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: PR.11641867L
UPC: 680160683215.
Contextures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.
SKU: PR.11641867S
UPC: 680160683208.
SKU: HL.48024683
ISBN 9781784545062. UPC: 888680952570. 8.25x11.75 inches.
TEMPUS FUGIT was commissioned to celebrate the centenary of Finnish independence on 6 December 2017 and it received its first performance in Helsinki on that day, given by the Finnish Radio Symphony Orchestra.The composer says that “if you translate TEMPUS FUGIT as 'Time Flies', you could say that Finland has travelled a long way already -but 100 years is a short time-span, and living as a human in this part of the world started long ago and, we hope, will continue formillennia to come. This relates to my fascination with Bernd Alois Zimmermann's concept of spherical time - that the past, the present and the future are continuously linked and within reach. You can also examine the inter-connection of musical time in the earlier works of Stockhausen such as Kontakte and Gruppen which had a big impact on me as a young composer. A translation of TEMPUS FUGIT that I prefer is 'Time in Flight', offering the idea that time escapes from us but bequeaths a tangible residue, rather like aplane travelling towards the distance but leaving a visible vapour trail.” This 30-minute score is a major addition to the orchestral repertory.
SKU: BR.PB-14613
The study score (,,Studien-Edition) is available at G. Henle Verlag.
ISBN 9790004214886. 10 x 12.5 inches.
The Eroica according to the Complete EditionExploring the Eroica is the name of the essay with which the editor made herself known back in 1998 and which contributed decisively to the research into the complex transmission. Written in 1803, the autograph of the work is lost today. The title Sinfonia Eroica is already found in the first edition (but only there as well). The main source of the edition is the copy of the score, which was carefully examined and emended by Beethoven, and into which he made corrections even after the appearance of the first printed set of parts. In addition, the copies of the parts used for first performances (before publication) as well as the extremely error-filled first edition of the instrumental parts are also relevant; more so, however, is another printed set that Beethoven personally revised. Thanks to the new performance material, the musical text of the new Beethoven Complete Edition can now also be heard alternatively to the Breitkopf Urtext edition by Peter Hauschild (PB/OB 5233).
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.46695S
UPC: 038081535371. English.
Mele Kalikimaka, the closest approximation of saying Merry Christmas that there is in the Hawaiian language, was written in 1949 and recorded by Bing Crosby and The Andrew Sisters in 1950. This first rendition of the tune is still popular today and many of your students and audience members will recognize it with delight! It is almost impossible not to sing the syncopated title phrase and beginning it on an up-bow helps create accents and fun! The accidentals are all familiar ones that give the piece color and interesting parts. Every section has their own entrances and gets a chance to play the main melodies and important supporting parts. Mele Kalikimaka, arranged by Jan Farrar-Royce, is a fun and musically educational way to celebrate the holiday season!
SKU: HL.14005410
'Acquainted with Night', is a cycle of six songs, for alto and strings, harp and timpani. The texts are all concerned with different aspects of night. The first song, 'Lullaby' to a poem by Beaumont and Fletcher, seeks to evoke the 'care-charming' powers of sleep. The second, a setting of Robert Frost's 'Acquainted with the night', is concerned with the lonely world of a strange city at night and the music is characterised by an insistently repeated figure in the accompaniment. The third song contrasts the calmness of the night with the turbulence in a lover's mind - the poem is by the Earl of Surrey. 'Out in the dark' a poem by Edward Thomas, is the text of the fourth song. It is in the form of a scherzo and deals with the mystery and strangeness of night, and, as the poet puts it, the 'might' of night. It is, as the poet says, a hymn to night and the chordal nature of the accompaniment suggests this quality. This song leads directly into the last, which is in fact a reprise of the opening 'Lullaby' so completing the cycle.
SKU: PR.416416140
UPC: 680160642441.
