| Preisner: Requiem For My Friend (Full Score) Orchestre [Conducteur d'étude / Miniature] Chester
SATB Choir, Orchestra (Study Score) SKU: HL.14026108 Composed by Zbigniew...(+)
SATB Choir, Orchestra
(Study Score) SKU:
HL.14026108 Composed
by Zbigniew Preisner.
Music Sales America.
Post-1900. Sheet Music,
Score. With Text
language: Greek / Latin /
Polish. Chester Music
#CH61497. Published by
Chester Music
(HL.14026108). UPC:
884088811266. 0.408
inches. Composer's
Note Once, we had a joint
conception to create a
concert telling a life
story. The premiere was
planned to take place on
the Acropolis in Athens.
It was intended to be a
large event, a hybrid of
a mystery play and an
opera. Krzysztof
Kieslowski would be the
director, Krzysztof
Piesiewicz was
responsible for the
script, and I was
planning to compose the
music. We thought it
might be the first of a
series of musical
performances, to be
developed in various
interesting places around
the world in the next few
years. But it was life
that authored a different
ending: Krzysztof
Kieslowski died in March
of 1996. The first part
of Requiem for My Friend
is meant as a farewell to
Krzysztof Kieslowski. I
dedicate this music to
him. Zbigniew
Preisner. $81.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Manzoni Requiem Fanfare [Conducteur et Parties séparées] - Facile C.L. Barnhouse
Grade 3 SKU: CL.069-1468-00 Composed by Giuseppe Verdi. Arranged by Morsc...(+)
Grade 3 SKU:
CL.069-1468-00
Composed by Giuseppe
Verdi. Arranged by
Morsch. Marching Band.
Score and set of parts.
Composed 1977. C.L.
Barnhouse #069-1468-00.
Published by C.L.
Barnhouse
(CL.069-1468-00).
$70.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Pie Jesu Fanfare [Conducteur et Parties séparées] - Facile De Haske Publications
Fanfare Band - Grade 2 SKU: BT.DHP-1115077-020 From Requiem opus 48(+)
Fanfare Band - Grade 2
SKU:
BT.DHP-1115077-020
From Requiem opus
48. Composed by
Gabriel Faure. Arranged
by Robert van Beringen.
Great Classics. Festive
and Solemn Music. Set
(Score & Parts). Composed
2011. De Haske
Publications #DHP
1115077-020. Published by
De Haske Publications
(BT.DHP-1115077-020).
9x12 inches.
English-German-French-Dut
ch. Pie Jesu is the
famous aria for soprano
and orchestra from
Gabriel Fauré’s
Requiem, opus 48.
Fauré (1845- 1924)
composed the work in
1887, two years after his
father’s death and
only a short time before
his mother passed away.
Fauré’s Pie
Jesu is richly atmosphere
and peaceful, and Robert
van Beringen perfectly
captures the essence of
Fauré’s
beautiful music in this
arrangement for fanfare
band.
Pie Jesu is
de beroemde aria voor
sopraan en orkest uit het
Requiem (opus 48) van
Gabriel Fauré.
Fauré (1845-1924)
schreef dit werk in 1887,
twee jaar na de dood van
zijn vader en kort voor
het overlijden van zijn
moeder. Pie Jesuis
overigens eerder sfeervol
en vredig dan treurig te
noemen. Robert van
Beringen maakte er een
geslaagde bewerking
van.
Pie
Jesu ist die
berühmte Arie für
Sopran und Orchester aus
Gabriel Faurés
Requiem, opus 48.
Fauré (1845-1924)
schrieb das Werk im Jahre
1887, zwei Jahre nach dem
Tod des Vaters und kurz
vor dem Tode der Mutter.
Pie Jesu ist
vielmehr ein
stimmungsvolles,
friedvolles denn
trauriges Werk, das
Robert van Beringen
einfühlsam für
Fanfareorchester
bearbeitete.
Pie
Jesu est le célèbre
aria pour Soprano et
orchestre cordes extrait
du Requiem Op. 48 de
Gabriel Fauré,
qu’il composa peu
de temps après le
décès de son
père. Pie Jesu est
empreint d’une
atmosphère douce et
paisible sans pour autant
évoquer un sentiment
de tristesse.
