Resplendence

SKU: CF.CAS155

ISBN 9781491162873. UPC: 680160921621. Key: G major.

Resplendence is an exclamation of joy and serves as the fanfare for a glorious return. Written as Covid-19 restrictions lessened and orchestras once again took to the stage, this uplifting work celebrates a return to normalcy. A joyous theme in G major briefly moves into E-flat major, developing the motif through modal shifts and expanding accompaniments. Variations in the relative minor build to a spectacular climax, driving the accelerating melody to a triumphant conclusion. Colorful with ever changing textures and lyrical melodies, the work embodies the emotions of people rediscovering the joy of being together, and of playing music together.

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

SKU: CF.CAS155F

ISBN 9781491163214. UPC: 680160921966. Key: G major.

Resplendence is an exclamation of joy and serves as the fanfare for a glorious return. Written as Covid-19 restrictions lessened and orchestras once again took to the stage, this uplifting work celebrates a return to normalcy. A joyous theme in G major briefly moves into E-flat major, developing the motif through modal shifts and expanding accompaniments. Variations in the relative minor build to a spectacular climax, driving the accelerating melody to a triumphant conclusion. Colorful with ever changing textures and lyrical melodies, the work embodies the emotions of people rediscovering the joy of being together, and of playing music together.

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

SKU: GI.G-6315INST

SKU: LO.10-5527S

ISBN 9780787771669.

Ange la Kraft Cross has created a truly distinctive setting of familiar words from the books of Micah and Matthew. The music begins quietly but very energetically, and it develops across contrasting moods towards a final resplendent conclusion: to seek justice and love mercy and walk humbly with your God..

SKU: SU.80101453

Three Sound-Poems after Paintings by Andreas Willscher (2017) are dedicated to organist Philip Hartmann and the art-loving community of the Pauluskirche in Ulm, Germany. The music is inspired by three paintings by German composer (and artist) Andreas Willscher (b. 1955). The pieces take their musical shapes and colors from the specific details of the paintings. The three paintings represent different styles: a landscape, a religious theme, and an abstract. The first movement, Sonnenfeld (Sun Field), is inspired by a bright painting of the sun illuminating the green field behind the composer's small house in Sainte-Radegonde (Dordogne/Perigord, France). A resplendent and majestic section of full sun harmonies surrounds a middle section with more motion. The second movement, Gebet des Hl. Franziskus (Prayer of St. Francis), is inspired by a painting showing St. Francis of Assisi in prayer. Francis has been a frequent theme in Willscher's music since his appointment at a young age as organist of St. Francis Church in Hamburg. The third movement, Laetare (Rejoice), is inspired by an vibrant abstract painting comprised of bold colors. The alternation of the blocks of rich color are mirrored in the block harmonic shifts in the movement, which is a moto perpetuo, building towards the organ's fullest sounds. Instrumentation: Organ Duration: 11' Composed: 2017 Published by: Zimbel Press.

SKU: WD.080689644177

UPC: 080689644177.

Many moments had come and gone from this Earth…But not a single one could ever amount to this moment…The moment when the silence was forever broken. The reason a multitude of Heavenly Hosts began rejoicing in resplendent song. The moment when hope, grace, and mercy were granted to every nation. The one special moment when a sweet Child was born, laid in a manger, and wrapped in cloths…The moment when Glory touched Earth. Bringing this powerful, revolutionary moment to the forefront of every mind this Christmas is this new multi-generational musical from Word Music & Church Resources, Glory Touching Earth. With songs of worship and adoration, praise and glory, Cliff Duren has arranged this masterpiece into a seamless Christmas Musical that will bring every voice in your choir and congregation together as one to celebrate the birth of our Savior.

SKU: AP.49908

ISBN 9781470662387. UPC: 038081579580. English.

Zadok the Priest, the first of G. F. Handel's four Coronation Anthems, has been a cherished part of British coronation services from George II in 1727 to the current sovereign, Charles III. It is a magnificently resplendent work that embodies the essence of British pride and spirit. This terrific arrangement for string orchestra and piano by Douglas E. Wagner encapsulates the majesty of the original. This arrangement is also part of a larger festival setting with optional brass, timpani, and choir. Also available for S.A.T.B. (50210), S.A.B. (50211), S.S.A. (50212) with optional SoundTrax (50213) and SoundPax. (3:10).

SKU: AP.49438S

ISBN 9781470650575. UPC: 038081571355. English.

All the shrouded mystery and resplendent grandeur of the fourth movement of Respighi's masterpiece, Pines of Rome, has been effectively captured in this brilliant arrangement by Douglas E. Wagner for string orchestra and timpani (required). The symphonic poem, The Pines of the Appian Way is one of Respighi's most frequently performed and recorded works and stands as the most popular of all three of his Rome-inspired suites. (4:50).

SKU: AP.48356

UPC: 038081551791. English.

This regal a cappella Latin setting begins on a unison pitch that quickly blossoms into resplendent four-part harmony. Sensible voice leading and conservative intervals encourage good intonation even when we briefly shift to the relative minor key. Short in length but packed with worthwhile teaching moments, including occasional optional divisi in both voicings.

SKU: LO.20-1619L

ISBN 9781429127929.

Leve l 2 • Natural sounds of bells and chimes are prominently displayed with much use of LV in this resplendent presentation of The Birthday of a King; Away in a Manger; and Silent Night, Holy Night. This work is especially suited for Christmas Eve services.

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.