Vores kunder ligger øverst på Google

Monad's Face - Seither, Charlotte

for Soprano, Bass Clarinet and Violoncello Uraufführung 03.10.1997, Dresden singing score, Performance score SSolo/clarinet-B/Vc Hæftet udgave

Vox humana. USA -

Organ compositions by eight North American composers of the 18th to 20th century Performance score, Anthology Org Hæftet udgave

Missa super "Se la face ay pale"

Quella damma son io - Sieh in mir jene Dame : Italienisches Madrigal Nr. 11

The Beethoven 2020 Diary

This practical pocket diary is designed to be your daily Beethoven companion through the year 2020 which is the 250th anniversary of this great composer’s birth. It presents interesting and amusing insights into Beethoven’s life and works.Quotations by Beethoven and about him illuminate many facets of his personality, whether familiar or surprising. He appears hot-tempered and humorous, vulnerable and sarcastic, isolated and driven by utopian visions of society.Additional pages cast light on special aspects of his life – his composing and piano playing, his violent emotions (rage, humour, despair in the face of illness and death) and his relationship with people in hisclose surroundings, whether his nephew Karl, the “Immortal Beloved” or his brothers Kaspar Karl and Johann, the recipients of the “Heiligenstadt Testament”.This attractive diary which presents every week, Monday to Sunday, on a double page also provides sufficient space for your own notes. This practical pocket diary is designed to be your daily Beethoven companion through the year 2020 which is the 250th anniversary of this great composer’s birth. It presents interesting and amusing insights into Beethoven’s life and works.Quotations by Beethoven and about him illuminate many facets of his personality, whether familiar or surprising. He appears hot-tempered and humorous, vulnerable and sarcastic, isolated and driven by utopian visions of society.Additional pages cast light on special aspects of his life – his composing and piano playing, his violent emotions (rage, humour, despair in the face of illness and death) and his relationship with people in hisclose surroundings, whether his nephew Karl, the “Immortal Beloved” or his brothers Kaspar Karl and Johann, the recipients of the “Heiligenstadt Testament”.This attractive diary which presents every week, Monday to Sunday, on a double page also provides sufficient space for your own notes.

Dance Macabre Op. 40 - Full Score : Symphonic poem after a poem by Henri Cazalis

Saint-Saëns was a great admirer of the symphonic poems by Franz Liszt. His own symphonic poem "Danse macabre" reflects not only his affinity to medieval superstitions but also constitutes a tribute to Liszt’s "Totentanz"."Danse macabre" is based on the eponymous song Saint-Saëns composed in 1872 after Henri Cazalis’ poem. At its premiere, the work was not well-received: in fact it was booed, possibly due to the "diabolic" solo violin playing on an E-string that was tuned down to E-flat, which the audience might have misinterpreted as being out of tune. However within ten years the work had become so popular that Saint-Saëns quoted some of its musical themes in "The Carnival of the Animals". Since the composer’s death, "Danse macabre" is among the works most often mentioned in connection with the theatrical face of death found in popular mortuary cult.

Vespro Della Beata Vergine 'Marienvesper' : Violin 2

Claudio Monteverdi’s “Vespro della Beata Vergine” is without doubt one of the most popular sacred works of the 17th century. Apart from the many available recordings, it is frequently performed in its entirety or inparts.The Urtext edition of this well-known work has unusual origins. It originated from a graduate seminar at the University of North Texas, under the direction of the Monteverdi specialist Hendrik Schulze.Theresult is an edition which combines the latest in musicological research specifically with the needs of the performer in mind. This has led, for instance, to a divergent evaluation of the “Lauda Jerusalem” orientedtowardsperformance practice, with numerous additional accidentals and a new interpretation of the melodic variants from the different part books.These new musical and performance practice insights make a moderninterpretation of this 400-year-old work possible.Scholarly-critical Urtext edition orientated towards performance practiceDetailed critical commentary (Eng) in the full scoreMovements 10, 13 and 14are included in their original high clef in the appendix of the full score.These movements are also available with piano reduction as copy on request

Vespro Della Beata Vergine 'Marienvesper'

Claudio Monteverdi’s Vespro Della Beata Vergine is without doubt one of the most popular sacred works of the 17th century. Apart from the many available recordings, it is frequently performed in itsentirety or in parts. The Urtext edition of this well-known work has unusual origins. It originated from a graduate seminar at the University of North Texas, under the direction of the Monteverdi specialist HendrikSchulze.The result is an edition which combines the latest in musicological research specifically with the needs of the performer in mind. This has led, for instance, to a divergent evaluation of the “LaudaJerusalem”oriented towards performance practice, with numerous additional accidentals and a new interpretation of the melodic variants from the different part books.These new musical and performance practice insights makea modern interpretation of this 400-year-old work possible.- Scholarly-critical Urtext edition orientated towards performance practice- Detailed critical commentary (English) in the full score- Movements10, 13 and 14 are included in their original high clef in the appendix of the full score.- These movements are also available with Piano reduction as copy on request.

