SKU: HP.1094 Composed by Tom Colvin. This edition: Complete. Author Colle...(+)
SKU: HP.1094
Composed by Tom Colvin.
This edition: Complete.
Author Collections. Tom
Colvin Hymn Collection.
General Worship, Sacred.
Hymn Collection. 84
pages. Hope Publishing
Company #1094. Published
by Hope Publishing
Company (HP.1094).
UPC:
763628110949.
Forty
-three songs from Africa
are included in this
valuable resource. Like
Tom Colvin's first
collection of African
hymns, Fill Us with Your
Love (1983, Code No.
431), this collection
includes English language
translations of songs
written for the churches
in Africa.
Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
SKU: CA.2090100 Composed by Heinrich Schutz. Edited by Siegfried Schmalzr...(+)
SKU: CA.2090100
Composed by Heinrich
Schutz. Edited by
Siegfried Schmalzriedt.
This edition: urtext.
Cycles: Schutz:
Italienische Madrigale
SWV 1-19. Complete
editions / Selected
works: Heinrich Schutz
Complete Edition. German
title: Italienische
Madrigale. Madrigals,
Secular choral music.
Full score (complete
edition / selected
edition). Composed 1623.
152 pages. Carus Verlag
#CV 20.901/00. Published
by Carus Verlag
(CA.2090100).
ISBN
9790007037284.
Than
ks to a stipend from his
patron, the Landgrave
Moritz von Hessen-Kassel,
Schutz was able to pursue
a three-year period of
study under Giovanni
Gabrieli in Venice from
1609 to 1612, which he
concluded with the
publication in 1611 of
the madrigal collection
Il Primo Libro de
Madrigali. Already in
this, his Opus primus,
Schutz emerged as an
outstanding composer: In
their musical quality,
the 18 five-part
madrigals exceed much
that was still being
composed in the
traditional madrigal
style at the beginnning
of the 17th century.
Piano SKU: BT.EMBZ15150 Tagebucheintragungen, persönliche Botschaft...(+)
Piano
SKU:
BT.EMBZ15150
Tagebucheintragungen,
persönliche
Botschaften. Composed
by Gyorgy Kurtag.
Contemporary Music. Book
Only. Composed 2021. 72
pages. Editio Musica
Budapest #EMBZ15150.
Published by Editio
Musica Budapest
(BT.EMBZ15150).
English-German-Hungari
an.
The piano
series entitled Games,
written from 1973
onwards, was conceived as
a piano method. As the
years went by, the series
lost its didactic
character, at it came to
be seen as a document
from Kurtág's
workshop, offering a key
to his grander symphonic,
chamber and vocal works
as well.Tenth volume is
divided into two parts:
In the first half,
earlier, hitherto
unpublished pieces line
up from Suite, written in
1943, to the 1980s,
providing insight into
the development of
Kurtág's musical
language. The second half
includes pieces composed
between 2002 and 2011.
The movements, often
aphorismic in their
briefness, hide
associations with various
aspects of European music
history.Many of them are
hommage or in memoriam
pieces, or subjective
personal messages to
friends, colleagues, and
beloved family members -
and thereby to all
music-loving people. This
publication is printed on
high quality, durable
paper made from renewable
raw materials in an
environmentally friendly
way.
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to
Nearly 1200 Songs 9x12
Spiral Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to
Nearly 1200 Songs
Spiral-Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
Violon et Piano [Set de Parties séparées] Carl Fischer
(Three Pictures of Chassidic Life) Composed by Ernest Bloch (1880-1959). Set of ...(+)
(Three Pictures of
Chassidic Life) Composed
by Ernest Bloch
(1880-1959). Set of
performance parts for
violin and piano. With
bowings and fingerings.
14 pages. Published by
Carl Fischer.
Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099).
ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German.
On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009.
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Folk. Series: Hal
Leonard Fake Books. 536
pages. 9.6x12 inches.
Published by Hal Leonard.
118 Beloved Favorites. By Various. Piano/Vocal/Chords Songbook (Arrangements for...(+)
118 Beloved Favorites. By
Various.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords). Size 9x12
inches. 272 pages.
Published by Hal Leonard.
Compiled by Peter Wernick. For voice and guitar (or banjo). Format: fake book (s...(+)
Compiled by Peter
Wernick. For voice and
guitar (or banjo).
Format: fake book
(simplified 3 string
guitar tablature). With
vocal melody (simplified
3 string guitar
tablature), lyrics, chord
names, performance notes,
introductory text and
black