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.
Hawkes
Pocket Scores 1538.
Composed by Gerald Finzi.
Boosey & Hawkes
Scores/Books. Classical.
Softcover. 120 pages.
Boosey & Hawkes
#M060130410. Published by
Boosey & Hawkes
(HL.48024085).
ISBN
9781784541224. UPC:
888680712150.
8.25x11.75x0.398 inches.
Hawkes Pocket Scores
1538.
First
publication of Finzi's
orchestral versions of:
Lo, the full, final
sacrifice op 26 -
festival anthem for
chorus & orchestra
(14 minutes); Magnificat
op 36 - for soloists (ad
lib), chorus &
orchestra (9 minutes);
God is gone up op 27 -
anthem for chorus, string
orchestra & organ (4
minutes); Let us now
praise famous men op 35 -
choral song for tenors
& basses (or sopranos
& altos), string
orchestra & piano (3
minutes). The first three
works as listed are, in
their original organ
versions, established in
the English cathedral
repertoire. Lo, the full,
final sacrifice was
orchestrated for the 1947
Gloucester Three Choirs
Festival, thus bringing
the work into the
mainstream British choral
society repertoire. The
preface by Andrew Burn
(Finzi Trust) gives
details of the
commission, composition
and orchestration of each
work.
2003. Composed by
Rowland Lee. Choral Works
(inc. Oratorios). Edition
Peters. Book. Composed
2003; First Performance:
December 3rd, 2003, at
Saint Martin in the
Fields. 148 pages.
Duration 01:10:00.
Edition Peters
#98-EP72184. Published by
Edition Peters
(PE.EP72184).
ISBN
9790577000282.
English.
Text
selected from the Requiem
Mass, D.H. Lawrence,
Percy Bysshe Shelley and
the Old
Testament
First
performance 3rd December
2003 at St.
Martin-in-the-Fields
<
p>Subsequent revisions
have been small, mainly
consisting of a brand new
Benedictus (to replace
one which, in the
original performance, had
beeen borrowed from a
liturgical setting of the
Mass), the expansion of
the Dies Irae and the
creation of a bigger
orchestration, as an
alternative to the
chamber scoring, to make
the most of the forces
available at the second
performance, in St.
Petersburg.
(A Worship Experience for the Community of Faith). By Pepper Choplin. Arranged b...(+)
(A Worship Experience for
the Community of Faith).
By Pepper Choplin.
Arranged by Mark Hayes.
For full orchestra.
Cantatas. Christmas.
Orchestral score and
parts. Published by
Lorenz Publishing Company
Soprano, baritone, spoken
voice, mixed choir
(SSSSAAAATTTTBBBB, and 9
boys' voices, S/A) and
orchestra (Score) -
difficult
SKU:
HL.49006187
(The
Raft of the Medusa).
Composed by Hans Werner
Henze. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Composed
1968/1990. 168 pages.
Duration 70'. Schott
Music #ED6326. Published
by Schott Music
(HL.49006187).
ISBN
9790001067270. UPC:
884088099282.
8.25x11.75x0.41 inches.
German - English.
Composed by David Shipps. For orchestra. Allegis. Medium. Orchestration, enhance...(+)
Composed by David Shipps.
For orchestra. Allegis.
Medium. Orchestration,
enhanced CD. Lillenas
Publishing Company
#765762213104. Published
by Lillenas Publishing
Company
Composed by Robert Lowry. Arranged by Tom Payne and Ed Hogan. For orchestra. All...(+)
Composed by Robert Lowry.
Arranged by Tom Payne and
Ed Hogan. For orchestra.
Allegis. Sacred, hymn.
Medium. Score and CD with
printable parts and
accompaniment tracks. 15
pages. Lillenas
Publishing Company
#765762213005. Published
by Lillenas Publishing
Company
Orchestra SKU: AP.1-ADV40011 For Soprano or Tenor Saxophone, String Or...(+)
Orchestra
SKU:
AP.1-ADV40011
For
Soprano or Tenor
Saxophone, String
Orchestra, Harp, and
Percussion. Composed
by Bill Dobbins.
