Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
Flute duo SKU: P2.10021 Composed by Cornelius Boots. Chamber music, 20th ...(+)
Flute duo
SKU:
P2.10021
Composed by
Cornelius Boots. Chamber
music, 20th century.
Published by Potenza
Music (P2.10021).
The second part
of the Chthonic Flute
Suite commissioned by
Areon Flutes in 2012.
This suite has two main
inspirations:
ideologically it draws
guidance from the book
The Dream and the
Underworld (1979) by
James Hillman (1926-2011)
and musically it explores
the textural
possibilities of a flute
ensemble within the
context of the heavy
chamber music style I
have developed with
Edmund Welles: the bass
clarinet quartet since
1996. This style draws
virtuosic precision from
the classical realm;
innovation and texture
from jazz; and power,
rhythm and overall
perspective from rock and
metal. The term chthonic
[thon-ik] generally means
underworld. However,
Hillman thoroughly
elaborates that its true
meaning extends below the
earth and beyond it into
invisible, non-physical
and far distant psychic
realms: the deeper
mysteries of the
invisible. The duo is
divided into two
sections: Nekyia and
Hypnoia. Each of these is
a Greek myth-nerd term
for some key aspect of an
archetypal descent into
the underworld. In fact,
nekyia is a term that
specifically means
archetypal descent as one
finds in myths across the
ages from Dante to the
Greeks and beyond.
Hillman sees a lack of
sufficient nekyia myths
in our modern culture,
yet our popular heroes in
films and music are shady
underworld characters.
Dante's underworld was
our culture's last, and
it was imagined even
before the Renaissance
had properly begun. Our
ethnic roots reach back
to great underworld
configurations: the
Celtic Dagda or Cerunos,
the Germanic Hel, and the
Biblical Sheol. All have
faded... (p.64) Hyponoia
is a more subtle term
used by Plato that refers
to an undersense or a
deeper meaning. The
search for undersense is
what we express in common
speech as the desire to
understand. We want to
get below what is going
on and see its basis, its
fundamentals, how and
where it is grounded. (p.
137) This deeper
understanding is one of
the motivations and
constant characteristics
of the underworld
descent: but the
discoveries made and
experiences experienced
are not always as they
seem to be. Hillman
recommends over and over
that we see and see into
each thing for what it
is, and not force a
dayworld perspective onto
dream images and
occurrences. As a duo
movement, the term
enantiodromia (counter
enantio, and running
dromia) is particularly
appropriate as it is a
grounding principle by
which Jung understands
the regulative function
of opposites. As Hillman
tends to turn things on
their metaphorical heads,
he fleshes out dualism
and oppositionalism in
such a way that in the
underworld this actually
becomes a unifying
principle: If you go far
enough with any one
movement, a
countermovement will set
in...The way up and the
way down are one and the
same: the manifestation
of one power by opposite
forces. (p. 76) This
implies a union of the
two opposites, a
conjunction as contrasted
with an opposition. There
are two voices but they
are both flutes; there
are two contrasting
halves to the piece, yet
they balance each other
even in their
differences.
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.