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The Advent of Hope, the Birth of Peace - Orchestration
Orchestra
Full Orchestra - Digital Download SKU: LX.30-1687L A Christmas Cantata for Choir…
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Full Orchestra - Digital Download SKU: LX.30-1687L A Christmas Cantata for Choir/Cong Worship Leader. Composed by Robert Lau. Choral Cantatas. Christmas. Score and parts. 56 pages. Lorenz Publishing - Digital Sheet Music #e30/1687L. Published by Lorenz Publishing - Digital Sheet Music (LX.30-1687L). UPC: 000308057782.Christmas is that wonderful time of the year when we sing, come, thou long-expected Jesus even though we know he has already come, and 'joy to the world' even though we know the world is not yet completely joyful. ôThese are the opening words of this thoughtful and expressive cantata-a beautiful combination of the meditative, as well as the joyful, feelings that remembering the events of Christmas brings. The congregation is asked to join in the singing of familiar carols, and the choir is given the opportunity to sing beautifully crafted, but never difficult, new music for the season. Performance time: 25-30 minutes. Flute 1 and 2, B-flat Clarinet, Horn in F, Trumpet 1, 2 and 3, Trombone 1, 2 and 3, Timpani, Percussion, Opt. Harp, Violin 1 and 2, Viola, Cello, Contrabass.
$349.95
326.48 €
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Orchestra
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Robert Lau
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The Advent of Hope, the Birth of Peace - Orchestration
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Lorenz Publishing - Digital Sheet Music
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SheetMusicPlus
Requiem
Chamber Orchestra
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Dow…
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). 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 goâ€. 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 doorâ€. 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 wisdomâ€. 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 aeternaâ€. 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 morningâ€] and later: “Und die Seele unbewacht will in freien Flügen 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 thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]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 “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99
52.23 €
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Chamber Orchestra
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Ave Maria
Vl. 1, Vl. 2, Va., Vc., Kb. voice and strings (string quartet with double bass ad libitum …
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Vl. 1, Vl. 2, Va., Vc., Kb. voice and strings (string quartet with double bass ad libitum or string orchestra) - easy to intermediate - Digital Download SKU: S9.Q22578 Composed by Peter Cornelius. Arranged by Wolfgang Birtel. This edition: score. Downloadable, Score. Schott Music - Digital #Q22578. Published by Schott Music - Digital (S9.Q22578). Latin.The composer Peter Cornelius (1824–1874) from Mainz often called himself a 'poet-composer': All his life, he busied himself with composing and writing alike. No wonder that he had devoted himself particularly to the composition of songs, already in his student days in Berlin in the late 1840s. The newly edited 'Ave Maria' was found among the composer's unpublished works. Although bearing the dedication 'Fräulein von Hillebrandt zum 13. September 1862', it was probably created earlier. It is a simple, chordally accompanied song which is quite suitable for liturgical purposes. The arrangement for strings, which can perform soloistically or in groups, expands the possibilities of use especially for this area.
$6.99
6.52 €
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Peter Cornelius
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Ave Maria
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Schott Music - Digital
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SheetMusicPlus
As Aguas da Mola
Jazz Band - Grade 1 - Digital Download SKU: LX.60-1274H The Waters of Spring…
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Jazz Band - Grade 1 - Digital Download SKU: LX.60-1274H The Waters of Spring. Composed by Peter Blair. Jazz Basics Series. Jazz Band. 16 pages. Heritage Music Press #e60/1274H. Published by Heritage Music Press (LX.60-1274H). UPC: 000308104653.Here is a great way to introduce the Brazilian bossa nova to even your youngest players. Lots of tutti ensemble rhythms with limited syncopation and well-crafted rhythm section parts will help you get this piece performance ready quickly. There is an eight-measure solo written for any saxophone, but since the changes only require soloists to know one pentatonic scale, you might want to feature some other players as well. The music in this series may be performed with one alto saxophone, one tenor saxophone (optional alto 2), one trumpet, one trombone, piano, bass and drums. Each set includes parts for 2 alto saxophones, 2 alto sax 2 (optional substitute for tenor saxophone), 2 tenor saxophones, 1 baritone saxophone, 4 trumpets, 4 trombones, 2 flutes, 2 clarinets, 1 horn, guitar, piano, bass and drums.
$40.00
37.32 €
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Peter Blair
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As Aguas da Mola
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Heritage Music Press
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SheetMusicPlus
Wesendonck-Lieder
Chamber Orchestra
1 · Altfl. · 1 · Engl. Hr. · 1 · Bassklar. · 1 · Kfg. - 2 · 0 ·…
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1 · Altfl. · 1 · Engl. Hr. · 1 · Bassklar. · 1 · Kfg. - 2 · 0 · 0 · 0 - Hfe. - Str. (6 · 4 · 4 · 4 · 2) alto and chamber orchestra - Digital Download SKU: S9.Q2899 Fünf Lieder für eine Frauenstimme auf Gedichte von Mathilde Wesendonck von Richard Wagner. Composed by Hans Werner Henze and Richard Wagner. This edition: conductor's and study score. Music Of Our Time. Downloadable, Full and study score. Duration 15 minutes. Schott Music - Digital #Q2899. Published by Schott Music - Digital (S9.Q2899). German.During the period in which these arrangements were created, Hans Werner Henze was far from being a Wagnerite. Despite this, he deliberately set out to study Wagner's music. Tristan und Isolde was the opera Henze found most accessible and it was therefore the Wesendonck-Lieder, dating from 1858 with their clear affinity to the harmony of Tristan, which became Henze’s focal point of interest. In his arrangements he was aiming 'to evoke the pre-Tristan state. For this reason, I have selected a small ensemble consisting of seven wind instruments, two horns, harp and small string orchestra to retain the preliminary study character of these Lieder. At the same time however, I am attempting to permit the Tristanesque tone which is already inherent in the piano version to unfold through harmonic separation.' - Hans Werner Henze.
$45.99
42.91 €
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Chamber Orchestra
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Hans Werner Henze and Richard Wagner
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Wesendonck-Lieder
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Schott Music - Digital
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SheetMusicPlus
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