Performed by Michael McDonald. Piano/Vocal/Chords Songbook (Arrangements for pia...(+)
Performed by Michael
McDonald.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords). Size 9x12
inches. 123 pages.
Published by Hal Leonard.
SATB choir and organ, with optional brass quintet and timpani (Instrumental Part...(+)
SATB choir and organ,
with optional brass
quintet and timpani
(Instrumental Parts
include: Trumpets I and
II in B-flat and C, Horn
in F, Trombone I and II,
Timpani, Organ) -
Intermediate
SKU:
MN.80-325
Composed by
Robert Lehman. 21st
Century. MorningStar
Music Publishers #80-325.
Published by MorningStar
Music Publishers
(MN.80-325).
UPC:
688670803253.
English.
The text
is from The Book of
Common Prayer, the music
is original. A melismatic
chant-like opening builds
steadily to a dramatic
declamation of the text
Therefore let us keep the
feast. Then the chant
line continues softly in
the accompaniment as the
final alleluias are sung.
The organ accompaniment
is quite sufficient but
can be augmented with
Brass Quintet. From
Mass of the
Resurrection (ECS
8325).
Country Hits Ligne De Mélodie, Paroles et Accords [Partition] Amsco Wise Publications
The Gig Book. By Adrian Hopkins_Tom Farncombe. The Gig Book. Country. Book Only....(+)
The Gig Book. By Adrian
Hopkins_Tom Farncombe.
The Gig Book. Country.
Book Only. 274 pages.
Wise Publications
#MUSAM997502. Published
by Wise Publications
Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB -...(+)
Chorus (with soloists)
and piano (solos:
SMezMez(A)ATTBarBBB -
choir: SSAATTBB -
picc.2.2.2.2. - 4.2.3.0.
- timp - hp - str)
SKU: BR.DV-6081
Lyrical Opera in 3
Acts. Composed by
Pjotr Iljitsch
Tschaikowsky. Edited by
Manfred Koerth / Wo
Ebermann. Arranged by M.
Koerth and W. Ebermann.
Choir; Softbound.
Deutscher Verlag. Opera;
Music theatre; Romantic.
Piano/Vocal Score. 300
pages. Deutscher Verlag
fur Musik #DV 6081.
Published by Deutscher
Verlag fur Musik
(BR.DV-6081).
ISBN
9790200460032. 9.5 x 12
inches.
Duration:
full evening Translation
: German (W. Ebermann/M.
Koerth), Engl. (D.
Llyod-Jones), French (M.
Delines) Place and
time: Partly on the
estate, partly in
Petersburg, in 20ies of
the 19th
Century
Characters
: Larina, Owner of the
Estate (mezzo-soprano) -
Tatiana (soprano) and
Olga (alto), her
Daughters - Filipjewna,
Wet Nurse
(mezzo-soprano/alto) -
Eugen Onegin (baritone) -
Lenskij (tenor) - Prince
Gremin (bass) - A
Commander (bass) -
Saretzkij (bass) -
Triquet, a French Man
(tenor) - Guillot, a
Valet (silent part) -
Country Folk, Ball
Guests, Squire, Officers
(chorus) - Waltz,
mazurka, polonaise and
Russian dance (Ballet
)
There is an
interesting parallel
between the subject of
the opera and
Tchaikovsky's life during
the year he wrote the
work (1877): in each
case, a letter provokes
fateful developments in
the lives of the
protagonists. In the
opera, Tatyana's love
letter to Eugene sets off
the tragedy, whereas in
real life, the love
letter of a pupil led the
composer into a marriage,
which lasted all of ...
three months. Tchaikovsky
took this doomed decision
without love, solely
because the circumstances
want it and because I
cannot act differently.
Certain allusions made,
for example, in a letter
of January 1878 to
Taneyev suggest that the
composer's personal
situation also flowed
into the work: I did not
want anything to do with
the so-called 'grand
opera.' I am looking for
an intimate but powerful
drama which is built on
the conflict of
circumstances which I
myself have seen and
experienced, a conflict
which truly moves me.
Partly for this reason
the composer decided to
call the work not an
opera but lyrical
scenes.Eugene Onegin,
conceived by Tchaikovsky
for limited resources and
a small stage, is the
most frequently performed
Russian opera today along
with Mussorgsky's Boris
Godunov, which represents
a completely contrary
aesthetic stance.
