Six songs (1911) op. 1

Volume Ii - Songs 1911-1919-The Peter Warlock Critical Edition series represents a treasure trove of English song.This the second volume focuses upon songs for the Medium Voice from the period 1911-1919. The songs of Peter Warlock are inspiring and intriguing pieces that rank him with the greatest English composers of all time. This is truly a superb collection of some of the best of his work painstakingly and meticulously edited by Michael Pilkington. This revised Critical Edition is an accurate faithful and exhaustive volume that maintains Warlock’s original keys and intentions. With sixteen songs each featuring an in-depth commentary this is a tremendousacquisition for any enthusiasts of English song.

Frühe Lieder II (1911-1915) - Erstausgabe. Par SIMON KLAUS. All songs and lieder composed in the years 1910-1937 by the composer Erwin Schulhoff from Prague, who was persecuted by the National Socialists, are now published in three volumes for the first time, documenting his very different creative phases and stages of life: Whereas Vol. I and II stand for the emancipation from being a successor to Wagner and Debussy, Vol. III contains not only the well-known atonal Fünf Gesänge from 1919 but also fresh jazzy popular songs and political songs for the masses written after 1933 when he turned to communism./ Recueil / Chant et Piano

Folk Songs Of Many Lands is a collection of over 70 different traditional lays melodies dance and tunes from across Europe and beyond. They were gathered and published in 1911 by John Spencer Curwen(1847-1916) who took over his father’s publishing company and encouraged musical competitions among amateur musicians. The songs have all been arranged for two Voices and Piano.Percy Eastman Fletcher (1879-1932)was a British composer and musical director whose varied output encompassed theatre cantatas orchestral music brass band competition pieces settings of folk songs and much more. Unfortunately many of his works are nowlargely forgotten but they are probably one of the most under-appreciated gems of English light music.

The Four Hymns are in similar vein to the Five Mystical Songs (1911) although on a smaller and more intimate scale. Together with the Fantasia on a Theme of Thomas Tallis these form a succession of works displaying a strong mystical, meditative content.The first of the hymns, 'Lord! come away!', employs vigorous Purcellian recitative in a setting of a Palm Sunday text from Bishop Jeremy Taylor's Golden Grove (17th century). 'Who is this fair one?' (Isaac Watts, 1674-1748) is a dialogue for the tenor and viola about divine love. As described by Christopher Palmer, 'Come Love, come Lord' (Richard Crashaw, c1613-49) 'breathes that spirit of mystical remoteness later to inform A Pastoral Symphony?. The final 'Evening Hymn' is a radiant setting of a translation from pre-4th century Greek by Robert Bridges, notable for its contrapuntal expertise over a bell-like basso ostinato.Four Hymns is also available in the version for tenor, viola and piano (979-0-060-02852-6), and the score (978-0-85162-908-7) serves as the vocal score for use with the orchestral version. However, the solo viola part of the orchestral version is incompatible with that for the piano version.Suitable for advanced standard performers. / Conducteur De Poche

Guitar Play-Along Volume 187-The Guitar Play-Along Series will help you to play your favourite songs quickly and easily. Just follow the tab listen to the audio to hear how the Guitar should sound and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing or to simply help you follow along. The audio is available online for download or streaming and it is enhanced so you can adjust the recording to any tempo without changing pitch. This volume includes 8 songs by John Denver: Annie's Song Back Home Again Leaving on a Jet Plane Rocky Mountain High Sunshine on My Shoulders Thank God I'm a CountryBoy This Old Guitar and Take Me Home Country Roads.

The High Road to Kilkenny Gælic songs and dances of the 17th & 18th centuries Seconde incursion des Musiciens de Saint-Julien en terres celtes après For Ever Fortune (Alpha, 2011), The High Road to Kilkenny articule pièces savantes et raffinées, répertoire récréatif de chansons en gaélique et danses du baroque irlandais. Incarnée dans une langue, des danses et des instruments emblématiques, la musique irlandaise porte aussi en elle l'empreinte d'une poésie insulaire et d'une histoire mouvementée. C'est ce dont témoigne ce programme jubilatoire et envoûtant, pour lequel François Lazarevitch a questionné textes originaux et recueils des XVIIIe et XIXe siècles. Couplets variés, berceuses, chants de barde et hymnes à la nature racontent et dansent l'amour, l'infidélité, les saisons mais aussi l'occupation et l'exil. Sensibles à l'interprétation de ce répertoire aujourd'hui en deçà du pittoresque et de codes figés, Les Musiciens de Saint-Julien trouvent leur inspiration dans la science du phrasé et de l'ornementation qu'enseignent de nombreux traités baroques, l'énergie et la poésie des instruments anciens, la mixité des sources et des traditions musicales. Ils sont ici comme chez eux à la table des grands noms irlandais des XVIIe et XVIIIe siècles et croisent à nouveau la route d'un de leurs fidèles partenaires : le ténor Robert Getchell, très présent sur la scène lyrique baroque et passionné de musiques irlandaises.

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

For quite some time posterity remembered Reynaldo Hahn (1874-1947) for just a handful of songs and the operetta Ciboulette overlooking the incredible diversity of a catalogue as eclectic as it is appealing. Yet his chamber music contains many little-known treasures: thus cellist Steven Isserlis in his preface hastens to hail the first modern edition of these two scores which he regularly plays in recital so much does their beauty enchant the audience. Published in 1911 the Two Improvisations on Irish Airs for cello and piano turn out to be the transcription of his first and third Preludes for piano four hands (1894). Thesefolk themes come from the collection Songs of Old Ireland published 12 years earlier by Charles Villiers Stanford: gracefully and tenderly The Little Red Lark unfurls a melancholic tune of which the regular foundation respects the breadth of phrase typical of folk songs; in The Willow-Tree the lover begs his beloved in vain to take him in her arms one last time before he lies down lifeless in the shade of the tree. Beyond this sensitive exploration of the Irish soul Hahn offers us a journey into the past: the Variations chantantes sur un air ancien develop a theme borrowed from Cavalli’s opera Xerse. In this aria (1660 version: Act IV sc. 6) Ambassador Periarco dreams of moving away from court intrigues to be able to taste the pleasures ‘to which the gods have destined him’. Reynaldo Hahn’s variations succeed in maintaining the sweet simplicity of this theme as noble as it is refined.

32 Schottische Lieder Für 1-2 Singstimmen, Violine, Vc Und Klavier. Par PLEYEL IGNAZ. The braes of Ballenden (Urfassung) - The braes of Ballenden (Zweitfassung) - She rose and loot me in - Tweedside - The mill mill O - The bush aboon Traquair (bisher unveröff.) - The bush aboon Traquair - Lochaber - The waefu' heart (bisher unveröff.) - The waefu' heart - I'll never leave thee (bisher unveröff.) - I'll never leave thee - Corn riggs - Donald - The last time I came o'er the muir - Gilderoy - The ewe bughts - Sae merry as we ha'e been/ Répertoire / Voix