19783828
Des Kaiser neue Kleider
19783828
19783828
19783828
Copyright Material for Preview Only - Sheet Music Plus
Flute
SKU: DB.35-00034
Nach dem Thema von J.Haydn. Composed by Johannes Berauer. Woodwind Music. Doblinger Music Publishers #35-00034. Published by Doblinger Music Publishers (DB.35-00034).
ISBN 9790012199205.
Wie in Andersens Marchen scheinen Machtige immer skrupelloser der Offentlichkeit ihre Machenschaften als den letzten Schrei zu verkaufen. Die Komposition, aus der Umkehrung von Haydns Kaiserlied entwickelt, ist ein Lamento, im Gedenken an die vielen Menschen, die durch Missbrauch von Macht leiden.
This work is based on Haydn's Emperor's Hymn, composed as a reflection on the concept of power. Haydn's music is quoted occasionally through the piece, and is surrounded by Berauer's contemporary compositional style. He uses a plethora of techniques, such as tongue rams, key clicks, air sounds, whistle tones and over blowing to give effective alterations of colour and percussive attacks. There is a sense of freedom and rubato in the writing, and the piece is notated without bar lines. This is a challenging work which puts Haydn's work into an interesting context and could make a fascinating recital addition. (Carla Rees, FLUTE MAGAZINE, Sept. 2011).
Flute
SKU: DB.35-00034
Nach dem Thema von J.Haydn. Composed by Johannes Berauer. Woodwind Music. Doblinger Music Publishers #35-00034. Published by Doblinger Music Publishers (DB.35-00034).
ISBN 9790012199205.
Wie in Andersens Marchen scheinen Machtige immer skrupelloser der Offentlichkeit ihre Machenschaften als den letzten Schrei zu verkaufen. Die Komposition, aus der Umkehrung von Haydns Kaiserlied entwickelt, ist ein Lamento, im Gedenken an die vielen Menschen, die durch Missbrauch von Macht leiden.
This work is based on Haydn's Emperor's Hymn, composed as a reflection on the concept of power. Haydn's music is quoted occasionally through the piece, and is surrounded by Berauer's contemporary compositional style. He uses a plethora of techniques, such as tongue rams, key clicks, air sounds, whistle tones and over blowing to give effective alterations of colour and percussive attacks. There is a sense of freedom and rubato in the writing, and the piece is notated without bar lines. This is a challenging work which puts Haydn's work into an interesting context and could make a fascinating recital addition. (Carla Rees, FLUTE MAGAZINE, Sept. 2011).
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