Tschaikowskys
letzte Oper - auf ein
Libretto seines Bruders
Modest nach der
Dramenvorlage des
danischen Schriftstellers
Henrik Hertz - lebt von
den poetischen Momenten
und den symbolbeladenen
Charakterportrats der
Hauptfiguren: Die junge
blinde Jolanthe wird von
ihrem Vater aus Sorge um
ihren Makel und zum
Schutz ihrer
Jungfraulichkeit und vor
den Widrigkeiten der Welt
in einen paradiesischen
Garten gesperrt. Er
befielt zu ihrem Schutz
sie um ihre Blindheit
unwissend zu lassen. Ein
Arzt warnt sehen werde
sie nur konnen wenn sie
es selbst wolle gleich
welche Angste aus der
vollstandigen Erkenntnis
der Welt erwachsen. Als
der junge Vaudemont in
ihre Abgeschiedenheit
einbricht und sich beide
ineinander verlieben
befreit er sie von ihrer
Unwissenheit erklart was
Farbe und Licht bedeuten.
Erst die Liebe zu ihm
macht sie sehend.
Die dunkle Welt
der Jolanthe zeichnet
Tschaikowsky zu Beginn
musikalisch durch eine
Introduktion
ausschliesslich fur
Blaser. Erst mit dem
Eintritt in die
unbekannte Welt der Liebe
und des Sehens verwendet
Tschaikowsky einen warmen
Streicherklang. Gerade
dadurch stiess die Oper
wohl bei Zeitgenossen auf
Verstorung. Tschaikowskys
,,Jolanthe nimmt in
seinem Opernschaffen eine
Sonderstellung ein: neben
dem glucklichen Ende
einer Apotheose des
Lichts und der Liebe mit
einem religios gepragten
Schlusschoral ist es
eines der wenigen
Buhnenwerke Tschaikowskys
ohne Bezug zur russischen
Geschichte. Der
ausgepragte Lyrismus des
Werks verweist
stattdessen auf
Tschaikowskys Nahe zur
franzosischen Kultur die
im 19. Jahrhundert einen
starken Einfluss auf
Russland hatte. Die Oper
wurde 1892 am
Mariinsky-Theater in
Sankt Petersburg als
Auftragswerk zusammen mit
seinem Ballett ,,Der
Nussknacker
uraufgefuhrt.
Nebe
n der Produktion des
Munchner
Rundfunkorchesters wurde
,,Jolanthe szenisch
erfolgreich bei den
Festspielen Baden-Baden
mit Anna Netrebko und
Piotr Beczala als
Liebespaar rehabilitiert.
Ausserhalb Deutschlands
lief die Opernraritat in
Toulouse Tokyo San
Sebastian und Monte
Carlo. Zuletzt erneut die
,,Suddeutsche Zeitung:
,,Jolanthe ist eine
Opernausgrabung die
,,wirklich zu Unrecht
vergessen ist.
Tchaikovsky's last opera
- on a libretto by the
composer's brother Modest
based on the drama by the
Danish author Henrik
Hertz - derives its
life-blood from its
poetic moments and the
symbol-laden portraits of
the leading characters:
the blind young Yolanta
is kept prisoner in a
paradisiacal garden by
her father who fears for
her purity and her
virginity and seeks to
protect her from the
adversities of the world.
To do so he orders
everyone to keep her
ignorant of the fact that
she is blind. A doctor
warns that she will only
be able to see when she
is ready to do so herself
no matter what fears
might result from a
complete experience of
the world. When the young
Vaudemont breaks into her
secluded world and the
two fall in love he frees
her from her ignorance
and explains the
significance of color and
light. It is through her
love for him that she is
finally able to see. At
the beginning of the work
Tchaikovsky depicts
Yolanta's dark world with
an introduction scored
exclusively for winds. It
is not until her
discovery of the unknown
world of love and sight
that Tchaikovsky uses a
warm string sound. This
is what many of the
composer's contemporaries
found disturbing about
the
opera.
Tchaikovsky
's Yolanta occupies a
special place in the
composer's operatic
oeuvre: for one it has a
happy ending an
apotheosis of light and
love with a religiously
stamped closing chorale;
for another it is one of
Tchaikovsky's few stage
works without any
reference to Russian
history. Instead the
work's pronounced
lyricism points to the
composer's closeness to
French culture. which
exerted a strong
influence on Russia in
the 19th
century.
