Composed by Antonin
Dvorak. Edited by Robert
Simon. This edition:
urtext edition.
Paperback. Barenreiter
Urtext. Score. Opus 45/3.
Baerenreiter Verlag
#BA10403_00. Published by
Baerenreiter Verlag
(BA.BA10403).
ISBN
9790260104730. 31 x 24.3
cm inches. Key: A-flat
major. Preface: Simon,
Robert.
Dvorák
composed his
“Slavonic
Rhapsodies†op. 45
in 1878, initiating his
so-called “Slavonic
periodâ€. They were
issued by the publisher
Simrock the following
year as three independent
orchestral pieces (in D
major, G minor and A-flat
major) appearing under
the same opus
number.
Now the
“Slavonic
Rhapsodies†are
being issued separately
in scholarly-critical
editions. The editor
Robert Simon has taken
Dvorák’s
authorised first edition
as his principal source.
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
Composed by Antonin
Dvorak. Edited by Robert
Simon. This edition:
urtext edition.
Paperback. Barenreiter
Urtext. Score. Opus 45/2.
Baerenreiter Verlag
#BA10402_00. Published by
Baerenreiter Verlag
(BA.BA10402).
ISBN
9790260104723. 24.3 x 31
cm inches. Key: G minor.
Preface: Simon,
Robert.
Dvorák
composed his
“Slavonic
Rhapsodies†op. 45
in 1878, initiating his
so-called “Slavonic
periodâ€. They were
issued by the publisher
Simrock the following
year as three independent
orchestral pieces (in D
major, G minor and A-flat
major) appearing under
the same opus
number.
Now the
“Slavonic
Rhapsodies†are
being issued separately
in scholarly-critical
editions. The editor
Robert Simon has taken
Dvorák’s
authorised first edition
as his principal
source.
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
Composed by Antonin Dvorak (1841-1904). Edited by Robert Simon. This edition: ur...(+)
Composed by Antonin
Dvorak (1841-1904).
Edited by Robert Simon.
This edition: urtext
edition. Paperback.
Barenreiter Urtext.
Score. Opus 45, No. 1.
Baerenreiter Verlag
#BA10401. Published by
Baerenreiter Verlag
(BA.BA10401).
Orchestra (Orchestra) SKU: HL.49041179 Composed by Simone. Sheet music. O...(+)
Orchestra (Orchestra)
SKU: HL.49041179
Composed by Simone. Sheet
music. Odeon. Piano
Direction and Parts.
Duration 2' 30''. Schott
Music #OD 50009-40.
Published by Schott Music
(HL.49041179).
Orchestra SKU: HL.48019878 For Orchestra Score. Composed by Bertol...(+)
Orchestra
SKU:
HL.48019878
For
Orchestra Score.
Composed by Bertold
Hummel. Boosey & Hawkes
Scores/Books. Classical.
58 pages. Simrock
#M221121226. Published by
Simrock (HL.48019878).
Score & Piano Accompaniments with CD-ROM Containing Parts Orchestra - Grade 1 (+)
Score & Piano
Accompaniments with
CD-ROM Containing Parts
Orchestra - Grade 1
SKU: HL.48020802
Four Pieces for
Elementary String
Orchestra. Arranged
by Hugh Colledge and
Katherine Colledge.
Boosey & Hawkes Chamber
Music. Folk, French.
Softcover with disk. 36
pages. Boosey & Hawkes
#M060120985. Published by
Boosey & Hawkes
(HL.48020802).
ISBN
9780851626048.
9.0x12.0x0.16
inches.
Simply 4
Strings, a brand new
series of ensemble music
for elementary string
players from Katherine
and Hugh Colledge,
composers of the
well-loved Stepping
Stones, Waggon Wheels,
Fast Forward, and
Shooting Stars. A
complete suite of pieces
ideal for group teaching
or concerts based on
well-known melodies. The
book includes the score
and piano accompaniments
and the CD-ROM includes
the individual parts to
download and print.
Orchestra - Grade 2 SKU: AP.41188S Arranged by Jeffrey E. Turner. MakeMus...(+)
Orchestra - Grade 2
SKU: AP.41188S
Arranged by Jeffrey E.
Turner. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Beginning String
Orchestra. Folk. Score. 8
pages. Duration 2:30.
Belwin Music #00-41188S.
Published by Belwin Music
(AP.41188S).
UPC:
038081471693. English.
Shaker Folk Song.
