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CATEGORY Chamber Orchestra

Libertad De Expresion - Chamber Jazz Suite. Sample Score

Libertad de Expresion

This composition is a Chamber Orchestra Composition in 3 Movements for String Quartet, Trumpet, Soprano Sax, Piano, Accoustic Guitar and Percussion.

Libertad De Expersion

Composed by Fritz Renold

Instrumentation:

Violins 1

Violins 2

Viola,

Cello,

Trumpet

Soprano Sax

Accoustic Guitar

Piano

Percussions.

© Copyright by Fritz Renold 2007

Published by Shanti Music Publishing 2007

International Copyright secured by SUISA [Lease Item]

The Rainbow Suite. Sample Score

The Rainbow Suite

This composition is a Chamber Orchestra Tune in 7 Movements. The seven Movements are called Blue, Green, Indigo, Orange, Red, Violet, Yellow. It is a composition by Christian Jacob and Fritz Renold. After their Helvetic Suite in 1998 they were enthusiastic and wrote this piece in 7 Movements for:

The Rainbow Suite

Composed by Fritz Renold & Christian Jacob

Instrumentation:

2 Violins,

Viola,

Cello,

Flute,

Clarinet,

Alto Sax,

Tenor Sax,

Barytone Sax,

2 Harps,

Piano,

Bass,

Drums,

Percussions.

© Copyright by Fritz Renold & Christian jacob, 1998

Published by Shanti Music & X-Tian Music Publishing 1998

International Copyright secured by SUISA & SACEM

[Lease Item]

Suite For Springtime. Sample Score

Suite For Springtime

Composed by Fritz K. Renold

Inspired by Garden work and the colors of Africa, Fritz wrote this piece for String Quartet and Jazz Quintet. Orchestrated by Bob Freedman, the piece turned into a lovely vehicle for interpretation and improvisation, originally premiered by Tommy Smith, Amir Elsaffar, Vana, Mirosalv Vitous and Adam Nussbaum.

Movement I

Movement II

Movement III

Movement IV

Movement V

Springtime

Composed by Fritz Renold 2001

Orchestrated by Robert Freedman 2004

Suite in Five Movements

1. Spring Is Here

2. Spring in Africa

3. Waltz in Spring

4. Romantic Spring

5. Spring is Over

Dedicated To The Göhner Stiftung

for

Flügelhorn

Tenorsaxophon

Piano

Accoustic Bass

Drums

Violin I

Violin II

Viola

Cello

Contrabass

Harp

© Copyright by Fritz Renold 2001

Published by Shanti Music Publishing 2005

All Rights Reserved by SUISA 2005

[Lease Item]

CATEGORY Classical Works

Nusantara - Suite for Jazz 5tet & Large Symphonie Orchestra. Sample Score

  [Purchase Item].

Nusantara Suite

World Premier in June 2010, the ‚Nusantara Suite’ is a 45-minute orchestral work written by Swiss composer Fritz Renold for the Malaysian Philharmonic Youth Orchestra (MPYO) conducted by Kevin Field. This Suite is a musical tale in five movements that illustrates unity in the midst of cultural diversity of the Malay Archipelago, richly evident in Malaysia. The composer perceives Malaysia as a melting pot of cultural resources, with potentials of producing infinite possibilities for musical offshoots.

Nusantara is a Malay word for Archipelago. The term Nusantara refers to the archipelago between the Asian and Australian continents, often referred to as the “Malay Archipelago”.  The Nusantara Suite begins with the discovery of Nusantara by the Portuguese.

Movement 1 – Journey

The Opening movement is marked by drums and percussion, which the Portuguese brought along in their journey through the African Continent. The rhythmic pace conveys the influence of the African traditions on the Portuguese. This is combined with the use of the Indonesian Gamelan. During the middle of the first movement the piano introduces a European harmonic progression that evolves into a Malay traditional groove, which brings the Piano and the Gamelan together, developing the dance form into a trumpet solo.

Movement 2 – Waves of India

The movement starts with a south Indian type of melody played by the Soprano Sax and Trumpet that is then developed harmonically by the entire orchestra. The movement takes its own journey progressing variably and gradually from a pretty melody reminiscent of the south into a north Indian gypsy brass chorale flavour. The orchestra then encapsulates the homogeneous elements between the south, north and everything in between into a harmonic whole in a grandiose conclusion underlining the existing Indian cultural influences in the area long before any western rule came along.

Movement 3 – Colonial Walls

The piano trio highlights the strong components of classical music representing the historical Dutch rule in the Nusantara. This soon turns jazzy in structure with an extended piano and bass feature, quite telling of the oppressive colonial times of the past. Soon the Orchestra radiates with different colours of timbres like the flower gardens of Holland. The variety of timbres more accurately resembles the present day uniqueness that is found in each of the different peoples of Malaysia and it’s surrounding. The resulting harmony is just as telling of the cooperative way of life that has developed between the different races.