Performance Music
Ensemble; Single Titles;
String Orchestra. Advance
Music. Jazz. Score.
Advance Music
#01-ADV40011. Published
by Advance Music
(AP.1-ADV40011).
UPC:
805095400113.
English.
The
Stranger is titled after
the novel of the same
name by the French
existentialist
philosopher and writer
Albert Camus. The piece
seems to capture some of
the general mood of the
story, with its
underlying feeling of
melancholy and sense of
inevitability. Since the
music is written in an
even eighth-note style,
with either a
contemporary classical or
a Latin rhythmic feeling,
the string section is not
required to phrase in a
jazz or swing style. The
use of light percussion
rather than a drumset
makes the arrangement
ideal for acoustic
performance without
amplification.
Orchestra SKU: AP.1-ADV40010 For Soprano or Tenor Saxophone, String Or...(+)
Orchestra
SKU:
AP.1-ADV40010
For
Soprano or Tenor
Saxophone, String
Orchestra, Harp, and
Percussion. Composed
by Bill Dobbins.
Performance Music
Ensemble; Single Titles;
String Orchestra. Advance
Music. Jazz. Score and
Part(s). Advance Music
#01-ADV40010. Published
by Advance Music
(AP.1-ADV40010).
UPC:
805095400106.
English.
The
Stranger is titled after
the novel of the same
name by the French
existentialist
philosopher and writer
Albert Camus. The piece
seems to capture some of
the general mood of the
story, with its
underlying feeling of
melancholy and sense of
inevitability. Since the
music is written in an
even eighth-note style,
with either a
contemporary classical or
a Latin rhythmic feeling,
the string section is not
required to phrase in a
jazz or swing style. The
use of light percussion
rather than a drumset
makes the arrangement
ideal for acoustic
performance without
amplification.
Set of Parts Chorus; Orchestra SKU: HL.50483495 Parts. Composed by...(+)
Set of Parts Chorus;
Orchestra
SKU:
HL.50483495
Parts. Composed by
Antonio Vivaldi. Edited
by Bruno Maderna. This
edition: R135618.
Orchestra. Classical,
General Worship, Sacred.
Ricordi #R135618.
Published by Ricordi
(HL.50483495).
UPC:
073999618587.
8.0x10.5x1.521
inches.
Psalm 111
for 2 Sopranos, Tenor, 2
SATB Choirs and 2 String
Orchestras.
(Orchestra) SKU: HP.C6075O Composed by Mary McDonald. Piano with Optional...(+)
(Orchestra)
SKU:
HP.C6075O
Composed by
Mary McDonald. Piano with
Optional Orchestra. Palm
Sunday, Sacred. Set of
Instrumental Parts. Hope
Publishing Company
#C6075O. Published by
Hope Publishing Company
(HP.C6075O).
UPC:
763628260750. Rose
Aspinall.
Original
Palm Sunday anthem This
original Palm Sunday
anthem is brimming with
rhythmic energy as it
portrays the events of
Jesus, the Blessed
Messiah, entering into
Jerusalem. The text
explores the many
questions that were asked
of who he was and if he
really was the Son of
God. The powerful
conclusion exclaims in
affirmation, You are the
way, the truth, and the
life, Son of God, Blessed
One! Messiah! This comes
from Mary McDonald's
musical My Savior's Love,
code no. 8701.
Orchestrations:
Conductor's Score, Flute,
Oboe (or Soprano Sax or
Clarinet), Clarinet, Horn
in F (or Alto Sax or
Clarinet), 2 Trumpets (or
Alto Sax), 2 Trombones
(or Baritone T. C. or
Tenor Sax), Percussion 1
& 2, Piano, Synth,
Electric Bass, 2 Violins,
Cello/Bassoon (or Bass
Clarinet), String
Reduction.
