Orchestra (Score & Parts) - Grade 2-3 SKU: HL.4490819 Arranged by James C...(+)
Orchestra (Score & Parts)
- Grade 2-3
SKU:
HL.4490819
Arranged
by James Curnow. Easy
Music For Strings.
Christmas. Softcover.
Published by Hal Leonard
(HL.4490819).
UPC:
884088264765. 9x12
inches.
This German
carol continues to appeal
to all audiences with its
melodic simplicity and
adaptability to
instrumental settings.
James Curnow's
arrangement is skilled in
every way, offering a
superb program choice for
your holiday program.
Duration: 3:00.
(Mannheim Steamroller). Performed by Mannheim Steamroller. Arranged by Chip Davi...(+)
(Mannheim Steamroller).
Performed by Mannheim
Steamroller. Arranged by
Chip Davis, Calvin
Custer, Chip Davis/Adapt.
Calvin Custer. Full
Orchestra. Size 9x12
inches. Published by
Mannheim Steamroller.
Sprechgesang (baritone) and orchestra (Score) SKU: HL.49006175 Mit ein...(+)
Sprechgesang (baritone)
and orchestra (Score)
SKU: HL.49006175
Mit einem Gedicht von
Gaston Salvatore.
Composed by Hans Werner
Henze. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Composed 1968. 84
pages. Duration 20'.
Schott Music #ED 6310.
Published by Schott Music
(HL.49006175).
ISBN
9790001067133. German -
English.
2 (2. auch
Picc.) * 1 * Engl. Hr. *
1 * 1 * Kfg. - 1 * 2 (2.
auch Picc.-Trp.) * 1 * 1
- P. S. (3 hg. Beck. * 3
Tamt. * 6 Tomt. * Mil.
Tr. * Bambusbund *
Metallplatte * Guiro *
Mar. * Tablas) (4
Spieler) - E-Org. *
E-Git. - Str. (12 * 0 * 4
* 4 * 2) - verschied.
Vogellockrufe (von den
Holzbasern
auszufuhren).
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.
(For Soli, Choir, Organ, Orchestra or Choir and Organ). By Hans Klier. For orche...(+)
(For Soli, Choir, Organ,
Orchestra or Choir and
Organ). By Hans Klier.
For orchestra. Choral
music. Sacred. Orchestral
part. Op. 250. Published
by Doblinger Music
Publishers . orchestral
part. sacred.
Orchestra (Score) SKU: HL.49006732 Orchestra Score. Composed by He...(+)
Orchestra (Score)
SKU:
HL.49006732
Orchestra Score.
Composed by Heinz
Holliger. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical.
Conductor's/study score.
Composed 1974-1975. 64
pages. Duration 25'.
Schott Music #ED6848.
Published by Schott Music
(HL.49006732).
ISBN
9790001072533. UPC:
073999986365.
9.0x15.75x0.293
inches.
Atembogen
fur Orchester (1974/75):
Musik entlang verwischten
Spuren. Musik im Bereich
zwischen 'noch klingen'
und 'nicht mehr klingen'.
Leisheit und Stille nicht
als Idyll. Sondern als
Folge und Endpunkt
schwindender
Klangenergien.-Heinz
Holliger.
Composed by Helmut
Lachenmann. Orchestra;
Softcover.
Partitur-Bibliothek
(Score Library). Music
post-1945; New music
(post-2000). Full score.
Composed 2003/04. 108
pages. Duration 25'.
Breitkopf and Haertel #PB
5435. Published by
Breitkopf and Haertel
(BR.PB-5435).
ISBN
9790004212820. 11.5 x
16.5 inches.
Meine
eigene neue
Orchesterkomposition hat
den Titel ,,SCHREIBEN.
