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.
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
Arranged by Michael Story. Orchestra. Full Orchestra. Belwin Intermediate Full O...(+)
Arranged by Michael
Story. Orchestra. Full
Orchestra. Belwin
Intermediate Full
Orchestra. Christmas;
Light Concert; Winter.
Grade 2.5. Conductor
Score and Parts. 54
pages. Duration 1:43.
Published by Belwin Music
No. 2 from the
Symphonic Poem My
Fatherland. Composed
by Bedrich Smetana.
Edited by Milan Pospisil.
Softbound. Eulenburg
Orchestral Series.
Today, it is hard to
believe that Bedrich
Smetana kept receiving
rejections when he tried
to get his enormously
popular Moldau
printed.
Symphonic
poem; Romantic. Full
score. 84 pages. Duration
13'. Breitkopf and
Haertel #EOS 20472-00.
Published by Breitkopf
and Haertel
(BR.EOS-20472-00).
ISBN 9790004780008. 10
x 12.5
inches.
What is
also amazing is that the
first text-critical
edition prepared by the
Czech Smetana expert
Milan Pospisil in 1999,
which had entailed an
exhaustive evaluation of
the sources and been
given a full
text-critical editorial
treatment as a Eulenburg
study score, had no
resonance of any kind
among performers since no
performance material had
been published. After 15
years, Pospisils edition
is finally being
completed in a manner
suitable for practice:
with a conducting score
and orchestral parts
which will ensure that
all future performances
are based on a musical
text that is as reliable
as can
be.
The
work depicts the course
of the river Vltava,
beginning with its first
two sources, the cold and
warm Vltava, and the
confluence of the two
streams that join to form
a single river; then the
course of the Vltava
through forests and
meadows, and through open
countryside where a
peasant wedding is being
celebrated; water-sprites
dance by the light of the
moon; on the nearby
cliffs castles, mansions
and ruins rise proudly
into the air; the Vltava
eddies in the St John's
Rapids, then flows in a
broad stream as it
continues its course
towards Prague, where the
Vysehrad appears, before
the river finally
disappears into the
distance as it flows
majestically into the
Elbe.
Vltava
(The Moldau),
Smetana's best-known and
most frequently performed
orchestral work, was
written between 19
November and 8 December
1874, at a time when
Smetana was already
completely deaf. The
world premiere took place
in Prague on 4 April
1875, but the score was
not published until
1880.
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.
Classic Rock for the String Orchestra (Teacher's Score). Arranged by Bob ...(+)
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).
Orchestra Voice SKU: AP.12-057154309X Composed by George Benjamin and Mar...(+)
Orchestra Voice
SKU:
AP.12-057154309X
Composed by George
Benjamin and Martin
Crimp. This edition:
Limited. Full Orchestra;
Larger Works; Performance
Music Ensemble. Form:
Opera. Living Composer.
Book; Score. 112 pages.
Faber Music
#12-057154309X. Published
by Faber Music
(AP.12-057154309X).
ISBN 9780571543090.
English.
Picture a
Day Like This is the
fourth operatic
collaboration between
George Benjamin and
Martin Crimp, whose
acclaimed partnership
produced Written on Skin,
Lessons in Love and
Violence, and Into the
Little Hill. This limited
edition of the full score
is one of only 150,
presented in a
cloth-bound hard cover.
It is signed by George
Benjamin and Martin Crimp
and includes facsimile
reproductions of pages
from the manuscript,
sketches by Benjamin and
Crimp, and a photograph
of Benjamin, Crimp, and
directors Daniel
Jeanneteau and
Marie-Christine Soma in
rehearsal at the
Aix-en-Provence Festival.
In this
bittersweet fable of
grief and renewal.
Benjamin and Crimp tell
the story of a woman who
has lost her child: if,
before nightfall, she
meets one truly happy
person and cuts a button
from their sleeve, her
child will live again. In
her search she meets a
pair of lovers, a
composer and their
assistant, an artisan,
collector, and, in a
beautiful garden, the
mysterious Zabelle.
Benjamin proves
with this taut, sharp
miniature that he is the
finest opera composer of
todayâ¦a work of
depth of feeling,
humanistic artistry, and
expressive rigorâ¦a
drama that is
miraculously condensed.
