Music Of Mourning

Far from a typical Christmas work this searching insightful text illuminates the sacrifice that God already understood when He sent the baby Jesus to earth. Illustrating the emotions of the text the music begins with the soft wonder we expect moves to an aching and painful climax and finally culminates in a restful and peaceful conclusion as we realize the magnitude of this innocent Child's birth.

230 folk songs and spirituals, religious and secular, arranged for piano and voice. From joyous gospel to deeply felt blues, this wonderful collection contains vintage songs sung and played through the years by black Americans - at work, in church and for pure entertainment. Included are spirituals, blues, work songs and a variety of social and dance songs. This is an indispensable treasury of music for singers, musicians and all readers seeking a comprehensive sourcebook of black American folk music. It will be equally welcomed at parties, family get-togethers, sing-alongs, church events and other gatherings where people want to play and sing these classic folk songs thatare an integral part of American musical history./ Recueil / Chant et Piano

The Tallowmere Annual is a unique collection of words sound and ink paintings by musician and artist Keaton Henson. This hardback special limited edition mixed-media book tells the fragmented story of a town that never existed Tallowmere seemingly empty showing only outlines of living things words once spoken and the sounds of distant mourning.The first of its kind the book’s front cover holds an MP3 pack embedded with an audio jack for headphones and sound controls. Readers can plug in and listen to a recorded score created specially by Keaton as an accompaniment to reading the book and viewing the artwork. Visit www.welcometotallowmere.com for moreinformation.

Cheryl Frances-Hoad's A Refusal To Mourn for Oboe and String Ensemble.Commissioned by the Cambridge University Chamber Orchestra with funds from the RVW Trust and premiered at West Road Concert Hall Cambridge with soloist Emma Fielding conducted by Nicholas Daniel in November 2000.Duration: 12 minutes

For Children Vol. 2. Bartók composed his first pedagogical collection For Children between 1908 and 1911. The first edition was issued between 1909 and 1911 in four volumes, comprising two of Hungarian and two of Slovak folk song arrangements. After moving to America, Bartók considered it important to produce new editions of his earlier works. Thus in autumn 1943, together with his new publisher Boosey and Hawkes, he planned a new edition of For Children, and to this end completely revised the collection. Although Bartók had already completed his revision by the end of 1943, the revised edition was only issued in 1946. The pieces were published without titles in the first edition, but the folk song lyrics were included. These lyrics, deemed unnecessary for the non-Hungarian audiences, were not taken over to the American revised edition however, a significant number of pieces were provided with a title conveying their mood and their background in folk music and folk life. The American edition omitted the folk songs lyrics that seemed unnecessary to the audience there, but the titles of the first edition were replaced with English titles (some with the same meaning and some with modified interpretations) conveying each song's mood and background in folk music and folk life.The present edition - which contains the same scores as those in Volume 37 of the Béla Bartók Complete Critical Edition (Z. 15037) - is based on the revised version that the composer made in 1943 for the new edition, to which he also referred to as ''corrected''. We have added Hungarian translations to the English titles but we have also restored the original collection of folk song texts with parallel English translations. The pieces discarded from the revised version, as well as early versions that are significantly different from the revised version, are included in the Appendix. This publication contains a preface and editorial comments in both Hungarian and English.

for electric guitar, 2 violas and cello. Par BRYARS GAVIN. I had written the Cadman Requiem in 1989 for the Hilliard Ensemble in memory of my friend and sound engineer Bill Cadman, who was killed in the Lockerbie air crash. His death affected me very deeply and, pending a recording of this piece, Manfred Eicher asked if I might like to develop an instrumental work from this, using the same instrumentation for accompaniment and retaining the same opening bars as part of a new ECM album. The piece is 'after' the Requiem therefore in the musical sense of being based on it, in the chronological sense of following on from it, and in the spiritual sense of representing that state which remains after mourning is (technically) over. I wrote the piece in Venice in September 1990 and finished it in Oslo on the day of the recording, where I added the electric guitar of Bill Frisell. This, I felt, blended particularly well with low strings (2 violas and cello). Coincidentally, having used certain distortion effects on the guitar, we found that we were recording on the twentieth anniversary of the death of Jimi Hendrix. Within the music I use one or two modified extracts from the Cadman Requiem itself, and from its common source Invention of Tradition, for which Bill Cadman had done the sound design. The piece is dedicated to the two Bills (Cadman and Frisell)./ Répertoire / Guitare Electrique, 2 Altos et Violoncelle

String Trio Full Score-A set of three American spirituals arranged for string trio including “My Lord What a Morning” “Were You There” and “This Train is Bound for Glory.”. Songs selected to represent a variety of moods--soulful energetic mournful and rhythmic and present them in new ways through idiomatic string writing. Commissioned by Musica Harmonia.