By Johann Sebastian Bach; David Giardiniere. For SATB choir and piano. Christmas...(+)
By Johann Sebastian Bach;
David Giardiniere. For
SATB choir and piano.
Christmas, General,
Sacred. Sacred Anthem.
Published by Lorenz
Publishing Company.
(10/3739L)
The First Nowell Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 2 SKU: BT.DHP-1115068-015 Arra...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 2
SKU:
BT.DHP-1115068-015
Arranged by Lorenzo
Bocci. Flexible 4 Series.
Christmas. Set (Score and
Parts). Composed 2011. De
Haske Publications #DHP
1115068-015. Published by
De Haske Publications
(BT.DHP-1115068-015).
9x12 inches.
English-German-French-Dut
ch.
The First
Nowell is a traditional
Christmas song that can
be traced back to the
18th century. The word
â??nowellâ? is in
fact derived the French
word for Christmas,
â??noelâ?. The First
Nowell is sung in
Englishspeaking countries
around the world,
although the actual text
may vary by region and
local customs. The simple
and beautiful melody has
made this carol a
Christmas favourite.
Lorenzo Bocci turns the
melody into an elegant
flexible four-part
arrangement.
The
First Nowell is een
traditioneel kerstlied
dat vermoedelijk uit het
Cornwall (Engeland) van
de achttiende eeuw stamt.
Het woord â??Nowellâ??
in de titel verwijst naar
het Franse woord voor
kerst: noël. In heel
het Engelstalige
gebiedwordt dit lied
gezongen, weliswaar met
verschillenden teksten.
Dankzij de eenvoudige
maar ontroerende melodie
is het lied over de
gehele wereld bekend.
Lorenzo Bocci maakte er
een arrangement voor
vijfstemmige variabele
bezettingvan. Lieflijk en
hartverwarmendâ?¦ The First Nowell ist
ein traditionelles
Weihnachtslied, das
vermutlich aus dem
Cornwall des 18.
Jahrhunderts stammt. Das
Wort Nowellâ?? im Titel
geht auf das
französische
Noëlâ?? fu?r
Weihnachten zuru?ck. Das
Lied wird zu
unterschiedlichen
Textversionen im gesamten
englischen Sprachraum
gesungen und ist dank
seiner schlichten,
ergreifenden Melodie auf
der ganzen Welt bekannt.
Diese schöne Melodie
machte Lorenzo Bocci mit
seinem Arrangement fu?r
eine vierstimmig variable
Bläserbesetzung
spielbar.
La
parola â??nowellâ? di
questo canto tradizionale
natalizio datato del
XVIII secolo e originario
della Cornovaglia, fa
riferimento alla parola
francese â??Noelâ?
(appunto Natale). Lorenzo
Bocci ne ha realizzato un
elegante arrangiamento
per ensemble a
strumentazione variabile
(quattro voci).
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1115037-010 Composed by Satos...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1115037-010
Composed by Satoshi
Yagisawa. Brilliant
Marches. March. Set
(Score & Parts). Composed
2011. De Haske
Publications #DHP
1115037-010. Published by
De Haske Publications
(BT.DHP-1115037-010).
9x12 inches.
English-German-French-Dut
ch.
Satoshi
Yagisawa is well known
for his dramatic
symphonic band
compositions. Even though
he has written relatively
few marches, they are
also very popular:
March Willing and
Able is based on a
chorale while March
Bou Shu is based on a
Japanese folk song.
The Memory of Our
Native Place is a
rather unusual piece for
Yagisawa, as it actually
closely resembles a
traditional march. The
piece opens with a lively
fanfare and is contrasted
by the following theme.
The trio features a
chorale-like
melody.
Satoshi
Yagisawa is vooral bekend
van zijn dramatische
orkestwerken. Marsen
schreef hij nog maar
weinig. Die paar die hij
schreef, zijn inmiddels
allemaal wel erg geliefd
en populair; March
Willing and Able is
gebaseerd op koraalmuziek
en in March Bou
Shu is een Japanse
volksmelodie verwerkt.
Deze nieuwe mars, The
Memory of Our Native
Place, begint met een
stralende fanfare. Daarna
klinkt een innig thema.
