Winter Words, Op. 52 by Benjamin Britten (1913-1976). For Piano, Voice (High Voi...(+)
Winter Words, Op. 52 by
Benjamin Britten
(1913-1976). For Piano,
Voice (High Voice).
Boosey and Hawkes Voice.
44 pages. Boosey and
Hawkes #M060015601.
Published by Boosey and
Hawkes
60 Songs - High Voice. Composed by Roger Quilter (1877-1953). Boosey and Hawke...(+)
60 Songs - High Voice.
Composed by Roger Quilter
(1877-1953). Boosey and
Hawkes
Voice. Softcover. 240
pages.
Boosey and Hawkes
#M051934560.
Published by Boosey and
Hawkes
(45 Songs for High Voice). Composed by William Bolcom. For Vocal, High Voice, Pi...(+)
(45 Songs for High
Voice). Composed by
William Bolcom. For
Vocal, High Voice, Piano
Accompaniment. E.B.
Marks. Softcover. 240
pages. Published by
Edward B. Marks Music
(High Voice and Piano). By Richard Strauss (1864-1949). For Piano, Voice (High V...(+)
(High Voice and Piano).
By Richard Strauss
(1864-1949). For Piano,
Voice (High Voice).
Boosey & Hawkes Voice. 32
pages. Boosey & Hawkes
#M060026089. Published by
Boosey & Hawkes
Voice-High,Piano (High voice, Piano) SKU: BA.BA09109 Composed by Franz Sc...(+)
Voice-High,Piano (High
voice, Piano)
SKU:
BA.BA09109
Composed
by Franz Schubert. Edited
by Walther Durr. This
edition: urtext edition.
Paperback. Barenreiter
Urtext. High Voice.
Singing Score, anthology.
Baerenreiter Verlag
#BA09109_00. Published by
Baerenreiter Verlag
(BA.BA09109).
ISBN
9790006530588. 30 x 23 cm
inches. Language: German.
Preface: Christoph
Pregardien/Andreas
Staier.
Volume 9 of
the new Urtext edition of
Schubert’s lieder
contains lieder composed
during the spring and
summer of 1816, some of
which follow upon series
started in 1815. They are
available in separate
books for high, medium
and low voice. The volume
was completed by the
eminent Schubert scholar
Walter Dürr who passed
away at the beginning of
2018.
It was in
1816 that Schubert
completed his settings of
Ossian's songs and added
lieder on texts by Johann
Georg Jacobi, Johann
Peter Uz and Matthias
Claudius. Also included
are the lieder from the
Grob family songbook. In
summer 1816 Schubert
produced his first
settings of poems by
Christian Friedrich
Daniel Schubart
(“Grablied auf einen
Soldaten” and “An
mein Klavier”), the
author of the words to
one of his most famous
songs “Die Forelle”/
“The Trout” (see
Volume 2).
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
(10 Contemporary Solos for Female Voice and Piano). Edited by Sally K. Albrecht....(+)
(10 Contemporary Solos
for Female Voice and
Piano). Edited by Sally
K. Albrecht. For with
Piano (Female voice).
Book; CD; Vocal
Collection. Contemporary;
Love. Published by Alfred
Music Publishing
The Vocal Library. By Various. Arranged by Steven Stolen and Richard Walters. (H...(+)
The Vocal Library. By
Various. Arranged by
Steven Stolen and Richard
Walters. (High Voice).
Vocal Collection. Size
9x12 inches. 80 pages.
Published by Hal Leonard
Corporation.
(7 carol arrangements for high voice and piano). By Mack Wilberg (1955-). For Hi...(+)
(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
High Voice The Vocal Library. By Roger Quilter. Arranged by Richard Walters. Voc...(+)
High Voice The Vocal
Library. By Roger
Quilter. Arranged by
Richard Walters. Vocal
Collection. Size 8.5x11
inches. 228 pages.
Published by Hal Leonard.
With online audio of Recorded Diction Lessons and Piano Accompaniments. Composed...(+)
With online audio of
Recorded Diction Lessons
and Piano Accompaniments.
Composed by Various.
Edited by Richard
Walters. Vocal
Collection. Collection,
Classical. Softcover
Audio Online. 208 pages.
Published by Hal Leonard
(High Voice). Arranged by Richard Walters. For high voice and piano. Vocal Colle...(+)
(High Voice). Arranged by
Richard Walters. For high
voice and piano. Vocal
Collection. Classical
Period, Americana and
Vocal Standards.
Difficulty: medium.
Collection (two copies
needed for performance).
Vocal melody, lyrics and
piano accompaniment. 218
pages. G. Schirmer
#ED3851. Published by G.
Schirmer
Voix haute, Piano [Partition] IMC (International Music Co.)
(200 Songs ) Selected by Sergius Kagen, composed by Franz Schubert (1797-1828). ...(+)
(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..
By Franz Schubert. For high voice, piano. (D.795,911,957)(Urtext Edition by Diet...(+)
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.
Chamber Music High voice, Piano SKU: PR.111402890 Composed by Ricky Ian G...(+)
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
??Eight Flower Songs,?
the texts are all in
English. The poems??
flowers metaphorically
evoke fragrance, love and
loss, life and death,
rebirth and regrowth.
Perhaps the texture and
beauty of Gordon??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
??Tulips? 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 Parker??s ??One
Perfect Rose,? which is
wry, bitter, cynical, and
funny, in a way only
Dorothy Parker can so
pithily express.I thought
of Jane Kenyon??s
exquisite ??Peonies at
Dusk,? 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 Hall??s poem
??Her Garden,? 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, ??The Daffodils?
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
??Cycle,? or ??New
Flowers,? 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 ??Afterlife
With Lilacs,? 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 year??s
frustration, I wrote my
own text, ??Play,
Orpheus,? 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 ??Play,
Orpheus? 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.