UNT Music Library - 1,168 Matching Results
Search Results
Applied Filters
- Handwritten letter from Franz Liszt
- A letter written by Franz Liszt, including a notated example.
- I. Heft, Kontrapunkt
- A notebook of counterpoint exercises. The first page indicates cantus firmi from Fuchs (likely Fux). The notebook is only partially used, and most pages are blank.
- Himmelfahrtslied I
- Autograph sketch, composed in Bonn, for the first part of the work in Box B, Folder 3, Item 7 in this collection.
- Hommage aux grands faux penseurs
- Recording of Sven-Erik Bäck's Hommage aux grands faux penseurs.
- Ich bin geboren (von Selchow) / Der Führer (Böhme)
- Two pieces for four-part a cappella TTBB (men's) chorus, likely meant for a Männerchor.
- Ich sah den Wald sich färben
- A cappella score for Oppel's composition for Männerchor entitled Ich sah den Wald sich färben ("I saw the forest change color").
- II Strophe
- Autograph sketch entitled "II Strophe", composed in Mainz in 1907, of an unused portion of the work in Box B, Folder 3, Item 7 in this collection.
- Klavier
- A list of Oppel's work's in his handwriting beginning with music for piano.
- Klavierwerke von Joh. Seb. Bach
- Music score for four toccata and fugue sets by J.S. Bach with foreword by F. K. Griepenkerl. Edition contains no BWV attributions. Plate number 2696(210).
- Kleine Suite für Klavier, Op. 26
- Five movements: 1. Präludium; 2. Presto; 3. Allegretto Grazioso; 4. Grave; 5. Finale. Allegro molto, quasi Presto.
- Lied I & V aus dem Siebenden Ring von Stefan George
- Manuscript piano/vocal score for three songs from "Siebenten Ring" by Stefan George. Lied I appears in two keys: B-flat major and B major. Lieder V and VI also appear in F major and G major, respectively.
- Lied I & V aus dem Siebenten Ring von Stefan George
- Manuscript piano/vocal score for three songs from "Siebenten Ring" by Stefan George. Lied I appears in two keys: B-flat major and C major although the first version does not resemble Lied I from Box A, Folder 19, Item 1 in this collection. Lieder V and VI also appear in G major and A-flat major, respectively.
- Max Reger
- List of Oppel's works in his handwriting.
- Musik und Theater, Katalog 12
- "Antiquarian bookshop and autograph shop [of] Heinrich Hinterberger." A catalog of Heinrich Schenker's library. The catalog is divided into three parts: I. Music; II. Musical Rarities; III. Theater, Ballet, Dance.
- Notebook, 3-voice counterpoint, fourth, fifth species; 4-voice counterpoint, first species
- A notebook of three-part fourth and fifth species counterpoint exercises and four-part first species counterpoint exercises.
- Notebook, 4-voice counterpoint, second species
- A notebook of second species counterpoint exercises.
- Paraphrase aus der Oper Rigoletto von Verdi
- Excerpts of Verdi's opera Rigoletto arranged for piano by Franz Liszt.
- Photobild Elfr. Oppel
- Envelope of letter addressed to Elfriede Oppel containing a photo of her and correspondence between Franz Liszt and Carl Loewe.
- Reformationslied
- Autograph score for an a cappella SATB choral piece set to a Reformation text; composed in Bonn.
- Romanze für Cello und Klavier / Bei der Wiederholz Folgende Anderungen
- Fair copy manuscript of two pieces for 'cello and piano by Oppel written in pen.
- Sieben dreistimmige Stücke für Klavier nebst einem Anhang: Ricercar für Laute
- "Seven three-part pieces for piano with appendix: Ricercar for lute." "Dedicated to Heinrich Schenker" Photocopy. See the Reinhard Oppel Collection (06/085), Box C, Folder 6, for the original.
- Solo sonata
- List of Oppel's works handwritten on one side of an envelope. Cancelled postmark on reverse.
- Sonatina op. 24 D-dur
- List of Oppel's works in his handwriting.
- Spiegel und Lefze
- First page of a mirror canon for four voices and brief sketches in Oppel's handwriting. The third word in the title is difficult to discern but the first word, "Spiegel," translates to "mirror."
- Spinner-Lied von Wagner
- Franz Liszt's arrangement for piano of Richard Wagner's Summ' und brumm' du gutes Rädchen, from Der Fliegende Holländer.
