Junior Songscape Formation musicale - Solfège [Partition + CD] Faber Music Limited
(The Ultimate Songbook for Classroom and Concert Use). By Lin Marsh. Book; CD; C...(+)
(The Ultimate Songbook
for Classroom and Concert
Use). By Lin Marsh. Book;
CD; Classroom/Pre-School;
General Music and
Classroom Publications;
Other Classroom. Faber
Edition. Published by
Faber Music
(Hymns of Sylvia G. Dunstan - 37 Hymns and 3 Gospel Songs with Traditional Tunes...(+)
(Hymns of Sylvia G.
Dunstan - 37 Hymns and 3
Gospel Songs with
Traditional Tunes). By
Sylvia Dunstan. Hymn
Collection. Sacred. 90
pages. Published by GIA
Publications
Chamber Music Piano SKU: PR.140401340 Sketches for Piano. Composed...(+)
Chamber Music Piano
SKU: PR.140401340
Sketches for
Piano. Composed by
Harry T. Burleigh. Edited
by Lara Downes. 16 pages.
Duration 18 minutes.
Theodore Presser Company
#140-40134. Published by
Theodore Presser Company
(PR.140401340).
ISBN
9781491134450. UPC:
680160684953.
Best
known for his settings of
spirituals and influence
on Dvorák, Henry T.
Burleigh was a celebrated
baritone, and a prolific
composer of original
works. FROM THE SOUTHLAND
is a suite of six
atmospheric scenes of the
American south, inspired
by Black musical and
cultural traditions. FROM
THE SOUTHLAND is within
reach of intermediate
pianists and artistically
suited for professional
recitals. In 1835,
Henry T.
Burleigh’s
maternal grandfather
purchased his own release
from slavery for the sum
of $50, and traveled
north out of Maryland to
begin a new life as a
free man. He established
his family in Ithaca, NY,
and then moved to the
bustling lakefront city
of Erie, PA, where three
decades later his
grandson Henry would be
born and raised.For
Burleigh, the
“Southlandâ€
that inspired this
collection of piano
sketches was a distant
place that could not have
been more different from
the physical world he
knew, up there in the
northern snowbelt. And
yet these southern
landscapes and vignettes
must have been intensely
present in his
consciousness, absorbed
through the stories and
songs he first learned at
his grandfather’s
knee.The music of the
South – the
spirituals and work songs
he heard as a child
–would travel with
Burleigh throughout his
long and illustrious
musical life. Even as he
progressed through his
early classical training,
his career as a baritone
soloist in Erie’s
churches and synagogue,
his move to New York to
study at the National
Conservatory of Music,
and his rise to national
prominence as a concert
soloist, these ancestral
melodies stayed firmly
centered in his musical
identity.When he wrote
From the Southland, his
only composition for solo
piano, Burleigh was just
beginning his career as a
composer. The art songs
that would establish him
as one of
America’s best
known composers in the
genre were still to come.
And so were his iconic
arrangements of
spirituals that would
bring the songs of
slavery onto concert
stages around the world,
transformed into timeless
and uniquely American
music.These little piano
sketches bring together
all the things that made
Burleigh the musician he
was – the lush,
late-romantic style of
his time; a broad vision
for American music; and a
profound respect for his
heritage, a memory of the
world his grandfather
left behind, and a love
of the music he brought
with him.
Choral (SATB) SKU: HL.14042237 SATB chorus. Composed by David Lums...(+)
Choral (SATB)
SKU:
HL.14042237
SATB
chorus. Composed by
David Lumsdaine. Music
Sales America. Classical.
Octavo. University of
York Music Press
#M570363940. Published by
University of York Music
Press (HL.14042237).
Vocal score for
SATB choir. Vocal score
for SATB choir.
Fussreise Chorale SATB SATB, Piano [Conducteur] - Intermédiaire Carus Verlag
SATB Choir, Piano - Level 3 SKU: CA.925600 Composed by Hugo Wolf. Arrange...(+)
SATB Choir, Piano - Level
3
SKU: CA.925600
Composed by Hugo Wolf.
Arranged by Denis Rouger.
Separate edition to the
CD. Lieder, Secular
choral music. Full Score.
Duration 3 minutes. Carus
Verlag #CV 09.256/00.
Published by Carus Verlag
(CA.925600).
ISBN
M-007-24918-2. Key: D
major. German. Text:
Morike,
Eduard.
Hugo Wolf
set a total of 53 songs
by Eduard Morike, all in
the year 1888. The
composer wrote in a
letter: Once you have
heard this song, it can
only inspire one wish -
to die. In the
artistic-metaphysical
milieu of the late 19th
century this was regarded
as the highest ideal,
especially for Hugo Wolf,
who believed in the body
as a wretched piano case
from which the soul can
only break free like
harmonies dying away. And
yet Fussreise (Journey on
Foot) begins as a simple,
happy, elated song of
travel, revolving around
the key of D major over
an ostinato piano rhythm.
Old Adam believes he
senses the bliss of
paradise in this, but he
continues to be caught in
the tension between
earthly suffering and
eternal longing, as the
rest of Hugo Wolf's
setting clearly shows: it
remains a pious hope that
a whole life would be
such a morning journey
bathed in gentle
perspiration. These art
songs were originally
composed not for chamber
choir, but for solo voice
and piano. Denis Rouger
has carefully adapted
them to suit the
requirements and
expressive possibilities
offered by a larger
ensemble, without losing
the any of the qualities
of the original in the
process. Each part in the
choir has a melodic line
drawn from the harmonic
and rhythmic framework.
In the process, the
variety and refinement of
the choral language
combines with an enormous
flexibility in form and
expression, as French
melodies or German art
song demand from a
soloist and pianist. The
songs have been recorded
by the figure humaine
chamber choir on the CD
Kennst du das Land ...
(Carus 83.495).
French harp (NOTEN+CD) - easy to intermediate SKU: HL.49033370 70 well...(+)
French harp (NOTEN+CD) -
easy to intermediate
SKU: HL.49033370
70 well-known
Songs. Composed by
Glenn Letsch. This
edition: Paperback/Soft
Cover. Sheet music with
CD. Edition Schott.
Volkslieder,
Traditionals, Blues, Hits
aus Rock und Pop fur
diatonische
Richter-Modelle (Blues
Harp) - mit Solos -
Mitspiel-CD. Edition with
CD. 100 pages. Schott
Music #ED 9881. Published
by Schott Music
(HL.49033370).
ISBN
9783795750862.
9.0x12.0x0.311 inches.
German - English. Wolff
Letsch.
