Partitur: N 2401

Die "Begleitmusik zu einer Lichtspielszene" entstand zwischen Oktober 1929 und Februar 1930 und ist Schönbergs zweite Orchesterkomposition im dodekaphonischen Stil. Otto Klemperer leitete die Uraufführung am 6. November 1930 in der Berliner Krolloper, wobei das Werk gleich einen Achtungserfolg errang. Anders als es der Titel erwarten lässt, komponierte Schönberg die "Begleitmusik" nicht zu einerm bereits bestehenden Film oder einer konkreten Szene, sondern zu einem imaginären Film. Die Untertitel "Drohende Gefahr, Angst, Katastrophe" verweisen auf das Programm, das der höchst expressiven Musik zugrunde liegt. Interpreten hat es immer wieder gereizt, die "Begleitmusik" durch einen "Begleitfilm" zu ergänzen. Die "Begleitmusik" wird nunmehr auch kleineren Orchesterensembles zugänglich gemacht. Bei der Bearbeitung folgte Johannes Schöllhorn der Tradition des 1918 von Schönberg gegründeten "Vereins für musikalische Privataufführungen". Die Wahl der Ensemblebesetzung und die Art der Instrumentation (es gibt weder Kürzungen noch sonstige "bearbeiterische Freiheiten") verweisen klar auf dieses Vorbild. Das Aufführungsmaterial ist leihweise erhältlich.

After children's songs, folkloristic compositions and works from the Baroque and Classical periods were arranged in the first two volumes of this series (N 2344 and N 2369), this third volume contains Advent and Christmas carols. The instrumentation - two identical or different melody instruments (recorders, violins, oboes, flutes etc.), piano, bass (cello or bassoon) and percussion - has not changed compared to the other two volumes; multiple instrumentation of the parts is also possible in this volume. The level of difficulty is roughly based on volume 2 and thus forms a transition to volume 4, which deals with works from the Romantic period.first and second parts are on an equal footing and alternate - together with the piano - in the melodic lead. The bass part has gained in independence compared to the first volume; the bass and percussion can be omitted without detracting from the musical sense, but nevertheless enrich the sound. Content: - Macht hoch die Tür - Morgen kommt der Weihnachtsmann - O du fröhliche - Fröhliche Weihnacht überall - Kommet, ihr Hirten - Leise rieselt der Schnee - Tochter Zion - Angels We Have Heard In High (Hört der Engel helle Lieder) - Joy To The World - Hark, The Herald's Angels Sing - Jingle Bells

After children's songs, folkloristic compositions and works from the Baroque and Classical periods were arranged in the first two volumes of this series (N 2344 and N 2369), this third volume contains Advent and Christmas carols. The instrumentation - two identical or different melody instruments (recorders, violins, oboes, flutes etc.), piano, bass (cello or bassoon) and percussion - has not changed compared to the other two volumes; multiple instrumentation of the parts is also possible in this volume. The level of difficulty is roughly based on volume 2 and thus forms a transition to volume 4, which deals with works from the Romantic period.first and second parts are on an equal footing and alternate - together with the piano - in the melodic lead. The bass part has gained in independence compared to the first volume; the bass and percussion can be omitted without detracting from the musical sense, but nevertheless enrich the sound. Content: - Macht hoch die Tür - Morgen kommt der Weihnachtsmann - O du fröhliche - Fröhliche Weihnacht überall - Kommet, ihr Hirten - Leise rieselt der Schnee - Tochter Zion - Angels We Have Heard In High (Hört der Engel helle Lieder) - Joy To The World - Hark, The Herald's Angels Sing - Jingle Bells

