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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.535376 Composed by Gregory Sullivan Isaacs. Christian,Contemporary,Sacred. Octavo. 11 pages. Musik Fabrik Music Publishing #2803949. Published by Musik Fabrik Music Publishing (A0.535376). Gather Us In is an excerpt from Undelivered, a cantata written about the speech that John F. Kennedy never gaev in Dallas in November, 1963. In this piece for chorus and piano, Suzanne Calvin adapted this text from the Oxford Book of Prayer originally by G.D. Matheson (1842-1906). The work is suitable for both religious services and concert performances. Gather us in, Thou love that fillest all;Gather our rival faiths within thy fold.Rend each man’s temple-veil and bid it fall,That we may know that Thou hast been of old;Gather us in.Gather us in: we worship only Thee;In varied names we stretch a common hand;In diverse forms a common soul we see;In many ships we seek one spirit-land;Gather us in.Each one sees one colour of thy rainbow-light,Each looks upon one tint and calls it heaven;Thou art the fullness of our partial sight;We are not perfect till we find the seven;Gather us in.
Gregory Sullivan Isaacs: Gather Us In from "Undelivered" for SATB chorus and piano
Chorale SATB

$3.35 2.9 € Chorale SATB PDF SheetMusicPlus

Piano Solo - Level 3 - Digital Download SKU: A0.1487273 Composed by Johann Baptist Wanhal. Arranged by Allan Badley. Classical. Score. 41 pages. Artaria Editions #1064248. Published by Artaria Editions (A0.1487273). Like his younger compatriot Leopold Koželuh, Johann Baptist Wanhal derived a considerable part of his income from teaching, and his large output of keyboard music – which includes solos, chamber works with keyboard and instructional pieces – reflects this. Along with the usual sets of variations, dances and other small-scale works, he published sonatinas and progressive sonatas for young performers which reveal his experience as teacher and his gift of making the simplest music attractive as well as instructive. Wanhal’s output of solo keyboard music also includes far more complex and ambitious works, among them, several sets of pieces styled “Capriccio”. These works are in essence multi-movement sonatas, their capriciousness largely evident in their discursive first movements which include an element of modest tonal adventure. The works are very attractive, technically demanding yet well within the scope of the many fine amateur fortepianists in Vienna. Wanhal’s capriccios were eagerly sought after in other centres as well and were issued by publishers in London, Paris, Amsterdam, Offenbach am Main as well as in Vienna.
Three Capriccios for the Pianoforte, Op.31 (Weinmann XIII:1-3)
Piano seul

$54.00 46.69 € Piano seul PDF SheetMusicPlus

Piano Solo - Level 3 - Digital Download SKU: A0.1487271 Composed by Johann Baptist Wanhal. Arranged by Allan Badley. Classical. Score. 54 pages. Artaria Editions #1064246. Published by Artaria Editions (A0.1487271). Like his younger compatriot Leopold Koželuh, Johann Baptist Wanhal derived a considerable part of his income from teaching, and his large output of keyboard music – which includes solos, chamber works with keyboard and instructional pieces – reflects this. Along with the usual sets of variations, dances and other small-scale works, he published sonatinas and progressive sonatas for young performers which reveal his experience as teacher and his gift of making the simplest music attractive as well as instructive. Wanhal’s output of solo keyboard music also includes far more complex and ambitious works, among them, several sets of pieces styled “Capriccio”. These works are in essence multi-movement sonatas, their capriciousness largely evident in their discursive first movements which include an element of modest tonal adventure. The works are very attractive, technically demanding yet well within the scope of the many fine amateur fortepianists in Vienna. Wanhal’s capriccios were eagerly sought after in other centres as well and were issued by publishers in London, Paris, Amsterdam, Offenbach am Main as well as in Vienna.
Three Capriccios for the Pianoforte, Op.36 (Weinmann XIII:12-14)
Piano seul