Finding
songs for the diatonic
Richter harmonica (blues
harp) is not easy. Many
songs can only be played
in the upper octave;
otherwise advanced
techniques like bending
have to be applied.Perry
Letsch has looked through
hundreds of German songs
and examined them for
their suitability. The
results are songs
suitable both for the
beginner and the advanced
player. Some songs have
been provided with their
own solos. Apart from
popular folk songs the
edition includes
standards such as
Abilene, Blue Bossa or
Dona, Dona.Play-along CD
with all titles
included.
Piano, Vocal and Guitar SKU: BT.MUSAM971531 Book Only. Wise Publications ...(+)
Piano, Vocal and Guitar
SKU:
BT.MUSAM971531
Book
Only. Wise Publications
#MUSAM971531. Published
by Wise Publications
(BT.MUSAM971531).
ISBN
9780711989900.
E
verybody's favourite
Christmas carols and
songs in one wonderfully
practical and convenient
edition
creates The
Best Christmas Songbook
Ever (A5
Format),
featuring 49 songs
arranged for Piano,
VoiceandGuitar.Â
Every member of the
family is catered for,
young and old, with a
selection of favourites
covering the traditional
classics that make the
season special
like Away In A
Manger, We Three Kings
OfOrientAre and O Come, All Ye
Faithful. Not only
this, but more recent pop
tunes are represented
such as I Wish It
Could Be Christmas Every
Day, Last
Christmas and
Santa ClausIsComing
To Town. The
generous selection of
songs from old carols to
new tunes makes this the
perfect book for you this
Christmas, so you can
begin Christmas Eve with
the classic carols and
bring in Christmas Day
with thefuncontemporary
pop.Â
The
accessible arrangements
of lyrics, melody, Piano
and Guitar chords mean
that you don't have to
spend too much time
practising before family
and friends can gather
around the Piano for
aChristmassing-along.
Because this songbook has
everything, you can keep
it as part of your music
collection and dig it out
every year for those
times when the family can
gather around and sing
the songs that get you
into thespirit of
theseason.Â
For
the best and most varied
collection of Christmas
songs ever compiled, from
old to new, classic to
contemporary, pick up
The Best
Christmas Songbook Ever,
and put a
Yuletidesmile on theface
of everyone with these
universally loved
tunes.
You can also
purchase this book in
its larger,
standardsize for abumper-sized
Yuletide.
(37 Original Piano Pieces Schott Piano Classics Series). Composed by Various. Ed...(+)
(37 Original Piano Pieces
Schott Piano Classics
Series). Composed by
Various. Edited by Monika
Twelsiek. For Piano.
Piano Collection. 84
pages. Schott Music
#ED9044. Published by
Schott Music
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano
SKU: CF.PL1056
Composed by Clara
Wieck-Schumann, Franz
Schubert, and Robert
Schumann. Edited by
Nicholas Hopkins.
Collection. With Standard
notation. 128 pages. Carl
Fischer Music #PL1056.
Published by Carl Fischer
Music (CF.PL1056).
ISBN 9781491153390.
UPC: 680160910892.
Transcribed by Franz
Liszt.
Introduction
It is true that Schubert
himself is somewhat to
blame for the very
unsatisfactory manner in
which his admirable piano
pieces are treated. He
was too immoderately
productive, wrote
incessantly, mixing
insignificant with
important things, grand
things with mediocre
work, paid no heed to
criticism, and always
soared on his wings. Like
a bird in the air, he
lived in music and sang
in angelic fashion.
--Franz Liszt, letter to
Dr. S. Lebert (1868) Of
those compositions that
greatly interest me,
there are only Chopin's
and yours. --Franz Liszt,
letter to Robert Schumann
(1838) She [Clara
Schumann] was astounded
at hearing me. Her
compositions are really
very remarkable,
especially for a woman.
There is a hundred times
more creativity and real
feeling in them than in
all the past and present
fantasias by Thalberg.
--Franz Liszt, letter to
Marie d'Agoult (1838)
Chretien Urhan
(1790-1845) was a
Belgian-born violinist,
organist and composer who
flourished in the musical
life of Paris in the
early nineteenth century.
According to various
accounts, he was deeply
religious, harshly
ascetic and wildly
eccentric, though revered
by many important and
influential members of
the Parisian musical
community. Regrettably,
history has forgotten
Urhan's many musical
achievements, the most
important of which was
arguably his pioneering
work in promoting the
music of Franz Schubert.
He devoted much of his
energies to championing
Schubert's music, which
at the time was unknown
outside of Vienna.
Undoubtedly, Urhan was
responsible for
stimulating this
enthusiasm in Franz
Liszt; Liszt regularly
heard Urhan's organ
playing in the
St.-Vincent-de-Paul
church in Paris, and the
two became personal
acquaintances. At
eighteen years of age,
Liszt was on the verge of
establishing himself as
the foremost pianist in
Europe, and this
awakening to Schubert's
music would prove to be a
profound experience.
Liszt's first travels
outside of his native
provincial Hungary were
to Vienna in 1821-1823,
where his father enrolled
him in studies with Carl
Czerny (piano) and
Antonio Salieri (music
theory). Both men had
important involvements
with Schubert; Czerny
(like Urhan) as performer
and advocate of
Schubert's music and
Salieri as his theory and
composition teacher from
1813-1817. Curiously,
Liszt and Schubert never
met personally, despite
their geographical
proximity in Vienna
during these years.
Inevitably, legends later
arose that the two had
been personal
acquaintances, although
Liszt would dismiss these
as fallacious: I never
knew Schubert personally,
he was once quoted as
saying. Liszt's initial
exposure to Schubert's
music was the Lieder,
what Urhan prized most of
all. He accompanied the
tenor Benedict
Randhartinger in numerous
performances of
Schubert's Lieder and
then, perhaps realizing
that he could benefit the
composer more on his own
terms, transcribed a
number of the Lieder for
piano solo. Many of these
transcriptions he would
perform himself on
concert tour during the
so-called Glanzzeit, or
time of splendor from
1839-1847. This publicity
did much to promote
reception of Schubert's
music throughout Europe.
Once Liszt retired from
the concert stage and
settled in Weimar as a
conductor in the 1840s,
he continued to perform
Schubert's orchestral
music, his Symphony No. 9
being a particular
favorite, and is credited
with giving the world
premiere performance of
Schubert's opera Alfonso
und Estrella in 1854. At
this time, he
contemplated writing a
biography of the
composer, which
regrettably remained
uncompleted. Liszt's
devotion to Schubert
would never waver.
Liszt's relationship with
Robert and Clara Schumann
was far different and far
more complicated; by
contrast, they were all
personal acquaintances.
What began as a
relationship of mutual
respect and admiration
soon deteriorated into
one of jealousy and
hostility, particularly
on the Schumann's part.