Orchestra (1.2.2.2/2.0.0.0,timp,str ) SKU: TM.05804SC Composed by Anton R...(+)
Orchestra
(1.2.2.2/2.0.0.0,timp,str
)
SKU: TM.05804SC
Composed by Anton Reicha.
Score. Lucks Music
Library #A1907. Published
by Lucks Music Library
(TM.05804SC).
Chorus does not
contain piano reduction.
7 movements: Sonata, Soli
und Chorus (Soprano,
Tenor, Bass), Arie
(Soprano), Recitative
(Tenor), Chorus (STB),
Duet (Soprano and Tenor),
Tenor (Solo and
chorus).
Orchestra (1.2.2.2/2.0.0.0,timp,str ) SKU: TM.05804SET Composed by Anton ...(+)
Orchestra
(1.2.2.2/2.0.0.0,timp,str
)
SKU: TM.05804SET
Composed by Anton Reicha.
Set Type: D. Set of
parts. Lucks Music
Library #A1907. Published
by Lucks Music Library
(TM.05804SET).
Chorus does not
contain piano reduction.
7 movements: Sonata, Soli
und Chorus (Soprano,
Tenor, Bass), Arie
(Soprano), Recitative
(Tenor), Chorus (STB),
Duet (Soprano and Tenor),
Tenor (Solo and
chorus).
Christmas Oratorio. By Heinrich Schutz. Edited by Friedrich Schoneich. For Sopra...(+)
Christmas Oratorio. By
Heinrich Schutz. Edited
by Friedrich Schoneich.
For Soprano solo, Alto
solo (3), Tenor solo (3),
Bass solo (3), Mixed
Choir, Chamber orchestra.
Baerenreiter
Studienpartituren - Study
scores. Study Score;
Urtext Edition
(paperbound). SWV 435.
Published by
Baerenreiter-Taschenparti
turen (German import).
Cantata for the First Easter day. By Johann Sebastian Bach. Edited by Alfred Dur...(+)
Cantata for the First
Easter day. By Johann
Sebastian Bach. Edited by
Alfred Durr. For Soprano
solo, Tenor solo, Bass
solo, Mixed Choir,
Chamber orchestra.
Baerenreiter
Studienpartituren - Study
scores. Score; Study
Score; Urtext Edition.
BWV 31. Published by
Baerenreiter-Taschenparti
turen (German import).
Soprano voice, Tenor,
Actors, Mixed Choir and
Orchestra
SKU:
HL.49004564
Ein
bairisches Stuck.
Composed by Carl Orff.
Sheet music. Edition
Schott. Classical. Piano
reduction. Composed 1946.
185 pages. Duration 100'.
Schott Music #ED 3997.
Published by Schott Music
(HL.49004564).
ISBN
9790001047821.
9.0x12.0x0.565 inches.
German - English.
3
(3. auch Picc.) * 3 (2.
u. 3. auch Engl. Hr.) * 3
(auch in A, Es u. D) *
Bassklar. * 2 * Kfg. - 4
* 3 * 3 * 1 - P. S. (gr.
Tr. * 3 kl. Tr. * Trgl. *
Ratsche * Kast. * Cymb. *
3 Beck. [ und ] * Tamt. *
Xyl. * 2 Glsp. * Met. *
Rohrengl.) - Hfe. * Cel.
* 2 Klav. - Str.
Concert band with choir/voice - Grade 4 SKU: RM.GOUN02773-CH Composed by ...(+)
Concert band with
choir/voice - Grade 4
SKU:
RM.GOUN02773-CH
Composed by Charles
Francois Gounod. Arranged
by Jean Charles Biondi.
Music with chorus,
voices. Orchestra. Choral
score. Editions Robert
Martin #GOUN02773-CH.
Published by Editions
Robert Martin
(RM.GOUN02773-CH).