- Ãœber Beziehungen Beethovens zu Mozart und zu Ph. Em. Bach
- Essay entitled "On Beethoven's Relationship with Mozart and Ph. Em. Bach." Text uses incipits from the eponymous composers' works and counterpoint examples to illustrate Oppel's prose arguments.
- Ãœber Reinhards Kompositionen
- Envelope containing information on Oppel's compositions
- Unknown chorale
- Autograph sketch for a chorale.
- Untitled
- Handwritten pencil sketch of last six pages of unknown composition likely for piano and orchestra (in reduced score).
- Vier Präludien für Klavier, Op. 27
- Four preludes.
- Zehn biblische Sprüche
- Autograph score. "Victor Hammer, dem Freunde." For middle woman's voice (alto) with obbligato clarinet accompaniment. Clarinet in A and B-flat. No. 1: Psalm 57:8; No. 2: Psalm 107:1; No. 3: Job 10:15; No. 4: Psalm 139:23-34; No. 5: Psalm 4:9; No. 6: Psalm 116:1,3; No. 7: Psalm 108:14; No. 8: Psalm 12:2; No. 9: Psalm 1:1,3; No. 10: Song of Solomon 8:7. See Box 1, Folder 6 in this collection for English translations of these texts.
- Zwei Etuden für Klavier, Op. 31
- Two piano etudes: Op. 31, No. 1 (for the left hand); Op. 31, No. 2
- Zwei Lieder für eine Singstimme mit Begleitung des Pianoforte
- Score of "Two songs for one singer with piano accompaniment" published as Op. 3 in Berlin by Ries & Erler with plate number R.7685 E. Contains "Über ein Stündlein" ("About an Hour") and "Irrlichtergesang" ("Wispy Light Song").
- Zwei Lieder für eine Singstimme, Op. 3
- Two songs set by Reinhard Oppel: 1. Über ein Stündlein (Paul Heyse); 2. Irrlichtergesang (W. Walloth).
- Zwei ungarische Volklieder
- Printed text of two Hungarian folksongs translated into German by Max Farkas and set to music by Reinhard Oppel: "Komm nicht in später Nacht" ("Do not come late at night") and "Hinterm Dorfe flieβt die Szamos" ("The Szamos flows behind the village").
- Chanson
- Recording of Dieter Kaufmann's Chanson.
- Andere die Welt, sie braucht es
- Recording of Wilhelm Zobl's Andere die Welt, sie braucht es.
- 3 elektronische Studien
- Recording of Lothar Voigtländer's 3 elektronische Studien. The basis for the composition are the poems of the poet Erich Arendt. The poems were written around 1925 in his Expressionist creative period. Accordingly, the compositional means: concrete musical material is mixed with electronic sounds to achieve a strongly expressive and suggestive associative effect. It is less thought of as a "setting" of the texts, but should be added to the often strongly symbolic language formulations as a different, musical dimension. The vocals and the piano usually work live. The piano is mostly treated as unrecognizable - this is to achieve a seamless insertion into the electro-acoustic sound material. In a performance, both piano and singer can be electro-acoustically amplified and to a lesser extent technically manipulated (reverberation, iteration, etc).
- Sicher sein...
- Recording of Max E. Keller's Sicher sein... This piece confronts newspaper articles on the subject of redundancies, read by the orator, with the advertising slogan "Sicher sein, Bankverein."
- Grundgesetze III
- Recording of Max E. Keller's Grundgesetze III. "Grundgesetze III" is the third part of a six-part work begun in 1975. Sections I and IV were realized as orchestral pieces. Lyrically, the work is based on the confrontation of ideology (for example, the constitution, that is, the "Basic Law" of the FRG [Federal Republic of Germany]) and the reality of bourgeois society. In "Grundgesetze III" the federal government processes a text about the so-called social market economy, while two other speakers present some information and a realistic dialogue. If the social market economy promises people paradise on earth, then the setting adjoins the dull reality: the colorful life has given way to a mechanical, absolutely regular beat, which was realized electronically, which thus lacks any inner life. This hammering also reflects what characterizes pop music and gives it an intoxicating effect, but occurs here naked and without drapery, no longer narcotic, but irritating. Like the rhythmic parameter, the pitch parameter also adjusts, with 19 different pitches distributed over the listening area at absolute regular intervals forming the basic chordalization of the chords. In other words, it is a 19-note chord built on a regular basis from which one single note is selected. It was composed primarily with parameters of color, density, change, dynamics and envelope for each single tone of the chord that are often neglected in European music. The piece works with two tempo signs, which correspond to the two channels. The first lasts until the middle; change, density, ambitus and others take part straightforward, toils woolly, until the structure turns into uncharacteristic gray. On the other hand, the second, slower tempo layer evolves, from complex to simple. Towards the end, even the rigid hammering on the move smiles: the tempo fluctuates a bit, the pitches slide to a new …
- Unter dem Pflasterstein liegt der Strand
- Recording of Martin Schwarzenlander's Unter dem Pflasterstein liegt der Strand. The music is interspersed with text about demonstrations in East Germany during the 1970s.