Time is one of the main factors impacting the world and our lives. Einstein saw time as the relationship of the motion of one object relative to the position of another object, as measured through observation. But can we really measure time objectively? Music, the art which moves through time, can affect our perception of time, and can affect each person's perception of time differently. Depending on the emotion it stimulates, music can make time seem to pass quickly or slowly. A composer can use music to convey time to an audience and different musical ideas can create different sensations of time. Absence of Time is a concerto for woodwind quartet and orchestra. It has three main sections (fast, slow, fast), recalling traditional concerto form, but it does not use the solo instruments in the traditional way, i.e., as soloists in contest with the orchestra. Inspired by the idea of juxtaposing different experiences of time, I divided the instruments into two groups: the four soloists and the orchestra. The orchestra functions mostly as the keeper of time (real time) while the quartet of soloists fluctuates (in imaginary time or in the absence of time) around the orchestra's time. While the quartet's instruments do play solos, they also play in ensemble with the orchestra. You could say that they play in both imaginary time (as soloists) and in real time (with the orchestra). In addition to this, the woodwind section of the orchestra plays in conversation with the solo quartet, calling it back to real time. Fusion is achieved at the end of the piece through the use of strong, driving rhythm. Absence of Time was commissioned by the Pacific Symphony and was first performed by the Pacific Symphony and the Pacific Symphony Woodwind Quartet with Carl St. Clair as conductor on October 20, 2016.
SKU: PR.41641614L
UPC: 680160642458. 11 x 17 inches.
SKU: AP.44822
UPC: 038081515632. English.
Since its release in 1989, the movie National Lampoon's Christmas Vacation has become a modern Christmas classic. This arrangement by Patrick Roszell features the theme song, Christmas Vacation. Join the trip with Clark and the rest of the Griswold family as we celebrate the holiday season, and say along with Clark, Where's the Tylenol? (2:20).
SKU: AP.44822S
UPC: 038081515649. English.
SKU: KN.10143
UPC: 822795101430.
For student string orchestras this expressive tone poem beautifully portrays the changing moods of the sea with soaring melodies and lush, late-Romantic harmonies. The lyrical opening theme should be played with great sensitivity and warmth, while the dramatic closing theme should be played with energy and passion. Playing with clarity, precision and balance is particularly important in fugal passages. In the final analysis, Del Borgo says players shouldn't be afraid to wear their hearts on their sleeves.
SKU: HL.49044656
ISBN 9790543501539. 9.25x12.0x0.076 inches.
SKU: HL.4008703
UPC: 196288190837.
Stratoscape, by Swiss composer Gauthier Dupertuis, is a colorful and contrasting work for wind orchestra, depicting the view of our earth as seen from the stratosphere. This voyage into the sky is pictural, but also metaphorical, as it is also about distancing from our world. The work is divided into five sections: I Ignition!, II Broadness & The Big Blue, III Stars Shining from Down to Above, IV Destructive Forces, V One and Only Home Five contrasting movements, starting with Ignition in which Gauthier Dupertuis tries to musically convey the majesty of our planet seeing if from the atmosphere, ending with One and Only Hope, as the title say, a message of hope. In between three movements that depict the broadness of the landscapes of our planet (second movement), the fragility of our earth at night with only the stars shining (third movement). But also sheer reality in the fourth movement when the composer translates into music the damage caused toour planet by us human beings. Stratoscape: a fantastic view of Planet Earth!
SKU: KN.8203
UPC: 822795082036.
This sparkling medley features bell-like pyramid figures and clearly-marked articulations, dynamics and bowings to help young players deliver a truly festive performance. In his score notes, Caponegro says that every effort should be made to use the optional percussion instruments (bells and jingle bells) to enhance the seasonal flavor. Duration 2:50.
SKU: HL.288106
Symphony No. 8 for Orchestra (2011) by Per Norgard. Premiered on September 19, 2013 by the Helsinki Philharmonic Orchestra and John Storgards. Programme note: The first movement opens with sculptural rising and falling scales. Visually the sound may call to mind, say, spirals or ziggurats (temple towers). Brisk music leads to the climax of the movement.The second movement is slow and sensually melodious and has three interludes of greater timbral melodic action. The third movement begins very restlessly but towards the climax the tempo gradually begins to accelerate. An oscillating pianissimomurmur ends the movement - and the symphony. Symphony no. 8 is commissioned by Helsinki Philharmonic Orchestra and is besides the Orchestra dedicated to the conductor John Storgards. Per Norgard (2012).
SKU: HL.49044657
ISBN 9790543501546. 9.25x12.0x0.088 inches.
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