Composed by Johannes Maria Staud. Breitkopf and Haertel #EB 9365. Published by Breitkopf and Haertel

Double bass (solo: vce - 2(picc).2(cor ang).2.B-clar.2.dble bsn - 4.1.2.0 - timp.perc - hp - cel - str)

SKU: BR.OB-5534-27

For Voice and Orchestra - Urtext. Composed by Alban Berg. Edited by Michael Kube. Voice; stapled. Orchester-Bibliothek (Orchestral Library). Here you will find the version for voice and piano.

Awarded the German Music Edition Prize 2016. Song; Early modern. Part. 4 pages. Duration 16'. Breitkopf and Haertel #OB 5534-27. Published by Breitkopf and Haertel (BR.OB-5534-27).

ISBN 9790004341803. 10 x 12.5 inches.

Written early, orchestrated lateThe cycle Seven Early Songs on texts by Lenau, Rilke, Storm and other poets was put together in 1928, more than 20 years after the composition of the individual songs. From the large amount of songs for voice and piano that he had written in his early years, Alban Berg selected seven of them which he then orchestrated. After serious consideration, he laid down a definitive sequence in which the tempo constantly alternates while the orchestral instruments symmetrically recede before picking up again. Once the piano and orchestral editions were printed, the Seven Early Songs quickly conquered concert halls in both scorings. They are still at home on the concert stages of the world today which is reason enough to present this work by Alban Berg in an Urtext edition following the Violin Concerto. The orchestral material can now be purchased for the first time.

Awarded the German Music Edition Prize 2016.

Voice(s) and orchestra (solo: vce - 2(picc).2(cor ang).2.B-clar.2.dble bsn - 4.1.2.0 - timp.perc - hp - cel - str)

SKU: BR.PB-5567-07

For Voice and Orchestra - Urtext. Composed by Alban Berg. Edited by Michael Kube. Voice; stapled. Partitur-Bibliothek (Score Library). Here you will find the version for voice and piano. Awarded the German Music Edition Prize 2016. Song; Early modern. Study Score. 60 pages. Duration 16'. Breitkopf and Haertel #PB 5567-07. Published by Breitkopf and Haertel (BR.PB-5567-07).

ISBN 9790004213773. 6.5 x 9 inches.

Written early, orchestrated lateThe cycle Seven Early Songs on texts by Lenau, Rilke, Storm and other poets was put together in 1928, more than 20 years after the composition of the individual songs. From the large amount of songs for voice and piano that he had written in his early years, Alban Berg selected seven of them which he then orchestrated. After serious consideration, he laid down a definitive sequence in which the tempo constantly alternates while the orchestral instruments symmetrically recede before picking up again. Once the piano and orchestral editions were printed, the Seven Early Songs quickly conquered concert halls in both scorings. They are still at home on the concert stages of the world today which is reason enough to present this work by Alban Berg in an Urtext edition following the Violin Concerto. The orchestral material can now be purchased for the first time.

Awarded the German Music Edition Prize 2016.

Woodwinds (solo: vce - 2(picc).2(cor ang).2.B-clar.2.dble bsn - 4.1.2.0 - timp.perc - hp - cel - str)

SKU: BR.OB-5534-30

For Voice and Orchestra - Urtext. Composed by Alban Berg. Edited by Michael Kube. Voice; Folder. Orchester-Bibliothek (Orchestral Library). Here you will find the version for voice and piano.

Awarded the German Music Edition Prize 2016. Song; Early modern. Set of parts. 78 pages. Duration 16'. Breitkopf and Haertel #OB 5534-30. Published by Breitkopf and Haertel (BR.OB-5534-30).

ISBN 9790004341810. 10 x 12.5 inches.

Written early, orchestrated lateThe cycle Seven Early Songs on texts by Lenau, Rilke, Storm and other poets was put together in 1928, more than 20 years after the composition of the individual songs. From the large amount of songs for voice and piano that he had written in his early years, Alban Berg selected seven of them which he then orchestrated. After serious consideration, he laid down a definitive sequence in which the tempo constantly alternates while the orchestral instruments symmetrically recede before picking up again. Once the piano and orchestral editions were printed, the Seven Early Songs quickly conquered concert halls in both scorings. They are still at home on the concert stages of the world today which is reason enough to present this work by Alban Berg in an Urtext edition following the Violin Concerto. The orchestral material can now be purchased for the first time.

Awarded the German Music Edition Prize 2016.

German language

SKU: PR.UE026286

Composed by Alban Berg Werner Grunzweig. Edited by Franz Grasberger, Klaus Lippe, Regina Busch, and Rudolf Stephan. This edition: German language. Alban Berg Studien, Volume 5. Text. With Standard notation. Universal Edition #UE026286. Published by Universal Edition (PR.UE026286).

ISBN 9783702402563.

