SKU: CA.1021409
ISBN 9790007312244. Key: D major. Latin/German.
A perfect way to finish off a Christmas concert. Heribert Breuer, founder and conductor of the Berlin Bach Academy, conceived this four-minute piece as a final farewell to follow performances of the Christmas Oratorio. Alternatively it can easily be programmed together with other Christmas pieces with similar scoring.The Sicilian folk tune O sanctissima gradually emerges from a sustained organ pedal point in the orchestra. This melody seems familiar to the listeners ... and then the mystery is solved: hidden in the alto part can be heard the first verse of the German carol O du fröhliche! The second verse is given over to the sopranos, and the audience is invited to sing along in the third verse. After a brief coda all the performers wish the audience “Merry Christmas!â€. Score and parts available separately - see item CA.1021400.
SKU: PE.0014104342
ISBN 9790014104344. English.
Original item: EP8900-VLN2.
SKU: CA.1021419
ISBN 9790007312299. Key: D major. Latin/German.
SKU: BP.2257D
Printed Score and Parts for full orchestra for The Offering (movement II of Divine Encounter).Instrumentation for complete Divine Encounter full orchestration:-Fl (1), Ob (1), Bb Cl (2), Bsn (2)-F Hn (2), Bb Tpt (2) (mvmts 1-2 only), Tbn (2), B. Tbn., Tba (mvmts 1-2 only)-Percussion (1-2 players: Cr. Cym, Sus. Cym, Timpani) (mvmts 1-2 only)-Harp (mvmts 1 and 3 only) -StringsOrgan part (in choral score) or piano part (available separately) are compatible with full orchestration if harp is not available.
SKU: HL.49018099
ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.
On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.
SKU: FG.042-08349-9
ISBN 979-0-042-08349-9.
The third symphony is a cornerstone of Finnish orchestral writing and a seminal work in Usko Merilainen's output. It opens with two motivic embryos which are submitted to the 'character metamorphosis' for which Merilainen is well known. It took 2nd Prize in the competition organised to mark the inauguration of Finlandia Hall.
SKU: BP.BP2290D
8.5 x 14 inches.
Printed Score and Parts for Full OrchestraInstrumentation for complete Divine Encounter full orchestration: -Fl (1), Ob (1), Bb Cl (2), Bsn (2)-F Hn (2), Bb Tpt (2) (mvmts 1-2 only), Tbn (2), B. Tbn., Tba (mvmts 1-2 only)-Percussion (1-2 players: Cr. Cym, Sus. Cym, Timpani) (mvmts 1-2 only)-Harp (mvmts 1 and 3 only)-StringsOrgan part (in choral score) or piano part (available separately) are compatible with full orchestration if harp is not available.
SKU: TM.01566SC
Key of C; Org in sc.
SKU: CA.1021400
ISBN 9790007299873. Key: D major. Latin/German.
A perfect way to finish off a Christmas concert. Heribert Breuer, founder and conductor of the Berlin Bach Academy, conceived this four-minute piece as a final farewell to follow performances of the Christmas Oratorio. Alternatively it can easily be programmed together with other Christmas pieces with similar scoring.The Sicilian folk tune O sanctissima gradually emerges from a sustained organ pedal point in the orchestra. This melody seems familiar to the listeners ... and then the mystery is solved: hidden in the alto part can be heard the first verse of the German carol O du fröhliche! The second verse is given over to the sopranos, and the audience is invited to sing along in the third verse. After a brief coda all the performers wish the audience “Merry Christmas!â€
SKU: BP.2142B
Full score and parts for piccolo; flute 1 and 2; oboe 1 and 2; clarinet in B-flat 1 and 2; bassoon 1 and 2; horn in F 1, 2, 3 and 4; trumpet in C 1 and 2; trumpet in C 3 and 4 (optional); trombone 1, 2 and 3; tuba; timpani; bass drum; suspended cymbal; crash cymbal; harp; optional organ; violin 1 and 2; viola; cello; double bass.
SKU: BP.BP2291D
SKU: BP.BP2292D
SKU: PR.11642139S
UPC: 680160642137.
SKU: BP.BP2295D
SKU: CA.1021405
ISBN 9790007299880. Key: D major. Latin/German.
A perfect way to finish off a Christmas concert. Heribert Breuer, founder and conductor of the Berlin Bach Academy, conceived this four-minute piece as a final farewell to follow performances of the Christmas Oratorio. Alternatively it can easily be programmed together with other Christmas pieces with similar scoring.The Sicilian folk tune O sanctissima gradually emerges from a sustained organ pedal point in the orchestra. This melody seems familiar to the listeners ... and then the mystery is solved: hidden in the alto part can be heard the first verse of the German carol O du fröhliche! The second verse is given over to the sopranos, and the audience is invited to sing along in the third verse. After a brief coda all the performers wish the audience “Merry Christmas!â€. Score available separately - see item CA.1021400.
SKU: TM.01358SET
Ed. by Seiffert; organ and cembalo (reduction) on same part.
SKU: BP.BP2294D
SKU: HL.14023237
ISBN 9788759854426. 11.75x16.5x0.45 inches. English.
Work for large Orchestra (including 8 Percussionis, Organ, Piano, Harpsichord and Piano).
SKU: TM.01358SC
SKU: HL.14042546
ISBN 9788759827444.
Choral score for Gemmer Hvert Et Ord - Cantata for Choir SATB, Regiment Orchestra and Organ by Anders Koppel (1999).Text in Danish by Ulla Koppel.KP01775 = Score. KP01776 = Piano score.
SKU: PR.11642139L
UPC: 680160642144.
SKU: LO.30-3468H
UPC: 000308148558.
International Carol Suites weaves together familiar and lesser-known carols in a thrilling and multicultural celebration of the season. Sing one medley for a ten-minute burst of Christmas joy, or perform several for an extended presentation of carols from around the world. This item includes the conductor's score only. Parts are available separately, in print or digital formats. (2 Fl (Picc), Ob, Cl, Bsn, 2 Hn, Tpt, Timp, 2 Perc, Harp, Pno, 2 Vln, Vla, Cello, Bass, opt. Organ).
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