A
simple yet interesting
arrangement of the
much-loved tune, Simple
Gifts, that will delight
music lovers. The use of
counterpoint provides a
challenge, yet this
delightful piece is still
very playable. (2:30)
This title is available
in MakeMusic Cloud.
Orchestra (Score) SKU: HL.49015919 Introduzione dall'Oratorio: Santa E...(+)
Orchestra (Score)
SKU:
HL.49015919
Introduzione
dall'Oratorio: Santa
Elena al Calvario.
Composed by Leonardo Leo.
Edited by Richard
Englaender. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical. Study Score.
21 pages. Eulenburg
Edition #ETP 538.
Published by Eulenburg
Edition (HL.49015919).
ISBN
9790200204605.
2
Faksimile * Preface *
Sinfonia: * I. Allegro *
II. Larghetto e cantabile
* III. Allegro.
Composed by
Traditional. Arranged by
Robert S. Frost. Solo or
Ensemble. Voyager String
Orchestra. Score and set
of parts. Duration 2
minutes, 15 seconds.
Kendor Music Inc #9464.
Published by Kendor Music
Inc (KN.9464).
UPC:
822795094640.
Of
all Shaker hymns, this is
undoubtedly the best
known because it served
as the basis for
Copland's ballet,
Appalachian Spring.
Arranged here for
strings, it combines
simple pentatonic
melodies with memorable
rhythms. Harmonics,
tremolo and strummed
chords in the keys of G
and D add flair, and the
score contains an
excellent synopsis of
Shaker life for students
and audiences. Duration
2:15.
Jazz ensemble - Grade 3 SKU: RM.SL10492 Composed by Jean Courtioux. Big-B...(+)
Jazz ensemble - Grade 3
SKU: RM.SL10492
Composed by Jean
Courtioux. Big-Band.
Orchestra. Duration 7
minutes, 30 seconds.
Editions Robert Martin
#SL10492. Published by
Editions Robert Martin
(RM.SL10492).
Urtext. Composed
by Maurice Ravel. Edited
by Jean-Francois Monnard.
Orchestra; Softcover.
Partitur-Bibliothek
(Score Library).
A
l'exemple de Schubert -
Ravel re-invents the
waltz, inspired by Liszt,
Chopin, Schumann and
Chabrier, transforming
the rhapsodic gyrations
of the dance and sending
it whirling into the 20th
century.
Ravel
needed only two weeks of
intensive concentration
to orchestrate his piano
suite Valses nobles et
sentimentales, which was
given its premiere
performance in March
1911. Consisting of seven
waltzes and one epilogue,
the work stamped Ravel as
a creative personality
whose masterpiece
breathed an unbelievably
new kind of musicality
and incredibly intensive
poetry. Let us not forget
that this was twelve
years before La Valse,
with which it shares a
number of similarities.
The new edition of the
complete performance
material in Breitkopf's
Urtext series was
prepared by the Ravel
expert Jean-Francois
Monnard.
A
l'exemple de Schubert -
Ravel re-invents the
waltz, inspired by Liszt,
Chopin, Schumann and
Chabrier, transforming
the rhapsodic gyrations
of the dance and sending
it whirling into the 20th
century.
Orchestra (FULL SCORE) SKU: HL.263038 For Orchestra. Composed by J...(+)
Orchestra (FULL SCORE)
SKU: HL.263038
For Orchestra.
Composed by John Luther
Adams. Music Sales
America. Classical.
Softcover. Composed 2017.
162 pages. Chester Music
#CH87131. Published by
Chester Music
(HL.263038).
UPC:
888680952907.
12.0x16.5x0.565
inches.
“Over
the years my orchestral
music has become simpler
and more expansive.
Clouds of Forgetting,
Clouds of Unknowing
(1991-95) contains four
different musical
textures. In the White
Silence (1998) has three.
For Lou Harrison (2002)
reduces this to just two.
In Dark Waves (2007), I
finally got to one. When
I first heard that piece
I began to wonder if I
could sustain a similar
sound for a longer span
of time. The result is
Become Ocean, a
meditation on the vast,
deep and mysterious tides
of existence. The title
is borrowed from a
mesostic verse that John
Cage wrote in honor of
Lou Harrison's birthday.