-- Süddeutsche
Zeitung (Reinhard J.
Brembeck) 9 July
2023.
Tone Poem - Urtext based on the Complete Edition Jean Sibelius Works (JSW). C...(+)
Tone Poem - Urtext based
on
the Complete Edition Jean
Sibelius Works (JSW).
Composed by Jean Sibelius
(1865-1957). Edited by
Timo
Virtanen. Full score.
Breitkopf and Haertel
#PB-
5658. Published by
Breitkopf
and Haertel
Orchestra - Grade 1.5 SKU: AP.48040 The Holly Bears a Berry. Arran...(+)
Orchestra - Grade 1.5
SKU: AP.48040
The Holly Bears a
Berry. Arranged by
Michael Kamuf. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Beginning String
Orchestra. Christmas;
Traditional; Winter.
Score and Part(s). 76
pages. Duration 2:00.
Belwin Music #00-48040.
Published by Belwin Music
(AP.48040).
UPC:
038081553863. English.
Traditional English
Carol.
Sans Day
Carol arranged by Michael
Kamuf, is a beautiful
setting for beginning
string students that
offers an opportunity to
work on expressive
playing with limited
technical demands. The
melody is passed around
the ensemble and includes
optional percussion
parts. This arrangement
is fitting for both
holiday and festival
performances. (2:00) This
title is available in
MakeMusic Cloud.
Orchestra - Grade 1.5 SKU: AP.48040S The Holly Bears a Berry. Arra...(+)
Orchestra - Grade 1.5
SKU: AP.48040S
The Holly Bears a
Berry. Arranged by
Michael Kamuf. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Beginning String
Orchestra. Christmas;
Traditional; Winter.
Score. 12 pages. Duration
2:00. Belwin Music
#00-48040S. Published by
Belwin Music (AP.48040S).
UPC: 038081553870.
English. Traditional
English Carol.
Sans
Day Carol arranged by
Michael Kamuf, is a
beautiful setting for
beginning string students
that offers an
opportunity to work on
expressive playing with
limited technical
demands. The melody is
passed around the
ensemble and includes
optional percussion
parts. This arrangement
is fitting for both
holiday and festival
performances. (2:00) This
title available in
MakeMusic Cloud.
By Benjamin R. Hanby. Arranged by William Owens. For orchestra. FJH Beginning St...(+)
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
Full orchestra SKU: LO.30-3550L Choral. Sacred Anthem, Eastertide, Genera...(+)
Full orchestra
SKU:
LO.30-3550L
Choral.
Sacred Anthem,
Eastertide, General, Good
Friday. Orchestral score
and CD with print parts.
Lorenz Publishing Company
#30/3550L. Published by
Lorenz Publishing Company
(LO.30-3550L).
UPC:
000308149241.
Enhan
ce “I Believe in a
Hill Called Mount
Calvaryâ€
(10/4973L), a classic
Gaither song that has
been expertly arranged by
Mary McDonald, by
incorporating the
optional soaring
orchestration. This
companion item includes
the orchestral score and
a CD with printable
parts. Enhance “I
Believe in a Hill Called
Mount Calvaryâ€
(10/4973L), a classic
Gaither song that has
been expertly arranged by
Mary McDonald, by
incorporating the
optional soaring
orchestration. This
companion item includes
the orchestral score and
parts. This proclamation
of faith and the timeless
message of the
significance of
Christ’s
crucifixion and
resurrection in our daily
lives will be instantly
impactful.
Composed by Richard Wagner (1813-1883). Edited by Ulrich Konrad. This edition:...(+)
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
Orchestra - Grade 2.5 SKU: AP.44805S Fantasy on Picardy. Composed ...(+)
Orchestra - Grade 2.5
SKU: AP.44805S
Fantasy on
Picardy. Composed by
French carol. Arranged by
Michael Kamuf. Full
Orchestra; Performance
Music Ensemble; Single
Titles. Belwin
Intermediate String/Full
Orchestra. Hymn; Sacred.
Score. 16 pages. Duration
3:30. Belwin Music
#00-44805S. Published by
Belwin Music (AP.44805S).
UPC: 038081517360.
English. French
Carol.
