| 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 | | |
| Wonderful Worlds Orchestra [Score] - Easy Alfred Publishing
Orchestra - Grade 3 SKU: AP.48065S Featuring: What a Wonderful World /...(+)
Orchestra - Grade 3 SKU: AP.48065S Featuring: What a Wonderful World / (What a) Wonderful World. By Bob Thiele, George David Weiss, Herb Alpert, Lou Adler, and Sam Cooke. Arranged by Victor Lopez. Full Orchestra; Performance Music Ensemble; Single Titles. Pop Concert Full Orchestra. Light Concert; Pop/Rock. Score. 20 pages. Duration 4:00. Alfred Music #00-48065S. Published by Alfred Music (AP.48065S). ISBN 9781470655655. UPC: 038081559186. English. Words; music for What a Wonderful World by George David Weiss; Bob Thiele; Words; music for (What a) Wonderful World by Sam Cooke; Herb Alpert; Lou Adler. A true musical showcase from jazz legend Louis Armstrong and pop artist Sam Cooke arranged by Victor López. Fresh harmonies and a new rendition of two classic hits from the sixties that will certainly be memorable and a real joy for your students and audience. Includes an optional part for a male or female vocalist. (4:00). $9.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Wonderful Worlds Orchestra - Easy Alfred Publishing
Orchestra - Grade 3 SKU: AP.48065 Featuring: What a Wonderful World / ...(+)
Orchestra - Grade 3 SKU: AP.48065 Featuring: What a Wonderful World / (What a) Wonderful World. By Bob Thiele, George David Weiss, Herb Alpert, Lou Adler, and Sam Cooke. Arranged by Victor Lopez. Full Orchestra; Performance Music Ensemble; Single Titles. Pop Concert Full Orchestra. Light Concert; Pop/Rock. Score and Part(s). 222 pages. Duration 4:00. Alfred Music #00-48065. Published by Alfred Music (AP.48065). ISBN 9781470655648. UPC: 038081559179. English. George David Weiss; Bob Thiele; Sam Cooke; Herb Alpert; Lou Adler. A true musical showcase from jazz legend Louis Armstrong and pop artist Sam Cooke arranged by Victor López. Fresh harmonies and a new rendition of two classic hits from the sixties that will certainly be memorable and a real joy for your students and audience. Includes an optional part for a male or female vocalist. (4:00). $75.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Violin Concerto Orchestra [Score] Lauren Keiser Music Publishing
Orchestra (Full Score) SKU: HL.1151820 Full Score. Composed by Don...(+)
Orchestra (Full Score) SKU: HL.1151820 Full Score. Composed by Donald Crockett. LKM Music. Concert. Softcover. 120 pages. Lauren Keiser Music Publishing #X075096. Published by Lauren Keiser Music Publishing (HL.1151820). UPC: 196288119210. 11.25x17.0x0.524 inches. Co-commissioned by Aspen Music Festival and School, Robert Spano, Music Director, and Oberlin Contemporary Music Ensemble, Timothy Weiss, Conductor. $150.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Flux Orchestra Peters
Orchestra SKU: PE.EP68746 For 16 Players. Composed by George Lewis...(+)
Orchestra SKU: PE.EP68746 For 16 Players. Composed by George Lewis. Edition Peters. Book. 78 pages. Edition Peters #98-EP68746. Published by Edition Peters (PE.EP68746). ISBN 9790300762128. English. Inspired by Jeff Donaldson's dizzyingly complex painting JamPact JelliTite (for Jamila), George Lewis's Flux for 16 players was written during the composer's residency at Oberlin Conservatory, where the work was composed in 2014 and premiered that year by the Contemporary Music Ensemble. Dedicated to the memory of Wendell Logan, the composer who founded Oberlin's jazz program in the late 20th century, the score is also inscribed with gratitude to the students and faculty of Oberlin, in particular Timothy Weiss, conductor of the Oberlin CME. The wild, 12-minute score leaps unexpectedly between musical ideas and calls for a wide range of extended performance techniques: quarter tones, multiphonics and percussive effects in the winds, glissandi on the piano strings, exotic bowing techiques, and more. The score includes full performance notes and is available for purchase as part of the Peters Contemporary Library. Performance materials are available on hire. This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer. $115.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Gespenst Libretto Orchestra Schott
Vocal soloists, choir and orchestra SKU: HL.49013492 Musiktheater fur ...(+)
Vocal soloists, choir and orchestra SKU: HL.49013492 Musiktheater fur Kinder und Erwachsene in zwei Akten und einer Pause. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Book. Edition Schott. Classical. Text book/libretto. Composed 1995-1996. 79 pages. Duration 90'. Schott Music #BN 3933. Published by Schott Music (HL.49013492). ISBN 9783795739331. German. Wortlich ubersetzt ist das Libretto ein 'kleines Buch', ein 'Buchlein'. Doch nicht irgendein Buchlein. Seit es Opern gibt, gibt es die Textbucher dazu. Oft erzahlen die Universalsprache Musik und der Ausdruck der Darsteller die Geschichte, auch wenn man die Worte nicht versteht. Trotzdem ist ein Libretto sehr hilfreich fur das Verstandnis der Details. Gerade dann, und das fast immer, wenn die Oper in der Originalsprache aufgefuhrt wird. In den Libretti ist in der Regel das Original der Ubersetzung gegenubergestellt. Sie konnen so problemlos parallel Handlung und Inhalt folgen. In den meisten Fallen existiert das Textbuch Oper bevor die Musik dazu komponiert wird. Spannende und dramatische Geschichten bilden die Grundlage fur faszinierende Opernkompositionen.
1 * 1 (auch Engl. Horn) * 1 (auch Bassklar.) * 1 - 2 * 0 * 0 * 0 - P. S. (Trgl. * Gl. * Crot. * Gongs * Rohrengl. * 2 hg. Beck. * chin. Beck. * Tamt. * kl. Tr. * gr. Tr. * Donnerblech * Muschelwindspiel * Bambuswindspiel * Xyl.) (2 Spieler) - Klavi. - Str. (4 Viol. * 2 Vla. * 2 Vcl. * 1 Kb.) - Tonbandpart (Dat-Cassette oder CD mit Toneinspielungen ist Teil des Auffuhrungsmaterials). $9.99 - See more - Buy online | | |
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