Liszt's initial contact
with Robert's music
happened long before they
had met personally, when
Liszt published an
analysis of Schumann's
piano music for the
Gazette musicale in 1837,
a gesture that earned
Robert's deep
appreciation. In the
following year Clara met
Liszt during a concert
tour in Vienna and
presented him with more
of Schumann's piano
music. Clara and her
father Friedrich Wieck,
who accompanied Clara on
her concert tours, were
quite taken by Liszt: We
have heard Liszt. He can
be compared to no other
player...he arouses
fright and astonishment.
His appearance at the
piano is indescribable.
He is an original...he is
absorbed by the piano.
Liszt, too, was impressed
with Clara--at first the
energy, intelligence and
accuracy of her piano
playing and later her
compositions--to the
extent that he dedicated
to her the 1838 version
of his Etudes d'execution
transcendante d'apres
Paganini. Liszt had a
closer personal
relationship with Clara
than with Robert until
the two men finally met
in 1840. Schumann was
astounded by Liszt's
piano playing. He wrote
to Clara that Liszt had
played like a god and had
inspired indescribable
furor of applause. His
review of Liszt even
included a heroic
personification with
Napoleon. In Leipzig,
Schumann was deeply
impressed with Liszt's
interpretations of his
Noveletten, Op. 21 and
Fantasy in C Major, Op.
17 (dedicated to Liszt),
enthusiastically
observing that, I feel as
if I had known you twenty
years. Yet a variety of
events followed that
diminished Liszt's glory
in the eyes of the
Schumanns. They became
critical of the cult-like
atmosphere that arose
around his recitals, or
Lisztomania as it came to
be called; conceivably,
this could be attributed
to professional jealousy.
Clara, in particular,
came to loathe Liszt,
noting in a letter to
Joseph Joachim, I despise
Liszt from the depths of
my soul. She recorded a
stunning diary entry a
day after Liszt's death,
in which she noted, He
was an eminent keyboard
virtuoso, but a dangerous
example for the
young...As a composer he
was terrible. By
contrast, Liszt did not
share in these negative
sentiments; no evidence
suggests that he had any
ill-regard for the
Schumanns. In Weimar, he
did much to promote
Schumann's music,
conducting performances
of his Scenes from Faust
and Manfred, during a
time in which few
orchestras expressed
interest, and premiered
his opera Genoveva. He
later arranged a benefit
concert for Clara
following Robert's death,
featuring Clara as
soloist in Robert's Piano
Concerto, an event that
must have been
exhilarating to witness.
Regardless, her opinion
of him would never
change, despite his
repeated gestures of
courtesy and respect.
Liszt's relationship with
Schubert was a spiritual
one, with music being the
one and only link between
the two men. That with
the Schumanns was
personal, with music
influenced by a hero
worship that would
aggravate the
relationship over time.
Nonetheless, Liszt would
remain devoted to and
enthusiastic for the
music and achievements of
these composers. He would
be a vital force in
disseminating their music
to a wider audience, as
he would be with many
other composers
throughout his career.
His primary means for
accomplishing this was
the piano transcription.
Liszt and the
Transcription
Transcription versus
Paraphrase Transcription
and paraphrase were
popular terms in
nineteenth-century music,
although certainly not
unique to this period.
Musicians understood that
there were clear
distinctions between
these two terms, but as
is often the case these
distinctions could be
blurred. Transcription,
literally writing over,
entails reworking or
adapting a piece of music
for a performance medium
different from that of
its original; arrangement
is a possible synonym.
Adapting is a key part of
this process, for the
success of a
transcription relies on
the transcriber's ability
to adapt the piece to the
different medium. As a
result, the pre-existing
material is generally
kept intact, recognizable
and intelligible; it is
strict, literal,
objective. Contextual
meaning is maintained in
the process, as are
elements of style and
form. Paraphrase, by
contrast, implies
restating something in a
different manner, as in a
rewording of a document
for reasons of clarity.
In nineteenth-century
music, paraphrasing
indicated elaborating a
piece for purposes of
expressive virtuosity,
often as a vehicle for
showmanship. Variation is
an important element, for
the source material may
be varied as much as the
paraphraser's imagination
will allow; its purpose
is metamorphosis.
Transcription is adapting
and arranging;
paraphrasing is
transforming and
reworking. Transcription
preserves the style of
the original; paraphrase
absorbs the original into
a different style.
Transcription highlights
the original composer;
paraphrase highlights the
paraphraser.
Approximately half of
Liszt's compositional
output falls under the
category of transcription
and paraphrase; it is
noteworthy that he never
used the term
arrangement. Much of his
early compositional
activities were
transcriptions and
paraphrases of works of
other composers, such as
the symphonies of
Beethoven and Berlioz,
vocal music by Schubert,
and operas by Donizetti
and Bellini. It is
conceivable that he
focused so intently on
work of this nature early
in his career as a means
to perfect his
compositional technique,
although transcription
and paraphrase continued
well after the technique
had been mastered; this
might explain why he
drastically revised and
rewrote many of his
original compositions
from the 1830s (such as
the Transcendental Etudes
and Paganini Etudes) in
the 1850s. Charles Rosen,
a sympathetic interpreter
of Liszt's piano works,
observes, The new
revisions of the
Transcendental Etudes are
not revisions but concert
paraphrases of the old,
and their art lies in the
technique of
transformation. The
Paganini etudes are piano
transcriptions of violin
etudes, and the
Transcendental Etudes are
piano transcriptions of
piano etudes. The
principles are the same.
He concludes by noting,
Paraphrase has shaded off
into
composition...Composition
and paraphrase were not
identical for him, but
they were so closely
interwoven that
separation is impossible.
The significance of
transcription and
paraphrase for Liszt the
composer cannot be
overstated, and the
mutual influence of each
needs to be better
understood. Undoubtedly,
Liszt the composer as we
know him today would be
far different had he not
devoted so much of his
career to transcribing
and paraphrasing the
music of others. He was
perhaps one of the first
composers to contend that
transcription and
paraphrase could be
genuine art forms on
equal par with original
pieces; he even claimed
to be the first to use
these two terms to
describe these classes of
arrangements. Despite the
success that Liszt
achieved with this type
of work, others viewed it
with circumspection and
criticism. Robert
Schumann, although deeply
impressed with Liszt's
keyboard virtuosity, was
harsh in his criticisms
of the transcriptions.
Schumann interpreted them
as indicators that
Liszt's virtuosity had
hindered his
compositional development
and suggested that Liszt
transcribed the music of
others to compensate for
his own compositional
deficiencies.
