Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099).
ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German.
On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009.
Orchestra - Grade 1.5 SKU: AP.48038S Composed by Rob Grice. MakeMusic Clo...(+)
Orchestra - Grade 1.5
SKU: AP.48038S
Composed by Rob Grice.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Intermediate String
Orchestra. Score. 16
pages. Duration 2:35.
Belwin Music #00-48038S.
Published by Belwin Music
(AP.48038S).
UPC:
038081554648.
English.
Armor of
the Mystic by Rob Grice
is an ominous piece for
younger orchestras that
offers the opportunity to
perform a mature-sounding
composition without parts
that are too technically
demanding. With dissonant
harmonies and pulsating
rhythms, this powerful
concert work is sure to
stimulate the
imaginations of young
musicians as well as
capture the attention of
your audience. This work
is great for festival
performances and will
program well on your next
concert! This title is
available in MakeMusic
Cloud. (2:35).
Orchestra - Grade 1.5 SKU: AP.48038 Composed by Rob Grice. MakeMusic Clou...(+)
Orchestra - Grade 1.5
SKU: AP.48038
Composed by Rob Grice.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Intermediate String
Orchestra. Score and
Part(s). 156 pages.
Duration 2:35. Belwin
Music #00-48038.
Published by Belwin Music
(AP.48038).
UPC:
038081554631.
English.
Armor of
the Mystic by Rob Grice
is an ominous piece for
younger orchestras that
offers the opportunity to
perform a mature-sounding
composition without parts
that are too technically
demanding. With dissonant
harmonies and pulsating
rhythms, this powerful
concert work is sure to
stimulate the
imaginations of young
musicians as well as
capture the attention of
your audience. This work
is great for festival
performances and will
program well on your next
concert! This title is
available in MakeMusic
Cloud. (2:35).
Pieces of Eight Orchestre [Conducteur] - Facile Highland/Etling
Orchestra - Grade 2 SKU: AP.45865S A Pirate's Jig. Composed by Ric...(+)
Orchestra - Grade 2
SKU: AP.45865S
A Pirate's Jig.
Composed by Richard
Meyer. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Explorer. Score. 8 pages.
Duration 1:35.
Highland/Etling
#00-45865S. Published by
Highland/Etling
(AP.45865S).
ISBN
9781470654023. UPC:
038081529585.
English.
Look no
further for the perfect
piece to introduce your
students to 6/8 meter!
This cool-sounding,
minor-keyed jig uses only
three basic 6/8 rhythms
to give your students the
confidence they need to
navigate a too-often
neglected time signature.
Pieces of Eight by
Richard Meyer gives every
section a turn at the fun
and catchy melody while
the repeated patterns in
the accompaniments will
reinforce students'
reading of the new
rhythms. Destined to
become the go-to piece
for teaching 6/8 to the
young orchestra! (1:35)
This title is available
in MakeMusic Cloud.
(from Rhapsody In B
Minor, Op. 79, No.
1). Composed by
Johannes Brahms. Arranged
by Deborah Baker Monday.
Voyager String Orchestra.
Score and set of parts.
Duration 3 minutes.
Kendor Music Inc #8938.
Published by Kendor Music
Inc (KN.8938).
UPC:
822795089387.
Young
string players do not get
the opportunity to play
Brahms often because much
of his greatest music is
written for piano and
other works are too
complex. But embedded in
the fiery Rhapsody In B
Minor (Op. 79, No. 1) is
a beautiful interlude
which takes on a form of
its own. Simple melodies
are passed among all
instruments and
harmonized in parallel
3rds and 6ths. Simple
repeated 8th-note
patterns with some ties
create the undulating
current in the
accompaniment which
drives the piece to its
dynamic extremes.
Duration 3:00. Available
in SmartMusic.
Orchestra - Grade 3 SKU: AP.44812S Composed by Richard Strauss. Arranged ...(+)
Orchestra - Grade 3
SKU: AP.44812S
Composed by Richard
Strauss. Arranged by
Jeffrey E. Turner.
Masterworks; Performance
Music Ensemble; Single
Titles; String Orchestra.
Belwin Concert String
Orchestra. Form:
Transcription. 20th
Century; Fall; Halloween;
Masterwork Arrangement;
Romantic. Score. 4 pages.
Duration 1:45. Belwin
Music #00-44812S.
Published by Belwin Music
(AP.44812S).
UPC:
038081517445.
English.
The
perfect opener! Right
from the first few notes,
the audience will be
captivated and ready for
this famous theme. This
opening fanfare to
Strauss' masterpiece,
arranged by Jeffrey
Turner, is an experience
that every young musician
should get a chance to
play. An optional timpani
part is included, adding
a little bit of thunder
to the piece. Great for
Halloween concerts too!
(1:45).
Orchestra - Grade 2 SKU: AP.33739S Second Movement. Composed by Fr...(+)
Orchestra - Grade 2
SKU: AP.33739S
Second Movement.
Composed by Franz Joseph
Haydn. Arranged by
Richard Meyer. Full
Orchestra; Masterworks;
Performance Music
Ensemble; Single Titles.
Highland/Etling First
Philharmonic. Form:
Transcription. Classical;
Masterwork Arrangement.
Score. 20 pages.
