SKU: BT.DHP-1196190-070

ISBN 9789043157971. English-German-French-Dutch.

1982 saw the publication of a melody for written for bagpipes by the name of Highland Cathedral—a name that draws its inspiration from a famous neo-Gothic church in Glasgow, Scotland. Since its first appearance, Highland Cathedral has enjoyed a triumphant tour around the globe, often acknowledged as an enthusiastic tribute to the nation of Scotland. Anthony Gröger’s version for string quartet combines this passionate character with unmistakeable echoes of the Scottish feel of the original work. Here then is this true classic, especially popular at wedding ceremonies, now arranged for string quartet.

In het jaar 1982 werd een voor doedelzak geschreven melodie gepubliceerd, waarvan de titel Highland Cathedral was ge nspireerd op een beroemde neogotische kerk in het Schotse Glasgow. Sindsdien heeft het stuk gaandeweg de wereld veroverd en wordt het vaak ten gehore gebracht als enthousiast eerbetoon aan Schotland. Anthony Grögers versie voor vier strijkers combineert dat gepassioneerde karakter met onmiskenbare echo’s van de Schotse sfeer van het origineel. Een geliefde klassieker, veelvuldig gespeeld op bruiloften, is nu dus ook verkrijgbaar in een arrangement voor strijkkwartet.

Im Jahre 1982 wurde eine für Dudelsack geschriebene Melodie erstmals veröffentlicht, deren Name Highland Cathedral auf einen berühmten neogotischen Kirchenbau im schottischen Glasgow anspielt. Seitdem hat sie ihren Siegeszug um die Welt angetreten und wird oft als enthusiastisches Bekenntnis zur schottischen Nation aufgefasst. Anthony Grögers Version für Streichquartett verbindet diesen leidenschaftlichen Charakter mit unverkennbaren Anklängen an das schottische Klangidiom des Originals. Ein beliebter Klassiker, vor allem auf Hochzeitsfeiern, steht somit nun auch Streichquartett-Formationen zur Verfügung.

Publiée pour la première fois en 1982, la mélodie pour cornemuse « Highland Cathedral » fait référence une célèbre église de style néogothique de Glasgow, en Écosse. Souvent perçue comme un hommage enthousiaste la nation écossaise, cette mélodie entama dès lors une marche triomphale travers le monde. La version pour quatuor cordes d’Anthony Gröger allie ce même caractère passionné aux sonorités écossaises, indissociables du langage sonore caractéristique de l’original. Un classique très populaire, notamment lors des mariages, désormais disponible pour quatuor cordes.

SKU: YM.GPW01096340

ISBN 9784636963403.

24 arrangements for two violins.
24Shou Xiao Ti Qin Er Zhong Zou Le Qu .

1. Amazing Grace; 2. Amapola; 3. The Path of the Wind from My Neighbor Totoro; 4. I Got Rhythm/Gershwin; 5. Le Temps des cerises; 6. Someday My Prince Will Come; 7. A Town with an Ocean View from Kiki's Delivery Service; 8. My Grandfather's Clock; 9. Hamabe no Uta(At the Shore); 10. The Last Rose of Summer; 11. Joy to the World; 12. Happy Birthday to You; 13. Salut d'amour Op.12/Elgar; 14. Minuet in G Major BWV anh. 114/Petzold(J. S. Bach); 15. Songs My Mother Taught Me from Lusalka/Dvorak; 16. String Quartets Op.76/3/Haydn; 17. Lascia ch'io pianga from Rinaldo/Handel; 18. O mio babbino caro from Gianni Schicchi/Puccini; 19. Plaisir d'amour/Martini; 20. Auf Flugeln des Gesanges Op.34/2/Mendelssohn; 21. Beautiful Dreamer/Foster; 22. Liebestraume No.3/Liszt; 23. Ave Maria/Caccini; 24. Siciliana from Antiche arie e danze per liuto/Respighi
1. Qi Yi En Dian ; 2. Ying Su ; 3. Feng Zhi Yong Dao Xuan Zi Long Mao ; 4. Wo De Jie Zou /Ge Shi Wen ; 5. Ying Tao Cheng Shou Shi ; 6. Zong You Yi Tian Wang Zi Hui Chu Xian ; 7. Neng Kan Jian Huan De Jie Dao Xuan Zi Mo Nu Zhai Ji Bian ; 8. Wo Ye Ye De Luo Di Zhong ; 9. Hai Bin Zhi Ge (At the Shore); 10. Xia Ri Zui Hou De Mei Gui ; 11. Ju Shi Huan Teng ; 12. Sheng Ri Kuai Le Ge ; 13. Ai De Li Zan Op.12/Ai Er Jia ; 14. GDa Diao Xiao Bu Wu Qu /Petzold(J. S. Bach); 15. Mu Qin Jiao Wo De Ge Xuan Zi Shui Xian Nu /De Wo Xia Ke ; 16. Xian Le Si Zhong Zou Op.76/3/Hai Dun ; 17. Rang Wo Tong Ku Ba Xuan Zi Li Na Er Duo /Heng De Er ; 18. A !Wo Qin Ai De Ba Ba Xuan Zi Jia Ni *Si Ji Ji /Pu Qi Ni ; 19. Ai De Xi Yue /Ma Di Ni ; 20. Cheng Zhao Ge Sheng De Chi Bang Op.34/2/Men De Er Song ; 21. Mei Li Meng Zhong Ren /Fu Si Te ; 22. Ai Zhi Meng No.3/Li Si Te ; 23. Sheng Mu Song /Qia Qi Ni ; 24. Xi Xi Li Wu Qu Xuan Zi Gu Dai Feng Ge Wu Qu /Lei Si Bi Ji.

SKU: M7.SAE-32-04

ISBN 9790707651612.

This is an overflowing arrangement for Pan Flute and String Quintet, that preserve the beauty of the original work, worldwide well known as a high virtuosity masterpiece, carefully written to suit the technical needs of the instruments. At the same time, differ in the essence, due to the creative and inovative flavour who was introduced in the arrangement of this work. A pleasure for the performers who have an appetite for unique and interesting arrangements, with which they will surely delight the audience.

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.