Realms of
Endless Day is a fantasy
setting of the hymn tune
melody, Picardy. This
melody, thought to have
been named for the region
in France where it is
believed the melody
originated, is also the
melody for the hymns Let
All Mortal Flesh Keep
Silence and Christians,
Let Us Love One Another,
as well as the Hymn of
Saint James. This
enduring and tuneful
melody is given three
contrasting statements
that gradually build to
an exciting conclusion.
This piece is scored for
full orchestra by
arranger Michael Kamuf,
but will work quite
effectively with strings
alone. (3:30).
Orchestra SKU: BR.SON-508 Filmmusik zu The Grapes of Wrath/Hangmen Als...(+)
Orchestra
SKU:
BR.SON-508
Filmmusik zu The
Grapes of Wrath/Hangmen
Also Die. Composed by
Hanns Eisler. Edited by
Johannes C. Gall.
Hardback. Complete Works.
Early modern; Music
post-1945. Complete
Works. 156 pages.
Breitkopf and Haertel
#SON 508. Published by
Breitkopf and Haertel
(BR.SON-508).
ISBN
9790004803301. 10 x 12.5
inches.
Editorial
BoardThomas Phleps
(Music), Georg Witte
(Writings)Editorial
MembersMusic: Oliver
Dahin / Johannes C. Gall,
Writings: Maren
KosterEditorial
CommitteeMusic: Hartmut
Fladt, Werner Grunzweig,
Elmar Juchem, Roland
Kluttig, Giselher
SchubertWritings:
Albrecht Betz, Albrecht
Riethmuller, Jurgen
Schebera, Friederike
WissmannThe editorial
works are supported by
the Deutsche
Forschungsgemeinschaft.Sp
ecial volumes are made
possible with the support
of the following
foundations:Klockner-Stif
tung, Lotto-Stiftung,
Hanns und Steffy Eisler
StiftungThe goal of the
Hanns Eisler Complete
Edition (HEGA) is to
present to the public all
available compositions,
writings and letters in
an appropriately
scholarly form. It takes
a historico-critical
approach and seeks to
document the history of
the works and writings by
shedding light on their
transformations, thus
identifying the various
versions as witnesses of
evolving aesthetic and
historical positions.
Eislers complete oeuvre
(only a limited number of
his works had penetrated
the publics awareness up
until the 1990s) first
became the object of an
editorial undertaking
when the Eisler -
Gesammelte Werke (EGW)
was founded by Nathan
Notowicz. It was later
placed under the
direction of Manfred
Grabs and Eberhardt
Klemm, and began issuing
its publications in 1968
through the intermediary
of the Deutscher Verlag
fur Musik in Leipzig.
However, only four
volumes of music and five
volumes of writings were
published. The Hanns
Eisler Complete Edition
pursues the work begun at
that time, although it
has had to fundamentally
revise its editorial
principles. In this
respect, the Hanns Eisler
Complete Edition can be
considered as a
completely new editorial
undertaking. It became
necessary to reconceive
the organization of the
volumes and series as
well as the editorial
guidelines in order to
adapt the standards of
historico-critical
editing generally
applicable today to the
specific and sometimes
singular circumstances of
Eislers works.The
Critical Commentaries
pertaining to the main
volumes follow the music
section or, whenever they
are too extensive, appear
in a special
volume.Series I: Choral
MusicSeries II: Music for
Voice and Instrumental
Ensemble or
OrchestraSeries III:
Music for Voice and
PianoSeries IV:
Instrumental MusicSeries
V: Incidental MusicSeries
VI: Film MusicSeries VII:
Sketches and
FragmentsSeries VIII:
Arrangements of works by
other composersSeries IX:
Writings, Letters and
InterviewsSON 501 has
been awarded the German
Music Edition Prize
2003.SON 502 has been
awarded the German Music
Edition Prize
2007.
The major
upheavals that
transformed society and
musical aesthetics during
the first half of the
20th century also
profoundly affected the
life of Hanns Eisler, as
well as his compositions
and writings. The
importance and scope of
Eislers oeuvre are reason
enough to make his works
accessible to musical
scholarship and practice
in a comprehensive
fashion. Price reduction
for a subscription.
