Studie 2 (1981)

SKU: HL.49032267

ISBN 9783795720889. German.

SKU: BR.PB-5105-07

World premiere: Bremen, February 1, 1982

ISBN 9790004208557. 9 x 12 inches.

Gesualdo, Don Carlo, Furst von Venosa (1560-1613) gehort zu den eigenwilligsten italienischen Madrigal-Komponisten der Spatrenaissance. Seine ungewohnlich kuhne, selbst fur heutige Ohren modern klingende Harmonik, seine chromatischen Stimmfortschreitungen, seine ubersteigerte expressive Tonsprache regten mich schon vor Jahren zu einer grosseren Orgelkomposition an und inspirierten mich 1981 zu den >>Sinfonischen Metamorphosen<<. Dieses Werk ist eine vielgestaltige weitausgesponnene Fantasie. Sieben choralartige typische Klangbeispiele aus Gesualdos spaten funfstimmigen Madrigalen (4., 5. u. 6. Band) werden teils streng, teils frei zitiert und von Holz- oder Blechblasern intoniert. Diese Zitate gliedern, als formale und inhaltliche Schwer- und Ruhepunkte, den Verlauf des gesamten Werks. Jedes Zitat steht zu Beginn eines neuen Satzabschnitts; die darauffolgenden >>Metamorphosen<< entwickeln sich als rhapsodische kontrastreiche Charakterstucke. Im >>Preludio<< werden aus den vertonbaren Buchstaben vom Namen >>Gesualdo<< (G - E - Es - A - D) schwebende Klangflachen, rezitativische Gedanken und ein pragnantes rhythmisches Paukenthema gebildet. Diese ,,Grundelemente (Grundstrukturen) tauchen im Verlauf des Stucks immer wieder leitmotivisch auf. Im zweiten Abschnitt stehen sich lineare Streicher-Episoden und dichte Blaser-Klangballungen kontrastierend gegenuber. Der dritte Teil lauft als Passacaglia (Thema ist der Bass eines Gesualdo-Zitats) in mehreren Variationen ab. Im vierten Abschnitt dominiert lebhafte Streicherbewegung, kontrapunktiert von tiefen Blaser-Signalen. Der funfte Teil steigert sich- nach kantablem Beginn- zum ekstatischen Trauermarsch. Abschnitt sechs stellt sich als >>Rondello<< dar, mit um sich selbst kreisenden Klangfiguren (in verschiedenen Tongruppen (zwei, drei, funf). Im siebten und letzten Teil wird die verhalten-resignierende Stimmung des Anfangs beschworen, ehe eine knappe Stretta in den hymnischen Schluss mundet. In den Textender ausgewahlten Zitatstellen geht es meist um Todessehnsucht, Liebesqual und Verzweiflung. z. B. 1. und 2. Zitat: Moro lasso, al mio duolo (Ich sterbe, matt, an meiner Qual) (6. Buch) 3. Zitat: Gia piansi nel dolore; o dolorosa Sorte (Schon weinte ich in Schmerzen, oh schmerzliches Geschick) (6. Buch) 4. Zitat: Ahi gia mi discolero (Ach schon entfarbte ich mich) (Wehe, der Tod kommt) (4. Buch) 5. Zitat: Dolcissima mia vita (Mein allerliebstes Leben) (Dich zu lieben oder zu sterben) (5. Buch) 6. Zitat: lo moro (Ich sterbe) (5. Buch) Dem Werk liegen zwar eine Reihe von dodekaphonischen Strukturen zugrunde (die teilweise von Gesualdos Klangzitaten abgeleitet wurden), doch sind die einzelnen Abschnitte auf,,tonale Pfeiler (G - E - A - D) gegrundet; das Stuck beginnt in G und endet aufD, ist also ubergeordnet tonal konzipiert, - der Versuch einer Synthese moderner Ausdrucksmittel von Vergangenheit und Gegenwart. Die >>Metamorphosen<< sind ein Stuck Bekenntnismusik - Bekenntnis zum Leben und Schaffen Gesualdos, eines Mannes, der vom Schicksal gezeichnet war, denn der Chronik Neapels bekannt war durch die Ermordung seiner ersten Frau und ihres Liebhabers. Dieser eminente Musiker war zugleich ein Mensch von ubertriebener Sensibilitat und wilder ekstatischer Heftigkeit: ,,Er wurde von einer Horde von Damonen heimgesucht, die ihm keine Ruhe gaben, heisst es in einem zeitgenossischen Bericht. Seine Kunst und sein Leben stand unter dem Gesetz der inneren Zerrissenheit, zwischen Auflehnung und Resignation (Verzweiflung und Hoffnung), zwischen Zartheit und Leidenschaft. Davon will meine Musik etwas aussagen. (Jurg Baur)CD:Sinfonieorchester des Westdeutschen Rundfunks, cond. Rudolf BarschaiCD Thorofon CTH 2270Bibliography:Abels, Robert: Studien zur Gesualdo-Rezeption durch Komponisten des 20. Jahrhunderts (= Studien zur Musik 20), Leiden u. a.: Wilhelm Fink 2017, pp. 277-345, 485-489.Wallerang, Lars: Die Orchesterwerke Jurg Baurs als Dialog zwischen Tradition und Moderne, Koln: Dohr 2003.