Movement 4 – The Lantern of Modernism

The fast movement with elements of pentatonic structures and Modal harmonic structure grows into a very modern harmonic content with solos by the trumpet, bass and piano. The orchestra appears always with harmonic texture and interaction for the soloists. The movement shows development on a fast scale and sort of resembles the Nusantara in its actual stage, always keen to progress and become a new unit. The complexity of this process is shown through the harmonic content and it’s orchestral approach.

Movement 5 – One Malaysia

The final movement brings harmony into the archipelago resembling the beauty of the people and its nature throughout. A climatic popish type of full orchestra with the inclusiveness of the traditional instruments of the Gamelan merge Tradition and contemporary styles into a ‘One Malaysia’.

[Lease Item]

Helvetic Suite. Sample Score

Scores and Parts for 7 Movements

1. Neighbouring Revolution

2. Aristocrazy Versus Democrazy

3. The Battle Of Berne

4. Friends In Aarau

5. Discussion Of A New Republic

6. The Liberation of the Subjects

7. The New Constitution

as played by:

Bostonian Friends & Aargauer Symphonie Orchester

Randy Brecker (Trumpet)

Fritz Renold (Soprano Sax)

Christian Jacob (Piano)

Miroslav Vitous (Bass)

Adam Nussbaum (Drums)

Instrumentation:

2 Flutes (Flute II doubles Piccolo)

2 Oboes

2 Clarinets in Bb

2 Bassoons

4 Horns in F

3 Trumpets in Bb

3 Trombones

Tuba

3 Timpani (30” 28” 25”)

Percussion (2 players)

Triangle

Cymbals

Snare Drum

Medium Gong

Glockenspiel

Harp

1st, 2nd Violins

Violas

Cellos

Basses

Jazz quintet:

Trumpet in Bb

Soprano Saxophone

Piano

Bass

Drums

Both Swiss and French actors were involved in the birth of the modern state of Switzerland some 200 years ago, and the same was true with regard to the birth of the Helvetic Suite. In creating their vibrant composition, Swiss saxophonist Fritz Renold and French pianist Christian Jacob were inspired by the historical events starting with the French Revolution that led to the period of the Helvetic Republic and the founding of the Swiss Confederation.

The jazz quintet Bostonian Friends is made up of the two composers as well as Grammy Award winner Randy Brecker (trumpet), world-class bassist Miroslav Vitous and the explosive drummer Adam Nussbaum – internationally renowned names that would make the mouth of any jazz fan water.

The composers brought together the Aargauer Symphonie-Orchester under the direction of Räto Tschupp and the Bostonian Friends, thereby creating an ensemble of unique stature and -stylistic potential. The “Helvetic Suite” is a vivid musical journey, descriptive, pictorial: -programme music in the best sense of the word.


[Lease Item]

Suite For Springtime. Sample Score

Inspired by Garden work and the colors of Africa, Fritz wrote this piece for String Quartet and Jazz Quintet. Orchestrated by Bob Freedman, the piece turned into a lovely vehicle for interpretation and improvisation, originally premiered by Tommy Smith, Amir Elsaffar, Vana, Miroslav Vitous, Adam Nussbaum and the Swiss Youth Pops Orchestra.

Composed by Fritz Renold 2001

Orchestrated by Robert Freedman 2004

Suite in Five Movements

1. Spring Is Here

2. Spring in Africa

3. Waltz in Spring

4. Romantic Spring

5. Spring is Over

Dedicated To The Göhner Stiftung

for

Flute 1&2

Alto Flute 1&2

Clarinet 1&2

Bassclarinet 1&2

Trumpet 1-3

Trombone 1&2

Bass Trombone

Tuba

Violin I

Violin II

Viola

Cello

Contrabass

Mallets

Harp

African Percussion

Voices & Percussion

Flügelhorn

Tenorsaxophon

Piano

Accoustic Bass

Drums

© Copyright by Fritz Renold 2001

Published by Shanti Music Publishing 2005

All Rights Reserved by SUISA 2005

[Lease Item]

CATEGORY Gospel Oratorium

Ecclesiastes - Oratorium. Sample Score

Ecclesiastes Oratorium

Composed and arranged by

Barrie Lee Hall Jr.