- Variation und collage
- Recording of Lothar Voigtländer's "Variation und collage" for voice and tape. The text is from a poem by F. G. Lorca. The human voice serves at primary sound material (murmurs, screams, editing, deformations). There are few synthetic sounds that were created through the use of the ARP synthesizer.
- Abominable A
- Recording of Luigi Ceccarelli's "Abominable A" for magnetic tape. The piece includes the voices of Kadigia Bove, Francesca Furlanetto, Eugenio Giordani, Luciano Martinis, Michela Mollia, Achille Perilli, Marina Poggi, Enrico Pulsoni, Giovanni Puma, Kerstin Riemer, Claudio Rufa, Stefano Scodanibbio, Gaetano Trusso, and Catherine Verwilgen. The piece contains a recitation of all the words in the Italian vocabulary that begin with the letter A, read in sequence from voices with different stamps, rhythms, and intonations. To these are added other sequences in French, German, and English. The work is divided into fifteen sections, each of which has a different criterion for processing the timbre, rhythm, and space. It was realized at the Electronic Laboratory for Experimental Music at the Conservatory "G. Rossini" in Pesaro from 1978 to 1980.
- Panta rhei
- Recording of Jürgen Bräuninger's Panta Rhei. This piece is connected for one female dancer who is connected to a synthesizer via a cable ("Umbilical cord"). "Panta Rhei" ("everything flows") refers to the Greek myth of the Three Fates (Clotho, Lachesis and Atropos). The cable represents the string of life which the performer can not escape. This dependency forces her to react to the sound events with reach her through the cable.
- Hymnen
- Recording of Max E. Keller's Hymnen ("Hymns"). This is the Radio Version of the piece which was broadcasted in 1979. This piece confronts the authentic account of a Chilean's experience of torture by the Chilean fascists by means of a collage of national anthems. Hymns and anthems from countries that directly supported the fascist coup (or indirectly benefited from it) are used as base material. At first, only fragments of hymns are presented, then they are processed as a whole, and finally they are put together into a new anthem. This demonstrates their interchangeability in their music and lyrics (therefore, they are used without text). The idealistic glorifications tilt in the face of reality in stark mockery. This is further articulated by the fact that between the individual texts of the collage, the Chilean hymn sings and unprocessed re-sounds. The chivalric song of the French Revolution is the cipher and historical source of all the promises of freedom, equality and fraternity that the hymns give, but history has not fulfilled to this day.
- Moulin diabolique
- Recording of Eugeniusz Rudnik's Moulin Diabolique" ("Devilish Mill"). The work consists of six sequence that have their own dramatic, musical, and architectural meaning independent of the piece as a whole. The piece is based on military orders in different languages, as well as the sounds emitted by human groups (soldiers), which constitute the answer itself or accompany the answer that is required. The composer processes the sounds of the orders to deepen the grotesque and lugubrious character that these orders contain.
- Mr Frankenstein's Babies
- Recording of Klaus Röder's Mr Frankenstein's Babies for tape. The sound material consists only of voice sounds recorded by Röder himself. The sounds were worked out in an envelope shape and then copies upon the other so that there was a "chorus" sound.
- Tanz-Trypticon
- Recording of Jürgen Bräuninger's Tans-Trypticon.
- The waste land
- Recording of Elżbieta Sikora's The waste land, for fixed media. The piece is a journey through time and spaces. The present is mixed with the past, the ordinary with the extraordinary, dream with reality. The work was commissioned by the Experimental Studio of Polish Radio and was realized in October 1979. The text comes from T. Elliot's poem "The Waste Land."
- Chacoel (Musik für den frühen Abend)
- Recording of Martin Rudolf Schwarzenlander-Fischer's "Chacoel (Musik für den frühen Abend)" for tape.