SKU: MB.31008M
ISBN 9781513467016. 8.75x11.75 inches.
Blind Lemon Jefferson was a trail blazer, both as a singer and guitarist, but also as a commercial phenomenon, for he was the first blues musician to establish the tremendous appeal that blues, as played and sung by rural African American folk, had for the record-buying public. It is no exaggeration to say that the sales of Lemon’s records paved the way for a host of other solo rural blues musicians to record in his wake and made the record companies more willing to give other musicians a chance, in the hopes of achieving similar success. Lemon’s record sales weren’t what made him a great musician, though - that could only be attributed to his startlingly virtuosic guitar - playing and soulful singing, developed over years of busking, building on his natural gifts with a great deal of practice and work. In the Guitar of Blind Lemon Jefferson author John Miller presents transcriptions, in standard notation and tablature, of 22 of Lemon’s greatest performances, with an additional essay examining Lemon’s senses of time and phrasing and his picking techniques. Also included is a download link to all the original recordings. To present a picture of Lemon the man, noted blues researchers Alan Governar and Kip Lornell have contributed an essay focusing on Lemon’s early life, the origins of his music, and his time spent in a musical partnership with Lead Belly. Links are provided to downloadable performances of the songs in the book from which the transcriptions were made, so that you can have Lemon’s sound in your head as you learn to play his songs.Blind Lemon Jefferson was remarkable, even in a style that abounded in great musicians, and some measure of his influence can be seen in the fact that musicians recorded in the 1960s, more than thirty years after his death, were still covering his songs and stealing guitar licks from him. The Guitar of Blind Lemon Jefferson gives you the resources needed to learn what was so special about Lemon’s music, and to experience his musical excellence from inside the music itself.Titles include: One Dime Blues, Got The Blues, Dry Southern Blues, Big Night Blues, Rabbit Foot Blues, Shuckin' Sugar Blues, Where Shall I Be, Wartime Blues, Black Horse Blues, Prison Cell Blues, Piney Woods Money Mama, See That My Grave Is Kept Clean, He Arose From The Dead, Beggin' Back, Broke And Hungry, Bad Luck Blues, Matchbox Blues, Lemon's Worried Blues, That Crawlin' Baby Blues, Easy Rider Blues, Stocking Feet Blues and Right of Way BluesLevel 2/3 • 160 pages • Direct download link to audio files.
SKU: BT.DHP-1033485-010
This celebrated song is based on a poem by Julie Hausmann (1826-1901), a Latvian teacher who was probably blind. The text draws on her personal experience and unshakeable faith in God, death and eternal life. The melody by Friedrich Silcher is written in a simple and delicate style but also draws on the grand romantic tradition of Wagner and Bruckner. This arrangement can also be performed with a mixed choir. The choir parts are in German. Der Komponist Jacob de Haan hat sich mit dieser Bearbeitung für Blasorchester eines bekannten und beliebten Kirchenliedes angenommen. Der Inhalt des Liedes - blindes Gottvertrauen, das ewige Leben und ein Leben zu zweit - lassen eine Verwendung bei vielen kirchlichen Anlässen zu. Bezaubern Sie Ihre Zuhörer mit der stimmungsvollen Bearbeitung dieser schlichten, aber ergreifenden Melodie!
SKU: BT.DHP-1033485-030
SKU: HL.49046988
ISBN 9781705174333. UPC: 842819115281. 8.25x11.75x0.695 inches.
SYNOPSIS Aribert Reimann's 'Trilogie lyrique' is based on three plays by Maurice Maeterlinck: In L'Intruse, a family is sitting at the table with their blind grandfather. They are waiting for the doctor to arrive and tend to his daughter who is lying ill in bed after having given birth: her new-born son has not yet made a single sound. The old man senses that something is wrong due to the uneasy atmosphere in the room. Who is sitting in our midst? he asks. He is the only one who cansee the presence of death. Interieur: Once again a family is gathered round the table in the evening, but this time we observe the action from outside, looking through the window with the grandfather and a stranger: no sound can be heard. Outside the house, the stranger reports that the eldest daughter has drowned and that he has pulled her out of the river. Although the corpse is already being carried through the village to the family, the grandfather cannot bring himself to destroy this idyll. La Mort de Tintagiles: The young Tintagiles is told a story about a mysterious castle and the aged queen who has all potential heirsto the throne murdered. His siblings sense that Tintagiles has been summoned to the castle to be murdered, but nobody openly expresses this fact. It is the sinister messengers of death from the interludes, now visible as the queens servants, who ful?l her demand and snatch the sleeping boy from his sisters'arms. Commentary 'In comparison with his Medea for example with its stormy outbreaks of emotion and violence, Reimann's score is worked in an impressive refinement of sound. It begins with rumbling, hesitating and expressive music in the first section, demanding highly ingenious sound effects from the lower strings including tapping and faltering glissandos in its noisy expression of mortal fear. Inthe second part, the woodwind formation plays at times almost in chamber music fashion and is then suddenly painfully shrill. The third part luxuriates and rages in its rich, full orchestration. The manner in which Reimann displays his mastery in textural shading, the invention of sounds welling up and fading away, the rhythmic and melodic capacity of suffering and the music's inner violence are all utterly compelling.'(Wolfgang Schreiber, Opernwelt, November 2017).