Fritz Renold

Helen Savari

For

Gospel Choir and Jazz Orchestra

1. Ouverture

2. Meaningless Statement A – 1:2/12:8

3. The Pleasure Quest – 1:3-2:26

4. Can’t Swing Time – 3:1-22

5. A Time For Everything – 3:1-22

6. Empty Words – 5:1-7

7. A Pantoum of The Lonely – 4:1-16; 5:8-6:12

8. Our Only Certainty Is Now – 7:1-9:10

9. Wisdom For Time And Chance – 9:11-10:20

10. Take Your Risk – 11:1-6

11. To God your Attention – 11:7-12:7

12. Meaningless Statement B – 1:2/12:8

Instrumentation

Choir:

Solo Voice

Soprano

Mezzo Soprano

Alto

Tenor

Bass

Orchestra:

1st Alto Saxophon

2nd Alto Saxophon

1st Tenor Saxophon

2nd Tenor Saxophon

Baritone Saxophone

1st Trumpet

2nd Trumpet

3rd Trumpet

4th Trumpet

5th Trumpet

1st Trombone

2nd Trombone

3rd Trombone

4th Basstrombone

Piano

Guitar

Hammond B3

Bass

Drums

Introduction to Ecclesiastes

The book of Ecclesiastes, is part of the old testament in the Bible and was written by King Solomon probably in a similar Zeitgeist like that of the present age. The key message in the book is that everything in life is meaningless and amounts to vanity without the joy that results out of the search for God. We believe the message conveyed in the texts of this music is indeed relevant today to induce hope for the present generation of young people around the world to tap into that creative source for problem solving.

Professor Dr. James Walters, a theologian who has been active in rehabilitation projects in the ghettos of American cities had extracted ten segments or sketches out of the monologues found in the book of Ecclesiastes that would translate directly to the 21st century society. Helen Savari-Renold in turn wrote the lyrics based on these sketches transforming these into dialogues.

The choir is comprised of singers from a Baptist church in Houston, Texas joined by a selected Swiss youth singers keen in gospel music that rehearsed and worked together during a whole week of intensive training under the direction of Dennis Montgomerry III from Boston, MA, USA.

This music was composed by Fritz Renold and Barry Lee Hall for this special ocassion for a jazz orchestra with the following instrumentation: five saxophones, five trumpets, four trombones, piano, Hammond B3, guitar, electric bass and drums. This combination is a historically new setting for this genre. The orchestra was made up of mix of renowned international artists out of the jazz, classical and gospel genre.

. Text. Text. [Lease Item]

The New Song - Oratorium. Sample Score

The New Song – Full Score

ORCHESTRA

Willie Murillo trumpet
Lea Reusser trumpet
Marcel Rey trumpet

Vincent Gardner trombone

Dimitri Spiess trombone

Shelley Carrol saxophones

Alexandra Döbeli alto sax

Diandra Russo alto sax

Christoph Huber tenor sax

Michael Zinniker tenor sax

Nick Zihlm ann baritone sax

Vernon ‘Ice’ Black guitar

Jonas Leuenberger guitar

Shedrick Mitchell piano

Roman Tschupp keyboards

Dennis Montgomery - hammond B3

Reggie Hamilton bass

Matthias Moor bass

Michael Baker drums

Christof Brogle drums/Perc.

Nicolas Vogel drums/Perc.

Grace Taylor

Tiffany Colston

Cinzia Catania

Zoe Näf

Muriel Thoma
Lydia Renold
Ashley Rodriguez

Leah Vladowski

Ayana McDonald

Denise Hudson

Salome Nora Siegrist

Lilian Ackle

Seraina Gratwohl

Julia Gisin

Corrine Huber

Sarah Lohr

Silja Raeber
Sabrina Voellmy

Kevin Ross
Bardia Charaf
Hans Hardmeier

Jordan Felisbret

Ashton Combs

Tremayne Youmanns

Robert Rivera

Rashad McPherson

Simon Blaser
Kay Gürber
Jonas Hofmann

Lukas Briner
Felix Oberle

Bernhard Fischer Perc.

[Lease Item]

Proverbs - Oratorium. Sample Score

Based on the Book of Proverbs, Helen Savari, Fritz Renold, Mark Soskin and Adi Yeshaya wrote a new Oratorium for Gospel Choir and Jazz Orchestra.

Proverbs Gospel Oratorio

 Choir: (Soprano, Alto, Tenor, Baritone, Bass)
Flute 1
Flute 2
Clarinet 1
Clarinet 2
Alto Sax 1/Soprano Sax
Alto Sax 2
Tenor Sax 1
Tenor Sax 2
Baritone Sax
Trumpet 1
Trumpet 2
Trumpet 3
Trumpet 4
Trombone 1
Trombone 2
Tuba
Hammond B3
Guitar
Piano
Bass
Drums
The Joy Of Humble Toil from the Gospel Oratorio Proverbs was arranged by Bob Freedman and the Choir by Barrie Lee Hall. It is a feature for the Solo Soprano Voice. Stilistically in the traditional Gospel-Funk idiom, it provides solo opportunities for the wind section. Level 6.
As Recorded by:
Charlie Young, Fritz Renold, Shelley Carrol, Wayne Bergeron, Valerie Ponomarev, Isaac Smith, John Calderon, Dennis Montgomery III, Keith Vivens, Victor Lewis.

