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.

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).

Composed by Michael Sweeney. MusicWorks Grade 3. Concert. Score and parts. Published by Hal Leonard

Orchestra (Score) - Grade 4

SKU: HL.14027994

Composed by Poul Ruders. Music Sales America. Classical. Set. 86 pages. Edition Wilhelm Hansen #WH29830. Published by Edition Wilhelm Hansen (HL.14027994).

ISBN 9788759864593.

New York is the city which fascinates and inspires Ruders. Time and again he goes back there to work. 'Manhattan Abstraction' (1982) subtitles - a symphonic skyline for large orchestra - was conceived there. Ruders' Brittish colleague Oliver Knussen defines the piece as: - a performance of an extraordinary Morden-Times-like construction. It is a sort of symphonic sculpture, which in the composer's own words words propels forth from one particular inspiration: the New York profile, as seen from Liberty Island, one icy cold January day with it's open, clear sky and dazzling sun light. 'Manhatten Abstraction' appears as an amalgam of some of the compositorical habits found in present pieces. For instance, are present here compositorical ideas and melodic loans from 'Capriccio Pian'e Forte', 2nd String Quartet(1979), 'Four Compositions' (1980), and 2nd Piano Sonata(1982). The question at hand is mainly concerned with the enhanced elaboration of Ruders' use of the classic English change-ringing system: a permuting method pre-determining the order of tone-appearances and /or tone groups; a serial technique in other words. In spite of the rigidly fixed material, Ruders somehow manages to chisel out a personal expression by way of emphasising contrasting elements already existing within the material itself. The spiky, repetitive sections form a counterpart to a more human violin-solo. This dialectical tension is - as hinted by the title - a symphonic abstraction of a fascinating metropolis; the most beautiful and the ugliest. The subtitle: a symphonic skyline reflects the musical erection of the Manhattan profile, which under the clear sky, materializes into the most powerful and compelling man-made sculpture on earth. Thus 'Manhattan Abstraction' is a homage to, as well as a vision of, this giant contraption of concrete, glass, and chrome.

(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

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

(Violoncello/Double Bass Part Edited By Donald Burrows). By George Frideric Handel (1685-1759). Edited by Donald Burrows. For Orchestra. Music Sales America. Softcover. 148 pages. Novello and Co Ltd. #NOV09092605. Published by Novello and Co Ltd. (HL.14041819

Orchestra (bassoon, 4Hn, 2 Trp, 3trombone, timpani, percussion, harp, Str)

SKU: BA.BA05540

Romantic opera in three acts. Composed by Franz Schubert. Edited by Walther Durr. This edition: complete edition, urtext edition. Linen. New Schubert Edition (Neue Ausgabe samtlicher Werke) Series II, Volume 6. 3 part volumes. Opern, dt. (German Opera). Complete edition, Score. D 732. Duration 2 hours, 30 minutes. Baerenreiter Verlag #BA05540_00. Published by Baerenreiter Verlag (BA.BA05540).

ISBN 9790006497126. 33 x 26 cm inches. Text: Franz von Schober.

In late September or early October 1821 Schubert and his close friend, Franz von Schober, vacationed in the countryside of Lower Austria. Their first stopover was at Ochsenburg Castle, which belonged to the Bishop of St. Pölten (a close relative of Schober’s), after which they moved on to St. Pölten itself. Roughly a year earlier, two stage works by Schubert had been performed in Vienna: the one-act singspiel Die Zwillingsbrüder and the melodrama Die Zauberharfe. The librettos were both written by the seasoned Viennese playwright Georg von Hofmann, who blamed the press for the indifferent reception the two works were given by the audience. Schubert and Schober now decided, it would seem, to write a grand romantic opera uninfluenced by the workaday world of the theatre and beholden solely to their own ideas of what an opera should be.

Not until 24 June 1854 was the opera finally performed in Weimar, under the baton of Franz Liszt. It only achieved success, however, in an arrangement by Johann Nepomuk Fuchs that was staged on many German and Austrian stages in 1881–2, allegedly with brilliant acclaim.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

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.

