SKU: HL.48025392
UPC: 196288195443.
To mark the 100th birthday of Ursula Mamlok (1923 – 2016), Boosey & Hawkes Bote & Bock, in collaboration with the Dwight and Ursula Mamlok Foundation, is publishing a series of works from the composer's estate that were not published during her lifetime. This volume brings together four aphoristic songs from 1946 and 1950, which show Mamlok to be an early (and then lifelong) mistress of the small form and are all the more interesting because vocal music plays rather a minor role in the composer's oeuvre. Here she responds to the poetry and the way of thinking of her adopted homeland of only a few years, with English texts of the late 19th and early 20th centuries. The themes and attitudes are as varied as their authors, from the idyll of nature to the snapshot of a party to the grotesque nursery rhyme, each of which is put into music by Mamlok just as sparingly as fittingly.
SKU: HL.49017577
ISBN 9790001152204. 9.0x12.0x0.1 inches. French.
These songs by Emile Naoumoff are squarely in the tradition of French lied composition such as by Gabriel Faure. Here, Naoumoff chose texts by late 19th-century French lyricists: Auguste Villiers de l'Isle-Adam, Emile Verhaeren, Charles Baudelaire and Rene-Francois Sully-Prudhomme.In their elegance and suppleness, the four songs sound typically French. As they are all easy to sing and have not been composed 'against' the voice, they are perfectly suited for both music lessons and concert programmes.Naoumoff was born in Sofia in 1962. At the age of eight, he began his career as a pianist and composer; he was a student of Nadia Boulanger for ten years until her death. At the age of ten, Naoumoff composed and performed his own piano concerto under the direction of Yehudi Menuhin. He then received numerous awards and prizes and gave performances as highly acclaimed pianist. Today, Naoumoff lives and works as an associate professor at the School of Music of the Indiana University at Bloomington. He gives master classes in the USA, Europe and Japan and is director of a music academy.
SKU: HL.14014518
ISBN 9780853609711. 8.25x11.75x0.083 inches.
For bass-baritone and piano.
SKU: AP.36-M316091
UPC: 660355086878. English.
These four early (1891) songs by the great American composer, Amy Beach (1867-1944), are settings of texts by Walter Learned (The Summer Wind), Jules de Rességuier (Le Secret), T. B. Aldrich (Sweetheart, Sigh No More), and E. R. Sill (The Thrush).
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: BT.MUSM570360598
English.
For female voice and piano.
SKU: NR.105114
Four poems for voice and piano, R 9, 1920 (en)When smoke stood up from Ludlow, Farewell to barn and stack and tree, Say lad have you things to do, The lads in their hundreds.
SKU: AP.36-M283191
UPC: 660355174605. English.
"L'horizon chimerique," Op. 118 is a four movement song cycle for voice and piano. It is based on four poems from the collection of the same name by French poet Jean de La Ville de Mirmont. This piece premiered at the Societe Nationale de Musique in 1922 by Swiss born French baritone Charles Panzera, to whom the work was dedicated.
SKU: FG.55011-900-0
ISBN 9790550119000.
Published for the first time in 2024, Einojuhani Rautavaara's (1928-2016) Hajoaminen (Finnish for Dissolution, 1956) is set to four grim poems by Finnish poet Lassi Nummi (1928-2012). Plaintive motifs and the use of ostinato creates a static athmosphere and links the songs together. Elegia (Elegy) is Rautavaara's first composition where he used twelve-tone technique.
SKU: BR.EB-8951
ISBN 9790004186206. 9 x 12 inches. German.
Of all his symphonies, Mahler gave the Fourth, his favorite and problem child, his most particular attention. The Heavenly Life, a humoresque composed in 1892 for soprano and piano, which he already wanted to use in the final movement of the Third Symphony under the title What the Child Tells Me, ultimately became the nucleus and final movement of the Fourth. Even after publication in 1901, Mahler kept repeatedly refining the orchestration. His maxim not without my retouching led to a whole series of revised reprints. It is probably no coincidence that Mahler performed especially the Fourth Symphony in his last two New York concerts in February 1911, using this opportunity to review once again the score and parts. This performance material with his retouching served as the main source for the new edition. Furthermore, included for the first time were corrections and annotations in conjunction with performances of the Fourth, which Mahler entered into the scores of conductors such as Mengelberg and Wickenhauser. PB 5664 has been awarded the Presto Sheet Music Award 2020.
