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: HL.49006062
ISBN 9790001065825.
SKU: HL.14032192
ISBN 9788759858394. 12.0x16.5x0.78 inches. International (more than one language).
Symphony No. 6 for orchestra, 1997-99. Preface / Program Note:... with the Lord a day is like a thousand years, and a thousand years is like a day(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Gteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean when all is added up. However, in my opinion, nothing ever quite adds up, there is always something missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still something, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of other worlds, is revealed ....The symphony is dedicated to Helle, my wife. - Per Norgard.
SKU: KN.8303
UPC: 822795083033.
This imaginative original contains three movements that correspond to the major areas found in a typical castle: The Gate House, an energetic, fanfare-style theme; The Dungeon, featuring special sound effects; and The Great Hall, which captures a mood of celebration. It's full of excitement and surprises from start to finish! Duration 3:05.
SKU: PR.416415760
UPC: 680160636532. 9 x 12 inches.
The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.
SKU: PR.41641576L
UPC: 680160636549. 11 x 17 inches.
SKU: PR.816600040
UPC: 680160600045. 5.5x5 inches.
This disk contains study scores of all 41 of Mozart's Symphonies, as well as Concertos for Winds and Strings (Piano Concertos are on a companion CD-ROM), Serenades, Opera Overtures, Divertimentos, and other works.
About CD Sheet Music (Version 1)
CD Sheet Music (Version 1) was the initial CD Sheet Music series distributed by Theodore Presser. The CDs include thousands of pages of music that are viewable and printable on Mac or PC. Version 1 titles are a great value at 40% off, as we make room in our warehouse for the newly enhanced CD Sheet Music (Version 2.0) series.
SKU: SU.90810130
Instrumentation: 3fl(picc), 2ob, 2cl, 2bn; 4hn, 3tpt, 3tbn(bs), tba; timp, 4perc, pno; strings Duration: 7' Full Score & Parts: available on rental Composed: 2003 Published by: Subito Music Publishing Composer's Note: Maintaining a persistent beat throughout, Fantasy for Orchestra begins with a dramatic and highly energetic theme stated immediately in the violins. The range of expression is wide, moving from dance-like rhythms -- making use of irregular meters -- to rather dreamy textures. Throughout much of the work, even in the softer, more fantasy-like middle section, the use of percussion -- gongs, cowbells, and various drums -- is prevalent. --N.G.
SKU: HL.1455263
ISBN 9781638879329. UPC: 196288209393. 9.0x12.0x0.545 inches.
Composed during the summer and fall of 1974, Barnes' FIRST SYMPHONY, Op. 35 was his master's thesis at The University of Kansas. It was premiered in the spring semester of 1976 by their Symphonic Band, Robert E. Foster conducting. The following year, the symphony was awarded the American Bandmasters Ostwald Composition prize, which led to a second performance (of only the first two movements) by the Northwestern Wind Ensemble at the American Bandmasters convention with Col. Jack Cline (U.S Marine Band) conducting. Following this performance, Barnes submitted the work to several publishers, all of which declined on the basis it was too long and difficult to be marketable. For this reason, Barnes set the work aside and there it remained until 2022, when an offer came from the Osaka Shion Wind Orchestra to record all nine of Barnes'symphonies to help celebrate their 100th anniversary. Barnes seized the opportunity, engraving all four movements, with revisions and corrections, an effort that took seven days a week for two months to complete. As a result, after almost fifty years, all nine of the Barnes symphonies are finally available for performance.
SKU: HL.50510078
ISBN 9790080143049. UPC: 073999571110. 9.0x12.0x0.281 inches. Hungarian, English, German, French. Andras Soos.
The volume is divided into three major parts containing early Christmas songs known all over the world (as e.g. In dulci jubilo), the most popular Hungarian items and Christmas carols from abroad in captivating arrangements easy to play.
SKU: AP.43765
UPC: 038081496450. English. [Based on the music of Antonio Vivaldi] By Jeffrey E. Turner.
This very accessible arrangement includes just enough of each movement to provide a taste of the original! Stirring the pot by the use of a common key for all four seasons and simplified rhythms create the perfect blend of seasonings to delight all as only Vivaldi can. (3:15).
SKU: AP.43765S
UPC: 038081496467. English. [Based on the music of Antonio Vivaldi] By Jeffrey E. Turner.
SKU: HL.49009620
ISBN 9790200211306. UPC: 073999351675. 5.25x7.5x0.205 inches.
With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
SKU: HL.50499268
ISBN 9790080148150. 10.5x14.5x0.7 inches. Ferenc Javori.
In the past decade the Budapest Klezmer Band and the Ferenc Liszt Chamber Orchestra have proved in their joint concerts that the melodic world of the instrumental music of the Ashkenazic Jews of Eastern Europe and an ensemble consisting of the clarinet, piano, accordion, trombone, violin, double bass and percussion can be successfully combined with the sound of the classical orchestra. Ferenc Javori's Klezmer Suite has become part of the repertoire of both ensembles, and has scored notable success both in Hungary and abroad. The printed edition made the work accessible for other ensembles as well. The movements can also be performed separately.
SKU: KJ.O1074C
Alasdroim (Pronounced Ah-lass-DRIMM) is a composition that draws upon two ancient Irish Gaelic folk songs. The songs are titled: Gol Na mBan San Ar (The crying of the women at the slaughter) and Mairseail Alasdroim (MacAllistrum's march). In 1647 at Knockinoss in the county of Cork, 4,000 Irishmen under the leadership of Alasdor MacDonnell went into battle with the forces of the British Lord Inchiquin. All of the Irish forces perished. The first of these two Gaelic folk songs is about the battle at Knockinoss. The second song was written for the funeral procession of Alasdor MacDonnell. The title, Alasdroim, is the Gaelic word for MacAllistrum. Alasdroim was composed for the 1996 Music Educators National Conference.
SKU: LO.30-3611MD
UPC: 000308151619.
Orchestral Score and Parts for And It Came to Pass (10/5181MD) This big ballad is a wonderful anthem of remembrance for Advent Sunday. Written by Jay Rouse, with lyrics by Rose Aspinall, it comes from the Christmas musical “And It Came to Pass, Emmanuel†(65/2081MD). The optional orchestration by Ed Hogan will build up the ballad’s emotional impact.
SKU: HL.14040400
French.
SKU: BT.EMBZ14815
In the past decade the Budapest Klezmer Band and the Ferenc Liszt Chamber Orchestra have proved in their joint concerts that the melodic world of the instrumental music of the Ashkenazic Jews of Eastern Europe and an ensemble consisting of the clarinet, piano, accordion, trombone, violin, double bass and percussion can be successfully combined with the sound of the classical orchestra. Ferenc Jávori's Klezmer Suite has become part of the repertoire of both ensembles, and has scored notable success both in Hungary and abroad. The printed edition made the work accessible for other ensembles as well. The movements can also be performed separately.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version