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.

Orchestra

SKU: SU.91580100

For Orchestra. Composed by Steven Mercurio. Vocal/Choral, Opera. CD (Audio). Subito Music Corporation #91580100. Published by Subito Music Corporation (SU.91580100).

A Grateful Tail - Movement by Movement Siriusly, Dog Star Sirius, the brightest star in the night sky, has been used by travelers and navigators for thousands of years as a guiding star and so it is here as the opening movement for the symphony. Sirius, the cornerstone to the constellation Canis Maggiore or Big Dog sits at the foot of Orion, the hunter, leading the way. Highly cinematic, the movement evokes both a musical and visual sense of the mythological and mysterious elements of Sirius and its Dog Godstar secrets. From the clarion call of the opening, Sirius theme, the sound is buoyant and frisky emulating the nature of doggy playtime. Puppy pleasures abound as a doggy four-step, my turn on the traditional American two-step dance, is introduced. The movement transforms into an actual orchestrated frolic of small, large and medium dog barks beginning with the winds (smaller dogs) and ultimately, the big dog, brass. The movement climaxes with the coda or, Dog Park, where the winds and the brass bark and play together over the, doggy ostinato four-step rhythm, culminating with the final call of the Sirius theme. Let Sleeping Dogs Lie, Peacefully It's all in a dog's day and life. Tranquility presides over this supremely gentle, intermezzo-like movement. After a day of play, every dog needs rest. Let Sleeping Dogs Lie, is a lyrical andante inspired by the profound serenity and beauty of a dog at rest. The Last Will and Testament of Silverdene Emblem O'Neill Based on a powerful piece of prose written by the American playwright, Eugene O'Neill this text was intended as a consolation piece for Carlotta, his wife, who had become grief-stricken over the loss of their beloved dog, the Dalmatian known as Blemie.Written for a singing actor who personifies the role of Blemie, a dog at the end of his life, the movement plays like a one act, musical drama as we follow Blemie through a wonderfully three-dimensional, emotional and psychological journey writing his Last Will and Testament, for those who have loved him. Wagging the Tail: Ossia Fido's Lament A life-affirming rumba/samba using Blemie's final words from O'Neill's text, this final movement employs the most unique American musical invention, the gospel choir. In order to make the dances come alive, this movement also calls upon the colors of a rhythm section. Creating the spirit of an Irish Funeral, the movement is a joyful and revival-like celebration of a dog's life as its spirit lives on forever in the hearts and minds of dog lovers everywhere. Remember Me, remember me! My spirit is wagging a grateful tail. Published by: Subito Music Publishing Release Date: July 9, 2013.

Orchestra Voice

SKU: AP.12-057154309X

Composed by George Benjamin and Martin Crimp. This edition: Limited. Full Orchestra; Larger Works; Performance Music Ensemble. Form: Opera. Living Composer. Book; Score. 112 pages. Faber Music #12-057154309X. Published by Faber Music (AP.12-057154309X).

ISBN 9780571543090. English.

Picture a Day Like This is the fourth operatic collaboration between George Benjamin and Martin Crimp, whose acclaimed partnership produced Written on Skin, Lessons in Love and Violence, and Into the Little Hill. This limited edition of the full score is one of only 150, presented in a cloth-bound hard cover. It is signed by George Benjamin and Martin Crimp and includes facsimile reproductions of pages from the manuscript, sketches by Benjamin and Crimp, and a photograph of Benjamin, Crimp, and directors Daniel Jeanneteau and Marie-Christine Soma in rehearsal at the Aix-en-Provence Festival.

In this bittersweet fable of grief and renewal. Benjamin and Crimp tell the story of a woman who has lost her child: if, before nightfall, she meets one truly happy person and cuts a button from their sleeve, her child will live again. In her search she meets a pair of lovers, a composer and their assistant, an artisan, collector, and, in a beautiful garden, the mysterious Zabelle.

Benjamin proves with this taut, sharp miniature that he is the finest opera composer of today…a work of depth of feeling, humanistic artistry, and expressive rigor…a drama that is miraculously condensed.
-- Süddeutsche Zeitung (Reinhard J. Brembeck) 9 July 2023.

String Orchestra - Grade 2.5

SKU: KN.8893

Composed by Ludwing Van Beethoven. Arranged by Deborah Baker Monday. Voyager String Orchestra. Score and set of parts. Kendor Music Inc #8893. Published by Kendor Music Inc (KN.8893).

UPC: 822795088939.

This German dance is the 4th of 6 movements in Beethoven's final quartet, composed the year before his death. As with most string quartet music there is lots of interest in parts as they weave back and forth with imitative motives. The dynamics are exquisite and make a great teaching point as well as the 3 beat slurs which occur in all parts. Duration 3:00.