Nonetheless, Liszt's
piano transcriptions,
what he sometimes called
partitions de piano (or
piano scores), were
instrumental in promoting
composers whose music was
unknown at the time or
inaccessible in areas
outside of major European
capitals, areas that
Liszt willingly toured
during his Glanzzeit. To
this end, the
transcriptions had to be
literal arrangements for
the piano; a Beethoven
symphony could not be
introduced to an
unknowing audience if its
music had been subjected
to imaginative
elaborations and
variations. The same
would be true of the 1833
transcription of
Berlioz's Symphonie
fantastique (composed
only three years
earlier), the
astonishingly novel
content of which would
necessitate a literal and
intelligible rendering.
Opera, usually more
popular and accessible
for the general public,
was a different matter,
and in this realm Liszt
could paraphrase the
original and manipulate
it as his imagination
would allow without
jeopardizing its
reception; hence, the
paraphrases on the operas
of Bellini, Donizetti,
Mozart, Meyerbeer and
Verdi. Reminiscence was
another term coined by
Liszt for the opera
paraphrases, as if the
composer were reminiscing
at the keyboard following
a memorable evening at
the opera. Illustration
(reserved on two
occasions for Meyerbeer)
and fantasy were
additional terms. The
operas of Wagner were
exceptions. His music was
less suited to paraphrase
due to its general lack
of familiarity at the
time. Transcription of
Wagner's music was thus
obligatory, as it was of
Beethoven's and Berlioz's
music; perhaps the
composer himself insisted
on this approach. Liszt's
Lieder Transcriptions
Liszt's initial
encounters with
Schubert's music, as
mentioned previously,
were with the Lieder. His
first transcription of a
Schubert Lied was Die
Rose in 1833, followed by
Lob der Tranen in 1837.
Thirty-nine additional
transcriptions appeared
at a rapid pace over the
following three years,
and in 1846, the Schubert
Lieder transcriptions
would conclude, by which
point he had completed
fifty-eight, the most of
any composer. Critical
response to these
transcriptions was highly
favorable--aside from the
view held by
Schumann--particularly
when Liszt himself played
these pieces in concert.
Some were published
immediately by Anton
Diabelli, famous for the
theme that inspired
Beethoven's variations.
Others were published by
the Viennese publisher
Tobias Haslinger (one of
Beethoven's and
Schubert's publishers in
the 1820s), who sold his
reserves so quickly that
he would repeatedly plead
for more. However,
Liszt's enthusiasm for
work of this nature soon
became exhausted, as he
noted in a letter of 1839
to the publisher
Breitkopf und Hartel:
That good Haslinger
overwhelms me with
Schubert. I have just
sent him twenty-four new
songs (Schwanengesang and
Winterreise), and for the
moment I am rather tired
of this work. Haslinger
was justified in his
demands, for the Schubert
transcriptions were
received with great
enthusiasm. One Gottfried
Wilhelm Fink, then editor
of the Allgemeine
musikalische Zeitung,
observed of these
transcriptions: Nothing
in recent memory has
caused such sensation and
enjoyment in both
pianists and audiences as
these arrangements...The
demand for them has in no
way been satisfied; and
it will not be until
these arrangements are
seen on pianos
everywhere. They have
indeed made quite a
splash. Eduard Hanslick,
never a sympathetic
critic of Liszt's music,
acknowledged thirty years
after the fact that,
Liszt's transcriptions of
Schubert Lieder were
epoch-making. There was
hardly a concert in which
Liszt did not have to
play one or two of
them--even when they were
not listed on the
program. These
transcriptions quickly
became some of his most
sough-after pieces,
despite their extreme
technical demands.
Leading pianists of the
day, such as Clara Wieck
and Sigismond Thalberg,
incorporated them into
their concert programs
immediately upon
publication. Moreover,
the transcriptions would
serve as inspirations for
other composers, such as
Stephen Heller, Cesar
Franck and later Leopold
Godowsky, all of whom
produced their own
transcriptions of
Schubert's Lieder. Liszt
would transcribe the
Lieder of other composers
as well, including those
by Mendelssohn, Chopin,
Anton Rubinstein and even
himself. Robert Schumann,
of course, would not be
ignored. The first
transcription of a
Schumann Lied was the
celebrated Widmung from
Myrten in 1848, the only
Schumann transcription
that Liszt completed
during the composer's
lifetime. (Regrettably,
there is no evidence of
Schumann's regard of this
transcription, or even if
he was aware of it.) From
the years 1848-1881,
Liszt transcribed twelve
of Robert Schumann's
Lieder (including one
orchestral Lied) and
three of Clara (one from
each of her three
published Lieder cycles);
he would transcribe no
other works of these two
composers. The Schumann
Lieder transcriptions,
contrary to those of
Schubert, are literal
arrangements, posing, in
general, far fewer
demands on the pianist's
technique. They are
comparatively less
imaginative in their
treatment of the original
material. Additionally,
they seem to have been
less valued in their day
than the Schubert
transcriptions, and it is
noteworthy that none of
the Schumann
transcriptions bear
dedications, as most of
the Schubert
transcriptions do. The
greatest challenge posed
by Lieder transcriptions,
regardless of the
composer or the nature of
the transcription, was to
combine the vocal and
piano parts of the
original such that the
character of each would
be preserved, a challenge
unique to this form of
transcription. Each part
had to be intact and
aurally recognizable, the
vocal line in particular.
Complications could be
manifold in a Lied that
featured dissimilar
parts, such as Schubert's
Auf dem Wasser zu singen,
whose piano accompaniment
depicts the rocking of
the boat on the
shimmering waves while
the vocal line reflects
on the passing of time.
Similar complications
would be encountered in
Gretchen am Spinnrade, in
which the ubiquitous
sixteenth-note pattern in
the piano's right hand
epitomizes the
ever-turning spinning
wheel over which the
soprano voice expresses
feelings of longing and
heartache. The resulting
transcriptions for solo
piano would place
exceptional demands on
the pianist. The
complications would be
far less imposing in
instances in which voice
and piano were less
differentiated, as in
many of Schumann's Lieder
that Liszt transcribed.
The piano parts in these
Lieder are true
accompaniments for the
voice, providing harmonic
foundation and rhythmic
support by doubling the
vocal line throughout.
The transcriptions, thus,
are strict and literal,
with far fewer demands on
both pianist and
transcriber. In all of
Liszt's Lieder
transcriptions,
regardless of the way in
which the two parts are
combined, the melody
(i.e. the vocal line) is
invariably the focal
point; the melody should
sing on the piano, as if
it were the voice. The
piano part, although
integral to contributing
to the character of the
music, is designed to
function as
accompaniment. A singing
melody was a crucial
objective in
nineteenth-century piano
performance, which in
part might explain the
zeal in transcribing and
paraphrasing vocal music
for the piano. Friedrich
Wieck, father and teacher
of Clara Schumann,
stressed this point
repeatedly in his 1853
treatise Clavier und
Gesang (Piano and Song):
When I speak in general
of singing, I refer to
that species of singing
which is a form of
beauty, and which is a
foundation for the most
refined and most perfect
interpretation of music;
and, above all things, I
consider the culture of
beautiful tones the basis
for the finest possible
touch on the piano. In
many respects, the piano
and singing should
explain and supplement
each other. They should
mutually assist in
expressing the sublime
and the noble, in forms
of unclouded beauty. Much
of Liszt's piano music
should be interpreted
with this concept in
mind, the Lieder
transcriptions and opera
paraphrases, in
particular. To this end,
Liszt provided numerous
written instructions to
the performer to
emphasize the vocal line
in performance, with
Italian directives such
as un poco marcato il
canto, accentuato assai
il canto and ben
pronunziato il canto.
