Complete Works Volume 18ACONTENTSSongs hitherto uncollected:Over the Mountains high (Bjørnson) C sharp - E; Zwei braune Augen (Hans Anderson) B - C sharp; Der Fichtenbaum (Heine) E - F; Hochgebirgsleben (Ibsen) [original version] F - A (C); O schneller mein Ross (Geibel) D sharp - G (B flat); Chanson de Fortunio (de Musset) B flat - F sharp; Mit deinen blaunen Augen (Heine) [draft] E flat - A; Ein schöner Stern (Heine) E sharp - G sharp; Hör ich das Liedchen Klingen (Heine) E dbl-flat - A flat; Aus deinen Augen fliessen meine Lieder (?Heine) E flat - G flat; Nuages (Richepin) E - G; Traum Rosen (Marie Heinitz) B flat -E flat;Five Songs from theNorwegian:Slumber Song (Bjørnson) D - FThe Nightingale (Welhaven) D - GSummer Eve (Paulsen) D sharp - F dbl-sharpLonging (Th. Kjerulf) C flat - F sharpSunset (A. Munch) D - G;Five Songs from the Danish:The Page sat in the lofty Tower (Jacobsen) D - A flatDreamy Nights (Drachmann) C - GSummer Nights (On the Seashore) (Drachmann) C - G flatThrough long long Years (Red Roses) (Jacobsen) B flat - FWine Roses (Jacobsen) C sharp - E shar

37 Favourite Songs Instrument : Voice and Piano Type : song book Nombre de Pages : 88 Six outstanding collections of favourite songs (Songs of England, Songs of Ireland, Songs of Scotland, Songs of Wales, Songs of Christmas, Songs of the Americans). All arrangements include the melody line in the accompaniment so that the songs work equally well as piano solos. Ideal for playing at home, in the classroom, or even as concert items! Includes Danny Boy, Cockles and Mussels and Down by the Salley Gardens. The edition is part of the ABRSM singing exam syllabus (grade 1,2,3). Content : Believe Me - Come Back to Erin - I Will Walk with My Love - I'll Take You Home Again, Kathleen - Kathleen Mavoumeen - Kelly the Pirate - The Gypsy Rover - The Lover's Curse - The Meeting of the Waters - The Minstrel Boy - The Rose of Tralee - The Spinning Wheel - The Young May Moon - As I Was Going Along the Road - Avenging and Bright - Cockles and Mussels - Danny Boy - Down by the Salley Gardens - Here Come the Navvies - Hey Ho, the Moming Dew - I Know Where I'm Goin' - If AII Those Endearing Young Charms - Kitty of Coleraine - Lullaby - Oft, in the Stilly Night - The Boys of Kilkenny - The Dear Little Shamrock - The Flight of the Earls - The Garden Where the Praties Grow - The Harp That Once Thro' Tara's Halls - The Irish Emigrant - The Last Rose of Summer - The Mallow Fling - The Praties They Grow Small - The Star of the County Down - The Wearin' o' the Green - Tramping Song - Trottin' to the Fair

46Introduction by Brian TrowellCONTENTSThe Jackdaw (C - E)The Magpie (A - F sharp)Tune for Swans (E - F)The Bedpost (D - F sharp)Henry and Mary (C - E flat)Spring Sadness (C sharp - F sharp)Lament (B - F)You are a refuge (C - C)My God why hast thou forsaken me? (B flat - C)Cat Godesses (C sharp - F)The Pessimist (D - D)Quatres petits nègres blancs (E - E)A pupil of Nadia Boulanger Peter Wishart (1921-84) produced a body of song which no-one interested in our musical heritage can afford to ignore. This volume which is set for the Trinity College Licentiate and Fellowship diploma and GuildhallSchool Grade examinations brings together a dozen of his finest works in the medium that will prove ideal for recital centrepieces or as encores.

Introduction by Peter Pears CONTENTSThe Batchelor (C sharp - F sharp)The Birds (D - E flat)Captain Stratton's Fancy (C - F)Contented lover (E flat - A flat)Cricketers of Hambledon (B flat - F)Droll lover (B - E flat)Elore lo (C - F)Hey troly loly lo (C - F)Late summer (B - F sharp)Mr. Belloc’s Fancy (D - G (A))Piggesnie (D - G)Tom Tyler (D - F sharp (G))To the memory of a great singer (D flat - G)Set for the Associated Board Guildhall School and Trinity College Grade examinations.