After children's songs, folkloristic compositions and works from the Baroque and Classical periods were arranged in the first two volumes of this series (N 2344 and N 2369), this third volume contains Advent and Christmas carols. The instrumentation - two identical or different melody instruments (recorders, violins, oboes, flutes etc.), piano, bass (cello or bassoon) and percussion - has not changed compared to the other two volumes; multiple instrumentation of the parts is also possible in this volume. The level of difficulty is roughly based on volume 2 and thus forms a transition to volume 4, which deals with works from the Romantic period.first and second parts are on an equal footing and alternate - together with the piano - in the melodic lead. The bass part has gained in independence compared to the first volume; the bass and percussion can be omitted without detracting from the musical sense, but nevertheless enrich the sound. Content: - Macht hoch die Tür - Morgen kommt der Weihnachtsmann - O du fröhliche - Fröhliche Weihnacht überall - Kommet, ihr Hirten - Leise rieselt der Schnee - Tochter Zion - Angels We Have Heard In High (Hört der Engel helle Lieder) - Joy To The World - Hark, The Herald's Angels Sing - Jingle Bells

After children's songs, folkloristic compositions and works from the Baroque and Classical periods were arranged in the first two volumes of this series (N 2344 and N 2369), this third volume contains Advent and Christmas carols. The instrumentation - two identical or different melody instruments (recorders, violins, oboes, flutes etc.), piano, bass (cello or bassoon) and percussion - has not changed compared to the other two volumes; multiple instrumentation of the parts is also possible in this volume. The level of difficulty is roughly the same as in volume 2 and thus forms a transition to volume 4, which deals with works from the Romantic period; the first and second parts are on an equal footing and alternate - together with the piano - in the melodic direction. The bass part has gained in independence compared to the first volume; the bass and percussion can be omitted without detracting from the musical sense, but nevertheless enrich the sound. Content: - Macht hoch die Tür - Morgen kommt der Weihnachtsmann - O du fröhliche - Fröhliche Weihnacht überall - Kommet, ihr Hirten - Leise rieselt der Schnee - Tochter Zion - Angels We Have Heard In High (Hört der Engel helle Lieder) - Joy To The World - Hark, The Herald's Angels Sing - Jingle Bells

The 4th volume of the series is dedicated to compositions from the Romantic period, including both popular works and little-known, interesting pieces. The level of difficulty in the 4th volume is somewhat higher than in the previous volumes. The piano part is based roughly on the level of difficulty of the respective original. Both melody parts have equal rights and alternate - together with the piano - in the melodic direction. The bass part has gained independence compared to volume 1. The bass and percussion enrich the sound and can be omitted without detracting from the musical sense. This piece of music, which treats piano and melody parts equally, also makes the same demands on them and offers an excellent opportunity to gain chamber music experience. Content: 1. Wilder Reiter (Robert Schumann) 2. Fröhlicher Landmann (Robert Schumann) 3. Nach dem Balle (Alexander Gretschaninoff) 4. Schnitterliedchen (Robert Schumann) 5. Ländler (Heinrich Hoffmann) 6. Deutsches Lied (Pjotr Iljitsch Tschaikowsky) 7. Die Zigeuner (Friedrich Burgmüller) 8. Tänzchen im Freien (Theodor Kullak) 9. Elfentanz (Edvard Grieg)

The 4th volume of the series is dedicated to compositions from the Romantic period, including both popular works and little-known, interesting pieces. The level of difficulty in the 4th volume is somewhat higher than in the previous volumes. The piano part is based roughly on the level of difficulty of the respective original. Both melody parts have equal rights and alternate - together with the piano - in the melodic direction. The bass part has gained independence compared to volume 1. The bass and percussion enrich the sound and can be omitted without detracting from the musical sense. This piece of music, which treats piano and melody parts equally, also makes the same demands on them and offers an excellent opportunity to gain chamber music experience. Content: 1. Wilder Reiter (Robert Schumann) 2. Fröhlicher Landmann (Robert Schumann) 3. Nach dem Balle (Alexander Gretschaninoff) 4. Schnitterliedchen (Robert Schumann) 5. Ländler (Heinrich Hoffmann) 6. Deutsches Lied (Pjotr Iljitsch Tschaikowsky) 7. Die Zigeuner (Friedrich Burgmüller) 8. Tänzchen im Freien (Theodor Kullak) 9. Elfentanz (Edvard Grieg)