In het triodeel komt een
koraalachtige melodie
naar voren. Kortom:
hieraan houdt uw publiek
zeker een mooie
herinnering!
Satos
hi Yagisawa ist bekannt
für seine
dramatischen
Blasorchesterwerke -
Märsche hat er bisher
nur sehr wenige,
dafür aber sehr
beliebte geschrieben.
Zwei davon sind March
Willing and Able und
March Bou Shu -
der eine auf choraler
Musik, der andere auf
einem japanischen
Volkslied basierend.
The Memory of Our
Native Place beginnt
mit einer strahlenden
Fanfare, bevor ein
inniges Thema erklingt.
Im Trio tritt eine
choralartige Melodie
hervor.
Satoshi
Yagisawa ha composto
oltre cento brani per fi
ati, ma solamente quattro
marce, tra le quali
ricordiamo le acclamate
March Willing and
Able e March Bou
Shu, la prima basata
su musica corale, la
seconda su una canzone
folk giapponese. Con
The Memory of our
Native Place,
Yagisawa si allontana dal
suo stile poco
convenzionale, componendo
una marcia che si
avvicina agli schemi
standard. L’inizio
vede protagonista una
fanfara brillante,
seguita da un tema più
intimo. Il trio espone
una melodia simile a un
corale.
Chorus a cappella SKU: BR.CHB-5380-00 Composed by Howard Arman. Choir; st...(+)
Chorus a cappella
SKU:
BR.CHB-5380-00
Composed by Howard Arman.
Choir; stapled.
Chor-Bibliothek (Choral
Library). Song; Music
post-1945; New music
(post-2000). Choral
score. 40 pages.
Breitkopf and Haertel
#ChB 5380-00. Published
by Breitkopf and Haertel
(BR.CHB-5380-00).
ISBN
9790004413814. 7.5 x 10.5
inches. German /
Latin.
As director
of the Bavarian Radio
Choir, Howard Arman has
been actively engaged
with international
Christmas carols through
various Christmas-related
CD productions in the
past years. This has
resulted in a number of
original arrangements for
four- to eight-part mixed
choir a cappella,
shedding new light on
well-known classics such
as O du frohliche [O, you
joyful], Stille Nacht
[Silent Night] and Lasst
uns froh und munter sein
[Let us be happy and
cheerful]. The first
volume includes five
Christmas carols from the
German-speaking regions.
They range from simple
but harmonically
intriguing settings such
as Lieb Nachtigall, wach
auf [Dear nightingale,
wake up] to eight-part
sound paintings with
bell-like chimes as in O
du frohliche and
classical double choir
settings such as Resonet
in laudibus. The second
volume includes five
Christmas spirituals with
English texts, forming a
contrast to the solemn
and festive character of
the first. The choir can
prove its swing and jazz
qualities here; the
stirring arrangements are
a gain for classical
Christmas concerts, too.
Following the tradition
of the spiritual, some
settings also require
soloists, which can,
however, also be
recruited from the choir
if adequate singers are
available. The first
piece combines the
spirituals It's a
Birthday and Wasn't That
a Mighty Day to form a
medley, Ain't That a
Rockin' gives a moment of
tranquility before the
likewise rousing
spirituals Mary Had a
Baby and Little David
conclude the volume. In
both volumes, Howard
Arman provides a short
preface in German and
English, explaining the
background of each piece
and giving advice on
performance.
Hava Nagila Ensemble de cuivres - Intermédiaire Anglo Music
Brass Band - Grade 3 SKU: BT.AMP-396-030 Arranged by Philip Sparke. Anglo...(+)
Brass Band - Grade 3
SKU:
BT.AMP-396-030
Arranged by Philip
Sparke. Anglo Music
Midway Series. Original
Light Music. Set (Score &
Parts). Composed 2013.
Anglo Music Press #AMP
396-030. Published by
Anglo Music Press
(BT.AMP-396-030).
9x12
inches.
English-German-French-Dut
ch.
Hava
Nagila (the title
means ‘let us
rejoice’) is
perhaps the best known
example of a style of
Jewish music called
‘klezmer’.