Likening Harrison's music
to a river in delta, Cage
writes: Listening to it
we become ocean. Life on
this earth first emerged
from the sea. And as the
polar ice melts and sea
level rises, we humans
find ourselves facing the
prospect that once again
we may quite literally
become ocean.†John
Luther Adams.
Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Durati...(+)
Orchestra
SKU:
PR.11641867S
Composed
by William Kraft. Full
score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867S. Published by
Theodore Presser Company
(PR.11641867S).
UPC:
680160683208.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
Composed
by Heribert Breuer. Carus
digital: Extra digital
products. Fröhliche
Weihnachten! Full Score.
16 pages. Duration 4
minutes. Carus Verlag
#1021400. Published by
Carus Verlag
(CA.1021400).
ISBN
9790007299873. Key: D
major.
Latin/German.
A
perfect way to finish off
a Christmas concert.
Heribert Breuer, founder
and conductor of the
Berlin Bach Academy,
conceived this
four-minute piece as a
final farewell to follow
performances of the
Christmas Oratorio.
Alternatively it can
easily be programmed
together with other
Christmas pieces with
similar
scoring.
The
Sicilian folk tune O
sanctissima gradually
emerges from a sustained
organ pedal point in the
orchestra. This melody
seems familiar to the
listeners ... and then
the mystery is solved:
hidden in the alto part
can be heard the first
verse of the German carol
O du fröhliche! The
second verse is given
over to the sopranos, and
the audience is invited
to sing along in the
third verse. After a
brief coda all the
performers wish the
audience “Merry
Christmas!â€
Orchestra - Grade 4 SKU: AP.40486S From Piano Concerto No. 14, KV 447<...(+)
Orchestra - Grade 4
SKU: AP.40486S
From Piano Concerto
No. 14, KV 447.
Composed by Wolfgang
Amadeus Mozart. Arranged
by Robert Sieving.
MakeMusic Cloud;
Masterworks; Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Orchestra. Form:
Transcription. Classical;
Masterwork Arrangement.
Score. 16 pages.
Highland/Etling
#00-40486S. Published by
Highland/Etling
(AP.40486S).
UPC:
038081457673.
English.
Alfred
Einstein, the eminent
musicologist, declared
this piano concerto to be
Mozart's most
characteristic creation .
. . the peak of all his
instrumental achievement.
The span of these amazing
works provides a view of
the fascinating journey
from a great talent to
pure genius. Unlike most
of the Middle Concertos,
Mozart considered this
selection to be a chamber
work, where spare
instrumentation, and, in
the case of the Andantino
movement, a religious
air, exhibit similarities
to some choral works,
like Ave Verum Corpus.
This arrangement allows
the eloquent melodic
themes to be shared by
all sections, requiring
attention to detail and
sensitive phrasing. This
title is available in
MakeMusic Cloud.
Composed
by Heribert Breuer.
Fröhliche Weihnachten!
Choral Score. 4 pages.
Duration 4 minutes. Carus
Verlag #1021405.
Published by Carus Verlag
(CA.1021405).
ISBN
9790007299880. Key: D
major.
Latin/German.
A
perfect way to finish off
a Christmas concert.
Heribert Breuer, founder
and conductor of the
Berlin Bach Academy,
conceived this
four-minute piece as a
final farewell to follow
performances of the
Christmas Oratorio.
Alternatively it can
easily be programmed
together with other
Christmas pieces with
similar
scoring.The
Sicilian folk tune O
sanctissima gradually
emerges from a sustained
organ pedal point in the
orchestra. This melody
seems familiar to the
listeners ... and then
the mystery is solved:
hidden in the alto part
can be heard the first
verse of the German carol
O du fröhliche! The
second verse is given
over to the sopranos, and
the audience is invited
to sing along in the
third verse. After a
brief coda all the
performers wish the
audience “Merry
Christmas!â€.
Score available
separately - see item
CA.1021400.
Composed
by Heribert Breuer.
Fröhliche Weihnachten!
Set of Orchestra Parts.
Duration 4 minutes. Carus
Verlag #1021409.
Published by Carus Verlag
(CA.1021409).
ISBN
9790007312244. Key: D
major.
Latin/German.
A
perfect way to finish off
a Christmas concert.
Heribert Breuer, founder
and conductor of the
Berlin Bach Academy,
conceived this
four-minute piece as a
final farewell to follow
performances of the
Christmas Oratorio.