$60.00 51.88 € Piano seul PDF SheetMusicPlus

String Quartet String Quartet - Level 4 - Digital Download SKU: A0.1411462 Composed by Traditional Scottish Reel. Arranged by Genevieve Tabby. Classical,Folk,Traditional. 29 pages. Songburd Music #993728. Published by Songburd Music (A0.1411462). Hey fiddlers, One thing we know about old Scottish folk tunes is they never grow old, and even though we may never know who first wrote the delightful melody, “The Corrie Man,†we can tell from its lilting qualities—with its cheerful and spirited flow—that it brings to us images of the u-shaped valleys that are so familiar to the highlands of Scotland. We can easily imagine playing this traditional session tune among the rolling hills and farmlands of Scotland where musicians gather in their favorite places to play—near a tree or brook, on a farmhouse porch, in a sitting room or even in the kitchen.  Not to mention the casual setting of a pub where friends gather to raise a pint and sit in a big circle with an array of other fiddlers and musicians, playing tunes side-by-side enjoying each other’s company! With this backdrop our cellist Genevieve dedicated her time to arrange this artful reel for string quartet as part of our debut album, after which she had the wonderful opportunity to visit Scotland to study and perform with Alisdair Fraser and Natalie Haas, who inspired her to be a part of the rich tradition of preserving and performing Scottish folk music.We hope you will find that same inspiration while playing this piece with your friends and colleagues as much as we do.  It’s always a favorite showstopper!Slàinte Mhath (Cheers)ATLYS.
The Corrie Man
Quatuor à cordes: 2 violons, alto, violoncelle

$30.00 25.94 € Quatuor à cordes: 2 violons, alto, violoncelle PDF SheetMusicPlus

String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1158964 Composed by R. Schumann. Arranged by Joseph Judge. Chamber,Romantic Period. 20 pages. School Ensemble Music #759205. Published by School Ensemble Music (A0.1158964). Soldiers March, by R. Schumann, 3:30, for string quartet. Also includes Humming Song, First Loss, and Wild Horseman from Album for the Young. Violin, Violin, Viola, Cello, with alternate part for another Violin to play the Viola part. These recognizable songs were arranged to be easy to play: range limited, rests provided, melodies marked, rehearsal marks designed for easy group cuing, and the workload shared (everyone gets to play the melody). Also available for other quartets: Brass, Saxophone, Woodwind. Submit feedback at SchoolEnsemble.com.
Soldier's March by Schumann for String Quartet in Schools
Quatuor à cordes: 2 violons, alto, violoncelle

$8.99 7.77 € Quatuor à cordes: 2 violons, alto, violoncelle PDF SheetMusicPlus

Solo Guitar - Level 4 - Digital Download SKU: A0.899136 Composed by Alban Berg. Arranged by Rod Whittle. Contemporary. Individual part. 4 pages. Maggie Creek Music #3874083. Published by Maggie Creek Music (A0.899136). For solo classical guitar; 4 pp; first part of 2nd movement of the Lyric SuiteAlban Berg 1885 -1935Berg was a student of Arnold Schoenberg, and came to prominence with compositions using the atonalism of that school. He incorporated chromaticism and an absence of tonality into his compositions with complete facility, if not to public acclaim. His creativity was interrupted by World War 1, during which he served in the Austrian Army. He returned to composition as a champion of modern music, with his opera Wozzeck (1923) bringing both fame and notoriety. He died of blood poisoning in 1935. Over the past century dissonance increased in the compositions of serious music to a point where the semitones had equal value, which is harmonically a kind of wall. Berg was an early innovator. However, if when strictly followed such serialism reaches an ultimate dissonance that effectively sees off melody and harmony as emotional and structural entities, that still leaves elements around form, dynamics and rhythm for the purposes of expression, and these together with adroit note selection prove to be surprisingly potent for articulation and cohesion. The Lyric Suite (1927), which uses Schoenberg's twelve-tone technique, is a case in point. The very name seems incongruous for an atonal work, yet lyric it is, and if the forms used are necessarily masked by the characteristics of serial writing they are not eliminated by them. In this excerpt a rondo form is used with the principle subject repeated on the third page (noted in the score) after a digression to more remote regions than this form usually adopts, due to the atonality.   As well, Berg's writing is rarely purely atonal. In fact the integration of consonant elements are one of the music's most alluring features. It would be so easy, one feels, for melodic material to coagulate the mix, but in his hands the very opposite is generated, an increased clarity of mood. The music remains consistent, as it should, and the incorporation of (often only relatively) thematic material, if often arresting after so much dissonance, doesn't always always mean less intensity or gloom. It is simply effective, either way. Having said all that, it can hardly be denied that the substance of atonality (dissonance, clashing semitones, unharmonic bass) gives it a special suitability to express dark outlooks, and Berg is the author of Wozzeck and Lulu, no downtown musicals. It is hard to determine if Berg chose atonality because it could deliver the angst or because he was bored with obvious forms and romanticism. Probably both.
Excerpt from the Lyric Suite
Guitare

$5.00 4.32 € Guitare 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 goâ€. 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 doorâ€. 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 wisdomâ€. 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 aeternaâ€. 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 morningâ€] 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 thousandfoldâ€]. 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.â€]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 “homecomerâ€. 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 48.41 € Orchestre de chambre PDF SheetMusicPlus






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