Vespro Della Beata Vergine 'Marienvesper' : Viola 3

Claudio Monteverdi’s Vespro Della Beata Vergine is without doubt one of the most popular sacred works of the 17th century. Apart from the many available recordings, it is frequently performed in itsentirety or in parts. The Urtext edition of this well-known work has unusual origins. It originated from a graduate seminar at the University of North Texas, under the direction of the Monteverdi specialist HendrikSchulze.The result is an edition which combines the latest in musicological research specifically with the needs of the performer in mind. This has led, for instance, to a divergent evaluation of the “LaudaJerusalem”oriented towards performance practice, with numerous additional accidentals and a new interpretation of the melodic variants from the different part books.These new musical and performance practice insights makea modern interpretation of this 400-year-old work possible.- Scholarly-critical Urtext edition orientated towards performance practice- Detailed critical commentary (English) in the full score- Movements10, 13 and 14 are included in their original high clef in the appendix of the full score.- These movements are also available with Piano reduction as copy on request.

Vespro Della Beata Vergine 'Marienvesper' : Viola 2

Claudio Monteverdi’s Vespro Della Beata Vergine is without doubt one of the most popular sacred works of the 17th century. Apart from the many available recordings, it is frequently performed in itsentirety or in parts. The Urtext edition of this well-known work has unusual origins. It originated from a graduate seminar at the University of North Texas, under the direction of the Monteverdi specialist HendrikSchulze.The result is an edition which combines the latest in musicological research specifically with the needs of the performer in mind. This has led, for instance, to a divergent evaluation of the “LaudaJerusalem”oriented towards performance practice, with numerous additional accidentals and a new interpretation of the melodic variants from the different part books.These new musical and performance practice insights makea modern interpretation of this 400-year-old work possible.- Scholarly-critical Urtext edition orientated towards performance practice- Detailed critical commentary (English) in the full score- Movements10, 13 and 14 are included in their original high clef in the appendix of the full score.- These movements are also available with Piano reduction as copy on request.

Vespro Della Beata Vergine 'Marienvesper' : Set of Woodwind Instruments

Claudio Monteverdi’s “Vespro della Beata Vergine” is without doubt one of the most popular sacred works of the 17th century. Apart from the many available recordings, it is frequently performed in its entirety or inparts.The Urtext edition of this well-known work has unusual origins. It originated from a graduate seminar at the University of North Texas, under the direction of the Monteverdi specialist Hendrik Schulze.Theresult is an edition which combines the latest in musicological research specifically with the needs of the performer in mind. This has led, for instance, to a divergent evaluation of the “Lauda Jerusalem” orientedtowardsperformance practice, with numerous additional accidentals and a new interpretation of the melodic variants from the different part books.These new musical and performance practice insights make a moderninterpretation of this 400-year-old work possible.Scholarly-critical Urtext edition orientated towards performance practiceDetailed critical commentary (Eng) in the full scoreMovements 10, 13 and 14are included in their original high clef in the appendix of the full score.These movements are also available with piano reduction as copy on request

The Lord Is My Light HWV 255

The Lord Is My Light (HWV 255) Chandos Anthem No.10From 1717 to 1718 Handel was resident composer at Cannons, a country estate to the north of London. During this time he wrote the so-calledChandos Anthems, a set of eleven “Anglican cantatas” with instrumental accompaniment.“The Lord is my light” (HWV 255), with its eleven movements, is not only the longest compositionin the set, it also has the largest proportion of newly composed material.This anthem, published with the Urtext of the Halle Handel Edition, is especially noteworthy for its varied and self-sufficientorchestralaccompaniment, which lends a fitting backdrop to the festive chorus and equally festive solo numbers.Both the full score and the vocal score contain a German translation alongside the original English.Scoring: Soloists (STT), chorus (SATTB), 2 recorders, oboe, strings, continuo- Full score & parts (BA4268) and vocal score (BA4268-90) available for sale- Urtext at the forefront of musical scholarship-First separate edition for performance purposes- Based on the Urtext from the Halle Handel Edition- Straightforward and easy-to-play Piano reduction