Die praktische Aktion des
Schreibens, als
mechanisches Einwirken
per Hand, Stift, Pinsel,
auf eine Flache (Papier,
Pergament, Stein etc.),
ausgelost und gesteuert
von einem kommunikativen
Bedurfnis und, bei aller
Spontaneitat, beherrscht
durch die Regeln von
Schrift und Sprache, ist
fur mich einer der
geheimnisvollsten
Vorgange im
zwischenmenschlichen
Alltag, bei dem
menschlicher Geist und
tote Materie einander
begegnen: Gedanken bzw.
Gedachtes werden auf
einer Flache - Papier,
Pergament, Stein -
festgehalten, ihr
sozusagen anvertraut. Und
auf diesem Umweg uber
Sprache, Schrift und
Gravur begegnen sie dem
Geist des lesenden oder
entziffernden
Mitmenschen. Als
Komponist aber frage ich:
gibt es auch einen
anderen
Kausalitatszusammenhang,
gibt es z. B. ein
,,autonomes Schreiben,
eine sinn-freie
Zeichengebung, durch
entfesselte, losgelassene
Fortbewegung der
schreibenden Hand, wo der
Schreibende seinem
eigenen Schreiben nur
noch staunend zusieht?
Werden nicht in Japan
Bilder, auch ,,abstrakte,
geschrieben??? (In einem
Underground-Film der
70er-Jahre uber den
jungen Mozart sieht sich
der Zuschauer versetzt in
ein Zimmer eines
italienischen Gasthauses,
in dem der junge
durchreisende Mozart am
Tisch eilig die
Rezitative einer seiner
italienischen Opern zu
Papier bringt. Mehr als
eine Viertelstunde lang
sind wir dabei, horen
nicht die entstehende
Musik, sondern das
nervose Kratzen der Feder
auf dem groben
Notenpapier in
nachmittaglicher Stille -
nur der gleichmassige
Pendelschlag der Wanduhr
ist noch zu horen -, und
wir erleben diese
sekundare Klangwelt kaum
weniger intensiv als
nachher andere Horer die
dabei stumm entstehende
Musik.) Das Orchester in
meinem Stuck ,,schreibt.
Es fugt Strich zu Strich,
versteht sich selbst als
eine Art vielfaltiges
,,Schreib-Gerat. Wir als
Horer lesen nicht das
,,Geschriebene, aber wir
horen den Vorgang des
Schreibens, den
Bogenstrich, die Bewegung
des scharrenden Holzstabs
auf Fell oder Tamtam, und
wir beobachten dessen
Imitation bzw.
Transformation durch -
zeitweise auch tonlos -
sich zu linearen
Gestalten verbindende
Blasinstrumente als eine
Art klingender
Schreib-Zeremonie. Es
ergibt sich eine Musik,
die gelegentlich ihren
gedanklichen
Ausgangspunkt vergisst
und sich als autonome
Klang-Situation
fortentwickelt und
verwandelt, und die
schliesslich im hochsten
Register eine Art
,,Kantilene be-schreibt.
Wer das deutsche Wort
,,Schreiben (engl. ,,to
write) schreibt, der
schreibt dabei auch
unweigerlich das Wort
,,Schrei (engl. ,,shout),
und er schreibt auch das
Wort ,,reiben (engl. ,,to
rub). So emotional der
erste Begriff gedacht
werden kann, so
nuchtern-praktisch ist
der zweite. Von beiden
Aspekten, samt ihrer
Gegensatzlichkeit, ist
mein Stuck gepragt.
(Helmut Lachenmann,
2003)
Orchestra (2(picc).2.2.2.
- 4.3.3.1. - timp.perc(4)
- hp - str)
SKU:
BR.PB-4850-07
Music (based on G.
Ungaretti) in memoriam B.
A. Zimmermann.
Composed by Jurg Baur.
Softbound.
Partitur-Bibliothek
(Score Library).
World
premiere: Aachen, June 2,
1971
Music post-1945.
Study Score. Composed
1971. 84 pages. Duration
17'. Breitkopf and
Haertel #PB 4850-07.
Published by Breitkopf
and Haertel
(BR.PB-4850-07).
ISBN
9790004206485. 6.5 x 9
inches.
