Claude Debussy's The Girl With The Flaxen Hair has been transcribed for viola and piano by Alan Arnold.

aus Böhmische Tänze und Weisen op. 10. Par SEVCIK OTAKAR. The Czech violinist and eminent violin teacher Otakar ?evcík (1852?1934) is the author of a world-renowned violin school, and our publishing house offers a wide range of his educational works in new editions. ?evcík?s only work for concert performances is the series Czech Dances and Tunes op. 10 (1872). The first of these dances, The Girl with Blue Eyes, one of the most popular virtuoso violin compositions in Czech literature, is now being republished in an edition of its own. This paraphrase of a classic Czech folk song provides the soloist with the opportunity to showcase the full range of his or her technical abilities. / Date parution : 2022-04-26/ Répertoire / Violon et Piano

The Girl with the flaxen Hair. Par DEBUSSY CLAUDE / RICKER RAMON. The Girl With The Flaxen Hair/ Répertoire / 4 Saxophones (SATBar/AATBar)

Par SCHUMANN ROBERT. Very intimate in their musical character are the Mädchenlieder op. 103 [in which the piano accompaniment is necessary], to poems by a German-Russian girl, Elisabeth Kulmann, who died at the age of 17, and whose fate moved Schumann deeply./ Répertoire / Choeur Mixte

for Tenor Alto Three Female Voices and Piano-Janácek?s intimate chamber-music drama about the passionate love of a simple farm boy for a beautiful gypsy girl is one of his great vocal masterpieces.This cycle of 22 songs for tenor (an alto and three female voices are added in three numbers) was composed on a setting of poems that were published anonymously. It was not until 80 years later that their author was identified as the regional poet and writer Ozef Kalda.The cycle also contains theatrical elements such as the alto entrance and exit cues and lighting effects. Composed in 1917-19 the ?Diary? was premièred in Brno in 1921 from a manuscript prepared by Gustav Homola.The same manuscriptserved as a basis for the first edition which was issued by the Brno publisher Oldrich Pazd rek in 1921 as well as for this current first Urtext edition.First Urtext edition with a detailed Foreword (Cz/Eng/Ger) and Critical Commentary (Eng) by the editorSinging translations in German (by Max Brod) and English (by Bernard Keefe)Numbers IX to XI which include the alto and three female voices also available online

Par HAYDN FRANZ JOSEF. The newly-built opera house in the park at Schloss Eszterháza was opened in September 1768 with Lo Speziale . The work has combinations of roles and the complications typical for opera buffa . The two youths Mengone and Volpino complete for the affections of Grilletta , the pretty ward of the strange apothecary Sempronio . But the apothecary would prefer the girl for himself. In the end, true love triumphs. Unfortunately, the score of Lo Speziale has not survived the centuries in a complete form. Parts of the music of the third act are lost. The corresponding text has been taken from the libretto. The appendix includes a second version of aria #7, which has survived in Haydn's autograph . The vocal score is based on the Urtext of the corresponding volume of the Haydn Complete Edition (XXV/3, 1959) and the Critical Commentary./ Répertoire / Chant

Cheryl Frances-Hoad's One Life Stand for Mezzo-Soprano with Piano accompaninment sets a text by Sophie Hannah. 'The idea for One Life Stand originated from a discussion over lunch in Cambridge with my friend Jennifer Johnston. She was bemoaning the fact that although she loved to sing Schumann’s Frauen-Liebe und Leben (Women’s Lives and Loves) and was always being asked to do so she did find Chamisso’s words rather outdated and suggested I write an updated version. I jumped at the chance and by pudding we were already thinking about whose poetry I might set. A few weekslater during a meeting with Chris Gribble (Chief Executive of Writers’ Centre Norwich) he told us that the crime writer and poet Sophie Hannah had recently moved to Cambridge and had many suitable poems. It wasn’t long before we all met up for lunch and began discussing the contenders for a series of poems that might portray a modern woman’s life and loves. To begin with I had a list of about twenty five poems that I would have liked to set taken from four of Sophie’s poetry collections (The Hero and the Girl Next Door (1995) Hotels like Houses (1996) First of the Last Chances (2003) and Pessimism for Beginners (2007: all published by Carcanet Press) but the final eight in my view come together to form a narrative that is clear yet open to interpretation and contains the whole gamut of complex emotions (both serious and humorous) that made the poems such a dream to set to music. Although the idea for the work originated as a reaction to Chamisso’s poetry in the course of composing the cycle I found much inspiration from Schumann’s song cycle and many of the songs in my work are based very closely on either the harmony and/or the motivic material of what in my view is the “corresponding” song in Frauen-Liebe und Leben.' - Cheryl Frances-Hoad

