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.

Serie IX (Schriften) Vol. 4.3: Briefe 1952-1956. Composed by Hanns Eisler (1898-1962). Edited by Maren Koster. Restless Times. Breitkopf and Haertel #BV 350. Published by Breitkopf and Haertel

For All Band Programs. By Tim Lautzenheiser and Charles Menghini. Essential Elements. CD-ROM only. Size 9x12 inches. 48 pages. Published by Hal Leonard.

Vol. 1 - Recueil du Chef D'Orchestre. Concert Band Method. Essential Elements for Band. French Edition. Score (with Media Online). 358 pages. Published by Hal Leonard

(Note-for-Note Transcriptions of the Brass, Woodwind, Strings and More). By The Beatles. For Orchestra. Transcribed. Softcover. 192 pages. Published by Hal Leonard

By George Harrison, Paul McCartney, John Lennon. Arranged by Bruce Healey. (Score and Parts). Symphony Pops. Published by Hal Leonard.

By Douglas Akey. MusicWorks Grade 3. Concert Band. Score and full set of parts. Size 9x12 inches. Published by Hal Leonard.

Orchestra

SKU: HL.48186461

Composed by Gabriel Faure. Leduc. Softcover. 113 pages. Alphonse Leduc #AL30703. Published by Alphonse Leduc (HL.48186461).

UPC: 888680828059. 9.0x12.25x0.566 inches.

Musique de scene pour le drame de Maurice Maeterlinck Incidental music for the play by Maurice Maeterlinck Edition critique prepare par Roger Nichols et Otfrid Nies d'apres les autographes A critical edition by Roger Nichols and Otfrid Nies based on the autographs.

Composed by John Higgins. MusicWorks Grade 3. Contemporary Band. Score and parts. Published by Hal Leonard

Essential Elements. Play Along. Softcover conductor's book, accompaniment CD, and DVD. 360 pages. Published by Hal Leonard

By Paul Murtha. (Score and Parts). MusicWorks Grade 1. Concert Band. Score and full set of parts. Size 9x12 inches. Published by Hal Leonard.

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Orchestra

SKU: HL.48187533

Composed by Francis Poulenc. Heugel. Classical. Softcover. 128 pages. Heugel & Cie #HE31215. Published by Heugel & Cie (HL.48187533).

UPC: 888680843779. 6x8.25 inches.

“This edition of Les Biches by Francis Poulenc features the score for the whole Orchestra. Initially written as Ballet, it was revised as a suite for Orchestra in the 1940s. This piece has a light style, considered 'beautiful and melancholic' by Jean Cocteau. Lasting 15 minutes 30 seconds, it is divided into five parts: 1. Rondeau 2. Adagietto 3. Rag-Mazurka 4. Andantino 5. Finale Francis Poulenc is French composer and pianist. He also produced Piano and Chamber pieces, Operas, ballets as well as some Orchestral works.&rdquo.

(Deluxe Score). Composed by Alan Silvestri and Glen Ballard. For Vocal Solo, Full Orchestra, Chorus and Orchestra (Score). Symphony Pops. Grade 6. 14 pages. Published by Hal Leonard

Arranged by John Higgins. Essential Elements String Orchestra Series - Artist Level. Size 9x12 inches. Published by Hal Leonard.

Arranged by Elliot Del Borgo. Essential Elements String Orchestra Series - Master Level. Published by Hal Leonard.

Orchestra

SKU: HL.14028645

Composed by Aulis Sallinen. Music Sales America. 20th Century. Book [Softcover]. Music Sales #NOV890196. Published by Music Sales (HL.14028645).

ISBN 9780853609674.

A facsimile study score for one of Sallinen's most recent works, A Solemn Overture. Orchestration: 3 flutes, 3 oboes, 3 clarinets in B flat, 3 bassoons, 4 horns in F, 3 trumpets in B flat, 3 trombones in C, Tuba, Timpani, Harp and Strings. Duration approximately 10mins.

Orchestra

SKU: HL.49009585

Composed by Charles Francois Gounod. Edited by Bill Hopkins. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. Study Score. 102 pages. Eulenburg Edition #ETP 1380. Published by Eulenburg Edition (HL.49009585).

ISBN 9783795766740. UPC: 841886000735. 5.25x7.5x0.272 inches. German - English.

Gounod's Faust opera (libretto by Michel Carre and Jules Barbier) is based on the love story of Faust and Marguerite which is but a part of Goethe's Faust drama. Consequently the title of the opera is unacceptable in Germany where it is renamed Margarethe, after the heroine.

By Jerry Bock, Sheldon Harnick. Arranged by Ira Hearshen. (Score and Parts). Full Orchestra. Published by Hal Leonard.

By Robert Longfield. (Score and Parts). MusicWorks Grade 4. Concert Band. Score and full set of parts. Published by Hal Leonard.

By Franz Joseph Haydn (1732-1809). Edited by Carl-Gabriel Stellan Morner. For orchestra (2 Oboes/Bassoon/2 Horns/2 Violins/Viola/Bass). This edition: Stapled, Urtext edition. Urtext, Stapled. Urtext from: Joseph Haydn Werke, G. Henle Verlag Munich. Score.

Orchestra (Score & Parts) - Grade 2-3

SKU: HL.4490819

Arranged by James Curnow. Easy Music For Strings. Christmas. Softcover. Published by Hal Leonard (HL.4490819).

UPC: 884088264765. 9x12 inches.

This German carol continues to appeal to all audiences with its melodic simplicity and adaptability to instrumental settings. James Curnow's arrangement is skilled in every way, offering a superb program choice for your holiday program. Duration: 3:00.

(on a Little Piano Piece by Arnold Schonberg Orchestra Study Score). By Victor Ullmann (1898-1944). Study Score. Book only. 76 pages

Orchestra

SKU: HL.14010177

By David Lloyd-Jones. By Edward Elgar. Edited by David Lloyd-Jones. Music Sales America. Ballet. Studyscore. 104 pages. Music Sales #NOV890197. Published by Music Sales (HL.14010177).

ISBN 9780711994836. 0.357 inches.

Written at the height of Elgar's powers in 1917, The Sanguine Fan was inspired by a scene depicting Pan and Echo that a local artist had drawn in sanguine on a fan. The ballet was originally composed as part of a matinee performance in March 1917 in aid of wartime charities. This study score edition is the ideal choice for both academic study and performance preparation.

Composed by Rodgers and Hammerstein, arranged by Bennet. Set of performance parts for orchestra. Grade 3. With standard notation. Published by Hal Leonard.

9 Volumes in a Slipcase Study Score. Composed by Lugwig Van Beethoven. Edited by Bathia Churgin, Jens Dufner, Ernst Herttrich, and Armin Raab. Henle Study Scores. Classical. Softcover. G. Henle #HN9800. Published by G. Henle