…Von Zeit Zu Zeit… [De temps en temps]

Name: …Von Zeit Zu Zeit… [De temps en temps]
SKU: ISBN 978-2-917992-20-3
Price: 38.00 EUR
Availability: InStock

Author(s) : HUBER Klaus

Ref: ISBN 978-2-917992-20-3

38,00 €

Klaus Huber is Switzerland’s most significant composer. He is one of the most important figures of the generation, now over 80, that has actively developed new music from the end of the Second World War to the present day. In 2009, he was awarded the Salzburg Music Prize and the Ernst von Siemens Prize. In so doing, he gained recognition for a lifetime’s work that has produced an extraordinarily rich and varied oeuvre. Between the 1960s and 1980s, Klaus Huber was also one of the world’s most sought-after composition teachers. Over the last 20 years, he has developed an unparalleled body of late work.
It is characterized by the fusion of a new interval language based above all on third tones and Arabic modes, with a multicultural foundation and the constant expansion of an experience with a profoundly humanistic horizon.
In the year of his 85th birthday [2009], the sum total of his musical thought appeared in book form. Von Zeit zu Zeit [From Time to Time] is an unprecedented essay in the history of music. It presents his entire oeuvre systematically, including compositional techniques, and simultaneously articulates them around ethical and aesthetic foundations. One could say that Klaus Huber lays his cards on the table, not as an egocentric autobiography or as a “technique of my musical language”, but in the form of a dialogue with the composer Claus-Steffen Mahnkopf, who was his pupil some twenty years ago, and who asks him pertinent questions seen from the inside, while at the same time probing the answers.
The book includes more than 100 illustrations, including countless sketches that highlight Klaus Huber’s compositional and working process. The works covered in this book range from the 1950s to the present day. Seven essential works are each dealt with in a separate chapter, and the book is enriched by a complete catalog of his works.

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Weight	0,8 kg
Dimensions	23 × 16 × 3 cm

Score
Le Piano Symétrique (volumes 1, 2, 3 & 4)
REIBEL Guy
Type: Score
Instrument: piano, Solos
Special offer 45€ instead of 56€ for the purchase of all 4 volumes.
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Score
Le Piano Symétrique (volumes 1 ,2 & 3)
REIBEL Guy
Type: Score
Instrument: piano, Solos
The piano, a symmetrical body of sound a new look at the instrument The piano is the benchmark instrument for musicians. With its perfect mechanics, exact tuning, melodic and harmonic interplay, the ability to play every conceivable chord, and almost infinite range, it is a perfect instrument, the culmination of hundreds of years of evolution, for which countless works have been written, culminating in the 19th century and a prodigious progression in virtuosity. The instrument has conquered the planet, and is universally used in all musical genres. Its tempered keyboard seems to fix the musical scale forever, bringing music to a kind of “terminus”. What’s more, its keyboard configuration is totally adapted to tonal music, and since the twentieth century, composers have had to trick their way out of tonal language.

I propose an approach in which we strive to forget the glorious history of the piano, its repertoire and all the playing habits that are linked to its habitual practice. A vast program, undertaken with modesty but conviction. Indeed, if we forget everything and look at this instrument like a Martian accidentally landing on Earth, it presents itself as a body of sound offering visual symmetry starting from the center (C – D ), with white keys regularly arranged on both sides, but perfect symmetry in the succession of white and black keys on either side of this center. If, on the other hand, we observe that our two hands placed flat on a table are also symmetrical, with the two thumbs facing each other, the first idea is not to set up a scale with both hands playing in parallel (the left hand linking the sounds starting with the little finger, the right with the thumb), as this way of playing is less spontaneous than playing in mirror, with both hands using the same fingering. If you apply this symmetrical playing style to both hands, the playing is much more natural and easier for a beginner, and produces musical results that may be disconcerting at first, but are astonishingly rich, eliminating the many clichés, and discover a wide variety of melodic and harmonic modes developed in contemporary music since Debussy and Messiaen, in particular the chromatic mode, the tonal scale, mode 2, the acoustic mode and all the more well-known plainchant modes (D, E, F, G, A). The door is open to new adventures with very direct access. This is the experiment conducted at the École de Musique de Colomiers with Marc Jamond, Director, teachers Catherine Gérin, Pascale Monteil, Ruth Atienza Platon and their students, to whom this series of notebooks is dedicated.
Guy Reibel
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Books
L’instrument dont jouait l’univers
GARZIA Benjamin
Type: Books
Why write a book about Gustav Mahler in 2016?
Aren’t the biographical works that have been published for decades enough for anyone wanting answers? Of course they are! Scientific answers on dates, historical elements or testimonies. But what about the spiritual significance? For if ever there was a composer whose work poured out his whole soul, it’s Gustav Mahler. To embrace his legacy, then, we must venture inside him, where history can only support us, where words give way to the simple human emotions that one man can imagine for another. And that’s the choice we’ve made. To propose a new approach, at once rapid, direct and immersive. Mahler the legend has ousted Mahler the man, the simple, the fragile. Before becoming a musical hero, he was Gustav. Simply Gustav. A dreamy, stubborn little boy, battered by life and clinging to an ideal, an artistic dream through which he hoped to open the gates to eternal life.
Writing a book in 2016 means getting as close as possible to this little boy, observing him even more than the giant he was to become. To immerse the reader in his direct environment, rather than in the historical context of his time. It also means trying to answer some intimate questions. How did Gustav become Mahler? How did the two of them live together during their short lives? Why does his music move us so much, speak to us so much, even when he has deliberately deprived it of words?
To answer these questions, we need to get as close to him as possible. To feel his toddler emotions, as time goes by in his childhood home, where grief and mourning are king. You have to be caught up with him in the fever of his adolescence, where misery and frustration pester him, or climb the steps of opera houses, from a dark, tiny wooden theater in the Tyrol to the Metropolitan Opera in New York, not forgetting the prestigious Hofoper, Vienna’s court opera house. You also have to accept his weaknesses, his angers and his hasty judgments, because the most magical thing about a hero is that he’s just a human being to begin with.
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…Von Zeit Zu Zeit… [De temps en temps]

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