Spectrum (Full Score)

SKU: LO.30-3412L

UPC: 000308145762.

Full score for What Love Is This? (55/1185L) The Passion story vividly expresses God's endless love for the world as Jesus willingly lays down His life so that all might experience eternal life. What Love Is This? is a moving musical and worship experience for choir and congregation alike as it walks through the last days of Christ's earthly life, from the jubilant entrance into Jerusalem on Palm Sunday and the difficult days of rejection and crucifixion to the triumphant resurrection of Easter Sunday. The fullest spectrum of music is represented in this dramatic thirty-five-minute work from composers Lloyd Larson, Mary McDonald, Brad Nix, Marty Parks, and Larry Shackley. A single speaker weaves the narrative between anthems ranging from celebratory to contemplative. The musical options with both SATB and SAB versions available ensure that this can be done by choirs large or small. The accompaniment options from piano to orchestra or accompaniment track provide maximum flexibility for virtually any worship setting.

SKU: CA.2091900

ISBN 9790007171711.

Volume 19 of the Schutz Complete Edition brings together 21 very different compositions from various phases of Schutz's compositional output. The spectrum ranges from a short, two-part sacred concerto to a six-part cyclical psalm setting and large-scale polychoral concerto, from well-known works such as the Osterdialog to a completely unknown madrigalian composition, full of emotion, to a simple chorale setting. A particular challenge was posed by the ten works or versions of works which survive incomplete. Two of these, the Christmas concerto Ach Herr, du Schopfer aller Ding SWV 450a and Ein Kind ist uns geboren SWV 497, appear here for the first time in print. With both of these it turned out that it was possible to reconstruct the missing parts fully from available material. For the Ultima Verba Psalmi 23, Gutes und Barmherzigkeit SWV 95 and the two Nunc dimittis: Herr, nun lassest du deinen Diener SWV 432 and 433, the editor's reconstructions are presented, and likewise with the chorale movement In dich hab ich gehoffet, Herr SWV 446. The impressive Easter dialog Weib, was weinest du SWV 443 is one of the works which survives incomplete. In order to give an impression of how the whole work might actually have sounded in the complete form as planned by Schutz, the Appendix to the volume contains a reconstruction of the four-part vocal setting of the missing final chorus, based on the surviving figured bass. The magnificent Gesang der drei Manner im feurigen Ofen (Song of the three men in the burning fiery furnace) SWV 448 from the book of the prophet Daniel, the original source of which is lost, is critically discussed and published with various possibilities for scoring.

SKU: LO.30-3415L

UPC: 000308146608.

Score and set of instrumental parts plus CD with printable instrumental parts for What Love Is This? (55/1185L) The Passion story vividly expresses God's endless love for the world as Jesus willingly lays down His life so that all might experience eternal life. What Love Is This? is a moving musical and worship experience for choir and congregation alike as it walks through the last days of Christ's earthly life, from the jubilant entrance into Jerusalem on Palm Sunday and the difficult days of rejection and crucifixion to the triumphant resurrection of Easter Sunday. The fullest spectrum of music is represented in this dramatic thirty-five-minute work from composers Lloyd Larson, Mary McDonald, Brad Nix, Marty Parks, and Larry Shackley. A single speaker weaves the narrative between anthems ranging from celebratory to contemplative. The musical options with both SATB and SAB versions available ensure that this can be done by choirs large or small. The accompaniment options from piano to orchestra or accompaniment track provide maximum flexibility for virtually any worship setting.

SKU: AP.29730S

UPC: 038081321349. English.

Here's a march that is so much more than a march! This celebratory concert piece contains enthusiastic fanfare, stately march, lyric melodies, rich harmonies, prominent rhythms and gentle pastoral moments. Shifting is required for violin 1, cello and bass, and optional shifting for viola. Students in all sections will experience the full spectrum of expressiveness in dynamics and bowings and will be challenged with intonation and rhythmic clarity. This might be the time to give your traditional graduation march a break! (6:00).

SKU: CL.012-1934-01

The total spectrum of band color appears in this brilliant composition by the master of this band medium. A beautiful lyric section is surrounded by flashing woodwinds and punctuating brass and percussion in the outer sections. Beautifully cross-cued, but still requires good instrumentation and capable players. Exceptional closing number!

SKU: CA.5021500

ISBN 9790007090265.

Volume 15 reveals a largely unknown treasure of the romantic song for voice with piano accompaniment in which his complete 100 solo songs with opus numbers are united in one collection. The musical spectrum ranges from the naive-witty Kinderlieder op. 152 to the highly dramatic setting of Des Madchens Klage op. 57,7 from Schiller's Wallenstein. Among the authors of these poems Rheinberger's scarcely-known contemporaries are represented, just as are the great names of German literature, including Goethe, Eichendorff, and Scheffel. English and Italian poets are also represented (Burns, Moore, Petrarca, Savonarola).

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.3024

UPC: 763628130244. Joel Raney.

Classic Hymn Beautifully scored for handbells, handchimes and piano, this arrangement of the classic hymn tune includes many techniques and uses the full spectrum of timbres from the instrument.