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.

By Karl Kohn. Chamber orchestra. Carl Fischer Study Score Series Orchestral Works - Chamber Music. First Performance January 22, 1967 in Claremont, California by Pomona College Symphony Orchestra Kenneth Fiske, Conductor. This performance conducted by the composer.. Classical. Full score (study). Standard notation. 47 pages. Duration 12 minutes. Published by Carl Fischer

(For Theater Or Chamber Orchestra). Composed by Charles Ives (1874-1954). For chamber orchestra (oboe, flute, or clarinet ad lib., english horn or cornet, 2 Bb clarinets, bassoon (or Eb baritone saxophone), or trombone, horn/trombone solo (e.h./a cl. for smaller strings), trombone, tympani, bells (high and low), piano (4 hands), harps/violins at a di). Contemporary. Full score - study. Standard notation. 24 pages. Duration 7 minutes, 30 seconds. Theodore Presser Company #446-41262. Published by Theodore Presser Company

Cantata for Four Soloists, Chamber Choir and Chamber Orchestra. By Robin Holloway. (Full Score). Boosey and Hawkes Scores and Books. 162 pages. Published by Boosey & Hawkes.

Overture for Chamber Orchestra. By Peter Schickele. Chamber o rchestra. Classical. Score and parts. 11 pages. Duration 2:45. Published by Theodore Presser Company.

Composed by George Benjamin. This edition: For Countertenor, Women�s Voices and Orchestra. Full Orchestra; Masterworks; Score. Faber Edition. 20th Century; Masterwork. Published by Faber Music (AP.12-0571538878).

Orchestra 2 Natural Trumpets, Percussion (2 players) & String Orchestra

SKU: PE.EP14361

For 2 Natural Trumpets, Percussion (2 players) and String Orchestra. Composed by Bernhard Gander. Chamber Orchestra. Form: March. Contemporary; Funeral. Score. 24 pages. Edition Peters #98-EP14361. Published by Edition Peters (PE.EP14361).

ISBN 9790014133177. German.

Maximal Funeral by Bernhard Gander is a 13-minute work for two natural trumpets, percussion (two players) and string orchestra. The piece is a long funeral march and was inspired by the fact that years before his death Emperor Maximilian always took a coffin with him on his travels to be prepared for it.

Maximal Funeral was made possible by the Hilde Zach Scholarship 2017 by the City of Innsbruck. The premiere performance by the Tiroler Kammerorchester InnStrumenti conducted by Gerhard Sammer took place on 9 March 2019 at the Canisianum, Innsbruck (Austria).

The full score (EP 14361) is available for sale as part of the Peters Contemporary Library. The performance material can be hired.

This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.

Orchestra (Parts) - advanced

SKU: HL.49001704

Set of Parts. Composed by Juan Bautista Pla. Edited by Walter Lebermann. Sheet music. Concertino (Chamber Orchestra). Classical. Set of Parts. 146 pages. Duration 14'. Schott Music #CON115-70. Published by Schott Music (HL.49001704).

ISBN 9790001023313. UPC: 073999804645. 9.0x12.0x0.451 inches.

This concerto for oboe and string orchestra in G major first appeared under the name of Giovanni Platti. According to new research by the present editor, however, it can be attributed to the Catalan composer Juan Bautista Pla, who lived in the middle of the eighteenth century. Pla worked as an oboist at the Portuguese Royal Court an was a member of the Wurttemberg court orchestra under Niccolo Jomelli in Stuttgart from 1755-66.

(Featuring themes from all eight motion pictures). Arranged by Michael Story and Michael Story. Orchestra. Full Orchestra; Score. Pop Intermediate Full Orchestra. Form: Medley. Light Concert; Movie; Pop. Grade 3. 32 pages. Published by Alfred Music Publishing9

Orchestra - intermediate to advanced

SKU: HL.49001906

Set of Parts. Composed by Eberhard Werdin. Sheet music. Concertino (Chamber Orchestra). Classical. Set of choral parts. 86 pages. Duration 10'. Schott Music #CON 193-50. Published by Schott Music (HL.49001906).

ISBN 9790001024853. 9.0x12.0x0.242 inches.

Descant recorder (treble recorder/flute) and recorder quartet or string quartet (string orchestra); Guitar ad lib.

Orchestra (2 * 2 (1. auch Solo) * 0 * 0 - 0 * 0 * 0 * 0 - Str. (Va. auch Solo)) - advanced to difficult

SKU: HL.49002104

Score. Composed by Paul Hindemith. This edition: Saddle stitching. Sheet music. Concertino (Chamber Orchestra). Classical. Score. Composed 1927. Op. 43 Nr. 1. 27 pages. Duration 7'. Schott Music #CON 79. Published by Schott Music (HL.49002104).

ISBN 9790001022521. UPC: 884088270322. 8.5x11.75x0.082 inches.

String orchestra (viola also solo), flutes and oboes.

Orchestra - intermediate

SKU: HL.49001988

Set of Solo Parts. Composed by Joseph Bodin de Boismortier. Edited by Hugo Ruf. Sheet music. Concertino (Chamber Orchestra). Classical. Set of solo parts. Op. 34/3. 18 pages. Duration 6'. Schott Music #CON 32-71. Published by Schott Music (HL.49001988).

ISBN 9790001021586. 8.25x11.75x0.053 inches.

3 melodic instruments (violins, flutes, oboes) or string orchestra and basso continuo (harpsichord, piano); cello (viola da gamba, bassoon) ad lib.