Songs, Volume VI (Opus 49, 50, 51): Vocal Score with English and Russian Text: 6 (Kalmus Edition)

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Moderne Psalmen. Mainz: B. Original publisher's stiff light green printed wrappers with facsimile autograph title to uppers: "Moderne Psalmen von Arnold Schoenberg. Printed note to lower right corner of last page: "Stich und Druck von B. Not paginated. Schoenberg's last composition; although it remained incomplete, Schoenberg assigned it an opus number. The edition was the work of violinist Rudolf Kolisch , the brother of Schoenberg's wife Gertrud, then professor at the University of Wisconsin—Madison and first violinist of the Pro Arte string quartet.

The composer had entitled each of the individual texts either 'Psalm' or 'Modern Psalm' and given them the collective title of 'Modern Psalms,' presumably with the intention of setting them to music; at the time of his death on 13 July , however, he had composed music only for the first text, now simply referred to as 'Modern Psalm,' op. November ," photographically reduced. Printed on coated paper. Titling to upper wrapper: "Universal-Edition No. Former owner's signature in ink to upper right corner of upper wrapper: "[? Corners bumped; small edge tears to first leaves; final leaf creeased and torn at margins.

Harmonically, there are further refinements of the phenomena of expanded or 'floating' tonality, first produced by Wagner in Tristan… The way in which Schoenberg unfolds the themes of the Gurrelieder, the nature of his thematic work, and the formal layout of the whole work show him already far beyond Wagner's. However, Schoenberg soon saw wider possibilities in the text He therefore decided to connect the songs he had already composed those in the first two parts of the finished work with symphonic interludes and set the whole poem as a vast cantata employing several soloists and a huge chorus and orchestra.

Schoenberg encompassed all this in a series of tableaux of extraordinary magnificence. Neighbour in Grove online. Modern quarter mid-tan calf with marbled boards, original publisher's light green printed upper wrapper bound in. November Upper wrapper slightly browned and stained, professionally repaired; lower lacking. Minor repairs to edges of final leaf. Fritz Soot was a German tenor.

After singing a minor part at the world premiere of Strauss's Elektra , he emerged as a leading singer in the s. He performed Schoenberg as early as Vossische Zeitung, Berlin, November 17, , and was considered for the part of Waldemar at the world premiere of the Gurrelieder Schoenberg's letter to Soot of November 18, It is not known whether he sang the part on a later occasion. Richard Kraus , a German conductor, spent his entire career in his native country; in , he took his first appointment in Kassel.

Original publisher's brown boards with embossed lettering in gold. Small printed bookseller's label to lower left corner of verso of upper board. Spine and edges of boards reinforced with brown plastic tape, obscuring titling to spine. Upper outer corners slightly bumped and dampstained. With the autograph signature of the composer in black ink to foot of title and "No. Signed and Numbered by Schoenberg First Edition in this form, limited to copies. Hilmar: Arnold Schoenberg Gedenkausstellung , no. It was printed to stronger paper and bound in hard boards of cardboard coated with brown marbled paper.

The upper board of this special edition bears gilt title words In the present edition, which includes a number of corrections from the published autograph, the engraver tried to minimize the number of staves. Schoenberg was not satisfied with the result, as numerous autograph corrections and annotations to his three personal copies demonstrate. Still, it remained the final edition of the work in Schoenberg's lifetime, and the composer used it, with the aforementioned corrections, for his performances.

A facsimile of Schoenberg's manuscript fair copy of the full score was published by Universal-Edition in The piano-vocal score, prepared by Alban Berg, was published in U. Modern quarter mid-tan calf with marbled boards, titling to spine gilt. Rufer p. Lied Toves: "Nun sag' ich Dir zum ersten Mal. Slightly worn; edges slightly browned. First Edition of this separate number. The bibliographical reference works do not record the four separate numbers of this series, only Berg's piano-vocal score as a whole published ; U.

First Edition, later issue of this separate number. Lied Waldemars: "So tanzen die Engel. Original publisher's green wrappers. Some offsetting; closely trimmed, with slight loss to caption title and pagination of p. BERG, Alban Leipzig-Wien: UniversalEdition [Nr. Original publisher's wrappers with titling within decorative art nouveau lavender border. Wrappers somewhat foxed and frayed at spine and edges. Upper wrapper creased to lower right corner. The most recent item in the publisher's catalogue is the score Kammersymphonie, op.

