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Speakers and piano or orchestra - difficult - Digital Download SKU: S9.Q22787 12 Pieces from the Poem of Rainer Maria Rilke. Composed by Viktor Ullmann. This edition: vocal/piano score. Downloadable, Piano reduction. Duration 25 minutes. Schott Music - Digital #Q22787. Published by Schott Music - Digital (S9.Q22787). German.Die Weise von Liebe und Tod des Cornets Christoph Rilke obviously is the last work outlined by Viktor Ullmann in the concentration camp ofTheresienstadt. Other than with the two symphonies developing from the piano sonatas Nos. 5 and 7, Ullmann apparently thought of an orchestral melodrama first, it was only later that the note for recitant and orchestra or piano was added. This version of the work is known to be performed several times in Theresienstadt. Only the first piece had been orchestrated by Ullmann himself, but he had written down the essentials of the orchestration in the hardly decipherable manuscript in great detail. Ullmann chose 12 sections from the prose work by Rainer Maria Rilke, shortening the plot sensibly. Except for the elimination of some sentences which refer to the rose-petal episode and which are incomprehensible without the framework plot, the borrowed texts are unabridged. According to an instruction by Ullmann in the autograph, the text indicated above the staves is only roughly coincident with the music.3 (3. auch Picc.) · 2 · Engl. Hr. · 2 · Baßklar. · 2 · Kontrafag. – 4 · 2 · 3 · 1 – P. S. (Trgl. · ant. Cymb. · 3 hg. Beck. h/m/t · 3 Tamt. h/m/t · kl. Tr. · Mil.tr. · Rührtr. · gr. Tr. · Glspl. · 1 Röhrengl.) (3 Spieler) – Hfe. · Klav. (auch Cel.) – Str.
Die Weise von Liebe und Tod des Cornets Christoph Rilke

$33.99 28.91 € PDF SheetMusicPlus

Mezzo-soprano, viola d'amore and harp - Digital Download SKU: S9.Q43313 Cycle based on Rainer Maria Rilke. Composed by Wilfried Hiller. This edition: score and parts. Downloadable, Score and parts. Duration 8 minutes. Schott Music - Digital #Q43313. Published by Schott Music - Digital (S9.Q43313). German.In his four-part song cycle, Wilfried Hiller sets various poems by Rainer Maria Rilke to music which were published between 1906 and 1913. Hiller chose the pieces according to their dramatic effect: The content they share is the awareness of topics like loneliness, death and loss; however, neither the texts nor his composition reflect feelings of utter hopelessness. The songs were premiered at the Munich Academy of Fine Arts in 2010.
Du meine heilige Einsamkeit
Harpe

$40.99 34.87 € Harpe PDF SheetMusicPlus

Small Ensemble Bassoon,Harp,Medium Voice - Level 5 - Digital Download SKU: A0.918691 Composed by Jenni Brandon. Contemporary. Score and parts. 72 pages. Jenni Brandon Music #6451535. Published by Jenni Brandon Music (A0.918691). Ahead of All Parting for Mezzo-Soprano, Harp, and Bassoon explores the emotions of life, death, and what lies beyond as told through the lush sounds of the harp and the dark, sonorous qualities of the mezzo-soprano and bassoon. With some simple staging, this dramatic work calls upon the words of Rilke and E.E. Cummings to wrap the audience in the world of the here and beyond. Commissioned by Darrel Hale, bassoon, of Louisiana State University and premiered April 1, 2019.Single-movement with poems by Rainer Maria Rilke and E.E. Cummings, interpreted and curated by Darrel Hale. Duration approximately 24 minutes
Ahead of All Parting

$50.00 42.53 € PDF SheetMusicPlus

SATB choir unaccompanied - Medium - Digital Download SKU: MQ.8355-E Composed by David Evan Thomas. 21st Century. 10 pages. E. C. Schirmer Music Company - Digital #8355-E. Published by E. C. Schirmer Music Company - Digital (MQ.8355-E). English.Forever Toward You was commissioned by Plymouth Congregational Church, Minneapolis, Minnesota, in honor of Claire Colliander. The text is a translation of a poem by Rainer Maria Rilke (1875–1926) from The Book of Monastic Life. Rilke’s poem speaks of a desire to encounter the Creator—the You in the title of this composition—and of the necessity for doing so through action, not thought alone. The tempo of the music alternates between those ideas of activity (Allegro energico, Buoyant) and reflection (Poco andante, Molto moderat), giving this three minute piece quite a bit of variety and interest. Duration: 3:00.
Forever Toward You (Downloadable)
Chorale SATB