SKU: BR.DLV-3496
Nearly all of the orchestral arrangements were made years after the original compositions. Yet even though the arrangements were made in a very short period of time, Sibelius handled the combination of solo voice and orchestra with equal mastery.
ISBN 9790004801666. 9 x 12 inches. Swedish / German.
Sibelius made most of the orchestral versions of his songs for the soprano Ida Ekman (1875-1942), the incomparable Sibelius singer the composer called her in a dedication written in a score. Ida Ekman gave the first performance of the orchestral version of Se'n har jag ej fragat mera on March 30, 1914, in Turku. Idas husband Karl conducted the orchestra of the Turku Musical Society.Nearly all of the orchestral arrangements were made years after the original compositions for voice and piano. Yet even though the arrangements were made in a very short period of time, Sibelius handled the combination of solo voice and orchestra in all songs with equal mastery, sometimes creating dark and dramatic atmospheres (in Pa verandan vid havet), sometimes radiant, colorful impressions (in Soluppgang), or light-colored, transparent textures (in Varen flyktar hastigt), and always basing his ideas on the poetic idea of the song while discovering refined ways of supporting it.In most cases, Sibelius used a comparatively small orchestra: Varen flyktar hastigt has only two flute and four horns added to the strings.Nearly all of the orchestral arrangements were made years after the original compositions. Yet even though the arrangements were made in a very short period of time, Sibelius handled the combination of solo voice and orchestra with equal mastery.
SKU: BR.DLV-5256
ISBN 9790004801895. 10 x 12.5 inches.
Heissa, hopsa, bei Regen und Wind - from Shakespeare's 'Twelfth Night' Unklar bleibt warum Sibelius etwa zeitgleich eine weitere Fassung des Werks nur mit deutschem Text fur Singstimme und Streichorchester anfertigte. Soweit bekannt wurde diese Fassung vor ihrer erstmaligen Veroffentlichung im Jahr 2003 in der Gesamtausgabe ,,Jean Sibelius Werke (JSW) noch nicht aufgefuhrt. It remains uncertain why Sibelius wrote another version of the work with German text only for voice and string orchestra around the same time. As far as is known this latter version has never been performed before its first publication in the volume of the complete edition Jean Sibelius Works in 2003. In den meisten Fallen beschrankte sich Sibelius auf ein relativ kleines Orchester. In ,,Varen flyktar hastigt sind neben den Streichern nur zwei Floten und vier Horner besetzt. Nearly all of the orchestral arrangements were made years after the original compositions for voice and piano. Yet even though the arrangements were made in a very short period of time Sibelius handled the combination of solo voice and orchestra in all songs with equal mastery sometimes creating dark and dramatic atmospheres (in Pa verandan vid havet) sometimes radiant colorful impressions (in Soluppgang) or light-colored transparent textures (in Varen flyktar hastigt) and always basing his ideas on the poetic idea of the song while discovering refined ways of supporting it. In most cases Sibelius used a comparatively small orchestra: Varen flyktar hastigt has only two flute and four horns added to the strings. Mit dem Erscheinen der Erstausgabe 1986 eroberte sich das Werk rasch seinen Platz neben den anderen Streichorchesterwerken des finnischen Komponisten. Das vorliegende Impromptu entstand Anfang 1894, als Jean Sibelius die kurz zuvor komponierten Klavier-Impromptus op. 5 Nr. 5 und Nr. 6 zusammenfugte und fur Streichorchester instrumentierte. Die beiden im Gestus vollig unterschiedlichen Charakterstudien finden dabei zu einem einheitlichen Ganzen da Sibelius das Hauptthema aus dem sturmischen.
SKU: GH.GE-11797
ISBN 979-0-070-11797-5. A4 inches. Text: Tomas Transtromer.
Four poems from The Sorrow Gondola by Tomas Transtromer. For song and piano.Transtromersanger (Transtromer Settings) was commissioned by and dedicated to Carina Vinke, New European Ensemble and Christian Karlsen. It was originally composed for voice and ensemble (GE 11795, consisting of clarinet, bass clarinet, mandolin, guitar, violin, viola and violoncello) and later set for voice and piano with the instrumental intermezzi left out. The work has been widely performed on tour with the New European Ensemble in the autumn of 2010 in Sweden, and in Holland at Pulchri Studio in The Hague and at White Crow Music Festival in Leiden.
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