SKU: OT.22090

ISBN 9789655050738. 8.27 x 11.69 inches.

Daniel Akiva's Partita for violin solo consists of six movements based loosely on music of the Sephardic Jews. It was written for students as performance material, and dedicated to them.
Contents:
Liturgical Song
Prayer
Supplication
Dance
Kaddish
Supplication
Daniel Akiva is a composer, performer, and educator whose performances on guitar and lute have won great acclaim. Mr. Akiva graduated from the Rubin Academy of Music in Jerusalem in 1981, where he studied classical guitar with Haim Asulin and composition with Haim Alexander. In 1987 he completed his studies at the Geneva Conservatorium in Switzerland where he studied lute with Jonathon Rubin and composition with Jean Ballisa. For many years, he headed the Music Department at the WIZO High School for the Arts in Haifa, which he founded in 1986, and served as the Artistic Director of the Guitar Gems Festival from 2006-2019. As part of his work at WIZO High School, he has developed a method for teaching free improvisation that has been incorporated into the music program at the school.
Mr. Akiva has appeared in concert as a guitarist and lutist and given master classes in Israel, Europe, Russia, the United States, and Latin America. Daniel Akiva’s compositional output includes works for solo instruments, chamber ensembles, choir, voice and guitar, piano, and chamber orchestra. His works have been recorded on twelve CDs, the latest of which, Malchut, was issued by OR-TAV in 2014.
A native of Haifa whose family has lived in Israel for over five hundred years, he was steeped in the Sephardic (Jewish-Spanish) tradition from his youth. Much of his compositional output has been devoted to a dialogue with the music of the Sephardic Jews. Daniel Akiva has also maintained a creative dialogue over many years with the poets and writers Amnon Shamash, Rivka Miriam, and Avner Peretz.

SKU: OT.26113

ISBN 9789655050936. 8.27 x 11.69 inches.

Homage a Roland Dyens was commissioned by Boby Rootveld and Sanna van Elst for their guitar-recorder duo, Duo Nihz (Holland). The work is based on Jewish themes.
Daniel Akiva is a composer, performer, and educator whose performances on guitar and lute have won great acclaim. Mr. Akiva graduated from the Rubin Academy of Music in Jerusalem in 1981, where he studied classical guitar with Haim Asulin and composition with Haim Alexander. In 1987 he completed his studies at the Geneva Conservatorium in Switzerland where he studied lute with Jonathon Rubin and composition with Jean Ballisa. FOr many years he chaired the Music Department at the WIZO High School for the Arts in Haifa, which he founded in 1986, and served as the Artistic Director of the Guitar Gems Festival from 2006-1019. As part of his work at WIZO High School, he has developed a method for teaching free improvisation that has been incorporated into the music program at the school.
Mr. Akiva has appeared in concert as a guitarist and lutist and given master classes in Israel, Europe, Russia, the United States, and Latin America. Daniel Akiva’s compositional output includes works for solo instruments, chamber ensembles, choir, voice and guitar, piano, and chamber orchestra. His works have been recorded on twelve CDs, the latest of which, Malchut, was issued by OR-TAV in 2014.
A native of Haifa whose family has lived in Israel for over five hundred years, he was steeped in the Sephardic (Jewish-Spanish) tradition from his youth. Much of his compositional output has been devoted to a dialogue with the music of the Sephardic Jews. Daniel Akiva has also maintained a creative dialogue over many years with the poets and writers Amnon Shamosh, Rivka Miriam, and Avner Peretz.

