SKU: HP.C6037O
UPC: 763628260378. Lloyd Larson. Isaiah 9:2, Isaiah 9:6.
Original anthem From Lloyd Larson, this Advent anthem with a text based on Isaiah 9:2, 6 is built around an original melody which then leads into Come, Thou Long-Expected Jesus. It is easily learned with minimal rehearsal time. This setting comes from Lloyd's blockbuster cantata Were You There on That Christmas Night (code no. 8611). Orchestrations: Conductor's Score, Flute, Oboe (Soprano Sax or Clarinet), Clarinet, Bassoon (Bass Clarinet), Horn (Clarinet), 2 Trumpets, 2 Trombones (Baritone T. C. ), Percussion I & II, Piano, Harp, 2 Violins, Viola, Cello and String Reduction.
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: AP.44820S
UPC: 038081517469. English.
With string parts as close to the original as possible, this full orchestra arrangement of two movements from Grieg's Holberg Suite is a gem! It may be performed by string or full orchestra, and, for ultimate flexibility, each movement can be performed alone. Featuring the Sarabande and Gavotte, careful attention has been paid to maintain the original intentions of the composer in this piece. Minimal accommodations were made by arranger Victor López to provide a more educationally-sound experience for the players. (8:10).
SKU: AP.BSO9909C
UPC: 029156989748. English.
Based on the classically familiar Greensleeves, here is a poignant setting with musical lines from forceful to flowing. Robert W. Smith stamps the work with his unique sound sculpturing to give a highly atmospheric scoring. Minimal rehearsal time will be needed to assure a dramatic performance. Intense and satisfying! (2:23).
SKU: AP.47439
ISBN 9781470655181. UPC: 038081544724. English.
A fun new arrangement of a beloved holiday classic closely follows the original, though it is still playable for this level orchestra. Set in Bb by Bud Caputo, all parts remain in 1st position with minimal extensions. Optional percussion parts are included; however, other than the sleigh bells, all parts can be covered in the strings.
SKU: AP.47439S
ISBN 9781470655198. UPC: 038081544731. English.
A fun new arrangement of a beloved holiday classic closely follows the original, though it is still playable for this level orchestra. Set in B-flat by Bud Caputo, all parts remain in 1st position with minimal extensions. Optional percussion parts are included; however, other than the sleigh bells, all parts can be covered in the strings.
SKU: AP.49464
ISBN 9781470650223. UPC: 038081571003. English.
Written to help students develop their spiccato bow stroke, this energetic piece is a joyful celebration from the very first measure. The left hand challenges are minimal, allowing the players to focus on controlling their bow on and off the string. A contrasting call-and-response B section in minor mode briefly slows the pace down before the party resumes again. Over time, the overall tempo can be increased as the students become more and more proficient with this all important bow technique. Correlated to Sound Innovations, Book 2, Level 2. (2:30).
SKU: AP.49464S
ISBN 9781470650230. UPC: 038081571010. English.
SKU: SU.90810010
Instrumentation: 3fl(picc), 2ob, 2cl, 2bn; 4hn, 3tpt, 3tbn(bs), tba; timp, 4perc, hrp, pno; strings Duration: 10' Full Score & Parts: available on rental Wind Ensemble version(#90810020) Composed: 1991 Published by: Subito Music Publishing Galbraith has penned a score of bright allure, its minimalistic touches deftly applied and its energetic personality balanced by lyrical finesse. --Pittsburgh Press ...full of imagination and energy. --American Record Guide.
SKU: AP.49057S
ISBN 9781470645731. UPC: 038081564210. English.
Playing together as a team is the name of the game in Esprit de Corps by Doug Spata! This cheery all-pizzicato march uses only the 1st-pattern notes of the D major scale. Part independence is minimal, and, in fact, many sections are homorhythmic, which will help beginners learn to listen to each other as they play. Teachers will love the counting and note-reading experience this piece provides, while students will adore the animated tunes and bouncy, melodic accompaniments. (2:10).
SKU: AP.48088
ISBN 9781470661083. UPC: 038081550916. English.
Allegro non troppo by Johannes Brahms, arranged by Robert Seiving, features a folk-like, yet mature theme that is shared across all the sections. This approachable, yet sophisticated arrangement with minimal rhythmic independence builds confidence. Limited 3rd positions are required of Violin I. (2:35) This title is available in MakeMusic Cloud.
SKU: AP.48088S
ISBN 9781470661090. UPC: 038081550923. English.
Allegro non troppo by Johannes Brahms, arranged by Robert Seiving, features a folk-like, yet mature theme that is shared across all the sections. This approachable, yet sophisticated, arrangement with minimal rhythmic independence builds confidence. Limited 3rd positions are required of Violin I. (2:35) This title available in MakeMusic Cloud.
SKU: HL.14000910
ISBN 9788759858875. 12.0x16.5x0.52 inches.
Nacht Und Trompeten by Hans Abrahamsen (1981). Programme note: The piece is dedicated to Hans Werner Henze, from whose request the piece arose. The music unfolds in a space, in which the memory of the earlier music has the same reality as the music of today. But the music of the memory is naturally distant and vague, whereas the music of today is present and gesticulated. In the opening section the past and the present are clearly separated, but during the piece, this balance is lifted, as the music of the past (trumpet signals, Sicilian melodicity, romantic Pathos, strawinskian neo-classicism) in a dynamic and often dramatic surrealistic play with minimalism and modernism oftoday is unravelled. Orchestration: 2.2.2.2/2.3.0.0/5perc/pf/str. Parts are for hire: hire@ewh.dk.
SKU: AP.36-52703029
ISBN 9781682962411. UPC: 746241228789. English.
Volume 3 explores major and minor keys up to 2 flats, violin 1 will play to 3rd position and the cello part also has minimal shifting. The nine tunes are very accessible rhythmically and these are quite appropriate for an accomplished middle school group. Contents: Linstead Market, I Love My Love, Still, Still, Still, Danny Boy, Down By the Salley Gardens, Jack Was Every Bit a Sailor, Bourree (Stoltzer), and Minuet and Gigue (Handel).
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