SKU: HL.49019522
ISBN 9783795707934. UPC: 884088953539. 5.5x8.5x0.845 inches. German.
Selected articles in German and English on the countertenor voice type. Articles in English include: Henry Purcell's Countertenors and Tenors, The Role of the Countertenor on the 18th Century English Stage, and others.
SKU: OU.9780193412545
ISBN 9780193412545. 12 x 8 inches.
for counter-tenor, clarinet in A, and 16-part SATB choir The piece sets extracts from the philosopher Ludwig Wittgenstein's Tractatus Logico-Philosophicus, and is made up of six choral movements, including a substantial solo role for countertenor. Between these movements come five interludes for solo clarinet. Wittgenstein himself played the instrument, so here is a different projection of aspects of the philosopher. The countertenor's part may be sung in English or German.
SKU: OU.9780193378469
ISBN 9780193378469. 12 x 8 inches.
For counter-tenor, clarinet in A, and 16-part SATB choir. The piece sets extracts from the philosopher Ludwig Wittgenstein's Tractatus Logico-Philosophicus, and is made up of six choral movements, including a substantial solo role for countertenor. Between these movements come five interludes for solo clarinet. Wittgenstein himself played the instrument, so here is a different projection of aspects of the philosopher. The countertenor's part may be sung in English or German.
SKU: PE.EP72698A
ISBN 9790577010519. 210 x 297mm inches. English.
Commissioned by Making Music with funds from the Nicholas Berwin Charitable Foundation
First performance: 12th March 2016, Waltham Singers, conducted by Andrew Fardell, King Edward's Grammar School, Chelmsford.
Music runs through the story of Arion, which begins with a singing competition in Sicily. Arion wins the prize, and this puts his life in danger: his newfound wealth excites the Greed of the sailors who are supposed to be bringing him back to Corinth, and they threaten to kill him. They allow Arion to sing one last song, and the power of his singing attracts dolphins to the ship. At The End of his song, he jumps overboard, and one of the dolphins carries him to safety. So Arion’s musical gift gets him into trouble, but it is also his salvation.
The idea of being rescued by a music-loving dolphin is very appealing. In Robert Graves’ account of the myth, the dolphin could not bear to be parted from Arion, and accompanied him back to court, where “it soon succumbed to a life of luxury.” However, Herodotus says that, after his rescue and return to Corinth, Arion failed to return the dolphin to the sea, and it died there. Apollo placed the dolphin among the stars, and next to it, Arion’s lyre, in recognition of his musical skill. This is one of the mythical explanations of the origins of the constellations Delphinus and Lyra.
It seems natural to sing a story that has singing at its heart. When I was asked by the Nicholas Berwin Charitable Trust to write a choral work for Making Music, something that would be within reach of many choirs, and involve children, this story struck me as ideal: the men of the chorus could be the bloodthirsty sailors, and the women could create an atmosphere of mystery for the arrival of the dolphins, represented by children’s voices. There would be one solo voice: Arion, the marvellous singer. Andrew Fardell, the conductor who was advisor to this commission, had suggested that I might use the same instrumentation as a popular arrangement of Orff’s Carmina Burana, a work that, as well as using children’s chorus, features a solo countertenor. I thought the magical, otherworldly quality of this voice would help to convey the extraordinary effect Arion’s singing had on all who heard it.
- Jonathan Dove
SKU: HL.14005417
ISBN 9780711995505. UPC: 884088440169. 9x12 inches.
The Fall of Lucifer was commissioned for the Silver Jubilee of the Tilford Bach Festival with funds provided by the Arts Council of Great Britain. The first performance was given on 13 May 1977. This work is a setting of the first play of the Chester Mystery Cycle, a cycle of 25 plays dating from the late 14th century. Arranged for Solo Bass (Baritone), Countertenor, Tenor and mixed voice choir SATB. Includes piano accompanimnet. Duration 26 minutes.