[Lease Item]

LEASE

CATEGORY Jazz

Cube - Jazz Suite. Sample Score

CUBE

Fritz and Helen Renold have assembled a truly unique international cast here to express their profound, moving suite on the Deity’s great effort to restore peace and union with mankind. This majestic, joyous work celebrates a message of unconditional love through the prism of Euro-American jazz. The score reflects myriad jazz influences (Ellington pastel harmonies, Afro-Cuban rhythms, Kenton power bursts) and with deft grace and logic blends them with earlier traditions (Stravinsky chords, Lisztian piano interludes, sinuous Eastern modes). As a cube is a solid resulting from a series of right angles, Fritz and Helen assemble the pure essence of the jazz and classical worlds into a seamless, elegant and mystical structure. The performance is dynamic, the conception organic, and the score rich in detail and nuance. Listen, learn and enjoy!

1: Grave Intrigues Helen leads us boldly in medias res as she sings ecstatic warning about deceptive schemings, backed by bluesy clarinets of ‘Ellington East’, with Barrie Lee’s Cootie Williams-ish trumpet and Fritz’s sinuous soprano. Jamshied’s piano leaps in solo, leading into a Latinesque groove under Dave and Barrie Lee. Helen’s interlude over saxes points with smooth accusation at the high priests, cast as the three trombones and an improvised, purposefully chaotic cadenza by Dave, Miroslav and Adam. A conspirational brass chorale in Eastern melodic form, unison trumpets over orchestra, as Helen briefly reconfirms her honey-coated warning.

2: Caiaphas The high priest who brought Jesus before Pontius Pilate is portrayed as a slick dude in this fast-paced up-tempo Latin groove. Greg’s Jimmy Hamilton-ian clarinet cedes to Steve’s sweet, high and fine solo; Tommy begins boppish, then travels East, high and wide. On Greg’s return, a brief orchestral shout leads to a percussion break and trombone interlude; trumpets lead in fugal pattern to an a cappella Gypsy wind band, ‘classical’ cadenza, traps break, and Ducal tutti.

3: The Potter’s Field This sultry svelte blues á la Johnny Hodges’ Nile journey (Such Sweet Thunder) sets up Helen’s moan chorus (defending the afflicted, railing against irresponsible leaders) that is reflected in Amir’s long-toned muezzin-like and Tommy’s melismatic soprano (he’d just toured Yemen). Under all, and then alone, Miroslav sets high standards for bass freedom, rising from the gutted, blasted earth. Fritz explains: “The Potter’s Field symbolizes today any place where people are exploited, manipulated and deserted for the profit of self-seeking leaders”.

 4: Let This Blood Be Upon Us Adam and Jamshied lead to a bold tenor exchange by Tommy and Donny demonstrating that motivations between God and Man are often at variance. Saxes and brass trade fours with Miroslav and prepare for Jamshied’s Romantic piano. Then through a heavy band shout chorus followed by the voice that acknowledges the quirk of fate despite the asserted will of Man reflecting the Creator’s intent – unconditional love. The irony here runs deep: Man, thinking to defeat the threat of Jesus as a religious renegade by crucifying him, in fact fulfills God’s will (that His Son be sacrificed) to show Man the error of his ways, yet to ultimately absolve and embrace him.

5: The Rooster Crows expresses Jesus’ correct prophecy that Apostle Peter will deny their friendship three times before the cock crows. After Jamshied’s wake-up call, the rhythm section briskly leads to full orchestra. Helen’s catchy lyric implies that modern Christians, as well-meaning but weak-willed as Peter in standing by Jesus, often deny His teaching to more comfortably embrace a spectrum of worldly ways. Donny’s spirited solo makes a show of Peter striking off Caiaphas’ servant’s ear! Randy and Donny solo pointedly again into full band cry and Helen’s closing chorus.

6: “Eloi, Eloi, Lama Sabachthani!” Bernd rumbles and wails the opening cadenza, as Christ crucified cries out to The Father “Why have you forsaken me?” Amir’s melismatic, screaming trumpet expresses Christ’s pain and climaxes into Willie’s solo over the band. Helen’s pensive vocal ponders that Jesus’ suffering ‘on that darkest afternoon’ exceeded the physical, since he shouldered the Sins of Man on the cross and severed Himself from God’s Spirit.

7: The Resurrection This piece links Christ’s epiphany to pathways of potential human regeneration – the cross (or the death of the ego). A Dukish Jamshied and playful Miroslav lead to Helen’s vocal; then a fast blues leads to Donny’s querying and Barrie Lee’s affirmation (as Adam pushes). Jamshied’s swing abruptly shifts to a Brahmsian solo interlude in multiple meter (7/4, 3/4, 5/8), then back into the theme as Helen discreetly overdubbed (as body and spirit) limns in unison with clarinet and the re-energized ensemble a-roar.  What a turnabout!

