French Horn

Neben dem 1. Klavierkonzert und der Suite für Bratsche und Klavier gehört dieses ungewöhnlich besetzte Concertino zu den frühesten Werken, die Winterberg nach seiner Übersiedelung von Prag nach München 1947 komponierte. In diesem Jahr hatte Fritz Rieger, sein alter Studienkollege in Zemlinskys Dirigierklasse, Winterbergs 1934/35 in Prag entstandene Sinfonie Nr. 1 in Mannheim uraufgeführt - es war die wichtigste Aufführung eines Werkes des Komponisten bis dato, und Winterberg konnte nach der "Stunde Null" nicht nur auf einen Neuanfang hoffen, sondern auf den eigentlichen Beginn einer Karriere, die ihm in Prag ab 1939 durch die Verfolgung und Inhaftierung aufgrund seiner jüdischen Abstammung verwehrt geblieben war. Im Gegensatz zu gewichtigen sinfonischen Werken, drei Klavierkonzerten und Streichquartetten, die in München ab 1950 zur Uraufführung und Rundfunkübertragung kamen, blieb Winterbergs Kammermusik für Bläser - wie auch das Concertino - zu Lebzeiten des Komponisten ungespielt und unverlegt. Mit seiner rhythmischen Prägnanz, seinem unerschütterlichen "Élan vital" und dem humorvollen Spiel mit der exzentrischen Instrumentenkombination wirkt das Stück wie die Erinnerung an die untergangene Welt des dadaistisch gefärbten Surrealismus im Prag der Zwischenkriegszeit.Schwierigkeitsgrad: 4-5

(Boosey & Hawkes Scores/Books). Hans Winterberg (1901-1991) composed his first work for the classical formation of the wind quintet (with secondary instruments) at the beginning of 1946 in Prague. After a Suite for trumpet and piano composed at the end of 1945, this was his second work written after the liberation from the Theresienstadt concentration camp in June 1945. This musical, exuberant piece shows no sign of what its author had gone through in the previous five years. The character is light, airy and free from the darkness of the works composed during the Nazi occupation of Czechoslovakia and some further pieces written after the emigration to Germany in 1947. The movements are magnificent and full of ideas and rhythmic figures that develop into ostinato foundations in the tradition of Janacek. The ingenuity and variety of mood changes that accompany each unpredictable change of meter are masterful. The Suite was only recently rediscovered in the composer's estate and is still awaiting its premiere at the time of the release of this publication.

(Boosey & Hawkes Chamber Music). Hans Winterberg (1901-1991) composed his first work for the classical formation of the wind quintet (with secondary instruments) at the beginning of 1946 in Prague. After a Suite for trumpet and piano composed at the end of 1945, this was his second work written after the liberation from the Theresienstadt concentration camp in June 1945. This musical, exuberant piece shows no sign of what its author had gone through in the previous five years. The character is light, airy and free from the darkness of the works composed during the Nazi occupation of Czechoslovakia and some further pieces written after the emigration to Germany in 1947. The movements are magnificent and full of ideas and rhythmic figures that develop into ostinato foundations in the tradition of Janacek. The ingenuity and variety of mood changes that accompany each unpredictable change of meter are masterful. The Suite was only recently rediscovered in the composer's estate and is still awaiting its premiere at the time of the release of this publication.

(Boosey & Hawkes Chamber Music). Until recently, the wind quintet from 1957 published here for the first time seemed to be the only work in this formation in Hans Winterberg's (1901-1991) extensive catalog of chamber music gems. In the meantime, another piece in the traditional scoring for flute, oboe, clarinet, horn and bassoon has been rediscovered in his estate, a suite from 1946, written in Prague one year after the composer's liberation from the Theresienstadt concentration camp and one year before his emigration to Munich. Winterberg, a pianist by training, studied, like Hans Krasa, with the respected Prague piano teacher Therese Wallerstein composed just as passionately for string instruments as for woodwind and brass and experimented with the most diverse and sometimes most surprising formations. What is surprising about the Quintet from 1957 is the vehemence with which the composer lived out his Czech-Austrian-German multiple identities in his compositions, as if the work was a commentary on his complex and dramatic life story: When in all three movements the German children's song "Es klappert die Muhle am rauschenden Bach" is heard in a decidedly Bohemian-Moravian, post-Janacek environment, then this can certainly also be interpreted as an ironic nod of the composer, who in the precarious post-war years had to consider whether he was spending his money on bread and butter or on music paper.