Miscellaneous

SKU: PR.UE026335

German text. Book. Universal Edition #UE026335. Published by Universal Edition (PR.UE026335).

ISBN 9783702475741. UPC: 803452072850.

Helene Berg, widow of Alban, was tasked with promoting and preserving her husband's work, specifically for future generations of musicians. In 1968, she created the Alban Berg Foundation to continue these efforts after her own passing. Contemporary music owes her gratitude.

Double bass (solo: vl - 2.2.cor ang.2.B-clar.A-sax.2.dbl bsn - 4.2.2.1 - timp.perc(2) - hp - str)

SKU: BR.OB-15113-27

In Memory of an Angel - Urtext. Composed by Alban Berg. Edited by Michael Kube. Stapled. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag. Solo concerto; Early modern. Part. 8 pages. Duration 25'. Breitkopf and Haertel #OB 15113-27. Published by Breitkopf and Haertel (BR.OB-15113-27).

ISBN 9790004340226. 10 x 12.5 inches.

The tragic circumstances surrounding the origin of the concerto are well known: Manon Gropius, the daughter of Berg's friend Alma Mahler, died of polio after the composer had written the first sketches to his violin concerto. In remembrance of her, he dedicated the work to the memory of an angel. Later, Berg decided to incorporate into the score the Bach chorale Es ist genug as a quote. He also worked on the solo part directly and intensely with the American violinist Louis Krasner, who had commissioned the work. Berg was no longer able to witness the first performance and the first edition of the concerto since he passed away in late 1935. This new edition is the first Urtext version of Berg's work, which was created in the midst of a spate of epoch-making violin concertos by Stravinsky (1931), Schoenberg (1936), Prokofiev (1937), Bartok (1938), Hindemith (1939) a. o. Errors from the first edition were corrected after an in-depth comparison with the autograph score, the short score and, in some cases, with the twelve-tone row structure.The entire performance material can be purchased; however, due to copyright reasons, the score and orchestral parts are not available the United States.Werden die Urtextausgaben von Breitkopf & Hartel aufgrund ihres hellblauen Umschlags augenzwinkernd die Himmlischen genannt, so ist dies in Bezug auf die neu vorgelegte Partitur Programm. (Florian Henri Besthorn, neue musikzeitung)

In Cooperation with G. Henle Verlag.

Violin and orchestra (solo: vl - 2.2.cor ang.2.B-clar.A-sax.2.dbl bsn - 4.2.2.1 - timp.perc(2) - hp - str)

SKU: BR.PB-15122

In Memory of an Angel - Urtext. Composed by Alban Berg. Edited by Michael Kube. Orchestra; Softbound. Partitur-Bibliothek (Score Library). Solo concerto; Early modern. Study Score. Duration 25'. Breitkopf and Haertel #PB 15122. Published by Breitkopf and Haertel (BR.PB-15122).

ISBN 9790004212721. 6.5 x 9 inches.

The tragic circumstances surrounding the origin of the concerto are well known: Manon Gropius, the daughter of Berg's friend Alma Mahler, died of polio after the composer had written the first sketches to his violin concerto. In remembrance of her, he dedicated the work to the memory of an angel. Later, Berg decided to incorporate into the score the Bach chorale Es ist genug as a quote. He also worked on the solo part directly and intensely with the American violinist Louis Krasner, who had commissioned the work. Berg was no longer able to witness the first performance and the first edition of the concerto since he passed away in late 1935. This new edition is the first Urtext version of Berg's work, which was created in the midst of a spate of epoch-making violin concertos by Stravinsky (1931), Schoenberg (1936), Prokofiev (1937), Bartok (1938), Hindemith (1939) a. o. Errors from the first edition were corrected after an in-depth comparison with the autograph score, the short score and, in some cases, with the twelve-tone row structure.The entire performance material can be purchased; however, due to copyright reasons, the score and orchestral parts are not available the United States.Werden die Urtextausgaben von Breitkopf & Hartel aufgrund ihres hellblauen Umschlags augenzwinkernd die Himmlischen genannt, so ist dies in Bezug auf die neu vorgelegte Partitur Programm. (Florian Henri Besthorn, neue musikzeitung).

Violin, piano (solo: vl - 2.2.cor ang.2.B-clar.A-sax.2.dbl bsn - 4.2.2.1 - timp.perc(2) - hp - str)

SKU: BR.EB-10821

In Memory of an Angel - Urtext. Composed by Alban Berg. Edited by Michael Kube. Arranged by Jan Philip Schulze. Solo instruments; Softbound. Edition Breitkopf.

In Cooperation with G. Henle Verlag

Solo concerto; Early modern. Piano reduction. 120 pages. Duration 25'. Breitkopf and Haertel #EB 10821. Published by Breitkopf and Haertel (BR.EB-10821).