SKU: OT.23127

ISBN 9789655050721. 8.27 x 11.69 inches.

Bakashot are piyyutim (religious poems) which are sung late at night mostly on Sabbaths and holidays. These poems have many spiritual and mystical influences, and their origin is among the Sephardic Jews before the Expulsion from Spain. The singing of the bakashot was expanded during the 16th Century, particularly by the mystics in Safed, and appears also in the singing of the the maftirim among Turkish Jews.
These four miniatures for oboe solo are personal prayers written in the inspiration of the bakashot.
Daniel Akiva is a composer, performer, and educator whose performances on guitar and lute have won great acclaim. Mr. Akiva graduated from the Rubin Academy of Music in Jerusalem in 1981, where he studied classical guitar with Haim Asulin and composition with Haim Alexander. In 1987 he completed his studies at the Geneva Conservatorium in Switzerland where he studied lute with Jonathon Rubin and composition with Jean Ballisa. For many years, he headed the Music Department at the WIZO High School for the Arts in Haifa, which he founded in 1986, and served as the Artistic Director of the Guitar Gems Festival from 2006-2019. As part of his work at WIZO High School, he has developed a method for teaching free improvisation that has been incorporated into the music program at the school.
Mr. Akiva has appeared in concert as a guitarist and lutist and given master classes in Israel, Europe, Russia, the United States, and Latin America. Daniel Akiva’s compositional output includes works for solo instruments, chamber ensembles, choir, voice and guitar, piano, and chamber orchestra. His works have been recorded on twelve CDs, the latest of which, Malchut, was issued by OR-TAV in 2014.
A native of Haifa whose family has lived in Israel for over five hundred years, he was steeped in the Sephardic (Jewish-Spanish) tradition from his youth. Much of his compositional output has been devoted to a dialogue with the music of the Sephardic Jews. Daniel Akiva has also maintained a creative dialogue over many years with the poets and writers Amnon Shamash, Rivka Miriam, and Avner Peretz.

SKU: IS.CM6088EM

ISBN 9790365060887.

Frits CELIS was born in 1929 in Antwerp. He studied at the Royal Conservatories of Antwerp and Brussels, where he earned final diplomas in solfège, harmony, counterpoint, fugue, music history, harp and orchestral conducting. He then undertook further studies in conducting at the Mozarteum in Salzburg and at the Staatliche Hochschule für Musik in Cologne. In 1946 he began his musical career as a harpist in the orchestra of the former Royal Flemish Opera in Antwerp, a position that he held until 1954. In that year he won first prize in a competition for conductors, organised by the Théatre Royal de la Monnaie in Brussels. Shortly thereafter he was the sole prize-winner in a similar competition run by the then BRT (state broadcaster). Because of his love for opera, he chose to work at the Théatre de la Monnaie in Brussels, where he was conductor until 1959. After this he became conductor and music director at the Royal Flemish Opera in Antwerp, functions that he also held from 1981 to 1988 at the former Opera for Flanders in Antwerp and Ghent. As a guest opera-conductor he appeared in the Netherlands, France, Germany, the Czech Republic, Slovakia, Spain and the United States. He also appeared many times as concert conductor. In 1960 Frits Celis was appointed solfège teacher at the Royal Conservatory in Antwerp, where he was also appointed transposition teacher 12 years later. As a composer, Frits Celis is known for his songs, choral works, chamber music and orchestral works, which have been performed in many European countries, the United States and Japan. He has also been commissioned to write works for the BRT and the Flanders Festival. In 1992, SABAM (composers’ and performers’ organisation) awarded him the Fuga Trophy, in recognition of his many years of work for Belgian music. Since 1989 he has concentrated almost exclusively on composition, which has increased the size of his oeuvre considerably since that time. Almost all his works are commissions, for symphonic ensembles, chamber music groups and choirs. In 2005 he deliberately wrote his last work Tarquinia, opus 76.

SKU: BT.EMBZ12002

English-German-Hungarian.