Klezmer music originated
in the
‘shtetl’
(villages) and the
ghettos of Eastern
Europe, where itinerant
Jewish troubadours, known
as
‘klezmorim’,
had performed at
celebrations,
particularly weddings,
since the early Middle
Ages.‘Klezmerâ€
is a Yiddish term
combining the Hebrew
words ‘kley’
(instrument) and
‘zemer’
(song) and the roots of
the style are found in
secular melodies, popular
dances, Jewish
‘hazanut’
(cantorial music) and
also the
‘nigunim’,
the wordless melodies
intoned by the
‘Hasidim’
(orthodox Jews).Since the
16th century, lyrics
hadbeen added to klezmer
music, due to the
‘badkhn’
(the master of ceremony
at weddings), to the
‘Purimshpil’
(the play of Esther at
Purim) and to traditions
of the Yiddish theatre,
but the term gradually
became synonymous with
instrumental music,
particularly featuring
the violin and clarinet.
The melody of Hava
Nagila was adapted
from a folk dance from
the Romanian district of
Bucovina. The commonly
used text is taken from
Psalm 118 of the Hebrew
bible.
Hava
Nagila (de titel
betekent ‘laat ons
gelukkig zijn’) is
misschien wel het
bekendste voorbeeld van
klezmer, een Joodse
muziekstijl.De
klezmermuziek komt van
oorsprong uit de sjtetls
(dorpen) en de
getto’s van
Oost-Europa, waar
rondtrekkende Joodse
troubadours, bekend als
klezmorim, al sinds de
middeleeuwen hadden
opgetreden bij
feestelijkheden, en dan
met name
bruiloften.Klezmer is een
Jiddische term waarin de
Hebreeuwse woorden kley
(instrument) en zemer
(lied) zijn samengevoegd.
De wortels van de stijl
liggen in wereldlijke
melodieën,
volksdansen, de
joods-liturgische hazanut
en ook de nigunim, de
woordeloze melodieën
zoals die worden
voorgedragen
doorchassidische
(orthodoxe) joden.Sinds
de 16e eeuw zijn er aan
de klezmermuziek ook
teksten toegevoegd,
dankzij de badchen (de
ceremoniemeester bij
huwelijken), het
poerimspel (het verhaal
van Esther tijdens
Poerim/het Lotenfeest) en
tradities binnen het
Jiddische theater, maar
de term werd geleidelijk
synoniem aan
instrumentale muziek met
een hoofdrol voor de
viool en klarinet.De
melodie van Hava
Nagila is afkomstig
van een volksdans uit de
Roemeense regio
Boekovina. De meest
gebruikte tekst voor het
lied kom uit psalm 118
van de Hebreeuwse Bijbel.
Hava
Nagila (auf Deutsch
‚Lasst uns
glücklich
sein’) ist
vielleicht das
bekannteste Beispiel
für den jüdischen
Musikstil namens
‚Klezmer’.
Klezmermusik hat ihren
Ursprung in den
Shtetls“
(Städtchen) und den
Ghettos Osteuropas,
woumherziehende
jüdische Troubadours,
die man
‚Klezmorim’
nannte, schon seit dem
frühen Mittelalter auf
Feiern, vor allem
Hochzeiten, zu spielen
pflegten. Klezmer ist ein
jiddischer Begriff, der
sich aus den
hebräischen Wörtern
‚kley’(Instr
ument) und
‚zemer’
(Lied) zusammensetzt. Die
Wurzeln des Musikstils
liegen in weltlichen
Melodien, populären
Tänzen, jüdischem
‚Chasanut’
(Kantorengesang) und auch
‚Niggunim’,
Melodien ohne Text,
vorgetragen von
den‚Chassidimâ€
(orthodoxen Juden).
Seit dem 16. Jahrhundert
wurden die
Klezmermelodien mit
Texten versehen, was auf
die
‚Badchan’
(Zeremonienmeister bei
Hochzeiten), auf das
‚Purimshpil’
(Das Esther-Spiel zum
Purimfest) und
aufTraditionen des
jiddischen Theaters
zurückgeht. Der
Begriff Klezmer wurde
jedoch mit der Zeit
gleichbedeutend mit
Instrumentalmusik, im
Besonderen mit den
Instrumenten Violine und
Klarinette. Die Melodie
von Hava Nagila
ist eine Adaption
einesVolkstanzes aus der
rumänischen Bukowina.