8: The Great Commission Polite piano leads to Fritz’ soprano over low, skittering flutes, followed by a light Latin prance with jawbone. Helen’s airy melody ‘go and tell the world’ continues the thread within the message describing the regenerated life as a natural consequence for men who choose Christ’s path. Latin rhythms bring the work full circle. Fritz’s impassioned soprano balances Randy’s gritty trumpet, refusing illusions. Sectional counterpoint sets up Helen’s second chorus, supported by Miroslav and Jamshied, and then the full ensemble shouts the mesmerizing refrain.

9: Ascension Winds emerge from chaos into a ringing brass shout, then plumb the mysterious interchanges between Christ and Holy Spirit, crescendo-ing as Greg’s clarinet fantasia builds to brass chorale. The rhythm section muses intently, rising via brass accents and cresting flutes into Helen’s ecstatic vocal. Swinging Vincent leads to a contrapuntal sweep, as high winds and subdued brass climax in becalming Stravinsky-esque chords.

10: The Cube The suite eases out with a supple rumba as Willy’s taut conga and Vincent, muted lead to Greg’s clarinet over a bluesy Ducal reed/trombone theme. As the reeds lope west, Randy’s hot trumpet rides two choruses and yields to Greg over trombones. Tommy’s magisterial tenor, hiply robed as The Father, blesses all Creation as He opens heaven’s gates with a flourishing cadenza, fading to white.

Fred Bouchard

[Lease Item]

Euphrat & Tigris Suite. Sample Score

EUPHRAT & TIGRIS SUITE

Uraufführung - Komponiert von Fritz Renold

Das Werk reflektiert die Gedanken eines Komponisten, der sein momentanes Umfeld als Anbruch eines neuen Zeitalters empfindet. Um die Essenz dieses Zeitalters verständlicher zu machen, wird ein entsprechender Rückblick auf vergangene Zeiten projiziert. Es geschieht dies in 11 musikalischen Abschnitten.

Die Auswahl und der Stil der Musik richten sich nach der Stimmung seines Umfelds. Musikalische Reflektionen in Form von fern- sowie mittelöstlichen Tonreihen bis zur amerikanischen Bluestradition sind in diesem Werk prominent integriert, um dem Zuhörer die Identifikation von mehreren Kulturen zu ermöglichen. Die Zusammenführung des Blues mit anderen Musikkulturen soll den kritischen Aufschrei der Völker gegenüber den Krieg führenden Nationen schildern.

Die namhaften Musiker, welche sich ohne Zögern entschlossen haben, diese Premiere zu unterstützen vertreten diejenigen Nationen und ethnischen Kulturen, die sich momentan feindlich gegenüber stehen. Es sind dies sowohl amerikanische als auch europäische, jüdische und irakische Künstler aus der Tradition des Islams.

Es ist eine musikalische Suite entstanden, die kurz aber ehrlich die Geschichte der Menschen erzählt, eine Geschichte, die im Tal zwischen den beiden grossen Strömen Euphrat und Tigris ihren Anfang nimmt.

Wenn man von den zerklüfteten kurdischen Bergen und Hochebenen gegen Süden in die Wüsten Iraks kommst, wird das Pferd als Transportmittel durch das Kamel abgelöst, und dessen gemächlicher Gang findet sich denn auch rhythmisch in der arabischen Musik wieder.” Die Irakische Musik hat viele Gemeinsamkeiten mit der jüdischen, die historisch bis zur Zeit von Babylon zurückgehen.

So sind die Lieder stark emotionsgeladen und ähnlich wie im schwarzen Blues oder im “Cante jondo” Andalusiens, oft impulsiv und rauh. Der Gesang und auch die Instrumentalbegleitung verlangen eine hohe stimmliche und musikalische Befähigung, die weit über die Anforderungen eines einfachen Volkslieds hinausgeht. Die Qualität des Vortrags wird daran erkannt, wie gut eine Sängerin oder ein Sänger improvisieren kann.

Unter den Modi der jüdisch, irakischen Musik finden sich 11 Modi welche die Basis zu fast allen Liedern bilden. Es sind dies der Bayat, Hijaz, Rast, Iraq, Basta Nigar, Ajam, Lamy, Souznak, Saba, Seygah und der Hijazkar.

Die vier verschiedenen musikalischen Territorien der einzelnen Gruppierung innerhalb des Ensembles sind denn auch Ausgangspunkt der Gesamtkonzeption der Komposition. Im Ensemble sind Europäer, Afroamerikaner, Jüdischamerikaner und Iraker. Die Jüdisch-irakische Musik kennt die Vierteltontechnik nur Ansatzweise in ihren Modi. Gleiches gilt für die Afroamerikaner im Blues. Die Europäer sind die Archidekten der Harmonik und Chromatik. Das Resultat aller Arten ist die Mischung, die in der Euphrat und Tigris Suite zum Ausdruck kommen werden. Der wichtigste Bestanteil dieser Artenvielfalt ist die Improvisation. In der irakischen, jüdischen Musik gibt es die instrumentale, solo gespielte Art der Semi-Improvisation. Sie ist durch sogenannte Maqamat (spezifische Tonräume) charakterisiert. Die Kunst des Solisten besteht darin, verschiedene Motive aus bekannten Melodien auszuwählen und je nach improvisierendem Moment zusammenzusetzen. Dabei wird, wie für eine Improvisation typisch, im gleichen Augenblick komponiert und interpretiert und so die jeweilige Stimmung des Musikers ausgedrückt. Der Afroamerikaner zeichnet sich durch gleiche Fähigkeiten im Blues aus. Der Europäer bringt diesen Spielraum durch ein horizontal-vertikales Strukturverständnis auf eine weitere Ebene, welche als Ganzes eine sehr anspruchsvolle und sensible Ausgangslage bietet.