Repeated indications of
cantando,singend and
espressivo il canto
stress the significance
of the singing tone. As
an additional means of
achieving this and
providing the performer
with access to the
poetry, Liszt insisted,
at what must have been a
publishing novelty at the
time, on printing the
words of the Lied in the
music itself. Haslinger,
seemingly oblivious to
Liszt's intent, initially
printed the poems of the
early Schubert
transcriptions separately
inside the front covers.
Liszt argued that the
transcriptions must be
reprinted with the words
underlying the notes,
exactly as Schubert had
done, a request that was
honored by printing the
words above the
right-hand staff. Liszt
also incorporated a
visual scheme for
distinguishing voice and
accompaniment, influenced
perhaps by Chopin, by
notating the
accompaniment in cue
size. His transcription
of Robert Schumann's
Fruhlings Ankunft
features the vocal line
in normal size, the piano
accompaniment in reduced
size, an unmistakable
guide in a busy texture
as to which part should
be emphasized: Example 1.
Schumann-Liszt Fruhlings
Ankunft, mm. 1-2. The
same practice may be
found in the
transcription of
Schumann's An die Turen
will ich schleichen. In
this piece, the performer
must read three staves,
in which the baritone
line in the central staff
is to be shared between
the two hands based on
the stem direction of the
notes: Example 2.
Schumann-Liszt An die
Turen will ich
schleichen, mm. 1-5. This
notational practice is
extremely beneficial in
this instance, given the
challenge of reading
three staves and the
manner in which the vocal
line is performed by the
two hands. Curiously,
Liszt did not use this
practice in other
transcriptions.
Approaches in Lieder
Transcription Liszt
adopted a variety of
approaches in his Lieder
transcriptions, based on
the nature of the source
material, the ways in
which the vocal and piano
parts could be combined
and the ways in which the
vocal part could sing.
One approach, common with
strophic Lieder, in which
the vocal line would be
identical in each verse,
was to vary the register
of the vocal part. The
transcription of Lob der
Tranen, for example,
incorporates three of the
four verses of the
original Lied, with the
register of the vocal
line ascending one octave
with each verse (from low
to high), as if three
different voices were
participating. By the
conclusion, the music
encompasses the entire
range of Liszt's keyboard
to produce a stunning
climactic effect, and the
variety of register of
the vocal line provides a
welcome textural variety
in the absence of the
words. The three verses
of the transcription of
Auf dem Wasser zu singen
follow the same approach,
in which the vocal line
ascends from the tenor,
to the alto and to the
soprano registers with
each verse.
Fruhlingsglaube adopts
the opposite approach, in
which the vocal line
descends from soprano in
verse 1 to tenor in verse
2, with the second part
of verse 2 again resuming
the soprano register;
this is also the case in
Das Wandern from
Mullerlieder. Gretchen am
Spinnrade posed a unique
problem. Since the poem's
narrator is female, and
the poem represents an
expression of her longing
for her lover Faust,
variation of the vocal
line's register, strictly
speaking, would have been
impractical. For this
reason, the vocal line
remains in its original
register throughout,
relentlessly colliding
with the sixteenth-note
pattern of the
accompaniment. One
exception may be found in
the fifth and final verse
in mm. 93-112, at which
point the vocal line is
notated in a higher
register and doubled in
octaves. This sudden
textural change, one that
is readily audible, was a
strategic means to
underscore Gretchen's
mounting anxiety (My
bosom urges itself toward
him. Ah, might I grasp
and hold him! And kiss
him as I would wish, at
his kisses I should
die!). The transcription,
thus, becomes a vehicle
for maximizing the
emotional content of the
poem, an exceptional
undertaking with the
general intent of a
transcription. Registral
variation of the vocal
part also plays a crucial
role in the transcription
of Erlkonig. Goethe's
poem depicts the death of
a child who is
apprehended by a
supernatural Erlking, and
Schubert, recognizing the
dramatic nature of the
poem, carefully depicted
the characters (father,
son and Erlking) through
unique vocal writing and
accompaniment patterns:
the Lied is a dramatic
entity. Liszt, in turn,
followed Schubert's
characterization in this
literal transcription,
yet took it an additional
step by placing the
register of the father's
vocal line in the
baritone range, that of
the son in the soprano
range and that of the
Erlking in the highest
register, options that
would not have been
available in the version
for voice and piano.
Additionally, Liszt
labeled each appearance
of each character in the
score, a means for
guiding the performer in
interpreting the dramatic
qualities of the Lied. As
a result, the drama and
energy of the poem are
enhanced in this
transcription; as with
Gretchen am Spinnrade,
the transcriber has
maximized the content of
the original. Elaboration
may be found in certain
Lieder transcriptions
that expand the
performance to a level of
virtuosity not found in
the original; in such
cases, the transcription
approximates the
paraphrase. Schubert's Du
bist die Ruh, a paradigm
of musical simplicity,
features an uncomplicated
piano accompaniment that
is virtually identical in
each verse. In Liszt's
transcription, the
material is subjected to
a highly virtuosic
treatment that far
exceeds the original,
including a demanding
passage for the left hand
alone in the opening
measures and unique
textural writing in each
verse. The piece is a
transcription in
virtuosity; its art, as
Rosen noted, lies in the
technique of
transformation.
Elaboration may entail an
expansion of the musical
form, as in the extensive
introduction to Die
Forelle and a virtuosic
middle section (mm.
