(Man of Sorrows, King of Glory, Lord of Life!). By Lloyd Larson. Arranged by Bra...(+)
(Man of Sorrows, King of
Glory, Lord of Life!). By
Lloyd Larson. Arranged by
Brant Adams. Orchestra.
For 2 Flutes, Oboe, 2
Clarinets, Bassoon, 2
Horns, 3 Trumpets, 2
Trombones, Tuba, Timpani,
2 Percussion, Harp,
Piano, 2 Violins, Viola,
Cello, and Bass. Cantata.
Choral: Easter, Lent.
Orchestral Score and
Parts. Published by
Lorenz Publishing Company
Orchestra SKU: LO.30-2786L Composed by Lloyd Larson. Arranged by Brant Ad...(+)
Orchestra
SKU:
LO.30-2786L
Composed
by Lloyd Larson. Arranged
by Brant Adams. Choral.
Sacred Anthem, General,
Holy Week, Lent.
Orchestral score and
parts. Lorenz Publishing
Company #30/2786L.
Published by Lorenz
Publishing Company
(LO.30-2786L).
UPC:
000308130751.
Jesus
' lordship over nature as
well as the people is
underscored beautifully
in this anthem concerning
His life and ministry. A
gentle, lightly
syncopated musical style
provides a buoyant
support for the
meaningful choral lines.
Multiple accompaniment
options make this
wonderful piece from
Lloyd Larson suitable for
any time of year. (From
the cantata Who Do You
Say That I Am?,
SATB--55/1145L;
SAB--55/1146L)
Instrumentation: 2 Fl,
Ob, 2 Cl, Bsn, 2 Hn, 3
Tpt, 2 Tbn, Tba, Timp, 2
Perc, Harp, Pno, 2 Vln,
Vla, Cello, Bass.
Tempus Fugit Orchestre [Conducteur d'étude / Miniature] Boosey and Hawkes
Orchestra (Study Score) SKU: HL.48024683 Orchestra Study Score. Co...(+)
Orchestra (Study Score)
SKU: HL.48024683
Orchestra Study
Score. Composed by
Magnus Lindberg. Boosey &
Hawkes Scores/Books.
Classical. Softcover. 144
pages. Boosey & Hawkes
#M060135880. Published by
Boosey & Hawkes
(HL.48024683).
ISBN
9781784545062. UPC:
888680952570. 8.25x11.75
inches.
TEMPUS
FUGIT was commissioned to
celebrate the centenary
of Finnish independence
on 6 December 2017 and it
received its first
performance in Helsinki
on that day, given by the
Finnish Radio Symphony
Orchestra.
The
composer says that
“if you translate
TEMPUS FUGIT as 'Time
Flies', you could say
that Finland has
travelled a long way
already -but 100 years is
a short time-span, and
living as a human in this
part of the world started
long ago and, we hope,
will continue
formillennia to come.
This relates to my
fascination with Bernd
Alois Zimmermann's
concept of spherical time
- that the past, the
present and the future
are continuously linked
and within reach. You can
also examine the
inter-connection of
musical time in the
earlier works of
Stockhausen such as
Kontakte and Gruppen
which had a big impact on
me as a young composer. A
translation of TEMPUS
FUGIT that I prefer is
'Time in Flight',
offering the idea that
time escapes from us but
bequeaths a tangible
residue, rather like
aplane travelling towards
the distance but leaving
a visible vapour
trail.” This
30-minute score is a
major addition to the
orchestral repertory.
Orchestra - Grade 1.5 SKU: AP.35997S Featuring: The Waves of Tory / Th...(+)
Orchestra - Grade 1.5
SKU: AP.35997S
Featuring: The Waves
of Tory / The Stronsay
Wedding. Arranged by
Bob Phillips. Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Alternatives. Form:
Medley. Folk;
Traditional. Score. 8
pages. Highland/Etling
#00-35997S. Published by
Highland/Etling
(AP.35997S).
UPC:
038081411347. English.
Traditional.
Perfec
t for young players or as
a quick play-down finale
for older players, this
easy medley will soon
become a favorite that
you'll hear them playing
before class begins. All
sections play the
melodies of The Waves of
Tory and The Stronsay
Wedding, providing
interest and a chance to
work on dynamics.
Performance
recommendations to help
make the tunes sound
fiddley are provided in
the score.
Arranged by Vince Gassi.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Christmas;
Sacred; Traditional;
Winter. Score and
Part(s). 126 pages.
Duration 2:45.
Highland/Etling
#00-44846. Published by
Highland/Etling
(AP.44846).
UPC:
038081518480. English.
Traditional.
Nothin
g says Noel better than a
16th century courtly
dance. Also known as Un
Flambeau, Jeanette,
Isabelle, this piece was
originally performed for
the French nobility. The
variations in this new
setting by Vince Gassi
will lift your spirits as
they pass from a joyous
opening, through a brief
moment of reflection, and
on to a jubilant ending.
This little bit of
effervescence is a great
addition to any part of
your Christmas program.
(2:45).
Arranged by Vince Gassi.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Christmas;
Sacred; Traditional;
Winter. Score. 12 pages.
Duration 2:45.
Highland/Etling
#00-44846S. Published by
Highland/Etling
(AP.44846S).
UPC:
038081518497. English.
Traditional.
