SKU: HL.49008924
ISBN 9790001089609. 9.0x12.0x0.012 inches.
SKU: M7.AST-54
ISBN 9790203800545. German.
SKU: BA.BA01730
ISBN 9790006413447. 27 x 19 cm inches.
Print on demand (POD).
SKU: HL.304688
ISBN 9781540067418. UPC: 888680970581. 9x12 inches.
This is the first volume of songs by Charles Ives designed expressly for the young singer. Ives famously asked “Must a song always be a song?” His songs are often miniature dramas, and suggest the visual as much as the auditory. Singers and pianists alike are encouraged to be proactive, and imagine they are actors, or painters, or enter the creative process in some other way.Contents include: 1. Autumn, 2. The Cage, 3. The Circus Band, 4. Down East, 5. Her Eyes, 6. In the Alley, 7. Memories, 8. Nature's Way, 9. The Side Show, 10. There is a lane, 11. The Things Our Fathers Loved, 12. The Waiting Soul.
SKU: AP.36-M300991
UPC: 660355021596. English.
Composed in 1913-1914, this collection of thirteen songs sets poems by Francis Jammes from "Tristesses" (1905) for high voice and piano. Lili Boulanger (1893-1918) directed that, "all of these melodies should be sung with the feeling of evoking a past that has remained full of freshness." Dedicated to Gabriel Fauré, like most of her small output, the work was first published posthumously in 1919, a year after the composer's tragically short life ended. Reprint edition. Songs included: 1. Elle était descendue au bas de la prairie, 2. Elle est gravement gaie, 3. Parfois, je suis triste, 4. Un poète disait, 5. Au pied de mon lit, 6. Si tout ceci n'est qu'un pauvre rêve, 7. Nous nous aimerons tant, 8. Vous m'avez regardé avec toute votre âme, 9. Les Lilas qui avaient fleuri, 10. Deux Ancolies, 11. Par ce que j'ai souffert, 12. Je garde une médaille d'elle, 13. Demain fera un an.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: PR.111402890
ISBN 9781491134672. UPC: 680160685264.
Whatâ??s in a name? While the title is French for â??Eight Flower Songs,â? the texts are all in English. The poemsâ?? flowers metaphorically evoke fragrance, love and loss, life and death, rebirth and regrowth. Perhaps the texture and beauty of Gordonâ??s music are themselves French. The 20-minute song cycle draws on poems from Wordsworth to Dorothy Parker, as well as from contemporary poets including the composer himself.When So-Chung Shinn came to me with the idea of commissioning a song cycle with her spectacular husband Tony Lee, she had in mind something having to do with flowers. Tony had asked her what she wanted for her birthday, and she said she wanted to be behind the creating of a new work. Lucky me, I was the recipient of the commission. So-Chung sent me a little description of all the flowers she loves, but I had to take the idea and create a narrative in my head.It is always a matter of pleasing the commissioner, yet coming up with something you can get behind and hear music for as well. I already knew I wanted to use my â??Tulipsâ? poem which is really about the arc of a relationship as represented through the life span of the Tulips, and, in many ways, disappointment; and Dorothy Parkerâ??s â??One Perfect Rose,â? which is wry, bitter, cynical, and funny, in a way only Dorothy Parker can so pithily express.I thought of Jane Kenyonâ??s exquisite â??Peonies at Dusk,â? because knowing she died so young (46) of leukemia, the poem has such a particular resonance, almost humanizing the Peonies, casting the moon as a sentient being, illustrating so beautifully how connected everything is, alive here, and revolving around these exquisite blossoms. Then, I remembered her husband Donald Hallâ??s poem â??Her Garden,â? which he wrote after Jane died, his grief intermingled with his inability to care for what she had created, to keep alive what so represented her aliveness, broken as he was, and I felt I already had a story.I found the Wordsworth, because it felt like pure joy to me, but also, if each of the songs has a color in my head, â??The Daffodilsâ? is pure yellow and a good place to start. My partner Kevin and I live on a lake, and every year, the first Daffodils, the shock of yellows, the oranges, the blinding whites, after the long snowy winters, sing of the newness that is about to enfold us in its green miraculousness.At first, the cycle ended with the Langston Hughes poem â??Cycle,â? or â??New Flowers,â? because it was lovely, and about rebirth, which is obviously optimistic, and apt, but then, my friend Telmo Dos Santos, a wonderful Canadian poet whom I met at Banff, sent me his poem â??Afterlife With Lilacs,â? having no idea what I was working on. I felt I had to add it because it is so dazzling, and it immediately felt like the missing link. Finally, there were unfortunately rights issues, namely, we could not, no how, get in touch with the Langston Hughes Estate, after so many happy collaborations.After almost a yearâ??s frustration, I wrote my own text, â??Play, Orpheus,â? which ended up being fortuitous, because the first time I met So-Chung, she entered the room and the most exquisite scent of Lillies of the Valley, Muguet de Bois, filled the room. I went right over to her and rudely put my nose to her neck, for the intoxication of the scent. So â??Play, Orpheusâ? is for So-Chung, to remind us of the precious treasures of this world flowers remind us of. Everything and everyone lives and dies, lives and dies. Death and resurrection.And of course, this is music, this is song, so the inclusion of the God of music, Orpheus, seems apt. Huit Chansons de Fleurs is really about what flowers represent, their radiance, their flickering impermanence, the way they are used to celebrate, as well as to mourn...... and of course, their fragrance. Their fragrance.Ricky Ian GordonJuly 28, 2021.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