Der üblicherweise
verwendete Text stammt
aus Psalm 118 der
hebräischen Bibel.
Hava Nagila Ensemble de cuivres - Intermédiaire Anglo Music
Brass Band - Grade 3 SKU: BT.AMP-396-130 Arranged by Philip Sparke. Anglo...(+)
Brass Band - Grade 3
SKU:
BT.AMP-396-130
Arranged by Philip
Sparke. Anglo Music
Midway Series. Original
Light Music. Score Only.
Composed 2013. 24 pages.
Anglo Music Press #AMP
396-130. Published by
Anglo Music Press
(BT.AMP-396-130).
9x12
inches.
English-German-French-Dut
ch.
Hava
Nagila (the title
means ‘let us
rejoice’) is
perhaps the best known
example of a style of
Jewish music called
‘klezmer’.
Klezmer music originated
in the
‘shtetl’
(villages) and the
ghettos of Eastern
Europe, where itinerant
Jewish troubadours, known
as
‘klezmorim’,
had performed at
celebrations,
particularly weddings,
since the early Middle
Ages.‘Klezmerâ€
is a Yiddish term
combining the Hebrew
words ‘kley’
(instrument) and
‘zemer’
(song) and the roots of
the style are found in
secular melodies, popular
dances, Jewish
‘hazanut’
(cantorial music) and
also the
‘nigunim’,
the wordless melodies
intoned by the
‘Hasidim’
(orthodox Jews).Since the
16th century, lyrics
hadbeen added to klezmer
music, due to the
‘badkhn’
(the master of ceremony
at weddings), to the
‘Purimshpil’
(the play of Esther at
Purim) and to traditions
of the Yiddish theatre,
but the term gradually
became synonymous with
instrumental music,
particularly featuring
the violin and clarinet.
The melody of Hava
Nagila was adapted
from a folk dance from
the Romanian district of
Bucovina. The commonly
used text is taken from
Psalm 118 of the Hebrew
bible.
Hava
Nagila (de titel
betekent ‘laat ons
gelukkig zijn’) is
misschien wel het
bekendste voorbeeld van
klezmer, een Joodse
muziekstijl.De
klezmermuziek komt van
oorsprong uit de sjtetls
(dorpen) en de
getto’s van
Oost-Europa, waar
rondtrekkende Joodse
troubadours, bekend als
klezmorim, al sinds de
middeleeuwen hadden
opgetreden bij
feestelijkheden, en dan
met name
bruiloften.Klezmer is een
Jiddische term waarin de
Hebreeuwse woorden kley
(instrument) en zemer
(lied) zijn samengevoegd.
De wortels van de stijl
liggen in wereldlijke
melodieën,
volksdansen, de
joods-liturgische hazanut
en ook de nigunim, de
woordeloze melodieën
zoals die worden
voorgedragen
doorchassidische
(orthodoxe) joden.Sinds
de 16e eeuw zijn er aan
de klezmermuziek ook
teksten toegevoegd,
dankzij de badchen (de
ceremoniemeester bij
huwelijken), het
poerimspel (het verhaal
van Esther tijdens
Poerim/het Lotenfeest) en
tradities binnen het
Jiddische theater, maar
de term werd geleidelijk
synoniem aan
instrumentale muziek met
een hoofdrol voor de
viool en klarinet.De
melodie van Hava
Nagila is afkomstig
van een volksdans uit de
Roemeense regio
Boekovina. De meest
gebruikte tekst voor het
lied kom uit psalm 118
van de Hebreeuwse Bijbel.
Hava
Nagila (auf Deutsch
‚Lasst uns
glücklich
sein’) ist
vielleicht das
bekannteste Beispiel
für den jüdischen
Musikstil namens
‚Klezmer’.
Klezmermusik hat ihren
Ursprung in den
Shtetls“
(Städtchen) und den
Ghettos Osteuropas,
woumherziehende
jüdische Troubadours,
die man
‚Klezmorim’
nannte, schon seit dem
frühen Mittelalter auf
Feiern, vor allem
Hochzeiten, zu spielen
pflegten. Klezmer ist ein
jiddischer Begriff, der
sich aus den
hebräischen Wörtern
‚kley’(Instr
ument) und
‚zemer’
(Lied) zusammensetzt. Die
Wurzeln des Musikstils
liegen in weltlichen
Melodien, populären
Tänzen, jüdischem
‚Chasanut’
(Kantorengesang) und auch
‚Niggunim’,
Melodien ohne Text,
vorgetragen von
den‚Chassidimâ€
(orthodoxen Juden).