SKU: HL.4008005
How often has something been justified by, declared to be, or blessed as “in the name of” some cause or other? How can it be that opposing armies and the use of weapons are ever “in the name of”...? This is a common thread in the history of different faiths. Good was created but evil was committed and all “in the name of...” This thread is also found in the history of the Premonstratensian Abbey at Wadgassen. The abbey was built in the 12th century on unfertile, desolate moorland, which later evolved into the most powerful religious community in the Saarland. The history of the abbey records quite astounding achievements under the motto desertum florebit quasi lilium (“the desert will bloom like a lily”); but also the harsh treatment of delinquents. The order had its own school, in which children were taught the seven liberal arts (which included music as well as geography and astronomy), but the poor were left to starve outside the abbey walls and were only allowed to eat from the members' on feast days. The medieval witch trials demanded their pound of flesh, and one group that fell victim were ecstatic dancers who moved wildly to music--which was interpreted as the devil's work. The result: a show trial that sentenced the dancers to death by fire. All in the name of... The year is 1789: Abbot Bordier is in the tenth year of his command. He does not yet know that he is to be the last abbot of an almost 700-year-tradition. Not far from the abbey is the French border, which has long been making itself felt with the sound of gunfire, and the brothers continue to keep a nervous eye on it. The first portents of the French Revolution loom, but no one wants to believe it--that is, until the French pound the door down, storm the abbey and come right into the brothers' chambers. In a blind fury, all the pipes of the abbey organ are torn out, icons beheaded with swords and brothers beaten death while numerous buildings are set on fire. The abbey church is in flames. A frantic and desperate escape begins. Abbot Bordier and a handful of brothers make their getaway via the River Saar, adjacent to the abbey, to the neighbouring village of Bous. They survive, but their life--the Premonstratensian abbey--is destroyed. While they flee towards Prague and the sanctuary of the Strahov Monastery, the abbey at Wadgassen is razed to the ground and becomes a stone quarry. The desert blooms once more, however. A few short decades later, a glasswork arises from the foundations of the abbey. As peace returns to the region, it brings jobs and a new vision for its people.
SKU: HL.4008004
SKU: LP.765762115620
UPC: 765762115620.
Come and See is an invitation for each of us to experience Jesus as He enters Jerusalem; to witness His betrayal by a friend; to endure with Him the suffering and death of a sinless Savior; and finally to behold His empty tomb. Through the eyes of a blind beggar, we're taken through these events and more by way of a powerful and moving dramatic script, and energetic choral arrangements carefully designed for smaller choirs by two-time Dove Award winning writers, Dennis and Nan Allen. With a run time of 36 minutes, this dramatic musical includes popular worship songs Come and See and Sing to the King and the classic Wayne Watson song Friend of a Wounded Heart. Also included is a beautiful arrangement of the hymn I Saw the Cross and a new tune to the great hymn text Beneath the Cross of Jesus. Musically, this work is highlighted by settings that any choir can comfortably attain. Several opportunities for congregational involvement are included. For the full drama version, a small cast is required, and Nan Allen has written creative and very useful production notes to assist in both staging and costuming. The narrator version requires two narrators and is equally moving. This Easter, come and see what Jesus did for you.
SKU: LP.765762115729
UPC: 765762115729.
SKU: LP.765762115422
UPC: 765762115422.
SKU: LP.DC-9353
UPC: 765762044920.
Scriptural account of Christ's death and resurrection is told by blind man healed by Jesus. Professional performance recording. Use to study and/or learn the music, or for personal enjoyment and meditation times. (Not an accompaniment CD.).
SKU: LP.765762165809
UPC: 765762165809.
SKU: LP.765762115521
UPC: 765762115521.
SKU: 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.