As the contents of the first two pages illustrate, the publication originated as the program for the work's premiere in Vienna. As it was wider in scope than was regarded necessary, Berg later distilled - 65 -. Leipzig-Wien: Universal-Edition [Nr. Original publisher's decorative wrappers with decorative art nouveau border printed in lavender. Frontispiece reproduction photographic portrait Schoenberg. Later edition the first edition of the "Kleine Ausgabe" dates from Later edition. The most recent item in the publisher's catalogue is the score of the Variations for Orchestra, op.

Original publisher's textured paper wrappers. Plate number to final page of music only. Printer's note to final page of music: "Stich u. Druck von B. Former owner's signature, "F. Cohen ," in ink to upper right corner of title and upper right corner of upper wrapper. Binding slightly worn and fragile; tear to spine; lower corners slightly bumped.

Very slightly browned. The ideas that gave rise to it occupied him for many years before its composition, and their dramatic expression called forth music of immense power and diversity About —3 he began planning two works in which conflicting aspects of spiritual revelation were to be symbolized by Moses and Aaron.

In the first, the prose drama Der biblische Weg —7 , which deals with political aspirations in a modern setting, the downfall of the chief protagonist comes about through his attempt to combine the principles of both Moses and Aaron. The second, a cantata to be called Moses am brennenden Dornbusch, was expanded to a full-scale oratorio text entitled Moses und Aron —8 , and transformed into an opera libretto in The first two acts were composed between and , but the third hung fire, and although to the end of his life Schoenberg frequently spoke of setting it, he never did so.

Arranged by Schoenberg Titling of upper wrapper identical with title except for abbreviated imprint. Upper wrapper soiled; reinforced at spine with brown paper. Slightly worn and soiled; small tear to inner margin of pp. The print run was 97 copies; there were no further editions or issues in Schoenberg's lifetime.

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Anton Webern, who conducted a performance in Vienna the following day, enthusiastically reported to his teacher: 'What an undescribable sound! Lord God, how the end of the fugue sounds! Half dark brown cloth with decorative paper boards. Some light pencil markings pp. Browned; one leaf stained; small hole to one leaf with loss of one letter; tears to final two leaves repaired. Reese Fourscore Classics of Music Literature, Damschroder and Williams, p. The most famous of Schoenberg's treatises, intended as the composer's counter-proposal to other textbooks, mostly written by theoreticians either inactive or insignificant as composers.

While mostly concerned with the "common practice" major-minor system, the book also describes post-tonal practices as found in the compositions of Schoenberg and his students.


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The fruit of his rich experience as a teacher The presentation is vivid and stimulating, mainly because of the numerous polemical and speculative side remarks which are valuable not only for their bearing on the subject but also for the insight they afford into the creative personality of one of the most influential musicians of our time. Volume I: 1f. Volume II: pp. Volume III: [] pp. Titling to upper wrappers based on title page but with notes "I. Publisher's numbers "Universal-Edition Nr.

Handstamp "Made in Germany" to foot of all three upper wrappers. Spine of Volume I mostly detached and partially lost; slightly frayed; lower wrapper of Volume III creased at lower outer corner. Slightly browned. An uncut copy, with some leaves unopened. Third edition, special issue. Very scarce. Published exclusively for Schoenberg's students and disciples in a, presumably, quite small print run.

The handstamp "Made in Germany" is somewhat enigmatic, as the printer noted to the verso of the title is the same Viennese company, Graphische Verlagsanstalt Paul Gerin, as in the standard third edition. While predominantly concerned with the "common practice" major-minor system, the book also discusses post-tonal practices as found in the compositions of Schoenberg and his students. The third edition, which describes itself as "vermehrt und verbessert" enlarged and improved , is the final version of the book.

Among the many additions to the first edition , there is a brief passage on dodecaphony, the method of post-tonal composition that Schoenberg developed at the time footnote to p. It was the first time Schoenberg introduced the idea to the public. Full dark red cloth with printed paper label to spine.

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Lacking "Beilage A" containing example , intended for insert at ca. In very good condition overall. Third Edition. Handstamp to foot of upper wrapper: "Antiquarisch. First and only Edition. Erwin Stein was a student of Schoenberg. His book is a detailed table of contents to be used in connection with the third edition of Schoenberg's Harmonielehre, whose table of contents is rather concise.

