High Voice and Piano - Grade 3

SKU: HL.14036635

Composed by Alexander Zemlinsky. Music Sales America. Classical. Book [Softcover]. Composed 2002. 16 pages. Edition Wilhelm Hansen #WH12085. Published by Edition Wilhelm Hansen (HL.14036635).

ISBN 9788759857380. 8.25x11.75x0.095 inches. German.

5 wonderful songs for High Voice with Piano Accompaniment.

High Voice and Piano

SKU: HL.14036634

Composed by Alexander Zemlinsky. Music Sales America. 20th Century. Book [Softcover]. Composed 2002. 18 pages. Edition Wilhelm Hansen #WH12084. Published by Edition Wilhelm Hansen (HL.14036634).

ISBN 9788759854143. 8.25x11.75x0.109 inches. German.

(High Voice). By Various. For Voice, Piano Accompaniment. Fake Book. Softcover. 472 pages. Published by Hal Leonard

(12 Contemporary Settings of Favorites from the Great American Songbook for Solo Voice and Piano (High Voice)). Arranged by Jay Althouse. For Medium High Voice. Vocal Collection. Book & CD. 64 pages. Published by Alfred Music Publishing

Chamber Music High voice, Piano

SKU: PR.111402890

Composed by Ricky Ian Gordon. Full score. 44 pages. Duration 20 minutes. Theodore Presser Company #111-40289. Published by Theodore Presser Company (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.

(Volume II) Composed by George Frideric Handel (1685-1759), edited by Sergius Kagen. Collection for high voice and piano accompaniment. With vocal melody, piano accompaniment, lyrics, translations and introductory text. Text language Italian and English. 64 pages. Published by International Music Co.

60 Songs - High Voice. Composed by Roger Quilter (1877-1953). Boosey and Hawkes Voice. Softcover. 240 pages. Boosey and Hawkes #M051934560. Published by Boosey and Hawkes

Singer's Jazz Anthology - High Voice with Recorded Piano Accompaniments Online. Composed by Various. Singer's Jazz Anthology. Jazz, Standards. Softcover Audio Online. 110 pages. Published by Hal Leonard