PARTITIONS GRATUITES :
- Lalai

SKU: HL.49018713

ISBN 9790001171830. 9.0x12.0x0.064 inches.

In this composition Barbara Heller uses the song Lalai created in Tehran in 1973. It is a song of resistance against the Shah regime and is about a mother who sings a lullaby to her child and tells the story of its father. Based on this song, Barbara Heller composed the duo 'Lalai, Schlaflied zum Wachwerden?' for violin (violoncello) and piano in 1989 - in memory of 50 Iranian women who were murdered under the regime of Khomeini. The composition is also available for violin and harp now.

SKU: HL.49008105

ISBN 9790001115964. UPC: 196288077473. 9.0x12.0x0.355 inches.

The fourth volume in this series of female composers is dedicated to works of the 19th and 20th century. The pieces by Violetta Dinescu, Caroline Ansink, Myriam Marbe and Lucie Robert-Diessel have been composed specially for this anthology. M. Wieck: Fantasy on Skandinavian Folksongs • L.A. le Beau: Romanc, Op. 24/1 • C. Faisst: Melody after an old Ballad • J. Senffter: Three pieces Op. 25 • L. Vellére: Nocturne • V. Shlonsky: Dialogue • M. Marbe: Prphet and Bird • B. Heller: Lalai • L. Robert-Diessel: Lamento • E. Firsova: Album leaf • V. Dinescu: Flesh across • C. Ansink: Water under the bridge.

SKU: HL.286983

UPC: 888680967628.

My Hazara People is a setting of two texts, the title work by Shukria Rezaei, a young Afghan poet, and Lalai, lalai, babe bacha shikar rafta (Baby's father went hunting), a traditional Hazari lullaby. Although their characters are entirely different, the two poems share much in common. The importance of family and home, and beyond that connection with country and heritage are at the centre of both. Shukria's poem isa direct expression of love and despair for Afghanistan with intimate moments of terror - a cup falling from her mother's hand during an explosion, her aunt fainting - set against the suffering of Hazaras across the world. In the context of this devastating contemporary experience Lalai lalai is nostalgic and poignant - open gates, straw latches, a sleeping child. The tune of the lullaby is heard in two highly contrasted versions. For Shukria's words it is dark and restrained, a repeating rhythm illustrating the Hazara's seemingly never-ending pain, and for Lalai lalai it is bright and joyful with sounds of the hunt, acrackling fire and a gentle chorus as the child is rocked. A further thread runs through the music - a quotation of my favourite traditional Afghan Herati lullaby Allah Hu (God is great), reflecting Shukria's reference to her people's religious heritage. I have adapted the text at the end of Lalai Lalai to bring it into the Shukria's world, a reminder that each innocent person caught up in conflict is a mother, a brother, a sister, a father, a daughter .... kids like us. The work exists in two versions, for voice and piano and voice and strings. The former was premiered by Charlotte Tetley (mezzo-soprano) and Graeme Bailey (piano) on 20 June 2018 at Somerville College, Oxford as part of a panel discussion on women refugees. The work was commissioned by the Orchestra of St. Johns. I am indebted to Shukria for allowing to set her poem and to Cayenna Ponchione for inviting me to be part of this wonderful collaboration. - Sadie Harrison.