/ Maître De Chapelle (Tenor), Choeur Mixte (SATBB) Et Echo-Chor (SA) (1 Voix Ad Libitum) / Partition

/ Maître De Chapelle (Tenor), Choeur Mixte (SATBB) Et Echo-Chor (SA) (1 Voix Ad Libitum) / Partition

/ 3 Voix D'Echo (Soprano, En Solo Ou Chorale) Et 6 Parties Mixtes (Orgue Ou Orchestre Ad Libitum) / Partition

Echoes Pictures Riddles and Tales is a terrific and practical collection of pieces for Piano solo by Martin Kutnowski. Heavily influenced by folk and the tradtional music of his native Argentina and other Southern American countries this is a colourful varied and absorbing collection intended for Elementary through Intermediate Pianists. The contents of this fine collection includes: Arrorro Mi Nino (Sleep Sleep My Child) Trumpets Echo Marching Ants Mist Stubborn and Cranky El Gallo Pinto (The Colorful Rooster) The Sleepy Groundhog Galloping on the Ranch Hopscotch Sobre el Puente de Avignon (On the Bridge of Avignon) The Haunted Mansion Milonga in G minor and many more. The FJH Contemporary Keyboard Editions Series focuses on the best contemporary music for the keyboard form the late 20th and early 21st centuries. These collected works have all been chosen for their strong musical voices and their artistic and pedagogical merits.

Das Liederspiel. Par HUMPERDINCK ENGELBERT. When Engelbert Humperdinck’s fairy tale opera Hänsel und Gretel was premiered on 23 December 1893 in Weimar conducted by Richard Strauss, the work could look back on an extensive history of origin. Humperdinck’s younger sister Adelheid Wette (born in 1858) had displayed a great interest in literature in her youth and written a variety of poems for special occasions. In 1888, she wrote a fairy tale entitled Schneewittchen [Snow White] and her brother supplied some songs for this piece. Further fairy tale collaborations followed which were customarily performed within the family circle, and the first draft of the Hänsel und Gretel was begun in 1890. Adelheid’s husband would be celebrating his 34th birthday on 16 May of this year and his wife intended to surprise him with a performance of her version of this fairy tale. Her brother was allotted the task of composing the accompanying songs and, a month before the birthday, she wrote a letter to him in Mainz where Engelbert Humperdinck was among other activities working as an editor for the Schott publishing house, ordering a “very pretty folkloric” Tanzlied [Dance song], a Waldlied [Forest song] (or Echolied [Echo song]), a Schlummerlied [Lullaby] and a Kickericki-Lied [Cock-a-doodle-doo song] from her “dear sugar-sweet little brother... Engel-Bärtchen [angel beard]”. She enclosed the corresponding verses with the letter and “for fun” also provided her own invented melody for the Schlummerlied and rhythmic suggestions for the Tanzlied. Humperdinck went straight to work and, as related in an entry in his diary, was already able to play the songs to the director of the publishing house, Dr Ludwig Strecker, by 19 April. This was the history of origin of the four songs published for the first time edited in form of their original versions in this edition Brüderchen komm’ tanz’ mit mir, Wer ruft mir im Walde doch alles nach, In den Zweigen die Vögelein und Tirelireli! ‘s ist nicht mehr früh “for two children’s voices and piano accompaniment” (see manuscript1). In his reply letter to his sister in which the fair copy of the songs were enclosed, Humperdinck wrote: “As you see, the pitch of the melodies is not too high and I have incorporated your melodies. Let me know soon whether you like the little songs. By the way, the ‘cock-a-doodle-doo’ can also be sung on one note (E flat) instead of on the four notes of the chord.” The first performance of the song-play was held as planned within the family circle with Wettes’ two eldest daughters in the two principle roles. Spurred on by the success of the family performance, initial plans were forged to adapt the song-play into a singspiel with numerous musical numbers and rhymed dialogues; Hermann Wette participated in a draft of the text. The particell of this singspiel had been completed by Christmas 1890. Hugo Wolf and a few others however advised the composer to extend the singspiel into a through-composed fairy tale opera. Humperdinck followed this advice and worked on what he ironically termed as a “Kinderstubenweihfestspiel“ [sacred festive play for the nursery] during the next two summers in Bayreuth. Tanzliedchen [Dance song] and Morgenweckruf [Cock-a-doodle-doo song] were eventually included in the opera in a modified form. / Niveau : Intermédiaire / Répertoire / 2 Voix et Piano

Sweelinck's '6 Fantasien op de manier van een echo' probably represent the first collection of organ pieces in which the echo is used as a structural component. At the basis of this collection is a three-part structure: imitations, echo section, toccata. / Orgue

The composer was drawn to the beautiful stillness and sadness of the poem by Christina Rossetti which transcends its rigid sonnet structure and allude via the epigraph to the mysterious Willow-Wood cycle by Christina's brother Dante Gabriel Rossetti. The music suggests a division of the poem into three stanzas alternating with tranquil interludes (using the opening melody) representing the 'willow-wood' of the title so that the listener is constantly reminded of the gentle surroundings. As the intensity of the text increases so does the astringency of dissonance in the verses reaching its apogee just before consonance breaks through at the crucial phrase 'onemoment joined'. The simplicity of the Vocal writing conveys the serenity of the setting while simultaneously suggesting the austere melancholy of the lovers. An Echo From Willow-Wood was the winner of the Stainer & Bell Award for Choral Composition 2015.

Partitions pour piano, voix, guitare (diagrammes d'accords) de l'album Echo de Leona Lewis. / Variétés / Partition /