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 (2.2.2.2.dble
bsn.serp - 2.2.3.0 - timp
- str)
SKU:
BR.PB-5581
Urtext
based on the Leipzig
Mendelssohn Complete
Edition. Composed by
Felix Bartholdy
Mendelssohn. Edited by
Thomas Schmidt.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library).
Symphony; Romantic. Full
score. 140 pages.
Duration 30'. Breitkopf
and Haertel #PB 5581.
Published by Breitkopf
and Haertel (BR.PB-5581).
ISBN 9790004213919. 10
x 12.5 inches.
A
Programmatic Declaration
of BeliefFelix
Mendelssohn Bartholdy
composed his Reformation
Symphony for the
celebrations marking the
300th anniversary of the
Confessio Augustana, the
Protestant declaration of
faith. Owing to various
and only partially
explained reasons, there
was no performance in
1830, the year in
question; it was only two
years later that the
composer conducted the
premiere of his work, now
heavily revised, in
Berlin. There was only
one more performance in
Mendelssohn's lifetime,
this one conducted by
Julius Rietz in
Dusseldorf; the composer
had since distanced
himself from his
opus.Conceived for the
concert hall, the
symphony formulates its
theological references
through the integration
of various motives. This
occurs in the finale, for
example, in which
Mendelssohn quotes the
Luther chorale Ein feste
Burg in the flute, from
where it builds up to a
triumphant principal
theme. The strong
extra-musical aspect must
have been one of the
reasons for the
composer's later
avoidance of this score,
especially since
Mendelssohn was becoming
increasingly skeptical
about explicitly
programmatic music in the
instrumental domain. Next
to the Dusseldorf
performance material of
1837, two scribal copies
have been examined for
the first time; they
transmit the main stages
of the version of
1830.
Orchestra (2.2.2.2.dble
bsn.serp - 2.2.3.0 - timp
- str)
SKU:
BR.PB-5598-07
Urtext based on the
Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library).
Symphony; Romantic. Study
Score. 132 pages.
Duration 30'. Breitkopf
and Haertel #PB 5598-07.
Published by Breitkopf
and Haertel
(BR.PB-5598-07).
ISBN
9790004214954. 6.5 x 9
inches.
A
Programmatic Declaration
of BeliefFelix
Mendelssohn Bartholdy
composed his Reformation
Symphony for the
celebrations marking the
300th anniversary of the
Confessio Augustana, the
Protestant declaration of
faith. Owing to various
and only partially
explained reasons, there
was no performance in
1830, the year in
question; it was only two
years later that the
composer conducted the
premiere of his work, now
heavily revised, in
Berlin. There was only
one more performance in
Mendelssohn's lifetime,
this one conducted by
Julius Rietz in
Dusseldorf; the composer
had since distanced
himself from his
opus.Conceived for the
concert hall, the
symphony formulates its
theological references
through the integration
of various motives. This
occurs in the finale, for
example, in which
Mendelssohn quotes the
Luther chorale Ein feste
Burg in the flute, from
where it builds up to a
triumphant principal
theme. The strong
extra-musical aspect must
have been one of the
reasons for the
composer's later
avoidance of this score,
especially since
Mendelssohn was becoming
increasingly skeptical
about explicitly
programmatic music in the
instrumental domain. Next
to the Dusseldorf
performance material of
1837, two scribal copies
have been examined for
the first time; they
transmit the main stages
of the version of
1830.
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.
(A Practical Application of Rudolf von Laban's Movement Language). By James Jord...(+)
(A Practical Application
of Rudolf von Laban's
Movement Language). By
James Jordan with Meade
Andrews and Giselle
Wyers. Book and DVD. 362
pages. Published by GIA
Publications
(Orchestra) SKU: BA.BA11903 Composed by Ludwig van Beethoven. Edited by J...(+)
(Orchestra)
SKU:
BA.BA11903
Composed
by Ludwig van Beethoven.
Edited by Jonathan Del
Mar. This edition: urtext
edition. Stapled. Score.
Opus 84. Baerenreiter
Verlag #BA11903_00.
Published by Baerenreiter
Verlag (BA.BA11903).
ISBN 9790006573783.
32.5 x 25.5 cm
inches.
