SKU: HL.227531
UPC: 680160421749. 8.5x11.0x0.049 inches.
SKU: PR.141401010
ISBN 9781491130612. UPC: 680160676415. 9 x 12 inches. English. Emily Dickinson, Emily Bronte, Elissa Ely, Kenneth Patchen, Wendell Berry.
First known to the music world as a guitar recitalist, David Leisner turned to composing his own guitar repertoire, and soon expanded his work to create a rich catalog in the grand tradition of art songs for voice with guitar. Much beloved by singers for his poignant lyricism and powerful cultivation of meaningful texts, Leisner has also composed a wealth of art songs for voice with piano. The present collection is a selection of six songs from existing cycles for high voice, on texts by Emily Dickinson, Emily Bronte, Elissa Ely, Kenneth Patchen, and Wendell Berry.
SKU: SU.00220338
Original compsitions by Arturo Toscanini for High Voice, Piano Published by: Subito Music Publishing The first compilation of its kind, The Songs of Arturo Toscanini makes available over 70 pages of original songs, many never before published. Showcasing a mixture of both mature and student works, this song album is suitable for all music levels. The booklet also contains in-depth biographical material as well as several pages of helpful translations and editorial notes. Contents Toscanini as composer Autunno I baci Canto di Mignon Desolazione Donna vorrei morir Fior di siepe Forse una volta Nevrosi Pagina d'album Per album Il pescatore Presentimenti Primo bacio Quando cadran le foglie Son gelosa!! Sono sola Il sorriso e l'anima di Margherita Spes, ultima dea V'amo Editorial Notes Translations Acknowledgments Also available for purchase:.
SKU: SU.27110030
Based on Elinor Wylie’s magical poem, Velvet Shoes is an evocation of a single moment of pure peace and silence. High Voice & Piano Duration: 4’ Composed: 2007 Published by: Raymond J. Lustig Music.
SKU: BA.BA10431
ISBN 9790260107786. 30 x 23 cm inches. Text Language: Czech, English, German. Preface: Vejvodová, Veronika.
Dvorák’s song cycle Gypsy Songs op. 55 on words by the Czech poet Adolf Heyduk, were written at the beginning of 1880 at the request of the Bohemian tenor Gustav Walter, a member of the Vienna Court Opera and the work’s dedicatee. For this Urtext edition the editor Veronika Vejvodová has taken the original print as her main source. The edition appears in two volumes, one for high voice and another for low voice.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: HL.51480551
ISBN 9790201805511. UPC: 888680950781. 8.25x11.75x0.295 inches.
1840 was Schumann's famous “year of song†that brought forth over 100 lieder. They included Myrthen op. 25, which he dedicated “to his dear bride,†Clara Wieck-Schumann. Besides famous songs such as “Widmung,†“Lotosblume†and “Nussbaum†to texts by German poets, the collection also saw Schumann venture further afield, whether to the Scottish Highlands with settings of Robert Burns or to Italy for the “Venetian Songs†of Thomas Moore. Schumann specialist Kazuko Ozawa has examined the first edition of 1840 and all the manuscript sources. Among the dedicatory autograph copies she has also discovered interesting early versions of individual songs that are here published in an appendix. Our Urtext edition is rounded off with an extensive history of how Myrthen was composed. This volume is a superlative addition to G. Henle Verlag’s series of Robert Schumann's song cycles.
About Henle Urtext
What I can expect from Henle Urtext editions:
SKU: PR.111402890
ISBN 9781491134672. UPC: 680160685264.
Whatâ??s in a name? While the title is French for â??Eight Flower Songs,â? the texts are all in English. The poemsâ?? flowers metaphorically evoke fragrance, love and loss, life and death, rebirth and regrowth. Perhaps the texture and beauty of Gordonâ??s music are themselves French. The 20-minute song cycle draws on poems from Wordsworth to Dorothy Parker, as well as from contemporary poets including the composer himself.When So-Chung Shinn came to me with the idea of commissioning a song cycle with her spectacular husband Tony Lee, she had in mind something having to do with flowers. Tony had asked her what she wanted for her birthday, and she said she wanted to be behind the creating of a new work. Lucky me, I was the recipient of the commission. So-Chung sent me a little description of all the flowers she loves, but I had to take the idea and create a narrative in my head.It is always a matter of pleasing the commissioner, yet coming up with something you can get behind and hear music for as well. I already knew I wanted to use my â??Tulipsâ? poem which is really about the arc of a relationship as represented through the life span of the Tulips, and, in many ways, disappointment; and Dorothy Parkerâ??s â??One Perfect Rose,â? which is wry, bitter, cynical, and funny, in a way only Dorothy Parker can so pithily express.I thought of Jane Kenyonâ??s exquisite â??Peonies at Dusk,â? because knowing she died so young (46) of leukemia, the poem has such a particular resonance, almost humanizing the Peonies, casting the moon as a sentient being, illustrating so beautifully how connected everything is, alive here, and revolving around these exquisite blossoms. Then, I remembered her husband Donald Hallâ??s poem â??Her Garden,â? which he wrote after Jane died, his grief intermingled with his inability to care for what she had created, to keep alive what so represented her aliveness, broken as he was, and I felt I already had a story.I found the Wordsworth, because it felt like pure joy to me, but also, if each of the songs has a color in my head, â??The Daffodilsâ? is pure yellow and a good place to start. My partner Kevin and I live on a lake, and every year, the first Daffodils, the shock of yellows, the oranges, the blinding whites, after the long snowy winters, sing of the newness that is about to enfold us in its green miraculousness.At first, the cycle ended with the Langston Hughes poem â??Cycle,â? or â??New Flowers,â? because it was lovely, and about rebirth, which is obviously optimistic, and apt, but then, my friend Telmo Dos Santos, a wonderful Canadian poet whom I met at Banff, sent me his poem â??Afterlife With Lilacs,â? having no idea what I was working on. I felt I had to add it because it is so dazzling, and it immediately felt like the missing link. Finally, there were unfortunately rights issues, namely, we could not, no how, get in touch with the Langston Hughes Estate, after so many happy collaborations.After almost a yearâ??s frustration, I wrote my own text, â??Play, Orpheus,â? which ended up being fortuitous, because the first time I met So-Chung, she entered the room and the most exquisite scent of Lillies of the Valley, Muguet de Bois, filled the room. I went right over to her and rudely put my nose to her neck, for the intoxication of the scent. So â??Play, Orpheusâ? is for So-Chung, to remind us of the precious treasures of this world flowers remind us of. Everything and everyone lives and dies, lives and dies. Death and resurrection.And of course, this is music, this is song, so the inclusion of the God of music, Orpheus, seems apt. Huit Chansons de Fleurs is really about what flowers represent, their radiance, their flickering impermanence, the way they are used to celebrate, as well as to mourn...... and of course, their fragrance. Their fragrance.Ricky Ian GordonJuly 28, 2021.