Seit dem 16. Jahrhundert
wurden die
Klezmermelodien mit
Texten versehen, was auf
die
‚Badchan’
(Zeremonienmeister bei
Hochzeiten), auf das
‚Purimshpil’
(Das Esther-Spiel zum
Purimfest) und
aufTraditionen des
jiddischen Theaters
zurückgeht. Der
Begriff Klezmer wurde
jedoch mit der Zeit
gleichbedeutend mit
Instrumentalmusik, im
Besonderen mit den
Instrumenten Violine und
Klarinette. Die Melodie
von Hava Nagila
ist eine Adaption
einesVolkstanzes aus der
rumänischen Bukowina.
Der üblicherweise
verwendete Text stammt
aus Psalm 118 der
hebräischen Bibel.
Composed by
Rudolf Mauersberger.
Edited by Matthias
Herrmann. German title:
Christvesper Leihw.
Christmas. Choral Score.
Composed 1963. RMWV 7. 40
pages. Duration 70
minutes. Carus Verlag #CV
07.201/05. Published by
Carus Verlag (CA.720105).
ISBN 9790007159894.
Language:
German/English.
Rud
olf Mauersberger, the
cantor of the Dresden
Kreuzkirche, shaped his
Christvesper in the
Christmas tradition of
the Erzgebirge in Saxony.
The work underwent a long
period of gestation and
first attained its final
form in 1963. The entire
church is used for a
performance: On the altar
the Christmas story from
Luke is presented, in
four different corners of
the church the Quempas or
responsorial singing
between congregation and
cantor takes place, and
in the gallery Die
Weissagung or Ehre sei
Gott in der Hohe are
sung; in addition the
chorales and songs are
performed by a separate
group of instruments.
Thus the Christvesper,
this impressive choral
work which is still in
the realm of tonality,
provides a new accent in
the well-known Christmas
repertoire. Score
available separately -
see item CA.720100.
Composed by
Rudolf Mauersberger.
Edited by Matthias
Herrmann. This edition:
Paperbound. Church year:
Christmas. German title:
Christvesper Leihw.
Christmas. Vocal score.
Composed 1963. RMWV 7.
Duration 70 minutes.
Carus Verlag #CV
07.201/03. Published by
Carus Verlag (CA.720103).
ISBN 9790007090111.
Language:
German/English.
Rud
olf Mauersberger, the
cantor of the Dresden
Kreuzkirche, shaped his
Christvesper in the
Christmas tradition of
the Erzgebirge in Saxony.
The work underwent a long
period of gestation and
first attained its final
form in 1963. The entire
church is used for a
performance: On the altar
the Christmas story from
Luke is presented, in
four different corners of
the church the Quempas or
responsorial singing
between congregation and
cantor takes place, and
in the gallery Die
Weissagung or Ehre sei
Gott in der Hohe are
sung; in addition the
chorales and songs are
performed by a separate
group of instruments.
Thus the Christvesper,
this impressive choral
work which is still in
the realm of tonality,
provides a new accent in
the well-known Christmas
repertoire. Score
available separately -
see item CA.720100.
Vocal SKU: HL.49045378 Song Book with CD (German). Composed by Mei...(+)
Vocal
SKU:
HL.49045378
Song
Book with CD
(German). Composed by
Meinhard Ansohn. This
edition: Saddle
stitching. Book with CD.
Vocal. Classical.
Softcover with CD. 80
pages. Schott Music
#ED22686. Published by
Schott Music
(HL.49045378).
ISBN
9783795711146. German.
Almut
Schildberger.
Alle
Jahre neu - dieser Titel
ist hier Programm: Mit 40
Liedern und Texten
bereichert Meinhard
Ansohn die Tradition des
weihnachtlichen Singens
um eine Fulle an neuen
Melodien und Gedanken.