Beethovenâ
€™s incidental music
op. 84 was written in
1809 for a performance of
Goethe’s drama
“Egmont†at
the Burgtheater in
Vienna. Numerous
composers of the day
tried their hand at
writing music for the
dramatic material of
Goethe’s tragedy,
several in collaboration
with the author himself.
The overture reflects the
themes of the play
through its expressive
music, and over the last
two hundred years it has
become one of the most
popular works by
Beethoven conceived for
the stage.
For
this new edition,
Beethoven specialist
Jonathan Del Mar draws on
various manuscript
sources including a
handwritten set of parts
which has never been
taken into account
before. Thus, numerous
discrepancies such as
missing notes in the
flute part or unclear
bowing could be clarified
for the first
time.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Orchestra SKU: CF.PO192S On We Wish You a Merry Christmas. Compose...(+)
Orchestra
SKU:
CF.PO192S
On We
Wish You a Merry
Christmas. Composed
by Robert B. Brown.
Condensed score. Carl
Fischer Music #PO192S.
Published by Carl Fischer
Music (CF.PO192S).
ISBN 9781491157367.
UPC:
680160915927.
Progr
am note: Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas. The Composer:
Dr. Robert Bennett Brown
has devoted much of his
professional teaching
career to musical
compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation. At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee. To the
Conductor: You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability.
 . Program
note:Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas.The
Composer:Dr. Robert
Bennett Brown has devoted
much of his professional
teaching career to
musical compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation.At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee.To the
Conductor:You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability. .
Orchestra SKU: CF.PO192F On We Wish You a Merry Christmas. Compose...(+)
Orchestra
SKU:
CF.PO192F
On We
Wish You a Merry
Christmas. Composed
by Robert B. Brown. Full
score. Carl Fischer Music
#PO192F. Published by
Carl Fischer Music
(CF.PO192F).
ISBN
9781491157374. UPC:
680160915934.
Progr
am note: Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas. The Composer:
Dr. Robert Bennett Brown
has devoted much of his
professional teaching
career to musical
compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation. At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee. To the
Conductor: You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability.
 . Program
note:Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas.The
Composer:Dr. Robert
Bennett Brown has devoted
much of his professional
teaching career to
musical compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation.At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee.To the
Conductor:You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability. .
(Exercises for the Instrumental Conductor). Arranged by Robert Spradling. Carl F...(+)
(Exercises for the
Instrumental Conductor).
Arranged by Robert
Spradling. Carl Fischer
Band Books Series.
Student Book. 96 pages.
Published by Carl Fischer
5 soloists (SSATB),
speaker, 3 mixed choirs
and orchestra
SKU:
HL.49045487
For 5
soloists (SSATB),
narrator, 3 mixed choirs
and orchestra.
Composed by Krzysztof
Penderecki. This edition:
Saddle stitching. Sheet
music. Study Score. Das
grosse Vokalwerk wurde
1995 zum 3000-jahrigen
Bestehen Jerusalems
komponiert. Der Zahl
sieben hat darin eine
besondere Bedeutung:
sieben Satzen, die fur
die sieben Tore stehen,
sieben gewaltige
Fortissimo-Akkorde, die
das Oratorium
beschliessen. Softcover.
Composed 1996. 158 pages.
Duration 68'. Schott
Music #ED20533. Published
by Schott Music
(HL.49045487).
ISBN
9790001157179. UPC:
888680747992.
8.25x11.75x0.41 inches.
Latin -
German.
Deeply
moved by his first visit
to the city of Jerusalem
with its seven gates,
Krzysztof Penderecki
composed this major vocal
work to celebrate the
city's 3,000th
anniversary in 1995. Two
years later, it was
premiered as Symphony No.
7 in which the magic
number seven has a
special meaning: From the
seven movements
representing the seven
gates to the seven
powerful fortissimo
chords concluding the
oratorio, the biblical
number runs through the
entire work.
4 (3.
u. 4. auch Picc.) * 3 *
Engl. Hr. * 3 (3. auch
Es-Klar.) * Bassklar. * 3
* Kfg. - 4 * 3 * 4 (3.
auch Basstrp.) * 1 - S.