Full Orchestra

SKU: SU.32040110

For Full Orchestra. Composed by Amy Riebs Mills. Orchestra. Full Score. Subito Music Corporation #32040110. Published by Subito Music Corporation (SU.32040110).

2,1 2,1 2,1 2; 4331; timp, 2perc, cel; stgs Duration: 8' Composed: 2012 Published by: Amy Mills Music, LLC Creative setting of 3 carols: O Come O Come Emanuel intertwined with Ma Navu Ding Dong Merrily on High with bells, glock, chimes Angels We Have Heard on High with charming mixed meter Majestic recap of Rejoice section of O Come O Come Emanuel Maestro Harvey Felder, after the premiere with the Tacoma Symphony: The thing that I really appreciated about your Christmas Angels and Bells was the skillful and artistic writing. As you know, holiday music typically offers little or no musical depth, which leads to a less than enthusiastic reaction from the orchestra. Your piece offered a level of musical sophistication worthy of a professional symphony while still creating a festive holiday spirit. The orchestra and I enjoyed having the opportunity to dig into something substantive yet fun on our holiday concert. See composer website for audio sample. Performance materials available on rental only:.

By Deborah Baker Monday. Edited by Janice McAllister. Orchestra. For strings. Method. Holiday. Grade 1. Score. Published by Neil A. Kjos Music Company

Composed by David Lovrien. For Full Orchestra. Grade 5. Score and parts. Published by Lovebird Music

By Peter Blair. For conductor score. Christmas, Secular Christmas. Instrumental ensemble (woodwind). Published by Heritage Music Press. (50/1139H)

By Robert Frost. Edited by Deborah Monday. Orchestra Method/Study. Artistry String Method. Level: Book A,1. Music Book. Published by Neil A. Kjos Music Company.

String Orchestra string orchestra with opt. 3rd Violin/Viola TC 3 - Grade 3

SKU: KN.9997

Composed by Joshua Reznicow. Solo or Ensemble. Apex String Orchestra. Score and set of parts. Kendor Music Inc #9997. Published by Kendor Music Inc (KN.9997).

UPC: 822795099973.

We welcome Joshua Reznicow to the Kendor family of writers with this festive original that sounds more difficult to play than it is. Written in G major and its relevant minor key, it gives directors a chance to teach both sharp and flat keys while using open strings to maintain a solid pitch center. Controlling bow speed and style using hooked bow, spiccato, and slurred techniques helps to drive the musical energy throughout. Short solos and a brief violin cadenza lead to a rewarding finish and allow more advanced players to showcase their skills. Duration ca. 3:40. Available in SmartMusic.

Classic Rock for the String Orchestra (Teacher's Score). Arranged by Bob Phillips and Daryl Silberman. Book; CD; Play-Along; String Orchestra Collection. Rock. 48 pages. Published by Alfred Music (AP.40742).

By Benjamin R. Hanby. Arranged by William Owens. For orchestra. FJH Beginning Strings. Full set (score and parts). Score only also available: ST6188S. Christmas. Grade 1.5. Score and set of parts. Composed 2009. Published by The FJH Music Company Inc

Orchestra

SKU: LO.30-3423MD

Choral. Sacred Anthem. Orchestral score and parts. Medallion Music #30/3423MD. Published by Medallion Music (LO.30-3423MD).

UPC: 000308146554.

With a classic Gloria Gaither lyric and music from Greg Nelson, this message song vividly paints the picture of what it means to walk in the steps of Christ. This gorgeous setting is powerfully moving and allows your choir a unique opportunity to lead the congregation into a thoughtful place of reflection.

Orchestra (Full Score) - Grade 4

SKU: HL.14032192

Full Score. Composed by Per Norgard. Music Sales America. 20Th Century, Classical. Softcover. 188 pages. Edition Wilhelm Hansen #KP00865. Published by Edition Wilhelm Hansen (HL.14032192).

ISBN 9788759858394. 12.0x16.5x0.78 inches. International (more than one language).

Symphony No. 6 for orchestra, 1997-99. Preface / Program Note:... with the Lord a day is like a thousand years, and a thousand years is like a day(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Gteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean when all is added up. However, in my opinion, nothing ever quite adds up, there is always something missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still something, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of other worlds, is revealed ....The symphony is dedicated to Helle, my wife. - Per Norgard.

(A Christmas Worship Experience of the Christ-Light). By Mary Mcdonald. Arranged by Laura Kathryn Rosser. For full orchestra. Cantatas. Christmas. Orchestral score and parts. Published by Monarch Music

By Traditional. Arranged by Robert W. Smith. Orchestra. Full Orchestra. Belwin Intermediate Full Orchestra. Christmas; Winter. Grade 2.5. Conductor Score and Parts. 176 pages. Duration 3:33. Published by Belwin Music . Score and Parts. Christmas; Winter.

By Deborah Baker Monday. Orchestra. Level: Grade 2.5. Music Book. Published by Neil A. Kjos Music Company.

