SKU: CA.1540809
Language: all languages.
Score available separately - see item CA.1540800.
SKU: KU.GM-1911
ISBN 9790206202384. 9 x 12 inches.
Monumentum, Music for String Sextet, was written in 2014 to a commission from the Moritzburg Festival, The Chamber Music Society of Lincoln Center New York and the Kathe Kollwitz House in Moritzburg. It is dedicated to the cellist Jan Vogler. The world premiere took place on 19 August 2014 at the Moritzburg Festival, performed by Timothy Chooi & Mira Wang (violins), Roberto Diaz & Hartmut Rohde (violas), Jan Vogler & Harriet Krijgh (cellos). The American premiere took place on 7 May 2015 in the Lincoln Center with the Amphion String Quartet, the violist Yura Lee and the cellist Jan Vogler.The String Sextet Momentum commemorates the outbreak of the First World War, the death of Peter Kollwitz – who died as a volunteer, aged just 18, in the early weeks of the war – and the manner in which his mother, the artist Kathe Kollwitz, mourned the loss of her son. The artist worked through her pain by creating her most famous sculpture, The Mourning Parents. It stands today at the German soldiers’ cemetery at Vladslo in western Flanders, where her son Peter also lies buried. During the 18 years that she worked on the Parents, Kathe Kollwitz attended several concerts at the Volksbuhne in Berlin, where from January to February 1927 she heard Arthur Schnabel’s cycle of all the Beethoven piano sonatas. Schnabel performed the Sonata op. 111 in c minor on 26 February 1927, and this work touched her in particular, as we can read in her diary: “The strange flickering notes turned into flames – a moment of rapture, taking one into a different sphere, and the heavens opened almost as in the Ninth (Symphony). Then one found one’s way back – but it was a return after having been assured that there is a heaven. These notes are serene – confident – and good. Thank you, Schnabel!” This encounter with Beethoven’s last sonata inspired the artist to take up work again on her sculpture after a long interruption and to consider different possibilities for arranging the two figures. For this reason, the first minutes ofMomentum are derived from this sonata by Beethoven – though without it being quoted in an audible manner – and they leave their mark on the form of the Sextet. The number 18 and the date of Peter Kollwitz’s death (23 October 1914) also have a direct impact on the work’s dramaturgy. This music is mostly calm in nature, but is time and again interrupted unexpectedly, being disturbed by unruly sounds and vehement eruptions until time itself seems to dissolve in an aleatoric passage. The work ends with an extended lament on “seed corn should not be ground”, a line from Goethe’s Wilhelm Meister’s Journeyman Years. Kathe Kollwitz often quoted this phrase to argue for peace, and also took it as the title for a lithograph that she made in 1942. - David Philip Hefti
SKU: M7.BP-1197
ISBN 9790015119705.
Das Sextett knüpft in seiner hochromantischen Tonfülle, in seiner dramatischen wie gesanglichen streicherischen Noblesse an die Sextette von Brahms und Dvorak an, jedoch unverwechselbar in eigener Sprache.
SKU: HL.51481083
ISBN 9790201810836. UPC: 888680950804. 9.5x12.25x0.359 inches.
Brahms's First String Sextet became very popular after its publication in 1861, yet his publisher Simrock still hesitated when the composer offered him a second such work in 1865, “in the same cheerful mood.†So Brahms made overtures to other publishers, and then Simrock finally agreed to take it on. The critics were initially rather skeptical towards this Sextet op. 36, but Brahms's friends thoroughly approved of it. Clara Schumann praised its accomplished motivic work, while others enthused about its magical sound colors. This practical edition by Katrin Eich, based on the Brahms Complete Edition, now offers performers the opportunity to form their own opinion, whether in performance or by perusing our study edition. The parts include player-friendly cue notes and have excellent page-turns.
About Henle Urtext
What I can expect from Henle Urtext editions:
SKU: M7.BP-1202
ISBN 9790015120206.
Ein in Anlage und Tonsprache sich würdig den berühmten Sextetten von Brahms und Dvorak zugesellendes, in der Beherrschung der Satztechnik und im Erfindungsreichtum ebenbürtiges Werk.
SKU: HL.50601197
SKU: HL.48014287
UPC: 073999868814. 9.0x12.0x0.331 inches.
For 2 violins, 2 violas, and 2 cellos.
