| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Easy Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. Format: fakebook (spiral bound). With vocal melody (excerpts) and chord names. Lassical. Series: Hal Leonard Fake Books. 646 pages. 9x12 inches. Published by Hal Leonard.
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| 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 | | |
| Moving Heaven and Earth Concert band - Intermediate/advanced Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-339-140 Concertante Variat...(+)
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-339-140 Concertante Variations on an Original Theme (after Gabriel Fauré). Composed by Philip Sparke. Anglo Music Midway Series. Concert Piece. Score Only. Composed 2012. 40 pages. Anglo Music Press #AMP 339-140. Published by Anglo Music Press (BT.AMP-339-140). 9x12 inches. English-German-French-Dutch. Moving Heaven and Earth was commissioned by the Clark County School District Commissioning Project, Las Vegas, NV, USA and is dedicated to Bunny Wasserman and her Make Music Matter, Las Vegas foundation, in appreciation of her tireless work in support of music education. It was premiered in January 2012, conducted by Col. John R. Bourgeois.The piece consists of a theme and 4 variations; although the theme is original it contains a phrase heavily influenced by a 14-bar passage from the Libera Me in Fauré’s Requiem. It is a sequence that the composer finds harmonically compelling and, although it is never quoted directly, it appears in altered form in thetheme and each of the variations. In the original, the passage is set to the words: Quando cæli movendi sunt et terra (When the heavens and the earth shall be moved) which gave inspiration for the title.After the initial statement of the theme, Variation 1 features the upper woodwinds who play a stirring melody and accompany the Fauré reference with florid arpeggios. Variation 2 spotlights the saxophones and lower woodwind in a rhythmic, modal waltz, whilst Variation 3 is a broad chorale for the brass and percussion. Variation 4 starts with a fugue, which introduces each section of the band in turn before the original theme appears on the brass while the woodwind continue the fugal figuration.
Moving Heaven and Earth is geschreven in opdracht van het Clark County School District Commissioning Project, Las Vegas, NV, USA. Het is opgedragen aan Bunny Wasserman en haar stichting Make Music Matter… Las Vegas, als blijk van waardering voor haar onvermoeibare inzet voor het muziekonderwijs. De première, uitgevoerd onder leiding van kolonel John R. Bourgeois, vond plaats in januari 2012.Het werk bestaat uit een thema en vier variaties; hoewel het een oorspronkelijk geschreven thema is, bevat het een frase die sterk is be nvloed door een passage van veertien maten uit het Libera Me van Faurés Requiem. Het gaat om een sequens die de componist harmonischzeer boeiend vindt, en die - hoewel nooit direct geciteerd - in aangepaste vorm in zowel het thema als de vier variaties naar voren komt. In het origineel is de muziek uit deze passage geschreven op de tekst Quando cæli movendi sunt et terra (Wanneer hemel en aarde bewogen worden). Daarop is de titel van deze compositie gebaseerd.Na de aanvankelijke invoering van het thema komt in Variatie 1 het hoge hout aan bod met een treffende melodie; en de verwijzing naar Fauré wordt begeleid door sierlijke arpeggio’s. Variatie 2 plaatst de saxofoons en het lage hout in de schijnwerpers met een ritmische, modale wals, terwijl Variatie 3 een weidse koraal voor het koper en slagwerk omvat.Variatie 4 begint met een fuga die elke sectie van het orkest introduceert, waarna het oorspronkelijke thema in het koper verschijnt terwijl het hout verdergaat met de fugatische versieringen.
Moving Heaven and Earth wurde vom Schulbezirksverband in Las Vegas, Nevada (USA) in Auftrag gegeben. Das Stück ist Bunny Wasserman und ihrer Stiftung Make Music Matter, Las Vegas gewidmet, in Anerkennung ihrer unermüdlichen Anstrengungen zugunsten der musikalischen Ausbildung. Die Uraufführung fand im Januar 2012 unter Leitung von Colonel John R. Bourgeois statt.Das Stück besteht aus einem Thema und vier Variationen. Obwohl es sich um ein originales Thema handelt, ist doch ein Abschnitt daraus stark von einer 14-taktigen Passage aus dem Libera Me in Faurés Requiem beeinflusst. Es ist eine Sequenz, die dem Komponisten harmonisch besonders reizvoll erschien, wennsie auch nirgends direkt zitiert wird, sondern in veränderter Form im Thema und in jeder Variation erscheint. Im Original ist diese Passage mit folgendem Text unterlegt: Quando cæli movendi sunt et terra (Wenn Himmel und Erde sich bewegen sollen). Diese Worte waren Inspiration für den Titel.Nach der einleitenden Vorstellung des Themas stellt Variation 1 die hohen Holzbläser in den Vordergrund, die eine bewegende Melodie spielen und die Anspielung auf Fauré mit schönen, lebhaften Arpeggien begleiten. Variation 2 richtet das Rampenlicht auf die Saxophone und die tiefen Holzbläser in einem rhythmischen, modalen Walzer, während Variation 3 ein breiter Choral für die Blechbläser und das Schlagzeug ist. Variation 4 beginnt mit einer Fuge, die nacheinander jedes Register des Blasorchesters präsentiert, bevor die Blechbläser das Originalthema spielen und die Holzbläser dazu mit der Umspielung der Fuge fortfahren.
