Orchestra - Grade 3

SKU: AP.49439S

Composed by Gary Fagan (ASCAP). Performance Music Ensemble; Single Titles; String Orchestra. Belwin Concert String Orchestra. Score. Duration 3:30. Belwin Music #00-49439S. Published by Belwin Music (AP.49439S).

ISBN 9781470650551. UPC: 038081571331. English.

Heroes Among Us by Gary Fagan is an original overture-style work for string orchestra that was inspired by the many people who worked tirelessly behind the scenes to make sure many school children who could not go to school received at least two hot meals each day throughout the COVID-19 pandemic. School bus drivers and cafeteria workers put in long hours to prepare meals and deliver them to students who otherwise may have gone hungry during the week. While teachers, nurses, doctors, etc. received accolades during the months when schools were out of session, many adults stepped in to take care of other necessities to ensure the well-being of the students they served. (3:30).

Orchestra - Grade 3

SKU: AP.49439

Composed by Gary Fagan (ASCAP). Performance Music Ensemble; Single Titles; String Orchestra. Belwin Concert String Orchestra. Score and Part(s). Duration 3:30. Belwin Music #00-49439. Published by Belwin Music (AP.49439).

ISBN 9781470650544. UPC: 038081571324. English.

Heroes Among Us by Gary Fagan is an original overture-style work for string orchestra that was inspired by the many people who worked tirelessly behind the scenes to make sure many school children who could not go to school received at least two hot meals each day throughout the COVID-19 pandemic. School bus drivers and cafeteria workers put in long hours to prepare meals and deliver them to students who otherwise may have gone hungry during the week. While teachers, nurses, doctors, etc. received accolades during the months when schools were out of session, many adults stepped in to take care of other necessities to ensure the well-being of the students they served. (3:30).

Orchestra - Grade 3

SKU: AP.49011S

Composed by Benjamin R. Hanby, Fred Coots, Jack Rollins, Jule Styne, Sammy Cahn, and Steve Nelson. Arranged by Jim Palmer. Performance Music Ensemble; Single Titles; String Orchestra. Pop Concert String Orchestra. Christmas; Holiday Pops; Winter. Score. 20 pages. Duration 4:00. Alfred Music #00-49011S. Published by Alfred Music (AP.49011S).

ISBN 9781470645311. UPC: 038081565316. English.

Each section of the string orchestra gets featured in Jim Palmer's Holiday String-Along. Written like a sing-along, this arrangement features Let It Snow! Let It Snow! Let It Snow!, Frosty the Snowman, Up on the Housetop, Santa Claus Is Comin' to Town and We Wish You a Merry Christmas. Students will enjoy playing the melodies while the audience may choose to sing along. This piece will surely be a holiday concert favorite! (4:00).

Orchestra - Grade 3

SKU: AP.49011

Composed by Benjamin R. Hanby, Fred Coots, Jack Rollins, Jule Styne, Sammy Cahn, and Steve Nelson. Arranged by Jim Palmer. Performance Music Ensemble; Single Titles; String Orchestra. Pop Concert String Orchestra. Christmas; Holiday Pops; Winter. Score and Part(s). 100 pages. Duration 4:00. Alfred Music #00-49011. Published by Alfred Music (AP.49011).

ISBN 9781470645304. UPC: 038081565309. English.

Each section of the string orchestra gets featured in Jim Palmer's Holiday String-Along. Written like a sing-along, this arrangement features Let It Snow! Let It Snow! Let It Snow!, Frosty the Snowman, Up on the Housetop, Santa Claus Is Comin' to Town and We Wish You a Merry Christmas. Students will enjoy playing the melodies while the audience may choose to sing along. This piece will surely be a holiday concert favorite! (4:00).

(The Journey from Darkness to Light). By Lloyd Larson. Arranged by Mary Mcdonald. Orchestra. For Flute, Clarinet, 2 Trumpet, Horn, 2 Trombone, Percussion, Piano, Synthesized Strings. Cantata. Choral: Advent. Orchestral Score and Parts. Published by Lorenz Publishing Company

Composed by Franz Joseph Haydn (1732-1809). Edited by Andreas Friesenhagen; Christin Heitmann. This edition: urtext edition. Stapled. Score. Hob. I:26. Duration 17 minutes. Published by Baerenreiter Verlag (BA.BA10975).

Orchestra

SKU: HL.14027979

Composed by Poul Ruders. Music Sales America. Score. 111 pages. Edition Wilhelm Hansen #KP00695. Published by Edition Wilhelm Hansen (HL.14027979).

ISBN 9788759888780. English.

Corona - The Solar Trilogy No. 3 for Orchestra was composed by Poul Ruders in 1995. Programme note: CORONA makes the final part of the SOLAR-TRILOGY, a huge symphonic triptych about the life and behavior of the Sun. The first'panel' GONG depicts the birth, life and final collapse of our nearest star, the second ZENITH describes in its ultra-slow tempo the patient rise of the Sun toward midday ferocity and its subsequent setting. CORONA, then, is a symphonic 'portrait' of the phenomenally hot whispy brim encircling and radiating from the Sun, a sizzling halo of electrons and photons visible only during a total eclipse. Formally CORONA follows the process of such totalityin progress:the gradual eclipsing by the Moon - total darkness with thefierce, sparkling outer corona - the gradual 'rebirth' of the light toward the full gl.ory and warmth of the Sun.Besides the obvious astronomical narrative of the SOLAR-TRILOGY there's a metaphysical angle too, underlying each of the three compositions: GONG, in spite of its apparent energy, may be the most pessimistic of them all, epitomizing the death and ultimate annihilation of the prime source of Life itself. ZENITH is a hommage to human aspiration and spiritual endurance and CORONA ends with Hope and Glory after a journey from depression throughtotal despair. Super-structurally, the zenith of ZENITH makes the zenith of the entire trilogy, i.e. when the E- flat of the unisone horns in ZENITH is heard, we are exactly halfway through the collected work. Poul Ruders.