Vespro Della Beata Vergine 'Marienvesper' : Cello, Double Bass

Claudio Monteverdi’s Vespro Della Beata Vergine is without doubt one of the most popular sacred works of the 17th century. Apart from the many available recordings, it is frequently performed in itsentirety or in parts. The Urtext edition of this well-known work has unusual origins. It originated from a graduate seminar at the University of North Texas, under the direction of the Monteverdi specialist HendrikSchulze.The result is an edition which combines the latest in musicological research specifically with the needs of the performer in mind. This has led, for instance, to a divergent evaluation of the “LaudaJerusalem”oriented towards performance practice, with numerous additional accidentals and a new interpretation of the melodic variants from the different part books.These new musical and performance practice insights makea modern interpretation of this 400-year-old work possible.- Scholarly-critical Urtext edition orientated towards performance practice- Detailed critical commentary (English) in the full score- Movements10, 13 and 14 are included in their original high clef in the appendix of the full score.- These movements are also available with Piano reduction as copy on request.

Vespro Della Beata Vergine 'Marienvesper' : Basso Continuo

Claudio Monteverdi’s Vespro Della Beata Vergine is without doubt one of the most popular sacred works of the 17th century. Apart from the many available recordings, it is frequently performed in itsentirety or in parts. The Urtext edition of this well-known work has unusual origins. It originated from a graduate seminar at the University of North Texas, under the direction of the Monteverdi specialist HendrikSchulze.The result is an edition which combines the latest in musicological research specifically with the needs of the performer in mind. This has led, for instance, to a divergent evaluation of the “LaudaJerusalem”oriented towards performance practice, with numerous additional accidentals and a new interpretation of the melodic variants from the different part books.These new musical and performance practice insights makea modern interpretation of this 400-year-old work possible.- Scholarly-critical Urtext edition orientated towards performance practice- Detailed critical commentary (English) in the full score- Movements10, 13 and 14 are included in their original high clef in the appendix of the full score.- These movements are also available with Piano reduction as copy on request.

Vespro Della Beata Vergine 'Marienvesper' : Viola 1

Claudio Monteverdi’s Vespro Della Beata Vergine is without doubt one of the most popular sacred works of the 17th century. Apart from the many available recordings, it is frequently performed in itsentirety or in parts. The Urtext edition of this well-known work has unusual origins. It originated from a graduate seminar at the University of North Texas, under the direction of the Monteverdi specialist HendrikSchulze.The result is an edition which combines the latest in musicological research specifically with the needs of the performer in mind. This has led, for instance, to a divergent evaluation of the “LaudaJerusalem”oriented towards performance practice, with numerous additional accidentals and a new interpretation of the melodic variants from the different part books.These new musical and performance practice insights makea modern interpretation of this 400-year-old work possible.- Scholarly-critical Urtext edition orientated towards performance practice- Detailed critical commentary (English) in the full score- Movements10, 13 and 14 are included in their original high clef in the appendix of the full score.- These movements are also available with Piano reduction as copy on request.

Vespro Della Beata Vergine 'Marienvesper' : Violin 1

Claudio Monteverdi’s “Vespro della Beata Vergine” is without doubt one of the most popular sacred works of the 17th century. Apart from the many available recordings, it is frequently performed in its entirety or inparts.The Urtext edition of this well-known work has unusual origins. It originated from a graduate seminar at the University of North Texas, under the direction of the Monteverdi specialist Hendrik Schulze.Theresult is an edition which combines the latest in musicological research specifically with the needs of the performer in mind. This has led, for instance, to a divergent evaluation of the “Lauda Jerusalem” orientedtowardsperformance practice, with numerous additional accidentals and a new interpretation of the melodic variants from the different part books.These new musical and performance practice insights make a moderninterpretation of this 400-year-old work possible.Scholarly-critical Urtext edition orientated towards performance practiceDetailed critical commentary (Eng) in the full scoreMovements 10, 13 and 14are included in their original high clef in the appendix of the full score.These movements are also available with piano reduction as copy on request

Vespro Della Beata Vergine 'Marienvesper' : Violin 3

Claudio Monteverdi’s Vespro Della Beata Vergine is without doubt one of the most popular sacred works of the 17th century. Apart from the many available recordings, it is frequently performed in itsentirety or in parts. The Urtext edition of this well-known work has unusual origins. It originated from a graduate seminar at the University of North Texas, under the direction of the Monteverdi specialist HendrikSchulze.The result is an edition which combines the latest in musicological research specifically with the needs of the performer in mind. This has led, for instance, to a divergent evaluation of the “LaudaJerusalem”oriented towards performance practice, with numerous additional accidentals and a new interpretation of the melodic variants from the different part books.These new musical and performance practice insights makea modern interpretation of this 400-year-old work possible.- Scholarly-critical Urtext edition orientated towards performance practice- Detailed critical commentary (English) in the full score- Movements10, 13 and 14 are included in their original high clef in the appendix of the full score.- These movements are also available with Piano reduction as copy on request.