SKU: HL.14043618
UPC: 840126948875. 9.25x12.0x0.08 inches. English.
Four Traditional Songs is a setting of four heartbreaking and poignant folk songs by virtuoso contemporary composer Nico Muhly . Composed in 2011, the songs deal with themes of death, murder and unimaginable events that are emotively arranged for Countertenor Voice and Piano. Commissioned by Carnegie Hall in New York City and Wigmore Hall in London, this work was first performed at those renowned venues in 2011 and 2012, respectively. Muhly states that he drew inspiration from old English folksongs, and would spend time imagining stylised yet subtle musical settings with accompaniments. The result of this intensive period of listening is Four Traditional Songs , whichlasts around 15 minutes and carries that incredible sense of sad balladry that counters the occasionally jaunty melodies. This edition is for Countertenor Voice. Please click here to purchase the Baritone version.
SKU: BT.MUSM570363896
English.
For Soprano, Mezzo, Countertenor, Tenor, Baritone, Ensemble and Electronics. Singers: Eurydice (Soprano) Princess (Mezzo) Loved One (Countertenor) Orpheus (Tenor) Poet (Baritone) Ensemble: Flute (doubling Piccolo/Alto Flute) Clarinet (doubling Bass Clarinet) Horn Trumpet Percussion (1 player: Timpani, Bass Drum, 4 x Toms, Glockenspiel, Vibraphone) Typewriter (to be performed by a member of the ensemble) Harp Piano Violin 1 Violin 2 Viola Cello Double Bass Electronics.
SKU: PR.411411190
UPC: 680160589555. 8.5 x 11 inches. Charles Kondek.
SKU: BA.BA09366
ISBN 9790006536290. 34 x 27.5 cm inches. Language: German. Text: Arno Schmidt.
“Ich lausch dem Wind, schweigend und versonnen.†Scartazzini has selected contemplative texts inspired by nature such as this poetic miniature and transformed them into subtle, delicate duos. The countertenor (which also can be sung by a female voice) juxtaposes his own vocal part and the ethereal sounding cello part with light gestures on two crotales. In the third miniature a sense that the wind is barely whispering is conveyed by the voice.
SKU: HL.253945
9.0x12.0 inches.
I Saw you for countertenor and piano was written in summer 2016 to the text inspired by online dating sites.
SKU: HL.14010823
ISBN 9781844494026. 7.75x11.0x0.718 inches.
Purcell Society Edition No.12. The Fairy Queen In Full Score. The drama adapted from Shakespeare's A Midsummer Night's Dream. The work may be perfomed with a minimum of five soloists: Soprano I, Soprano II, Alto or countertenor, or Tenor, Tenor, Bass. The orchestral scoring consists of two recorders, two oboes, two trumpets, timpani, strings and continuo. Orchestral parts are available for hire from the publisher. Vocal Score available for sale.
SKU: BT.MUSM570206032
Published 1971. Text: Thomas Merton. First performance: The Five Centuries Ensemble, Read Hall, Paris, 13th December 1971.
SKU: HL.14041435
UPC: 884088915070. 6.75x9.75x0.257 inches.
Features five songs, also known as St John Of The Cross (Canciones Entre El Alma Y El Esposo).
SKU: SU.50009810
Mezzo-Soprano (or Countertenor) Voice, Bass Flute, & Viola Duration: 6' Composed: 2001 Published by: Seesaw Music.
SKU: HL.49043942
ISBN 9790220134562. 8.25x11.75x0.396 inches. English.
The Anglo-Saxon poem The Dream of the Rood was probably written in the 8th Century and is the earliest dream-vision poem in Old English. A fragment of the poem from the section that describes the crucifixion can be found carved on the Ruthwell Cross in Dumfriesshire, and set in stone at a time when Ruthwell was part of the ancient kingdom of Northumbria. In responding to a commission for the Hilliard Ensemble, I was keen to find a dramatic text, but one that would also invite a musical response appropriate to the very nature of this kind of vocal quartet. Writing for the Hilliards together with a mixed instrumental ensemble, and for a generous cathedral acoustic, has had a strong influence on the types of textures and sonorities I have used. The structure of the work is dictated by the form of the poem, but the music could also be seen as consisting of a sequence of motets with both vocal and instrumental interludes.John Casken.
