SKU: GH.EC-333

ISBN 979-0-070-04526-1. 255 x 350 mm inches.

SKU: GH.LUN-570-0563

Key: Ab dur / ab major. Text: Ernst von der Recke.

No. 1 from Tre Sanger Op. 10. For high voice and piano.

SKU: GH.LUN-570-0540

Key: F dur / f major. Text: Erik Axel Karlfeldt.

No. 5 from Fridolins Lustgard. For high voice and piano.

SKU: GH.LUN-570-0549

Text: Erik Axel Karlfeldt.

No. 1 from Vildmarks- och Karleksvisor for voice and piano.

SKU: GH.LUN-570-0571

Text: Rune Lindstrom.

No. 4 from 4 Melodies from Flowers from Froso. Arranged for voice and piano by Per Lundkvist.

SKU: GH.LUN-570-0560

Key: A dur / a major. Text: Erik Axel Karlfeldt.

No. 5 from Fem Dikter. For low voice and piano.

SKU: HF.FH-3856

ISBN 9790203438564. 8.3 x 11.7 inches.

1. Winter (Otto Peuschel); 2. Un wieder is e Gahr vorbei (Karl Hans Pollmer/Rudolf Krauss); 3. Freit eich, ihr Leit (Hans Wild/Alfred Wolf); 4. 's Raachermannel (Erich Lang); 5. Der Bargma (Erich Lang); 6. Weihnacht uber Wallern (Edwin Bauersachs); 7. Lasst uns wieder Weihnachten feiern (Anton Gunther); 8. Es flimmern de Sterle (Walter-Herbert Stoll/Johannes Ulbricht); 9. Lauter klaane Lichter (Karl Hans Pollmer/Paul Geilsdorf); 10. Ganz sachte rieseln de Flocken (Paul Geilsdorf); 11. Wald und Wiesen weit und breit (Max Tandler/Paul Geilsdorf); 12. Advent in menn Stubel (Joachim Suss); 13. Wenn draussen von Himmel der Schnee fallt (Stephan Dietrich); 14. Weihnachtskinnerlied (Friedrich Emil Krauss/Walter Schwarz); 15. Vor Weihnachten (Alfred Guido Dost); 16. Leise rieselt der Schnee (Eduard Ebel); 17. Alle Jahre wieder (Johann Wilhelm Hey); 18. Es stand am Himmelsrande (Eduard Muller); 19. Ich freu mich in dir (Caspar Ziegler); 20. Gloria, Gloria Gott in der Hoh! (Gustav Rochlich); 21. 's is Weihnachtszeit (Edwin Bauersachs); 22. Weihnachten is, stille Nacht (Willibald Eisert); 23. Heilige Nacht in Arzgebirg (Stephan Dietrich); 24. Weihnacht, stille Wunderzeit (Adolf Maurer/Paul Geilsdorf); 25. Schneeberger Weihnachtsglocken (Werner Kempf); 26. O selige Weihnachtszeit (Anton Gunther); 27. Wu der Engel lacht (Edwin Bauersachs); 28. Heit is der Heilge Obnd (Johanne Amalie von Elterlein); 29. Heilger Obnd (Guido Meyer/Alfred Guido Dost); 30. Heilger Obnd (fur Mannerchor); 31. Schneeberger Turmsangerlied (Georg Ebert/Alfred Guido Dost/Manfred Stange); 32. De Weihnachtsstadt (Rolf Hildebrand/Manfred Stange); 33. Hosianna (Manfred Stange); 34. O Fest aller heiligen Feste (Manfred Stange); 35. O du frohliche - Sizilien vor 1788 (Johannes Daniel Falk, Heinrich Holzschuher/Manfred Stange); 36. Heilge Nacht, auf Engelschwingen (Robert Eduard Prutz/Friedrich Heinrich Himmel/Manfred Stange); 37. Bleibn mer noch e wing do (Anton Gunther/Manfred Stange); 38. Weihnachten im Gebirg (Friedrich Emil Krauss/Bernhard Uhlig/Manfred Stange); 39. Derham in Stubel (Anton Gunther/Manfred Stange); 40. Hutzenlied (Anton Gunther/Manfred Stange); 41. Heit is wieder Hutzenobnd (Friedrich Emil Krauss/Curt Herbert Richter/Manfred Stange); 42. Hutzenmarsch (Stephan Dietrich/Manfred Stange); 43. De Ufenbank (Anton Gunther/Manfred Stange); 44. Winterobnd in Arzgebirg (Emma-Luise Pinc/Oscar Schonherr/Manfred Stange); 45. Schneeschuhfahrer-Mensch (Anton Gunther/Manfred Stange); 46. Kinner, guckt naus (Karl Hans Pollmer/Willy Kehrer/Manfred Stange); 47. Winterlaabn (Johann Gottfried Lattermann/Manfred Stange); 48. Gluckauf! Ihr Bergleut freut euch alle (Manfred Stange); 49. Wenn's in Winter schneie tut (Otto Peuschel/Manfred Stange); 50. Lob, Preis und Dank und Ehr (Manfred Stange); 51. Mei Bargma (Max Herrmann/Rudolf Frohs/Manfred Stange); 52. Winterzeit - Weihnachtszeit (Rolf Hildebrand/Manfred Stange); 53. Es is ball Weihnachten (Rolf Hildebrand/Manfred Stange); 54. Auf, Tochter Zion, schmucke dich (Gustav Bruno Dost); 55. Kommt herbei, ihr frohen Hirten (Gustav Bruno Dost); 56. Nun ist der Vater Wunsch gestillt (Gustav Bruno Dost); 57. Komm herein! (Gustav Bruno Dost); 58. Dein Konig, Zion, kommt zu dir (Gustav Bruno Dost); 59. Wie sehnlich seufzt die Schar der Frommen (Gustav Bruno Dost).