63-85), both of which are
not in the original. Also
unique to this
transcription are two
cadenzas that Liszt
composed in response to
the poetic content. The
first, in m. 93 on the
words und eh ich es
gedacht (and before I
could guess it), features
a twisted chromatic
passage that prolongs and
thereby heightens the
listener's suspense as to
the fate of the trout
(which is ultimately
caught). The second, in
m. 108 on the words
Betrogne an (and my blood
boiled as I saw the
betrayed one), features a
rush of
diminished-seventh
arpeggios in both hands,
epitomizing the poet's
rage at the fisherman for
catching the trout. Less
frequent are instances in
which the length of the
original Lied was
shortened in the
transcription, a tendency
that may be found with
certain strophic Lieder
(e.g., Der Leiermann,
Wasserflut and Das
Wandern). Another
transcription that
demonstrates Liszt's
readiness to modify the
original in the interests
of the poetic content is
Standchen, the seventh
transcription from
Schubert's
Schwanengesang. Adapted
from Act II of
Shakespeare's Cymbeline,
the poem represents the
repeated beckoning of a
man to his lover. Liszt
transformed the Lied into
a miniature drama by
transcribing the vocal
line of the first verse
in the soprano register,
that of the second verse
in the baritone register,
in effect, creating a
dialogue between the two
lovers. In mm. 71-102,
the dialogue becomes a
canon, with one voice
trailing the other like
an echo (as labeled in
the score) at the
distance of a beat. As in
other instances, the
transcription resembles
the paraphrase, and it is
perhaps for this reason
that Liszt provided an
ossia version that is
more in the nature of a
literal transcription.
The ossia version, six
measures shorter than
Schubert's original, is
less demanding
technically than the
original transcription,
thus representing an
ossia of transcription
and an ossia of piano
technique. The Schumann
Lieder transcriptions, in
general, display a less
imaginative treatment of
the source material.
Elaborations are less
frequently encountered,
and virtuosity is more
restricted, as if the
passage of time had
somewhat tamed the
composer's approach to
transcriptions;
alternatively, Liszt was
eager to distance himself
from the fierce
virtuosity of his early
years. In most instances,
these transcriptions are
literal arrangements of
the source material, with
the vocal line in its
original form combined
with the accompaniment,
which often doubles the
vocal line in the
original Lied. Widmung,
the first of the Schumann
transcriptions, is one
exception in the way it
recalls the virtuosity of
the Schubert
transcriptions of the
1830s. Particularly
striking is the closing
section (mm. 58-73), in
which material of the
opening verse (right
hand) is combined with
the triplet quarter notes
(left hand) from the
second section of the
Lied (mm. 32-43), as if
the transcriber were
attempting to reconcile
the different material of
these two sections.
Fruhlingsnacht resembles
a paraphrase by
presenting each of the
two verses in differing
registers (alto for verse
1, mm. 3-19, and soprano
for verse 2, mm. 20-31)
and by concluding with a
virtuosic section that
considerably extends the
length of the original
Lied. The original
tonalities of the Lieder
were generally retained
in the transcriptions,
showing that the tonality
was an important part of
the transcription
process. The infrequent
instances of
transposition were done
for specific reasons. In
1861, Liszt transcribed
two of Schumann's Lieder,
one from Op. 36 (An den
Sonnenschein), another
from Op. 27 (Dem roten
Roslein), and merged
these two pieces in the
collection 2 Lieder; they
share only the common
tonality of A major. His
choice for combining
these two Lieder remains
unknown, but he clearly
recognized that some
tonal variety would be
needed, for which reason
Dem roten Roslein was
transposed to C>= major.
The collection features
An den Sonnenschein in A
major (with a transition
to the new tonality),
followed by Dem roten
Roslein in C>= major
(without a change of key
signature), and
concluding with a reprise
of An den Sonnenschein in
A major. A three-part
form was thus established
with tonal variety
provided by keys in third
relations (A-C>=-A); in
effect, two of Schumann's
Lieder were transcribed
into an archetypal song
without words. In other
instances, Liszt treated
tonality and tonal
organization as important
structural ingredients,
particularly in the
transcriptions of
Schubert's Lieder cycles,
i.e. Schwanengesang,
Winterreise a...
Piano/Keyboard SKU: HL.1438381 Composed by Various. Super Easy Songbook. ...(+)
Piano/Keyboard
SKU:
HL.1438381
Composed
by Various. Super Easy
Songbook. Classic Rock,
Pop, Standards.
Softcover. Published by
Hal Leonard (HL.1438381).
ISBN 9798350123692.
UPC:
196288204893.
The
'60s were a game-changing
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Arranged by
Virginia Croft. SWS FS.
Young String Orchestra.
Set of Score and Parts.
With Standard notation.
8+8+5+2+5+5+3+1+8 pages.
Carl Fischer Music
#YAS113. Published by
Carl Fischer Music
(CF.YAS113).
ISBN
9780825889547. UPC:
798408089542. 8.5 x 11
inches. Key: D
major.
You will
hear the clicking of
horse hooves and the
sounds of the old west in
this setting of a
standard American folk
song. Virginia Croft
draws from her experience
as a longtime music
educator to write
pleasing arrangements of
popular folk songs like
this one. She has a knack
for bringing out the true
beauty of the song in an
authentic way. All
sections of the orchestra
get a chance to shine in
Red River Valley. This
is one of those love
songs which traveled west
with the pioneers, and
thus the Bright Mohawk
Valley of New York State
became the Red River
Valley. Attention to the
unrelenting rhythm of the
horses’ hooves
(and the suggested sound
effects which complement
this) will bring this
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melody to life for both
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played and sung up-tempo,
is also used as a
well-known square
dance.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
SKU: LP.765762010437 Discovering the God of Creation. Composed by ...(+)
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LP.765762010437
Discovering the God of
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Arranged by David
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Sacred. Digital Resource
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(LP.765762010437).
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765762010437.
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SKU: LP.765762161320 Discovering the God of Creation. Composed by ...(+)
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LP.765762161320
Discovering the God of
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Celeste Clydesdale.
Arranged by David
Clydesdale. Musical.
Sacred. Bulk CDs (10
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(LP.765762161320).
UPC:
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Blast
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help from various stars
planets a cantankerous
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the stars and the heavens
is the same God that
loved the world so much
that He sent His son to
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nothing is impossible. An
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SKU: LP.765762161429 Discovering the God of Creation. Composed by ...(+)
SKU:
LP.765762161429
Discovering the God of
Creation. Composed by
Celeste Clydesdale.
Arranged by David
Clydesdale. Musical.
Sacred. Split-channel
accompaniment CD.
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(LP.765762161429).
UPC:
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Blast
off on an intergalactic
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children's music creator
Celeste Clydesdale! Join
Rudy Rachel and Riley
aboard the space shuttle
Discovery as they travel
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discover all the
indescribable things in
creation that were made
by the hand of God. With
help from various stars
planets a cantankerous
robot and the wise and
patient Flight Commander
Mr. Houston they learn
that the God who created
the stars and the heavens
is the same God that
loved the world so much
that He sent His son to
die for them wants to
have a relationship with
them and that with Him
nothing is impossible. An
accompaniment DVD with
videos for three songs
and a spaced-themed video
loop has been created to
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SKU: LP.765762010338 Discovering the God of Creation. Composed by ...(+)
SKU:
LP.765762010338
Discovering the God of
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off on an intergalactic
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children's music creator
Celeste Clydesdale! Join
Rudy Rachel and Riley
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discover all the
indescribable things in
creation that were made
by the hand of God. With
help from various stars
planets a cantankerous
robot and the wise and
patient Flight Commander
Mr. Houston they learn
that the God who created
the stars and the heavens
is the same God that
loved the world so much
that He sent His son to
die for them wants to
have a relationship with
them and that with Him
nothing is impossible. An
accompaniment DVD with
videos for three songs
and a spaced-themed video
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SKU: LP.765762212602 Discovering the God of Creation. Composed by ...(+)
SKU:
LP.765762212602
Discovering the God of
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Celeste Clydesdale.