L’arrangement
réalisé par Robert
van Beringen capture
l’essence même
de cet aria, en
reflétant toute
l’émotion de la
merveilleuse musique de
Fauré, dans un
écrin de quiétude
et d’humilité
pour orchestre
d’fanfare.
Pie Jesu è la famosa
aria per soprano e
orchestra dal Requiem
opus 48 che Gabriel
Fauré (1845-1924)
scrisse nel 1887 due anni
dopo la morte del padre e
poco prima della morte
della madre. Pie Jesu
è un brano struggente
e pieno di atmosfera,
arrangiato magistralmente
per banda da Robert van
Beringen. $110.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Pie Jesu Fanfare [Conducteur] - Facile De Haske Publications
Fanfare Band - Grade 2 SKU: BT.DHP-1115077-120 From Requiem opus 48(+)
Fanfare Band - Grade 2
SKU:
BT.DHP-1115077-120
From Requiem opus
48. Composed by
Gabriel Faure. Arranged
by Robert van Beringen.
Great Classics. Festive
and Solemn Music. Score
Only. Composed 2011. 8
pages. De Haske
Publications #DHP
1115077-120. Published by
De Haske Publications
(BT.DHP-1115077-120).
9x12 inches.
English-German-French-Dut
ch. Pie Jesu is the
famous aria for soprano
and orchestra from
Gabriel Fauréâ??s
Requiem, opus 48.
Fauré (1845- 1924)
composed the work in
1887, two years after his
fatherâ??s death and
only a short time before
his mother passed away.
Fauréâ??s Pie Jesu is
richly atmosphere and
peaceful, and Robert van
Beringen perfectly
captures the essence of
Fauréâ??s beautiful
music in this arrangement
for fanfare band.
Pie Jesu is de
beroemde aria voor
sopraan en orkest uit het
Requiem (opus 48) van
Gabriel Fauré.
Fauré (1845-1924)
schreef dit werk in 1887,
twee jaar na de dood van
zijn vader en kort voor
het overlijden van zijn
moeder. Pie Jesuis
overigens eerder sfeervol
en vredig dan treurig te
noemen. Robert van
Beringen maakte er een
geslaagde bewerking
van.
Pie
Jesu ist die
berühmte Arie für
Sopran und Orchester aus
Gabriel Faurés
Requiem, opus 48.
Fauré (1845-1924)
schrieb das Werk im Jahre
1887, zwei Jahre nach dem
Tod des Vaters und kurz
vor dem Tode der Mutter.
Pie Jesu ist
vielmehr ein
stimmungsvolles,
friedvolles denn
trauriges Werk, das
Robert van Beringen
einfühlsam für
Fanfareorchester
bearbeitete.
Pie
Jesu est le célèbre
aria pour Soprano et
orchestre cordes extrait
du Requiem Op. 48 de
Gabriel Fauré,
quâ??il composa peu de
temps après le
décès de son
père. Pie Jesu est
empreint dâ??une
atmosphère douce et
paisible sans pour autant
évoquer un sentiment
de tristesse.
Lâ??arrangement
réalisé par Robert
van Beringen capture
lâ??essence même de
cet aria, en reflétant
toute lâ??émotion de
la merveilleuse musique
de Fauré, dans un
écrin de quiétude
et dâ??humilité pour
orchestre
dâ??fanfare.
Pie
Jesu è la famosa aria
per soprano e orchestra
dal Requiem opus 48 che
Gabriel Fauré
(1845-1924) scrisse nel
1887 due anni dopo la
morte del padre e poco
prima della morte della
madre. Pie Jesu è un
brano struggente e pieno
di atmosfera, arrangiato
magistralmente per banda
da Robert van
Beringen. $25.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Requiem Orchestre [Conducteur d'étude / Miniature] Schott
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (St...(+)
Soprano, tenor,
Knabensoprano,
flugelhorn, mixed choir
and chamber orchestra
(Study Score) SKU:
HL.49018099 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. $93.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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