SKU: BR.EB-9300

ISBN 9790004187647. 9 x 12 inches.

World premieres:I version for flute: Wiesbaden, 1972II version for piano: Nyon, 1972III version for var. insts.: Cologne, May 29, 1976VI version for accordeon: Fribourg, June 25, 1987VIII version for violoncello Tokyo: October 14, 1989X version for organ: Stuttgart, March 28, 2018This work (A Breath of the Untimely) was first written for solo Flute and dedicated to Aurele Nicolet. Its bears the subtitle Lament on the Loss of Musical Thought - some Madrigals for Solo Flute or Flute with any other Instruments. This serves as a playing instruction but doubles at the same time as an outmoded programme: it refers back to the musical origin of the opening lamenting motif, a tradition which was once of its time but is not of our time - namely the Lamento genre which gave the title to the Chaconne in Purcell's opera Dido and Aeneas. Almost simultaneously I wrote a second version for Piano (for Piano one-and-a-half hands), which already formulates possible approaches for the performer, in some detail, to the indicated, quasi-canonic version of the piece in the programme. The multiple version Ein Hauch von Unzeit III realizes a concrete version of a formal state which floats between strict canon and aleatoric principles: each of the musicians who are spread throughout the hall introduces their own idiomatic translation of the flute part. And so the music exists, omnipresent, not only spatially throughout the hall, but also formally in a sort of fluctuating simultaneity. For that reason, it was my express wish to any potential interpreter that they should construct entirely their own version of the piece. A healthy number of musicians have responded to my suggestion - versions of the piece have now been made for guitar (Cornelius Schwehr, Gunther Schneider), accordion (Hugo Noth), double bass (Fernando Grillo), violin (Hansheinz Schneeberger), viola, violoncello, and double bass (trio basso, Koln), violoncello (Michael Bach), trombone (Andrew Digby) and, created by myself, a sung version for voice (to words by Georg Wilhelm Friedrich Hegel und Max Bense), and for viola.The most important requirement for the whole piece is absolute stillness, which should as far as possible emanate from the performer. The pauses are occasionally in this respect the most important element. These may, if one can find the necessary stillness, become very long.Ein Hauch von Unzeit (A Breath of the Untimely) - time almost dissolves!(Klaus Huber, 1989/2014 - translation: David Alberman)CD:Jean-Luc Menet (Bass flute)CD Traversieres 120.270Jean-Luc Menet (fl)CD STR 37039Bibliography:Zimmerm ann, Heidy: Zeitgestaltung im Kompositionsprozess bei Klaus Huber - dargestellt anhand von Skizzen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, S. 90-109

World premiere: Stuttgart, Hospitalkirche, March 28, 2018.

