(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to
Nearly 1200 Songs 9x12
Spiral Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to
Nearly 1200 Songs
Spiral-Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard
Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by L...(+)
Scott Joplin
Reconsidered.
Composed by Scott Joplin
(1868-1917). Edited by
Lara
Downes. Collection.
Theodore
Presser Company
#440-40028.
Published by Theodore
Presser
Company
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.
A Collection of Elizabethan Rounds from Ravenscroft. (COLLECTION). Boosey and H...(+)
A Collection of
Elizabethan Rounds from
Ravenscroft.
(COLLECTION). Boosey and
Hawkes Secular Choral.
Book only. 96 pages.
Published by Boosey &
Hawkes.
Voice, Mezzo-Soprano and Orchestra SKU: HL.14030960 Composed by Bent Sore...(+)
Voice, Mezzo-Soprano and
Orchestra
SKU:
HL.14030960
Composed
by Bent Sorensen. Music
Sales America. Classical.
Score. 78 pages. Music
Sales #KP01442. Published
by Music Sales
(HL.14030960).
ISBN
9788759889480.
Danish.
Intermezzi
from the opera Under
Himlen was composed by
Bent Sorensen in 2003.
Scored for 2
Mezzosoparanos and
Orchestra. Text by Peter
Asmussen. Programme Note:
In March 2003, when the
Royal Theatre premiered
the composer Bent
Sorensen's and the
dramatist Peter
Asmussen's opera Under
the Sky, it was not only
Bent Sorensen's first
opera on the large scale,
but also his first work
as a music dramatist at
all. The challenge of
composing an opera came
from the general manager
of the Danish National
Symphony Orchestra/DR,
Per Erik Veng, who had
asked Asmussen in 1996
whether he would write
the libretto for an opera
and pick out a composer
to work with on it.
Asmussen was willing, and
he pointed to Bent
Sorensen as the composer.
Bent Sorensen reacted
positively to Per Erik
Veng's suggestion of an
opera collaboration with
Asmussen, and with the
opera agreement settled,
the Danish National
Symphony Orchestra/DR was
then offered an
independent work. It is
related to the opera, but
sheds light on it from a
different angle - Bent
Sorensen himself compares
it to a film 'trailer'.
The result is Intermezzi,
a suite in five
movements. Intermezzi is
expressly not just a
garland of selected
episodes from the opera,
but an independent work
built up in one long
symmetrical sequence with
instrumental passages in
the middle of the first,
third and fifth movements
as well as the purely
instrumental second and
fourth movements, as the
bearing pillars of the
work. Fragments of the
story of Ida and Molte
(both mezzo-sopranos) are
told, but they do not
happen in the same order
or with the same
conclusion as in the
opera. In this way
Intermezzi becomes a
comment on how not
everything in the past is
necessarily what it
seems, or what one at
first makes of it. In the
first movement Ida sings
to Magius that she is
carrying Molte's child,
while from afar Molte
observes the idyllic
world from the outside.
The second movement is
instrumental, while the
third begins with Ida's
love aria, which merges
into a great instrumental
passage before the
movement ends with
Molte's cynical remark
that Ida is simply a
fairytale, a book one
closes. After a brief
instrumental fourth
movement comes the fifth,
where Molte laments his
coldness and isolation
amidst all the riches,
and seduces Ida by urging
her to liberate him with
her warmth. Jakob
Levinsen.
(C Edition) Performed by Chicago. For C instrument. Format: fakebook. With leads...(+)
(C Edition) Performed by
Chicago. For C
instrument. Format:
fakebook. With leadsheet
notation (includes melody
line and chords) and
lyrics. Pop rock and soft
rock. Series: Hal Leonard
Fake Books. 232 pages.
9x12 inches. Published by
Hal Leonard.
Prime Ordinals Percussion [CD-ROM] Tapspace Publications
(solo for djembe (with digital delay), prayer bowl, and audio soundscape). By Ji...(+)
(solo for djembe (with
digital delay), prayer
bowl, and audio
soundscape). By Jim
Casella. For Djembe,
large tibetan bowl,
personal computer (Mac or
PC) with a 4x4 audio
interface. (1 players).