It includes references to pages, lines the lines in Schoenberg's book are numbered , and illustrations. Following this editorial work, by Stein compiled, at Schoenberg's suggestion, a 'Praktischer Leitfaden zu Schoenberg's Harmonielehre' Practical guide to Schoenberg's harmony textbook. This extremely helpful book offers, in the form of a table of contents, an 'easy overview of the curriculum' and thus remedies the long-windedness of the textbook that Schoenberg himself [in his foreword to Stein's book] had recognized.

Berg, Alban et al. Horwitz Heinrich Jalowetz W. Webern Egon Wellesz. Original publisher's brown paper boards. With musical examples in text. Spine slightly frayed. A collection of essays by students and friends of Schoenberg devoted to all aspects of Schoenberg's work: his music, harmony textbook, paintings, and teaching.

Schoenberg expected unconditional discipleship from his students and friends, but the degree of devotion displayed in this book, summed up in its dedication, uncharacteristically embarrassed him, at the time only 38 years old: "I feel I am being talked about in really much to effusive a way. I am too young for this kind of praise, have accomplished too little and too little that is perfect Were I not spoiling the joy of my students by doing so, I might possibly have rejected the book. On the other hand, however, I was so overwhelmed by the great love which shows in all this And I was proud as well.

Krug, Walther ? Die neue Musik. Original publisher's decorative wrappers printed in olive green and black. Numerous annotations in pencil. Wrappers slightly worn and soiled with slight loss to upper; portrait of Schoenberg detached.

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An uncut copy, some leaves unopened. A polemic assessment of the music of the late nineteenth and early twentieth century. Taking a German nationalist, Christian conservative, anti-Semitic point of view, the author advocates a return to the idea of absolute music; for him, J. Bach is the greatest composer of all time. Wellesz, Egon Original publisher's decorative paper boards. With folding facsimile of a sketch leaf for the 5 Orchestral Pieces,. Preserved in a custom-made brown cloth-covered folding box with black leather title label gilt to spine. Binding slightly worn and browned.

Lower outer corners of first few signatures slightly dampstained; annotation in pencil to p. With an autograph inscription from the author to Anton Webern to upper right corner of recto of first sheet in pencil dated February 1, "Anton v. Webern in aufrichtiger Gesinnung Egon Wellesz 1 Februar In , Egon Wellesz was one of Schoenberg's first students, perhaps even his very first.

Unlike Alban Berg and Anton von Webern, he soon parted with his teacher to focus on musicology. He continued to compose prolifically, and even though he cultivated a more traditional idiom, his veneration for Schoenberg and discipleship to him remained unbroken, as attested to by the present volume. Limited to 50 Copies Signed by Schoenberg Armitage, Merle, ed. Schirmer, Original publisher's quarter decorative black cloth boards with titling embossed to upper, black leather title label gilt to spine. With copyright statement to front free endpaper. One of only 50 special copies, each signed by Schoenberg on the half-title.

Marks in pencil to pp. Binding slightly worn. Browning to edges of endpapers and first few leaves; several small stains. The first trade edition was also published in The present copy, designated by the publisher as the second edition, might actually be more accurately described as a first edition, special limited issue. Self-educated, he began his varied career as a civil engineer for the Kansas City, Mexico, and Orient railroad.

He next worked as a designer of sets and costumes in the theatre world of New York City. From designing he moved on to become an impresario, managing the concert tours of many leading performers. His clients include such artists as: John McCormack, Mme. He co-founded the Los Angeles Grand Opera Association in , and served as its general manager for eight seasons. From to he was manager of the Philharmonic Auditorium in Los Angeles. He was a book designer and author, with over one hundred books to his credit.

Special issue in honor of Schoenberg's 75th birthday. With loosely inserted leaf with portrait of Schoenberg. Browned; brittle and slightly frayed at spine and edges; upper outer corner bumped. An attempt to introduce Schoenberg to wider musical circles in Australia.

Mexico, D. Nuestra musica 7, nos. Schoenberg's article, dated "," to pp. Lower wrapper slightly creased.

