SKU: BT.SCHEE3114
Piano. Scriabine, A.
SKU: BR.PB-5435
ISBN 9790004212820. 11.5 x 16.5 inches.
Meine eigene neue Orchesterkomposition hat den Titel ,,SCHREIBEN. Die praktische Aktion des Schreibens, als mechanisches Einwirken per Hand, Stift, Pinsel, auf eine Flache (Papier, Pergament, Stein etc.), ausgelost und gesteuert von einem kommunikativen Bedurfnis und, bei aller Spontaneitat, beherrscht durch die Regeln von Schrift und Sprache, ist fur mich einer der geheimnisvollsten Vorgange im zwischenmenschlichen Alltag, bei dem menschlicher Geist und tote Materie einander begegnen: Gedanken bzw. Gedachtes werden auf einer Flache - Papier, Pergament, Stein - festgehalten, ihr sozusagen anvertraut. Und auf diesem Umweg uber Sprache, Schrift und Gravur begegnen sie dem Geist des lesenden oder entziffernden Mitmenschen. Als Komponist aber frage ich: gibt es auch einen anderen Kausalitatszusammenhang, gibt es z. B. ein ,,autonomes Schreiben, eine sinn-freie Zeichengebung, durch entfesselte, losgelassene Fortbewegung der schreibenden Hand, wo der Schreibende seinem eigenen Schreiben nur noch staunend zusieht? Werden nicht in Japan Bilder, auch ,,abstrakte, geschrieben??? (In einem Underground-Film der 70er-Jahre uber den jungen Mozart sieht sich der Zuschauer versetzt in ein Zimmer eines italienischen Gasthauses, in dem der junge durchreisende Mozart am Tisch eilig die Rezitative einer seiner italienischen Opern zu Papier bringt. Mehr als eine Viertelstunde lang sind wir dabei, horen nicht die entstehende Musik, sondern das nervose Kratzen der Feder auf dem groben Notenpapier in nachmittaglicher Stille - nur der gleichmassige Pendelschlag der Wanduhr ist noch zu horen -, und wir erleben diese sekundare Klangwelt kaum weniger intensiv als nachher andere Horer die dabei stumm entstehende Musik.) Das Orchester in meinem Stuck ,,schreibt. Es fugt Strich zu Strich, versteht sich selbst als eine Art vielfaltiges ,,Schreib-Gerat. Wir als Horer lesen nicht das ,,Geschriebene, aber wir horen den Vorgang des Schreibens, den Bogenstrich, die Bewegung des scharrenden Holzstabs auf Fell oder Tamtam, und wir beobachten dessen Imitation bzw. Transformation durch - zeitweise auch tonlos - sich zu linearen Gestalten verbindende Blasinstrumente als eine Art klingender Schreib-Zeremonie. Es ergibt sich eine Musik, die gelegentlich ihren gedanklichen Ausgangspunkt vergisst und sich als autonome Klang-Situation fortentwickelt und verwandelt, und die schliesslich im hochsten Register eine Art ,,Kantilene be-schreibt. Wer das deutsche Wort ,,Schreiben (engl. ,,to write) schreibt, der schreibt dabei auch unweigerlich das Wort ,,Schrei (engl. ,,shout), und er schreibt auch das Wort ,,reiben (engl. ,,to rub). So emotional der erste Begriff gedacht werden kann, so nuchtern-praktisch ist der zweite. Von beiden Aspekten, samt ihrer Gegensatzlichkeit, ist mein Stuck gepragt. (Helmut Lachenmann, 2003)World premiere: Tokyo/Japan, December 4, 2003.
SKU: HL.48013852
UPC: 073999554441. 9.0x12.0x0.131 inches.
Contents: Du meines Herzens Kronelein * Daz iuwer min engel walte * Waldeinsamkeit * Wenn die Linde bluht * Herzenstausch * Beim Schneewetter * Schlecht' Wetter * Einen Brief soll ich schreiben * Am Brunnele * Warte nur * Mei Bua * Mit Rosen bestreut * Der verliebte Jager * Mein Schazelein * Maiennacht.
SKU: HL.48013835
UPC: 073999138351. 9.0x12.0x0.172 inches.
SKU: HL.48180565
Le Zodiaque No. 10: Le Scorpion (piano solo).
SKU: HL.49033285
ISBN 9783795705107. 7.0x9.75x0.705 inches. German. Andreas Schuermann.
