Par SZYMANOWSKI KAROL. (VII) The Polish idiom appeared in Szymanowskis music in 1920, foreshadowing the beginning of a new period of creativity, later called nationalistic. Before this idiom was realised and such compositions typical of the Polish style as the ballet Harnasie, the Mazurkas, Stabat Mater, Fourth Symphony and Second Violin Concerto had been written, the change in musical thinking and the first experiments in the new language took place in songs. Symptoms of the new style manifested themselves fully in Slopiewnie, Op. 46 bis, composed in the summer of 1921 and published by Universal Edition. In these bizarre songs to bizarre words by Tuwim Szymanowski attempted to crystallize and generalize artistically some primaeval Polish, racial as he described them elements in music. The inspiring factor was undoubtedly the text by Julian Tuwim, abounding in new-coined words and imbued with its own music. It indicated the direction that artistic creativity was to take, and made the full corellation of the verbal and musical layers possible in, as Mieczyslaw Tomaszewski has stated, all the planse of co-operation phonic, structural, expressional and semantic. Based on A. Neuer Commentary to Complete Edition Volume C11 (VIII) Szymanowski did not yield to the temptation of easy over-stilization. Streching out to the deepest ethnic layers of his native musical culture, he made an attempt to mould and suitably fashion a Polish style of musical utterance. This tendency is apparent in the Three Lullabies, Op. 48, to words by Jaroslaw Iwaszkiewicz, composed in 1922 and published by Universal Edition in 1926. In the Lullabies we can find the confirmation of the fact that utterly new atmosphere which, according to the composer, Slopiewnie had introduced into his music, was not a once-for-all phenomemon. The elements of the new musical language, analised in connection with the earlier cycle, may here be regarded as assimilated. These are modalities in vocal melodies (Lullaby I) and cadences (Lullabies I and III), a bourdon effect with a tritone (Lullaby II). However these sometimes sligh and apparently unimportant details recur constatnly, an so acquire the nature of a definite compositional technique establishing a style based in an increasing degree on nationalistic elements. Based on Adam Neuer Commentary to Complete Edition Volume C11 (IX) The Childrens Rhymes, Op. 49, a cycle of twenty short songs by Kazimiera Illakowicz, composed in 1922-23, were a completely new creative experience for Szymanowski. He composed the Rhymes with his 11-year-old niece in mind. She was the daughter of Stanislawa Korwin-Szymanowska, who performed these songs for the first time in Warsaw on 25 February 1924. / Date parution : 2021-12-09/ Recueil / Chant et Piano

Amazing Grace-For generations the hymns of our faith have been blessed millions of worshipers around the world. From the creators of Songs4Worship comes the ultimate collection of favorite hymns. This double CD features top Christianvocalists with 22 of the greatest hymns of all-time – a landmark collection of passionate songs framed in contemporary music. Artists like Darlene Zschech MercyMe Michael W. Smith Paul Baloche 4-Him Crystal Lewis andIsrael Houghton perform favorites like: Amazing Grace • I Surrender All • The Love of God • All Hail the Power of Jesus Name • Blessed Assurance • It Is Well with My Soul • and many more-songs thathave strengthened the faith of millions.

for SATB and harp or piano This delightful work brings together arrangements of four folksongs: 'Green Bushes' 'The Rambling Sailor' 'The Crystal Spring' and 'O No John!'. A Fancy of Folksongs can be accompanied by piano or harp (harp part sold separately) and is sure to be an instant hit with all lovers of McDowall's music.

Orchestral & Instrumental Material for Choral Pieces-This delightful choral work brings together arrangements of four well-loved folksongs: Green Bushes The Rambling Sailor The Crystal Spring and O No John!. A joyful celebration of youthful love and courtship A Fancy of Folksongs bears all the hallmarks of Cecilia McDowall's appealing and popular style: rhythmic vitality occasional astringent harmonies and strong melodies all brought together to create a distinctive and fresh sound. A Fancy of Folksongs can be accompanied by Piano or Harp ( harp part available separately ) and it is sure to be an instant hit with all lovers ofMcDowall's music.

