By Edvard Grieg. Edited by Fog/Grinde. For voice, piano. Op. 58,59,60,61,67,69, ...(+)
By Edvard Grieg. Edited
by Fog/Grinde. For voice,
piano. Op.
58,59,60,61,67,69, and
70; EG 121-157, Edition
in original keys in
accordance with Edvard
Grieg: Complete Works
(volume 14), edited by
the Edvard Grieg
Committee, Oslo (urtext).
Published by C.F. Peters.
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to
Nearly 1200 Songs 9x12
Spiral Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to
Nearly 1200 Songs
Spiral-Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
By Bonnie Rideout. For Fiddle. Solos. Encyclopedia. Scottish. Level: Intermediat...(+)
By Bonnie Rideout. For
Fiddle. Solos.
Encyclopedia. Scottish.
Level: Intermediate.
Book. Size 8.75x11.75.
136 pages. Published by
Mel Bay Publications,
Inc.
Christian,
Saddle-stitched.
Woodwinds. Book. 36
pages. Mel Bay
Publications, Inc #30856.
Published by Mel Bay
Publications, Inc
(MB.30856).
ISBN
9781513470795. 8.75x11.75
inches.
With this
collection of 26 folk
hymns, author Peter
Irvine brings shape-note
music into the home, and
provides adaptable music
for a variety of
instrumental ensembles.
This format allows for
instruments such as the
mountain dulcimer, Native
American or transverse
flute, penny whistle,
fiddle, mandolin, guitar,
and so forth. Anyone can
play shape-note music,
even when Sacred Harp
gatherings or
â??singingsâ? are not
easily
accessible. Â Th
e hymns in this
collection are drawn from
various classic
shape-note sources like
Southern Harmony
(1835) and The Sacred
Harp (1844).
Presented in lead-sheet
format (melody, chords,
and lyrics), and written
in keys accessible to all
C instruments and several
D instruments such as the
penny whistle and
mountain dulcimer, the
material offers plenty of
arrangements. Hymns can
be sung by a soloist, in
unison by a small group
with chordal
accompaniment, or a mixed
ensemble.
Twenty Romances for Voice and Piano. By Peter Ilyich Tchaikovsky. (High Voice)....(+)
Twenty Romances for Voice
and Piano. By Peter
Ilyich Tchaikovsky.
(High Voice). Boosey and
Hawkes Voice. Book only.
Size 9x12 inches. 118
pages. Published by
Boosey & Hawkes.
Irish Reel Book Guitare [Partition + CD] - Facile AMA Verlag
By Patrick Steinbach. For Acoustic Instruments. Solos. AMA Verlag. Celtic/Irish....(+)
By Patrick Steinbach. For
Acoustic Instruments.
Solos. AMA Verlag.
Celtic/Irish. Level:
Beginning-Intermediate.
Book/CD Set. Size
9.x11.75. 180 pages.
Published by AMA Verlag.
ISBN 3899220234.
compiled by Dr. Ed Whitcomb. For Fiddle. songbook. Canadian. Level: Beginning-In...(+)
compiled by Dr. Ed
Whitcomb. For Fiddle.
songbook. Canadian.
Level:
Beginning-Intermediate.
Book. Size 8.75x11.75.
224 pages. Published by
Mel Bay Publications,
Inc.
By Glenn Weiser. For Guitar (Fingerpicking). Solos. Encyclopedia. Celtic/Irish. ...(+)
By Glenn Weiser. For
Guitar (Fingerpicking).
Solos. Encyclopedia.
Celtic/Irish. Level:
Intermediate. Book. Size
8.75x11.75. 192 pages.
Published by Mel Bay
Publications, Inc.
Choir Secular Double Choir and Violoncello SKU: PE.EP73479 Composed by Fr...(+)
Choir Secular Double
Choir and Violoncello
SKU: PE.EP73479
Composed by Francis Pott.
Choral Works (inc.
Oratorios). Edition
Peters. Living Composer.
Vocal Score. 164 pages.
Edition Peters
#98-EP73479. Published by
Edition Peters
(PE.EP73479).
ISBN
9790577019888. 297 x
210mm inches.
English.
At
First Light was
commissioned by Eric
Bruskin, a resident of
Philadelphia, USA, in
memory of his mother.