Zeit zum Witzelesen, -erzahlen und -memorieren gibt es im Musikerleben viel. Man denke nur an langweilige Orchesterproben, nichtendenwollende Wagneropern, sinnfreies Uben in der Zelle oder mehrstundiges Warten auf ein lang ersehntes Konzert.Das grosse Buch der Musikerwitze wendet sich in 12 Kapiteln an alle Typen der Spezies Musiker: nicht nur an Sanger, Blaser oder Streicher, sondern auch an Pianisten und andere, die alles schwarz auf weiss brauchen. Selbstverstandlich werden auch Komponisten und solche, die a b und z u schreiben' und Musikkritiker und noch mehr Besserwisser berucksichtigt. Und auch die Rock- und Popmucker - mit und ohne Verstarkung kommen auf ihre Kosten!Die Erfolgsautoren Monika und Hans-Gunter Heumann legen mit diesem Buch eine umfangreiche Witzesammlung vor, die garantiert alle Lachmuskeln trainiert - auch von Musikern, die eigentlich gar nichts zu Lachen haben... (Vorsicht: Ansatz!). Die Illustrationen und Bilderwitze von Andreas Schurmann tun das Ubrige dazu!Kennen Sie den schon? Wie bringt man einen Trompeter dazu, fff zu spielen? Man schreibt mp in seine Noten...
SKU: HL.457119
UPC: 781462211677. 8.5x11.0x7.2 inches.
Scorpion Dual provides you with dual FAT BEAM aerial effect laser, perfect for events with fog or haze. The unique dual mirror output makes a great centerpiece or side accent in pairs and includes 32 built-in patterns, including the popular “Laser Sky†effect. Generate customized and ever-changing laser shows using programmable pan, tilt, and zoom effects with separate X, Y, and Z rolling effects and scan speed adjustment. Easily operate in automatic, Master/Slave, manual or sound-activated mode or wireless control using the optional IRC-6 remote.
SKU: HL.49044598
ISBN 9790001197243. UPC: 841886021389. 9.0x12.0x0.115 inches. German.
Auch nach ihrer Beendigung lassen mich die Schlusszeilen des Skorpionmenschen aus meiner Babylon-Oper nicht los: er totet die Illusion in sich (symbolisch richtet der Skorpion seinen Stachel auf sich selbst), um dann in seiner hoheren Form, dem Adler, erneut geboren zu werden; Stich, Erkenntnis, Metamorphose, Flug. In komprimierter Form wollte ich diese Situation und diese Zeilen noch einmal komplett anders komponieren: anstatt fur grosses Orchester nun fur Countertenor und drei Instrumente, mit vollkommen anderem Material und Gesten-Vokabular. - Jorg Widmann, im Januar 2013.
SKU: CY.CC2496
* Alexander Scriabin's music has been described as mystical, lyrical and idiosyncratic. * He was a most innovative and controversial early modern Russian composer. * Scriabin's works were ignored for many years until recently and are now seen as sincere expression(s) of genius. * The Three Etudes for Euphonium and Piano are early works of Scriabin, originally written for solo Piano. * They show lyricism, passion, moodiness, chromatic harmonies and great expression. * Mr. Sauer has once again arranged three wonderful new works for advanced performers who wish to explore Scriabin's music, largely unknown to the Euphonium world. * Those who do will be richly rewarded with the great depth of musicianship found in these works. * The three movements are about 9-10 in length and suitable for advanced performers.
SKU: CF.YPS217F
ISBN 9781491156551. UPC: 680160915095. 9 x 12 inches.
Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.).Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar†seems to be a more accurate translation for what we commonly call “Pandora’s boxâ€) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.).
SKU: CF.YPS217
ISBN 9781491156544. UPC: 680160915088. 9 x 12 inches.
SKU: HL.48022520
9.0x12.0x0.08 inches.
In 'Metamorphosen' - performed for the first time in March 2008 by Viviane Hagner at a Berlin gala concert marking the 80th birthdayof the composer, only a few weeks before his death - Frank Michael Beyer refers to Scriabin's Piano Sonata No. 6 from 1911, a work the motivic and thematic penetration of which ahead of the serial technique had fascinated Beyer since his student days. Based on a scale found in Scriabin's works, Metamorphosen contrasts the frequently ecstatic nature of the piano setting with the linearity of the solo violin. The strict structure is contrasted by the music's free character which Scriabin himself described as 'volando - flying'.
SKU: CY.CC3092
ISBN 9790530110690. 8.5 x 11 in inches.
Alexander Scriabin's music has been described as mystical, lyrical and idiosyncratic. He was known as the most innovative and controversial early modern Russian composer. His works were ignored for many years until recently and are now seen as sincere expression(s) of genius. The Three Etudes for Tuba or Bass Trombone and Piano are early works of Scriabin, originally written for Solo Piano. They show lyricism, passion, moodiness, chromatic harmonies and great expression. Mr. Sauer has brought three wonderful new works for advanced performers who wish to explore this area, largely unknown to the low brass world. The three movements are about 9-10 in length and suitable for advanced performers.