SKU: BR.EB-8424

You will need a copy of BG 1002 for each player to perform the version for variable instrumentation (BG 1004).

ISBN 9790004185254. 9 x 12 inches.

World premieres:I version for flute: Wiesbaden, 1972II version for piano: Nyon, 1972III version for var. insts.: Cologne, May 29, 1976VI version for accordeon: Fribourg, June 25, 1987VIII version for violoncello Tokyo: October 14, 1989X version for organ: Stuttgart, March 28, 2018This work (A Breath of the Untimely) was first written for solo Flute and dedicated to Aurele Nicolet. Its bears the subtitle Lament on the Loss of Musical Thought - some Madrigals for Solo Flute or Flute with any other Instruments. This serves as a playing instruction but doubles at the same time as an outmoded programme: it refers back to the musical origin of the opening lamenting motif, a tradition which was once of its time but is not of our time - namely the Lamento genre which gave the title to the Chaconne in Purcell's opera Dido and Aeneas. Almost simultaneously I wrote a second version for Piano (for Piano one-and-a-half hands), which already formulates possible approaches for the performer, in some detail, to the indicated, quasi-canonic version of the piece in the programme. The multiple version Ein Hauch von Unzeit III realizes a concrete version of a formal state which floats between strict canon and aleatoric principles: each of the musicians who are spread throughout the hall introduces their own idiomatic translation of the flute part. And so the music exists, omnipresent, not only spatially throughout the hall, but also formally in a sort of fluctuating simultaneity. For that reason, it was my express wish to any potential interpreter that they should construct entirely their own version of the piece. A healthy number of musicians have responded to my suggestion - versions of the piece have now been made for guitar (Cornelius Schwehr, Gunther Schneider), accordion (Hugo Noth), double bass (Fernando Grillo), violin (Hansheinz Schneeberger), viola, violoncello, and double bass (trio basso, Koln), violoncello (Michael Bach), trombone (Andrew Digby) and, created by myself, a sung version for voice (to words by Georg Wilhelm Friedrich Hegel und Max Bense), and for viola.The most important requirement for the whole piece is absolute stillness, which should as far as possible emanate from the performer. The pauses are occasionally in this respect the most important element. These may, if one can find the necessary stillness, become very long.Ein Hauch von Unzeit (A Breath of the Untimely) - time almost dissolves!(Klaus Huber, 1989/2014 - translation: David Alberman)CD:Jean-Luc Menet (Bass flute)CD Traversieres 120.270Jean-Luc Menet (fl)CD STR 37039Bibliography:Zimmerm ann, Heidy: Zeitgestaltung im Kompositionsprozess bei Klaus Huber - dargestellt anhand von Skizzen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, S. 90-109.

SKU: BR.EB-9074

ISBN 9790004179499. 9 x 12 inches.