Alternatively it can
easily be programmed
together with other
Christmas pieces with
similar
scoring.The
Sicilian folk tune O
sanctissima gradually
emerges from a sustained
organ pedal point in the
orchestra. This melody
seems familiar to the
listeners ... and then
the mystery is solved:
hidden in the alto part
can be heard the first
verse of the German carol
O du fröhliche! The
second verse is given
over to the sopranos, and
the audience is invited
to sing along in the
third verse. After a
brief coda all the
performers wish the
audience “Merry
Christmas!â€.
Score and parts available
separately - see item
CA.1021400.
Composed
by Heribert Breuer.
Fröhliche Weihnachten!
Set of Orchestra Parts.
Duration 4 minutes. Carus
Verlag #1021419.
Published by Carus Verlag
(CA.1021419).
ISBN
9790007312299. Key: D
major.
Latin/German.
A
perfect way to finish off
a Christmas concert.
Heribert Breuer, founder
and conductor of the
Berlin Bach Academy,
conceived this
four-minute piece as a
final farewell to follow
performances of the
Christmas Oratorio.
Alternatively it can
easily be programmed
together with other
Christmas pieces with
similar
scoring.The
Sicilian folk tune O
sanctissima gradually
emerges from a sustained
organ pedal point in the
orchestra. This melody
seems familiar to the
listeners ... and then
the mystery is solved:
hidden in the alto part
can be heard the first
verse of the German carol
O du fröhliche! The
second verse is given
over to the sopranos, and
the audience is invited
to sing along in the
third verse. After a
brief coda all the
performers wish the
audience “Merry
Christmas!â€.
Score and parts available
separately - see item
CA.1021400.
Orchestra SKU: PR.41641530L For Suona And Orchestra. Composed by N...(+)
Orchestra
SKU:
PR.41641530L
For
Suona And Orchestra.
Composed by Narong
Prangcharoen. Large
Score. 58 pages. Duration
15 minutes. Theodore
Presser Company
#416-41530L. Published by
Theodore Presser Company
(PR.41641530L).
UPC:
680160625925.
The
Respiration of the Earth
is inspired by the
breathing motion. The
music focuses on the
tension of the air of
breathing. There are many
different types of
breathing such as slow
breath, long breath,
short breath, holding
breath, uneven breath,
etc. The shape of the
music is created by the
inhale and exhale motion.
The piece starts with a
long holding breath,
gradually create a
tension until one can't
hold that breath and
release the air out. The
Suona is acting as the
motion of the air so the
orchestra has to follow.
This piece ends with the
chaotic motion so the
audiences can feel the
tension as if they are
running out of breath.
It's a main concern about
the environment of the
Earth so this piece is a
message to people to keep
the environment clean so
the Earth can breath for
a longer time.
Respiration of the Earth
is commissioned and
dedicated to Mr. Shi
Haibin with the gracious
support from John Simon
Guggenheim
Foundation. The
Respiration of the Earth
is inspired by the
breathing motion. The
music focuses on the
tension of the air of
breathing. There are many
different types of
breathing such as slow
breath, long breath,
short breath, holding
breath, uneven breath,
etc. The shape of the
music is created by the
inhale and exhale motion.
The piece starts with a
long holding breath,
gradually create a
tension until one
can’t hold that
breath and release the
air out. The Suona is
acting as the motion of
the air so the orchestra
has to follow. This piece
ends with the chaotic
motion so the audiences
can feel the tension as
if they are running out
of breath. It’s a
main concern about the
environment of the Earth
so this piece is a
message to people to keep
the environment clean so
the Earth can breath for
a longer time.Respiration
of the Earth is
commissioned and
dedicated to Mr. Shi
Haibin with the gracious
support from John
SimonGuggenheim
Foundation.
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 - Grade 1.5 SKU: AP.33712S Composed by Richard Meyer. MakeMusic...(+)
Orchestra - Grade 1.5
SKU: AP.33712S
Composed by Richard
Meyer. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Explorer. Light Concert;
Meters. Score. 8 pages.
Highland/Etling
#00-33712S. Published by
Highland/Etling
(AP.33712S).
UPC:
038081394527.
English.
As the
title suggests, this fun
grade 1.5 piece features
ever-changing time
signatures that will
intrigue and challenge
the young string
orchestra. There are four
mood shifts in the piece,
suggested by a student
narrator who stands up
and declares simply Once
upon a time, Suddenly,
Luckily, and Happily ever
after. But what, exactly,
is the story? That's up
to your students and your
audience to decide! This
charming piece is simple
rhythmically and
note-wise, but a great
way to get your orchestra
counting. Sure to spark
everyone's imagination!
