SKU: BT.EMBZ14505
English-German-Hungarian.
Of the early versions of works included in this volume the first versions of the notably popular Consolations cycle and Grand solo de concert (published in 1850) are of particular interest. In the first version of Consolations the third movement was a style hongrois piece whose thematic material was later used by Liszt in his Hungarian Rhapsody No. 1 (published in 1851). The first version of Grand solo de concert shows that the work did not originally include a slow middle section to be recapitulated towards the end as seen in the final version. This is a characteristically Lisztian feature that would reappear a few years later in his Sonata in B minor. A detailed preface inHungarian, English, and German, including new research results, numerous manuscript facsimiles, and critical notes, makes this volume of the New Liszt Edition an important publication of immense scholarly value. Along with the cloth-bound Complete Edition, a paperback version for practical use has also been published. This edition's contents are identical to those of the hardcover edition with the exception that the critical notes are not included. Of the early versions of works included in Supplementary Volume 10, particular interest is expected in the first versions of the notably popular Consolations cycle and the monumental Grand solo de concert of 1850. In the first version of Consolationsthe third movement was a style hongrois piece whose thematic material Liszt used again later in the first piece of the Hungarian Rhapsodies published in 1851. The first version of the Grand solo de concert shows that the original concept did notinclude the slow “movement” that would be placed in the middle of the work and recapitulated towards the end in the final version - a characteristically Lisztian feature that would reappear a few years later in the Sonata in B flat minor.A detailed preface in Hungarian, English and German, including new research result and, numerous manuscript facsimiles make the practical paperback version of this volume of the New Liszt Edition a specially important publication of scholarly value.Von den im vorliegenden Band veröffentlichten Werkversionen dürften der außerordentlich populäre Consolations-Zyklus sowie die Erstfassung des 1850 entstandenen Grand solo de concert (Großes Konzertsolo) auf besonderes Interesse stoßen. In der ersten Fassung der Consolations stand an dritter Stelle noch ein Stück im ungarischen Stil, dessen Thematik Liszt später im 1851 herausgegebenen 1. Stück der Ungarischen Rhapsodien verwendete. Die erste Version des Großen Konzertsolos belegt, dass der in der Mitte der Komposition angelegte und kurz vor Ende rekapitulierte langsame Teil, welcher zum typisch Lisztschen Element der endgültigen Fassung des Konzertsolos - und einige Jahre späterauch der H-Moll-Sonate - wird, noch kein Bestandteil der ursprünglichen Konzeption war.
SKU: BT.EMBZ14505A
Of the early versions of works included in this volume the first versions of the notably popular Consolations cycle and Grand solo de concert (published in 1850) are of particular interest. In the first version of Consolations the third movement was a style hongrois piece whose thematic material was later used by Liszt in his Hungarian Rhapsody No. 1 (published in 1851). The first version of Grand solo de concert shows that the work did not originally include a slow middle section to be recapitulated towards the end as seen in the final version. This is a characteristically Lisztian feature that would reappear a few years later in his Sonata in B minor. A detailed preface inHungarian, English, and German, including new research results, numerous manuscript facsimiles, and critical notes, makes this volume of the New Liszt Edition an important publication of immense scholarly value. Along with the cloth-bound Complete Edition, a paperback version for practical use has also been published. This edition's contents are identical to those of the hardcover edition with the exception that the critical notes are not included. Of the early versions of works included in Supplementary Volume 10, particular interest is expected in the first versions of the notably popular Consolations cycle and the monumental Grand solo de concert of 1850. In the first version of Consolationsthe third movement was a style hongrois piece whose thematic material Liszt used again later in the first piece of the Hungarian Rhapsodies published in 1851. The first version of the Grand solo de concert shows that the original concept did notinclude the slow “movement” that would be placed in the middle of the work and recapitulated towards the end in the final version - a characteristically Lisztian feature that would reappear a few years later in the Sonata in B flat minor.A detailed preface in Hungarian, English and German, including new research results, numerous manuscript facsimiles and critical notes make this volume of the New Liszt Edition a specially important publication of scholarly value. Simultaneously withthe Complete Edition volume in colth-bound, its paperback for practical purposes is also published, the contents of which, except for the critical notes, is identical with the Complete Edition volume.Von den im vorliegenden Band veröffentlichten Werkversionen dürften der außerordentlich populäre Consolations-Zyklus sowie die Erstfassung des 1850 entstandenen Grand solo de concert (Großes Konzertsolo) auf besonderes Interesse stoßen. In der ersten Fassung der Consolations stand an dritter Stelle noch ein Stück im ungarischen Stil, dessen Thematik Liszt später im 1851 herausgegebenen 1. Stück der Ungarischen Rhapsodien verwendete. Die erste Version des Großen Konzertsolos belegt, dass der in der Mitte der Komposition angelegte und kurz vor Ende rekapitulierte langsame Teil, welcher zum typisch Lisztschen Element der endgültigen Fassung des Konzertsolos - und einige Jahre späterauch der H-Moll-Sonate - wird, noch kein Bestandteil der ursprünglichen Konzeption war.
