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.

By Ludwig van Beethoven (1770-1827). Arranged by Vernon Leidig. Orchestra. Full Orchestra; Masterworks. Full Orchestra. Classical; Masterwork Arrangement; Romantic. Grade 3. Conductor Score and Parts. 178 pages. Published by Alfred Music Publishing

Orchestra

SKU: HL.49009941

Study Score. Composed by Franz Joseph Haydn. Edited by Harry Newstone. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. Study Score. 69 pages. Eulenburg Edition #ETP 468. Published by Eulenburg Edition (HL.49009941).

ISBN 9790200204025. UPC: 073999781991. 5.25x7.5x0.229 inches.

With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.

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.

By Peter Ilyich Tchaikovsky. Edited by Van Ragsdale. Arranged by V. F. Safranek. Concert Band. For Piccolo, Flute I, Flute II, Oboe I, Oboe II, Clarinet I, Clarinet II, Clarinet III, Bass Clarinet, Bassoon I, Bassoon II, Alto Saxophone I, Alto Saxophone II, Tenor Saxophone, Baritone Saxophone, Trumpet I, Trumpet II, Trumpet III, Trumpet IV, Horn I, Horn II, Horn III, Horn IV, Tenor I, Tenor II, Tenor III, Baritone (Bass Clef), Tuba, Contrabass, Timpani, Snare Drum, Triangle, Bass Drum. Carl Fischer Classic Band Editions. Classical. Score and Set of Parts. 60 pages. Published by Carl Fischer.

Orchestra

SKU: HL.49010035

Study Score. Composed by Franz Joseph Haydn. Edited by Harry Newstone. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Study Score. Composed 1784. 62 pages. Duration 23'. Eulenburg Edition #ETP 572. Published by Eulenburg Edition (HL.49010035).

ISBN 9790200204926. UPC: 073999563269. 5.25x7.5x0.169 inches.

With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.

Orchestra

SKU: NR.105024

Für Orchester, opus 56, 1941. Composed by Nikolai Iakovlevich Miaskovskii. Orchestra (10 and more instruments). Score. Noten Roehr #105024. Published by Noten Roehr (NR.105024).

Fur Orchester, opus 56, 1941 Partitur (2Bande)
Sinfonie uber nordkaukasische Volkslieder.

Orchestra

SKU: NR.63207

Per orchestra. Composed by Viktor Spiridonov Chuchkov. Orchestra (10 and more instruments). Score. Noten Roehr #63207. Published by Noten Roehr (NR.63207).

Orchestra

SKU: HL.49010015

Study Score. Composed by Franz Joseph Haydn. Edited by H. C. Robbins Landon. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Study Score. 44 pages. Eulenburg Edition #ETP551. Published by Eulenburg Edition (HL.49010015).

ISBN 9790200204728. UPC: 073999593365. 5.25x7.5x0.132 inches.

With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.

Orchestra

SKU: NR.103895

Für Orchester, opus 23, 1903. Composed by Paul Juon. Orchestra (10 and more instruments). Score. Noten Roehr #103895. Published by Noten Roehr (NR.103895).

Fur Orchester, opus 23, 1903 Partitur (2Bande).

Orchestra

SKU: NR.105026

Für Orchester, opus 79, 1948-1949. Composed by Nikolai Iakovlevich Miaskovskii. Orchestra (10 and more instruments). Score. Noten Roehr #105026. Published by Noten Roehr (NR.105026).

Fur Orchester, opus 79, 1948-1949 Partitur (2Bande)
Izbrannye sochineniia ; 6, Sinfonie uber russische Themen.

Orchestra

SKU: NR.105021

Für Orchester, opus 51, 1940. Composed by Nikolai Iakovlevich Miaskovskii. Orchestra (10 and more instruments). Score. Noten Roehr #105021. Published by Noten Roehr (NR.105021).

Fur Orchester, opus 51, 1940 Partitur.

Orchestra

SKU: NR.104868

Für Orchester, opus 15, 1914. Composed by Nikolai Iakovlevich Miaskovskii. Orchestra (10 and more instruments). Score. Noten Roehr #104868. Published by Noten Roehr (NR.104868).

Fur Orchester, opus 15, 1914 Partitur (2B%0nde).

Orchestra

SKU: NR.105025

Für Orchester, opus 63, 1943. Composed by Nikolai Iakovlevich Miaskovskii. Orchestra (10 and more instruments). Score. Noten Roehr #105025. Published by Noten Roehr (NR.105025).

Fur Orchester, opus 63, 1943 Partitur (2Bande).

Orchestra

SKU: NR.104880

Für Orchester, opus 18, 1917-1918. Composed by Nikolai Iakovlevich Miaskovskii. Orchestra (10 and more instruments). Score. Noten Roehr #104880. Published by Noten Roehr (NR.104880).

Fur Orchester, opus 18, 1917-1918 Partitur (2B%0nde).

Full orchestra

SKU: NR.98284

Für grosses Orchester, 1883 2Bände. Composed by Emil Nikolaus Joseph Freiherr von Reznicek. Orchestra (10 and more instruments). Score. Composed 1883. Noten Roehr #98284. Published by Noten Roehr (NR.98284).