World premieres:I version for flute: Wiesbaden, 1972II version for piano: Nyon, 1972III version for var. insts.: Cologne, May 29, 1976VI version for accordeon: Fribourg, June 25, 1987VIII version for violoncello Tokyo: October 14, 1989X version for organ: Stuttgart, March 28, 2018This work (A Breath of the Untimely) was first written for solo Flute and dedicated to Aurele Nicolet. Its bears the subtitle Lament on the Loss of Musical Thought - some Madrigals for Solo Flute or Flute with any other Instruments. This serves as a playing instruction but doubles at the same time as an outmoded programme: it refers back to the musical origin of the opening lamenting motif, a tradition which was once of its time but is not of our time - namely the Lamento genre which gave the title to the Chaconne in Purcell's opera Dido and Aeneas. Almost simultaneously I wrote a second version for Piano (for Piano one-and-a-half hands), which already formulates possible approaches for the performer, in some detail, to the indicated, quasi-canonic version of the piece in the programme. The multiple version Ein Hauch von Unzeit III realizes a concrete version of a formal state which floats between strict canon and aleatoric principles: each of the musicians who are spread throughout the hall introduces their own idiomatic translation of the flute part. And so the music exists, omnipresent, not only spatially throughout the hall, but also formally in a sort of fluctuating simultaneity. For that reason, it was my express wish to any potential interpreter that they should construct entirely their own version of the piece. A healthy number of musicians have responded to my suggestion - versions of the piece have now been made for guitar (Cornelius Schwehr, Gunther Schneider), accordion (Hugo Noth), double bass (Fernando Grillo), violin (Hansheinz Schneeberger), viola, violoncello, and double bass (trio basso, Koln), violoncello (Michael Bach), trombone (Andrew Digby) and, created by myself, a sung version for voice (to words by Georg Wilhelm Friedrich Hegel und Max Bense), and for viola.The most important requirement for the whole piece is absolute stillness, which should as far as possible emanate from the performer. The pauses are occasionally in this respect the most important element. These may, if one can find the necessary stillness, become very long.Ein Hauch von Unzeit (A Breath of the Untimely) - time almost dissolves!(Klaus Huber, 1989/2014 - translation: David Alberman)CD:Jean-Luc Menet (Bass flute)CD Traversieres 120.270Jean-Luc Menet (fl)CD STR 37039Bibliography:Zimmerm ann, Heidy: Zeitgestaltung im Kompositionsprozess bei Klaus Huber - dargestellt anhand von Skizzen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, S. 90-109

World premiere: VIII version for violoncello Tokyo: October 14, 1989.

SKU: BR.EB-9160

You will need a copy of BG 1002 for each player to perform the version for variable instrumentation (BG 1004).

ISBN 9790004181966. 9 x 12 inches.

World premieres:I version for flute: Wiesbaden, 1972II version for piano: Nyon, 1972III version for var. insts.: Cologne, May 29, 1976VI version for accordeon: Fribourg, June 25, 1987VIII version for violoncello Tokyo: October 14, 1989X version for organ: Stuttgart, March 28, 2018This work (A Breath of the Untimely) was first written for solo Flute and dedicated to Aurele Nicolet. Its bears the subtitle Lament on the Loss of Musical Thought - some Madrigals for Solo Flute or Flute with any other Instruments. This serves as a playing instruction but doubles at the same time as an outmoded programme: it refers back to the musical origin of the opening lamenting motif, a tradition which was once of its time but is not of our time - namely the Lamento genre which gave the title to the Chaconne in Purcell's opera Dido and Aeneas. Almost simultaneously I wrote a second version for Piano (for Piano one-and-a-half hands), which already formulates possible approaches for the performer, in some detail, to the indicated, quasi-canonic version of the piece in the programme. The multiple version Ein Hauch von Unzeit III realizes a concrete version of a formal state which floats between strict canon and aleatoric principles: each of the musicians who are spread throughout the hall introduces their own idiomatic translation of the flute part. And so the music exists, omnipresent, not only spatially throughout the hall, but also formally in a sort of fluctuating simultaneity. For that reason, it was my express wish to any potential interpreter that they should construct entirely their own version of the piece. A healthy number of musicians have responded to my suggestion - versions of the piece have now been made for guitar (Cornelius Schwehr, Gunther Schneider), accordion (Hugo Noth), double bass (Fernando Grillo), violin (Hansheinz Schneeberger), viola, violoncello, and double bass (trio basso, Koln), violoncello (Michael Bach), trombone (Andrew Digby) and, created by myself, a sung version for voice (to words by Georg Wilhelm Friedrich Hegel und Max Bense), and for viola.The most important requirement for the whole piece is absolute stillness, which should as far as possible emanate from the performer. The pauses are occasionally in this respect the most important element. These may, if one can find the necessary stillness, become very long.Ein Hauch von Unzeit (A Breath of the Untimely) - time almost dissolves!(Klaus Huber, 1989/2014 - translation: David Alberman)CD:Jean-Luc Menet (Bass flute)CD Traversieres 120.270Jean-Luc Menet (fl)CD STR 37039Bibliography:Zimmerm ann, Heidy: Zeitgestaltung im Kompositionsprozess bei Klaus Huber - dargestellt anhand von Skizzen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, S. 90-109.