Orchestra SKU: BR.SON-509 Filmmusik zu Nuit et brouillard. Compose...(+)
Orchestra
SKU:
BR.SON-509
Filmmusik zu Nuit et
brouillard. Composed
by Hanns Eisler. Edited
by Knud Breyer and Oliver
Dahin. Hardback. Complete
Works. Early modern;
Music post-1945. Complete
Works. 156 pages.
Breitkopf and Haertel
#SON 509. Published by
Breitkopf and Haertel
(BR.SON-509).
ISBN
9790004803318. 10 x 12.5
inches.
Editorial
BoardThomas Phleps
(Music), Georg Witte
(Writings)Editorial
MembersMusic: Oliver
Dahin / Johannes C. Gall,
Writings: Maren
KosterEditorial
CommitteeMusic: Hartmut
Fladt, Werner Grunzweig,
Elmar Juchem, Roland
Kluttig, Giselher
SchubertWritings:
Albrecht Betz, Albrecht
Riethmuller, Jurgen
Schebera, Friederike
WissmannThe editorial
works are supported by
the Deutsche
Forschungsgemeinschaft.Sp
ecial volumes are made
possible with the support
of the following
foundations:Klockner-Stif
tung, Lotto-Stiftung,
Hanns und Steffy Eisler
StiftungThe goal of the
Hanns Eisler Complete
Edition (HEGA) is to
present to the public all
available compositions,
writings and letters in
an appropriately
scholarly form. It takes
a historico-critical
approach and seeks to
document the history of
the works and writings by
shedding light on their
transformations, thus
identifying the various
versions as witnesses of
evolving aesthetic and
historical positions.
Eislers complete oeuvre
(only a limited number of
his works had penetrated
the publics awareness up
until the 1990s) first
became the object of an
editorial undertaking
when the Eisler -
Gesammelte Werke (EGW)
was founded by Nathan
Notowicz. It was later
placed under the
direction of Manfred
Grabs and Eberhardt
Klemm, and began issuing
its publications in 1968
through the intermediary
of the Deutscher Verlag
fur Musik in Leipzig.
However, only four
volumes of music and five
volumes of writings were
published. The Hanns
Eisler Complete Edition
pursues the work begun at
that time, although it
has had to fundamentally
revise its editorial
principles. In this
respect, the Hanns Eisler
Complete Edition can be
considered as a
completely new editorial
undertaking. It became
necessary to reconceive
the organization of the
volumes and series as
well as the editorial
guidelines in order to
adapt the standards of
historico-critical
editing generally
applicable today to the
specific and sometimes
singular circumstances of
Eislers works.The
Critical Commentaries
pertaining to the main
volumes follow the music
section or, whenever they
are too extensive, appear
in a special
volume.Series I: Choral
MusicSeries II: Music for
Voice and Instrumental
Ensemble or
OrchestraSeries III:
Music for Voice and
PianoSeries IV:
Instrumental MusicSeries
V: Incidental MusicSeries
VI: Film MusicSeries VII:
Sketches and
FragmentsSeries VIII:
Arrangements of works by
other composersSeries IX:
Writings, Letters and
InterviewsSON 501 has
been awarded the German
Music Edition Prize
2003.SON 502 has been
awarded the German Music
Edition Prize
2007.
The major
upheavals that
transformed society and
musical aesthetics during
the first half of the
20th century also
profoundly affected the
life of Hanns Eisler, as
well as his compositions
and writings. The
importance and scope of
Eislers oeuvre are reason
enough to make his works
accessible to musical
scholarship and practice
in a comprehensive
fashion. Price reduction
for a subscription.
Orchestra SKU: BR.SON-511 Orchestermusik. Composed by Hanns Eisler...(+)
Orchestra
SKU:
BR.SON-511
Orchestermusik.
Composed by Hanns Eisler.
Edited by Knud Breyer.
Hardback. Complete Works.
Early modern; Music
post-1945. Complete
Works. 248 pages.
Breitkopf and Haertel
#SON 511. Published by
Breitkopf and Haertel
(BR.SON-511).
ISBN
9790004803448. 10 x 12.5
inches.