(I.: P. * Beckenpaar * 2
Tamt. (t.) * Rohrengl. *
gr. Tr. m. Beck. *
Crotalenbaum * 5 Tomt. *
Marimba * Bin-Sasara *
kl. Tr. * Ruhrtr.; II.:
Trgl.-baum * 4 hg. Beck.
* Tamt. (t.) * Rohrengl.
* Kirchengl. * Tubaphon *
Glsp. * Xyl. * Vibr. *
Ruhrtr. * Tempelbl. * 2
Gongs; III.: 3 hg. Beck.
* Mil. Tr. * Tubaphon *
Kuhgl. * Tempelbl. * 2
Gongs; IV.: P. * hg.
Beck. * 2 Tamt. *
Beckenpaar * 5 Tomt. *
gr. Tr. * Ruhrtr. *
Bin-Sasara) (12 Spieler)
- Cel. * Klav. * Org. ad
lib. - Str. Im Saal: 0
* 0 * 3 * Bassklar. (auch
Es-Klar.) * 3 * Kfg. - 4
* 3 * 4 * 1.
Orchestra (Orchestra) SKU: HL.14008415 Composed by Sir Peter Maxwell Davi...(+)
Orchestra (Orchestra)
SKU: HL.14008415
Composed by Sir Peter
Maxwell Davies. Music
Sales America. Post-1900.
Sheet Music, Miniature
Score. With Text
language: English. 110
pages. Chester Music
#CH55687. Published by
Chester Music
(HL.14008415).
UPC:
884088808242.
8.5x11.0x0.261
inches.
This work,
written by Maxwell Davies
in 1983 for chamber
orchestra, was
commissioned to celebrate
the quartercentenary of
Edinburgh University. The
first performance was
given by the Scottish
Chamber Orchestra
conducted by Edward
Harper in October 1983.
Duration c. 29mins. This
work was thought through
in outline following a
visit to the ruined
pre-Reformation church of
Hoy in Orkney, on a fine
Spring afternoon after
Maxwell Davies had played
the harmonium for the
tiny congregation in its
large bleak Victorian
replacement. The old
church was surrounded by
the graves of centuries,
the more recent ones with
familiar names, largely
of people who lived in
houses now ruinous -
crofters, fishermen,
clerics, sea-captains.
Next to it stood the
chief farmhouse, the Bu,
going back to Viking
times. He thought of the
lives and deaths
encompassed there,
expressed through
hundreds of years of
music in the church, and
in the big barn of the
farm. The plainsongs
'Dies Irae' and 'Victimae
Paschali Laudes' are used
throughout the work - the
first concerning the Day
of Judgement, from the
Mass for the Dead, the
second particular to
Easter Sunday and the
Resurrection. These are
subject to constant
transformation - the
intervallic contour
slowly changes from one
into the other, and their
notes are made to dance
through Renaissance
astrological 'magic
square' patterns. The
orchestra consists of
double woodwind, two
horns, two trumpets and
strings.
Orchestra SKU: SU.91580100 For Orchestra. Composed by Steven Mercu...(+)
Orchestra
SKU:
SU.91580100
For
Orchestra. Composed
by Steven Mercurio.
Vocal/Choral, Opera. CD
(Audio). Subito Music
Corporation #91580100.
Published by Subito Music
Corporation
(SU.91580100).
A Grateful Tail
- Movement by Movement
Siriusly, Dog Star
Sirius, the brightest
star in the night sky,
has been used by
travelers and navigators
for thousands of years as
a guiding star and so it
is here as the opening
movement for the
symphony. Sirius, the
cornerstone to the
constellation Canis
Maggiore or Big Dog sits
at the foot of Orion, the
hunter, leading the way.
Highly cinematic, the
movement evokes both a
musical and visual sense
of the mythological and
mysterious elements of
Sirius and its Dog
Godstar secrets. From the
clarion call of the
opening, Sirius theme,
the sound is buoyant and
frisky emulating the
nature of doggy playtime.
Puppy pleasures abound as
a doggy four-step, my
turn on the traditional
American two-step dance,
is introduced. The
movement transforms into
an actual orchestrated
frolic of small, large
and medium dog barks
beginning with the winds
(smaller dogs) and
ultimately, the big dog,
brass. The movement
climaxes with the coda
or, Dog Park, where the
winds and the brass bark
and play together over
the, doggy ostinato
four-step rhythm,
culminating with the
final call of the Sirius
theme. Let Sleeping Dogs
Lie, Peacefully It's all
in a dog's day and life.