$2.65 2.25 € Chorale SATB PDF SheetMusicPlus

Mezzo-Soprano Voice,Vocal Solo - Level 1 - Digital Download SKU: A0.1450890 By Rainer Maria Rilke. By ?rthvr. 21st Century,A Cappella,Classical,Contemporary. 1 pages. Arthur #1030339. Published by Arthur (A0.1450890). A setting of the poem Contrée ancienne by R.M. Rilke, for solo voice. You are free to transpose the score up or down.Ambitus:C4 - E5If you would like to perform the piece publicly (live concert or internet), please contact me.Here you can find the audio recording of this piece for download:https://arthvr000.bandcamp.com/album/vocal-music-poetry-settingsPoem text:Contrée ancienne, aux tours qui insistenttant que les carillons se souviennent -,aux regards qui, sans ętre tristes,tristement montrent leurs ombres anciennes.Vignes oů tant de forces s’épuisentlorsqu’un soleil terrible les dore …Et, au loin, ces espaces qui luisentcomme des avenirs qu’on ignore.
Contrée ancienne
Rainer Maria Rilke
$2.99 2.54 € PDF SheetMusicPlus

Mezzo-Soprano Voice,Vocal Solo - Level 2 - Digital Download SKU: A0.1450892 By Rainer Maria Rilke (poet). By ?rthvr. 21st Century,A Cappella,Chamber,Classical. 1 pages. Arthur #1030341. Published by Arthur (A0.1450892). A setting of the poem Starker Stern (eng.: Strong Star) by R.M. Rilke, for solo female voice. You are free to transpose the score up or down.If you would like to perform the piece publicly (live concert or internet), please contact me.Here you can find the audio recording of this piece for download:https://arthvr000.bandcamp.com/album/vocal-music-poetry-settingsPoem text:Starker Stern, der nicht den Beistand braucht, den die Nacht den andern mag gewähren, die erst dunkeln muß, daß sie sich klären. Stern, der schon vollendet, untertaucht, wenn Gestirne ihren Gang beginnen durch die langsam aufgetane Nacht. Großer Stern der Liebes-Priesterinnen, der, von eigenem Gefühl entfacht, bis zuletzt verklärt und nie verkohlend, niedersinkt, wohin die Sonne sank: tausendfachen Aufgang überholend mit dem reinen Untergang.
Starker Stern
Rainer Maria Rilke (poet)
$2.99 2.54 € PDF SheetMusicPlus

Girl's choir (SSMezAA) a cappella - difficult - Digital Download SKU: S9.Q20948 For girl's choir (SSMezAA) a cappella. Composed by Peter Eotvos. This edition: choral score. Schott Chamber Choir. Downloadable, choral score. Duration 6 minutes. Schott Music - Digital #Q20948. Published by Schott Music - Digital (S9.Q20948). German.This six-minute madrigal setting was commissioned by the renowned Hanover Girls' Choir and composed on the basis of one of Rainer Maria Rilke's profound poems. It begins as a thanksgiving prayer: for the summer, for the autumn fruits. But the first winds bring along the fear of the cold and loneliness of winter: 'Whoever is alone now will remain so for a long time, will stay up, read, write long letters…'. Peter Eötvös lets the poem unfold twice, each time in a different way, thus intensifying the reflection. The tonality is treated freely, and the choral setting extends the underlying five-part texture, in which the choir's soloists create striking echoes, up to eight-part passages.
Herbsttag

$6.99 5.95 € PDF SheetMusicPlus

Medium voice and piano - intermediate - Digital Download SKU: S9.Q46010 Composed by Max Kowalski. This edition: Sheet music. Downloadable. Op. 1. Duration 28 minutes. Schott Music - Digital #Q46010. Published by Schott Music - Digital (S9.Q46010). German • English.Max Kowalski (1882–1956) was a full-time lawyer who never gave up on his passion for music: singing lessons during his law studies, conducting and counterpoint classes, among others, at Dr. Hoch’s Konservatorium in addition to his work at his own law office in Frankfurt. While studying, he already published his first works; 15 song cycles were published until 1933. In the years that followed, the Jewish-born Kowalski was restricted in working both as a lawyer and as a composer due to his persecution by the National Socialists. In 1938 he was arrested, deported to the concentration camp of Buchenwald and finally forced to flee into exile in London. Contemporaries called Kowalski a lyricist among the composers. The choice of texts of his songs shows his great knowledge and love of German literature. For example, he set to music texts by Friedrich Hölderlin or Rainer Maria Rilke, but also Indian or Japanese poems. Kowalski left numerous unpublished songs which are published by Schott Music in a two-volume edition: Volume 1 (ED 22586) contains his Jewish songs (1935-37), the Heinrich Heine cycle (1937) and all English-language songs (1941-46). Volume 2 (ED 22587) contains Kowalski's late works: the songs based on texts by Friedrich Hölderlin (1950) and the Geisha Lieder according to Klabund (1951).
Songs
Voix moyenne, Piano

$21.99 18.71 € Voix moyenne, Piano PDF SheetMusicPlus

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (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 20091 (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).
Requiem
Orchestre de chambre

$55.99 47.63 € Orchestre de chambre PDF SheetMusicPlus






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