SKU: 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.
SKU: HP.1755
UPC: 763628117559.
As the title indicates, there are 13 new hymn texts based on Psalms, 12 as hymns and 24 as new spiritual songs. All are set to tunes ancient and modern, and all have been written since the publication of A Year of Grace (1990) and To Sing God's Praise (1992).
SKU: HL.302319
UPC: 888680966935. 5.0x5.0x0.185 inches.
Elton John ruled the pop charts in the 1970s--and moviegoing audiences in 2019 finally got a chance to see why. The rave-reviewed biopic Rocketman chronicled John's fruitful songwriting partnership with lyricist Bernie Taupin, with the movie letting their seemingly never-ending catalog of classics speak (or sing) for themselves. Includes: Rocket Man, Bennie and the Jets, Your Song, Crocodile Rock and Don't Let the Sun Go Down on Me.
SKU: HL.14010480
ISBN 9788759870082. Danish.
Esperanza - Eremitkrebs-Tango (1997) Hermit Crab Tango, Esperanza is part of Norgard's Animals in Concert, a suite of piano pieces, so far comprised of: 1. A Tortoise's Tango (1984) - dur.: 4' 2. Light of a Night - Paul meets bird (1989) - dur.: 6' 3. Hermit Crab Tango - Esperanza (1997) - dur.: 5' The pieces can be performed together or one by one. In the1980s, quite a few “finds” turned up in Per Norgard's music. The material could be, say, a number of song birds' equilibrist melodic lines, the overtones of the ocean surf, or waltzing themes by the schizophrenic artist Adolf Wolfli (1864-1930). Or again, as heard here, it can be the rhythms and motifs of the tango and a Beatles song (with bird), explored in three independent piano pieces that form the Animals in Concert suite, about which the composer writes: Programme note for Animals in Concert: 1. A Tortoise's Tango (1984) - dur.: 4' 2. Light of a Night - Paul meets bird (1989) - dur.: 6' 3. Hermit Crab Tango - Esperanza (1997) - dur.: 5' The pieces can be performed together or one by one. In the1980s, quite a few “finds” turned up in Per Norgard's music. The material could be, say, a number of song birds' equilibrist melodic lines, the overtones of the ocean surf, or waltzing themes by the schizophrenic artist Adolf Wolfli (1864-1930). Or again, as heard here, it can be the rhythms and motifs of the tango and a Beatles song (with bird), explored in three independent piano pieces that form the Animals in Concert suite, about which the composer writes: “A Tortoise's Tango”: The tortoise as tango dancer must presumably possess certain rhythmic peculiarities, which I have chosen to express by letting the tune of the tortoise shuffle broadly, tripartite through the strict four partite time of tango. Tortoise Tango was the original title of this piece, “written for Achilles” (the pianist Yvar Mikhashoff), for his so called tango project”, including new tangos for piano by composers from all over the world. “Light of a Night (Paul meets bird)” was commissioned by pianist Aki Takahashi. It is a “reworked” arrangement for piano of the Beatles song ”Blackbird”. As some of us will recall, the Beatles on “The White Album” let the beautiful song to the blackbird be accompanied by an (apparently) live blackbird song. It is this authentic bird-motif world that in “Light of a Night” weaves itself into the Beatles melody and in turn is gradually infected by it, so that a completely new third entity ensues: a kind of Bird-rock ballad (or maybe it is a Beatle-bird?). “Hermit Crab Tango (Esperanza)”: The tango situation is quite special for a Hermit Crab. It is a well-known fact that the hermit crab - this soft animal - must run the gauntlet among the many perils at the bottom of the sea when it must move hose. I have chosen to express the angers by a.
SKU: BT.MUSAM1010647
ISBN 9781783059812. English.
The Really Easy Piano Playalong series provides you with Easy Piano arrangements of hit songs by the most popular artists of today, with online audio that gives you demonstration and playalong tracks for each tune. With this edition of the bestselling series, you can learn 17 Chart Hits then play along to professionally-recorded backing tracks. Featuring many of the top tunes of today, Chart Hits  includes simplified arrangements for solo Piano, so these massively famous songs can be played by all abilities. With songs like Best Song Ever by One Direction, Happy by Pharrell Williams, Roar by Katy Perry and Ed Sheeran's Thinking Out Loud , these pop chart-topperswill impress anyone and everyone when played on the Piano. Each tune is arranged for Easy Piano, meaning the chords and tune can be picked up by beginners to the Piano, letting them play famous songs quickly and easily. Using the accompanying download card, you can get instant online access to demonstration and backing tracks of each song, letting you first hear how it's meant to be played, then learn the song using the sheet music, and finally play along to a professionally-recorded backing track, ensuring you sound great and just like the original! Also included in this Really Easy Piano Playalong  sheet music songbook is some very helpful and useful fingering tips, as well as lyrics, fascinating background information and invaluable performance hints, all contributing to make this a really great way for beginning pianists to learn all the best tunes of today. With songs by Miley Cyrus, Passenger, Coldplay, Adele, Taylor Swift and Rihanna, Really Easy Piano Playalong presents a great number of today's bestselling, radio-conquering Chart Hits  along with some demonstrations and backing tracks that will enable beginning pianists to play 17 brilliant pop songs with ease. The Really Easy Piano Playalong series provides you with Easy Piano arrangements of hit songs by the most popular artists of today, with a unique download card that gives you demonstration and playalong tracks foreach tune. With this edition of the bestselling series, you can learn 17 Chart Hits then play along to professionally-recorded backing tracks.
