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Four Earth Songs : for Soprano Solo and Band

Four Earth Songs : for Soprano Solo and Band

The hymn Nun ruhen alle Wälder (Now All Forests Rest), arranged by J.S. Bach (No. 6, So sei nun, Seele, deine, from Cantata BWV 13), is a guiding light throughout this four-movement composition. Pütz wrote this work as a musical outcry against the wilful, profit-driven destruction of our environment. When Bach used the word “ruhen” (to rest) over 350 years ago, it probably had a different nuance from the meaning it has today. At the beginning of the 21st century - the so-called age of progress - “nun ruhen alle Wälder” should mean “now all forests die” . Massive industrialization and globalization, coupled with pure greed, corruption, political scandals, an ever-wideninggap between the rich and poor, and other such senseless human actions, are pushing our blue planet closer and closer to the point of no return. This work is not intended to be a ranting accusation. It should remind us of the beauty and harmony that can exist all around us in nature, if we take care of it. Pütz hopes that this will, one day, help put a greater emphasis on humanity’s survival, and coexistence with nature rather than the exploitation described earlier. All four texts were created by Australian poet Graeme King, whose works were discovered by Pütz, by chance on the internet. Pütz was especially captivated by King’s clarity, and intrigued by the possibilities of adapting and melding the strong rhythmical structure of King’s writing with his own musical language. The four movements are as follows: 1. Tears of Nature 2. Grrrevolution 3. Stand up! 4. Tomorrow The world première of Four Earth Songs took place on 7 July 2009 at the 14th WASBE-Conference in Cincinnati (USA). This work is dedicated in friendship to Jouke Hoekstra, conductor, and the Frysk Fanfare Orkest (the Frisian Fanfare-Orchestra).

SEK 5490.00
1

Complete Letters in 12 Volumes : Set of 12 Books and CD-Rom

Complete Letters in 12 Volumes : Set of 12 Books and CD-Rom

Felix Mendelssohn Bartholdy as letter-writer: at the heart of 19th century European culture. As one of the most important letter-writers of the 19th century, Felix Mendelssohn Bartholdy maintained an extensive correspondence. With great style and eloquence he wrote letters to friends and family, letters from his travels and he also wrote to leading composers, musicians, artists as well as publishers. He corresponded with famous contemporaries such as Robert Schumann, Franz Liszt and Richard Wagner as well as Johann Wolfgang von Goethe, Carl Friedrich Zelter and Alexander von Humboldt. The correspondence begins in 1816 and ends in 1847 with the composer’s death. These letters are invaluable documents shedding light not only on the genesis, publication and revision of his musical works, but also on a period when relations between Christians and Jews still had a chance to become harmonious, as Moses Mendelssohn, the imminent scholar and grandfather of the composer had advocated. This edition will therefore be of great interest far beyond the circles of musicologists and music specialists. It will appeal to those who are interested in the history of culture and ideas and to those who perceive Mendelssohn and his family as representatives of a unique, diverse cultural epoch. The complete correspondence shows that Mendelssohn not only went on to become one of the leading figures of German musical culture in the 1840s, but that he also maintained a network of musical contacts throughout Europe. The edition of the complete letters This scholarly-critical complete edition comprises 5,855 letters by Felix Mendelssohn Bartholdy. Previously only a small part of his correspondence had been published and made accessible to the public. The complete edition is based on Mendelssohn letters which have been compiled over decades by Rudolf Elvers as well as on international research carried out by an academic workgroup in Leipzig spearheaded by chief editors Helmut Loos and Wilhelm Seidel. They determined 500 additional letters hitherto unknown. Versions of the letter texts have been compiled from a scholarly-critical analysis of the sources, their historical context has been discussed and comments on all points in need of explanation have been made. This edition of the complete letters consists of 12 volumes and a CD-ROM. Each volume contains indices of mentioned individuals and institutions, compositions by Felix Mendelssohn Bartholdy and Fanny Hensel as well as a register of place names and currencies. In this way one obtains an all-encompassing view of this unique historical cosmos. The Complete edition has been produced to the highest standards in terms of layout, cover and binding. It is an ideal collector’s item for bibliophiles, providing an excellent means for studying the composer and the period in which he lived. The CD-ROM forms a valuable addition to the printed volumes. It offers the complete printed edition in the form of pdf. files, thereby making its approximately 9,500 pages digitally accessible and enabling letters and the corresponding commentary to be read in parallel. All terms can be located quickly and conveniently via a full text search. (The 12 volumes as well as the CD-ROM can only be purchased complete). - German text only

SEK 16743.00
1

Pro Tools- MTRX Base unit with MADI and Pro Mon : Hardware

Tre Sentimenti : Three Moods for Bass Clarinet and Symphonic Band

Tre Sentimenti : Three Moods for Bass Clarinet and Symphonic Band

Deep Field : Adapted for Wind Ensemble, Choir, and Smartphone App

Les Indes Galantes RCT 44 : Ballet Heroïque With A Prologue and Four Acts

Teaching Music through Performance in Band: Bundle : Volumes 1-11 books and CDs

Faust : Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second version)

Faust : Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second version)

Charles Gounod’s “Faust” secured its international recognition in the version as an entirely sung opera, which from thenceforth has largely obscured the fact that the work was originally composed with spoken dialogues. The earlyversions staged prior to the 1869 performance at the Paris Opéra containing substantial unknown material and with dialogues and melodramas are the subject of this new edition. (The third version “version opera” was published in aseparate edition BA 8713 in 2016.)Even as the rehearsals were taking place at the Théâtre-Lyrique in 1858, during the first series of performances at the theatre in 1859, furthermore as the 1862 revival was approaching andduring the performances on the smaller stage at the Place du Châtelet, there were constant changes and revisions. It is, thus, impossible to identify manifestly definitive versions. Nevertheless, by drawing on the entire sourcematerial now at hand (including fascinating material only recently discovered) and on the whole gamut of aspects communicated by the reception, Paul Prévost systematically presents us with a score laid out in two main versions inwhose chronology constancy and change become transparent. With all the musical changes having been documented, the result is a practicable score for performances which reveals a still far too unknown “Faust” – a “Faust” that isrooted in the tradition of the opéra comique.Quite a few musical numbers are published as a score for the first time in this edition: the trio for Faust, Wagner and Siebel “À l’étude ô mon maître”, the duet of Valentin andMarguerite “Adieu, mon bon frère!”, Méphistophélès’ air “Maître Scarabée”, Siebel’s romance “Versez vos chagrins dans mon âme!”, Valentin’s air with chorus “Chaque jour, nouvelle affaire”, the chorus of witches “Un deux et trois”,and also seven melodramas whose missing or incomplete orchestration has been written for our edition. It was only recently that the long-lost second part of Faust’s original cavatina “Salut! demeure chaste et pure” was unearthed.Only in details of orchestration do other numbers differ from the well-known pieces.

SEK 15141.00
1