Editorial
BoardThomas Phleps
(Music), Georg Witte
(Writings)Editorial
MembersMusic: Oliver
Dahin / Johannes C. Gall,
Writings: Maren
KosterEditorial
CommitteeMusic: Hartmut
Fladt, Werner Grunzweig,
Elmar Juchem, Roland
Kluttig, Giselher
SchubertWritings:
Albrecht Betz, Albrecht
Riethmuller, Jurgen
Schebera, Friederike
WissmannThe editorial
works are supported by
the Deutsche
Forschungsgemeinschaft.Sp
ecial volumes are made
possible with the support
of the following
foundations:Klockner-Stif
tung, Lotto-Stiftung,
Hanns und Steffy Eisler
StiftungThe goal of the
Hanns Eisler Complete
Edition (HEGA) is to
present to the public all
available compositions,
writings and letters in
an appropriately
scholarly form. It takes
a historico-critical
approach and seeks to
document the history of
the works and writings by
shedding light on their
transformations, thus
identifying the various
versions as witnesses of
evolving aesthetic and
historical positions.
Eislers complete oeuvre
(only a limited number of
his works had penetrated
the publics awareness up
until the 1990s) first
became the object of an
editorial undertaking
when the Eisler -
Gesammelte Werke (EGW)
was founded by Nathan
Notowicz. It was later
placed under the
direction of Manfred
Grabs and Eberhardt
Klemm, and began issuing
its publications in 1968
through the intermediary
of the Deutscher Verlag
fur Musik in Leipzig.
However, only four
volumes of music and five
volumes of writings were
published. The Hanns
Eisler Complete Edition
pursues the work begun at
that time, although it
has had to fundamentally
revise its editorial
principles. In this
respect, the Hanns Eisler
Complete Edition can be
considered as a
completely new editorial
undertaking. It became
necessary to reconceive
the organization of the
volumes and series as
well as the editorial
guidelines in order to
adapt the standards of
historico-critical
editing generally
applicable today to the
specific and sometimes
singular circumstances of
Eislers works.The
Critical Commentaries
pertaining to the main
volumes follow the music
section or, whenever they
are too extensive, appear
in a special
volume.Series I: Choral
MusicSeries II: Music for
Voice and Instrumental
Ensemble or
OrchestraSeries III:
Music for Voice and
PianoSeries IV:
Instrumental MusicSeries
V: Incidental MusicSeries
VI: Film MusicSeries VII:
Sketches and
FragmentsSeries VIII:
Arrangements of works by
other composersSeries IX:
Writings, Letters and
InterviewsSON 501 has
been awarded the German
Music Edition Prize
2003.SON 502 has been
awarded the German Music
Edition Prize
2007.
The major
upheavals that
transformed society and
musical aesthetics during
the first half of the
20th century also
profoundly affected the
life of Hanns Eisler, as
well as his compositions
and writings. The
importance and scope of
Eislers oeuvre are reason
enough to make his works
accessible to musical
scholarship and practice
in a comprehensive
fashion. Price reduction
for a subscription.
Orchestra SKU: BR.SON-506 Kammersymphonie op.69. Composed by Hanns...(+)
Orchestra
SKU:
BR.SON-506
Kammersymphonie
op.69. Composed by
Hanns Eisler. Edited by
Tobias Fasshauer.
Hardback. Complete Works.
Early modern; Music
post-1945. Complete
Works. 148 pages.
Breitkopf and Haertel
#SON 506. Published by
Breitkopf and Haertel
(BR.SON-506).
ISBN
9790004802779. 10 x 12.5
inches.
Editorial
BoardThomas Phleps
(Music), Georg Witte
(Writings)Editorial
MembersMusic: Oliver
Dahin / Johannes C. Gall,
Writings: Maren
KosterEditorial
CommitteeMusic: Hartmut
Fladt, Werner Grunzweig,
Elmar Juchem, Roland
Kluttig, Giselher
SchubertWritings:
Albrecht Betz, Albrecht
Riethmuller, Jurgen
Schebera, Friederike
WissmannThe editorial
works are supported by
the Deutsche
Forschungsgemeinschaft.Sp
ecial volumes are made
possible with the support
of the following
foundations:Klockner-Stif
tung, Lotto-Stiftung,
Hanns und Steffy Eisler
StiftungThe goal of the
Hanns Eisler Complete
Edition (HEGA) is to
present to the public all
available compositions,
writings and letters in
an appropriately
scholarly form. It takes
a historico-critical
approach and seeks to
document the history of
the works and writings by
shedding light on their
transformations, thus
identifying the various
versions as witnesses of
evolving aesthetic and
historical positions.
