Composed by Robert Schumann. Edited by Ernst Herttrich. For String Quartet (Study Score). Henle Study Scores. Softcover. 132 pages. G. Henle #HN9873. Published by G. Henle

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.

By Franz Schubert. Edited by Friedrich Voss. This edition: HN9812. String Quintets. Henle Study Scores. Pages: 77. Urtext edition (Paper-bound). 72 pages. Published by G. Henle.

Strings String Quartet (Study Score)

SKU: HL.51487183

Study Score. Composed by Evgeny Kissin. Study Score. Paperbound. Henle Study Scores. Classical. Softcover. G. Henle #HN7183. Published by G. Henle (HL.51487183).

ISBN 9790201871837. UPC: 888680986568. 6.5x9.5x0.086 inches.

Redolent of the work of Dmitri Shostakovich in its musical language, Evgeny Kissin's String Quartet op. 3 comprises four strongly contrasting movements: on the heels of the stately “Adagio liberamente” comes an extremely lively “Allegro inquieto” that wanders between dynamic extremes and bristles with glissandi. The third movement, marked “Largo drammatico,” is sustained by an insistent, heavily rhythmic dotted motive, while the final movement shifts from the introduction, marked “Pensierosamente, ma mantenendo strettamente il ritmo puntato,” into a brilliant finale, “Molto allegro e sarcastico,” that is suffused with elements of fugato and,like all movements, informed by dodecaphonic harmonies. This demanding fifteen-minute work was composed in 2015-16 and recorded for the first time on Nimbus Records by the Kopelman Quartet.

Study Score. Composed by Franz Schubert (1797-1828). Edited by Egon Voss. Henle Study Scores. Classical. Softcover. 28 pages. G. Henle #HN7317. Published by G. Henle

(Study Score). By Bela Bartok (1881-1945). Edited by Peter Bartok. For String Quartet (Study Score). Boosey and Hawkes Scores/Books. Softcover. 96 pages. Universal Edition #UE34311. Published by Universal Edition

String Quartets K. 387,421,428,458,464,465,4 99,575,589,590. Study Score. By Wolfgang Amadeus Mozart. Edited by Ludwig Finscher. For Violin (2), Viola, Violoncello. B0renreiter Studienpartituren - Study scores. Study Score (paperbound). Published by Baerenreiter-Taschenparti turen (German import).

By Wolfgang Amadeus Mozart. Edited by Berke, Dietrich;Flothius Marius. For Violin, Viola, Violoncello. B0renreiter Studienpartituren - Study scores. Study Score. Published by Baerenreiter-Taschenparti turen (German import).

SKU: GI.G-2593M

Composed by Edwin E. Gordon. Music Learning Theory (MLT). Instructional. 121 pages. GIA Publications #2593M. Published by GIA Publications (GI.G-2593M).

English.

Two aptitude tests designed to diagnose and measure music potential:* The only brief, longitudinally valid music aptitude tests for Grades K-6. * Crucial in helping music teachers adapt instruction to the individual musical needs of their students. * Requires no reading or music skills. The administration time is at most two 20-minute periods. Both tests have a similar design. The “Primary” test is recommended for use with younger children (K-3). The “Intermediate� � test is recommended for older children or younger children who find the “Primary” test too simple. Test materials and how they work: 1. Children take the test by simply listening to a tonal cassette and a rhythm cassette. Each tape is only 12 minutes long. 2. Questions on the tape are identified on the answer sheet by pictures, not numbers or words. The children must decide whether pairs of tonal or rhythm patterns they hear sound the same or different. They indicate their choice by simply drawing a circle around the picture on the answer sheet. These tests require no reading skills. 3. The answer sheets can be corrected quickly by using scoring masks. Raw scores are directly converted to percentile ranks in the manual. 4. A profile card is used for each child for individual documentation and the interpretation of scores. The tonal and rhythm results are graphically compared for each child. 5. A class record sheet helps interpret the test scores for the entire class. 6. The manual gives complete information for administering, scoring, and interpreting test results. The manual also makes suggestions for formal and informal music instruction, and includes a discussion on the nature and description of music aptitude, as well as a comprehensive bibliography. Complete kit includes: 100 rhythm answer sheets, 100 tonal answer sheets, CD with tonal and rhythm tests, introduction to testing booklet and two research monographs, one set of scoring masks, manual, 100 student profile cards, and four class record sheets. Items also available separately.

Streichqartett Nr. 2 d-Moll. By Bedrich Smetana. Edited by Frantisek Bartos; Josef Plavec; Karel Solc. For String Quartet (2 violins, viola, cello). Baerenreiter Studienpartituren - Study scores. Study Score; Urtext Edition (paperbound). Published by Baerenreiter Verlag (German import).