Die Suite gliedert sich in 11 Teile, welche programmatisch konzipiert sind. Zwischen den Teilen erhält der Zuhörer eine Einführung in den jeweiligen Satz der Suite in Form einer Lesung. Wie in der Lawik, einer Gesangsform der oralen Tradition aus dem Kurdistan, hat es auch hier mehr oder weniger die Eigenschaften eines eingängig gespielten Liedes und wird wie eine epische Dichtung über kriegerische und amouröse Taten musikalisch interpretiert. Unter die Form des Lawik werden verschiedene Liedtypen gruppiert, darunter Fabeln, Legenden und Erzählungen. Gleiches gilt für die Volkslieder Europas und den Blues. Es wird eigentlich in freiem oder strukturierten Tempo mit/oder ohne Perkussionsinstrumente als Semi-Improvisation über einem melodischen Motiv aufgeführt, das von einem Harmonie-Instrument begleitet werden kann. Ursprünglich über den Modi der Naturtonleiter gesungen, wird es heute in einer Maqamat-Leiter aufgeführt, meistens im Modus Bayat.

Der Blues ist allgemein als musikalische Form bekannt. Die tiefsinnigere Bedeutung des Wortes “Blues” liegt aber in dessen Lebensform. Der Blues ist ein Klagelied von unterdrückten Sklaven einer machtgierigen Gesellschaft. Die damit verbundene Nachricht ist der Hilferuf nach einer Erlösung. Afro-Amerikaner, Juden, Araber und Europäer haben über die vergangenen Jahrhunderte grosse Torturen über sich ergehen lassen müssen. Mit dem Titel wird dargestellt, dass mit dem “offiziellen Frieden”, den man zu erreichen gedenkt, nur die Basis zu neuen Konflikten gelegt wird. Daraus erkennend leidet eine Volksgemeinschaft, die einer Herrschaft dient, welche wenig Interesse an einer völkerverbindenden Struktur der Kulturen hat. Die Seele jedes Menschen sehnt sich aber nach einem inneren Frieden und einer Form des Lebens welcher verbindet und einem gegenseitig dient. Die 11 Themen der Komposition heissen:

Euphrat & Tigris Suite

Composed by Fritz Renold

Narration by Helen Savari Renold

#01 A Tree In Mesopotamia

#02 Union with gods

#03 Nimrod’s Legacy

#04 Seven Dreadful Mountains

#05 The Ransom

#06 Dispersion

#07 Elect Elucidate

#08 Baghdad Blues

#09 The Hedge of Ignorance

#10 The Little Horn

#11 The Fall Of Babylon

World Peace Orchestra – Euphrat und Tigris Suite

 

Fritz Renold (Sax/Clar) CH

Wayne Bergeron (Trumpet, Flg.horn) USA

Frank Greene (Trumpet) USA

Steven Bernstein (Trumpet) USA

Amir Elsaffar (Trumpet) Iraq

Wolfgang Drechsler (French Horn) DE

Charley Gordon (Tbn) USA

Dave Taylor (Btbn) USA

Jim Snidero (Sax/Flute) USA

Tommy Smith (Sax/Flute) SCOT

Walt Weiskopf (Sax/Clarinet) USA

Claudia Vollenweider (B.Clar) CH

Gildas Boclé (Bass) FRA

Julian Joseph (P), GB

Victor Lewis (Drums) USA

Jalil Asid (Santur, Perc. ) Iraq

Munir Oso (Darbuka) Iraq

Kurt Weil (Narrator) CH

Samstag 26. April 2003

20:15 Uhr

Kultur und Kongresshaus AARAU

[Lease Item]

Sabbath Suite. Sample Score

SABBATH SUITE

Composed by Fritz K. Renold

The Sabbath Suite is Suite of five movements reflecting the spiritual time jewish people undergo from Friday night until Saturday night.

Movement I

Movement II

Movement III

Movement IV

Movement V

Jazz Big Band with Vocals
Voice
Soprano Sax
Alto Sax 1
Alto Sax 2
Tenor Sax 1
Tenor Sax 2
Baritone Sax
Trumpet 1
Trumpet 2
Trumpet 3
Trumpet 4
Trombone
Horn in F
Euphonium
Piano
Acoustic Bass
Drum Set

[Lease Item]

CATEGORY Classical Works

Nusantara - Suite for Jazz 5tet & Large Symphonie Orchestra. Sample Score

  [Purchase Item].

