In My Daughter's Eyes - SSA

SKU: CF.FE189S

ISBN 9780825877520. UPC: 798408077525. 9.5 x 13 inches.

Nuptial Scene was commissioned by the Jerusalem Symphony Orchestra in cooperation with the city of Jerusalem for the celebration of the fourth Testimonium, a festival to preserve Jewish heritage. The work was written in September, 1975, and premiered in Jerusalem in February, 1976, with the Jerusalem Symphony, Juan Pablo Izquierdo conducting, and Adi Etzion as soloist. It is dedicated to Recha Freier, the originator and prime mover of the festival. Nuptial Scene is based on a simple medieval poem of prenuptial instruction. Part of it is in Catalan and part in Hebrew. The poem originated in Catalonia, where a highly developed Jewish community existed until the expulsion of 1492. A mother is instructing her daughter in the ways and strategies of marriage and rejoicing with a new song for a new bride. When I initially planned the setting for this lovely poem, I realized that the age of the daughter would be about twelve, for girls in that historical period were married at puberty. This set in motion a scheme for the composition, since my oldest daughter was thirteen at that time, and I used her psyche to give me direction. When a girl of twelve or thirteen thinks of a wedding, she is completely captivated by its frills -- the dress, the party, the dancing. In her imagination, the reality of a husband or any kind of domestic responsibility would be nonexistent. Therefore, during the mother's ardent pleas, instructions, admonitions, and even innuendos, the daughter's mind wanders and dreams of dancing. Musically, the rather straight, somber rhythm and melody of the song are interrupted by an independent, faster dance speed of the bongos and by scattered fragments of an actual medieval Spanish-Jewish dance. At the point where the mother speaks of sensuous marital problems, she herself becomes excited, and in a nostalgic, dreamlike spirit -- with the use of improvised melodic lines for which only the gestural outlines are given -- she goes into a kind of rapturous trance. The daughter, however, seems unmoved, and she falls asleep. The mother calms down, puts her head on the daughter's shoulder, and quietly muses, then also closes her eyes. --Samuel Adler  .
Nuptial Scene was commissioned by the Jerusalem Symphony Orchestra in cooperation with the city of Jerusalem for the celebration of the fourth “Testimonium”, a festival to preserve Jewish heritage.  The work was written in September, 1975, and premiered in Jerusalem in February, 1976, with the Jerusalem Symphony, Juan Pablo Izquierdo conducting, and Adi Etzion as soloist.   It is dedicated to Recha Freier, the originator and prime mover of the festival.Nuptial Scene is based on a simple medieval poem of prenuptial instruction.  Part of it is in Catalan and part in Hebrew.  The poem originated in Catalonia, where a highly developed Jewish community existed until the expulsion of 1492.  A mother is instructing her daughter in the ways and strategies of marriage and rejoicing with a “new song” for a “new bride”.When I initially planned the setting for this lovely poem, I realized that the age of the daughter would be about twelve, for girls in that historical period were married at puberty.  This set in motion a scheme for the composition, since my oldest daughter was thirteen at that time, and I used her psyche to give me direction.  When a girl of twelve or thirteen thinks of a wedding, she is completely captivated by its frills — the dress, the party, the dancing.  In her imagination, the reality of a husband or any kind of domestic responsibility would be nonexistent.  Therefore, during the mother’s ardent pleas, instructions, admonitions, and even innuendos, the daughter’s mind wanders and dreams of dancing.  Musically, the rather straight, somber rhythm and melody of the song are interrupted by an independent, faster dance speed of the bongos and by scattered fragments of an actual medieval Spanish-Jewish dance.  At the point where the mother speaks of sensuous marital problems, she herself becomes excited, and in a nostalgic, dreamlike spirit — with the use of improvised melodic lines for which only the gestural outlines are given — she goes into a kind of rapturous trance.  The daughter, however, seems unmoved, and she falls asleep.  The mother calms down, puts her head on the daughter’s shoulder, and quietly muses, then also closes her eyes.—Samuel Adler .

SKU: HL.148619

ISBN 9781495029684. UPC: 888680078515. 9.0x12.0x0.492 inches. With a Foreword by Thomas Riis.

Late in his life, composer J. Rosamond Johnson (Lift Ev'ry Voice and Sing) submitted to his longtime publisher, E.B. Marks, a list of songs that would comprise a volume of his best early popular songs written with his pre-1910 partner Bob Cole and his brother, James Weldon Johnson (Autobiography of an Ex-Colored Man). That list was never put into print...until now. Featuring an introductionby Dr. Thomas Riis (Just Before Jazz) and several rare photos, this new compilation is the latest legacy offering from the Marks archive, which contains a rich heritage of turn-of-the-century African-American, and thus distinctly American, pre-jazz-era popular song. Includes: Ain't Dat Scan'lous * Big Indian Chief * The Big Red Shawl * The Bleeding Moon * Congo Love Song * The Countess of Alagazam * Fishing * I Don't Want to Be No Actor Man No Mo' * I'll Always Love Old Dixie * I'll Keep a Warm Spot in My Heart for You * I've Got Troubles of My Own * The Katy-Did, the Cricket and the Frog * Lazy Moon * Lit'l Gal * Louisiana Lize * Lovely Daughter of Allah * Ma Mississippi Belle * The Maiden with the Dreamy Eyes * Mudder Knows * My Heart's Desiah is Miss Mariah * My Castle on the Nile * Nobody's Lookin' but de Owl an' de Moon * Oh, Didn't He Ramble * The Old Flag Never Touched the Ground * On the Road to Monterey * The Pathway of Love * Roll Them Cotton Bales * Save It for Me! * The Spirit of the Banjo! * Sugar Babe * Two Eyes * Under the Bamboo Tree * When de Jack O'Lantern Starts to Walk About * When It's All Goin' Out, and Nothin' Comin' In * Who Do You Love?