ISBN 9790201808215. 9.5 x 12 inches.

The tragic circumstances surrounding the origin of the concerto are well known: Manon Gropius, the daughter of Berg's friend Alma Mahler, died of polio after the composer had written the first sketches to his violin concerto. In remembrance of her, he dedicated the work to the memory of an angel. Later, Berg decided to incorporate into the score the Bach chorale Es ist genug as a quote. He also worked on the solo part directly and intensely with the American violinist Louis Krasner, who had commissioned the work. Berg was no longer able to witness the first performance and the first edition of the concerto since he passed away in late 1935. This new edition is the first Urtext version of Berg's work, which was created in the midst of a spate of epoch-making violin concertos by Stravinsky (1931), Schoenberg (1936), Prokofiev (1937), Bartok (1938), Hindemith (1939) a. o. Errors from the first edition were corrected after an in-depth comparison with the autograph score, the short score and, in some cases, with the twelve-tone row structure.The entire performance material can be purchased; however, due to copyright reasons, the score and orchestral parts are not available the United States.Werden die Urtextausgaben von Breitkopf & Hartel aufgrund ihres hellblauen Umschlags augenzwinkernd die Himmlischen genannt, so ist dies in Bezug auf die neu vorgelegte Partitur Programm. (Florian Henri Besthorn, neue musikzeitung).

Concert band - Grade 4

SKU: MH.1-59913-072-6

Composed by Timothy Broege. Suitable for high school, community, and college bands. Conductor score and set of parts. Duration 7:00. Published by Manhattan Beach Music (MH.1-59913-072-6).

ISBN 9781599130729.

Program Notes: It was a happy coincidence that the commission for SINFONIA XVI: TRANSCENDENTAL VIENNA came from the Henry David Thoreau School located in Vienna, Virginia. Thoreau is one of the magic names in American culture: Henry David Thoreau, one of the leading figures of the Transcendentalist movement, centered in 19th-century New England, left us a body of unique philosophical and poetical writings. To utter the words, Walden Pond, is to invoke an America long past in physical actuality, but still present in the minds and hearts of many American citizens. The name, Vienna, of course, summons thoughts of the Old World: culture, fine food, wine, civilized cities. While contemplating the form that SINFONIA XVI should take, I found myself thinking of two pillars of Viennese culture: expressionism and the waltz. Musically speaking, expressionism reached a zenith in the works of Arnold Schoenberg and Alban Berg. It was Berg, in particular, that I wanted to invoke in the outer movements of my composition. I knew I would also have to include a waltz, and an invocation of the mysterious forces that are contained in both expressionism and transcendentalism. Thus was the structure of the work generated. The outer movements with their vision of the night sky and the stars, Aldebaran and Sirius, frame the central movements, which are essentially two versions of the same material, and are quieter and less dramatic. The outer movements are symmetrical, and share both pitch and rhythmic materials. Accordingly, I see the work as a ternary form, with the central movements forming a unit within the outer frame: A (Movement 1) B (Movements 2 & 3) A' (Movement 4). Harmonically, the work can be summarized by the two pitch-series which occur in the opening bars of Movement 1: the initial 12-note row, with a tonal center on F-sharp (measures 1-6), and the subsequent D-minor Dorian 7-note row (beginning in measure 14). Aspects of these materials occur in all four movements, but they are most strongly present in Movements 1 and 4. Note that the 12-note row is not subjected to the usual serial procedures, but instead is treated as a signifier and is left unchanged. Since the fourth movement takes up where the first movement leaves off, I can conceive of one interpretation of SINFONIA XVI as an evocation of Thoreau himself contemplating two of the brightest stars on a clear, cold night. Aldebaran is an orange, first-magnitude star, located in the constellation Taurus; Sirius, the Dog Star, is the brightest star in the sky, and is located in the constellation Canis Major. Thoreau interrupts his star-gazing to entertain some inward thoughts, waking dreams, as it were, then returns his gaze to the splendid night sky and all its treasures. Although many other interpretations of the material are possible, it is important to remember that the abstract materials of the piece -- pitch, rhythm, structure -- are what count the most. Ensemble instrumentation: 1 Piccolo, 4 Flute 1, 4 Flute 2, 3 Oboe, 1 Eb Clarinet (opt.), 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bass Clarinet, 3 Bassoon, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 Horn 1, 2 Horn 2, 3 Trombone 1, 3 Trombone 2, 3 Euphonium B.C., 2 Euphonium T.C., 5 Tuba, 2 Timpani, 3 Percussion 1, 3 Percussion 2, 3 Percussion 3, 3 Percussion 4.

(Nach Ansichtskartentexten Von Peter Altenberg). By Alban Berg (1885-1935). Edited by Mark Devoto. For Medium Voice, Orchestra. The New Study Score Series. Study score. Composed 1912. Opus4