Nusantara Suite

World Premier in June 2010, the ‚Nusantara Suite’ is a 45-minute orchestral work written by Swiss composer Fritz Renold for the Malaysian Philharmonic Youth Orchestra (MPYO) conducted by Kevin Field. This Suite is a musical tale in five movements that illustrates unity in the midst of cultural diversity of the Malay Archipelago, richly evident in Malaysia. The composer perceives Malaysia as a melting pot of cultural resources, with potentials of producing infinite possibilities for musical offshoots.

Nusantara is a Malay word for Archipelago. The term Nusantara refers to the archipelago between the Asian and Australian continents, often referred to as the “Malay Archipelago”.  The Nusantara Suite begins with the discovery of Nusantara by the Portuguese.

Movement 1 – Journey

The Opening movement is marked by drums and percussion, which the Portuguese brought along in their journey through the African Continent. The rhythmic pace conveys the influence of the African traditions on the Portuguese. This is combined with the use of the Indonesian Gamelan. During the middle of the first movement the piano introduces a European harmonic progression that evolves into a Malay traditional groove, which brings the Piano and the Gamelan together, developing the dance form into a trumpet solo.

Movement 2 – Waves of India

The movement starts with a south Indian type of melody played by the Soprano Sax and Trumpet that is then developed harmonically by the entire orchestra. The movement takes its own journey progressing variably and gradually from a pretty melody reminiscent of the south into a north Indian gypsy brass chorale flavour. The orchestra then encapsulates the homogeneous elements between the south, north and everything in between into a harmonic whole in a grandiose conclusion underlining the existing Indian cultural influences in the area long before any western rule came along.

Movement 3 – Colonial Walls

The piano trio highlights the strong components of classical music representing the historical Dutch rule in the Nusantara. This soon turns jazzy in structure with an extended piano and bass feature, quite telling of the oppressive colonial times of the past. Soon the Orchestra radiates with different colours of timbres like the flower gardens of Holland. The variety of timbres more accurately resembles the present day uniqueness that is found in each of the different peoples of Malaysia and it’s surrounding. The resulting harmony is just as telling of the cooperative way of life that has developed between the different races.

Movement 4 – The Lantern of Modernism

The fast movement with elements of pentatonic structures and Modal harmonic structure grows into a very modern harmonic content with solos by the trumpet, bass and piano. The orchestra appears always with harmonic texture and interaction for the soloists. The movement shows development on a fast scale and sort of resembles the Nusantara in its actual stage, always keen to progress and become a new unit. The complexity of this process is shown through the harmonic content and it’s orchestral approach.

Movement 5 – One Malaysia

The final movement brings harmony into the archipelago resembling the beauty of the people and its nature throughout. A climatic popish type of full orchestra with the inclusiveness of the traditional instruments of the Gamelan merge Tradition and contemporary styles into a ‘One Malaysia’.

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Helvetic Suite. Sample Score

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Suite For Springtime. Sample Score

Inspired by Garden work and the colors of Africa, Fritz wrote this piece for String Quartet and Jazz Quintet. Orchestrated by Bob Freedman, the piece turned into a lovely vehicle for interpretation and improvisation, originally premiered by Tommy Smith, Amir Elsaffar, Vana, Miroslav Vitous, Adam Nussbaum and the Swiss Youth Pops Orchestra.

Composed by Fritz Renold 2001

Orchestrated by Robert Freedman 2004

Suite in Five Movements

1. Spring Is Here

2. Spring in Africa

3. Waltz in Spring

4. Romantic Spring

5. Spring is Over

Dedicated To The Göhner Stiftung

for

Flute 1&2

Alto Flute 1&2

Clarinet 1&2

Bassclarinet 1&2

Trumpet 1-3

Trombone 1&2

Bass Trombone

Tuba

Violin I

Violin II

Viola

Cello

Contrabass

Mallets

Harp

African Percussion

Voices & Percussion

Flügelhorn

Tenorsaxophon

Piano

Accoustic Bass

Drums

© Copyright by Fritz Renold 2001

Published by Shanti Music Publishing 2005

All Rights Reserved by SUISA 2005

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CATEGORY Gospel Oratorium

Ecclesiastes - Oratorium. Sample Score

Ecclesiastes Oratorium

Composed and arranged by

Barrie Lee Hall Jr.