Neben dem 1. Klavierkonzert und der Suite für Bratsche und Klavier gehört dieses ungewöhnlich besetzte Concertino zu den frühesten Werken, die Winterberg nach seiner Übersiedelung von Prag nach München 1947 komponierte. In diesem Jahr hatte Fritz Rieger, sein alter Studienkollege in Zemlinskys Dirigierklasse, Winterbergs 1934/35 in Prag entstandene Sinfonie Nr. 1 in Mannheim uraufgeführt - es war die wichtigste Aufführung eines Werkes des Komponisten bis dato, und Winterberg konnte nach der "Stunde Null" nicht nur auf einen Neuanfang hoffen, sondern auf den eigentlichen Beginn einer Karriere, die ihm in Prag ab 1939 durch die Verfolgung und Inhaftierung aufgrund seiner jüdischen Abstammung verwehrt geblieben war. Im Gegensatz zu gewichtigen sinfonischen Werken, drei Klavierkonzerten und Streichquartetten, die in München ab 1950 zur Uraufführung und Rundfunkübertragung kamen, blieb Winterbergs Kammermusik für Bläser - wie auch das Concertino - zu Lebzeiten des Komponisten ungespielt und unverlegt. Mit seiner rhythmischen Prägnanz, seinem unerschütterlichen "Élan vital" und dem humorvollen Spiel mit der exzentrischen Instrumentenkombination wirkt das Stück wie die Erinnerung an die untergangene Welt des dadaistisch gefärbten Surrealismus im Prag der Zwischenkriegszeit.Schwierigkeitsgrad: 4-5

(Boosey & Hawkes Scores/Books). Until recently, the wind quintet from 1957 published here for the first time seemed to be the only work in this formation in Hans Winterberg's (1901-1991) extensive catalog of chamber music gems. In the meantime, another piece in the traditional scoring for flute, oboe, clarinet, horn and bassoon has been rediscovered in his estate, a suite from 1946, written in Prague one year after the composer's liberation from the Theresienstadt concentration camp and one year before his emigration to Munich. Winterberg, a pianist by training, studied, like Hans Krasa, with the respected Prague piano teacher Therese Wallerstein composed just as passionately for string instruments as for woodwind and brass and experimented with the most diverse and sometimes most surprising formations. What is surprising about the Quintet from 1957 is the vehemence with which the composer lived out his Czech-Austrian-German multiple identities in his compositions, as if the work was a commentary on his complex and dramatic life story: When in all three movements the German children's song "Es klappert die Muhle am rauschenden Bach" is heard in a decidedly Bohemian-Moravian, post-Janacek environment, then this can certainly also be interpreted as an ironic nod of the composer, who in the precarious post-war years had to consider whether he was spending his money on bread and butter or on music paper.

Haydn's early concerto for horn dates from 1762 - the second year of Haydn's long tenure as Kappellmeister of the Esterhazy court. Musicologists debate the intended occasion and soloist. Many have suggested it was composed for Thaddaus Steinmüller, one of the first musicians hired by Haydn the previous year, while others argue for it being composed for the baptism of one of the children of Joseph Leutgeb, the famous hornist for whom Mozart wrote concertos.The so-called second concerto, thought to date from around 1767 is now regarded by most Haydn scholars as doubtful. It was first mentioned in the Breitkopf catalogue of 1781 and haydn's brother Michael is argued to be the real composer, though others are in the running as well. The ca.1781 Dresden manuscript simply states it was composed by Signor Haydn, though the main source for the present edition is a copy of a Zwittau manuscript made by Eusebius Mandyczewski.The present editions were prepared by Clark McAlister on the basis of the first edition and other authoritative sources and published in 1994 by the now-defunct E.F. Kalmus. Serenissima is proud to now be the exclusive source for McAlister's excellent edition and the present study score is produced ina handy and easy to read format.

(Instrumental Play-Along). Nine instrumental solo arrangements with full demo and lovely accompaniment tracks so you can play along and sound like a pro! Songs include: Can You Feel the Love Tonight * Circle of Life * Hakuna Matata * He Lives in You * I Just Can't Wait to Be King * The Lion Sleeps Tonight * Never Too Late * Spirit * Stampede. Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.

(Instrumental Play-Along). 15 timeless and familiar classical themes in arrangements perfect for budding instrumentalists. It features online access to audio demonstration and backing tracks for download or streaming to help you hear how the song should sound then play along and sound like a pro! Includes: Blue Danube Waltz (Strauss) * Can Can (from Orpheus in the Underworld ) (Offenbach) * Jesu, Joy of Man's Desiring (J.S. Bach) * Morning Mood (from Peer Gynt ) (Grieg) * Ode to Joy (from Symphony No. 9 ) (Beethoven) * William Tell Overture (Rossini) * and more.

