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.
Guitar SKU: HL.146362 Book Only. Guitar Tab Method. Instruction. S...(+)
Guitar
SKU:
HL.146362
Book
Only. Guitar Tab
Method. Instruction.
Softcover. Published by
Hal Leonard (HL.146362).
ISBN 9781495023354.
UPC: 888680070212.
9.0x12.0x0.11
inches.
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–Guitar World
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Book 1 includes: parts of
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(The Ultimate Guide to Building Tone Technique and Flexibility). By Frank T. Wil...(+)
(The Ultimate Guide to
Building Tone Technique
and Flexibility). By
Frank T. Williams. For
trombone. Softcover book.
64 pages. Published by
Carl Fischer
Piano SKU: BT.MUSAM39645 The Complete Piano Player. Tuition. Book Only. C...(+)
Piano
SKU:
BT.MUSAM39645
The
Complete Piano Player.
Tuition. Book Only.
Composed 1992. 232 pages.
Music Sales #MUSAM39645.
Published by Music Sales
(BT.MUSAM39645).
ISBN
9780711906723.
English.
All five
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Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
The Largest Collection of Piano/Vocal/Guitar Arrangements. Performed by Various....(+)
The Largest Collection of
Piano/Vocal/Guitar
Arrangements. Performed
by Various.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords). Published
by Hal Leonard.
Orchestra violin, piano SKU: CF.B3470 Composed by Julia Perry. Set of Sco...(+)
Orchestra violin, piano
SKU: CF.B3470
Composed by Julia Perry.
Set of Score and Parts.
26+13 pages. Duration 17
minutes. Carl Fischer
Music #B3470. Published
by Carl Fischer Music
(CF.B3470).
ISBN
9781491159460. UPC:
680160918058.
The
awardee of two Guggenheim
fellowships, Julia Perry
studied composition with
Luigi Dallapiccola and
Nadia Boulanger, and
conducted her works on a
tour throughout Europe
with the Vienna
Philharmonic and the BBC
Orchestra. She would
become one of the first
African-American female
composers to have an
orchestral work performed
by the New York
Philharmonic. Although
she had an auspicious and
promising career in her
early life, it was
tragically cut short by a
series of strokes leading
to partial paralysis and
eventually, her death, at
age 55 in
1979.Perry’s
catalog is widely varied,
featuring thirteen
symphonies, numerous
chamber and solo works,
pieces for band, choral
and vocal music, and four
operas. Her Violin
Concerto, completed in
1968, shows the influence
of Dallapiccola’s
teachings: sharp harmonic
dissonances organized
around specific pitch
centers, short repetitive
patterns that establish
significant musical
materials, and
contrapuntal textures.
Her fastidious
performance markings in
the solo violin part
indicate her profound
understanding of the
instrument. Angular,
muscled, and sparkling by
turns, this piece is a
sophisticated entry to
the serious violinist's
concert repertoire.There
is no evidence or
documentation that the
Violin Concerto was ever
premiered or performed
during her lifetime,
despite the fact that the
composer prepared a full
score, piano reduction
and orchestral parts.
Regrettably, this is the
case with the majority of
her works composed in the
final decade of her
life. What is
extraordinary about Julia
Perry’s musical
career was the
astonishing success she
attained in her early
years. In her youth she
studied piano, voice,
violin and cello. She
began to compose in her
teenage years, her first
publication being a
choral work in 1947 by
Carl Fischer. Her Stabat
Mater was published in
1951 and would become one
of her most often
performed pieces, with
performances in Europe
and the United States. In
1953 she was awarded a
Guggenheim fellowship to
study with the Italian
composer Luigi
Dallapiccola, first at
the Berkshire Music
Center in Tanglewood,
later in Florence, Italy.
During this time, she
also pursued studies with
Nadia Boulanger in Paris
and was awarded a second
Guggenheim fellowship.
She studied conducting at
this time, touring Europe
in 1957 to conduct her
own works with the Vienna
Philharmonic and the BBC
Orchestra. During her
European sojourns, she
learned and mastered
French, German and
Italian. She would become
one of the first
African-American female
composers to have an
orchestral work performed
by the New York
Philharmonic.Perryâ€
s circumstances would
change dramatically once
she reached forty years
of age, having returned
permanently to the United
States. At some point in
the spring of 1970, she
suffered the first of two
strokes that would
paralyze her right side
and confine her to a
wheelchair for the rest
of her life. Nonetheless,
she continued to compose
and to promote her works
with publishers and
conductors. A second
stroke contributed to her
death in 1979 at age 55.
She likely endured harsh
ethnic and gender
discrimination in the
course of her career, and
her later years would
witness a period of
extreme civil unrest.
These matters and the
significance of music in
her life are undoubtedly
what led her to say,
“Music has a great
role to play in
establishing the
brotherhood of
man.â€Perry’s
catalog is widely varied,
featuring thirteen
symphonies, numerous
chamber and solo works,
pieces for band, choral
and vocal music, and four
operas. Her Violin
Concerto, completed in
1968, is indicative of
the influence of
Dallapiccola’s
teachings: sharp harmonic
dissonances organized
around specific pitch
centers, short repetitive
patterns that establish
significant musical
materials, and
contrapuntal textures.
The work is a single
movement of 392 measures
organized around three
alternating tempos: Slow
(Å’ = 60), Moderate
(Å’ = 84) and Fast
(Å’ = 120). The
opening thirty-measure
cadenza for the solo
violin introduces most of
the thematic material for
the piece. The
orchestration commonly
features antiphonal
writing between
orchestral groups, for
example, strings
alternating with brass,
or strings alternating
with winds. The harp and
piano generally appear as
solo instruments, rather
than as members of the
orchestra. Her fastidious
performance markings in
the solo violin part
indicate her profound
understanding of the
instrument.There is no
evidence or documentation
that the Violin Concerto
was ever premiered or
performed during her
lifetime, despite the
fact that the composer
prepared a full score,
piano reduction and
orchestral parts.
Regrettably, this is the
case with the majority of
her works composed in the
final decade of her
life.
Arranged by Brent Jorgensen. Christian, Contemporary Christian, Gospel, In...(+)
Arranged by Brent
Jorgensen.
Christian, Contemporary
Christian, Gospel,
Inspirational. Jackman
Music
Corporation #01965.
Published
by Jackman Music
Corporation
Method and Rehearsal Guide for Lux Aurumque (Eric Whitacre). Composed by ...(+)
Method and Rehearsal
Guide for Lux Aurumque
(Eric Whitacre).
Composed by James Jordan
/ Jason Vodicka. Music
Learning Theory (MLT).
Music Education. 258
pages. Published by GIA
Publications (GI.G-9063).
(Volumes 1-5, Complete) Written by Kenneth Baker. For piano. Format: instruction...(+)
(Volumes 1-5, Complete)
Written by Kenneth Baker.
For piano. Format:
instructional book. With
standard notation, chord
names, lyrics,
instructional text,
illustrations, fingerings
and pull-out keyboard
chart. Learn to play. 240
pages. 9x12 inches.
Published by Music Sales.
The Big Book of Childrens Songs for Little Guitar Pickers composed by Tony Santo...(+)
The Big Book of Childrens
Songs for Little Guitar
Pickers composed by Tony
Santorella. For guitar
and voice. This edition:
Paperback. Collection.
Little Picker series.
Childrens. Book. Text
Language: English;
Tablature, chords and
lyrics. 180 pages.
Published by Santorella
Publications
Various Composers. Piano/Vocal/Chords Songbook (Arrangements for piano and voice...(+)
Various Composers.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords). Size 9x12
inches. 254 pages.
Published by Hal Leonard.