Thomas Simaku's La Leggiadra Luna arranged for choir a capella. The music begins with a song-like expression introduced at a slow pace as if emerging from the remoteness of time itself. It is clearly based on the musical utterance of the 'white modality' but these modal segments are constantly surrounded by chromatic inflections throughout the work. Each section of the choir pursues its own path but during a compositional process of ‘zooming in and out’ as it were their individual qualities are highlighted. It is as if the initial sound object - which to begin with was far away- is brought nearer to us in time andspace. A variety of short segments predominantly modal but stemming from different chromatic ‘locations’ are often superimposed. The task of filtering out this 'amourphous' texture and giving its constituent elements - be they melodic or harmonic or a combination of both - a renewed identity becomes an essential compositional aim through which the process of crystallization occurs. The main strategy of the piece is thus exploring the interrelationship between these two sound-worlds (modal and chromatic) and their temporal qualities (ancient and modern) musical or otherwise.

Selected Songs chosen by Francois Le Roux-Exceptional singer Reynaldo Hahn (1875-1947) owes his early successes to the “songs for voice and piano” genre whose raison d’être he defines in his journal as follows: “To highlight a poem word for word but without uniformity; to emphasize its meaning without distorting it; to shine light upon one idea obscure another and present it all in vocal sung form; to produce a sharp precise sensation by touching a heartstring or evoking an image - all in a well-structured and tastefully written piece”. Enhanced by an audio version attached as a download card this anthology of songs should dispel a good manymisconceptions. This is no salon miniature: L’Heure exquise radiates an infinite tenderness exalted by the high vocal cadences of Ô Bien-Aimée! and C’est l’heure exquise which surely wrought tears from the author of the verses Verlaine. Tyndaris the jewel of Heures latines clears a crystal-clear space given over to the delights of slumber and of love. Like D’une prison and Cygnes these songs do more than wet the eyes: they grip the heart.

New for TBB voices! Jay's crystal clear arrangement begins tenderly, pensively, (with optional solos) then grows and grows to a powerful finish. The universal call for world peace is as relevant today as when this simple song spread around the world almost four decades ago. An impressive concert finale or festival piece, it's perfect any time of year, including Christmas. The easy, optional instrumental SoundPax or SoundTrax will provide an added dimension to your performance. / Choeur SSA

'Tis Winter Now. There is a pristine beauty in this setting of Longfellow's classic poem. Using winter as a spiritual metaphor, the text takes us from despair to hope, reminding us of the true heart of Christmas. The music, almost minimalistic in nature, floats like snow above a crystal piano accompaniment. Slowly but with great elegance, the material develops and expands, the winsome text swirling around us until finally finding rest in the promise of God's renewing love and the deep resonance of the final chords. Serenity in sound!

Originally featuring artists such as R. Kelly Mary J. Blige Bono and Crystal Lewis this Grammy Award-nominated Kirk Franklin gospel original reminds us all that no one should go through this world alone. Arranged by Andre Williams for SATB choir and Piano.

A true music innovator composer and saxophonist John Klemmer is credited with paving the way for the smooth jazz and new age genres. This unique book/CD pack contains Klemmer's actual recorded tunes from his hit MCA records Touch and Barefoot Ballet. Following the recorded versions are complete rhythm tracks for soloing and improvising. Songs include: Body Pulse · Crystal Fingers · Forest Child · Free Fall Lover · Glass Dolphins · Poem Painter · Rain Dancer · Sleeping Eyes · Talking Hands · Waterwheels · and more in both concert key for all instruments and in Bb for saxophone. Includes spoken introductions by Klemmer a biography and a foreword by Rheuben Allen owner ofLA's famous Sax Shop.

Uses: General Scripture: Romans 10:17 II Corinthians 5:7 Hebrews 11:6 Here is a song that calls the believer to a trusting relationship with the Living God. The music mimics the humbleness and gentleness of the text and a lightness in the vocal writing brings a crystal clarity and transparency to choral sound. Creative concept meets music of sincerity and pure beauty!

Description Barbara Allen', 'Lord Lovel', 'Henry Martin', 'Scarborough Fair' and more, arranged for medium voice and piano. Songlist , The Admiral Benbow Arise, Arise As I Walked Through The Meadows (First

Uses: General Baptism Pentecost LentScripture: Zechariah 13:1; Revelation 22:1; Psalm 68:19A lesser-used Welsh tune is visited with an engaging musical treatment and an evocative text in thisoctavo. The lyric washes the listener with compelling imagery of God's cleansing waters of grace. The music is written impressionistically painting an appealing portrait while sensitively gesturing to the main theme's folk roots.Available separately: SATB LiteTrax CD Orchestration (digital score and parts for oboe violin & cello). Duration: ca. 4:20.