Moving Heaven and Earth (Ébranler le ciel et la terre) est une oeuvre de commande du Clark County School District Commissioning Project de Las Vegas, États-Unis. Cette pièce est dédiée Bunny Wasserman et sa fondation Make Music Matter, Las Vegas, en reconnaissance de son travail sans rel che en faveur de l’éducation musicale. Elle a été créée en janvier 2012, sous la direction du colonel John R. Bourgeois.Cette oeuvre se compose d’un thème et de quatre variations ; bien que le thème soit original, il contient néanmoins un motif relativement influencé par un passage de 14 mesures du Libera Me du Requiem de Fauré. Cette séquence, dont l’harmonisation fascinePhilip Sparke, paraît sous une forme altérée dans le thème et chacune des variations. Dans l’oeuvre de Fauré, le thème mélodique colore les paroles : Quando cæli movendi sunt et terra (Quand le ciel et la terre seront ébranlés), qui ont d’ailleurs inspiré le titre de la présente composition.Après une exposition initiale du thème, la 1re variation fait appel au registre aigu des bois, qui énoncent une exaltante mélodie et enluminent l’allusion Fauré par des arpèges fleuris. La 2e variation met en valeur les saxophones et le registre grave des bois dans une valse modale rythmée, tandis que la 3e variation prend la forme d’un ample choral pour les cuivres et la percussion.La 4e variation installe une fugue qui présente, tour tour, chaque pupitre de l’orchestre avant le retour du thème d’origine interprété par les cuivres, tandis que les bois maintiennent brillement le motif de fugue. $52.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| At the Organ with Virgil Fox
Organ [Sheet music] Alfred Publishing
Arranged by Virgil Fox. Collection for organ. Series: Classical and sacred organ...(+)
Arranged by Virgil Fox. Collection for organ. Series: Classical and sacred organ (advanced organ). 148 pages. Published by Alfred Publishing.
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| Time Pieces for Cello, Volume 2 Cello, Piano - Easy ABRSM Publishing
By ABRSM. Edited by Catherine Black and Paul Harris. For violoncello, piano. (Gr...(+)
By ABRSM. Edited by Catherine Black and Paul Harris. For violoncello, piano. (Grades 2-3). Published by ABRSM (Associated Board of the Royal Schools of Music).
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| Libera Me Edition HH
Basset horn 1&2, bassoon 1&2, alto trombone, tenor trombone, bass trombone, trum...(+)
Basset horn 1&2, bassoon 1&2, alto trombone, tenor trombone, bass trombone, trumpet 1&2, timpani, double bass SKU: HH.HH533-IPT Composed by Ignaz von Seyfried. Edited by David Wyn Jones. Set of parts. Edition HH Music Publishers #HH533-IPT. Published by Edition HH Music Publishers (HH.HH533-IPT). ISBN 9790708185499. Seyfried uses the same key as the Requiem, its distinctive orchestral sonority and quotes two passages from Mozart’s work prompted by clauses in the liturgical text. The ‘Libera me’ was widely used in nineteenth-century Vienna, both in its original version for voices and instrumental ensemble, and for voices and organ alone. This edition allows both types of performance.. $21.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Libera Me Edition HH
Chorus & ensemble SKU: HH.HH533-FSC Composed by Ignaz von Seyfried. Edite...(+)
Chorus & ensemble SKU: HH.HH533-FSC Composed by Ignaz von Seyfried. Edited by David Wyn Jones. Full score. Edition HH Music Publishers #HH533-FSC. Published by Edition HH Music Publishers (HH.HH533-FSC). ISBN 9790708185451. Seyfried uses the same key as the Requiem, its distinctive orchestral sonority and quotes two passages from Mozart’s work prompted by clauses in the liturgical text. The ‘Libera me’ was widely used in nineteenth-century Vienna, both in its original version for voices and instrumental ensemble, and for voices and organ alone. This edition allows both types of performance.. $14.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Libera Me Choral SATB Edition HH
SATB chorus SKU: HH.HH533-CHS Composed by Ignaz von Seyfried. Edited by D...(+)
SATB chorus SKU: HH.HH533-CHS Composed by Ignaz von Seyfried. Edited by David Wyn Jones. Choral score. Edition HH Music Publishers #HH533-CHS. Published by Edition HH Music Publishers (HH.HH533-CHS). ISBN 9790708185529. Seyfried uses the same key as the Requiem, its distinctive orchestral sonority and quotes two passages from Mozart’s work prompted by clauses in the liturgical text. The ‘Libera me’ was widely used in nineteenth-century Vienna, both in its original version for voices and instrumental ensemble, and for voices and organ alone. This edition allows both types of performance.. $1.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Messa di Requiem Choral SATB SATB [Vocal Score] Schirmer
Vocal Score. By Giuseppe Verdi. (SATB). Choral Large Works. Size 6.75x10.5 inche...(+)
Vocal Score. By Giuseppe Verdi. (SATB). Choral Large Works. Size 6.75x10.5 inches. 214 pages. Published by Schirmer.