Mit Beethoven Durch Das Jahr 2020 : Calender hardcover

This practical pocket diary (German text, for the English pocket diary see BVK 2451) is designed to be your daily Beethoven companion through the year 2020 which is the 250th anniversary of this great composer’s birth. It presents interesting and amusing insights into Beethoven’s life and works. Quotations by Beethoven and about him illuminate many facets of his personality, whether familiar or surprising. He appears hot-tempered and humorous, vulnerable and sarcastic, isolated and driven by utopian visions of society. Additional pages cast light on special aspects of his life – his composing and piano playing, his violent emotions (rage, humour, despair in the face of illness and death) and his relationship with people in his close surroundings, whether his nephew Karl, the “Immortal Beloved” or his brothers Kaspar Karl and Johann, the recipients of the “Heiligenstadt Testament”. This attractive diary which presents every week, Monday to Sunday, on a double page also provides sufficient space for your own notes.This attractive and practical pocket diary for 2020 celebrates the 250th anniversary of the celebrated composer's birth. Designed to be your daily Beethoven companion, it presents interesting and amusing insights into Beethoven’s life and works. The composer's character is illustrated by the included quotations - illuminating many facets of his personality, whether familiar or surprising. He appears hot-tempered and humorous, vulnerable and sarcastic, isolated and driven by his utopian visions of society.Additional pages cast light on different aspects of Beethoven's life – his compositions and Piano playing, his violent emotions (rage, humour, despair inthe face of illness and death) and his relationship with the people in his life, such as his nephew Karl, the “Immortal Beloved” or his brothers Kaspar Karl and Johann, the recipients of the “Heiligenstadt Testament”.This beautiful diary presents every week, Monday to Sunday, on a double page and provides sufficient space for your own notes.Please note: this is the German text edition. For the English text edition see BVK 2451.

Thränenbenezt For Viola and Piano

Philipp Maintz was born in Aachen, Germany, in 1977. He received his first composition lessons from Michael Reudenbach. He studied composition with Robert HP Platz in Maastricht from 1997-2003, graduating with distinction,followed by a further degree in composition and electronic music with Karlheinz Essl at the Bruckner Conservatory in Linz. He has received scholarships and invitations from institutions including the Electronic Studio at theUniversity of Liège, the International Summer Courses for New Music in Darmstadt, IRCAM Paris and the North Rhine-Westphalia Ministry of Culture, an Artist’s Scholarship from Lower Saxony for the Künstlerhof Schreyahn andotherhonours: the Supportive Prize from the Ernst von Siemens Music Foundation in 2005, a scholarship from the Wilfried Steinbrenner Foundation in 2006 and a German Government Scholarship to study at the Cité Internationale desArts, Paris in 2007, Scholarship awarded by the German Minister of Culture for a one-year stay at the German Academy Rome, Villa Massimo (2010). His compositions have been performed at festivals including the InternationalGaudeamus Music Week Amsterdam, agora-festival, Paris, ars nova (SWR), International Summer Courses for New Music in Darmstadt, Wittener Tage für Neue Kammermusik, musica (Strasbourg), Wien Modern, Hear&Now London and the SalzburgFestival.

The First Walpurgis Night Op.60 : Ballade by Johann Wolfgang von Goethe

During the summer of 1799, Goethe wrote his ballad “Die erste Walpurgisnacht ” and asked his friend Carl Friedrich Zelter to set the work to music. Zelter however, felt unable to do this, and so Goethe’s wish was only realisedthirty years later by Felix Mendelssohn Bartholdy.The “heavenly words” of the pagan ballads had impressed the composer so much after a visit to Weimar, that he was inspired to set them to music. In 1832 thecomposition took shape and was performed a year later in the Sing- Akademie in Berlin.Mendelssohn was, however, unhappy with the first version of the work and held it back, until he decided on a radical revisionofthe work ten years after its premiere. Die “erste Walpurgisnacht” was first performed in 1843 in Leipzig in the presence of Robert Schumann and Hector Berlioz, in the form in which the work is still performed today. Thepublication of this edition by John Michael Cooper, Associate Professor of Music History at the University of North Texas (Denton), makes the work available in an Urtext edition for the first time in time for the 200thanniversary of the composer’s birth. The edition reflects the latest state of research, and the volume includes a Critical Commentary.- One of Mendelssohn’s most important secular works in an edition reflectingthe latest research findings.- Bärenreiter Urtext for the Mendelssohn anniversary year 2009.- Critical Commentary (Eng)- Full score (BA9072) and vocal score (BA9072-90) for sale; performance material(BA9072-72) available for hire.