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The text is accompanied by a note by Schoenberg's student and assistant Richard Hoffmann born The original title of the text if any , its original language, and its translator are not identified. Martens, Frederick H[erman] Little Biographies New York: Breitkopf Publications, Inc. Original publisher's stiff brown printed wrappers with portrait of Schoenberg to upper. Despite its small size, the present work is noteworthy as the first English-language monograph on Schoenberg. A group of 4 publications related to Schoenberg. Various places: Various publishers, [] Wien, April 1, Several manuscript annotations in pencil to song texts.

The program includes performances of Schoenberg's Chamber Symphony, op. The latter performance was a world premiere. Paris, January Original publisher's dark yellow wrappers. In French except for Byron's poem. Wrappers slightly soiled; slightly worn, browned and creased; remnants of label to verso of lower wrapper.

Limited to copies, this no. Beyond the composers mentioned above, the works of Alban Berg, Anton Webern, and Paul Dessau were also represented in the program. New York: Universal-Edition [Nr. Original publisher's dark gray wrappers with gold titling to upper. Printed on fine laid cream-coloured paper.

First Edition of this compilation. While there is no printed statement of limitation, the physical nature of the present publication would lead us to believe that the print run would have been quite small. The texts of Totentanz der Prinzipien and the Requiem appear here for the first time.

The preface states: "These are texts, that is: they will yield something complete only in connection with music. The oratorio Die Jakobsleiter remained unfinished at the time of Schoenberg's death; the music to Totentanz der Prinzipien and the Requiem survives in fragments only. The composers Franz Schreker and Schoenberg were close friends. An unfortunate combination of anti-Semitic propaganda, aesthetic issues, and artistic failures forced Schreker out of office in New York: UniversalEdition [Nr.

Together with: Hauer. New York: Universal-Edition With 12 unnumbered pages of musical examples loosely attached to lower wrapper. Wrappers detached and frayed at edges with some loss to upper. Browned; bumped at upper outer corners. First Edition of both volumes. The dedication of the first volume to Schoenberg, who had developed his own method of twelve-note composition, is remarkable as the two composers would later become completely estranged. His Vom Wesen des Musikalischen was first published in and in it he clearly states that a piece should employ all 12 notes before any is sounded again Years before the note theoretical writing of Eimert, E.

Stein, and F. Klein, Hauer had set forth the basic principles of his approach in print. Autograph letter signed in full to Hugo Balzer. Dated June 10, Villach [1]". Together with autograph envelope addressed to Balzer at the Stadttheater in Freiburg with Berg's handstamp to verso with his address on Trauttmausdorffgasse 27 in Vienna. Creased at central fold and very slightly at margins; upper right corner of envelope lacking where stamp has been removed; Berg's name in another hand to address panel.

Berg thanks Balzer for his recent letter, and tells him that he has also written to [Ferdinand] Kirnberger, Finance Minister of the state of Hesse. He expresses his hope for Balzer's appointment as music director in Darmstadt. You probably have my letter of June 5th by now In the same mail I wrote to Fin[ance] Min[ister] Kirnberger. Hopefully success! Please keep me in the loop. At once a modernist and a Romantic, a formalist and a sensualist, he produced one of the richest bodies of music in the 20th century, and in opera, especially, he had few equals.

Berg's campaign was successful; the opera was produced in Darmstadt in Berg on Wozzeck Typed letter signed "Alban" to composer Paul von Klenau. With the original envelope postmarked September 23, [19]29 with Klenau's name and address in Copenhagen and Berg's return address in Vienna typed in red ink to verso.

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Several small corrections, presumably in the composer's hand. Very slightly worn; creased at fold; envelope slightly worn and soiled. Berg reacts to Klenau's announcement regarding a performance of the Three Fragments from Wozzeck in an unspecified location. He encloses the sung text of the fragments enclosure not included and expresses his wish to meet Klenau again in Vienna during the next season, when Wozzeck will be staged there. And it doubly pleases me that you are going to do the Fragments from Wozzeck Strangely, just today, browsing through old sheet music, I found a program leaf with the texts of the Fragments that you may perhaps make good use of for the performance.

Maybe such a program insert would be welcome to an audience not really be informed about Wozzeck For this season I will have — listen and marvel I myself marvel most of all — eight to ten stages for Wozzeck. Even Vienna among them! Scherchen premiered the Fragments in Frankfurt on June 11, Paul von Klenau was a Danish composer of German descent who trained in Germany and spent most of his creative life there.

