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| 12 Songs For Medium Voice
(WISHART PETER)
Piano, Voix [Partition] - Intermédiaire
Stainer and Bell
Par WISHART PETER. 46Introduction by Brian Trowell CONTENTS The Jackdaw (C - E) ...(+)
Par WISHART PETER. 46Introduction by Brian Trowell CONTENTS The Jackdaw (C - E) The Magpie (A - F sharp) Tune for Swans (E - F) The Bedpost (D - F sharp) Henry and Mary (C - E flat) Spring Sadness (C sharp - F sharp) Lament (B - F) You are a refuge (C - C) My God, why hast thou forsaken me? (B flat - C) Cat Godesses (C sharp - F) The Pessimist (D - D) Quatres petits nègres blancs (E - E) A pupil of Nadia Boulanger, Peter Wishart (1921-84) produced a body of song which no-one interested in our musical heritage can afford to ignore. This volume, which is set for the Trinity College Licentiate and Fellowship diploma and GuildhallSchool Grade examinations, brings together a dozen of his finest works in the medium that will prove ideal for recital centrepieces or as encores. 46Introduction by Brian Trowell CONTENTS The Jackdaw (C - E) The Magpie (A - F sharp) Tune for Swans (E - F) The Bedpost (D - F sharp) Henry and Mary (C - E flat) Spring Sadness (C sharp - F sharp) Lament (B - F) You are a refuge (C - C) My God, why hast thou forsaken me? (B flat - C) Cat Godesses (C sharp - F) The Pessimist (D - D) Quatres petits nègres blancs (E - E) A pupil of Nadia Boulanger, Peter Wishart (1921-84) produced a body of song which no-one interested in our musical heritage can afford to ignore. This volume, which is set for the Trinity College Licentiate and Fellowship diploma and GuildhallSchool Grade examinations, brings together a dozen of his finest works in the medium that will prove ideal for recital centrepieces or as encores. / Niveau : Moyen / Recueil / Chant et Piano
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| Tenebrae (SCHNEIDER
ENJOTT)
Soprano, Violon et Orgue [Conducteur et Parties séparées]
Schott
Tropus. Par SCHNEIDER ENJOTT. In this composition Schneider uses the famous word...(+)
Tropus. Par SCHNEIDER ENJOTT. In this composition Schneider uses the famous words from the liturgy for Good Friday: “Darkness fell, and on the ninth hour Jesus called out with a loud voice: My God, why hast Thou forsaken me?” Here he draws on the earlier form of the “trope”, using what was a common device in composition in medieval times, inserted into already completed works as a sort of commentary. In this sense - making use of the post-modern principle of
suggesting links across the ages - TENEBRAE makes reference to the motet “Tenebrae factae sunt” (Schott, C 51305) by Davide Perez (1711-1782), from which some melodic fragments have been taken and freely developed. An explosively contrived stylisation is set against the self-contained world of sound in the original piece./ Répertoire / Soprano, Violon et Orgue
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