SKU: 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 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 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 thousandfold�]. 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.�]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

1 (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).

SKU: A0.1004151

Throughout the centuries, sundials (a flat plate that marks the time of the day by the shadow of a gnomon which is cast onto it) have been used by civilizations to tell time. Unlike modern clocks and digital watches, in which every single second has its own momentary significance, telling time by sundial is more evolutionary. The seconds, and hours, melt into one another. It is perhaps for this reason that sundials have often been conceived not only as practical time pieces, but as works of art, metaphors, and creations that are inherent expressions of the personality of their creators. Etched in many sundials across the world, in Latin, English, German, and other languages are often found mottoes that reflect the thoughts of the sundial's creator. These mottoes can be fatalistic, humorous, transient, morbid, or serene, and almost always involve the subjects of time, the passing of the hours, life and its brevity, or metaphors involving shadows. Many times these mottoes feature some witticism, such as I only count the sunny hours (since a shadow must be present for a sundial to function). Other times, they can be revealingly existential (We are but shadow), and other times offer advice (Use the hours, don't count them).

It is these statements of philosophy, etched in sundials throughout the centuries, that most interests me. I am currently composing a set of movements for piano trio (Piano, Violin, Cello) dedicated to the mottoes found on sundials, and their significance to me. The first movement, subtitled Tempus Edax Rerum (Time devours things) is expansive and attempts a feeling of eternity, into which all seemingly fast moving workings of human beings are inevitably subsumed. For the second movement I am considering the phrase Pereunt et Imputantur (They pass and are counted referring to the hours of the day), and its implication of the way in which time can slip away, whether we observe it or not.

SKU: A0.915688

Voicing: SAB. Ranges: Sop., F4 to G5; Alt., A3 to D5; Bass, F2 to D4.                                                                                      Mood: Rejoicing, praise and thanksgiving over the Father's gift of His Son, who came to set us free from sin and death. Difficulty: Not difficult. Not hard to learn. Fun to sing. The piano part will take some practice and will require a comfortable octave reach. History: The Father Sent the Son is the title song of a cantata I composed ten or so years ago for a church choir that could barely muster a men's section. They loved to sing. They rehearsed every Sunday afternoon between services and sang every Sunday morning for worship and often in the evenings. They loved the entire cantata and sang it with enthusiasm. Since that time other choirs have song the cantata, and I have added and subtracted and rewritten through the years. I wanted to get the entire cantata as close to perfection as possible before I published it, but I have decided to publish the portions I am most happy with piecemeal for the time being. When all portions are where I thing they should be, I will publish the entire cantata as one work. Lord willing, of course.  Please let me know if you enjoy the music I write. It is encouraging to hear from people who have enjoyed my work, or even from those who want to offer a criticism or suggestion. Dick Barber, aspiringtunerjb@sbcglobal.net

SKU: A0.522333

This song is public domain, written in the 1850's, during a time - pre-civil war - when the nation was being torn apart. The writer calms his anxiety by holding on to God's promises. Here are some lyric notes:   I am a poor, wayfaring stranger -  Wayfaring: traveling especially on foot; peripatetic country preachers; a poor wayfaring stranger.   Wandering through this world of woe -  Matthew 18:7: Woe to the world because of the things that cause people to sin!  Such things must come, but woe to the man through whom they come!
 And there's no sickness, toil or danger -  John 11:4: When he heard this, Jesus said, This sickness will not end in death. No, it is for God's glory so that God's Son may be glorified through it.   Ecclesiastes 2:18-19: I hated all the things I had toiled for under the sun, because I must leave them to the one who comes after me.  Acts 14:22: strengthening the disciples and encouraging them to remain true to the faith. We must go through many hardships to enter the kingdom of God,  In that bright land to which I go -  James 1:17 Every good and perfect gift is from above, coming down from the Father of the heavenly lights, who does not change like shifting shadows.
I'm going home to see my Father -  John 6:40 -  For my Father's will is that everyone who looks to the Son and believes in him shall have eternal life, and I will raise him up at the last day.   I'm only going over Jordan -  Joshua 22:4:  Now that the LORD your God has given your brothers rest as he promised, return to your homes in the land that Moses the servant of the LORD  gave you on the other side of the Jordan.   Yet though dark clouds will gather round me -  2 Corinthians 12:10: That is why, for Christ's sake, I delight in weaknesses, in insults, in hardships, in persecutions, in difficulties. For when I am weak,  then I am strong.   I know my way is rough and steep -  Psalm 16:11: You have made known to me the path of life; you will fill me with joy in your presence, with eternal pleasures at your right hand.   Proverbs 15:24:  The path of life leads upward for the wise to keep him from going down to the grave.
But beauteous fields lie just before me -  Numbers 13:25: We arrived in the land you sent us to see, and it is indeed a magnificient country, a land flowing with milk and honey.   Where God's redeemed their vigil's keep - Exodus12:42:  Because the LORD kept vigil that night to bring them out of Egypt, on this night all the Israelites are to keep vigil to honor the LORD  for the generations to come.  I'm going home to see my mother -  Mark 10:29-31: I tell you the truth, Jesus replied, no one who has left home or brothers or sisters or mother or father or children or fields for me  and the gospel will fail to receive a hundred times as much in this present age (homes, brothers, sisters, mothers, children and fields-and with them, persecutions.