Eislers complete oeuvre
(only a limited number of
his works had penetrated
the publics awareness up
until the 1990s) first
became the object of an
editorial undertaking
when the Eisler -
Gesammelte Werke (EGW)
was founded by Nathan
Notowicz. It was later
placed under the
direction of Manfred
Grabs and Eberhardt
Klemm, and began issuing
its publications in 1968
through the intermediary
of the Deutscher Verlag
fur Musik in Leipzig.
However, only four
volumes of music and five
volumes of writings were
published. The Hanns
Eisler Complete Edition
pursues the work begun at
that time, although it
has had to fundamentally
revise its editorial
principles. In this
respect, the Hanns Eisler
Complete Edition can be
considered as a
completely new editorial
undertaking. It became
necessary to reconceive
the organization of the
volumes and series as
well as the editorial
guidelines in order to
adapt the standards of
historico-critical
editing generally
applicable today to the
specific and sometimes
singular circumstances of
Eislers works.The
Critical Commentaries
pertaining to the main
volumes follow the music
section or, whenever they
are too extensive, appear
in a special
volume.Series I: Choral
MusicSeries II: Music for
Voice and Instrumental
Ensemble or
OrchestraSeries III:
Music for Voice and
PianoSeries IV:
Instrumental MusicSeries
V: Incidental MusicSeries
VI: Film MusicSeries VII:
Sketches and
FragmentsSeries VIII:
Arrangements of works by
other composersSeries IX:
Writings, Letters and
InterviewsSON 501 has
been awarded the German
Music Edition Prize
2003.SON 502 has been
awarded the German Music
Edition Prize
2007.
The major
upheavals that
transformed society and
musical aesthetics during
the first half of the
20th century also
profoundly affected the
life of Hanns Eisler, as
well as his compositions
and writings. The
importance and scope of
Eislers oeuvre are reason
enough to make his works
accessible to musical
scholarship and practice
in a comprehensive
fashion. Price reduction
for a subscription.
Overture to Scenes
from Goethe's Faust WoO 3
- Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library). The
Faust Overture in its
First Urtext Edition.
Overture; Romantic. Study
Score. 36 pages. Duration
7'. Breitkopf and Haertel
#PB 5545-07. Published by
Breitkopf and Haertel
(BR.PB-5545-07).
ISBN
9790004213551. 6.5 x 9
inches.
The
question Why add music to
such perfect poetry?
preoccupied Schumann long
and intensively. His
first compositional
approach to Goethes Faust
began in 1844, but it was
not until 1851 that he
finally completed the
Scenes. At Liszts
suggestion, Schumann
added an overture in
1853, a symphonic
instrumental introduction
which atmospherically
evokes the action of the
Scenes but has no direct
thematic reference to
them. As an independent
overture, the work has
been played relatively
rarely in concert halls
to this day; the general
prejudice towards
Schumanns late works was
no doubt partly
responsible for this. The
first Urtext edition of
the overture was based on
the autograph score that
was revised by Schumann
and served as the
principal source. It
should give new impulses
to the future reception
of this work which Paul
Dukas hailed as a
miracle, from beginning
to end.
Bass Section Feature
(Featuring: Jolly Old St.
Nicholas / Jingle
Bells). Composed by
James Lord Pierpont.
Arranged by Bob Phillips.
Performance Music
Ensemble; Single Titles;
String Orchestra. Sound
Innovations for String
Orchestra. Form: Medley.
Christmas; Winter. Score.
12 pages. Duration 2:10.
Alfred Music #00-45862S.
Published by Alfred Music
(AP.45862S).
UPC:
038081529561.
English.
This cute,
simple arrangement
features the bass section
and makes them sound
great! Have some fun with
this cool medley
featuring Jolly Old St.
