High Voice. Composed by Various. Vocal Collection. Softcover. 232 pages. Published by Hal Leonard

The Vocal Library High Voice. Composed by Various. Vocal Collection. German, Collection, Classical. Softcover Audio Online. 56 pages. Published by Hal Leonard

By Franz Schubert. For high voice, piano. (D.795,911,957)(Urtext Edition by Dietrich Fischer-Dieskau with musicological revisions by Elmar Budde)(Ger). Published by C.F. Peters.

(200 Songs ) Selected by Sergius Kagen, composed by Franz Schubert (1797-1828). Collection for high voice and piano. Text language German. Published by International Music Co..

Composed by Franz Schubert (1797-1828), edited by Max Friedlaender. Collection for high voice and piano. Text language German. 275 pages. Published by C.F. Peters.

(Hohe Stimme). By Franz Schubert (1797-1828). Edited by Walther Durr. For Solo Voice, Piano. Playing Score; Urtext Edition. Op. 25. Published by Baerenreiter Verlag

High Voice. By Franz Schubert. Vocal Collection. Size 8.5x11 inches. 308 pages. Published by G. Schirmer, Inc.

(For High Voice And Piano). By Lowell Liebermann. For high voice solo, piano. Contemporary. Piano reduction/Vocal Score. Standard notation. Opus 22. 8 pages. Duration 6 minutes. Published by Theodore Presser Company

(Three Sacred Solos for High Voice). By Hal H. Hopson. Arranged by Hal H. Hopson. For piano (Vocal Solo- High Voice). Vocal. Sacred. Moderately Easy. Vocal score. Published by MorningStar Music Publishers

(A Cycle of 10 Songs to Poems by Women for High Voice and Piano). By David Leisner (1953-). Solo instrument with accompaniment. For High Voice, Piano. This edition: High Voice and Piano. Poems by Emily Dickinson, Emily Bronte, Gene Scaramellino, and Elissa Ely. World Premiere: Jordan Hall, Boston: Sanford Sylvan, Baritone; Patricia Thom, Piano. Contemporary. Piano reduction/vocal score. Standard notation. 52 pages. Duration 30 minutes. Published by Theodore Presser Company

(Volume II) Composed by George Frideric Handel (1685-1759), edited by Sergius Kagen. Collection for high voice and piano accompaniment. With vocal melody, piano accompaniment, lyrics, translations and introductory text. Text language Italian and English. 64 pages. Published by International Music Co.

Upper Voices and Piano. Composed by Richard Allain. Choral. Octavo. Novello & Co Ltd. #NOV297438. Published by Novello & Co Ltd.

(7 carol arrangements for high voice and piano). By Mack Wilberg (1955-). For High voice and piano. Solo Voice. Other Collection. 64 pages. Published by Oxford University Press

(Contemporary and Traditional Favorites). By Ken Bible. For high voice, piano. Sacred Vocal. Published by Lillenas Publishing Company

High Voice and Piano

SKU: HL.14011324

Composed by Henry Purcell. Music Sales America. Exam Material. Book [Softcover]. 60 pages. Music Sales #NOV170265. Published by Music Sales (HL.14011324).

ISBN 9780853603399. 8.5x11.75x0.175 inches.

Edited by Gerald Cooper.

Chamber Music High voice, Piano

SKU: PR.111402890

Composed by Ricky Ian Gordon. Full score. 44 pages. Duration 20 minutes. Theodore Presser Company #111-40289. Published by Theodore Presser Company (PR.111402890).

ISBN 9781491134672. UPC: 680160685264.

What� �??s in a name? While the title is French for â??Eight Flower Songs,â? the texts are all in English. The poemsâ?? flowers metaphorically evoke fragrance, love and loss, life and death, rebirth and regrowth. Perhaps the texture and beauty of Gordonâ??s music are themselves French. The 20-minute song cycle draws on poems from Wordsworth to Dorothy Parker, as well as from contemporary poets including the composer himself.
When So-Chung Shinn came to me with the idea of commissioning a song cycle with her spectacular husband Tony Lee, she had in mind something having to do with flowers. Tony had asked her what she wanted for her birthday, and she said she wanted to be behind the creating of a new work. Lucky me, I was the recipient of the commission. So-Chung sent me a little description of all the flowers she loves, but I had to take the idea and create a narrative in my head.It is always a matter of pleasing the commissioner, yet coming up with something you can get behind and hear music for as well. I already knew I wanted to use my â??Tulipsâ? poem which is really about the arc of a relationship as represented through the life span of the Tulips, and, in many ways, disappointment; and Dorothy Parkerâ??s â??One Perfect Rose,â? which is wry, bitter, cynical, and funny, in a way only Dorothy Parker can so pithily express.I thought of Jane Kenyonâ??s exquisite â??Peonies at Dusk,â? because knowing she died so young (46) of leukemia, the poem has such a particular resonance, almost humanizing the Peonies, casting the moon as a sentient being, illustrating so beautifully how connected everything is, alive here, and revolving around these exquisite blossoms. Then, I remembered her husband Donald Hallâ??s poem â??Her Garden,â? which he wrote after Jane died, his grief intermingled with his inability to care for what she had created, to keep alive what so represented her aliveness, broken as he was, and I felt I already had a story.I found the Wordsworth, because it felt like pure joy to me, but also, if each of the songs has a color in my head, â??The Daffodilsâ? is pure yellow and a good place to start. My partner Kevin and I live on a lake, and every year, the first Daffodils, the shock of yellows, the oranges, the blinding whites, after the long snowy winters, sing of the newness that is about to enfold us in its green miraculousness.At first, the cycle ended with the Langston Hughes poem â??Cycle,â? or â??New Flowers,â? because it was lovely, and about rebirth, which is obviously optimistic, and apt, but then, my friend Telmo Dos Santos, a wonderful Canadian poet whom I met at Banff, sent me his poem â??Afterlife With Lilacs,â? having no idea what I was working on. I felt I had to add it because it is so dazzling, and it immediately felt like the missing link. Finally, there were unfortunately rights issues, namely, we could not, no how, get in touch with the Langston Hughes Estate, after so many happy collaborations.After almost a yearâ??s frustration, I wrote my own text, â??Play, Orpheus,â? which ended up being fortuitous, because the first time I met So-Chung, she entered the room and the most exquisite scent of Lillies of the Valley, Muguet de Bois, filled the room. I went right over to her and rudely put my nose to her neck, for the intoxication of the scent. So â??Play, Orpheusâ? is for So-Chung, to remind us of the precious treasures of this world flowers remind us of. Everything and everyone lives and dies, lives and dies. Death and resurrection.And of course, this is music, this is song, so the inclusion of the God of music, Orpheus, seems apt. Huit Chansons de Fleurs is really about what flowers represent, their radiance, their flickering impermanence, the way they are used to celebrate, as well as to mourn...... and of course, their fragrance. Their fragrance.Ricky Ian GordonJuly 28, 2021.

By Negro Spiritual. Arranged by Hall Johnson. For Voice and Piano. Published by Carl Fischer.

High Voice, Piano

SKU: SU.80600490

For High Voice, Piano. Composed by Hale Smith. Vocal/Choral, Solo Voice. Accompanied by piano. Score. Edward B. Marks Music #80600490. Published by Edward B. Marks Music (SU.80600490).

Text by Langston Hughes. I. March Moon, II. Troubled Woman, III. To a Little Lover-Lass, DeadHigh voice, Piano Composed: 1970 Published by: E.B. Marks.

By Craig Courtney. (Vocal Collection). Vocal Collections. Sacred. Published by Beckenhorst Press.