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19527246
19527246
19527246

Violin Concerto

In Memory of an Angel - Urtext

By Alban Berg

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Violin, orchestra (solo: vl - 2.2.cor ang.2.B-clar.A-sax.2.dbl bsn - 4.2.2.1.- timp.perc(2) - hp - str)
In Memory of an Angel - Urtext. Composed by Alban Berg (1885-1935). Edited by Michael Kube. Arranged by Jan Philip Schulze. Edition Breitkopf.

In Cooperation with G. Henle Verlag

Early 20th Century. Piano reduction. Breitkopf and Haertel #EB-10821. Published by Breitkopf and Haertel (BR.EB-10821).

Item Number: BR.EB-10821

ISBN 979-02018-0821-5. 9.5 x 12 in inches.

In Cooperation with G. Henle Verlag. The study scores (,,Studien-Editionen) remain within the G. Henle Verlag and can be ordered there.

The tragic circumstances surrounding the origin of the concerto are well known: Manon Gropius, the daughter of Berg's friend Alma Mahler, died of polio after the composer had written the first sketches to his violin concerto. In remembrance of her, he dedicated the work to the memory of an angel. Later, Berg decided to incorporate into the score the Bach chorale Es ist genug as a quote. He also worked on the solo part directly and intensely with the American violinist Louis Krasner, who had commissioned the work. Berg was no longer able to witness the first performance and the first edition of the concerto since he passed away in late 1935. This new edition is the first Urtext version of Berg's work, which was created in the midst of a spate of epoch-making violin concertos by Stravinsky (1931), Schoenberg (1936), Prokofiev (1937), Bartok (1938), Hindemith (1939) a. o. Errors from the first edition were corrected after an in-depth comparison with the autograph score, the short score and, in some cases, with the twelve-tone row structure.

The entire performance material can be purchased; however, due to copyright reasons, the score and orchestral parts are not available in Spain and the United States.

Werden die Urtextausgaben von Breitkopf & Hartel aufgrund ihres hellblauen Umschlags augenzwinkernd die Himmlischen genannt, so ist dies in Bezug auf die neu vorgelegte Partitur Programm. (Florian Henri Besthorn, neue musikzeitung)

Die Gangster Seth (George Clooney) und Richard Gecko (Quentin Tarantino) sind auf der Flucht. Auf dem Weg nach Mexico nehmen sie den vom Glauben abgefallenen Prediger Fuller und dessen Kinder als Geiseln. Unterwegs geraten sie in die Bar ,,Titty Twister nicht ahnend dass die Spelunke von Vampiren bevolkert ist ...

Nun ja zieht man davon allen filmischen Klim Bim ab bleiben einige typische Reste: das Abgeschlossene immer neue dramatische Zweierkonstellationen das Tote- immer wieder aufwachend die Verwandlungen die Unruhen und Vernichtungen die vor Vernichtung nur so strotzende Endverwustung usw. ... Im Grunde ein Ruinenmythos in dessen Struktur die Elemente austauschbar sind. Man konnte ihn auch erzahlen mit ,,stimmiger Materialkonzeption ,,historisch obsolet ,,veraltet ,,Unabgegoltenheit ,,aufbrausender Abschaffung ja geht denn immer wieder alles??? Schon dass das nur in einer Bar stattfindet und dass diese Bar uns mit attraktiver Leuchtschrift einladt ins ,,Titty Twister. Unruhige Natur und Schonheit sind heute in der Spelunke zu Hause. Das erleichtert uns die Leichtigkeit am Spass am Sein. Und heute gibts ein Sonderprogramm ... mein Stuck: ,,Titty Twister fur Akkordeon Viola Nepalesische Klangschale Flipperkugeln und Minidramoletts.

Alles Ausdruck oder was???

(Nicolaus A. Huber 2009)

CD:
Anton Hubert (Va) Wolfgang Dimetrik (Akk)
CD Gramola 98922 The gangsters Seth (George Clooney) and Richard Gecko (Quentin Tarantino) are on the run. On their way to Mexico they take the apostate preacher Fuller and his children hostage. On their journey they end up in Titty Twister Bar not suspecting that it is peopled by vampires ... Well after deducting some film junk some typical elements remain: what is past and over constant new dramatic pair constellations what is dead and constantly reawakening the transformations the troubles and destructions the final annihilation teeming with destruction etc. Basically it is a myth of ruin in whose structure the elements are interchangeable. It could also be told with a coherent material concept in a historically obsolete manner in an old-fashioned way with non-compensation with flaring abolition - yes does everything always work??? It is good that it only takes place in a bar and that the bar invites us into Titty Twister in attractive neon writing. Restless nature and beauty are at home in the bar today. That facilitates for us the effortlessness of having fun in life. And today there is a special programme ... my piece Titty Twister for Accordion Viola Nepalese Singing Bowl Pinballs and Mini Dramolettes It's all expression isn't it??? Nicolaus A. Huber (2009)

CD:
Anton Hubert (Va) Wolfgang Dimetrik (Akk)
CD Gramola 98922.

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