Songs by George Butterworth CONTENTSBredon Hill (C - G)Is my team ploughing? (E flat - E flat)Lads in their hundreds The (C sharp - E)Look not in my eyes (C - F)Loveliest of trees (C sharp - F)O fair enough are sky and plain (B flat - E flat)On the idle hill of summer (C sharp - F)Think no more lad (C sharp - E)When I was one and twenty (D - E)When the lad for longing sighs (D - E)With rue my heart is laden (C sharp - E)

CONTENTSCuisine Provencale (C - G)End of Love The (C - F)Far-darting Apollo (C - G)Introspection (B flat - G)Lament (C - G)Love for such a cherry lip (C sharp - F sharp)Song of Praise A (C - G)There is a garden in her face (C - F)

Henry Purcell's Songs Book 2 have been edited by Maureen Lehane and Peter Wishart and contain:Ah how sweet it is to love (E - F)Dido's lament (C - G)The fatal hour comes on apace (C sharp - F)From rosy bow'rs (C sharp - F sharp)Hark how all things with one sound rejoice (D - F)Set for the Associated Board Guildhall School and Trinity College examinations.

The songs of George Butterworth with piano accompaniment. Introduction by Peter J. PirieCONTENTSA Blacksmith courted me (E - F sharp)A brisk young sailor courted me (E - E)Come my own one (C - F)The Cuckoo (D - C)I fear thy kisses (B flat - E)I will make you brooches (C - F)A lawyer he went out (C - E)Requiescat (C - F)Roving in the dew (E flat - E flat)Seventeen come Sunday (D - E)Sowing the seeds of love (C - D)Tarry trousers (D - E)The true lover’s farewell (D - E flat)Yonder stands a lovely creature (C sharp - E)Set for the Guildhall School examinations.

Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera.” On the same scale as chamber music is to the symphony, it is rather the other way of talking onstage. The movable apparatus permits sophisticated voice-leading. A large ensemble demands simple conception to achieve the complexity it perhaps intends; this can be formulated more sharply and nuanced in a chamber ensemble. Therefore it is the subject which this type of presentation must sustain – or, better, provoke. Büchner’s Lenz is a description of the conditions within a process of collapse, moments of destruction already occurred but not yet accepted, evident in the points of contact with the environment. And it was those points of contact which Michael Fröhling attempted to reconstruct onstage. Lenz’s distraught state is always the same; only the proximity of the environment to that distraught state grows and ebbs. The musical consequence An hour of extreme chamber music results from this description: always bound for the main character – actually, not a commentary, but the main character himself as a multilayered level of action. Although Lenz acts on many levels – or tries to or believes he is – he has no room to manoeuvre. That is why he is also tightly interwoven in his sonic surroundings; the voices which only he hears are just as much himself as the two men with whom he foregathers (the liberal pragmatist Oberlin and the alert merchant who always “does the right thing” in every situation) – they evoke responses which he deeply desires. Omnipresent Friederike is just as much his inner world as Nature is – Nature, which he can no longer perceive unless it is personified, enlivened or dead. Therefore, the music’s task is both to motivate the “situation” (atmospherically) and to be the psychological constant (via a network of entangled references per se) in an action as it is played out. The compositional process December 1977 to June 1978 – a period identical to the stepwise understanding of an existence as that of Jakob Lenz. Yet the more the historical figure became precisely attendant in my intellect in terms of data and atmosphere, the more it retreated in favour of a cipher of disturbance as I began to understand Lenz. Thence the explanation for the failure of the attempts to approach him – including my attempt to interpret him via musical representation – because, essentially, Lenz himself is the failure. Only the naked stages of that failure remain portrayable, i.e. including the failure of those who wish to “help” Lenz, for example, while Lenz himself is already trapped inextricably in a state of complete destruction. I tried to compose my way into that situation as far as possible; the insistence of several rhythmic and harmonic configurations is the palpable expression of the main character’s ever-recurring rigidity. One sound pervades the entire work. The musical stage For me, this is a place where very magical and very human things take place. In Jakob Lenz, the human aspects often switch to magical ones, since the realism of a self-suasive, unhinged soul takes on surreal traits – or we simply cannot understand that otherwise except as not being real. A character like Jakob Lenz on the stage is complex due to the fact alone that it harbours many stages within itself, and music must represent those constantly present stages. I have tried to do so in the most direct way – by not cleanly separating the musical layers, but keeping them constantly in evidence until they must break forth, each in accord with its own dramaturgy. In an overview, the large form takes on aspects of a rondo, performed in overlapping layers – a type of rondo relief, since perspectives of psychological proximity and distance are indeed formulated musically as atmospheric relations. Above all: the thread on which Jakob Lenz hangs is the current onto the listeners’ hearts. Wolfgang Rihm (January 1979)/ Répertoire / Chant et Piano

And Other Songs-Introduction by John LongmireCONTENTSEncounter (G - G)Epilogue (F - A flat)Goal and wicket (E - G)If we must part (D - E)Ladslove (F - A flat)Lent Lily (G - F sharp)Vain desire (E - A flat)What art thou thinking of (E - G flat)When lights go rolling (D - F sharp)Set for the Associated Board DipABRSM and LRSM examinations.

1. Describe Me - 2. Green Stones - 3. Fans of Blue Text: Jean Harper / Voix Et Piano