High Voice. By Various. Vocal Collection. Size 9x12 inches. 216 pages. Published by G. Schirmer, Inc.

High Voice and Piano

SKU: AP.36-M300991

Composed by Juliette Marie Olga (Lili) Boulanger. Arranged by Gene Milford. Performance Music Ensemble; Solo Voice with Piano. Ludwig Masters. Score and Part(s). Alfred Music #36-M300991. Published by Alfred Music (AP.36-M300991).

UPC: 660355021596. English.

Composed in 1913-1914, this collection of thirteen songs sets poems by Francis Jammes from "Tristesses" (1905) for high voice and piano. Lili Boulanger (1893-1918) directed that, "all of these melodies should be sung with the feeling of evoking a past that has remained full of freshness." Dedicated to Gabriel Fauré, like most of her small output, the work was first published posthumously in 1919, a year after the composer's tragically short life ended. Reprint edition. Songs included: 1. Elle était descendue au bas de la prairie, 2. Elle est gravement gaie, 3. Parfois, je suis triste, 4. Un poète disait, 5. Au pied de mon lit, 6. Si tout ceci n'est qu'un pauvre rêve, 7. Nous nous aimerons tant, 8. Vous m'avez regardé avec toute votre âme, 9. Les Lilas qui avaient fleuri, 10. Deux Ancolies, 11. Par ce que j'ai souffert, 12. Je garde une médaille d'elle, 13. Demain fera un an.

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Compiled by Bernard Taylor. Collection for high voice solo and piano accompaniment. Text language Italian, German, French, English. 251 pages. Published by G. Schirmer, Inc.

By Gwyneth W. Walker. Text: Jelaluddin Rumi, translated by C. Barks. For High voice and piano. Vocal Music. Published by E.C. Schirmer Publishing.

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

(35 Songs for High Voice and Piano). Composed by William Bolcom. For Vocal. E.B. Marks. Softcover. 208 pages. Published by Edward B. Marks Music

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 Robert Schumann. Edited by Friedlaender. For high voice, piano. (Ger). Published by C.F. Peters.

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

(High Voice). By Various. For Voice, Piano Accompaniment. Fake Book. Softcover. 472 pages. Published by Hal Leonard

For High Voice and Piano. Composed by Francis Poulenc (1899-1963). Vocal Collection. Softcover. 168 pages. Editions Durand #DF16403. Published by Editions Durand

By Knud Jeppesen. For High Voice, Piano. Baroque, Renaissance. Sheet Music. 150 pages. Published by Edition Wilhelm Hansen.

By ABRSM. For high voice, piano. Published by ABRSM (Associated Board of the Royal Schools of Music).

By Robert Schumann. Edited by Friedlaender. For high voice, piano. Includes 3 Byron Songs,Op.94,with Harp Accompaniment(Ger). Published by C.F. Peters.

By Felix Mendelssohn. Edited by Friedlaender. For high voice, piano. (Ger). Published by C.F. Peters.

(c.1600-c.1800) Edited by Damian Cranmer. Collection for high voice and piano accompaniment. With introductory text, vocal melody and translations. 80 pages. Published by ABRSM (Associated Board of the Royal Schools of Music).

Medium High Voice - Book with Online Audio. Composed by Various. Vocal Collection. Baroque, Classical Period and Play Along. Softcover Audio Online. With vocal melody, lyrics and piano accompaniment. 100 pages. G. Schirmer #LB1722B. Published by G. Schirmer

65 Songs by 13 Composers. Arranged by Richard Walters, Virginia Saya. Vocal Collection. Size 8.5x11 inches. 264 pages. Published by Hal Leonard.