Arranged by David
Clydesdale. Musical.
Sacred. Bulletin blanks.
Published by Lillenas
Publishing Company
(LP.765762212602).
UPC:
765762212602.
Blast
off on an intergalactic
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children's music creator
Celeste Clydesdale! Join
Rudy Rachel and Riley
aboard the space shuttle
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discover all the
indescribable things in
creation that were made
by the hand of God. With
help from various stars
planets a cantankerous
robot and the wise and
patient Flight Commander
Mr. Houston they learn
that the God who created
the stars and the heavens
is the same God that
loved the world so much
that He sent His son to
die for them wants to
have a relationship with
them and that with Him
nothing is impossible. An
accompaniment DVD with
videos for three songs
and a spaced-themed video
loop has been created to
aid in performance as
well as a Digital
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with teaching and
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SKU: LP.765762161221 Discovering the God of Creation. Composed by ...(+)
SKU:
LP.765762161221
Discovering the God of
Creation. Composed by
Celeste Clydesdale.
Arranged by David
Clydesdale. Musical.
Sacred. Stereo CD.
Published by Lillenas
Publishing Company
(LP.765762161221).
UPC:
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Blast
off on an intergalactic
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release from best-selling
children's music creator
Celeste Clydesdale! Join
Rudy Rachel and Riley
aboard the space shuttle
Discovery as they travel
through space and
discover all the
indescribable things in
creation that were made
by the hand of God. With
help from various stars
planets a cantankerous
robot and the wise and
patient Flight Commander
Mr. Houston they learn
that the God who created
the stars and the heavens
is the same God that
loved the world so much
that He sent His son to
die for them wants to
have a relationship with
them and that with Him
nothing is impossible. An
accompaniment DVD with
videos for three songs
and a spaced-themed video
loop has been created to
aid in performance as
well as a Digital
Resource Kit and
Demonstration DVD to help
with teaching and
choreography. This year
gather your students and
Blast Off together to
discover the God of
Creation!
SKU: LP.765762161825 Discovering the God of Creation. Composed by ...(+)
SKU:
LP.765762161825
Discovering the God of
Creation. Composed by
Celeste Clydesdale.
Arranged by David
Clydesdale. Musical.
Sacred. Stereo
Accompaniment CD.
Published by Lillenas
Publishing Company
(LP.765762161825).
UPC:
765762161825.
Blast
off on an intergalactic
adventure in the newest
release from best-selling
children's music creator
Celeste Clydesdale! Join
Rudy Rachel and Riley
aboard the space shuttle
Discovery as they travel
through space and
discover all the
indescribable things in
creation that were made
by the hand of God. With
help from various stars
planets a cantankerous
robot and the wise and
patient Flight Commander
Mr. Houston they learn
that the God who created
the stars and the heavens
is the same God that
loved the world so much
that He sent His son to
die for them wants to
have a relationship with
them and that with Him
nothing is impossible. An
accompaniment DVD with
videos for three songs
and a spaced-themed video
loop has been created to
aid in performance as
well as a Digital
Resource Kit and
Demonstration DVD to help
with teaching and
choreography. This year
gather your students and
Blast Off together to
discover the God of
Creation!
Moderate SKU: LP.9780834182486 Discovering the God of Creation. Co...(+)
Moderate
SKU:
LP.9780834182486
Discovering the God of
Creation. Composed by
Celeste Clydesdale.
Arranged by David
Clydesdale. Musical.
Multicultural and Sacred.
Book. Published by
Lillenas Publishing
Company
(LP.9780834182486).
ISBN
9780834182486.
Blas
t off on an intergalactic
adventure in the newest
release from best-selling
children's music creator
Celeste Clydesdale! Join
Rudy Rachel and Riley
aboard the space shuttle
Discovery as they travel
through space and
discover all the
indescribable things in
creation that were made
by the hand of God. With
help from various stars
planets a cantankerous
robot and the wise and
patient Flight Commander
Mr. Houston they learn
that the God who created
the stars and the heavens
is the same God that
loved the world so much
that He sent His son to
die for them wants to
have a relationship with
them and that with Him
nothing is impossible. An
accompaniment DVD with
videos for three songs
and a spaced-themed video
loop has been created to
aid in performance as
well as a Digital
Resource Kit and
Demonstration DVD to help
with teaching and
choreography. This year
gather your students and
Blast Off together to
discover the God of
Creation!
SKU: LP.765762011335 Composed by Celeste Clydesdale. Arranged by David Cl...(+)
SKU:
LP.765762011335
Composed by Celeste
Clydesdale. Arranged by
David Clydesdale.
Musical. Sacred.
Accompaniment DVD.
Published by Lillenas
Publishing Company
(LP.765762011335).
UPC:
765762011335.
Blast
off on an intergalactic
adventure in the newest
release from best-selling
children's music creator
Celeste Clydesdale! Join
Rudy Rachel and Riley
aboard the space shuttle
Discovery as they travel
through space and
discover all the
indescribable things in
creation that were made
by the hand of God. With
help from various stars
planets a cantankerous
robot and the wise and
patient Flight Commander
Mr. Houston they learn
that the God who created
the stars and the heavens
is the same God that
loved the world so much
that He sent His son to
die for them wants to
have a relationship with
them and that with Him
nothing is impossible. An
accompaniment DVD with
videos for three songs
and a spaced-themed video
loop has been created to
aid in performance as
well as a Digital
Resource Kit and
Demonstration DVD to help
with teaching and
choreography. This year
gather your students and
Blast Off together to
discover the God of
Creation!
Fur Einsteiger - mit
Akkordtabelle.
Composed by J. Weiser.
This edition:
Paperback/Soft Cover.
Sheet music with CD.
Schott Pro Line. Diese
Schule richtet sich an
Schuler und Lehrer, die
eine aktuelle Rock- und
Pop-Gitarrenschule im
Anfangerbereich suchen.
Der Autor hat eine Schule
entwickelt, die nicht nur
mit einer E-Gitarre,
sondern ebenso mit einer
Konzert- oder
Westerngitarre spiel.