SKU: BR.BG-767-02
ISBN 9790004120705. 9 x 12 inches.
Consolation II fur 16 Stimmen stellt einen Teil beziehungsweise eine Schicht eines ursprunglich vierteilig geplanten Zyklus fur Chor und Schlagzeug dar. Jeder der darin vereinigten Texte reprasentiert unter anderem Blickwinkel eine Erkenntnis, die uber die eigenen existentiellen Grenzen hinweghelfen mochte. Der hier zugrunde liegende Text - eine neuhochdeutsche Fassung des ,,Wessobrunner Gebets - lautet:Mir gestand der Sterblichen Staunen als HochstesDass Erde nicht war noch oben HimmelNoch Baum, noch irgend ein Berg nicht waryNoch die Sonne, nicht Licht warNoch der Mond nicht leuchtete noch das gewaltige MeerDa noch nirgends nichts war an Enden und WendenDa war der eine allmachtige Gott.In Consolation II ist der Text nicht mehr verstehbar. Solche ,,Unverstandlichkeit scheint mir legitim und dort kaum vermeidlich, wo Musik und musikalische Form ihre alten sprach-analogen Gesetzmassigkeiten mit anderen vertauscht haben, mit Gesetzmassigkeiten namlich, welche sich gegen die oberflachliche Koppelung mit einem semantisch orientierten und grammatikalisch gerichteten Sprachverlauf sperren. Einen Text ubers Vertonen hinaus ,,komponieren - das muss heissen: in die durch ihn gesetzte Ordnung eingreifen und auf sie reagieren. Dabei geht Consolation II - wie fruher auch Consolation I - von einer Textbehandlung aus, in welcher dank der charakteristischen Okonomie des phonetischen Materials auch trotz volliger Isolierung, Verfremdung und Umstellung der Textpartikel die semantische Bedeutung doch noch quasi ,,von fern signalisiert bleibt. Indem die phonetischen Elemente innerhalb der damit gebildeten Strukturen nicht bloss Mittel, sondern selbst Objekt des musikalischen Ausdrucks werden, stellen sich Text und Werk selbst als ein Teil jener Materie dar, von deren Zeitlichkeit hier die Rede ist.Ein geistliches Werk? Vielleicht, aber nicht von Schuld und Erlosung ist die Rede, sondern von jener Erfahrung, die jeglichem Denken zugrunde liegt: der Sterblichen Staunen(Helmut Lachenmann, 1969)CDs:Schola Cantorum Stuttgart, Ltg. Clytus Gottwald CD Cadenza 800 893 Schola Heidelberg, Ltg. Walter Nussbaum CD KAIROS 0012202KAIBibliografie:Hermanutz, Tobias: Avantgardistische Chormusik als komponierte Negative Theologie. Gyorgy Ligeti: Lux aeterna - Dieter Schnebel: AMN - Helmut Lachenmann: Consolation II - Heinz Holliger:Psalm, Diss. Karlsruhe 2014, Marburg: tectum 2015.Luck, Hartmut: Philosophie und Literatur im Werk von Helmut Lachenmann, in: Der Atem des Wanderers. Der Komponist Helmut Lachenmann, hrsg. von Hans-Klaus Jungheinrich, Mainz: Schott 2006, S. 41-55.World premiere: Basel, June 15, 1969Dedicated to Clytus Gottwald and the Stuttgarter Schola Cantorium.
SKU: BT.DHP-1094676-010
9x12 inches. English-German-French-Dutch.