Orchestra (2.2.2.2. - 4.3.3.0. - timp.perc - hp -str)

SKU: BR.PB-4862-07

Study score. Composed by Jurg Baur. Softbound. Partitur-Bibliothek (Score Library).

World premiere: Hannover, March 13, 1972

Music post-1945. Study Score. Composed 1972. 82 pages. Duration 15'. Breitkopf and Haertel #PB 4862-07. Published by Breitkopf and Haertel (BR.PB-4862-07).

ISBN 9790004206591. 7 x 9.5 inches.

Variationen (Ouverture / Thema / Variation / Coda), Lyrisches Intermezzo (Sostenuto), Symphonische Nachklange (Allegro con moto).Immer wieder lassen sich Komponisten von Themen alterer oder auch zeitgenossischer Meister zu Variations-Zyklen anregen (Brahms: Handel- und Haydn-Variationen, Reger: Mozart-Variationen, Holler: Sweelinck-Variationen). Themen von Robert Schumann fanden bisher relativ selten Beachtung - (Regers Schumann-Variationen fur zwei Klaviere sind eine Ausnahme) - vielleicht, weil sie zu sehr in sich vollendet und abgeschlossen sind und deshalb kaum Moglichkeiten zur Veranderung enthalten. Dennoch beschaftigte mich schon langer die Idee, eine ,,Musik mit Schumann, Nachklange oder Erinnerungen an Schumann zu gestalten, mit der Absicht, ein heiteres, liebenswurdiges (und nachdenkliches) Werk zu schreiben, einmal ohne Experimente-, als ,,Divertimento fur den Normalhorer, gelegentlich behutsam verbunden mit modernen Techniken - nicht ohne hintergrundigen Humor. Der 1. Satz wurde inspiriert von den ,,Papillons (opus 2 fur Klavier); er gliedert sich in vier variationsahnliche Abschnitte. Die ,,Ouverture exponiert drei kurze Themen, die sich trotz ihres gegensatzlichen Charakters wie selbstverstandlich erganzen (Einleitungsgirlande und Schlussfanfare der Papillons und das bekannte Anfangsmotiv aus ,,Vogel als Prophet). Die Abschnitte ,,Thema, ,,Variationen und ,,Coda entwickeln und verandern das Hauptthema der ,,Papillons; dieses dominiert uber weite Strecken des Satzes und wird mit den Motiven der Ouverture kombiniert. Vielfaltig gegliedert ist das ,,Lyrische Intermezzo. Zu Beginn gewinnt ein Motiv aus den ,,Nachtstucken (fur Klavier) Bedeutung, taucht mehrere Male auf, von mehrtonigen b-a-c-h Clustern ,,gestort. Im Mittelpunkt stehen das Thema des 2. Satzes der g-moll Klavier-Sonate op. 22 (ein Mondnachtlied ohne Worte; Holzblaser) und ein Adagio-Gedanke aus dem Klavier-Zyklus ,,Kreisleriana (tiefe Streicher); beide Themen werden kontrapunktiert von zwolftonigen Strukturen und Klangbandern (Holzblaser). Die ,,Fruhlings-Symphonie-Fan fare eroffnet das Finale. Danach bilden sich uber rotierenden Klangflachen (Streicher) einzelne Tone und Intervalle, aleatorisch frei, verdichten sich, wie aus der Erinnerung auftauchend, zu Motiven aus Schumanns bekanntester Symphonie. Nach diesem zogernden Beginn entwickelt sich ein fast klassisch anmutender Sonaten-Durchfuhrungsteil mit mehreren melodischen Gedanken (Kopfmotiv der g-moll Klaviersonate, tanzerische und ostinate Themen aus der Fruhlings-Symphonie), die zum Teil in- und ubereinander geschichtet werden, bis auf dem Hohepunkt des Satzes das Schlussthema der Klavierfantasie op. 17, pathetisch-ironisch in den Blechblasern erklingt. Eine kurze Reprise mit dem Hauptgedanken fuhrt zur Anfangsfanfare zuruck; der Satz verklingt im pianissimo. Wollte man dem ganzen opus ein Motto voranstellen, dann die Schumann-Uberschrift (aus den Kinderszenen) : ,,Fast zu ernst - aber eben nur ,,fast. (Jurg Baur)CD:Sinfonieorchester des Bayerischen Rundfunks, cond. Hanns-Martin SchneidtCD Thorofon CTH 2270 Bibliography:Wallerang, Lars: Die Orchesterwerke Jurg Baurs als Dialog zwischen Tradition und Moderne, Koln: Dohr 2003.Nonnenmann, Rainer: Vergegenwartigungen. Umgang mit historischem Material bei Zimmermann, Baur, Killmayer, Schnebel und Zender, in: Jurg Baur, hrsg. von Ulrich Tadday (= Musik-Konzepte. Neue Folge, Heft 184/185), Munchen: Edition Text+Kritik 2019, S. 26-46.

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.

Arranged by Michael Story. Orchestra. Full Orchestra. Belwin Intermediate Full Orchestra. Christmas; Light Concert; Winter. Grade 2.5. Conductor Score and Parts. 54 pages. Duration 1:43. Published by Belwin Music