Edition with CD. 112
pages. Schott Music #SPL
1016. Published by Schott
Music (HL.49041963).
ISBN 9783795751074.
German.
Diese
Schule richtet sich an
Schuler und Lehrer, die
eine aktuelle Rock- und
Pop-Gitarrenschule im
Anfangerbereich suchen.
Der Autor hat eine Schule
entwickelt, die nicht nur
mit einer E-Gitarre,
sondern ebenso mit einer
Konzert- oder
Westerngitarre spielbar
ist. Jedem Band liegt
eine CD bei, die neben
E-Gitarren auch mit
Konzert- und
Westerngitarren
eingespielt worden ist.
Die CD ist fur die
Schuler besonders
interessant, weil sie die
Lieder, Notenwerte,
Rhythmen etc. auch zu
Hause anhoren konnen -
und dadurch den
Spielstoff besser
nachvollziehen. Die Titel
sind vor allem zu Beginn
sehr langsam, um dem
Spieler ein Mitspielen
zur CD zu gewahrleisten.
Die nachfolgenden Lieder
steigern sich im Tempo
allmahlich. Die Rock &
Pop Gitarrenschule lehnt
sich im methodischen
Aufbau an bewahrte
klassische Schulen an.
Die Schuler lernen in
diesem Band verschiedene
Rock- und Popstile und
Spieltechniken kennen
anhand von Songs wie: El
Condor Pasa, Sailing,
Lady In Black, I Just
Called To Say I Love You,
Freiheit.
(Duets (29 Songs)). By Stephen Sondheim (1930-). Edited by Richard Walters. For ...(+)
(Duets (29 Songs)). By
Stephen Sondheim (1930-).
Edited by Richard
Walters. For Voice, Piano
Accompaniment. Vocal
Collection. 288 pages.
Published by Hal Leonard
Unison/2-part children's choir SKU: WD.080689459771 Composed by Daniel Se...(+)
Unison/2-part children's
choir
SKU:
WD.080689459771
Composed by Daniel
Semsen. Arranged by
Daniel Semsen. Choral,
cantatas. WordKidz. Set
of 4 posters,
3’x6’ each.
Duration 40 minutes. Word
Music #080689459771.
Published by Word Music
(WD.080689459771).
UPC:
080689459771.
Chris
ty and Daniel Semsen,
celebrated writers and
creators of innovative,
best-selling musicals for
children's choir are
back, and they're at it
again! Their latest
adventure, Back to the
Cross, will take your
Kids Choir on an
inventive, fun-filled,
rousing romp through
time, discovering the
message of the Cross
along the way! A Semsen
musical is guaranteed to
deliver big on FUN and
even bigger on a
spiritual message that
speaks to each child! In
Back to the Cross, the
long-awaited sequel to
their hit musical, Back
to the Manger, we find
Norman and our cast of
characters embarking on a
time-travel excursion
relying on the
questionable reliability
of the H/O-2000 Temporal
Displacement
Modulator...otherwise
known as time travel
machine.
At its heart,
this musical is designed
to impact the lives of
your kids and your church
for years to come through
show-stopping songs that
beg to be sung and a
script guaranteed to
captivate and engage
young minds and
imaginations while
teaching foundational
Biblical truths. A
delightfully-entertaining
, production-enhancing
DVD Accompaniment Track
is available to help
transport the cast, crew,
and audience through the
ages, while the DVD
Instructional Video will
assist you with staging,
choreography, and
presentation. So jump
into the H/O-2000, buckle
your seatbelts, and
embark on a Biblical
truth-seeking trek
through time!adventure in
your next kids Christmas
program!
Piano and congregation SKU: HP.9085 Composed by Daniel Charles Damon. Aut...(+)
Piano and congregation
SKU: HP.9085
Composed by Daniel
Charles Damon. Author
Collections. General
Worship. Hymn Collection.
144 pages. Hope
Publishing Company #9085.
Published by Hope
Publishing Company
(HP.9085).
UPC:
763628190859.
In
Little Seeds you will
find new hymns from my
heart. My devotional life
is given to you in my
hymnwriting. During the
past three years I have
been writing songs for
the unity of the church -
songs reminding us of our
baptism. I have been
writing biblical story
hymns for lesser-known
characters. I have
written paperless songs
that may be easily
memorized. I set a Rumi
poem. There are new hymns
for Christian missions
from everywhere to
everywhere. You will find
new texts and musical
settings for folk songs
from around the world. I
hope I have treated these
with the love and respect
they deserve. You will
find alternate
arrangements of some
songs that may be useful
in different settings.
Lim Swee Hong composed
three tunes for this
collection at my request.
I am also pleased to
include Lianne Tan's
first published hymn tune
in Little Seeds.
By
Glenn Weiser. Harmonica.
Irish and Folk. Softcover
harmonica songbook and
examples CD. With
harmonica notation,
instructional text,
illustrations and
introductory text. 128
pages. Published by
Centerstream Publications
(HL.232).
ISBN
9780931759109. UPC:
073999028355. 9x12
inches. Glenn
Weiser.
A complete
guide to playing fiddle
tunes on the harmonica!
Covers: tips on hand
positions; playing
instructions and
techniques; rhythmic
patterns for the reel,
jig, hornpipe and waltz;
and more. Features over
100 songs, along with a
CD that demonstrates
several of the tunes.
Ability to read music is
not necessary.
Piano Trio SKU: BR.EB-9382 Composed by Shen Ye. Chamber music; stapled. E...(+)
Piano Trio
SKU:
BR.EB-9382
Composed
by Shen Ye. Chamber
music; stapled. Edition
Breitkopf. Music
post-1945; New music
(post-2000). Score.
Composed 2011. 64 pages.
Duration 17'. Breitkopf
and Haertel #EB 9382.
Published by Breitkopf
and Haertel (BR.EB-9382).
ISBN 9790004188521. 9
x 12 inches.
This
work was commissioned by
the Phoenix Concerts of
New York State Council. I
clarified that I tend to
provide sensation,
instead of telling a
story under the frame of
the Folk Tale Project.
It's the sensation of a
traveller, stranger,
geographical, temporal or
cultural, while he/she
reaches a new spot just
with his/her memories,
knowledges and songs. The
work Five Folk Songs is
about exploration and
integration. Folk song is
just like the goblet.
Every time it is
refilled, the fragrance
of wine is different.
From the goblet she
drinks Muscat. Happy or
sad in her heart
fulfilled? It is also
variant. The Five Folk
Songs could be listened
to paradigmatically. You
may notice that
essentially the Folk
Songs are like the wine
bottles, Bartok, Brahms,
Berio..., composers pour
their thinking and
consciousness into. (SHEN
Ye)
World
premiere: New York City,
Church of St. Matthew &
St. Timothy, December 9,
2011.