SKU: HL.148619
ISBN 9781495029684. UPC: 888680078515. 9.0x12.0x0.492 inches. With a Foreword by Thomas Riis.
Late in his life, composer J. Rosamond Johnson (Lift Ev'ry Voice and Sing) submitted to his longtime publisher, E.B. Marks, a list of songs that would comprise a volume of his best early popular songs written with his pre-1910 partner Bob Cole and his brother, James Weldon Johnson (Autobiography of an Ex-Colored Man). That list was never put into print...until now. Featuring an introductionby Dr. Thomas Riis (Just Before Jazz) and several rare photos, this new compilation is the latest legacy offering from the Marks archive, which contains a rich heritage of turn-of-the-century African-American, and thus distinctly American, pre-jazz-era popular song. Includes: Ain't Dat Scan'lous * Big Indian Chief * The Big Red Shawl * The Bleeding Moon * Congo Love Song * The Countess of Alagazam * Fishing * I Don't Want to Be No Actor Man No Mo' * I'll Always Love Old Dixie * I'll Keep a Warm Spot in My Heart for You * I've Got Troubles of My Own * The Katy-Did, the Cricket and the Frog * Lazy Moon * Lit'l Gal * Louisiana Lize * Lovely Daughter of Allah * Ma Mississippi Belle * The Maiden with the Dreamy Eyes * Mudder Knows * My Heart's Desiah is Miss Mariah * My Castle on the Nile * Nobody's Lookin' but de Owl an' de Moon * Oh, Didn't He Ramble * The Old Flag Never Touched the Ground * On the Road to Monterey * The Pathway of Love * Roll Them Cotton Bales * Save It for Me! * The Spirit of the Banjo! * Sugar Babe * Two Eyes * Under the Bamboo Tree * When de Jack O'Lantern Starts to Walk About * When It's All Goin' Out, and Nothin' Comin' In * Who Do You Love?
SKU: BR.DV-6140
ISBN 9790200460230. 13.5 x 10.5 inches.
Translation: Engl. (S. Wadsworth) (1988) / (Norbert Rubesaat) (1993); French (Jean-Pierre Wurtz) (1997) Place and time: Jail Munchen-Stadelheim, in the hour before the execution on 22nd February 1943 Characters: Sophie Scholl (soprano) / Hans Scholl (baritone or tenor) >>Weisse Rose<< (White Rose) was the name of the resistance group to which Hans and Sophie Scholl belonged. Udo Zimmermann's composition is characterized by the varying structure of its scenes: dramatic, visionary scenes, e.g. the remembered wartime experiences on the front, Sophie's anxiety about the removal of the children and the wish to see her parents one last time, contrast with contemplative monologues that are intended to provide insights into the individual's particular situation. The composer interweaves into the structure of the piece dream sequences with sudden bursts of anxiety that are not triggered by the execution that is about to take place but by the consequences of one's own actions. The result is a deliberate fusion of the various parts into one another. More than 100 different productions prove that the topic is as important as ever and that the work is both artistically rewarding and practicable. Udo Zimmermann About the piece Two young people, the siblings Sophie and Hans Scholl, are in a prison cell, one hour before they are to be put to death by their fascist executioners. Their christian convictions and sense of responsibility gave them the courage to put up resistance, resistance against the lies, the contempt for humanity and all human values. Sophie and Hans Scholl took their stand in the full knowledge that they were taking a deadly risk. They would simply not have been able to live with their feelings of shame had they not grasped the chance of fighting for what they believed in, even though it was a dangerous thing to do. Memories of past events, doubts, hopes and fears, justification of deeds and an acceptance of death, all these things happen and move in, and between, these two people during this representation of the hour before death. The orchestra provides a psycho-physical shorthand of their inner mental state. Musical effects and gestures search for their identity in human behaviour. The moments of stillness and silence provide moments of musical tension, which are just as powerful as the eruptions of fear and desperation. CDs: Gabriele Fontana (soprano), Lutz-Michael Harder (tenor), Instrumentalensemble, cond. Udo Zimmermann CD Orfeo C 162 871 Grazyna Szklarecka (soprano), Frank Schiller (tenor), musica viva-ensemble dresden, cond. Udo Zimmermann CD Berlin Classics Eterna BC 0120 060-2 CD (excerpts): Gabriele Fontana (soprano), Lutz-Michael Harder (tenor), Ein Instrumentalensemble, cond. Udo Zimmermann CD BMG 74321 73628 2 Bibliography : Kornel , Attila: ,,Tief unter uns nur Schweigen - Die Asthetik der Stille in Udo Zimmermanns Kammeroper ,,Weisse Rose, in: Die Tonkunst 11 (2017), pp. 368-377. Rheinlander , Matthias: Im Osten nichts Neues? Ostalgie ohne Kitsch am Beispiel von Udo Zimmermanns Oper Die weisse Rose, in: Musik und Unterricht, Heft 73 (2003), pp. 34-40.World premiere: Hamburg, February 27, 1986DV 1140 Awarded the German Music Edition Prize.
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: BT.PMC3865
The Two Songs on American Poems were composed in late May and early June of 2011 by candlelight at my rustic waterfront cabin on a remote island off the northwest coast of Washington State. It was in this locale that I havecompleted a number of works over the years, including the Lux Aeterna, O Magnum Mysterium, Nocturnes, Canticle/O Vos Omnes and others. Prayer was written in memory of Michael Jasper Gioia, Dana and Mary Gioia's infant son, whosebrief life was tragically ended by SIDS.Mr. Gioia served as Chair of the National Endowment for the Arts from 2003-2010 and has authored several books of poems, numerous anthologies, articles, essays and two opera libretti. Amonghis many awards are the American Book Award and Presidential Citizens Medal. He currently holds the Judge Widney Chair of Poetry and Public Policy at the University of Southern California. Sure on this Shining Night was originallycomposed as a choral piece, the third movement of my Nocturnes on poems by Rilke, Neruda and Agee. Rod Gilfry, an international star of opera, recital and musical theater, premiered the mixed duet version with his daughter, Carin,in 2009. He is Professor of Vocal Studies at the USC Thornton School of Music. Both he and Mr. Gioia are national treasures. The Two Songs are designed as a pair but may be sung independently - when paired, Sure On This ShiningNight should begin immediatelyfollowing the final, sustained chord of Prayer with no break in between the songs. Both of these songs, premiered by Mr. Gilfry accompanied by the composer at a USC Visions & Voices tribute to DanaGioia on September 27, 2011, have their roots in the American musical theater and should be sung as such.