Orchestra

SKU: NR.104913

Für Orchester, opus 38, 1935. Composed by Nikolai Iakovlevich Miaskovskii. Orchestra (10 and more instruments). Score. Noten Roehr #104913. Published by Noten Roehr (NR.104913).

Fur Orchester, opus 38, 1935 Partitur (3Bande).

Orchestra

SKU: NR.104909

Für Orchester, opus 36, 1933. Composed by Nikolai Iakovlevich Miaskovskii. Orchestra (10 and more instruments). Score. Noten Roehr #104909. Published by Noten Roehr (NR.104909).

Fur Orchester, opus 36, 1933 Partitur.

Orchestra

SKU: NR.104939

Für Orchester, opus 39, 1935-1936. Composed by Nikolai Iakovlevich Miaskovskii. Orchestra (10 and more instruments). Score. Noten Roehr #104939. Published by Noten Roehr (NR.104939).

Fur Orchester, opus 39, 1935-1936 Partitur (3Bande)
Izbrannye sochineniia ; 3.

Orchestra

SKU: NR.69544

Für Orchester, KV 19, 1765. Composed by Wolfgang Amadeus Mozart. Orchestra (10 and more instruments). Score. Noten Roehr #69544. Published by Noten Roehr (NR.69544).

Orchestra

SKU: NR.105139

For orchestra, AK 3a, 1929-1935. Composed by Nikos Skalkottas. Orchestra (10 and more instruments). Score. Noten Roehr #105139. Published by Noten Roehr (NR.105139).

For orchestra, AK 3a, 1929-1935.

Orchestra

SKU: NR.104873

Für Orchester, opus 17, 1917-1918. Composed by Nikolai Iakovlevich Miaskovskii. Orchestra (10 and more instruments). Score. Noten Roehr #104873. Published by Noten Roehr (NR.104873).

Fur Orchester, opus 17, 1917-1918 Partitur (2B%0nde).

Orchestra

SKU: NR.105027

Für Orchester, opus 85, 1949. Composed by Nikolai Iakovlevich Miaskovskii. Orchestra (10 and more instruments). Score. Noten Roehr #105027. Published by Noten Roehr (NR.105027).

Fur Orchester, opus 85, 1949 Partitur (2Bande).

Orchestra

SKU: NR.104911

Für Orchester, opus 37, 1933. Composed by Nikolai Iakovlevich Miaskovskii. Orchestra (10 and more instruments). Score. Noten Roehr #104911. Published by Noten Roehr (NR.104911).

Fur Orchester, opus 37, 1933 Partitur (2Bande).

Orchestra

SKU: NR.86866

Für Orchester, op. 44. Composed by Robert Volkmann. Orchestra (10 and more instruments). Score. Noten Roehr #86866. Published by Noten Roehr (NR.86866).

Orchestra

SKU: SU.94010400

For Orchestra. Composed by James Lee III. Orchestra. Study Score. Subito Music Corporation #94010400. Published by Subito Music Corporation (SU.94010400).

2,1 2,1 2,1 2,1; 4331; timp, perc(3), cel, hp; stgs Duration: 11' Composed: 2013 Published by: Subito Music Publishing Performance materials available on rental: Alas! Babylon’s Final Sunset is another installment in my series of works that musically comment on the biblical books of Daniel and Revelation. The principal source of inspiration for this works comes from the 18th chapter of the book of Revelation. This chapter states that the career of Babylon the Great is finally coming to an end. The music begins with a mysterious pianissimo tremolo accompanied by tam-tam and bass drum. The initial flourishes in the oboes and English horn serve as the principal motive of warning. As the music continues, there are varying degrees of agitation among the strings and woodwinds. Throughout the work there are rhythmic motives in the brass, percussion, and various woodwind instruments that sing and speak Babylon is Fallen in triple meter. As the tutti ensemble arrives at a climax, the orchestral texture becomes thinner and slightly transparent. As the music continues, the opening motive returns in the oboes, however the counterpoint produces a series of solo laments. These passages are intended to provide picturesque images of these words: And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee; And the light of a candle shall shine no more at all in thee. and the voice of the bridegroom and of the bride shall be heard no more at all in thee: for thy merchants were the great men of the earth; for by thy sorceries were all nations deceived. And in her was found the blood of prophets, and of saints, and of all that were slain upon the earth. Rev. 18:22-24 The following passages musically comment on the historical career of Babylon with a sense of her impending destruction. The series of laments transforms into the more emphatic rhythmic motive Babylon is Fallen. The orchestral texture begins to become more condense, once again, with the initial flourishes of, but with notable variations. Finally, the celesta, harp, oboes, English horn, and strings sing profundities that are finally transformed into a minor mode tonality that fades away with the ringing of the tam-tam. Babylon has finally seen her last sunset.

Study Score. By Johann Sebastian Bach. Arranged by Arnold Schering. (Study Score). Schott. Size 5.25x7.5 inches. Published by Eulenburg.

Orchestra

SKU: NR.110233

Per orchestra, 1982. Composed by Yoram Paporisz. Orchestra (10 and more instruments). Score. Noten Roehr #110233. Published by Noten Roehr (NR.110233).

Orchestration: 0-2-0-0, 0-0-0-0, 2 percussion,, harp, strings 6-6+6-8-6-5.