Die einzelnen Kapitel
umkreisen Themen wie
Krippe und Stall, Engel
und Glocken, Schenken und
Weihnachtsbaum. Die
Weihnachtsbotschaft,
genauso aber auch die
kritische
Auseinandersetzung mit
den heutigen
Erscheinungen des Festes
werden auf einfuhlsame
und humorvolle Weise
beschrieben. Neuen
Liedern und Texten stehen
dabei Bearbeitungen
uberlieferter Lieder aus
verschiedenen Landern
gegenuber. Damit schlagt
dieses Buch die Brucke
zwischen Traditionen und
Gebrauchen und unserem
heutigen Erleben des
Weihnachtsfestes.Abgerund
et wird dieses Programm
durch Chorsatze in
unterschiedlichen
Schwierigkeitsgraden und
eine CD, mit der sich die
Lieder erlernen und
auffuhren lassen.
Chorus a cappella SKU: BR.CHB-5381-00 Composed by Howard Arman. Choir; st...(+)
Chorus a cappella
SKU:
BR.CHB-5381-00
Composed by Howard Arman.
Choir; stapled.
Chor-Bibliothek (Choral
Library). Song; Music
post-1945; New music
(post-2000). Choral
score. 80 pages.
Breitkopf and Haertel
#ChB 5381-00. Published
by Breitkopf and Haertel
(BR.CHB-5381-00).
ISBN
9790004413821. 7.5 x 10.5
inches. English.
As
director of the Bavarian
Radio Choir, Howard Arman
has been actively engaged
with international
Christmas carols through
various Christmas-related
CD productions in the
past years. This has
resulted in a number of
original arrangements for
four- to eight-part mixed
choir a cappella,
shedding new light on
well-known classics such
as O du frohliche [O, you
joyful], Stille Nacht
[Silent Night] and Lasst
uns froh und munter sein
[Let us be happy and
cheerful]. The first
volume includes five
Christmas carols from the
German-speaking regions.
They range from simple
but harmonically
intriguing settings such
as Lieb Nachtigall, wach
auf [Dear nightingale,
wake up] to eight-part
sound paintings with
bell-like chimes as in O
du frohliche and
classical double choir
settings such as Resonet
in laudibus. The second
volume includes five
Christmas spirituals with
English texts, forming a
contrast to the solemn
and festive character of
the first. The choir can
prove its swing and jazz
qualities here; the
stirring arrangements are
a gain for classical
Christmas concerts, too.
Following the tradition
of the spiritual, some
settings also require
soloists, which can,
however, also be
recruited from the choir
if adequate singers are
available. The first
piece combines the
spirituals It's a
Birthday and Wasn't That
a Mighty Day to form a
medley, Ain't That a
Rockin' gives a moment of
tranquility before the
likewise rousing
spirituals Mary Had a
Baby and Little David
conclude the volume. In
both volumes, Howard
Arman provides a short
preface in German and
English, explaining the
background of each piece
and giving advice on
performance.
Composed by Johann Kaspar Mertz (1806-1856). For Guitar. Book; Classical Guitar ...(+)
Composed by Johann Kaspar
Mertz (1806-1856). For
Guitar. Book; Classical
Guitar Folio;
Masterworks. Alfred
Classical Guitar
Masterworks. Acoustic;
Masterwork; Romantic.
Intermediate. 88 pages.
Published by Alfred Music
Oratorio Cycle Soli, choeur mixte et accompagnement Barenreiter
Soloists, Choir, Orchestra SKU: BA.BA07809-01 Five selected oratorios<...(+)
Soloists, Choir,
Orchestra
SKU:
BA.BA07809-01
Five
selected oratorios.
Composed by Georg Philipp
Telemann. Edited by
Steffen Voss and Ute
Poetzsch. This edition:
Edition of selected
works, Urtext edition.
Linen. Georg Philipp
Telemann. Musikalische
Werke 58. Edition of
selected works, Score,
anthology. Baerenreiter
Verlag #BA07809_01.
Published by Baerenreiter
Verlag (BA.BA07809-01).
ISBN 9790006498154. 33
x 26 cm inches. Language:
German. Text: Zell,
Albrecht
Jacob.
With their
very accessible style and
expressive interpretation
of the words, these
contemporary works
continue in the tradition
of classical and romantic
song cycles and will form
a form a welcome addition
to every song
recital.