Nothin
g says Noel better than a
16th century courtly
dance. Also known as Un
Flambeau, Jeanette,
Isabelle, this piece was
originally performed for
the French nobility. The
variations in this new
setting by Vince Gassi
will lift your spirits as
they pass from a joyous
opening, through a brief
moment of reflection, and
on to a jubilant ending.
This little bit of
effervescence is a great
addition to any part of
your Christmas program.
(2:45).
Orchestra SKU: PR.416416140 For Flute, Oboe, Clarinet in B-flat, Basso...(+)
Orchestra
SKU:
PR.416416140
For
Flute, Oboe, Clarinet in
B-flat, Bassoon, and
Orchestra. Composed
by Narong Prangcharoen.
Full score. 53 pages.
Duration 17 minutes.
Theodore Presser Company
#416-41614. Published by
Theodore Presser Company
(PR.416416140).
UPC:
680160642441.
Time
is one of the main
factors impacting the
world and our lives.
Einstein saw time as the
relationship of the
motion of one object
relative to the position
of another object, as
measured through
observation. But can we
really measure time
objectively? Music, the
art which moves through
time, can affect our
perception of time, and
can affect each person's
perception of time
differently. Depending on
the emotion it
stimulates, music can
make time seem to pass
quickly or slowly. A
composer can use music to
convey time to an
audience and different
musical ideas can create
different sensations of
time. Absence of Time is
a concerto for woodwind
quartet and orchestra. It
has three main sections
(fast, slow, fast),
recalling traditional
concerto form, but it
does not use the solo
instruments in the
traditional way, i.e., as
soloists in contest with
the orchestra. Inspired
by the idea of
juxtaposing different
experiences of time, I
divided the instruments
into two groups: the four
soloists and the
orchestra. The orchestra
functions mostly as the
keeper of time (real
time) while the quartet
of soloists fluctuates
(in imaginary time or in
the absence of time)
around the orchestra's
time. While the quartet's
instruments do play
solos, they also play in
ensemble with the
orchestra. You could say
that they play in both
imaginary time (as
soloists) and in real
time (with the
orchestra). In addition
to this, the woodwind
section of the orchestra
plays in conversation
with the solo quartet,
calling it back to real
time. Fusion is achieved
at the end of the piece
through the use of
strong, driving rhythm.
Absence of Time was
commissioned by the
Pacific Symphony and was
first performed by the
Pacific Symphony and the
Pacific Symphony Woodwind
Quartet with Carl St.
Clair as conductor on
October 20, 2016.
Featuring: Newt Says
Goodbye to Tina / Jacob's
Bakery. Composed by
James Newton Howard.
Arranged by Bob Phillips.
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Concert String Orchestra.
Form: Medley. Halloween;
Movie. Score. 12 pages.
Duration 3:20. Alfred
Music #00-45857S.
Published by Alfred Music
(AP.45857S).
UPC:
038081528892.
English.
Enjoy the
fantasy and thrills of
the adventures from J. K.
Rowling in this
delightful setting from
Fantastic Beasts and
Where to Find Them. Very
simple, elegant, and
beautiful, this is also a
great piece to work on
shifting. The violins use
3rd position while the
cellos use both 3rd and
4th positions. There are
spots that will work
nicely in positions other
than those marked for the
violas and basses if you
want to have all sections
work on shifting.
Featuring Newt Says
Goodbye to Tina and
Jacob's Bakery. (3:20)
This title is available
in MakeMusic Cloud.
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.
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
Hawaiian Merry
Christmas. Composed
by R. Alex Anderson.
Arranged by Jan
Farrar-Royce. Performance
Music Ensemble; Single
Titles; String Orchestra.
Pop Intermediate String
Orchestra. Christmas;
Holiday Pops;
Multicultural; Pop;
Secular; Winter. Score. 8
pages. Alfred Music
#00-46695S. Published by
Alfred Music (AP.46695S).
UPC: 038081535371.
English.
Mele
Kalikimaka, the closest
approximation of saying
Merry Christmas that
there is in the Hawaiian
language, was written in
1949 and recorded by Bing
Crosby and The Andrew
Sisters in 1950. This
first rendition of the
tune is still popular
today and many of your
students and audience
members will recognize it
with delight! It is
almost impossible not to
sing the syncopated title
phrase and beginning it
on an up-bow helps create
accents and fun! The
accidentals are all
familiar ones that give
the piece color and
interesting parts. Every
section has their own
entrances and gets a
chance to play the main
melodies and important
supporting parts. Mele
Kalikimaka, arranged by
Jan Farrar-Royce, is a
fun and musically
educational way to
celebrate the holiday
season!
Christmas Bells Orchestre [Conducteur et Parties séparées] - Débutant Kendor Music Inc.
String Orchestra string orchestra with opt. 3rd Violin/Viola TC 3, piano and per...(+)
String Orchestra string
orchestra with opt. 3rd
Violin/Viola TC 3, piano
and percussion - Grade
1.5
SKU: KN.8203
Composed by Traditional.
Arranged by John
Caponegro. Accent String
Orchestra. Score and Set
of Parts. Kendor Music
Inc #8203. Published by
Kendor Music Inc
(KN.8203).
UPC:
822795082036.
This
sparkling medley features
bell-like pyramid figures
and clearly-marked
articulations, dynamics
and bowings to help young
players deliver a truly
festive performance. In
his score notes,
Caponegro says that every
effort should be made to
use the optional
percussion instruments
(bells and jingle bells)
to enhance the seasonal
flavor. Duration
2:50.