The 4th volume of the series is dedicated to compositions from the Romantic period, including both popular works and little-known, interesting pieces. The level of difficulty in the 4th volume is somewhat higher than in the previous volumes. The piano part is based roughly on the level of difficulty of the respective original. Both melody parts have equal rights and alternate - together with the piano - in the melodic direction. The bass part has gained independence compared to volume 1. The bass and percussion enrich the sound and can be omitted without detracting from the musical sense. This piece of music, which treats piano and melody parts equally, also makes the same demands on them and offers an excellent opportunity to gain chamber music experience. Content: 1. Wilder Reiter (Robert Schumann) 2. Fröhlicher Landmann (Robert Schumann) 3. Nach dem Balle (Alexander Gretschaninoff) 4. Schnitterliedchen (Robert Schumann) 5. Ländler (Heinrich Hoffmann) 6. Deutsches Lied (Pjotr Iljitsch Tschaikowsky) 7. Die Zigeuner (Friedrich Burgmüller) 8. Tänzchen im Freien (Theodor Kullak) 9. Elfentanz (Edvard Grieg)

The 4th volume of the series is dedicated to compositions from the Romantic period, including both popular works and little-known, interesting pieces. The level of difficulty in the 4th volume is somewhat higher than in the previous volumes. The piano part is based roughly on the level of difficulty of the respective original. Both melody parts have equal rights and alternate - together with the piano - in the melodic direction. The bass part has gained independence compared to volume 1. The bass and percussion enrich the sound and can be omitted without detracting from the musical sense. This piece of music, which treats piano and melody parts equally, also makes the same demands on them and offers an excellent opportunity to gain chamber music experience. Content: 1. Wilder Reiter (Robert Schumann) 2. Fröhlicher Landmann (Robert Schumann) 3. Nach dem Balle (Alexander Gretschaninoff) 4. Schnitterliedchen (Robert Schumann) 5. Ländler (Heinrich Hoffmann) 6. Deutsches Lied (Pjotr Iljitsch Tschaikowsky) 7. Die Zigeuner (Friedrich Burgmüller) 8. Tänzchen im Freien (Theodor Kullak) 9. Elfentanz (Edvard Grieg)

The 4th volume of the series is dedicated to compositions from the Romantic period, including both popular works and little-known, interesting pieces. The level of difficulty in the 4th volume is somewhat higher than in the previous volumes. The piano part is based roughly on the level of difficulty of the respective original. Both melody parts have equal rights and alternate - together with the piano - in the melodic direction. The bass part has gained independence compared to volume 1. The bass and percussion enrich the sound and can be omitted without detracting from the musical sense. This piece of music, which treats piano and melody parts equally, also makes the same demands on them and offers an excellent opportunity to gain chamber music experience. Content: 1. Wilder Reiter (Robert Schumann) 2. Fröhlicher Landmann (Robert Schumann) 3. Nach dem Balle (Alexander Gretschaninoff) 4. Schnitterliedchen (Robert Schumann) 5. Ländler (Heinrich Hoffmann) 6. Deutsches Lied (Pjotr Iljitsch Tschaikowsky) 7. Die Zigeuner (Friedrich Burgmüller) 8. Tänzchen im Freien (Theodor Kullak) 9. Elfentanz (Edvard Grieg)

Irische Musik steht für Spielfreude und hat einen eigenen, ganz unverwechselbaren Klangcharakter. In seinen Arrangements von vier mitreißenden Traditionals ist es Czeslaw Kroczek gelungen, das typisch irische Klangkolorit einzufangen. Dennoch gehen die Stimmen nicht über einen mitteleren Schwierigkeitsgrad hinaus. Inhalt: 1. Single Jig 2. Hornpipe 3. Slip Jig (Barndoor Jig / Rowdledum) 4. Lord Inchiquin