Format : Sheet music
SKU: AP.36-60440001
ISBN 9798888521748. UPC: 676737684600. English.
Alban Berg's (1885-1935) Vier Stücke für Klarinette und Klavier (Four Pieces for Clarinet and Piano), Op. 5, was composed in 1913. They are his only true miniatures as, shortly after he wrote them, a fateful and somewhat traumatic lesson with his tutor Arnold Schoenberg drove the young Berg to abandon small-scale works altogether, turning towards large extended orchestral works at his teacher's heavily critical insistence. Each of the four movements (1. Mäßig; 2. Sehr langsam; 3. Sehr rasch; 4. Langsam) constantly changes in tempo, articulation, timbral effects, and dynamics throughout. Despite Schoenberg's criticism in 1913, the work did finally premiere on October 17, 1919, ironically at Schoenberg's own Society for Private Musical Performances in Vienna. Reprint edition.
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SKU: HL.48024203
ISBN 9781784542689. 9.0x12.0x0.127 inches.
The composer states: Acequia Madre demonstrates an approach which was somewhat new to the style of my musical expression at the time of its composition [2012]: structuring a work with the focus on its melodic aspects. I drew inspiration from other creative artists through one of my 'rituals': I surrounded myself with the scores of composers who, for one reason or another, were on my mind at the time, like Iannis Xenakis, Alban Berg's 'Four Pieces for Clarinet and Piano,' and 'Contrasts for violin, clarinet and piano' by Bela Bartok, plus Schubert's haunting final 'String Quartet No. 15.' Conquering technical difficulties is something I find particularly rewarding when playing acoustic instruments: fully aware that today's electronics can triumph over a composer's most demanding technical challenges, I love the idea of performers encountering their instruments with virtuosity ... doing something that seems to defy physical boundaries..
SKU: HL.48024204
ISBN 9781784542672. UPC: 888680751647. 9x12 inches.
The composer states: “Acequia Madre demonstrates an approach which was somewhat new to the style of my musical expression at the time of its composition [2012]: structuring a work with the focus on its melodic aspects. I drew inspiration from other creative artists through one of my 'rituals': I surrounded myself with the scores of composers who, for one reason or another, were on my mind at the time, like Iannis Xenakis, Alban Berg's 'Four Pieces for Clarinet and Piano,' and 'Contrasts for violin, clarinet and piano' by Bela Bartok, plus Schubert's haunting final 'String Quartet No. 15.' Conquering technical difficulties is something I find particularly rewarding when playing acoustic instruments: fully aware that today's electronics can triumph over a composer's most demanding technical challenges, I love the idea of performers encountering their instruments with virtuosity ... doing something that seems to defy physical boundaries.&rdquo.