SKU: M7.ART-42140
ISBN 9783866421400. German.
Die in 'Traumhafte Klaviermusik' enthaltenen 22 mittelleichten bis mittelschweren Klavierstücke erzählen kurze Geschichten aus dem Leben, vermitteln Stimmungen von heiter bis bewölkt und verweben bekannte und neue Klangassoziationen mit spannenden Harmonien, Rhythmen und Motiven. Sie eignen sich sehr gut, um das expressive Spielen zu entwickeln. Ziel ist es, die Stimmung des Stückes durch leichte Veränderungen des Anschlags, der Dynamik und des Tempos gefühlvoll und ausdrucksstark wiederzugeben. Zu den Melodien der rechten Hand spielt die linke Hand wiederkehrende Begleitmuster, welche oftmals in traditioneller und moderner Klavierliteratur zu finden sind und so dem Lernenden eine gute technische Grundlage vermitteln. Die rechte Hand ist betonter und bewegter und übernimmt die Rolle des Erzählers. Stilelemente aus der klassischen und modernen Musik, aus Filmmusik und romantischen Pop-Balladen sind kunstvoll verwoben, um neue Klangerlebnisse zu schaffen. Ton- und Taktarten sind so gewählt, dass die Stücke leicht zu erlernen sind und der Spieler sich auf die Interpretation der Musik, sowie auf ein flüssiges und unabhängiges Spielen beider Hände konzentrieren kann. Das spielerische Erlernen von schnellen Läufen, Synkopen und Sprüngen wird zudem moderat gefördert. Die Fingersätze sind sorgfältig gesetzt, um ein flüssiges und müheloses Legatospiel zu ermöglichen. Der Einsatz des Haltepedals wird bei allen Stücken empfohlen, jedoch klingen die Kompositionen durch das Legato auch ohne diesen vollständig. Viel Freude beim Träumen!
SKU: BT.MUSAM1011307
ISBN 9781785582028. English.
The Ultimate Collection of James Bond theme tunes features songs from all 24 films, including the most recent ‘Writing’s On The Wall’ by Sam Smith, for the upcoming film Spectre. Arranged for piano, vocal and guitar, every theme song from Dr. No right up to Skyfall and Spectre is included here, letting you learn these classic, instantly-recognisable tunes with lyrics, guitar chord boxes and some fascinating background information and photographs from the films.
SKU: GI.G-9884
UPC: 785147988427. English.
Songs of Hope is a new collection of printed music containing titles from Coming Home plus favorite songs from previous commercial recordings, including Something About You, Reach Out, What a Day, and Divine Mercy Chaplet. Fr. Rob uses these songs in his ministry all across the world. They are songs of hope about Jesus and about life—and the joys and hardships that are part of life. Contents: Alive • Coming Back • Draw Me • Fill Us Up • Foot of the Cross • Gift Given • Here We Are • I Am • I Surrender to You • I Will Trust • Let Us Arise • Letting Go • More of You • No Greater Love • Only by Grace • Our Father • Our God Will Reign • Reach Out • Something About You • Song of Love • To the Ends of the Earth • We Exalt • You Draw Us In.
SKU: HL.131541
ISBN 9780936661667. UPC: 888680025564. 8.5x11.0x0.031 inches.
Say Something is an original song by the American duo A Great Big World. The lyrics are about letting go when a relationship ends. It became an international hit when Christina Aguilera joined A Great Big World on a re-recorded version in 2013. Sylvia Woods has made a 4-page advanced beginner to intermediate arrangement, playable on either lever or pedal harp. This music features a pedal point (also called a pedal note or pedal tone), which is a sustained or continually repeated note that is held constant while harmonies change in other parts. A pedal point is usually found in the bass, but here it is in the middle register. Virtually every measure includes a middle C note on the downbeat. Sometimes it is played with the right hand, and at other times with the left. But it is almost always there. This pedal point harmony is what originally drew me into this beautiful piece of music the first time I heard it on the radio. The music is in the key of C, and no sharping levers are required, as there are no lever changes. Fingerings, lyrics and chord symbols are included. The harp range required is 24 strings from a low C up to an E. It can be played on 24-string to 26-string harps with a C as the lowest string if you play both hands an octave higher than written.
SKU: FG.55011-542-2
ISBN 9790550115422.
In his work Palindrome for piano (2000), Kirmo Lintinen has chosen a predetermined form: perfectly mirrored symmetry, and he makes it work wonderfully! Lintinen is not interested in hidden structures and working with minutiae, but rather lets the palindromic qualities of the palindrome be clearly visible and audible. Rather than using abstract tonerows, Lintinen mirrors a three-tiered musical characteristics, adding and then letting go suspension: Cantabile semplice/Giocoso/Fuocoso e flessibile - Fuocoso e flessibile/Giocoso/Cantabile semplice. The duration of the work, 180 seconds, is divided into six segments: 45sec:30sec:15sec:15sec:30sec:45sec (3:2:1:1:2:3). The shorter the segment, the more raucuous the material.
