By Stuart K Hine. Arranged by Ed Dickinson. For orchestra. Allegis. Advanced. Published by Lillenas Publishing Company

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score)

SKU: HL.49018099

Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (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.

Orchestra (Full Score)

SKU: HL.244904

For Orchestra. Composed by Bryce Dessner. Music Sales America. Classical. Softcover. Composed 2017. 64 pages. Duration 1020 seconds. Chester Music #CH83985. Published by Chester Music (HL.244904).

8.25x12.0x0.508 inches.

Quilting, co-commissioned by the BBC Symphony Orchestra and the Los Angeles Philharmonic, is my first stand alone work for orchestraand is loosely inspired by the American tradition of quilt making. I composed Quilting while living most of last year in Paris.During my time there, I thought a lot about what it means to compose symphonic music as a young American in the 21st century, when so many of the many masterworks which are programmed year in and out by orchestras across the country are European. I considered which artistic traditions defined the American 19th-century. I began to think of the American crafts-tradition of quilting as a foilto the high-art tradition of European orchestral composition. As the score for my new work began to take shape, I started thinking about the manuscript itself as an object, its vertical and horizontal planes create a kind of patterned geometry of their own. Visually the way a musical score is woven together like patchwork brought to mind quilts and the great American tradition of quilting. I imagined about how conducting an orchestra can feellike stitching a piece together, or sewing together a large number of musical ideas and musicians into a coherent and transcendent whole. Quilting was an integral part of American vernacular in the 18th and 19th centuries, the African-American quilting tradition is especially fascinating, and the quilts tell the stories of the women and communities who made them. The names of the quilt patterns themselves can have their own sense of narrative: 'jacobs ladder', 'drunkards path', 'solomon's puzzle', and (my favorite for its relevance to this piece) 'the road to California. - Bryce Dessner.

Concert Band; Orchestra - Grade 1.5

SKU: AP.49118

Composed by Jeremy Bell. 5 or More; MakeMusic Cloud; Mixed Instruments - Flexible Instrumentation; Performance Music Ensemble; Quartet; Single Titles; Solo Small Ensembles. Alfred Debut Series. Score and Part(s). 91 pages. Duration 3:07. Alfred Music #00-49118. Published by Alfred Music (AP.49118).

UPC: 038081563473. English.

This version of Defenders of the Realm by Jeremy Bell is part of our Alfred FLEX offerings and is designed with maximum flexibility for use by any mix of instruments---wind, strings, and percussion, including like- or mixed-ensembles with as few as 4 players. The suggested instrumentation and a customizable Teacher Map will help you plan out how to best assign parts to suit your ensemble's needs. The 4-part instrumentation will support balanced instrumentation of the lower voices. It also comes with supplemental parts for maximum flexibility. With the purchase of this piece, permission is granted to photocopy the parts as needed for your ensemble. A percussion accompaniment track is also available as a free download. String parts have been carefully edited with extra fingerings and appropriate bowings to support students in mixed ensembles playing in less familiar keys.

Inspired by fantasy-themed movies where heroes find the strength to fight and overcome great odds, Defenders of the Realm by Jeremy Bell recreates the big, epic soundtrack of a Hollywood movie for young bands. Ranges and rhythms create an impressive-sounding piece appropriate for developing musicians. (3:10)

Percussion Accompaniment Track Downloads :
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This title is available in MakeMusic Cloud.

Orchestra

SKU: BR.SON-620

Okeaniden, Tapiola. Composed by Jean Sibelius. Edited by Kari Kilpelainen. Linen. Complete Works.

The American tone poems

Late-romantic; Early modern. Complete Works. 228 pages. Breitkopf and Haertel #SON 620. Published by Breitkopf and Haertel (BR.SON-620).

ISBN 9790004803226. 10 x 12.5 inches.

Jean Sibelius wrote his last two tone poems Aallottaret op. 73 and Tapiola op. 112 as commissions for the United States. Aallottaret is the original Finnish title of op. 73, as is found on the autograph. Discreetly concealed behind this title, however, is the title The Oceanides, which also stems from Sibelius, and which Breitkopf & Hartel gladly placed in first position for the first edition of 1915, thus facilitating the diffusion of the work. The previously unpublished early version of Aallottaret is also presented in the volume of the Complete Edition; it had been hastily rejected shortly before the world premiere. Compared with this genesis, the origin of Tapiola , Sibelius last great symphonic poem, is relatively unspectacular: though he was under pressure to write and publish the work, Sibelius produced no different versions. There was only one printed edition from Breitkopf and no further revisions. Thanks are given to Professor Nors S. Josephson for his valuable work on this volume, the editing of which he began.

By Johann Sebastian Bach (1685-1750). Edited by Heinrich Besseler; Hans Gruss. For orchestra (3 trumpets/timpani/2 oboes/2 violins/viola/basso continuo (cello/double bass/harpsichord)). This edition: Stapled, Urtext edition. Score. Text Language: German/English. BWV 1068. 50 pages. Duration 24'. Published by Baerenreiter Verlag

Orchestra

SKU: HL.14019145

Composed by Magnus Lindberg. Music Sales America. Classical. Book [Softcover]. 48 pages. Music Sales #KP00119. Published by Music Sales (HL.14019145).

ISBN 9788759860625. 12.0x16.5x0.436 inches. English.

This work was written with a mix between computer technology and the more traditional orchestra, the piece was composed in such a way that it would support its own acoustics. Lindberg worked with amplification of instruments and electronically transformed sounds thus producing greater possibilities to abandon acoustic limits. In order for the piece to be supported by it's own acoustics, the piece had to be written in terms of foreground and background harmony, every foreground chord would always have it's background, a shadow existing without it's main chord. Another theme to the piece is that of textural motion as rapid gestures and motions are a big part of the composer's interest. Static repitions seemed to limit the piece however so they were compensated for on another level, so with a repetitive rhythmic pattern, the harmonic material changes rapidly or when a chain of chords is static the rhythmic and timbral qualities vary frequently. Work for orchestra commissioned by the Finnish Broadcasting Company.