- Welcome
contemporary cycles for
song recitals -
Expressive musical
interpretation of the
words - Important
addition to the standard
literature
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
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.
Soli SA, Coro SATB (teils geteilt), Pfte SKU: CA.2380203 4th and 5th m...(+)
Soli SA, Coro SATB (teils
geteilt), Pfte
SKU:
CA.2380203
4th and
5th movement.
Composed by Gustav
Mahler. Edited by
Nicholas Kok. Arranged by
Nicholas Kok. Innovative
practice aids, Secular
choral music. Vocal
score. Carus Verlag #CV
23.802/03. Published by
Carus Verlag
(CA.2380203).
ISBN
M-007-24441-5.
German.
Nicholas
Kok's newly-created vocal
score of the 4th and 5th
movements of Mahler's 2nd
Symphony is aimed
particularly at vocal
soloists and choral
singers who wish to
practice the two vocal
movements in this work;
it is available on sale,
as is the chorus score.
To ensure a secure entry
at the attacca beginning
of the 4th movement, the
vocal score begins
earlier in the 3rd
movement. The rehearsal
letters in the
prevalently used
orchestral materials have
been taken into
consideration so that the
vocal score and chorus
score are compatible with
all the available music
editions. In his 2nd
Symphony, premiered in
1895 after a seven-year
gestation period, Gustav
Mahler combined different
work concepts which he
had previously tried out
in various independent
compositions: the 1st
movement with the
original title
Todtenfeier was conceived
as a symphonic poem, the
3rd movement is based on
the original song for
voice and piano St
Anthony of Padua's Sermon
to the Fishes, the 4th
movement is the
orchestral song Urlicht
for alto, with text, like
the 3rd movement, from
Des Knaben Wunderhorn,
and the 5th is a setting
and elaboration of the
Klopstock Ode Die
Auferstehung for soprano
and alto solo with mixed
chorus. Mahler created a
work in the
vocal-symphonic tradition
founded by Beethoven and,
despite its challenges in
extent and scoring, it
remains one of his most
popular compositions.
High voice, piano - Level 4 SKU: BA.BA11020 Seven lieder for high voic...(+)
High voice, piano - Level
4
SKU: BA.BA11020
Seven lieder for high
voice and piano after
poems by Johann Wolfgang
von Goethe. Composed
by Manfred Trojahn.
Stapled. Nach Gedichten
von Johann Wolfgang von
Goethe. Singing Score.
Composed 2007/2014. 13
pages. Duration 12 hours.
Baerenreiter Verlag
#BA11020_00. Published by
Baerenreiter Verlag
(BA.BA11020).
ISBN
9790006561964. 29.7 x
20.8 cm inches. Language:
German.
With their
very accessible style and
expressive interpretation
of the words, these
contemporary works
continue in the tradition
of classical and romantic
song cycles and will form
a form a welcome addition
to every song
recital.
Soli SA, Coro SATB (teils geteilt), Pfte SKU: CA.2380204 4th and 5th m...(+)
Soli SA, Coro SATB (teils
geteilt), Pfte
SKU:
CA.2380204
4th and
5th movement.
Composed by Gustav
Mahler. Edited by
Nicholas Kok. Arranged by
Nicholas Kok. Carus sheet
music series: Vocal
scores XL. XL in large
print. Innovative
practice aids, Secular
choral music. Vocal
score. Carus Verlag #CV
23.802/04. Published by
Carus Verlag
(CA.2380204).
ISBN
M-007-24442-2.
German.
Nicholas
Kok's newly-created vocal
score of the 4th and 5th
movements of Mahler's 2nd
Symphony is aimed
particularly at vocal
soloists and choral
singers who wish to
practice the two vocal
movements in this work;
it is available on sale,
as is the chorus score.