Highland/Etling
#00-33739S. Published by
Highland/Etling
(AP.33739S).
UPC:
038081394602.
English.
One of
Haydn's most famous
symphonic movements, this
selection will give your
students a chance to
develop a refined,
Classic style of playing.
It seems like Haydn
included everything in
this movement---a
delicately beautiful main
theme, wild, minor-keyed
outbursts, military
percussion, and a solo
trumpet fanfare. No
wonder the London
audiences went crazy over
it! Arranged with the
young orchestra in mind,
all string parts are in
first position. A great
introduction to a
too-often neglected
style.
Orchestra (Score) SKU: HL.49005353 Study Score. Composed by Hans W...(+)
Orchestra (Score)
SKU:
HL.49005353
Study
Score. Composed by
Hans Werner Henze. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Study Score.
Composed 1962. 100 pages.
Duration 18'. Schott
Music #ED5029. Published
by Schott Music
(HL.49005353).
ISBN
9790001057646. UPC:
884088085544.
8.25x11.75x0.334
inches.
Like my
oratorio Novae de
infinito laudes, this
work, too, has been
influenced by the human
world and the scenery of
Rome, indeed, perhaps
even by the greater
hardness of the roman
language compared to that
of Naples. The first four
notes of the subsidiary
theme of the second
movement which appears
for the first time in bar
36 are borrowed from the
song My own, my own from
the second act of my
opera Elegy for Young
Lovers; they appear again
and again in various
forms, even in the second
and third movements.-
Hans Werner Henze.
Military Symphony Orchestre [Conducteur et Parties séparées] - Facile Alfred Publishing
(Second Movement). By Franz Joseph Haydn (1732-1809). Arranged by Richard Meyer....(+)
(Second Movement). By
Franz Joseph Haydn
(1732-1809). Arranged by
Richard Meyer. Orchestra.
Full Orchestra;
Masterworks; Part(s);
Score. Highland First
Philharmonic. Form:
Transcription. Classical;
Masterwork Arrangement.
Grade 2. 194 pages.
Published by Alfred Music
Publishing
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Cliff
Eisen. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library).
Symphony; Classical. Full
score. 24 pages. Duration
14'. Breitkopf and
Haertel #PB 5372.
Published by Breitkopf
and Haertel (BR.PB-5372).
ISBN 9790004210956. 10
x 12.5 inches.
With
the Symphony K. 112,
Cliff Eisen, Professor at
the renowned Kings
College and one of the
leading Mozart
specialists of the
younger generation,
continues the series of
new editions of Mozarts
orchestral works which
began with the Prague
Symphony. Here too, the
editorial principles
follow the guidelines of
Urtext. In his work, he
takes particular care in
bringing his expert
knowledge of contemporary
performance practice into
play when evaluating
authentic part material.
Eisen comes to surprising
conclusions in a number
of cases. At the very
least, the Symphony K.
112 will sound different
in these passages with
the new material.
Celebration Orchestre [Conducteur et Parties séparées] - Facile Alfred Publishing
(As performed by Kool and The Gang). By Ronald Bell, Claydes Smith, George Brown...(+)
(As performed by Kool and
The Gang). By Ronald
Bell, Claydes Smith,
George Brown, James
Taylor, Robert Mickens,
Earl Toon, Dennis Thomas,
Robert Bell, and Eumir
Deodato [Kool and The
Gang]. Arranged by Paul
Cook. Concert Band.
Concert Band; Part(s);
Score. Pop Young Band.
Pop. Grade 2. 130 pages.
Published by Alfred Music
Publishing
Composed by Doug Spata.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Score. 12
pages. Duration 1:45.
Highland/Etling
#00-47477S. Published by
Highland/Etling
(AP.47477S).
UPC:
038081544830.
English.
Written to
help students understand
the concept of positions,
this entire piece can be
played by the violins,
violas, and cellos in 3rd
position with no
shifting! Playing in
positions is often a
challenging hurdle for
many young musicians yet
an important prerequisite
for advanced techniques.
The rhythms are kept very
simple so students can
focus on playing in a new
way. With a dark,
mature sound and named
after an ancient Roman
border river, this piece
allows plenty of room for
expression. To cross the
Rubicon is to pass a
point of no return and
enter into a new realm.
This work is both a
valuable teaching tool
for a new musical
adventure and a thrilling
concert piece that
students will be excited
to show off in concert.
(1:45).
Composed by Doug Spata.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Score and
Part(s). 124 pages.
Duration 1:45.
Highland/Etling
#00-47477. Published by
Highland/Etling
(AP.47477).
UPC:
038081544823.
English.
Written to
help students understand
the concept of positions,
this entire piece can be
played by the violins,
violas, and cellos in 3rd
position with no
shifting! Playing in
positions is often a
challenging hurdle for
many young musicians yet
an important prerequisite
for advanced techniques.
The rhythms are kept very
simple so students can
focus on playing in a new
way. With a dark,
mature sound and named
after an ancient Roman
border river, this piece
allows plenty of room for
expression. To cross the
Rubicon is to pass a
point of no return and
enter into a new realm.
This work is both a
valuable teaching tool
for a new musical
adventure and a thrilling
concert piece that
students will be excited
to show off in concert.
(1:45).