Il Sospiro

Par LISZT FRANZ. Franz Liszt's Un Sospiro (Concert Etudes No. 3) for solo Piano. Franz Liszt's Un Sospiro (Concert Etudes No. 3) for solo Piano./ Répertoire / Piano

Many students only need a few opera arias in their vocal study. Selected Opera Arias extracts 10 arias useful to the typical voice student from the G. Schirmer Opera Anthology, with plot notes, translations and IPA, and combines them with the diction lessons recorded by top coaches in New York, and accompaniments recorded by coaches on staff at Lyric Opera of Chicago. The voice student gets a value priced, complete package for the very best instruction. Includes: COSÌ FAN TUTTE: Donne mie, la fate a tanti - DON GIOVANNI: Fin ch'han dal vino - Deh, vieni alla finestra - DON PASQUALE: Bella siccome un angelo - L'ELISIR D'AMORE: Come Paride vezzoso - HAMLET: Ô vin, disspie la tristesse - LE NOZZE DI FIGARO: Hai già vinta la causa!... Vedrò mentr'io sospiro - LA TRAVIATA: Di Provenza il mar, il suol - DIE ZAUBERFLÖTE: Der Vogelfänger bin ich ja - Ein Mädchen oder Weibchen. / Voix Et Piano

Sospiro Della Sua Donna. Aus: Italienische Madrigale. Par SCHUTZ HEINRICH. Tonalité : dorisch - SWV 14 (op. 1 #14)/ Répertoire / Choeur SSATB

3 Nocturnes and 2 Interludes For Cello and Guitar. Par HEINIO MIKKO. Mikko Heiniö's Mot natten (Towards night), three nocturnes and two interludes for cello and guitar was composed in 2018. This suite found its inspiration and name in Finnish poet Bo Carpelan's (1926-2011) posthumous poetry collection Mot natten (2013), though the movements are not tied to specific poems. The first nocturne, Obscuro (‘twilight'), dominated by pizzicatos, is followed by a more dynamic interlude, Spasimo (‘spasm'). The fragile second nocturne, Sospiro (‘sigh'), is coloured by delicate micro-interval chords plucked on the guitar between the left hand and the nut. The interlude Passi (‘steps') leads with taps on the sound box straight into the third nocturne, Battito (‘beat'), the way having been paved by the heartbeat of strong guitar pizzicatos. The duration is c. 11'30''. The product includes one full score and separate parts for guitar and violoncello./ Répertoire / Violoncelle et Guitare

New edition based on the composer's manuscript-This edition of the three concert études is the first and only for which the composer's autograph has been taken into consideration. This allows Liszt's popular Piano cycle to be seen in the most authentic form available today. No closer information has emerged about the origins of the études which appeared in 1849. The autograph which contains all three studies in complete form with elaborated notation and furnished with performance markings appeared in a catalogue in the mid-1930s. But after it was bought by the French pianist François Lang (1908-1944) there were doubts about its whereabouts for several decades. So even Volume I/2 of thecomplete New Liszt Edition published by Editio Musica Budapest in 1971 could rest only on the notation of the first printed editions. The new version edited by Adrienne Kaczmarczyk that appears here pays close heed to the points where knowledge of the manuscript calls for alteration and addition. The autograph also used as the engraver's copy confirms an earlier suspicion. The widely used subtitles (1. Il lamento 2. La leggerezza and 3. Un sospiro) were thought to be alien to Liszt's approach and are now known not to originate from the composer. They were presumably dreamed up by a Paris publisher.

Arcadia is a work for Violin, Soprano Saxophone and Piano, inspired by the painting 'Pastoral for E.W.' by John Craxton. As a painter, John was sometimes dubbed a 'neo-Romantic', but much preferred the term 'Arcadian' - hence the title of the piece. Pastoral for E.W. was painted in 1948 in St John's Wood after one of John's early trips to the island of Crete, and is a homage to Peter Watson, (co-founder of the magazine 'Horizon' and the Institute of Contemporary Arts), who was one of John's early mentors. In a letter in 1986, John recounted that: ''Pastoral for P.W.': was a celebration of the power of music. My sister (the distinguished oboist Janet Craxton) was learning the oboe on the same floor at the time, and the house was full of her scales and exercises coupled with my discovery that goats, which seem to be daemonic, willful and undisciplined, are held in thrall by the sound of a flute - or have I gone a step further and frozen them into my geometry with a paint brush? I suppose the flautist was in origin myself, but a very emblematic me!' Ian Collins in his book 'John Craxton' (2011 Lund Humphries) says of Pastoral for E.W.: 'A pipe-player and a herd of goats are held in a rugged grid of semi-cubist triangles. While references to Dionysus and Orpheus may be noted, it is essentially a fanfare for the ongoing life, light and landscape of Greece'. The music of Arcadia is also Grecian in inspiration. The traditional folk melodies Skaros Epirotikos, Vari Pogonisio, Ouzak To Tragoudhi Tis Xentias and Pentozalis - Pentozalis are present in Arcadia, after I researched the type of music that John would have heard in Crete in the late 1940's. In a letter of 3rd May 1984, John said that he was also listening to Stravinsky's Symphony in 3 Movements 'over and over again at the same time when I first started the painting', and aspects of the beginning of the last section of Arcadia (Allegro Moderato) pay homage to the Stravinsky, in an attempt to create something of the aural landscape that John would have been experiencing during his painting of Pastoral for E.W. As a personal friend, John was always encouraging and colourful in his comments about the music I played at the Craxton house in Hampstead (where I continue to rehearse and teach), and some of the jazzier themes and tonalities in Arcadia are simply the sort of music that would get him enthused, and (almost) dancing. ARCADIA is written for and dedicated to the memory of John Craxton RA (1922 - 2009). JOHN HARLE. The first performance of Arcadia was given by Pavel Spørcl (Violin) John Harle (Soprano Saxophone) and Steve Lodder (Piano) In a concert for The Craxton Trust on September 23rd 2012 at Craxton Studio, Hampstead, London. A recording is available on Sospiro Records. / Violon, Soprano Saxophone Et Piano