This edition:
Multiple-percussion solo
with audio. Concert
Percussion Solos.
Medium-Advanced. Folio
CD-Rom. 12 pages.
Duration 6:00
By ABRSM. Edited by Catherine Black and Paul Harris. For violoncello, piano. (Gr...(+)
By ABRSM. Edited by
Catherine Black and Paul
Harris. For violoncello,
piano. (Grades 2-3).
Published by ABRSM
(Associated Board of the
Royal Schools of Music).
String Quartet No. 2 Quatuor à cordes: 2 violons, alto, violoncelle Merion Music
Chamber Music String Quartet SKU: PR.14440265S Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.14440265S
Composed
by Sydney F. Hodkinson.
Large Score. With
Standard notation.
Duration 25 minutes.
Merion Music #144-40265S.
Published by Merion Music
(PR.14440265S).
UPC:
680160027910.
The
Second and Third Quartets
were conceived at the
same time; indeed, their
composition intermingled,
over half of No. 3 being
sketched before No. 2 was
completed. Accordingly,
they share similar
material but, like the
intertwining blood of
cousins, their natures
differ: No. 2 being
somewhat acerbic and
declamatory, No. 3 more
lyric and gentler. An
annunicatory 'leaping
motive' (derived from a
motto generated by my
name) opens Quartet No. 2
and inhabits the course
of the piece as a
cyclical binding-force. A
five-note motive, usually
very deliberate, also
keeps recurring like an
insistent caller. All
three movements are based
on tonal centers (I on B
and E, II on D, III on C)
and the harmonic
'grammar' spoken tends to
recall the jazz world of
my youth. To hopefully
achieve a certain
classical ambience was
one of the goals of this
piece, and all three
movements have
traditional forms. The
first movement is a
modified Sonata-Allegro
design, with a
severely-truncated
recapitulation balanced
by a lengthy, and
decaying Coda. The second
movement is a set of
strophic variants and an
epilogue interspersed
with both solo ritornelli
and first-movement
material (the motto and
the five-note motive) in
the nature of a
fantasia-like
'call-and-response.' It
is dedicated to the
memory of the American
mezzo-soprano Jan
DeGaetani. The third
movement is a modified
Rondo (ABACBA) which
evolves out of the
opening motto. All three
movements make much use
of canonic stretti,
similar gestures, and
repetition. For example,
the climax of movement
III's Rondo throws the
first movement back at us
again, as if the players
were reluctant to let it
go, so that the entire
piece could perhaps be
viewed as a single large,
extended, Sonata
movement, with
introduction and
Coda. The Second and
Third Quartets were
conceived at the same
time; indeed, their
composition intermingled,
over half of No. 3 being
sketched before No. 2 was
completed.Â
Accordingly, they share
similar material but,
like the intertwining
blood of cousins, their
natures differ: No. 2
being somewhat acerbic
and declamatory, No. 3
more lyric and gentler.An
annunicatory
‘leaping
motive’ (derived
from a motto generated by
my name) opens Quartet
No. 2 and inhabits the
course of the piece as a
cyclical
binding-force. A
five-note motive, usually
very deliberate, also
keeps recurring like an
insistent caller. All
three movements are based
on tonal centers (I on B
and E, II on D, III on C)
and the harmonic
‘grammar’
spoken tends to recall
the jazz world of my
youth.To hopefully
achieve a certain
classical ambience was
one of the goals of this
piece, and all three
movements have
traditional forms.Â
The first movement is a
modified Sonata-Allegro
design, with a
severely-truncated
recapitulation balanced
by a lengthy, and
decaying Coda. The
second movement is a set
of strophic variants and
an epilogue interspersed
with both solo ritornelli
and first-movement
material (the motto and
the five-note motive) in
the nature of a
fantasia-like
‘call-and-response.