Composed by Alfred Reed (1921-2005). Arranged by Michael Story. Full Orchestra; Part(s); Score. Belwin Intermediate String/Full Orchestra. Christmas; Sacred; Winter. 244 pages. Published by Belwin Music

Orchestra

SKU: HL.14028038

Composed by Poul Ruders. Music Sales America. Classical. Score. 95 pages. Music Sales #KP00294. Published by Music Sales (HL.14028038).

ISBN 9788759854730. 12.0x16.5x0.3 inches. English.

The word GONG is saturated with associations: the splendour of the Orient, mysticism, drama, loud metallic clangour, violent impact, etc. The present piece draws upon all those connotations, but it is primarily a symphonic drama about the life and behaviour of the sun, our closest star and prime source of life on Earth. Describing the sun in music is not a new idea, of course; during a visit to Greece, Carl Nielsen was inspired by the orbit of the sun and its very un-Danish ferocity and thus wrote the Helios Overture. GONG is a Helios Overture too, of sorts, albeit more abstract. Recent astronomical research shows, that the surface of the sun reverberates like a gong, in four different, simultaneous tempi (not directly depicted in the score, though); the sun looks like a GONG, - the O in the written work looks like the sun; there is even a solar research group called GONG (Global Oscillation Network Group). Formally the composition follows the life and fate of the sun, from the initial explotional birth through the hyper-activity as energy source as we know it today to the final, predicted flaring up and collapse into a so-called white dwarf. But - being a musical composition, not an astrophysical thesis - GONG is brought to its compositional conclusion by a real concert-ending, a chord taken from the middle of the piece and sustained over several bars, from virtual nothingness to full force.

Composed by Richard Wagner (1813-1883). Edited by Ulrich Konrad. This edition: facsimile. Half-leather binding. Documenta musicologica II/56 / Barenreiter Facsimile. Facsimile. Baerenreiter Verlag #BVK02418. Published by Baerenreiter Verlag

Orchestra

SKU: HL.14011919

Composed by Karsten Fundal. Music Sales America. Score. Music Sales #KP01477. Published by Music Sales (HL.14011919).

ISBN 9788759878644. English-Danish.

Orc hestration: 3(pic)(afl).2+ca.1+2bcl.2 +cbn/4.3.3.1/timp.2perc/h p/pf/strParts are for hire: hire@ewh.dkProgramnote Hush er et studie i morke og lys, kold og varm lyd. Jeg har ogsa i dette stykke forsogt at introducere staerke folelsesmaessige udtryk, ved brug af instrumentale farver og tonale virkemidler. Titlen Hush er forbundet med et slags indre digt jeg har haft i tankerne medens jeg komponerede. Da jeg jo ikke er digter i ord, er det ufuldstaendigt og utilstraekkeligt i sin form, men derfor alligevel meget godt beskrivende for stykkets vaesen. Det lyder nogenlunde sadan her i mit hoved:Hush little heart- hush.!!was time running too fast or did the hours sometimesseem long?,Were your beats too many or were they too few in the end?Hush little heart- hushdid you see too little or did you sometimes see too much?,was life too small or was it sometimes larger than life?was your thirst quenched or did you end up drained?hush, hush, little heart- hush!!,Don't be afraid, maybe you knew all the time:that one day you would have to be still-or maybe you didn't?Is that why you were beating so fast?hush, hush little heart-hush,- be comforted, 'cause even as you feel so small Your very existence is strange and beautiful - so, hush, hush, be comforted, be still my beating heart.

By Traditional. Arranged by Braz. For orchestra and optional chorus. Score and parts. Duration 20 minutes

Orchestra - Grade 1.5

SKU: AP.49038S

Composed by Rob Grice. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Beginning String Orchestra. Fall; Halloween. Score. 12 pages. Duration 2:05. Belwin Music #00-49038S. Published by Belwin Music (AP.49038S).

ISBN 9781470645533. UPC: 038081561202. English.

The 31st Day of Oktober, by Rob Grice, is intended to be a spooky musical journey through the early tale of Halloween. The ancient Celts believed that on this day spirits of the dead would cross over into the other world. Your beginning string players will ask to play this every day! It's hard to believe that six notes can be so effective and so scary! (2:05).

Orchestra - Grade 1.5

SKU: AP.49038

Composed by Rob Grice. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Beginning String Orchestra. Fall; Halloween. Score and Part(s). 49 pages. Duration 2:05. Belwin Music #00-49038. Published by Belwin Music (AP.49038).

ISBN 9781470645526. UPC: 038081561196. English.

The 31st Day of Oktober, by Rob Grice, is intended to be a spooky musical journey through the early tale of Halloween. The ancient Celts believed that on this day spirits of the dead would cross over into the other world. Your beginning string players will ask to play this every day! It's hard to believe that six notes can be so effective and so scary! (2:05).