Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3.5

SKU: CF.CAS155F

Composed by Liam Ramsey-White. Full score. 12 pages. Duration 4 minutes, 48 seconds. Carl Fischer Music #CAS155F. Published by Carl Fischer Music (CF.CAS155F).

ISBN 9781491163214. UPC: 680160921966. Key: G major.

Resplendence is an exclamation of joy and serves as the fanfare for a glorious return. Written as Covid-19 restrictions lessened and orchestras once again took to the stage, this uplifting work celebrates a return to normalcy. A joyous theme in G major briefly moves into E-flat major, developing the motif through modal shifts and expanding accompaniments. Variations in the relative minor build to a spectacular climax, driving the accelerating melody to a triumphant conclusion. Colorful with ever changing textures and lyrical melodies, the work embodies the emotions of people rediscovering the joy of being together, and of playing music together.

About Carl Fischer Concert String Orchestra Series

This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

By Rossano Galante. (Score and Parts). Schirmer Concert Band. Published by G. Schirmer (Associated Music Publishers).

Composed by William Owens (1963-). Developing Band. FJH Developing Band. Score and parts. Duration 3 minutes, 30 seconds. Published by The FJH Music Company Inc (FJ.B1696).

SATB Chorus & Piano

SKU: SU.80202210

For SATB Chorus & Piano. Composed by Daniel E. Gawthrop. Vocal/Choral, Secular Choral. Accompanied by piano. Choral Octavo. Subito Music Corporation #80202210. Published by Subito Music Corporation (SU.80202210).

SATB Chorus & Piano Duration: 4'30 Composed: 2021 Published by: Dunstan House Minimum order quantity: 8 copies. To order quantities fewer than 8, please email customer service at sales@subitomusic.com.

Composed by Patti Drennan. Octavo. Heritage Music Press #15/3406H. Published by Heritage Music Press (LO.15-3406H).

SATB choir

SKU: WD.080689644177

Composed by Cliff Duren. Choral, cantatas. Christmas. Book. Word Music #080689644177. Published by Word Music (WD.080689644177).

UPC: 080689644177.

Many moments had come and gone from this Earth…But not a single one could ever amount to this moment…The moment when the silence was forever broken. The reason a multitude of Heavenly Hosts began rejoicing in resplendent song. The moment when hope, grace, and mercy were granted to every nation. The one special moment when a sweet Child was born, laid in a manger, and wrapped in cloths…The moment when Glory touched Earth. Bringing this powerful, revolutionary moment to the forefront of every mind this Christmas is this new multi-generational musical from Word Music & Church Resources, Glory Touching Earth. With songs of worship and adoration, praise and glory, Cliff Duren has arranged this masterpiece into a seamless Christmas Musical that will bring every voice in your choir and congregation together as one to celebrate the birth of our Savior.

Concert Band Wind Band

SKU: AP.12-0571565131

Composed by Malcolm Arnold. 5 or More; Performance Music Ensemble; Solo Small Ensembles; Wind Band. Faber Edition: Faber Wind Band Series. 20th Century; Masterwork. Score and Part(s). Faber Music #12-0571565131. Published by Faber Music (AP.12-0571565131).

ISBN 9780571565139. English.

Originally written for orchestra, this Flourish was written to celebrate the 500th anniversary of the granting of a charter to the City of Bristol (UK), which shows Malcolm Arnold at his best in producing music for festive occasions.
The work starts with a resounding splash of color in the percussion over which the woodwind play an upward flourish leading to a resplendent fanfare in the brass. This idea is repeated with slight changes of color until it lead to one of his typical 'big tunes'.
These two ideas are then interchanged and after a long pedal F the full rich statement of the tune reasserts itself. The short coda is led by the percussion where the opening sound of tubular bells and glockenspiel underpin the jubilant B-flat ending.

SSAA choir, piano

SKU: LO.10-5540S

Composed by Brenda Portman. Choral. Sacred Anthem. Octavo. Sacred Music Press #10/5540S. Published by Sacred Music Press (LO.10-5540S).

ISBN 9780787771799.

This stunning anthem by Brenda Portman is based on a new translation of the words that are familiar from the hymn How Great Thou Art. Portman's original music begins mysterously before opening up into a glorious, resplendent conclusion. Then we will sing forever more, O mighty God! Sure to become a favorite of choir and congregation alike.

Quintet 2 Trumpets, Horn in F, Trombone and Tuba - Grade 4

SKU: KN.18871

(Fantasia). Composed by Gary D. Ziek. Arranged by Gary D. Ziek. Ensemble. Kendor Ensemble Series. Kendor Music Inc #18871. Published by Kendor Music Inc (KN.18871).

UPC: 822795188714.

This resplendent setting for grade 4 groups is sure to thrill both performers and audiences, and will bring a festive atmosphere to any holiday occasion. Instrumentation includes 2 Bb trumpets, horn in f, trombone and tuba. Duration 2:00.

By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Grade 3. Conductor Full Score. Duration 9:00

Composed by Brian Lewis. Choral Octavo. Alfred Choral Designs. Sacred. 12 pages. Published by Alfred Music (AP.43256).

Arranged by Vince Gassi. Concert Band. Concert Band; Part(s); Score. Challenger Band Series. Christmas; Sacred; Winter. Grade 1.5. 174 pages. Published by Alfred Music

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.