SKU: DY.DO-1522

ISBN 9782897963026.

Francis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.
Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux �tats-Unis.
Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.
Parallèlement, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. � Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.
Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.
Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.
Progressivement, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.
Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !
Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.
Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.

Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.
We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.
After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.
In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.
Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.
He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.
Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism.
He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!
Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.
His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.

SKU: IS.G6761EM

ISBN 9790365067619.

This sonata (WeissSW No. 48, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXIII comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXIII is a large and mature piece. It probably dates to the last period of the life of Weiss. The Sonata has seven movements: Prelude, Allemande (andante), Courante, Bourée, Sarabande (andante), Menuet, and it ends with a Presto. The use of tempo indications for French dance movements is characteristic for the later work of Weiss. The purpose of beginning a lute sonata with a Prelude is to introduce the specific key and the harmonic design of the sonata. However, not every sonata in the Dresden manuscripts has a Prelude. About one third of the 34 Dresden Sonatas opens with a Prelude, but only six of them may be considered truly integral to the sonata. The other Preludes are composed in a rather â??rudimentaryâ?? style, as a model for the less experienced lute player to improvise on the central key and theme. They may have been added later in the copying process. The Prelude of this particular Sonata is regarded as spurious, in respect to composition, a rather weak addition. I have included the Prelude in this Edition, leaving it to the guitar player to judge whether it fits with the musical style and idiom of the Sonata or not. Originally, the Sonata is written in F sharp minor, a key often used by Weiss as it is appropriate for playing the lute, but rather awkward with the guitar. For ease and effectiveness of playing, I have transposed the Sonata a major second lower to E minor. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 2nd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 1st fret.

SKU: HL.242081

ISBN 9781785588617. UPC: 888680704407. 4.75x7.75x0.956 inches.

A pocket-sized collection of 195 Beatles hits presented in chord songbook format. Includes complete lyrics, chord names & a handy chord box reference sheet. Including classic hits such as: All You Need Is Love • Can't Buy Me Love • Day Tripper • Do You Want to Know a Secret • Eleanor Rigby • From Me to You • Get Back • Help! • Hey Jude • I Want to Hold Your Hand • Let It Be • Magical Mystery Tour • Ob-La-Di Ob-La-Da • Please Please Me • Ticket to Ride • Twist and Shout • and more.

SKU: OT.26114

ISBN 9789655051049. 8.27 x 11.69 inches.

Ariel Lazarus
Guitarra Liturgia
Two pieces based on music from the Spanish and Portuguese tradition.
Contents:
Jerusalem de Sefarad - Suite for Guitar
Contrapunto Sefardi
The composer writes:
For many years I wanted to compose a piece for guitar which would inspire interested students to expand their repertoire in the direction of Jewish music. The most natural thing for me was to write a suite based on themes from the synagogue in which I grew up – the Spanish and Portuguese synagogue of Gibraltar. My beloved grandfather served all his life as hazzan (cantor) of this synagogue, and I always felt as a composer and educator that I had a special obligation to continue his tradition and pass it on to a new generation. In this composition, I let the guitar echo the piyyutim (semi-liturgical poems) that were part of my childhood: Adon Olam, Sh'charchoret, Achot K'tana, Yigdal, Borei ad Ana, all of which are sung in the Spanish and Portuguese tradition from Gibraltar to London, and from New York to Jerusalem. I let myself dream the piyyutim, take them apart and reconstruct them as a short suite for guitar, the results of which you are invited to hear here. As a conceptual idea for the suite, I choose to suggest about the cultural continuation between the Diaspora and the land of Israel by way of referencing the well-known melody of Naomi Shemer, which is also popular among the hazzanim.
Dr. Ariel Lazarus is a unique voice among Israeli composer-performers today. Brought up in a family with Jewish musical roots both in Gibraltar and Westphalia, he began composing and playing the guitar in his teens, and has been committed to developing his own compositional language ever since, always maintaining an open dialogue with his traditions.
Lazarus received his BMus and MMus degrees from Oklahoma City University in classical guitar performance and composition where he studied with American composer Dr. Edward Knight. He earned his PhD from Bar Ilan University, studying composition with Prof. Betty Olivero and Prof. Gideon Lewensohn and conducting research under the supervision of Prof. Edwin Seroussi from the Hebrew University. His symphonic works have been premiered by the Raanana Symphonette Orchestra, and his chamber works have been performed by various ensembles in the United States, Central Europe, Portugal, Gibraltar, Scandinavia and Israel. Lazarus performs regularly as Art Ambassador on behalf of the Israeli Ministry of Diaspora affairs Amiel BaKehila program.
His solo album A Hebrew Capriccio was released by the German boutique label SmoothFactor and was awarded critical acclaim, among others, in Haaretz, and Neue Westfalishe.
Dr. Lazarus is the musical director and co-founder of the Israeli Ladino Orchestra. His work with the orchestra has been recognized by the official Carta de España. He teaches at the Academic College for Education Givat Washington, and the Rimon School of Music. Lazarus’s work has been awarded by the Israeli Pais Art council and ACUM.