Nicholas and Jingle Bells
that will brighten any
holiday concert. Add
props and attitude as the
conclusion swings into
the holidays with
Bass-cally Christmas,
arranged by Bob Phillips.
(2:10).
By Leon Jessel (1871-1942). Arranged by Ralph Ford. Orchestra. Full Orchestra; P...(+)
By Leon Jessel
(1871-1942). Arranged by
Ralph Ford. Orchestra.
Full Orchestra; Part(s);
Score. Belwin Concert
Full Orchestra.
Christmas; Winter. Grade
3. 150 pages. Published
by Alfred Music
Publishing
By Leon Jessel (1871-1942). Arranged by Ralph Ford. Orchestra. Full Orchestra; S...(+)
By Leon Jessel
(1871-1942). Arranged by
Ralph Ford. Orchestra.
Full Orchestra; Score.
Belwin Concert Full
Orchestra. Christmas;
Winter. Grade 3. 16
pages. Published by
Alfred Music Publishing
Orchestra - Grade 1.5 SKU: AP.49038S Composed by Rob Grice. Performance M...(+)
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 Mu...(+)
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).
O Holy Night Orchestre [Conducteur et Parties séparées] - Facile Belwin
Arranged by Robert W. Smith. Orchestra. Full Orchestra. Belwin Intermediate Full...(+)
Arranged by Robert W.
Smith. Orchestra. Full
Orchestra. Belwin
Intermediate Full
Orchestra. Christmas;
Winter. Grade 2.5.
Conductor Score and
Parts. 128 pages.
Duration 3:37. Published
by Belwin Publishing
(Violoncello/Double Bass Part Edited By Donald Burrows). By George Frideric Hand...(+)
(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
Full orchestra SKU: LO.30-3586L Composed by Lloyd Larson. Arranged by Ed ...(+)
Full orchestra
SKU:
LO.30-3586L
Composed
by Lloyd Larson. Arranged
by Ed Hogan. Choral,
cantatas. Advent,
Christmas, Sacred.
Instrumental parts.
Lorenz Publishing Company
#30/3586L. Published by
Lorenz Publishing Company
(LO.30-3586L).
UPC:
000308150292.
The
glory of Christmas comes
to life in this inspiring
musical by Lloyd Larson.
Through a blend of
familiar carols and
original songs, choirs
and congregations alike
will experience the
beauty of the incarnation
story as if
they’re
experiencing it for the
first time. This
versatile work may be
presented in multiple
segments over the Sundays
of Advent or as a single
presentation, and will be
equally effective with
piano accompaniment or
the full orchestra option
(live instruments or
accompaniment track). The
script for two narrators
is scripturally based and
seamlessly weaves in and
out of the music to
provide an inspiring
worship experience.
Opportunities for the
congregation to sing
familiar carols as well
as the availability of
both SATB and SAB
editions ensure that this
resource is suitable for
choirs large or
small.
Full Orchestra SKU: SU.32040110 For Full Orchestra. Composed by Am...(+)
Full Orchestra
SKU:
SU.32040110
For
Full Orchestra.
Composed by Amy Riebs
Mills. Orchestra. Full
Score. Subito Music
Corporation #32040110.
Published by Subito Music
Corporation
(SU.32040110).
2,1 2,1 2,1 2;
4331; timp, 2perc, cel;
stgs Duration: 8'
Composed: 2012 Published
by: Amy Mills Music, LLC
Creative setting of 3
carols: O Come O Come
Emanuel intertwined with
Ma Navu Ding Dong Merrily
on High with bells,
glock, chimes Angels We
Have Heard on High with
charming mixed meter
Majestic recap of Rejoice
section of O Come O Come
Emanuel Maestro Harvey
Felder, after the
premiere with the Tacoma
Symphony: The thing that
I really appreciated
about your Christmas
Angels and Bells was the
skillful and artistic
writing. As you know,
holiday music typically
offers little or no
musical depth, which
leads to a less than
enthusiastic reaction
from the orchestra. Your
piece offered a level of
musical sophistication
worthy of a professional
symphony while still
creating a festive
holiday spirit. The
orchestra and I enjoyed
having the opportunity to
dig into something
substantive yet fun on
our holiday concert. See
composer website for
audio sample. Performance
materials available on
rental only:.