SKU: HL.51486028
ISBN 9790201860282. UPC: 888680729059. 10x12.75 inches.
Complete Edition with critical report, clothbound.
SKU: HL.51481082
ISBN 9790201810829. UPC: 888680907808. 9.0x12.0x0.292 inches.
The Sextet in B-flat major was already judged to be “one of the most beautiful works by this young composer†after its initial performances in early 1861. It was popular with both public and press, and has retained this status to the present day. The publisher Simrock was so impressed by it that he accepted Brahms's suggestion that he should publish a score of it alongside the individual parts - something that was by no means usual at the time. The numerous differences between these two first editions of 1861 continue to present problems to Brahms researchers today. Brahms specialist Katrin Eich has already taken on the task of editing the work for the Brahms Complete Edition, and this new Urtext edition provides the best possible musical text for performance. Naturally, it is available in both score and parts.
SKU: PR.114414290
UPC: 680160594030.
Written for Concertante, a string sextet which has commissioned six different works, each highlighting one of its players. In Ran's new work, the second cellist, Zvi Plesser, was spotlighted with an outgoing, intensely lyrical opening theme, according to a New York Times review. Yet, Lyre of Orpheus never overlooks the collaborative, conversational essence of the ensemble. Read the full review here: http://www.nytimes.com/2009/03/18/arts/music/18conc.html?_r=1&adxnnl=1&partner=rssnyt&emc=rss&adxnnlx=1286200920-wRrt7MJ416+FpOYAUe/IOQ For advanced performers.Lyre of Orpheus was composed for Concertante, the New York-based string sextet, for its One Plus Five Project, a three-year, six-composer commissioning project designed to create six string sextets, each featuring one of Concertante’s core players.This particular commission was made with the goal of giving center-stage to the ensemble’s first cello, a choice I was especially grateful for, not only because it features Zvi Plesser, the outstanding Israeli cellist, but also because it gave ma an opportunity to highlight an instrument for which, from a very early stage in my life, I have felt a special affinity. The cell’s “soulâ€, so naturally combining passion and lyricism, has always touched me in a special way.As sometimes happens, naming the piece was the final act in the process of creation. Once titled, though, I found myself looking through the piece with a mixture of delight and astonishment – the narrative of the almost iconic mythological story of love and loss seems as one entirely plausible, and to my mind convincing, way to tract the unfolding of the musical events. Of course, the music was written with no such tale (or any tale, for that matter) in mind. But perhaps some stories are emblematic of so much that is part of our lives and psyches, of our desires, fears and wishes. Orpheus, whose longing for Eurydice recognizes no boundaries of heaven and hell… Love regained, then forever lost… Orpheus’ lyre intoning his sorrowful yearning…Lyre of Orpheus, approximately fifteen minutes in length, composed in late 2008, is intermittently songful, caressing, passionate, pained, ferocious, longing. The instrumentation consists of 2 violins, 2 violas, 2 cellos, the first of which is the soloist/protagonist, the second notable for having its lowest string tuned down a third to achieve extra lower notes.This commission has been made possible by the Chamber Music America Commissioning Program, with funding generously provided by the Aaron Copland Fund for Music, and the Chamber Music America Endowment Fund.
SKU: PR.11441429S
UPC: 680160594054. 9.5 x 13 inches.