SKU: IS.G6766EM

ISBN 9790365067664.

This sonata (WeissSW No. 52, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXXIII is a unique copy. It comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXXIII is in the fifth volume. It belongs to a group of large and mature Sonatas of the late â??productiveâ?? period of Weissâ??s life, probably after 1740. The Sonata has six movements: Ouverture , Courante assai moderato, Bourée, Siciliana (a slow dance, but more cheerful than a Sarabande), Menuet, and it ends with a Presto. The Ouverture substitutes the traditional Allemande. It is more complex in structure, and includes a Largo, an Allegro (in the style of a Fugue), and a Vivace. The use of tempo indications for French dance movements is characteristic for the later work of Weiss. Originally, the Sonata is written in C minor, a key appropriate for playing a Baroque lute tuned in the D minor chord. However it is rather awkward with the guitar. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to A minor. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.

SKU: GI.G-006425-P2

We Celebrate is a flexible resource that combines a large-size, always up-to-date quarterly missal with a complete, beautifully softbound hymnal. We Celebrate provides parishes with the finest in texts and music—in a format that offers the right combination of stability and flexibility for quality parish worship. This is the worship program for the parish with the highest standards. The We Celebrate Quarterly Missal contains all of the readings and prayers for Sundays and Holy Days. Each issue provides catechetical tools to help worshipers participate more fruitfully in the liturgy and to draw connections between liturgy and life: insightful introductions to the Sunday scriptures, weekly questions for individual or group reflection, and an article introducing the liturgical season. The generous 6 X 9 size is easy to hold and easy to read. Scriptures are printed in an even larger type. Weekdays are an important part of the We Celebrate missal. Lectionary citations are provided, as well as Entrance and Communion antiphons, complete responsorial psalms, and gospel acclamations with verses. Also included are orders of service for rites and devotions, Morning and Evening Prayer, Communal Reconciliation, and seasonal celebrations. Misalito Parroquial, a Spanish-language section of Lectionary readings, prayers, and hymnody is available as an insert to the We Celebrate Quarterly Missal. We Celebrate Hymnal includes Peter Kolar's acclaimed bilingual Mass setting, Misa Luna, and Kathleen Demny's‚ best-selling Mass for children, Mass of Joy. The We Celebrate Hymnal is published every three years and contains more than 850 musical pieces, including hymns, songs, psalms, and ritual music. The Hymnal provides a body of repertory available throughout the year, while the Missal provides the best of new music. Although designed to coordinate with the We Celebrate Missal, the Hymnal can serve as a complete resource itself or as a companion to any missal, including Seasonal Missalette and Celebremos!/Let Us Celebrate!. For more information contact our Sales and CRM Manager, Suzanne Orland at 708-613-8981 or email (suzanneo@giamusic.com for pricing. Click on this link to view music index pages from the We Celebrate Hymnal.  We Celebrate Hymnal and Missal (missal published four times a year, hymnal published every three years) 25 copies or more $4.20 per subscription, per year plus shipping.