(Instrumental Play-Along). Solo arrangements for 9 Marc Shaiman songs from the 2018 movie are featured in this collection perfect for budding instrumentalists. It features online access to audio demonstration and backing tracks for download or streaming to help you hear how the song should sound and then to play-along and sound like a pro! Songs include: Can You Imagine That? * A Conversation * A Cover Is Not the Book * (Underneath The) Lovely London Sky * Nowhere to Go but Up * The Place Where Lost Things Go * The Royal Doulton Music Hall * Trip a Little Light Fantastic * Turning Turtle.

(Rubank Book/Audio Products). Available for the first time: easy to advanced solo works from the Rubank archives with online performance and accompaniment recordings, printable piano accompaniments, and PLAYBACK+ audio tools. This new collection of 15 Rubank solos includes many that have long been unavailable. All are suitable for contest and festival performance (grades 2-4). Purchase includes exceptional performance tracks (recorded by pro players), accompaniment tracks for practice, and PDF piano accompaniments for use at contest. Includes: Air Gai (Berlioz) * Alleluja from Exsultate, Jubilate, K. 165 (Mozart) * American Patrol (Meacham) * Andante Cantabile (Tartini) * Apres un Reve (Faure) * Ballade (Shchyolokov) * Heroica (DeLamater) * In the Hall of the Mountain King from Peer Gynt (Grieg) * Pavane pour une Infante Defunte (Ravel) * Prelude and Fanfaronade (Koepke) * Serenade (Gounod) * Starling (VanderCook) * Serenade, Op. 22 No. 1 (Bohme) * Toreador's Song from Carmen (Bizet) * Where'er You Walk (Handel)

Spielerisch und mit Begeisterung erlernen Anfänger Schritt für Schritt das Hornspiel. Viele neue, aber auch bewährte methodische Wege sind in diese Schule eingearbeitet.Der Horn Fuchs macht den Schülern einfach Spaß und führt sie spielerisch zum Erfolg. Internationale Spitzenlehrer empfehlen diese Buchreihe. Warum? Weil das Konzept der erfolgreichen Fuchs Bücher wirklich funktioniert. Unzählige tolle Solostücke und Duette, musikalisch wertvolle Etüden, technische, flexibilitäts- und ansatzaufbauende Übungen sowie ein lyrisch-sanglicher Zugang zur "Kunst des Hornspiels" tragen mit dazu bei, dass die Schüler nicht nur gut spielen lernen, sondern auch gut klingen.Markenzeichen dieser Schule ist auch ihr Humor: Mit zahlreichen Comics wird die Aufmerksamkeit der Schüler und Lehrer dorthin gelenkt, wo sie sein soll: zur Freude am Musizieren.Zu vielen Übungen gibt es auch tolle Playbacks per QR-Code zum Anhören, die man ganz einfach über Smartphone oder Tablet abspielen kann. So macht das Üben besonders viel Spaß.Der Horn Fuchs eignet sich ideal für den Einzel- und Gruppenunterricht für B- und F-Horn. Das ausgefuchste Lehrkonzept ist auch für Trompete, Flügelhorn, Posaune, Tuba und Klarinette erhältlich.

"Alte Meister" ist eine erstklassige Sammlung von 29 klassischen Werken, zusammengefasst in einem einzigen Band. Die von Franz Kanefzky arrangierten Melodie- und Begleitstimmen für Horn in F und Klavier oder Orgel sind angenehm spielbar und klingen hervorragend.Der musikalische Bogen wird gespannt von Bach über Haydn und Mozart bis Schubert, mit Werken von Barock bis Romantik. Ob Konzert, feierlicher Anlass oder andere Gelegenheiten, die stimmungsvollen Werke bieten für jeden Anlass den passenden musikalischen Rahmen. Auch bestens geeignet zur Aufführung in Kirchen mit Orgelbegleitung.

Mittelschwere bis schwere Literatur von der Romantik bis zum 20. Jahrhundert. Besonderes Augenmerk wurde dabei auf die Solorepertoirelisten verschiedener staatlicher High School-Wettbewerbe gelegt. Mit Werken von Beethoven, Berstein, Copland, Mozart, Shoeck, Strauss und anderen.

CD (AUDIO), 039

Partitur und Stimmen (Mappe)