Tranquility presides over
this supremely gentle,
intermezzo-like movement.
After a day of play,
every dog needs rest. Let
Sleeping Dogs Lie, is a
lyrical andante inspired
by the profound serenity
and beauty of a dog at
rest. The Last Will and
Testament of Silverdene
Emblem O'Neill Based on a
powerful piece of prose
written by the American
playwright, Eugene
O'Neill this text was
intended as a consolation
piece for Carlotta, his
wife, who had become
grief-stricken over the
loss of their beloved
dog, the Dalmatian known
as Blemie.Written for a
singing actor who
personifies the role of
Blemie, a dog at the end
of his life, the movement
plays like a one act,
musical drama as we
follow Blemie through a
wonderfully
three-dimensional,
emotional and
psychological journey
writing his Last Will and
Testament, for those who
have loved him. Wagging
the Tail: Ossia Fido's
Lament A life-affirming
rumba/samba using
Blemie's final words from
O'Neill's text, this
final movement employs
the most unique American
musical invention, the
gospel choir. In order to
make the dances come
alive, this movement also
calls upon the colors of
a rhythm section.
Creating the spirit of an
Irish Funeral, the
movement is a joyful and
revival-like celebration
of a dog's life as its
spirit lives on forever
in the hearts and minds
of dog lovers everywhere.
Remember Me, remember me!
My spirit is wagging a
grateful tail. Published
by: Subito Music
Publishing Release Date:
July 9, 2013.
Mladi - Die Jugend Orchestre [Conducteur d'étude / Miniature] Barenreiter
(Blasersextett). By Leos Janacek (1854-1928). Edited by Jan Dolezal. For Flute (...(+)
(Blasersextett). By Leos
Janacek (1854-1928).
Edited by Jan Dolezal.
For Flute (including
piccolo) Oboe, Clarinet,
Horn, Bassoon,
Bass-Clarinet. Study
Score (paperbound).
Published by Baerenreiter
Verlag
Chamber Orchestra
Score. Composed by
Bertold Hummel. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Softcover.
Composed 1952. Op. 13c.
48 pages. Duration 8'.
Schott Music #CON263.
Published by Schott Music
(HL.49018927).
ISBN
9790001174268.
Desp
ite the Concertante
Overture being almost 60
years old, the piece
nevertheless captures
listeners through its
young and carefree
freshness. The string
orchestra is joined by
solo winds and
percussion. Hummel's
music is so colourful,
vivid and powerful that
the listener can
immediately imagine how
the curtain rises upon a
play while this music is
played.The differentiated
score, with its chamber
music layout, can be
mastered by good amateur
ensembles and music
students.
Toccata Orchestre - Intermédiaire Alfred Publishing
By Girolamo Frescobaldi. Transcr. Hans Kinder. For Full Orchestra. Full Orchestr...(+)
By Girolamo Frescobaldi.
Transcr. Hans Kinder. For
Full Orchestra. Full
Orchestra. Concert Full
Orchestra. Level: 3.5
(grade 3.5). Conductor
Score and Parts. 150
pages. Duration 6:21.
Published by Alfred
Publishing.
Cosi Fan Tutte Orchestre - Intermédiaire Highland/Etling
Orchestra - Grade 3.5 SKU: AP.41262S Overture. Composed by Wolfgan...(+)
Orchestra - Grade 3.5
SKU: AP.41262S
Overture. Composed
by Wolfgang Amadeus
Mozart. Arranged by Todd
Parrish. MakeMusic Cloud;
Masterworks; Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Orchestra. Form:
Overture; Transcription.
Classical; Masterwork
Arrangement. Score. 32
pages. Highland/Etling
#00-41262S. Published by
Highland/Etling
(AP.41262S).
UPC:
038081480749.
English.
Written in
the final years of
Mozart's life, this piece
features a slow lyrical
opening followed by an
exuberant journey through
major and minor
tonalities. Students
practice Classical style
along with multiple
slurred notes, scale-like
passages, and
accidentals. Open your
next concert with this
Mozart opera classic.
This title is available
in MakeMusic Cloud.