Eric had a longstanding
enthusiasm for my work,
and I was touched to be
the person he approached
for a task which is both
a privilege and a
daunting responsibility.
In a sense, no music can
ever measure up to the
weight of love or the
hope of consolation
vested in it under such
circumstances - but in
memory I carry the deaths
of both my own parents,
and I was able to draw
upon that. Eric's
fondness for my Cello
Sonata (itself written in
memoriam) led him to ask
that I include a solo
'cello part in the new
work - but his attachment
also to my polyphonic
sacred choral writing
meant that he wanted a
centrepiece which would
be both a showcase of
that approach and the
celebration of a life
well lived. Therefore,
the seven movements of At
First Light arrange
themselves as a series of
slow meditations
surrounding an exuberant
9-minute motet in which
the lamenting cello falls
temporarily
silent.
Eric's
Jewish faith meant that
approaching an agnostic
humanist brought up
within the Anglican
tradition was hardly free
of problems! Gradually,
though, I was able to win
his approval for a
collated mosaic of texts.
This embraces some
liturgical Latin
(necessary for the motet)
as the shared preserve of
broad western culture in
general, but balances it
with a secular approach
to loss, celebration,
remembrance and the many
shades of our mourning
those whom we see no
longer. Eric was adamant
that he did not want the
title Requiem; but what
has emerged is still a
form of semi-secular
Requiem in all but name,
taking its title instead
from a phrase in the poem
by Thomas Blackburn set
as the third movement.
This seemed to suggest
succinctly how the loss
of one very close to us
is an awakening into an
unfamiliar world where
everything is changed.
Following the exuberant
central movement, the
texts by the
Lebanese-born Kahlil
Gibran and the US,
Kentuckian poet Wendell
Berry first address the
departed loved one
directly, then place us
within an imaginary
funeral cortege, where
the perennial and
universal in human
experience become
personal without
subscribing explicitly to
any particular faith (or
lack of it). The final
text of all is a
translation of a Hebraic
prayer, requested and
provided by Eric Bruskin,
which serves to mirror
its Latin counterpart
heard at the
outset.
Throughout
, the lamenting cello
represents a commentary
on the experience
articulated in the text.
It evokes and, in a
sense, tries to embrace
and sanctify the
individual existential
journeys of the bereft,
as they in turn seek to
make their own sense of
what the short-lived
Second World War poet
Alun Lewis called 'the
unbearable beauty of the
dead' (movement
5).
In a modern
world hostage to ever
greater menace,
displacement, bloodshed
and anguish, I hope
fervently that this music
not only brings a measure
of solace to the person
who commissioned it, but
also makes its own small
contribution to bailing
out the sinking ship of
humanity.
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Folk. Series: Hal
Leonard Fake Books. 536
pages. 9.6x12 inches.
Published by Hal Leonard.
High Voice and Orchestra SKU: HL.14020965 Composed by Sir Peter Maxwell D...(+)
High Voice and Orchestra
SKU: HL.14020965
Composed by Sir Peter
Maxwell Davies. Music
Sales America. 20th
Century. Score. Composed
1999. 92 pages. Chester
Music #CH60950. Published
by Chester Music
(HL.14020965).
ISBN
9780711936959.
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. This
suite begins with the
act's opening number: a
boisterous, stamping
dance to which the people
rudely mock Queen
Caroline Mathilde and her
lover Struensee. After
this comes a dark Adagio,
The Conspiracy, in which
the theme passes like
persuasion from mouth to
mouth, its variations
suggesting the different
attitudes of the
conspirators, firmly
controlled by the
brass-driven gestures of
the Queen Dowager. The
conspiracy then works
itself out at a court
masked ball, from which
the suite includes two
dances: a gavotte, and a
slow, lubricious
passacaglia that is a pas
de deux for Caroline
Mathilde and Struensee.
The Arrest comes with a
gathering rush of music
that envelops the King,
the Queen and Struensee,
leading to a vociferous
climax in which they are
held apart. In The
Execution, slow white
music for wordless female
voices, harp and low
strings is interrupted by
pathetic, alienated
outbursts from the King.
The suite ends, as does
the ballet, with a quiet
adagio lament for
clarinets and alto flute
as the Queen goes into
exile. Score. Duration c.
33mins.