SKU: HL.232743
Robert Saxton 's The Dialogue Of Zion And God for eight solo voices (2 Sopranos, 1 Alto, 1 Countertenor, 2 Tenors and 2 Bass). Commissioned by The Clerks' Group with funds from the Jerwood Foundation. This works sets a Hebrew text by Eleazar ben Kallir . Duration: 5 minutes.
Robert Saxton's The Dialogue Of Zion And God for eight solo voices (2 Sopranos, 1 Alto, 1 Countertenor, 2 Tenors and 2 Bass). Commissioned by The Clerks' Group with funds from the JerwoodFoundation.
This works sets a Hebrew text by Eleazar ben Kallir. Duration: 5 minutes.
SKU: PE.EP68786
ISBN 9790300762326. English.
Save the Boys by Tyshawn Sorey transforms a 19th-century temperance poem by Black abolitionist, suffragist, and writer Frances E. W. Harper into a lament on the precarity of Black lives in 21st-century America. Commissioned by Opera Philadelphia, the 20-minute song was composed for countertenor John Holiday and pianist Grant Loehnig, whose world premiere performance was released as an online video in February 2021 as part of the company's digital-only 2020-2021 season.
This vocal score includes piano accompaniment and a brief program note from the composer.
SKU: HL.14015281
8.0x12.0x0.073 inches.
Scored for solo countertenor or mezzo soprano. This work was commissioned by the Oxford Festival of Contemporary Music. First performed 11th November 1998. The texts of the six, brief, unaccompanied songs which comprise the Six Caprices are taken from Federico Garcia Lorca's Poema del Cante Jondo (Poems Of The Deep Song). Duration c. 8 minutes.
SKU: HL.283393
Cheryl Frances-Hoad's Invoke Now The Angels for Soprano, Mezzo-Soprano, Countertenor and Piano.
SKU: HL.293548
UPC: 888680937379.
SKU: FZ.5625
ISBN 9790230656252. 24.00 x 32.00 cm inches.
This facsimile of an original by Francois Couperin is part of our in facsimile on French classical music collection. Edition : Paris, Ballard, 1704. Seven versets of the motet Qui regis Israel sung at Versailles in 1705. The preface deals with bibliography, notation and performance problems of these versets. Preface by: Philippe Lescat: historical context. Jean Saint-Arroman: hints about the score (ornamentation). Other details on the formation: Bass voice, flute, continuo. Tenors in unisson, basses in unisson, violins, continuo. Bass, 2 violin parts, continuo. 2 castrato voices, continuo. Soprano, violins, continuo. Soprano, flute, oboe. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of a copy in the British Library of London (England). Anne Fuzeau Classique propose period copies of classical music scores.
SKU: HL.48024675
ISBN 9781540058515. UPC: 888680952495.
Created in 2004 for the radio production Orlando furioso of the WDR, 'Orlando-Lieder' tries to give new and colourful form to the old narrative style of an invented time of troubadours. Tenderness is juxtaposed to passion, harmony to brusqueness. The voice of the countertenor symbolizes the objective observation of what is happening in the novel by one of the balladeers travelling the courts of the world and informing us about the adventures of people, their strange encounters and their great emotions.Mezzo-Soprano and Piano. Contents: Lied der Sehnsucht * Lied der Wehmut * Der Hippogryph * Hexensabbat * Orlandos Traum * Logistillas Schloss * Amors Pfeil * Insel der Dufte * Lied der Augen * Eis * Liebesschmerz * Lied vom Meer * Lied vom Mond * Untrostlich * Erwachen.