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| Requiem, Op. 48 Choral SATB [Sheet music] Alfred Publishing
By Gabriel Faure. For Orch. (SATB with SB Soli). Choral Worship Cantata. Kalmus...(+)
By Gabriel Faure. For Orch. (SATB with SB Soli). Choral Worship Cantata. Kalmus Edition. Masterwork; Sacred. Book. 80 pages. Published by Alfred Publishing.
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| Sanctus from "Requiem" for 8-part Trombone Ensemble Trombone ensemble - Advanced Cherry Classics
8-part Trombone Ensemble - advanced SKU: CY.CC3005 Composed by Giuseppe V...(+)
8-part Trombone Ensemble - advanced SKU: CY.CC3005 Composed by Giuseppe Verdi. Arranged by Randall Malmstrom. Romantic Requiem. Score and parts. 40 pages. Cherry Classics #3005. Published by Cherry Classics (CY.CC3005). ISBN 9790530058251. Verdi wrote his Requiem in 1874. It has been called one of the greatest operas ever because of its passion and lyricism. The exciting Sanctus movement is also an 8-part double fugue based on the inversion of the melody from Libera Me. Randall Malmstrom has done a wonderful job with his arrangement of this great piece for 8-part Trombone ensemble. The 2 1/2 minute movement is appropriate for advanced performers. $22.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Sacred Masterpieces Soprano voice, Organ [Sheet music + CD] Ricordi
(With a CD of performances and orchestral accompaniments Soprano, Vol. 1). By Va...(+)
(With a CD of performances and orchestral accompaniments Soprano, Vol. 1). By Various. For Soprano, Piano Accompaniment. Vocal. Book with CD. Ricordi #R140509. Published by Ricordi
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| Libera me Choral SATB Carus Verlag
SATB chorus, Org SKU: CA.338800 Responsorium. Composed by Anton Br...(+)
SATB chorus, Org SKU: CA.338800 Responsorium. Composed by Anton Bruckner. Gattungen vokal: Sacred vocal music. Full Score. Composed 1843-1845. WAB 21. Carus Verlag #338800. Published by Carus Verlag (CA.338800). ISBN 9790007293550. Latin. The responsory Libera me from the Requiem Mass dates from Bruckner's years of study in Kronstorf and is stylistically reminiscent of the early Viennese classical period. The organ takes over the function of the basso continuo. $2.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Libera me Organ Gehrmans Musikforlag
Organ solo SKU: GH.MAN262 Befria mig ur friheten! All denna frihet!(+)
Organ solo SKU: GH.MAN262 Befria mig ur friheten! All denna frihet!. Composed by Sven-David Sandstrom. Published by Gehrmans Musikforlag (GH.MAN262). Second movement from the extensive organ piece Libera me, inspired by Sandstrom's Requiem with lyrics by Tobias Berggren. $69.81 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Libera me Soli, Mixted choir and accompaniment [Vocal Score] Oxford University Press
From Requiem. Composed by Gabriel Faure (1845-1924). Edited by John Rutte...(+)
From Requiem. Composed by Gabriel Faure (1845-1924). Edited by John Rutter. Mixed Voices. Oxford Choral Classics Octavos. Vocal score. 12 pages. Duration 3'. Published by Oxford University Press (OU.9780193416826).
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| Moving Heaven and Earth Concert band - Intermediate/advanced Anglo Music
Score and Parts Concert Band (Score & Parts) - Grade 4 SKU: HL.44012088 C...(+)
Score and Parts Concert Band (Score & Parts) - Grade 4 SKU: HL.44012088 Composed by Philip Sparke. Anglo Music Concert Band. Softcover. Anglo Music Press #AMP339-010. Published by Anglo Music Press (HL.44012088). 9.25x12.25x1.382 inches. Moving Heaven and Earth consists of a theme and 4 variations; although the theme is original it contains a phrase heavily influenced by a 14-bar passage from the Libera Me in Faure's Requiem. It is a sequence that the composer finds harmonically compelling and, although it is never quoted directly, it appears in altered form in the theme and each of the variations. In the original, the passage is set to the words: Quando c''li movendi sunt et terra (When the heavens and the earth shall be moved) which gave inspiration for the title. $190.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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