From the s, he was close to Schoenberg's circle and adopted its dodecaphonic techniques. His last completed work, the symphony, received its premiere in Copenhagen in March , almost seventy years after its composition. Original publisher's light green wrappers printed in dark green. Printed note to lower right corner of final page of music: "Weag" [Waldheim-Eberle A. Wrappers slightly worn, frayed at spine, and partially detached. Some very light soiling and staining; corners of some leaves very slightly creased.

First Edition, later issue the first issue was published in October of Berlin Rob. August ]. In original decorative wrappers.

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Printed note to foot of title: " 'In die Universal Edition aufgenommen. Wrappers slightly worn; frayed at spine. First Edition, later issue With autograph inscription to Anton von Webern signed "Alban" and with extensive performance markings in Webern's hand. Decorative mosaic paper boards with original publisher's printed wrappers bound in.

With title in German, French and English. Preserved in a custom-made blue cloth folding case with dark brown leather label titled in gilt to spine. With spine label titled in gilt hinged to front free endpaper. Upper wrapper creased, lower soiled. Slightly foxed; outer movements pp. Wolf, Wien. With an autograph inscription from Berg to Anton Webern to blank page preceding music: " Meinem lieben Toni zum 3. Manuscript annotations in Webern's hand in blue and green pencil to lower left corner of same page: "Dirigiert 1.

London, BBC am These concerts were conducted by Webern, which confirms his authorship of the annotations. Webern's conducting score of the work, hitherto unknown. While Webern's performances of the work at the BBC are documented in the extant literature, the fact that he omitted the second movement on these occasions, evident from the present score, has not been recorded. The original Lyric Suite for string quartet was written in and premiered in The three movements of Berg's arrangement for string orchestra correspond to movements 2, 3, and 4 of the original.

Berg did not orchestrate the other three movements. The annotated score reveals that the six movements of the Lyrische Suite document the love affair between Berg and Hanna Fuchs-Robettin, the wife of a wealthy Prague businessman and the sister of Franz Werfel. The mosaic pattern of the decorative paper boards used in the binding of this item is the same as that used in the binding of a signed copy of the first edition of Arnold Schoenberg's Klavierstueck op.

It can thus be safely assumed that both of these volumes were bound by the same person, in all likelihood Schoenberg. Tipped-in frontispiece with photographic reproduction portrait of Alban Berg from the studio Pietzner-Fayer. Printed footnote to p. Former owner's signature in ink to upper right corner of upper wrapper: "Artur Holde. Upper outer corner slightly bumped. Fingerprints to verso of lower wrapper. First Edition of the study score. All copies in WorldCat are dated although the publisher's catalogue is dated The present edition is a photographic reduction of the full-size score, which was published in The second plate number refers to the Wiener Philharmonischer Verlag, a company founded by Universal executive Alfred Kalmus in and absorbed by Universal in Artur Holde was a German conductor and music critic.

Being Jewish, he emigrated to the United States in He became a staff editor at the German-Jewish exile journal Aufbau, then based in New York, and later worked for the U. State Department. Inscribed by Berg to Zemlinsky Quarter dark green cloth with marbled boards, dark brown leather label gilt to spine, original publisher's upper wrapper printed in dark green bound in. Wien" pp. Plate numbers flush with outer edge of printed area on pages with footnotes or ossias; shortened to "B4" on p.

Upper wrapper professionally repaired; lower lacking. Leaves through p. Some offsetting; ink stains to lower right corner of pp. With the composer's autograph inscription to Alexander von Zemlinsky in black ink to lower right corner: "Alexander von Zemlinsky in tiefer Verehrung Alban Berg Dez. First Edition, pre-dating the publication of the full score by Universal-Edition in The arranger of the present edition, Fritz Heinrich Klein , was a student of Berg; the publication of the score was enabled by the financial support of Alma Mahler.

Its Viennese premiere, in , prompted Berg to compose his opera—the first atonal opera in history and arguably the most successful one to this day. The world that the opera presents is a projection of the tortured mind of Wozzeck himself: a world without normality or humanity and peopled by grotesques, a haunted world of strange, hallucinatory voices and visions and of natural phenomena indifferent to the human tragedy being played out.

As a teacher, his pupils included Berg, Schoenberg and Webern. He conducted a fragment of Wozzeck in , the same year in which the complete work was first performed at the Staatsoper in Berlin. Facsimile of the composer's autograph fair copy. Title, part titles, and pagination typeset.

