This version of David of the White Rock (Dafydd Y Garreg Wen) is for Voice SATB Unaccompanied and has words in both English and Welsh and rehearsal Piano line. The tune remains in the Soprano Voice with traditional and effective harmonization.Tradition has it that David Owain was a famous Welsh harpist of the 18th century who, on his deathbed, composed this lovely tune. Words were added a century later by poet Ceiriog Hughes. David of the White Rock is widely known in Wales and abroad and is frequently sung by choirs and recorded, often with harp accompaniment. / Chant Et Piano

Chamber arias for medium voice and piano or harp-Gaspare Spontini composer and conductor was celebrated for his operas in the late 1700s and early 1800s although he also composed several pieces of vocal chamber music at the same time.The chamber repertoire was composed with the amateur performer in mind: the tessitura of his melodies falls mostly within the medium/high range and does not call for any special techniques. This does not however diminish the artistic value of hischamber music; indeed it is a body of work of great interest and beauty. Each piece was written for a single voice accompanied by the piano or the harp - the two instruments most commonly found in salons of the time - and in a variety of forms:bagatelle barcarole chansonnette romance stances stances élégiaques élégie strophes Lied romanze ariette melodici accenti duetti and duetti notturni.In addition to a selection of compositions for medium-range voices - proposed here in the original tonic key - this book also includes the most celebrated and significant of Spontini?s compositions.

Bernard Stevens's Four John Donne Songs for high voice. Includes:Sweetest love I do not go (E flat - F sharp)Go and catch a falling star (F sharp - A)The Good-morrow (C sharp - A)Death be not proud (B - A (G sharp))

Volume 3. Par IRELAND JOHN. CONTENTS All in a garden green (D - E) Aside (B - E) Beckon to me (C - E) Dear think not that they will forget you (C - F) Great things (C - E) Her song (C - D) In Boyhood (C sharp - F) In my sage moments (C - E) It was what you bore with you, woman (D sharp - E) Report song (C - E) Summer schemes (C - F) Sweet season (D - E) Thanksgiving (C sharp - E) Tragedy of that moment (B flat - D) Weathers (C - D) We'll to the woods no more (E flat - F) Set for the Associated Board, Guildhall School, London College and Trinity College examinations. / Niveau : Moyen / Répertoire / Chant et Piano

Volume 5-CONTENTSBed in Summer (C - D)Blind (D - D)Cost (C - F)Friendship in misfortune (D flat - F)Hope the hornblower (F - G)I have twelve oxen (C - F)If there were dreams to sell (E flat - F)If we must part (D - E)Journey (E - E)Love and friendship (C - G)Merry month of May (C - F sharp)One hope (B flat - F sharp)Song from o'er the hill (D - E flat)Three ravens (C - E flat)Tutto e Sciolto (E - E)When lights go rolling (D - F sharp)Set for the Associated Board and Guildhall School examinations.

CONTENTSCuisine Provencale (C - G)End of Love The (C - F)Far-darting Apollo (C - G)Introspection (B flat - G)Lament (C - G)Love for such a cherry lip (C sharp - F sharp)Song of Praise A (C - G)There is a garden in her face (C - F)

Henry Purcell's Songs Book 2 have been edited by Maureen Lehane and Peter Wishart and contain:Ah how sweet it is to love (E - F)Dido's lament (C - G)The fatal hour comes on apace (C sharp - F)From rosy bow'rs (C sharp - F sharp)Hark how all things with one sound rejoice (D - F)Set for the Associated Board Guildhall School and Trinity College examinations.

The songs of George Butterworth with piano accompaniment. Introduction by Peter J. PirieCONTENTSA Blacksmith courted me (E - F sharp)A brisk young sailor courted me (E - E)Come my own one (C - F)The Cuckoo (D - C)I fear thy kisses (B flat - E)I will make you brooches (C - F)A lawyer he went out (C - E)Requiescat (C - F)Roving in the dew (E flat - E flat)Seventeen come Sunday (D - E)Sowing the seeds of love (C - D)Tarry trousers (D - E)The true lover’s farewell (D - E flat)Yonder stands a lovely creature (C sharp - E)Set for the Guildhall School examinations.

Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera.” On the same scale as chamber music is to the symphony, it is rather the other way of talking onstage. The movable apparatus permits sophisticated voice-leading. A large ensemble demands simple conception to achieve the complexity it perhaps intends; this can be formulated more sharply and nuanced in a chamber ensemble. Therefore it is the subject which this type of presentation must sustain – or, better, provoke. Büchner’s Lenz is a description of the conditions within a process of collapse, moments of destruction already occurred but not yet accepted, evident in the points of contact with the environment. And it was those points of contact which Michael Fröhling attempted to reconstruct onstage. Lenz’s distraught state is always the same; only the proximity of the environment to that distraught state grows and ebbs. The musical consequence An hour of extreme chamber music results from this description: always bound for the main character – actually, not a commentary, but the main character himself as a multilayered level of action. Although Lenz acts on many levels – or tries to or believes he is – he has no room to manoeuvre. That is why he is also tightly interwoven in his sonic surroundings; the voices which only he hears are just as much himself as the two men with whom he foregathers (the liberal pragmatist Oberlin and the alert merchant who always “does the right thing” in every situation) – they evoke responses which he deeply desires. Omnipresent Friederike is just as much his inner world as Nature is – Nature, which he can no longer perceive unless it is personified, enlivened or dead. Therefore, the music’s task is both to motivate the “situation” (atmospherically) and to be the psychological constant (via a network of entangled references per se) in an action as it is played out. The compositional process December 1977 to June 1978 – a period identical to the stepwise understanding of an existence as that of Jakob Lenz. Yet the more the historical figure became precisely attendant in my intellect in terms of data and atmosphere, the more it retreated in favour of a cipher of disturbance as I began to understand Lenz. Thence the explanation for the failure of the attempts to approach him – including my attempt to interpret him via musical representation – because, essentially, Lenz himself is the failure. Only the naked stages of that failure remain portrayable, i.e. including the failure of those who wish to “help” Lenz, for example, while Lenz himself is already trapped inextricably in a state of complete destruction. I tried to compose my way into that situation as far as possible; the insistence of several rhythmic and harmonic configurations is the palpable expression of the main character’s ever-recurring rigidity. One sound pervades the entire work. The musical stage For me, this is a place where very magical and very human things take place. In Jakob Lenz, the human aspects often switch to magical ones, since the realism of a self-suasive, unhinged soul takes on surreal traits – or we simply cannot understand that otherwise except as not being real. A character like Jakob Lenz on the stage is complex due to the fact alone that it harbours many stages within itself, and music must represent those constantly present stages. I have tried to do so in the most direct way – by not cleanly separating the musical layers, but keeping them constantly in evidence until they must break forth, each in accord with its own dramaturgy. In an overview, the large form takes on aspects of a rondo, performed in overlapping layers – a type of rondo relief, since perspectives of psychological proximity and distance are indeed formulated musically as atmospheric relations. Above all: the thread on which Jakob Lenz hangs is the current onto the listeners’ hearts. Wolfgang Rihm (January 1979)/ Répertoire / Chant et Piano

And Other Songs-Introduction by John LongmireCONTENTSEncounter (G - G)Epilogue (F - A flat)Goal and wicket (E - G)If we must part (D - E)Ladslove (F - A flat)Lent Lily (G - F sharp)Vain desire (E - A flat)What art thou thinking of (E - G flat)When lights go rolling (D - F sharp)Set for the Associated Board DipABRSM and LRSM examinations.