'Joseph Sellner (1787-1843) was a famous oboe player of his time. In 1825, Sellner published an oboe tutor in three volumes entitled Theoretisch-Praktische Oboen-Schule. Despite the fact that the instrument has undergone considerable changes and improvements since his time, the majority of Sellner's work has still retained its usefulness to this day. His studies provide valuable help for achieving smooth technique and tone-colour, especially at the beginner level. The obsolete two-part exercises and interval studies written for the instrument of his time have been omitted in this volume. The studies have been arranged here, as opposed to the original sequence, accordingto the order of key signatures.' - Péter Pongrácz

Joseph Sellner (1787-1843) war ein berühmter Oboist seiner Zeit und Autor der Theoretisch-Praktischen Oboen-Schule. Obwohl sich das Instrument seither verändert hat, ist der Großteil von Sellners Werk heute noch sehr wertvoll - besonders für Anfänger auf der Oboe. Die Etüden in dieser Ausgabe wurden anders als im Original nach Tonarten geordnet.

Joseph Sellner (1787-1843) était un célèbre hautbo ste allemand, auteur de la méthode Theoretisch-Praktischen Oboen-Schule (Méthode théorique et pratique pour hautbois. Bien que le hautbois ait évolué depuis, la majorité des pièces et études composées par Sellner restent un élément précieux complémentaire toute méthode d'apprentissage du hautbois.

SKU: BT.EMBZ12008

German.

The multi-volume collection of etudes by prominent piano educator Marianne Teöke provides piano teachers and their students with essential help in developing technical versatility for playing. Each volume generally contains one year s worth of studies and features pieces by masters of older periods as well as works by contemporary composers. The etudes can be taught in many ways, either transposed or with varied articulation. The six-volume collection can serve students from the beginning of their piano studies through the 6th grade of music school. Reschofsky, Behrens, Berkovic, Czerny, Duvernoy, Huszár, Kadosa, Le Couppey, Lemoine, Loeschhorn, Tetzel).

SKU: BT.EMBZ12005

English-German-Hungarian.

The multi-volume collection of etudes by prominent piano educator Marianne Teöke provides piano teachers and their students with essential help in developing technical versatility for playing. Each volume generally contains one year s worth of studies and features pieces by masters of older periods as well as works by contemporary composers. The etudes can be taught in many ways, either transposed or with varied articulation. The six-volume collection can serve students from the beginning of their piano studies through the 6th grade of music school. Reschofsky, Cserjavszkaja, Dobszay, Gnyeszina, Humbert, Inselt, Járdányi, Kadosa, Kassai, Köhler, Ljubarszkij, Müller, Nyekraszov,Papp, Schitte, Veress).

SKU: BT.EMBZ12039

English-German-Hungarian.

László Szendrey-Karper (1932-1991) was an internationally renowned guitarist, and the founder of organized guitar teaching in Hungary. He wrote an instructional methodology for the guitar, and composed studies and pieces for students. The eight books of his series Guitar Exercises and Pieces provide a variety of pieces for elementary and intermediate guitar students to play, arranged in order of difficulty. A basic source for Szendrey-Karper was Hungarian folk songs, in addition to which he transcribed for the guitar well known pieces composed for other instruments. Alongside his own pieces and études, he selected for the series studies and concert pieces by othercomposers (including Ferdinando Carulli, Matteo Carcassi, Johann Krieger, Henry Purcell, and László Borsody).

SKU: BR.EB-7515

ISBN 9790004188927. 9 x 12 inches.

Gunter Habicht composed music for folk instruments and contributions to educational literature as well as works for wind orchestra, chamber and orchestral music, including the Sinfonietta, published in 1964 by VEB Breitkopf & Hartel Musikverlag Leipzig, and the award-winning Quartettino 1969 for wind instruments, created for a composition contest organized by the Association of Composers and Musicologists on the occasion of the GDR's 20th anniversary. With an easy piano accompaniment, the sonatina for clarinet and piano Temperaments, written in the same year, is particularly aimed at more advanced music students and amateur musicians. Each of the three movements represents one temperament (1. sanguine type, 2. melancholic type, 3. choleric type) that needs to be worked out during the rehearsals. From 1935 to 1939, Gunter Habicht (1916-2010) studied with Herbert Viecenz and Boris Blacher (music theory and composition) and with Walther Meyer-Giesow and Ernst Hintze (conducting) at the Dresden Conservatory. In 1951, Gunter Habicht taught at an elementary school in Leipzig, and in 1952, he was appointed specialist lecturer for music at the Zentralhaus fur Volkskunst. From 1955 to 1981, he was a teacher of music theory and clarinet at the Leipzig City Music School.