The work is set for solo violin, solo piano, and 13 wind instruments: piccolo doubling flute 2 , flute, oboe, cor anglais, clarinet in E-flat, clarinet in A, bass clarinet in B-flat, bassoon, contrabassoon, trumpet in F, two horns in F, trombone either tenor or bass. All parts are notated at pitch. Analytical notes in pencil in an unknown hand: letter "B" in pencil to measure p.

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Upper wrapper slightly worn and frayed; spine reinforced with brown paper tape. Slightly worn; some leaves detached; final leaves and lower wrapper lightly dampstained at lower edge. It is, perhaps, both the most forbidding and one of the most fascinating works in his output Important structural elements are determined by extra musical programmatic considerations. Double copyright notice to foot of p. Upper wrapper creased; remnants of tape to spine. First Edition, later issue the first issue was published in Original publisher's wrappers printed in dark green.

Geburtstag", [iv] blank], music , [i] blank pp. Printed note to lower right corner of final page of music: "Waldheim-Eberle A. Rust stains to gutter from early staples; some signatures partially detached; several pages reinforced with paper tape at inner margins. Hirsch IV, The only music of Berg's second opera published in the composer's lifetime. The full score of the incomplete opera, lacking the third act, was published posthumously in Friedrich Cerha incorporated them into his version of act 3, first performed in the Paris production of the opera.

It was probably the last time Berg's music was publicly performed in Nazi Germany. Violinkonzert Partitur. Wrappers slightly browned. The double dedication—to Krasner and the "memory of an angel"—is noteworthy. The "angel" is Manon Gropius , daughter of Alma Mahler-Gropius and Walter Gropius , whose early death from poliomyelitis shocked Vienna. Having emerged in the discourse of suburban American iterations of punk in the late s, hardcore music has become an important cultural resource for groups around the world.

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It impacts vital biological roles such as cell-cell interactions, recognition events, host and pathogen Laser Produced Plasmas LPP are a better source to increase the energy cut-off of the harmonics generated due to their larger ionisation potential than the conventional neutral gas media, if optimised properly. This study investigated the general shape of development underlying reading to innovate in writing R2IW performance in university-based English language learning contexts. To achieve the aim of this study, three sub Well-being in the workplace epitomises the positive aspects of the physical, psychological, and social workplace experiences of individuals Winter, Concern about workplace well-being for academics is becoming Universities play a significant role in creating a sustainable future, and green campus buildings can make a valuable contribution to the spread of sustainability education.

Tillinghast Duo.. Concerto for Orchestra. Piano Sonata. Night Fantasies.. Warp, for Chamber Orchestra. The Day the Sun Stood Still.. In Real Time. Duo for Violin and Piano.. Orchestra Piece.. Trio pour piano, violon et violoncelle. EAS p. Piece pour.. Rhapsody for Violin and Piano.. Bits and Pieces.. Rhapsody for Piano. Sechs Vermessene. BA Basler Massarbeit. Concerto for violoncello and orchestra. Ramifications, for string orchestra or 12 solo strings.

Funf Gesange. A Sonata for the Piano.. Fantasy for Piano.. Six Poems by Sylvia Plath.. Feininger Impulse. Zyklus fur Klavier.. Klaviertuck XII.. River Beneath the River.. Cloud of Stars.. Jagged Mesa.. Quartett: Kammeroper nach einem Stueck von Heiner Mueller. Scores by Schoenberg, no annotations. Suite for String Orchestra Brettl-Lieder Cabaret songs Voice and piano. Lied der Waldtaube aus den"Gurreliedern". Moderne Psalmen.

Six Orchestral Songs, op. New Version. Prelude, op. Komm, Gott, Schopfer, heiliger Geist. Schmucke dich, o liebe Seele. Scores by 20th Century composers, with and without Stein's annotations. Three Songs from William Shakespeare [full score]. Three Songs from William Shakespeare [parts]. Berceuses du chat: chant et piano. In Memoriam Dylan Thomas. Trois Petites Chansons souvenir de mon enfance edition russe de musique.