’ It is
dedicated to the memory
of the American
mezzo-soprano Jan
DeGaetani. The third
movement is a modified
Rondo (ABACBA) which
evolves out of the
opening motto.All three
movements make much use
of canonic stretti,
similar gestures, and
repetition. For
example, the climax of
movement III’s
Rondo throws the first
movement back at us
again, as if the players
were reluctant to let it
go, so that the entire
piece could perhaps be
viewed as a single large,
extended, Sonata
movement, with
introduction and
Coda.
Choir SKU: ST.EC32 Composed by Robert White. Edited by David Mateer. Libr...(+)
Choir
SKU: ST.EC32
Composed by Robert White.
Edited by David Mateer.
Library Volumes. Edited
by David Mateer. First
published in 1986. Pages:
164. Format: Paperback.
Dimensions (mm): 254 x
177 x 11. Choral Score.
Stainer & Bell Ltd.
#EC32. Published by
Stainer & Bell Ltd.
(ST.EC32).
ISBN
9790220218378.
Incl
uded are Libera me,
Domine, de morte
aeterna, the ninth
respond at Matins in the
Office of the Dead, and
WhiteAs only surviving
essay in respond form.
There are also four hymn
settings with Sarum
texts, and two
Lamentation settings.
They hold an important
place in the ranks of a
genre that briefly
flourished during the
Elizabethan period,
despite a lack of
indigenous precedent for
the form.
Individual titles
from this volume are
available as Adobe PDF
files...
Chorus & ensemble SKU: HH.HH533-FSC Composed by Ignaz von Seyfried. Edite...(+)
Chorus & ensemble
SKU:
HH.HH533-FSC
Composed
by Ignaz von Seyfried.
Edited by David Wyn
Jones. Full score.
Edition HH Music
Publishers #HH533-FSC.
Published by Edition HH
Music Publishers
(HH.HH533-FSC).
ISBN
9790708185451.
Seyf
ried uses the same key as
the Requiem, its
distinctive orchestral
sonority and quotes two
passages from
Mozart’s work
prompted by clauses in
the liturgical text. The
‘Libera me’
was widely used in
nineteenth-century
Vienna, both in its
original version for
voices and instrumental
ensemble, and for voices
and organ alone. This
edition allows both types
of performance..
SATB chorus SKU: HH.HH533-CHS Composed by Ignaz von Seyfried. Edited by D...(+)
SATB chorus
SKU:
HH.HH533-CHS
Composed
by Ignaz von Seyfried.
Edited by David Wyn
Jones. Choral score.
Edition HH Music
Publishers #HH533-CHS.
Published by Edition HH
Music Publishers
(HH.HH533-CHS).
ISBN
9790708185529.
Seyf
ried uses the same key as
the Requiem, its
distinctive orchestral
sonority and quotes two
passages from
Mozart’s work
prompted by clauses in
the liturgical text. The
‘Libera me’
was widely used in
nineteenth-century
Vienna, both in its
original version for
voices and instrumental
ensemble, and for voices
and organ alone. This
edition allows both types
of performance..
(With a CD of performances and orchestral accompaniments Soprano, Vol. 1). By Va...(+)
(With a CD of
performances and
orchestral accompaniments
Soprano, Vol. 1). By
Various. For Soprano,
Piano Accompaniment.
Vocal. Book with CD.
Ricordi #R140509.
Published by Ricordi
SATB chorus, Org SKU: CA.338800 Responsorium. Composed by Anton Br...(+)
SATB chorus, Org
SKU:
CA.338800
Responsorium.
Composed by Anton
Bruckner. Gattungen
vokal: Sacred vocal
music. Full Score.
Composed 1843-1845. WAB
21. Carus Verlag #338800.
Published by Carus Verlag
(CA.338800).
ISBN
9790007293550.
Latin.
The
responsory Libera me from
the Requiem Mass dates
from Bruckner's years of
study in Kronstorf and is
stylistically reminiscent
of the early Viennese
classical period. The
organ takes over the
function of the basso
continuo.