By Johannes Brahms. Arranged by Billie Nastelin. This edition: 2 copies included. Organ Ensemble - Organ and Piano. Level: Late Intermediate. 32 pages. Published by Alfred Publishing.

Mixed choir (SATB), soloists (SATB) and orchestra (2.2.2.2 - 2.2.3.0 - Pk - Str) - intermediate

SKU: HL.49015577

(liturgisch). Composed by Robert Schumann. Edited by Bernhard R. Appel. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Choral Score. Composed 1852. Op. 148. 40 pages. Duration 40'. Schott Music #ED 8880-01. Published by Schott Music (HL.49015577).

ISBN 9790001123785. 0.118 inches. Latin.

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.

SATB choir, organ accompaniment, organ, percussion, tubular bells, chime tree, triangle - Intermediate

SKU: GI.WW1941B

Composed by Marten Jansson. Classical. 104 pages. Walton Music #WW1941B. Published by Walton Music (GI.WW1941B).

UPC: 785147047360. Latin, English. Text Source: Traditional Latin Requiem. Text by Charles Anthony Silvestri.

Requiem Novum, an evocative musical work from Swedish composer Mårten Jansson, weaves drama, emotion, and exquisite compositional technique info a masterpiece for our time. The choir (singing the traditional Latin texts) represents the mourning and God-fearing congregation, while the soloist (singing new English texts by Charles Anthony Silvestri) answers as one beyond the veil, sending back words of comfort and hope. Highly melodic and incredibly moving, Jansson's new setting of the Latin Requiem offers a new perspective on grief and loss. Available here for choir, organ, percussion, and soloist, but also available for choir and full orchestra (WW1941A).

Choral; Orchestra (Choral Score) - intermediate to advanced

SKU: HL.49046412

Chorus and Orchestra Choral Score. Composed by Gavin Bryars. This edition: Saddle stitching. Sheet music. Choral Large Works. Christian, Classical, General Worship, Latin, Sacred. Softcover. Composed 2018. 122 pages. Duration 3000 seconds. Schott Music #ED14048. Published by Schott Music (HL.49046412).

ISBN 9781540090508. UPC: 842819111870. 8.25x11.75x0.39 inches. Latin.

Gavin Bryars' Requiem is a large scale setting of liturgical texts in ten parts for soloists, choir and orchestra. Commissioned by the Dutch National Ballet, Requiem will be choreographed by the Ballet's associate artist David Dawson into a full evening of ballet, exploring the passing of time and the essence of faith. This will be the third time Bryars and Dawson have worked together, with previous collaborations including most recently The Third Light for the Ballet Vlaanderen in Antwerp.

SATB chorus - intermediate

SKU: XC.HRMG2351

Composed by Michael John Trotta. Michael John Trotta. Music Education. Score. Hampton Roads Music Group LLC #HRMG2351. Published by Hampton Roads Music Group LLC (XC.HRMG2351).

UPC: 785147109655.

Requiem is a powerfully appealing, tender exploration of love and loss. Grounded in tradition while incorporating a present-day harmonic language, two Gregorian Chant motives are interwoven throughout the lush harmonies and soaring melodies. The level of difficulty is within the reach of many choirs and most orchestral players, making it an attractive choice for church or concert hall. A new translation of the traditional text makes it possible to perform the work entirely in English or entirely in Latin. Available accompaniments for piano, organ only, organ and winds, or chamber orchestra. Whether your choir sings a major work twice a year or is looking to try a multi-movement work for the first time, it is an excellent choice for the worship space or concert hall. The work has a flexible duration (28-40 min.) depending on the inclusions optional solo and a cappella movements. 40 min. – Complete – All movements - 34 min. – Without Solo Movements (5 And 9) - 33 min. – Without Unaccompanied Movements (2 and 7) - 28 min. – Without Unaccompanied or Solo Movements (1,3,4,6,9, 10 only) There are 3 accompaniment options: Piano/Organ only; Organ and Winds (5 players + org.); Chamber Orch. (13-20 players).

Composed by Douglas E Wagner. For organ solo, 3-staff. Sacred, Eastertide, Holy Week, Lent, Palm/Passion Sunday. Intermediate. Published by Lorenz Publishing Company

Arranged by Andrew Moore. For Violin. Violin. Classic. Book. Published by Kevin Mayhew Publishers (U.K. Import).
Level: Intermediate.

4 guitars - Intermediate

SKU: DZ.DZ-1639

Composed by Siyoh Tomiyama. Score and parts. Les Productions d'OZ #DZ 1639. Published by Les Productions d'OZ (DZ.DZ-1639).

ISBN 9782896555383.

Soprano voice solo, tenor voice or baritone voice solo, ATB choir, and piano - Intermediate

SKU: MN.56-0054

Composed by Howard Goodall. Lent, Triduum/Three Days, Tenebrae, 21st Century, Heaven, Lament/Grief/Sorrow. Instrumental part. Duration 5 minutes, 36 seconds. MorningStar Music Publishers #56-0054. Published by MorningStar Music Publishers (MN.56-0054).

UPC: 688670220579. English.

Arranged for SATB choir, two keyboards, strings, and optional harp, with soprano, tenor (optional) and baritone soloists, this fresh and unorthodox interpretation reflects on the words of the Latin Mass by juxtaposing them with poems in English. This movement has no soprano part, it is soloist above and ATB below, giving a rich, dark quality to the music. The tenors and basses (divisi) begin this movement, declaiming “Dies irae, dies illa.” Two soloists begin in the “Flanders fields” text above. There is an option for three soloists as the piece evolves. (Soprano, tenor and baritone, the composer gives some options for this.) Soon the choir takes up the poem, yet the Latin text occasionally appears and continues, moving toward a climax on the text “We are the Dead, Short days ago We lived.” As the music descends from the high point, the English poem continues, with the choir very softly commenting “Dies irae” as the movement ends. Duration 5:36.

By Johannes Brahms. Arranged by Jerry Brubaker. By Johannes Brahms / arr. Jerry Brubaker. For Full Orchestra. Full Orchestra. Belwin Intermediate Full Orchestra. Level: grade 3 Green. Conductor Score & Parts. Published by Alfred Publishing.

SATB choir and Piano - Intermediate

SKU: MN.56-0056

Composed by Howard Goodall. Lent, Triduum/Three Days, Tenebrae, 21st Century, Heaven, Lament/Grief/Sorrow. Duration 1 minute, 18 seconds. MorningStar Music Publishers #56-0056. Published by MorningStar Music Publishers (MN.56-0056).

UPC: 688670220593. Latin.

Arranged for SATB choir, two keyboards, strings, and optional harp, with soprano, tenor (optional) and baritone soloists, this fresh and unorthodox interpretation reflects on the words of the Latin Mass by juxtaposing them with poems in English. Like movement 2, also called “Revelation,” this movement is a rapid, homophonic declamation of the Latin text set for SATB and accompaniment. The music is a dynamic crescendo from pianissimo to fortissimo, painting the text. Duration 1:18.

By Malcom Archer. For choir. Ensemble (mixed). Kevin Mayhew Ltd. Sacred. Level: Intermediate-Advanced. Book. Size 7x10. 64 pages. Published by Kevin Mayhew Ltd.