Reflections on Narcissus

Composed in 2004/2005; performance material available for hire.Matthias Pintscher was born in Marl in North Rhine-Westphalia, Germany, in 1971 and studied composition with Giselher Klebe and Manfred Trojahn.Formative influences were his encounters with Hans Werner Henze, who invited him to Montepulciano in 1991 and 1992, and with Helmut Lachenmann, Pierre Boulez and Peter Eötvös. Awards include first prize in the HitzackerComposition Competition (1992), the Rolf Liebermann Prize and the Opera Prize from the Körber Foundation Hamburg (1993 and 1996), the Prince Pierre de Monaco Prize (1999), Composition Prize from the Salzburg Easter Festival andtheHindemith Prize from the Schleswig Holstein Music Festival (2000). In 2002 he was awarded the Hans Werner Henze Prize (Westphalian Music Prize). Pintscher first came to international attention with the opera Thomas Chatterton atthe Semper Opera, Dresden (1998), and later with his second opera L'espace dernier at the Opéra National de Paris (2004). He was composer-in-residence with the Cleveland Orchestra in 2002, the following seasons at the KonzerthausDortmund, Lucerne Festival, with the Radio Symphony Orchestra Saarbrücken, at the Philharmonie, Cologne and at the RSO Stuttgart. From 2010 onwards Pintscher is “Artist-in-Association” at the BBC Scottish Symphony Orchestra, since2014 Artist-in-residence at the Danish Radio Orchestra. As a conductor, Matthias Pintscher works regularly with leading orchestras and ensembles in Europe and the USA. From 2007 to 2009 he was Professor of Composition at theUniversity of Music and Performing Arts Munich and 2010 to 2011 at the New York University. He is Music Director of the Ensemble intercontemporain and since the 2013 14 season. As of September 2014 he is Professor for compositionat the Juilliard School of Music New York.

Requiem

The arrangements in this collection represent 80 per cent of Duruflé’s entire a cappella œuvre, with three from the four Quatre Motets sur des thèmes grégoriens Op. 10 (1960) alongside Notre Père Op. 14 (1977/1978). Given Duruflé’s legendary perfectionism and resulting tiny catalogue (Notre Père is his final opus), arrangements of these works, some of the most significant in the 20th-century choral canon, have been approached with the utmost care – hence the decision to omit the second Op. 10 motet, Tota pulchra es; it was deemed that there was no satisfying way to bring the original tessitura and divisi of the upper voices into the SAM-Klang mould. Throughout the three motets, Duruflé combines Gregorian chant and polyphony; the chant is always present in one or more voice. Notre Père is chant-like, albeit not Gregorian, and has a simpler homophonic structure. Originally composed for unison male voices and organ, the version here is based on the four-part a cappella version published a year later. The references to I and II in Ubi caritas et amor refer back to the original version where the altos alternate the text in two separate choirs. There is no requirement to replicate this when performing from the SAM-Klang edition. The name SAM-Klang takes the three voice parts from the arrangements – Soprano, Alto and Men – and combines it with the Scandinavian and German words for ‘sound’ to create the portmanteau word ‘sound together’ or ‘harmony’. The SAM-Klang series offers basic and advanced choral repertoire arranged for soprano, alto and one male voice- part. In addition to new repertoire and new arrangements, you will also find essential parts of the classical German, Scandinavian, French and English SATB repertoire, carefully and considerately reworked for SAM. The arrangements retain the characteristic features of the original movements and have almost the same richness of timbre, resulting in works which sound nearly unchanged to an audience. Piano reductions of all choral movements facilitate rehearsal preparation. The arrangements offer development opportunities for all voice sections, bringing new life and new quality to SAM choir work. SAM-Klang enables youth choirs to gain access to classical choral literature and ensures that mixed choirs who face challenges in finding singers for all male voice parts continue to have access to well-loved repertoire. For further information and to discover more about SAM-Klang, including recordings, translations, pronunciation guides, videos, existing and new volumes in the series, please visit www.sam-klang.com