SKU: HL.49047076
ISBN 9781705184035. UPC: 196288115076.
There are only two sacred solo songs in the extensive oeuvre of the Oppenheim composer Johanna Senfter. Both songs, probably composed in 1917, are influenced by the catastrophe of the First World War. They are hereby presented as the first publication. JOHANNA SENFTER 1879 - 1961 Born and raised in Oppenheim/Rhein - First lessons from the mother (piano, violin) - School and university years in Frankfurt/Main -From 1895 parallel music studies at the Hoch Conservatory in Frankfurt, graduating in 1903 (piano, organ, violin, composition; especially dealing with J.S. Bach) - From 1907 private lessons with Max Reger - October 1908 to 1909 his student at the Leipzig Conservatory - 1909 Arthur Nikisch Prize for the best composition - Then worked in Oppenheim as a freelance composer and music teacher - Friendly relationship between the Reger family and Senfter - With Reger's death in 1916 she lost the protege for the advertising of her works (approx. 130) - 1921 founding of two music societies. ROLF SCHONSTEDT Born in Erfurt/Thuringia in 1944 - studied church music in Herford and Cologne - church music exams (B / A / artistic maturity exam / concert exam) Kantor positions in Remscheid, Wuppertal, Hamm/Westf. - KMD, state chairman of church musicians, state church music director, lecturer at the Westf. phil. (The organ song - a new genre on the threshold of the 20th century) - As an organist, harpsichordist,conductor, lecturer in Europe, Russia, North and South America, Africa - Co-founder of the 2nd Reger Festival in Argentina - Boardmember of the International Max Reger Society - Member of the Argentine National Academy for Art and Music - Honors and awards (national / international) - Publisher: Series The Spiritual Song / The Organ Works by Karl Hasse - Radio, television, disc /CD.
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: BT.CARML98032
ISBN 9788850712694.
SKU: BO.B.3667
The song cycle Cancons dels mesos [Songs of the months] was written in 1919 to a set of poems by Apel·les Mestres (1854-1936). There is one song for each month and the poems seem to look at the months and seasons as seen from the Catalan Mediterranean where the wine harvest and the fields near the sea are so typical. Mestres was a writer, drawer and musician; as a writer he cultivated poetry, theatre and prose, which he often mixed in his work. Most of his lyric and dramatic work is set music by composers like Enric Granados, Amadeu Vives, Enric Morera. His use of the Catalan language was important in the renaissance of the Catalan culture so in style at the time.The songs of this cycle, are influenced by the Mediterranean sea, the coast of Cataluna and the general vocal tendencies in Europe around the turn of the century, mostly from the German school of Wagner and Strauss. In general there is little folk influence in the songs, but in two occasions there is a reference to the Catalan songs, Desembre congelat, and a direct use in one of the songs of the rhythm of the Sardana a typical Catalan dance.
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.
SKU: HL.48189385
UPC: 888680991869. 9.0x12.0 inches.
Known for her Operas and Vocal works, contemporary composer, Isabelle Aboulker has won numerous prizes for her compositions. 1918, The Man who was Staggering in the War has met much success and is a sublime addition to the Vocal repertoire. Aboulker was commissioned to write the work in 1998 to commemorate the 80th anniversary of the ending of World War I. 1918, The Man who was Staggering in the War was later chosen to represent France when Weimar became European city of culture in 1999. Written for Voice and Piano, 1918, The Man who was staggering in the War is an Oratorio. As an exciting, alternative collection of songs in the Vocal repertoire, Aboulker''s 1918, The Man who was Staggering in the War is an exquisite addition to any singer''s repertoire..
SKU: HL.49006662
ISBN 9790001072069. UPC: 841886030725. 7.75x11.0x0.377 inches. German.