('Twas in the Moon of Wintertime). Arranged by Morley Calvert. Orchestra. Full Orchestra; Part(s); Score. Eighth Note Publications. Christmas; Multicultural; Sacred; Winter. Grade 3. 100 pages. Published by Eighth Note Publications

Composed by Traditional. Arranged by Deborah Baker Monday. Set of Score and Parts. 8 8 2 5 5 5 8 pages. Duration 2:30. Carl Fischer Music #YAS218. Published by Carl Fischer Music

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; Score (Study Score) Overture. Composed by Ludwig van Beethoven (1770-1827). Edited by Max Unger. Arranged by Max Unger. This edition: Saddle stitching. Sheet music. Eulenburg Taschenpartituren (Pocket Scores). Classical. Study Score. Op. 124. 84 pages. Eulenburg Edition #ETP627. Published by Eulenburg Edition

Orchestra 2.2.2.2: 4Sax(opt.; AATB; all dCl): 2.3.3.0: Perc(1): Hp(or Pno): Gtr: Str (9-8-7-6-5 in set)

SKU: AP.36-A601299

Composed by Morton Gould. Full Orchestra; Performance Music Ensemble. Kalmus Orchestra Library. Score. LudwigMasters Publications #36-A601299. Published by LudwigMasters Publications (AP.36-A601299).

ISBN 9798888522424. UPC: 676737533847. English.

Morton Gould, equally comfortable in the worlds of both serious and light music, presented his symphonettes (an Americanization of the term sinfonietta, much like kitchenette and dinette) as works of a truly American vernacular, drawing on popular culture as well as classical forms. His American Symphonette No. 2 was the work that first made Gould a name among the American public through radio, with the second movement (Pavanne) a pop orchestra standard to this day. Instrumentation: 2.2.2.2: 4Sax(opt.; AATB; all dCl): 2.3.3.0: Perc(1): Hp(or Pno): Gtr: Str (9-8-7-6-5 in set). The original condensed score is included with this set, but the full score has been extracted from the complete work and also included.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Orchestra 2.2.2.2: 4Sax(opt.; AATB; all dCl): 2.3.3.0: Perc(1): Hp(or Pno): Gtr: Str (9-8-7-6-5 in set)

SKU: AP.36-A601201

Composed by Morton Gould. Full Orchestra; Performance Music Ensemble. Kalmus Orchestra Library. Score. LudwigMasters Publications #36-A601201. Published by LudwigMasters Publications (AP.36-A601201).

ISBN 9798888522431. UPC: 676737534301. English.

Morton Gould (1913-1996), equally comfortable in the worlds of both serious and light music, presented his symphonettes (an Americanization of the term sinfonietta, much like kitchenette and dinette) as works of a truly American vernacular, drawing on popular culture as well as classical forms. His American Symphonette No. 2 was the work that first made Gould a name among the American public through radio, with the second movement (Pavanne) a pop orchestra standard to this day. Instrumentation: 2.2.2.2: 4Sax(opt.; AATB; all dCl): 2.3.3.0: Perc(1): Hp(or Pno): Gtr: Str (9-8-7-6-5 in set). The original condensed score is included with this set, but the full score has been extracted from the complete work and also included.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Orchestra 2.2.2.2: 4Sax(opt.; AATB; all dCl): 2.3.3.0: Perc(1): Hp(or Pno): Gtr: Str (9-8-7-6-5 in set)

SKU: AP.36-A601290

Composed by Morton Gould. Full Orchestra; Performance Music Ensemble. Kalmus Orchestra Library. Masterwork. Score and Part(s). LudwigMasters Publications #36-A601290. Published by LudwigMasters Publications (AP.36-A601290).

UPC: 676737533533. English.

Morton Gould, equally comfortable in the worlds of both serious and light music, presented his symphonettes (an Americanization of the term sinfonietta, much like kitchenette and dinette) as works of a truly American vernacular, drawing on popular culture as well as classical forms. His American Symphonette No. 2 was the work that first made Gould a name among the American public through radio, with the second movement (Pavanne) a pop orchestra standard to this day. Instrumentation: 2.2.2.2: 4Sax(opt.; AATB; all dCl): 2.3.3.0: Perc(1): Hp(or Pno): Gtr: Str (9-8-7-6-5 in set). The original condensed score is included with this set, but the full score has been extracted from the complete work and also included.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Composed by Michael Sweeney. MusicWorks Grade 2. Concert. Score and parts (with online audio). Published by Hal Leonard

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).

Once Upon a Tree (Orchestration). By Pepper Choplin. For Choral (Score and Parts). Glory Sound. GlorySound #LB5631. Published by GlorySound

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).