The opera
was given its world
premiere at the Mariinsky
Theater in St. Petersburg
in 1892. It had been
commissioned along with
the ballet The
Nutcracker. Next to the
production by the
Munchner
Rundfunkorchester Yolanta
was also successfully
rehabilitated in a recent
staged production at the
Baden-Baden Festival with
Anna Netrebko and Piotr
Beczala as the lovers.
Outside of Germany the
operatic rarity was
performed in Toulouse
Tokyo San Sebastian and
Monte Carlo.
In
closing another quote
from the Suddeutsche
Zeitung: 'Yolanta' is an
operatic rediscovery of a
work that was truly
'wrongly forgotten'.
Sona
ta No. 6 Kharkiv for
guitar solo was composed
in 2021, in the end of
the COVID-19 lockdown. At
that time my family and I
were staying in our home
city of Kharkiv (also
known as Kharkov),
Ukraine for almost two
years. We considered that
pandemic period as a
disaster, but later have
realized that it actually
was a rather happy time,
because a war came to our
homeland just a few
months later. Since 2022
a considerable fraction
of the 1.5 millions of
Kharkiv citizens have
left their homes, those
who stayed have been
living under ceaseless
missile attacks, and many
have been killed. I would
like to dedicate this
Sonata to the frontier
city of Kharkiv and, most
of all, to its citizens
suffering from the
war. Yet, the music of
the Sonata does not have
any specific program.
Here I will give a brief
overview of its main
composition elements to
facilitate future
interpretations. The
first and fourth
movements of this Sonata
are based on the
interplay between the
twelve-tone principle and
the G-major tonal center,
natural for the guitar.
Namely, the first
movement is based on the
interaction of the
G-major triad Gâ??Bâ??D
of the open guitar
strings 2â??3â??4,
ascending motif 1
involving the notes
Eâ??F#â??Aâ??C#
(originally on the first
string), and descending
motif 2 using the notes
E-â??Câ??Bbâ??A-
(originally, on the bass
string 6). These elements
supplement each other to
almost make up twelve
tones (apart from the
missing F), and the
motifs alternate with
ostinato fragments where
each note in the G major
triad is step-by-step
moved by a semitone up or
down. The second
movement is a Scherzo
involving numerous
semitones in accented
chords and fast passages,
as well as chromatic
melodic motion in the
bass voice. It is almost
atonal in some fragments,
but has an overall tonal
center of A-minor. The
third movement is a
meditative Adagio based
on a theme composed
within hexatonic scale
Dâ??Eâ??Fâ??G#â??Aâ?
?B and ostinato chords
involving open bass
strings Eâ??Aâ??D and
semitone
Bâ??C. Finally, the
fourth movement is based
on the complete
twelve-tone theme
consisting of two phrases
including motifs 1 and 2
from the first movement:
Gâ??Fâ??Bbâ??Abâ??Câ
??Ebâ??D and
Eâ??Bâ??C#â??Aâ??F#.
This theme is presented
in its prime and
retrograde forms. There
are dialogues between the
first string, basses and
open middle strings,
similar to the first
movement. In the
culmination, the
twelve-tone theme is
performed using the
parallel motion of the
standard guitar G-major
chord with open middle
strings across twelve
positions. The Sonata
was premiered and
recorded (CD Naxos No.
8.574630) by the
prominent Ukrainian
guitarist Marko Topchii
who has also lived and
studied in Kharkiv. I am
extremely grateful to him
for the brilliant
performance of this
piece. I am greatly
indebted to Productions
dâ??Oz for keeping my
original notations in
places where these do not
conform to the
publisherâ??s style.
SKU: HL.200476 Artist Management: The Ultimate Responsibility. Boo...(+)
SKU: HL.200476
Artist Management: The
Ultimate
Responsibility. Book.
Instruction, Music
Business. Softcover. 304
pages. Published by Hal
Leonard (HL.200476).
ISBN 9780965125079.
UPC: 888680650773.
8.5x11.0x0.616 inches.
Stephen Marcone with
David Philp.
Making
it in music has never
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The digital age has
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you're a self-reliant DIY
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personal manager, Stephen
Marcone and David Philp's
Managing Your Band
-Artist Management: The
Ultimate Responsibility
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Managing Your Band has
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Philp leave no stone
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Implement it well and you
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