Written for Concertante, a string sextet which has commissioned six different works, each highlighting one of its players. In Ran's new work, the second cellist, Zvi Plesser, was spotlighted with an outgoing, intensely lyrical opening theme, according to a New York Times review. Yet, Lyre of Orpheus never overlooks the collaborative, conversational essence of the ensemble. Read the full review here: http://www.nytimes.com/2009/03/18/arts/music/18conc.html?_r=1&adxnnl=1&partner=rssnyt&emc=rss&adxnnlx=1286200920-wRrt7MJ416+FpOYAUe/IOQ For advanced performers.Lyre of Orpheus was composed for Concertante, the New York-based string sextet, for its One Plus Five Project, a three-year, six-composer commissioning project designed to create six string sextets, each featuring one of Concertante’s core players. This particular commission was made with the goal of giving center-stage to the ensemble’s first cello, a choice I was especially grateful for, not only because it features Zvi Plesser, the outstanding Israeli cellist, but also because it gave ma an opportunity to highlight an instrument for which, from a very early stage in my life, I have felt a special affinity. The cell’s “soulâ€, so naturally combining passion and lyricism, has always touched me in a special way. As sometimes happens, naming the piece was the final act in the process of creation. Once titled, though, I found myself looking through the piece with a mixture of delight and astonishment – the narrative of the almost iconic mythological story of love and loss seems as one entirely plausible, and to my mind convincing, way to tract the unfolding of the musical events. Of course, the music was written with no such tale (or any tale, for that matter) in mind. But perhaps some stories are emblematic of so much that is part of our lives and psyches, of our desires, fears and wishes. Orpheus, whose longing for Eurydice recognizes no boundaries of heaven and hell… Love regained, then forever lost… Orpheus’ lyre intoning his sorrowful yearning… Lyre of Orpheus, approximately fifteen minutes in length, composed in late 2008, is intermittently songful, caressing, passionate, pained, ferocious, longing. The instrumentation consists of 2 violins, 2 violas, 2 cellos, the first of which is the soloist/protagonist, the second notable for having its lowest string tuned down a third to achieve extra lower notes. This commission has been made possible by the Chamber Music America Commissioning Program, with funding generously provided by the Aaron Copland Fund for Music, and the Chamber Music America Endowment Fund.—Shulamit Ran.
SKU: HL.49017935
ISBN 9790001169332. 9.0x12.0x0.116 inches.
'How long is eternity? A whole life? A moment?' - The composer describes her sentimental musical drawing of human hopes and fears as a 'journey into one's self or we'. Komarova composed the piece for the Kolner Streichsextett which also recorded 'Auf immer und ewig!?..' on CD. This pensive work can also be performed by ambitious amateur ensembles.
SKU: CF.YAS99F
ISBN 9780825884191. UPC: 798408084196. 8.5 x 11 inches.
Dance of the Harlequins is a lively work that uses the harmonic progression of the famous Pachelbel Canon as its foundation. Larry Clark uses this line as a jumping-off point to create an ingenuous work that shows the many moods of the Harlequin clown, from joyous to melodramatic.When I started to write this piece I came up with the main melody first, then I harmonized it. In the process of doing that I realized that I was composing a new piece that was based on the harmonic progression found in the famous Canon by Johann Pachelbel. At first this sort of worried me, but then by doing a little research on the famous canon, I realized I was far from alone. There is even an incredibly funny YouTube video called “Pachelbel Rant†where comedian Rob Paravonian points out many of the usages of the chord progression from Pachelbel’s Canon found in many popular/rock songs. Watch it if you get a chance it is very funny! So, I decided to forge ahead and complete the piece.After the main theme begins without introduction that includes short punctuations of the harmony in the lower strings, the main theme is repeated with a countermelody playedby the violas. The cellos then take up a new B theme with the countermelody to this section covered by the first violins. The main theme with counter melody is stated one more time before it is followed by a transition to a more lyrical and augmented theme that is first presented in the violas. This theme repeats now with the melody in the first violins and a countermelody added in the violas. One more statement of the lyrical section theme is presented, but now the celli state the original main theme in augmentation along with the lyrical theme and countermelody. This is followed by an extended transition that leads back tot the B section theme now presented in the violins. After an extended cadence and build, the main theme returns one last time followed by a lively coda to complete the piece.There is something about the use of this famous chord progression that just makes it feel so right. I hope that I did justice to it and provided you and your students with a musical vehicle that will be enjoyable and at the same time educational.It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.—LARRY CLARKLakeland, FL 2011.
About Carl Fischer Young String Orchestra Series
This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: HL.14041752
UPC: 884088878009. 8.25x11.5 inches.
Into the faded air was commissioned by Britten Sinfonia for first performance at Filharmonic Hall, Krakow, Poland on Sunday 13th January 2008, with Jacqueline Shave (Violin), Miranda Dale (Violin), Clare Finnimore(Viola), Catherine Musker (Viola), Caroline Dearnley (Cello) and Banjamin Chappell (Cello).Scoring: String Sextet (2 Violins, 2 Violas, and 2 Cellos)Duration: 10 minutes
SKU: FL.FX070835
SKU: UT.PEB-42
ISBN 9790215323650. 9 x 12 inches.
SKU: UT.PEB-40
ISBN 9790215323636. 9 x 12 inches.
SKU: UT.PEB-39
ISBN 9790215323629. 9 x 12 inches.