Klage eines verliebten Schafers (Albert) * Ergotzlichkeit zur rechten Zeit (Krieger) * Die vergessene Phillis (Telemann) * Von Erschaffung Adam und Eva (Rathgeber) * Von allerhand Nasen * Ich kehre wiederum (anon) * Der lieben Sonne Licht und Pracht (Bach) * Die Sommernacht (Gluck) * Rhapsodie (Reichardt) * Um Mitternacht (Zelter) * Der Musensohn (Zelter) * Gegenliebe (Haydn) * Das Veilchen (Mozart) * An Chloe (Mozart) * Ich liebe dich (Beethoven) * Aus Goethe's Faust (Beethoven) * Heinrich der Vogler (Loewe) * Heidenroslein (Schubert) * An eine Quelle (Schubert) * Der Wanderer an den Mond (Schubert) * Der Musensohn (Schubert) * An Silvia (Schubert) * Das Waldschloss (Mendelssohn) * Aus den ostlichen Rosen (Schumann) * Erstes Grun (Schumann) * Fruhlingsfahrt (Schumann) * Ein Jungling liebt ein Madchen (Schumann) * Wenn ich ein Voglein war * Dein blaues Auge (Brahms) * Salamander * Klange (Brahms) * Traume (Wagner) * Die Konige (Cornelius) * Das verlassene Magdlein (Wolff) * Auf ein altes Bild (Wolff) * Der Musikant * Waldeinsamkeit (Reger) * Morgen (Strauss) * Untreu und Trost (Pfitzner) * Hans und Grethe (Mahler) * Lied der Zigeunerin (Tchaikovsky) * Die Gefangene (Dvorak) * Im Kahne (Grieg) * Span auf den Wellen (Sibelius) * Apres un Reve (Faure) * Le Faune (Debussy) * Gott, ach Gott im Himmel (Bartok) * Ganse, Schwane fliegen aus (Stravinsky) * Wiegenlied (Shostakovich) * Von der Freundlichkeit der Welt (Eisler) * Geh unter, schone Sonne (Fortner).
SKU: BR.EB-9398
ISBN 9790004188729. 9 x 12 inches. Chinese.
Poetry from a thousand years - First time in Urtext The legacy of Chinese poetry includes thousands of songs and poems spanning over more than three millennia. Gustav Mahler himself was inspired by seven of these poems for his Lied von der Erde. The 16 Selected Chinese Art Songs presented here are shaped in structure and musical grammar by the famous European Lied compositions and yet the Chinese idiom is unmistakable. The songs represent poetry from a thousand years, set into music by composers of the 20th century.first Urtext edition of 16 of the most famous Chinese art songsedited by Liao Changyong and Hartmut Hollphonetic translation in the musical text includedcomprehensive text part in three languages (Chin/Ger/Eng) with complete English translation of the used poemsfacsimile pages.
SKU: GH.CG-5656
Text: Alf Henrikson.
I den svenska melodifestivalen ar 1965 framfordes samtliga bidrag av Ingvar Wixell. Vann gjorde Dag Wirens sang Annorstades vals, och vid den europeiska finalen i Neapel hamndade den pa tionde plats. Denna utgava ar for sang och piano.
SKU: BT.EMBZ20017A
English-German-Hungarian.
In 1845 Franz Liszt embarked on a project to compose an Italian opera based on Lord Byron’s tragedy, Sardanapalus (1821). It was central to his ambition to attain status as a major European composer, with premieres variously planned for Milan, Vienna, Paris and London. But he abandoned it half way through, and the music he completed has lain silently for 170 years. Liszt’s difficulty in obtaining a libretto meant that composition only began in April 1850. He completed virtually all the music for Act 1 in an annotated piano-vocal score of 111 pages, contained within his N4 music ‘sketch book’. The unnamed librettist was an Italian poet and political prisoner, seemingly living under house arrest, and a close acquaintance of Cristina Belgiojoso. His libretto survives as underlay in the N4 sketchbook and has been critically reconstructed and translated. Sardanapalo is Liszt’s only mature opera. While he consistently referred to it in French, as Sardanapale, the published title of the Italian opera would almost certainly have used the Italian name, hence this forms the title of the first edition. There are three solo roles and a chorus of concubines. The manuscript was previously thought to be fragmentary and partially illegible, but it was finally deciphered to international acclaim in March 2017. Liszt’s score offers a richly melodic style, with elements from Bellini and Verdi alongside glimmers of Wagner and the symphonic poems ahead: a unique mixture of Italianate pastiche and mid-century harmonic innovation. It remains quintessentially Lisztian. The opera sets Byron’s tragedy about war and peace in ancient Assyria: the last King, effeminate in his tastes, is drawn to wine, concubines and feasts more than politics and war: his subjects find him dishonourable (a ‘man queen’) and military rebels seek to overthrow him, but are pardoned, for the King rejects the ‘deceit of glory’ built on others’ suffering: this leads only to a larger uprising, the Euphrates floods its banks, destroying the castle’s main defensive wall, and defeat is inevitable: the King sends his family away and orders that he be burned alive with his lover, amid scents and spices in a grand inferno. As Byron put it: ‘not a mere pillar formed of cloud and flame, but a light to lessen ages.’ For his part, Liszt told a friend that his finale ‘will even aim to set fire to the entire audience!’ This critical edition includes a detailed study on the genesis of Liszt’s Sardanapalo in English, German, and Hungarian, the libretto in the original Italian as well as in English, German, and Hungarian translation, several facsimile pages of Liszt’s manuscript, and a detailed Critical Report.
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