SKU: BT.MUSM570361922
English.
The song repertoire has its origins in the late nineteenth century when every household had a piano and for much of the twentieth century, singers and their pianist collaborators were able to create recital programmes from a deep reservoir of European and North American song. The recital genre became more sophisticated as the century progressed and metamorphosed from a miscellaneous collection of lollipops to something altogether more sophisticated, often featuring elaborate themes which would enable the music to be presented in a variety of new contexts. In the twenty first century opportunities for recitalists are fewer and programmes still tend to focus on the much-loved butwell-explored repertoire. We hope this collection will contribute to a broadening of possibilities for recitalists or anyone who just wants something new to sing. There are several songs for voice and piano but some require other instruments. There is a wide range of styles. We have resisted the temptation to grade them by difficulty, as our criteria were more broadly performative and musical rather than didactic. All selected composers have a particular sympathy for the singing voice, so there is nothing that cannot be sung by a competent performer. The songs generally have a designated voice type, but this shouldn't be thought of as prescriptive; they are designed to be flexible and to offer the maximum opportunity for creative interpretation. They range from the curious and quirky to the virtuosic and challenging, the intense and mysterious to the sad and the light-hearted. We hope that many performers will find their tastes represented here. Compiled by David Blake and John Potter. Edited by Michael Hooper.
SKU: HL.14008392
ISBN 9780711936942.
The story centres on the English princess Caroline Mathilde (1751-1775), sister of George III, who at the age of 15 was sent to Denmark to marry the 17-year-old eccentric and schizophrenic Danish King, Christian VII. The ballet portrays her unhappy marriage, the King's growing madness and her fatal love-affair with Struensee, the King's influential physician, which leads to their arrest, his execution and her exile, at the age of 20, separated from her two young children. In keeping with the period, and perhaps also with the traditions of Romantic ballet, the music is relatively simple in harmony and form, and most of the action is conveyed in set-piece dances. The suite, which consists essentially of the second half of Act I, begins with one of these, a bristling interplay of wind and string ensembles in D major, portraying in the ballet a curious nuptial game with the king and princess on movable pedestals. The slow music that follows has to do with the king's healing by Dr. Struensee and the new queen's unquiet reverie (oboe and cor anglais solos). Then the suite, like the act, is capped by a pair of pas-de-deux, the first savage and bizarre for the royal couple, the second rich and passionate for the queen and the miracle-working doctor. Score (miniature). Duration c. 25mins.
SKU: HL.14035706
ISBN 9780711930070. 9.25x12.0x0.37 inches.
This work was commissioned by the Schubert Ensemble, and first performed by them on 5th July 1992 as part of the Cheltenham International Festival. The words I broke off a golden branch come from a Croatian folksong, which is very obliquely referred to in the second of the work's two movements. Scored for Violin, Viola, Cello, Double Bass and Piano. Duration: c.15 minutes.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version