PARTITIONS GRATUITES :
- Bret L

SKU: HL.8754142

UPC: 884088628697. 6.75x10.5 inches. Robert Louis Stevenson/Bret L. Silverman.

This imaginative set of two poems by Robert Louis Stevenson are ideal for developing expression and vocal tone with young choirs. The first, “Bed in Summer,” is in a stately waltz tempo with a serene lyricism. The second, the popular “Where Go the Boats,” is in a playful 3/4.

SKU: HL.14014797

ISBN 9781844496389. 9.5x13.75x9.74 inches.

The fifteenth full Opera from the prolific Hans Werner Henze, and the first to feature a self-penned libretto. After the poems he wrote for his Songs from the Arabian, Henze has produced this unusal tale through adapting both Arab and Persian legends and invoking the same half-real, half-imaginary Arabia as the song cycle. The story itself is a fairy tale comedy with much in common with The Magic Flute. The orchestral arrangement is huge, featuring quadruple wind, five percussionists and a part for tape.

SKU: BA.BVK01479

SKU: FA.MFCD007PN

8.27 x 11.69 inches.

Debussy's friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907 Mourey offered Debussy a libretto based on Le roman de Tristan - Joseph Bedier's adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Thomas - which had recently been published in Paris. Debussy enthusiastically outlined the four-act plot to Victor Segalen that October, and the main differences from Wagner's Tristan und Isolde are that none of the action takes place in Cornwall and that Isolde of the White Hands is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays him when he goes mad at the end.

The idea of a Tristan that restored its 'legendary character' and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan's death. Even if he thought that Mourey's poetry was 'not very lyrical and many passages do not exactly invite music', he did work on the libretto and the music that summer and sent his publisher, Jacques Durand, 'one of the 363 themes for the Roman de Tristan' in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong Le Faucon. After a short atmospheric introduction, Debussy's dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches its ecstatic climax, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy's opening, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated affair.

Unfortunat ely, Mourey's actual libretto has been lost and the project eventually foundered because Bedier's cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrighted for the stage, and would not allow him to proceed with Mourey's version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!