonorous island, aloneThe tongue between the teethThe river between the sandsLove in my hand like laceYour hand enlaced with mine.(Christian Mason, 2012)World premiere: Olive Grove, Delikipos/Cyprus (4th International Contemporary Music Festival), September 9, 2012.
SKU: WD.080689863226
UPC: 080689863226.
SKU: HL.49046544
ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches.
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti).
SKU: BA.BA09388
ISBN 9790006540198. 34 x 25.5 cm inches.
This music is both unsettled and unsettling. It begins with short, seemingly disjoined piano sonorities. As the other instruments join in, the reverberations of the piano spawn “resonance threads†that gradually take on lives of their own. The compositional materials seem to entangle themselves in a net. Lurking in the wild, impulsive gestures of this music is “the astonishing expression of dishevelled savagery†(Gordon Kampe).
SKU: BR.EB-9250
World premiere: Toronto, November 17, 2016Written for the Duo Wapiti (Genevieve Liboiron, Daniel Anez)
ISBN 9790004185506. 10 x 12.5 inches.
Whereas Nono considered the world to be only fragmentarily analyzable, so-called consumer capitalism increasingly intrudes upon ego structures, by fragmenting them to the point of: assumed insufficiency, i.e., was consumption a form of infiltration?, or: in television you can see models licking face cream because it's so rich etc. (retranslated), as Meredith Haaf cited in her book review (SZ / 23.05.2016 Alexandra Kleeman: You Too Can Have A Body Like Mine) , and to the point of similar perfection-senselessness. Music doesn't do things by halves. Even when events or notes are puffed up, they can retain elegance and significance. Other ego amplitudes are of violinistic nature or are favourite memories - Paganini's Capricci, Stockhausen's Studie I, Steve Reich, the tone C and similar things. The craziest egos are quantums, because at no time are they identical with themselves. They can entangle and superpose, are nonlocal, etc. Although the sound character in this Duo is fairly open, I believe I succeeded in making probability waves of harmonic stopovers perceptible. This means hearing without analyzing and without constantly measuring. Nonlocality - without messenger particles - means no harmonic steps, but with the capacity to interact. (Nicolaus A. Huber, May 2016)World premiere: Toronto, November 17, 2016 Written for the Duo Wapiti (Genevieve Liboiron, Daniel Anez).
SKU: WD.080689502095
UPC: 080689502095.
SKU: WD.080689405778
UPC: 080689405778.