Fritz Renold

Helen Savari

For

Gospel Choir and Jazz Orchestra

1. Ouverture

2. Meaningless Statement A – 1:2/12:8

3. The Pleasure Quest – 1:3-2:26

4. Can’t Swing Time – 3:1-22

5. A Time For Everything – 3:1-22

6. Empty Words – 5:1-7

7. A Pantoum of The Lonely – 4:1-16; 5:8-6:12

8. Our Only Certainty Is Now – 7:1-9:10

9. Wisdom For Time And Chance – 9:11-10:20

10. Take Your Risk – 11:1-6

11. To God your Attention – 11:7-12:7

12. Meaningless Statement B – 1:2/12:8

Instrumentation

Choir:

Solo Voice

Soprano

Mezzo Soprano

Alto

Tenor

Bass

Orchestra:

1st Alto Saxophon

2nd Alto Saxophon

1st Tenor Saxophon

2nd Tenor Saxophon

Baritone Saxophone

1st Trumpet

2nd Trumpet

3rd Trumpet

4th Trumpet

5th Trumpet

1st Trombone

2nd Trombone

3rd Trombone

4th Basstrombone

Piano

Guitar

Hammond B3

Bass

Drums

Introduction to Ecclesiastes

The book of Ecclesiastes, is part of the old testament in the Bible and was written by King Solomon probably in a similar Zeitgeist like that of the present age. The key message in the book is that everything in life is meaningless and amounts to vanity without the joy that results out of the search for God. We believe the message conveyed in the texts of this music is indeed relevant today to induce hope for the present generation of young people around the world to tap into that creative source for problem solving.

Professor Dr. James Walters, a theologian who has been active in rehabilitation projects in the ghettos of American cities had extracted ten segments or sketches out of the monologues found in the book of Ecclesiastes that would translate directly to the 21st century society. Helen Savari-Renold in turn wrote the lyrics based on these sketches transforming these into dialogues.

The choir is comprised of singers from a Baptist church in Houston, Texas joined by a selected Swiss youth singers keen in gospel music that rehearsed and worked together during a whole week of intensive training under the direction of Dennis Montgomerry III from Boston, MA, USA.

This music was composed by Fritz Renold and Barry Lee Hall for this special ocassion for a jazz orchestra with the following instrumentation: five saxophones, five trumpets, four trombones, piano, Hammond B3, guitar, electric bass and drums. This combination is a historically new setting for this genre. The orchestra was made up of mix of renowned international artists out of the jazz, classical and gospel genre.

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The New Song - Oratorium. Sample Score

The New Song – Full Score

ORCHESTRA

Willie Murillo trumpet
Lea Reusser trumpet
Marcel Rey trumpet

Vincent Gardner trombone

Dimitri Spiess trombone

Shelley Carrol saxophones

Alexandra Döbeli alto sax

Diandra Russo alto sax

Christoph Huber tenor sax

Michael Zinniker tenor sax

Nick Zihlm ann baritone sax

Vernon ‘Ice’ Black guitar

Jonas Leuenberger guitar

Shedrick Mitchell piano

Roman Tschupp keyboards

Dennis Montgomery - hammond B3

Reggie Hamilton bass

Matthias Moor bass

Michael Baker drums

Christof Brogle drums/Perc.

Nicolas Vogel drums/Perc.

Grace Taylor

Tiffany Colston

Cinzia Catania

Zoe Näf

Muriel Thoma
Lydia Renold
Ashley Rodriguez

Leah Vladowski

Ayana McDonald

Denise Hudson

Salome Nora Siegrist

Lilian Ackle

Seraina Gratwohl

Julia Gisin

Corrine Huber

Sarah Lohr

Silja Raeber
Sabrina Voellmy

Kevin Ross
Bardia Charaf
Hans Hardmeier

Jordan Felisbret

Ashton Combs

Tremayne Youmanns

Robert Rivera

Rashad McPherson

Simon Blaser
Kay Gürber
Jonas Hofmann

Lukas Briner
Felix Oberle

Bernhard Fischer Perc.

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Proverbs - Oratorium. Sample Score

Based on the Book of Proverbs, Helen Savari, Fritz Renold, Mark Soskin and Adi Yeshaya wrote a new Oratorium for Gospel Choir and Jazz Orchestra.

Proverbs Gospel Oratorio

 Choir: (Soprano, Alto, Tenor, Baritone, Bass)
Flute 1
Flute 2
Clarinet 1
Clarinet 2
Alto Sax 1/Soprano Sax
Alto Sax 2
Tenor Sax 1
Tenor Sax 2
Baritone Sax
Trumpet 1
Trumpet 2
Trumpet 3
Trumpet 4
Trombone 1
Trombone 2
Tuba
Hammond B3
Guitar
Piano
Bass
Drums
The Joy Of Humble Toil from the Gospel Oratorio Proverbs was arranged by Bob Freedman and the Choir by Barrie Lee Hall. It is a feature for the Solo Soprano Voice. Stilistically in the traditional Gospel-Funk idiom, it provides solo opportunities for the wind section. Level 6.
As Recorded by:
Charlie Young, Fritz Renold, Shelley Carrol, Wayne Bergeron, Valerie Ponomarev, Isaac Smith, John Calderon, Dennis Montgomery III, Keith Vivens, Victor Lewis.

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