To ensure a secure entry
at the attacca beginning
of the 4th movement, the
vocal score begins
earlier in the 3rd
movement. The rehearsal
letters in the
prevalently used
orchestral materials have
been taken into
consideration so that the
vocal score and chorus
score are compatible with
all the available music
editions. In his 2nd
Symphony, premiered in
1895 after a seven-year
gestation period, Gustav
Mahler combined different
work concepts which he
had previously tried out
in various independent
compositions: the 1st
movement with the
original title
Todtenfeier was conceived
as a symphonic poem, the
3rd movement is based on
the original song for
voice and piano St
Anthony of Padua's Sermon
to the Fishes, the 4th
movement is the
orchestral song Urlicht
for alto, with text, like
the 3rd movement, from
Des Knaben Wunderhorn,
and the 5th is a setting
and elaboration of the
Klopstock Ode Die
Auferstehung for soprano
and alto solo with mixed
chorus. Mahler created a
work in the
vocal-symphonic tradition
founded by Beethoven and,
despite its challenges in
extent and scoring, it
remains one of his most
popular compositions.
Soli SA, Coro SATB (teils geteilt), Pfte SKU: CA.2380205 4th and 5th m...(+)
Soli SA, Coro SATB (teils
geteilt), Pfte
SKU:
CA.2380205
4th and
5th movement.
Composed by Gustav
Mahler. Edited by
Nicholas Kok. Arranged by
Nicholas Kok. Carus sheet
music series: Vocal
scores XL. Innovative
practice aids, Secular
choral music. Choral
Score. Carus Verlag #CV
23.802/05. Published by
Carus Verlag
(CA.2380205).
ISBN
M-007-24973-1.
German.
Nicholas
Kok's newly-created vocal
score of the 4th and 5th
movements of Mahler's 2nd
Symphony is aimed
particularly at vocal
soloists and choral
singers who wish to
practice the two vocal
movements in this work;
it is available on sale,
as is the chorus score.
To ensure a secure entry
at the attacca beginning
of the 4th movement, the
vocal score begins
earlier in the 3rd
movement. The rehearsal
letters in the
prevalently used
orchestral materials have
been taken into
consideration so that the
vocal score and chorus
score are compatible with
all the available music
editions. In his 2nd
Symphony, premiered in
1895 after a seven-year
gestation period, Gustav
Mahler combined different
work concepts which he
had previously tried out
in various independent
compositions: the 1st
movement with the
original title
Todtenfeier was conceived
as a symphonic poem, the
3rd movement is based on
the original song for
voice and piano St
Anthony of Padua's Sermon
to the Fishes, the 4th
movement is the
orchestral song Urlicht
for alto, with text, like
the 3rd movement, from
Des Knaben Wunderhorn,
and the 5th is a setting
and elaboration of the
Klopstock Ode Die
Auferstehung for soprano
and alto solo with mixed
chorus. Mahler created a
work in the
vocal-symphonic tradition
founded by Beethoven and,
despite its challenges in
extent and scoring, it
remains one of his most
popular compositions.
Baritone solo, Piano - Level 4 SKU: BA.BA11042 Scene for Baritone and ...(+)
Baritone solo, Piano -
Level 4
SKU:
BA.BA11042
Scene
for Baritone and
Piano. Composed by
Manfred Trojahn. Stapled.
Performance score.
Composed 2012. 7 pages.
Duration 12 hours.
Baerenreiter Verlag
#BA11042_00. Published by
Baerenreiter Verlag
(BA.BA11042).
ISBN
9790006543212. 29.8 x 21
cm inches. Language:
German. Johann Wolfgang
von Goethe.
With
their very accessible
style and expressive
interpretation of the
words, these contemporary
works continue in the
tradition of classical
and romantic song cycles
and will form a form a
welcome addition to every
song recital. Sie ist
nicht mehr da is a moving
operatic scena that
interweaves poems by
Goethe and Martin Walser
and places them in a free
dramatic setting.
High voice, piano - Level 4 SKU: BA.BA11037 Six lieder on texts by Els...(+)
High voice, piano - Level
4
SKU: BA.BA11037
Six lieder on texts by
Else Lasker-Schüler
for high voice and
piano. Composed by
Manfred Trojahn. Stapled.
Singing Score. Composed
2010. 9 pages. Duration
12 hours. Baerenreiter
Verlag #BA11037_00.
Published by Baerenreiter
Verlag (BA.BA11037).
ISBN 9790006542840.
29.8 x 21 cm inches.
Language:
German.
With their
very accessible style and
expressive interpretation
of the words, these
contemporary works
continue in the tradition
of classical and romantic
song cycles and will form
a form a welcome addition
to every song
recital.