Wer nur den lieben Gott lässt walten was composed by Georg Neumark in about 1641 and was subtitled ‘Trostlied’ literally meaning consolation song. Songbooks at the time showed the popularity of this song and it is still well-known today partly due to Johann Sebastian Bach’s use of the melody for one of his own chorals. In Jan de Haan’s arrangement the choral is heard twice, once, alternating with the original motif from the introduction and a second time, without interruption, reflecting the composer’s original intention - a song of consolation.Wer nur den lieben Gott lässt walten werd omstreeks 1641 door Georg Neumark geschreven. Het gezang bestaat uit zeven strofen waarin het vertrouwen in God wordt bezongen. Neumark zelf voegde er de subtitel Troostlied aan toe. Johann Sebastian Bach heeft het meermaals gebruikt. Zo draagt zijn cantate BWV 93 de titel Wer nur den lieben Gott lässt walten. In dit arrangement van Jan de Haan klinkt het koraal twee keer. Wer nur den lieben Gott lässt walten wurde um 1641 von Georg Neumark geschrieben. Alte Gesangbücher belegen eine frühe Popularität des Liedes, das heute nicht zuletzt durch Johann Sebastian Bach, der es u. a. für einen Choral verwendete, jeder kennt. In dieser Bearbeitung erklingt der Bach-Choral zweimal: einmal alternierend mit dem Motiv aus Jan de Haans Einleitung und einmal ohne Unterbrechung in einer Besetzung, die der ursprünglichen Absicht gerecht wird: einem Trostlied.Vers 1641, Georg Neumark compose l’hymne chrétienne Wer nur den lieben Gott lässt walten, dont chacune des sept strophes exprime sa foi en Dieu. Il lui donne le soustitre Chant de consolation. Dans cet arrangement de Jan de Haan, le choral est exposé deux reprises : d’abord précédé d’une courte introduction suivie d’une variation entre chaque vers, puis dans une trame continue qui, fidèle au sous-titre original, cherche dans son action la consolation.Intorno al 1641, Georg Neumark compone il cantico Wer nur den lieben Gott laesst walten, nel quale ogni strofa esprime la fede in Dio e gli d il sottotitolo di Canto di consolazione. Il cantico ebbe grande notoriet . In questo arrangiamento firmato Jan de Haan, il corale è esposto a due riprese: dapprima preceduto da una breve introduzione seguita da una variazione tra ogni verso, in seguito in una trama continua che, fedele al sottotitolo originale, cerca nella sua azione la consolazione.
SKU: BT.DHP-1094676-140
SKU: BT.DHP-1094676-020
Wer nur den lieben Gott lässt walten was composed by Georg Neumark in about 1641 and was subtitled ‘Trostlied’ literally meaning consolation song. Songbooks at the time showed the popularity of this song and it is still well-known today partly due to Johann Sebastian Bach’s use of the melody for one of his own chorals. In Jan de Haan’s arrangement the choral is heard twice, once, alternating with the original motif from the introduction and a second time, without interruption, reflecting the composer’s original intention - a song of consolation.Wer nur den lieben Gott lässt walten wurde um 1641 von Georg Neumark geschrieben. Alte Gesangbücher belegen eine frühe Popularität des Liedes, das heute nicht zuletzt durch Johann Sebastian Bach, der es u. a. für einen Choral verwendete, jeder kennt. In dieser Bearbeitung erklingt der Bach-Choral zweimal: einmal alternierend mit dem Motiv aus Jan de Haans Einleitung und einmal ohne Unterbrechung in einer Besetzung, die der ursprünglichen Absicht gerecht wird: einem Trostlied.Intorno al 1641, Georg Neumark compone il cantico Wer nur den lieben Gott laesst walten, nel quale ogni strofa esprime la fede in Dio e gli d il sottotitolo di Canto di consolazione. Il cantico ebbe grande notoriet . In questo arrangiamento firmato Jan de Haan, il corale è esposto a due riprese: dapprima preceduto da una breve introduzione seguita da una variazione tra ogni verso, in seguito in una trama continua che, fedele al sottotitolo originale, cerca nella sua azione la consolazione.
SKU: BT.DHP-1094676-130
SKU: BT.DHP-1094676-030
SKU: BT.DHP-1094676-120
SKU: HL.14007563
ISBN 9788759867587. UPC: 888680753047. 10.5x14.0x0.033 inches.
Consolation - Like A Roselike Flower (Consolazione - Flos Ut Rosa) for Harp solo by Per Norgard (2002). Written for and dedicated to Tine Rehling. Programme note by the composer: The concept of Mary has a depth that transcends all religious persuasions. All over the earth symbols of the gentle and maternal are known. But the word 'Maria' is also associated - in sound - with the Latin word for the sea, mare, and she thus become the Star of the Sea, Maris Stella. In my 3rd Symphony the Maria motif is used in a hymn section in the second, and last, part of the work. The choral song “Flos ut rosa floruit” was composed directly in the context of the symphony, and themelody had a 'stamina' that carried it over into many later vocal and choral compositions, for instance the “Concerto for Harp No. 2 - through thorns” (2003) and the present Consolazione for harp solo , both works dedicated to Tine Rehling. .
SKU: HL.35028637
ISBN 9781476868066. UPC: 884088792411. 5x5 inches.
