SKU: HL.48184896
UPC: 888680859565. 9.5x12.5x0.471 inches.
Olivier Messiaen (1908-1992) is known for his unique composition style. Incorporating complex rhythms, harmony, melodies and his passion for ornithology, his Illuminations of the Beyond for Orchestra is no exception to the composer's popular, distinctive style. Composed between 1987-1991, Illuminations of the Beyond was one of the composer's last works, with the premiere occuring six months after his death. The work includes Messiaen's popular compositional techniques, such as his modes of limited transposition, and the use of birdsong. Messiaen's piece for orchestra is divided in to eleven movements and a typical performance lasts about one hour. Illuminations of the Beyond is essential to all advanced orchestras seeking to expand and vary their repertoire..
SKU: SU.94010920
Orchestra Duration: 11' Composed: 2022 Published by: Subito Music Publishing Performance materials available on rental:.
SKU: AP.38396S
UPC: 038081430218. English. Attributed to George Frideric Handel.
A rich and convincing string sound is assured in this profound scoring of a favorite concert offering. Care has been taken to assure that the arrangement is perfectly playable for young musicians. This piece is one that will come together quickly, building a feeling of success, and will make the orchestra sound mature beyond their years.
SKU: SU.27020085
Jacob vs. Angel is a piece about crisis of conscience, ambiguity, and misinterpretation expressed through the depiction of a major battle, the goal of which is never made entirely clear. Based on the biblical story, the work is highly programmatic, with each of the six movements reflecting a corresponding stanza from the titular poem by Alice Weaver Flaherty. The piece was originally composed as a vehicle for virtuoso organist Heinrich Christensen, and later orchestrated. The first movement introduces the main musical material--a five note motive, the intervals of which are reorganized to create melodic and harmonic development throughout the piece. The second, third, and fourth movements depict the brutal fight between Jacob and the angel, and lead one to the next without pause. The fifth movement is about the post-battle scene, and the final movement is an epilogue, reframing the ideas from the previous movements. The music elucidates various actions from the Flaherty poem—sand skittering across the desert, aggressive acts of violence and sensuality between the protagonists, the beating of wings, feathers blowing in the wind, etc. But beyond the music's more literal elements, the work is designed to express an abstract state of mind, a sense of unease, and anticipation of what is yet to come. —Graham Gordon Ramsay2(2) 1,1 2 2; 2221; 7perc, hp, cel; stgs Duration: 24'Composed: 2023 Published by: Distributed Composer Jacob vs Angel was composed originally as a solo concert organ work in 2007; the orchestral version was completed in 2023. A live performance of the organ version can be seen at. Performance materials available on rental:.
SKU: AP.38500
UPC: 038081438900. English.
This suite is comprised of four movements whose composers hail from Finland, Sweden, Denmark, and Norway. Full of teaching opportunities, the contrasting movements include both dance tunes and folk songs stylized in the Romantic idiom. Musically sophisticated beyond the technical demands, each movement stands alone, or can be played together to make a substantial and satisfying concert or contest selection.
SKU: SU.50007530
Duration: 30' Movements: 1. dry wood and dead ashes; 2. beyond the dusty world; 3. standing, waiting, mixing ink Published by: Seesaw Music.
SKU: FG.55011-651-1
ISBN 9790550116511.
The collective memory does not extend beyond three generations. This facilitated the new rise of the extreme right in Europe in the 2010s. Young men without a meaningful purpose in their lives are particularly susceptible to neo-Nazi ideologies. Adult sons still living with their parents channel their resentment into self-declared superiority, becoming entitled braggarts with a supposed motive to disparage anyone who is of a different colour or from a different country. Such a home made National Socialist is the nomil character underlying in orchestral work Junker Twist.
SKU: PR.416415730
UPC: 680160636174. 9 x 12 inches.
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: UM.89868
ISBN 9790224405453. A4 inches.
SKU: UM.5491
ISBN 9790224405491. A3 inches.
SKU: SU.94010100
Instrumentation: 22,1 22,1; 4331; timp, 3perc, hp, pno/cel; stgs Duration: 14' Full Score & Parts: available on rental Composed: 2005 Published by: Subito Music Publishing.
SKU: PR.41641573L
UPC: 680160636181. 11 x 17 inches.
SKU: LO.30-3765MD
UPC: 000308156331.
Orchestral Score and Parts for My Savior, My God (10/5420MD) - This popular worship song by Aaron Shust rejoices in the knowledge that God is the same yesterday, today, and forever. Though full of mystery beyond human comprehension, His love is sure and constant. Arranged by Jay Rouse for choir, this setting is a wonderful opportunity for choir and congregation to worship together.
SKU: CA.2300400
ISBN 9790007240783. English/German. Text: Newman, John Henry.
This is the best of me, wrote Edward Elgar after the final measure of his Dream of Gerontius. Premiered in 1900, in Great Britain the work has long been a standard work in the repertoire of large oratorio choirs. Elgar's moving, poetic setting of the eponymous poem by Cardinal John Henry Newman is about a dying man and his journey beyond death to God. Before the eyes of the listeners, a musical image of the soul is created which flies past mocking demons to God with its protecting angel at its side, is allowed to look at God briefly, then faces the purgatory confident and comforted. The work is a real rarity in the history of oratorio, and for large choirs it is a thrilling alternative to the established repertoire of Requiem settings. Its popularity is thanks to the suggestive, often sensuous power of the music, the great choral scenes of the demons and the angels, and the three impressive solo parts.All previous editions were reprints based on the historic first printed materials, which are inconsistent. By contrast, Carus has produced a modern, newly-engraved edition, compatible in all sections, which takes all the sources into consideration and evaluates the autograph manuscript in detail. For this edition the complete orchestral material is available on sale, and the vocal score and full score contain both English and German singing texts. The full score is also available digitally.*,A milestone of late Romantic choral music, and a standard work in Great Britain*,First modern score with a full Critical Report and complete performance material- English and german singing texts
SKU: PR.416412780
UPC: 680160092574. 8.5x11 inches.
SKU: CA.2300403
ISBN 9790007240790. English/German. Text: Newman, John Henry.
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