Trois Histoires Pour Enfants Chant et piano. Three Songs from William Shakespeare vocal score. Fragments from the Surrounding Evening piano solo. Szopran-Klarinet Kettos duo for soprano and clarinet. Four 6 for any way of producing sounds vocalization, singing, playing of an instrument or instruments, electronics, etc. Jane Grey: balladen fuer ein Baritonstimme und Clavier. Die Magd. Partita Traum Bewegung fuer grosses Orchester Teil I Double Concerto. Symphony no. Chansons Madecasses. Chansons Madecasses transcription. Trois poemes de Stephane Mallarme transcription. Deux poesies de K. Balmont edition russe de musique.

Trois poesies de la lyrique japonaise edition russe de musique. Die Laterne. Two poems from"Pierrot Lunaire" set for"Pierrot" ensemble.. Not only night.. Im Spiegel. Pierrot Lieder. Pierrot Songs. Rot und Weiss. Quatuor pour 2 violons, alto et violoncell, op. Music for Piano Concerto for two pianos.. Die Violine. Looking Back at Faded Chandeliers. Die Kirche. Mein Bruder. Bohmischer Krystall.


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Aventures - Notes. Evocation No. Jeux 6 UE Konzert Op 24 Philharmonia No. Nouvelles Aventures Edition Peters No. Nouvelles Aventures - Notes. Octet UE L. Oedipus Rex B. Palmstrom UE Plus Minus No. Septet B. Sonate AV String Quartet No. Theme et Variations AL Tropi: Per Complesso da Camera S. Variations: Aldous Huxley in Memoriam B. Essay 2: per clarinetto basso S. Gymel: Per Flauto e Pianoforte S. Sequenza V UE Piano Piece.

Study 1 for piano. For Brass. String Trio. For Guitar. Study III for piano. Trio for Strings. Trio Basso Version.. Miroir de Votre Faust Henri Pousseur. June Avion Votre Faust Miroir. May, December 5, Ichiyanagi Situation. April 9, Utrecht: Schat, Shinohara, Koenig. India, Shenai and Flute. Cardinitas 68 by Robert Erickson.

KPFA piano concert. August 9, Meet the Performer Part 1 of 2. October 2, Meet the Performer Part 2 of 2. Stockhausen lecture examples 1. January 15, From Stockhausen's Tape. November 30, Maxfield Peripateia. January Luciana Berio"Seguenzas". Stockhausen Lecture 2. Zeitmusse Kontrapunkte. Maxfield Vol. Prelude No. Subotnick Prelude 4 Performance. Bonley Interview.

May 12, Boulez Encounters. June 4, Physical Characteristics and Technical Requirements. Settings from Pierrot Lunaire. Scope and Content. Time Texture. In the Air. From the Left Edge. Piano Spheres presents Leonard Stein pianist in Concert. April 24, Trio for Strings Version for Two Violins and Two Cellos Works for Cello and Piano Part I.. February 19, Carter Examples for Lecture in Barcelona. July 17, Carter: String Quartet 4. July 26, Carter: String Quartets No.

Ferruccio Busoni Sonata No. November Perspectives of New Music Vol. Schoenberg Centennial U. September 14, September 15, Voices of Our Time. May 28, Weill Recital Hall Schoenberg Concert. April 23, Pierrot Project.. June 24 La Monte Young. Marian Zazeela. Program Notes. June 23, Sound and Light: La Monte Young. Search OAC. What is OAC? Collection Title:. Leonard Stein papers, View entire collection guide. PDF Entire Collection Guide.

Online Items. Table of contents. Container List. Printed scores. Verklarte Nacht, op. Physical Description: 51 p. Physical Description: p. String Quartet no 1, op. Physical Description: 80 p. Physical Description: 61 p. General note Publisher no. Physical Description: 63 p. Physical Description: 60 p. Physical Description: 78 p. Arnold Schoenberg. Christmas ". Physical Description: Physical Description: vocal score.

Leonard Stein, assistant to Arnold Schoenberg in school and home! March 10, ". String Trio, op. General note In pencil on cover"original version". Ode to Napoleon Buonaparte, op. General note "My music for your English! Thanks, yours, Arnold Schoenberg, April ". A Survivor from Warsaw, op. General note "To: Leonard Stein, remembering his fine performances. Cordially, Arnold Schoenberg. October ". This is why you deserve this score. Thank you. Yours, Arnold Schoenberg, July ". General note 2 copies. General note Four photocopies of Unentrinnbar. Various editions. General note Score and ms.

General note 3 copies, parts and notes laid in. General note File of notes, translations, ms. Leonard Stein with many thanks for helping me with my lectures. April

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