10-Pack Listening CDs: Inspired by Celtic music traditions, this new work for Lent or Holy Week presents Christ's journey to the cross. Utilizing folk songs, hymns and newly composed sacred songs, the music adorns the heart-felt message of God's love and grace displayed in Christ's redemptive work on Calvary. A thoughtful narration weaves the movements of the work together with Scripture, prayer and poetry, while delivering a reflective message of hope and assurance. Gentle orchestrations capture the Celtic spirit of the music in a smaller, more restrained approach in keeping with Holy Week considerations. A full line of support products is available. Duration: approx. 30 minutes. Titles include: Prologue, The Song of the Cross, A Celtic Hosanna, Come to the Upper Room, The Garden of Tears, The Carpenter, A Tree Once Stood, Consolation of the Cross, Epilogue. Available separately: SATB, Listening CD, Preview Pack (Book/CD), StudioTrax CD (Accompaniment only), RehearsalTrax CDs, 10-Pack Listening CDs, Digital Resource Kit, Chamber Orchestration (Score & Parts for Soprano Recorder/Penny Whistle, Alto Recorder, Oboe/English Horn, Clarinet 1&2, Bassoon, Horn 1&2, Trumpet 1-3, Trombone 1&2, Tuba, Timpani, Percussion 1&2, Harp, Piano, Violin 1&2, Viola, Cello, Double Bass) and Chamber Orchestration CD-ROM. Duration: ca. 30:00.
SKU: SU.80101107
Consolation is a serene and meditative work for organ. A lyrical theme is developed by a flute stop over a slowly moving warm accompaniment. It is highly suitable as a service prelude or offertory. 8 pages Published by: Zimbel Press.
SKU: HL.48000603
UPC: 073999255454. 8.25x11.75x0.179 inches.
Contents: Romance (Mielck) * Elegie (Sohlstrom) * Berceuse (Jarnefelt) * Romance (Merikanto) * Chanson sans paroles (Kuula) * Menuetto (Melartin) * Elegie (Sibelius) * Romance (Sibelius) * Consolation (Kuusisto) * Juvenalia (Sonninen) * Andante religioso (Marttinen) * Adagio (Salmenhaara) * Arioso (Saikkola) * Canzona (Johansson) * Menestrel (Johansson) * Metamorfora (Sallinen).
SKU: BT.GS27400
English.
Work for Solo Piano.
SKU: PR.110418470
ISBN 9781491137253. UPC: 680160688777.
Grief and gratitude for a departed friend mingle in this short yet impactful solo. Textures and harmonic turns are fresh and unexpected, though never jarring and always from the heart. Composed in remembrance of musicologist, record producer, and self-described “sound archaeologist” Allan Evans, CONSOLATION is a moving addition to recital repertoire as well as for use at memorial services.
SKU: LM.P1811
ISBN 9790230926782.
Paysage (3e etude transcendante, livre I) - Mazeppa (4e etude transcendante, livre I) - Eroica (7e etude transcendante, livre I) - Melodie hongroise en Re b (L'Album du voyageur) - Impromptu en fa# majeur - Lamento (n. 2 des Trois Caprices poetiques) - Ballade en Si mineur - Le Lac de Wallenstadt (Annee de pelerinage en Suisse) - Vallee d'Obermann (Annee de pelerinage en Suisse) - Canzonetta del Salvator Rosa (Annee de pelerinage en Italie) - Sposalizio (Annee de pelerinage en Italie) - 10e etude transcendante en Fa mineur (livre II) - 5e etude, Il Flauto (d'apres Paganini) - Evocation (n. 1 des Consolations) - Chant elegiaque (n. 4 des Consolations) - Funerailles (des Harmonies poetiques et religieuses) - Pensees des Morts (des Harmonies poetiques et religieuses) - Fantaisie et Fugue sur B.A.C.H. - La Mort d'Iseult (Wagner) - 10e Rhapsodie.
SKU: MN.40-401
UPC: 688670404016.
Three lyrical solos with well-known texts set to original tunes with artful piano accompaniments. The vocal line is notated in bass clef. Includes: Jesus, Lover of My SoulABERYSTWYTH Come, Ye DisconsolateCONSOLATOR/CONSOLATION Abide With Me.
SKU: HL.50610018
Of the early versions of works included in this volume the first versions of the notably popular Consolations cycle and Grand solo de concert (published in 1850) are of particular interest. In the first version of Consolations the third movement was a style hongrois piece whose thematic material was later used by Liszt in his Hungarian Rhapsody No. 1 (published in 1851). The first version of Grand solo de concert shows that the work did not originally include a slow middle section to be recapitulated towards the end as seen in the final version. This is a characteristically Lisztian feature that would reappear a few years later in his Sonata in B minor. A detailed preface in Hungarian, English, and German, including new research results, numerous manuscript facsimiles, and critical notes, makes this volume of the New Liszt Edition an important publication of immense scholarly value. Along with the cloth-bound Complete Edition, a paperback version for practical use has also been published. This edition's contents are identical to those of the hardcover edition with the exception that the critical notes are not included.