Dieses
vierteilige Opus ist
keine avantgardistische
Musik, sondern fur den
Normalhorer gedacht,
obwohl darin verschiedene
moderne
Kompositionstechniken
verwendet werden. Die
vier Satze des Werkes
sind Impressionen uber
Gedichte des grossen
italienischen Lyrikers G.
Ungaretti, der 1970
82jahrig starb. Giorno
per giorno (Tag fur Tag)
ist der Titel des Zyklus
auf den Tod eines seiner
Kinder - in der Musik fur
Orchester zugleich die
Uberschrift fur das ganze
Werk und den ersten Satz
- und bedeutet
inhaltlich: Schmerz ohne
Trostung und ohne Ausweg
( es hat irgendeine
Trostung notwendig, mein
armes zerfallenes Herz).
Auch die anderen
Satzbezeichnungen stehen
uber einzelnen Gedichten
oder Gedichtgruppen von
Ungaretti; so ist der
zweite Satz uberschrieben
Allegria di naufragi
(Freude der
Schiffbruche). Das Wagnis
dieser Schiffbruche wird
musikalisch durch
aleatorische Strukturen
symbolisiert (Und auf
einmal nimmst du die
Fahrt wieder auf). Der
dritte Satz tragt die
Uberschrift La terra
promessa (Das verheissene
Land'. Die Stille einer
mediterranen
Herbstlandschaft klingt
an (Die Traube ist reif,
das Feld ist bestellt).
Das Finale mit dem Titel
Soldati beginnt mit einer
falschen Fanfare und
steigert sich nach
mehreren unruhigen
Episoden zu einem
aggressiven Schlussteil
(Den Tod busst man lebend
ab).(Jurg Baur).
Orchestra - Grade 2 SKU: AP.49444 Composed by Franz Xaver Gruber. Arrange...(+)
Orchestra - Grade 2
SKU: AP.49444
Composed by Franz Xaver
Gruber. Arranged by
Douglas E. Wagner.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Intermediate String
Orchestra. Christmas;
Holiday Pops. Score and
Part(s). Belwin Music
#00-49444. Published by
Belwin Music (AP.49444).
ISBN 9781470650469.
UPC: 038081571249.
English.
Franz
Gruber's beloved
Christmas carol, Silent
Night, receives a unique
treatment for strings.
The tune is heard twice.
The first time, it is
paired with a motive from
the Prelude of J. S.
Bach's Cello Suite No. 1
(BWV 1007); the second
time, the melody shifts
from part to part, giving
everyone a chance to
shine. Richly scored,
warm and embracing, a
real audience pleaser for
your December concerts.
(3:00) This title is
available in MakeMusic
Cloud.
Orchestra (Score) SKU: HL.49006182 Orchesterskizzen. Composed by B...(+)
Orchestra (Score)
SKU:
HL.49006182
Orchesterskizzen.
Composed by Bernd Alois
Zimmermann. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical. Study Score.
Composed 1970. 32 pages.
Duration 10'. Schott
Music #ED 6319. Published
by Schott Music
(HL.49006182).
Orchestra - Grade 2 SKU: AP.49444S Composed by Franz Xaver Gruber. Arrang...(+)
Orchestra - Grade 2
SKU: AP.49444S
Composed by Franz Xaver
Gruber. Arranged by
Douglas E. Wagner.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Intermediate String
Orchestra. Holiday Pops.
Score. Belwin Music
#00-49444S. Published by
Belwin Music (AP.49444S).
ISBN 9781470650476.
UPC: 038081571256.
English.
Franz
Gruber's beloved
Christmas carol, Silent
Night, receives a unique
treatment for strings.
The tune is heard twice.
The first time, it is
paired with a motive from
the Prelude of J. S.
Bach's Cello Suite No. 1
(BWV 1007); the second
time, the melody shifts
from part to part, giving
everyone a chance to
shine. Richly scored,
warm and embracing, a
real audience pleaser for
your December concerts.
(3:00) This title is
available in MakeMusic
Cloud.