This title is available
in MakeMusic Cloud.
Orchestra - Grade 0.5 SKU: AP.41233 Arranged by Jack Bullock. Performance...(+)
Orchestra - Grade 0.5
SKU: AP.41233
Arranged by Jack Bullock.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Orchestra Expressions.
Christmas; Sacred;
Traditional; Winter.
Score and Part(s). 74
pages. Duration 1:30.
Alfred Music #00-41233.
Published by Alfred Music
(AP.41233).
UPC:
038081504742. English.
Traditional.
Known
for its simplistic
beauty, this melody is
supported by a simple,
but beautiful
harmonization. A lovely
setting! (1:30).
About
Orchestra
Expressions
<
p>Play great songs such
as Over the Rainbow,
Batman, This Land Is Your
Land, and Star Wars (Main
Title). Listen to and
play a variety of styles
of music: popular,
traditional, classical,
folk and patriotic. Read
and write music; compose
and improvise. Perform in
a concert and play for
your family and friends.
Be a conductor of the
orchestra. Learn about
composers, such as
Antonin Dvorak, Johann
Pachelbel, Jacques
Offenbach, Pytor Ilyich
Tchaikovsky, Giuseppe
Verdi, George M. Cohan,
George Frideric Handel,
Ludwig van Beethoven,
Johann Sebastian Bach,
Wolfgang Amadeus Mozart,
Giacomo Puccini, Georges
Bizet, Neal Hefti, and
John Williams. Discover
how music and art are
related. Learn about a
variety of musical
ensembles including
string orchestra, full
orchestra, mariachi band,
steel drum band,
dixieland jazz band, rock
band, and more. Play
music from around the
world, including North
America, Europe, Latin
America, Asia, and
Africa.
Orchestra - Grade 2 SKU: AP.40410S Composed by Andrew H. Dabczynski. Perf...(+)
Orchestra - Grade 2
SKU: AP.40410S
Composed by Andrew H.
Dabczynski. Performance
Music Ensemble; Single
Titles; String Orchestra.
Belwin Beginning String
Orchestra. Form: Rondo.
Score. 8 pages. Belwin
Music #00-40410S.
Published by Belwin Music
(AP.40410S).
UPC:
038081449869.
English.
And
they're off! This
quick-sprint rondo
challenges students with
constantly changing
meters, but uses only the
simplest rhythms,
fingerings, and
bowings---all within a
D-major framework. By
varying and combining
simple 4/4, 3/4, and 2/4
meters, the orchestra
learns to keep time while
preparing for more
complex meters. A 7-part
rondo form provides the
players repetition
opportunities to solidify
the meter changes and
maximize learning. More
advanced students can
play this piece at the
fastest possible tempo to
test their ability to
play accurately.
Orchestra - Grade 4 SKU: HL.14000916 Composed by Hans Abrahamsen. Music S...(+)
Orchestra - Grade 4
SKU: HL.14000916
Composed by Hans
Abrahamsen. Music Sales
America. Classical.
Score. Composed 2002. 55
pages. Edition Wilhelm
Hansen #WH29689.
Published by Edition
Wilhelm Hansen
(HL.14000916).
ISBN
9788759859179.
12.0x16.5x0.538 inches.
English.
Stratifica
tions was composed by
Hans Abrahamsen in
1973-75 and was premiered
in the summer 1977 by the
Iceland Symphony
Orchestra at the Young
Nordic Music Festival in
Reykjavik. Programme
note: The stratifications
referred to in the title
unfold two different
levels. There is the
stratification of the
time dimension produced
by the opposition of
contrasting parts, at the
same time the polyphony,
the presence of several
simultaneously sounding
layers, is of great
importance to the music.
By garish colours and
clear-cut outlines a
polyrhythmic
simultaneousness of
simple melodies is
produced with more gestic
music and other material
which give a peculiar set
piece-like effect inthe
sound picture. The new
simplicity details are
here woven together in a
new kind of complex
whole. Stratifications
begins with a series of
concretistic masklike
pictures of the music. It
is like seeing lantern
slides. But this fictive
form crackles and the
music gets attentive and
real. The music is in a
night-mare condition,
where it is not getting
anywhere in spite of a
great dynamic display.
But finally is liberating
itself and rising in
triumph.