| Requiem Orchestra [Study Score / Miniature] Schott
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (St...(+)
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. $93.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Leon Jessel : Parade of the Wooden Soldiers Orchestra [Score and Parts] - Intermediate Alfred Publishing
By Leon Jessel (1871-1942). Arranged by Ralph Ford. Orchestra. Full Orchestra; P...(+)
By Leon Jessel (1871-1942). Arranged by Ralph Ford. Orchestra. Full Orchestra; Part(s); Score. Belwin Concert Full Orchestra. Christmas; Winter. Grade 3. 150 pages. Published by Alfred Music Publishing
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| Leon Jessel : Parade of the Wooden Soldiers Orchestra [Score] - Intermediate Alfred Publishing
By Leon Jessel (1871-1942). Arranged by Ralph Ford. Orchestra. Full Orchestra; S...(+)
By Leon Jessel (1871-1942). Arranged by Ralph Ford. Orchestra. Full Orchestra; Score. Belwin Concert Full Orchestra. Christmas; Winter. Grade 3. 16 pages. Published by Alfred Music Publishing
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| Fantastic Beasts -- The Secrets of Dumbledore Orchestra - Intermediate Alfred Publishing
Orchestra - Grade 3.5 SKU: AP.49913S Featuring: The Secrets of Dumbled...(+)
Orchestra - Grade 3.5 SKU: AP.49913S Featuring: The Secrets of Dumbledore / Lally / Countersight / The Room We Require / Hedwig's Theme. By Contains Hedwig's Theme by John Williams and James Newton Howard. Arranged by Chris M. Bernotas. Full Orchestra; Performance Music Ensemble; Single Titles. Pop Concert Full Orchestra. Form: Suite. Movie; Pop. Score. Duration 4:15. Alfred Music #00-49913S. Published by Alfred Music (AP.49913S). ISBN 9781470652463. UPC: 038081574936. English. James Newton Howard; Contains Hedwig's Theme by John Williams. Fantastic Beasts: The Secrets of Dumbledore is as musically intriguing as the motion picture's storyline with its stunning music by James Newton Howard. The magic and mystery of this installment of J.K. Rowling's adventure will come to life with this exciting arrangement by Chris M. Bernotas. This arrangement can be performed as a string orchestra alone or with any combination of winds and percussion up to a full orchestra. Featuring these highlights from the score: The Secrets of Dumbledore, Lally, Countersight, The Room We Require, and Hedwig's Theme. (4:15). $10.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Fantastic Beasts -- The Secrets of Dumbledore Orchestra - Intermediate Alfred Publishing
Orchestra - Grade 3.5 SKU: AP.49913 Featuring: The Secrets of Dumbledo...(+)
Orchestra - Grade 3.5 SKU: AP.49913 Featuring: The Secrets of Dumbledore / Lally / Countersight / The Room We Require / Hedwig's Theme. By Contains Hedwig's Theme by John Williams and James Newton Howard. Arranged by Chris M. Bernotas. Full Orchestra; Performance Music Ensemble; Single Titles. Pop Concert Full Orchestra. Form: Suite. Movie; Pop. Score and Part(s). Duration 4:15. Alfred Music #00-49913. Published by Alfred Music (AP.49913). ISBN 9781470652456. UPC: 038081574929. English. James Newton Howard; Contains Hedwig's Theme by John Williams. Fantastic Beasts: The Secrets of Dumbledore is as musically intriguing as the motion picture's storyline with its stunning music by James Newton Howard. The magic and mystery of this installment of J.K. Rowling's adventure will come to life with this exciting arrangement by Chris M. Bernotas. This arrangement can be performed as a string orchestra alone or with any combination of winds and percussion up to a full orchestra. Featuring these highlights from the score: The Secrets of Dumbledore, Lally, Countersight, The Room We Require, and Hedwig's Theme. (4:15). $85.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Beatles Session Parts Orchestra Hal Leonard
(Note-for-Note Transcriptions of the Brass, Woodwind, Strings and More). By The ...(+)
(Note-for-Note Transcriptions of the Brass, Woodwind, Strings and More). By The Beatles. For Orchestra. Transcribed. Softcover. 192 pages. Published by Hal Leonard
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| Four Orchestral Works in Full Score Orchestra [Score] Dover Publications
(Rapsodie Espangnole, Mother Goose Suite, Valses Nobles et Sentimentales, and Pa...(+)
(Rapsodie Espangnole, Mother Goose Suite, Valses Nobles et Sentimentales, and Pavane for a Dead Princess). Composed by Maurice Ravel (1875-1937). Orchestra. Full Orchestra (Full Score); Larger Works; Masterworks; Score. Dover Edition. Impressionistic; Masterwork. Published by Dover Publications
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| The Lost Words Orchestra Peters
Choir Secular For Upper Voices and Piano or Orchestra SKU: PE.EP73416A (+)
Choir Secular For Upper Voices and Piano or Orchestra SKU: PE.EP73416A For High Voices and Piano (or Orchestra). Composed by James Burton. Arranged by Art by Jackie Morris and Robert Macfarlane. Choral Works (Secular) - Upper Voices. Edition Peters. Book. 68 pages. Duration 00:32:00. Edition Peters #98-EP73416A. Published by Edition Peters (PE.EP73416A). ISBN 9790577018577. 210 x 297 mm inches. English. The Lost Words by composer James Burton takes its inspiration and text from the award-winning 'cultural phenomenon' and book of the same name by Robert Macfarlane and Jackie Morris: a book that was, in turn, a creative response to the removal of everyday nature words like acorn, newt and otter from a new edition of a widely used children's dictionary. Both the book and Burton's 32-minute work, which is written in 12 short movements for upper-voice choir in up to 3 voice parts (with either orchestral or piano accompaniment), celebrates each lost word with a beautiful poem or 'spell', magically brought to life in Burton's music. At its heart, the work delivers a powerful message about the need to close the gap between childhood and the natural world. Burton's piece was co-commissioned by the Hallé Concerts Society for the Hallé Children's Choir and the Boston Symphony Orchestra. The piano accompaniment version was premiered at the Tanglewood Festival in 2019 by the Boston Symphony Children's Choir, of which Burton is founder and director. The Hallé Children's Choir will premiere the orchestral version of the full work in Manchester, UK, post-pandemic. - Vocal Score
- Co-commission by Boston Symphony and Hallé Concerts Society for their respective Children's Choirs.
- Two versions - with orchestral or with piano accompaniment. The vocal score is the same for both versions.
- James Burton is a composer but also a conductor. He is conductor of the Tanglewood Festival Chorus and choral director of the Boston Symphony.
- The book The Lost Words, exquisitely designed, has won multiple awards and is an international best-seller. The vocal score includes Jackie Morris's beautiful imagery in its cover design.
$11.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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