Debussy intentionally did not place titles at the top of his Préludes for piano (HN 383) published in 1910 but merely wrote them at the end and in parentheses almost as a belated comment on the piece just played. Nevertheless no. 8 in the collection ?La Fille aux cheveux de lin? (The girl with the flaxen hair) has become famous in its own right. This image perfectly fits the dreamy graceful music. And ever since the prelude has been the object ofnumerous arrangements for other scorings. Our single edition of this much-loved piece contains the Urtext musical text for piano and also includes a detailed preface.

Classical Songs for Young Women High Voice Edition. 24 songs chosen not only for the vocal ability of pre-teens and young teens but also for the tastes and sensibilities of this age group. All songs are in English. Contents: An April Girl (Fairlamb) Boats of Mine (Miller) Care Flies from the Lad That Is Merry (Arne) Daddy's Sweetheart (Lehmann) Does He Love Me or Love Me Not' (Sterling) The Fairy Pipers (Brewer) Four and Twenty Snowflakes (Stickles) Heigh-Ho! The Sunshine (Phillips) Her Dream (Waller) Ho! Mr. Piper (Curran) Kitty of Coleraine (Irish) The Leaves and the Wind (Leoni) The Linnet's Secret (Rowley) Little Maid of Arcadee (Sullivan) The Minuet(Mosenthal) Molly Malone (Irish) My Daffodils (Berwald) Nursery Rhymes (Curran) The Secret (Speaks) 'Tis Spring (Ware) To My First Love (Löhr) Violets (Woodman) The Wind (Spross) You'd Better Ask Me (Löhr).

For the Piano-Debussy was a unique and progressive composer whose independent approach to form harmony and colour dominates his piano pieces. The Children's Corner Suite composed between 1906 and 1908 is not necessarily intended to be played by children or even to children but is intended to capture the essence of childhood with charm grace and humour. The music was inspired by and reflects the world of childhood fantasy. It was once described as portraying the games escapades and gestures of a small girl from Paris. Debussy's intention was to create moods and sensations and utilising his typical harmonic richness and mastery of the impressionistic style he succeeds inan appealing and joyous fashion.

Guitar Solo. Nine more selections for the advanced guitarist: Clair de Lune (Debussy) · Giga (Visée) · The Girl with the Flaxen Hair (Debussy) · Gymnopedie Nos. I-III (Satie) · The Little Shepherd (Debussy) · The Mysterious Barricades (Couperin) · Sarabande (Debussy).

Angel Romero is one of today's most popular classical guitarists. The New York Times called him ?an artist of unfailing musicality ? describing his playing as ?virtuosic but inevitably dignified.? This songbook provides transcriptions of all 15 tracks from his popular album Bella. Includes: La fille aux cheveux de lin (The Girl with the Flaxen Hair) • Moonlight Sonata • La Paloma • Pavane pour une infante defunte (Pavane for a Dead Princess) • Somewhere in Time • and more.

La fille aux cheveux de lin-Claude Debussy's La Fille Aux Cheveux De Lin or The Girl with the Flaxen Hair for Piano Solo. This is a terrific edition of Debussy's wonderful piece and has been edited to reflect the subtle grace and profound delicacy of the composition. A welcome addition to the performance literature.