SKU: A0.811087

The Rochut editions of Bordogni’s vocalises have become the most widly used etudes in American trombone pedigogy. They are prized for their lyric beauty, and also for their development of endurance, upper range, legato technique, styling and more. Other bass clef instrumentalists use Rochut.

These Twenty Counterparts may be practiced and played as etudes alone. They are similar in style to the Bordogni; some are harder and some are easier than the Bordogni originals. But the primary intent was for recreational duet playing and for the trombone studio. Duets are fun and more, contributing to sightreading, intonation, ensemble, style-matching, confidence, independence, etc. As with the piano accompaniments, the duet parts also enhance the original melodies.

Read what these famous trombonists have to say about this new contribution to the trombone literature

…indisputably one of the most invaluable additions to appear in a very long time. Understanding lyricism is much easier when hearing this second voice.

Joseph Alessi, Principal Trombone,

New York Philharmonic

…fantastic and beautiful. What a great idea! They will give the student a wonderful sense of music-making.

Henry Charles Smith,

Arizona State University

…absolutely ingenious….they capture the essential character of each piece and cleverly expand and enhance the original material. Can be ‘stand alone’ material in its own right. I have already used them successfully on trombone, euphonium, and tuba.

Loren Marsteller, Los Angeles

An enjoyable new way to play the old favorites. Perform them with friends; record one part and play the other; play them alone…a great idea.

Ralph Sauer, Principal Trombone

Los Angeles Philharmonic

A great book and a great idea! Really valuable; I am using it in my teaching.

Jay Friedman, Principal Trombone,

Chicago Symphony Orchestra

Excellent studies, challenging in all registers, rewarding to play.

Ned Meredith, formerly San Francisco Symphony Orchestra

A very insightful and fresh approach to the trombone’s most important collection of etudes…destined to become a standard in the trombone literature. An absolute must!

Michael Davis, jazz recording artist,

New York City

The unexpected harmonic progressions are a delight. They work great for euphoniums and for trombone and tuba

R. Winston Morris,

Tennessee Technological University

…similar to the Rochut yet contains challenging rhythmic independence and contrast, increasing the value of ensemble experience. As an aid to duet performance, the measure, staff and page format is arranged the same as Rochut’s Fischer edition.

Glenn P. Smith, Professor Emeritus

University of Michigan

A fine addition to the lyrical literature

Charles Vernon, Bass Trombone

Chicago Symphony Orchestra

They’re not only enjoyable to play, but add some ‘zip’, harmonically, melodically, and rhythmically, to the original melodies.

Buddy Baker

University of Northern Colorado

Compositionally, very interesting, not just a duet in thirds…stylistically appropriate…a great way to begin a lesson.

Vern Kagarice, University of North Texas

An outstanding idea, very valuable

Keith Brown, Indiana University

I enjoy the book with my students and then also change parts

Carsten Svanberg, Danish National Symphony Orchestra

Bravo! They serve a great purpose, very musical and playable. Will become a part of the standard trombone repertoire in a very short time…already part of mine.

Jiggs Whigham, Professor of Trombone and Jazz,

Cologne Germany

SKU: A0.846557

A beautiful vocal duet for tenor and alto. Words by Kevin G. Pace. Text by Mary Ann W. Snowball. Text: O, Savior of my soul: Make me whole, make me whole. Lend comfort to my mourning heart for errors I still owe. Pure penitence burns deep within; I implore thy grace. Let mercy claim my broken pledge as I seek thy face. O, trust my contrite plea: Set me free, set me free. As deepest anguish stirs inside, seek me searchingly. Consuming fire leaves no stain; cleanse my ev’ry thought. O, lead me to thy suff’ring side where I can be taught. O, my beloved child: I am here; I am here. Each mournful moment pardons fault, drying ev’ry tear. So blessed are they who grieve for sins; know my holy name. Remember I have giv’n my soul; that is why I came. O, child of my soul: Hear my voice, hear my voice. Sure comfort comes with strains of love; solace is my choice. My covenant assures thy peace, lending holiness, Then beauty for sweet ashes gives my eternal rest. Now I’m whole, I am whole; I can see thy face. O, now my soul is comforted in thy warm embrace.

SKU: A0.1023766

Instrumentation: SATB a cappella choir (with divisi)
Duration: 6'
Completed: January 2017

I wrote the poem The Landowner a few years ago in a poetry class at my undergraduate alma mater, Bucknell University. When I heard that there was an opportunity to write for a student formed choir at Peabody, I thought it would be a perfect opportunity to set one of my previously written poems to music. I looked back at poems which I had written, and came across The Landowner. It continues to intrigue me to this day since I am still uncertain as to what it is about. This enigmatic, earthy, and hauntingly repetitive poem poses more questions than it does provide answers. This is something which fascinates me, and which I sought to depict in the music.

The Landowner:

The landowner sends out his three servants.
Each go to work in separate fields;
To rake the leaves,
to harvest the crops,
to pluck the fruits from the tree.

Working endlessly,
They turn their heads from each other.
They refuse to help,
they refuse to talk.
Good work is done,
but for what purpose?

The landowner plucks fresh leaves
from a papaya tree.
Although he is blind,
he still sees the sun.
The mooing of cows and
crowing of roosters ceases.

He stands in the shade,
waiting for his servants.
They offer him papaya,
He shakes his head