Art Song In English - High Voice And Piano

Atmospheric settings of poems in Scottish and in English by William Soutar (1898-1943), a central figure in the Scottish literary renaissance: 'Scots Song' (6 mins), 'Ballad' (4 mins) and 'The Children' (6 mins). In this edition the first two songs are transposed into keys higher than the original - the last song remains in the original key. The ensemble accompaniment to 'Scots Song' is available on hire. / Voix Hautes Et Piano

Instrumentation : high voice and piano Number of Pages : 32 Language : German - English Contenu - A Welcome Vision, op. 48/1 - Bad Weather, op. 69/5 - A Winter Dedication, op. 48/4 - Alone in the Forest, op. 49/1 The Poet's Eventide Walk, op.47/2 - A Farewell, op.48/2

Eight settings of English poems for high or medium voice and piano including poems by W. B. Yeats and William Blake.

Hohe Stimme / High Voice-As a continuation of the new Urtext edition of the Schubert lieder Walther Dürr has now edited volume five for high medium and low voices. Volumes 1 to 4 of this edition contain mainly lieder which Schubert himself saw into print (in his own choice and order) and in the fourth volume works from the last two years of his life are included. The lieder in volume 5 onwards are strictly presented in the order of Deutsch?s Thematic Catalogue which means that in principle they are arranged chronologically.The lieder in volume five were composed in the years 1811 to 1814. The first 'Hagars Klage' (D 5) dated 30 March 1811 is also his first complete surviving song. The firsteleven lieder are evidence of his early studies (1811 1813/14). During this period Schubert immersed himself in Johann Rudolf Zumsteeg?s ballads and lieder and wrote Italian arias during his composition lessons with Antonio Salieri. He also composed a single strophic song ('Klaglied' D 23) which the only one of these songs was published shortly after his death in November 1830 as op. 131 3. His apprentice work as it were was the major ballade 'Der Taucher' (D 77) which was composed between 1813 and roughly the beginning of 1815. Probably not by chance his first complete opera ('Des Teufels Lustschloss' D 84) was written at the same time. He also set fourteen poems by Friedrich von Matthisson exploring the principle of the strophic lied.- Excellent new engraving based on the 'New Schubert Edition'- Foreword by Walther Dürr discussing the history the works? compositionand transmission together with a list of sources for each song (Ger/Eng)- English translation of the song texts by Richard WigmoreContents:Hagars Klage D 5 / Leichenfantasie D 7 /Der Vatermörder D 10 / Klaglied op. post. 131 3 D 23 / Misero pargoletto D 42 (high voice only) / Totengräberlied D 44 / Die Schatten D 50 / Verklärung D 59 / Pensa che questo istante D 76 (medium and low voice only) /Der Taucher D 77 / Son fra l?onde D 78 (high voice only) /Adelaide D 95 / Trost. An Elisa D 97 /Erinnerungen D 98 / Andenken D 99 /Geisternähe D 100 / Erinnerung D 101 /Die Betende D 102 / Die Befreier Europas in Paris D 104 /Lied aus der Ferne D 107 (1st version) / Lied aus der Ferne D

Mozart's lieder reveal him to be a dramatist in miniature. Even if he failed to cultivate this genre systematically he nevertheless directed his creative powers toward the lied at all stages of his career. His first effort (now lost) was written at the age of six or seven and he took up the genre again and again at irregular intervals down to the final year of his life. None the less Mozart usually chose to write a lied only when there was a special occasion for doing so. Even the preface to the firt complete edition of his lieder published in 1799 by Breitkopf & Härtel refers to them as 'occasional pieces' as does the Leipzig Allgemeine Musikalische Zeitung inthe same year. Mozart himself doubtless regarded these ingenious little works as 'pieces for friends' and was not disposed to think of them as particularly significant. Urtext of the New Mozart Edition Singing score with piano reduction English translations of the texts

Volume V - Songs 1923-1928-The Peter Warlock Critical Edition series represents a treasure trove of English song.This the fifth volume focuses upon songs for the High Voice from the period 1923-1928. The songs of Peter Warlock are inspiring and intriguing pieces that rank him with the greatest English composers of all time. This is truly a superb collection of some of the best of his work painstakingly and meticulously edited by Michael Pilkington. This revised Critical Edition is an accurate faithful and exhaustive volume that maintains Warlock’s original keys and intentions. With fifteen songs each featuring an in-depth commentary this is a tremendousacquisition for any enthusiasts of English song.

18 Lieder-Roger Quilter is one of England's finest art song composers and his songs have remained firmly in the vocal repertoire since their appearance early in the 20th century. In these songs he demonstrates an extraordinary skill in setting English poetry and shows what can be achieved in the miniature form.Specially compiled to mark the 50th anniversary of the composer's death this new collection includes well-known favourites alongside works which have been unavailable for many years and three previously unpublished songs.This is the High Voice edition containing arrangements all for High Voices.

Humphrey Clucas is known for a wide range of choral and vocal music alongside a growing body of instrumental music and this beautiful and evocative song is set to words by A.E. Housman. Originally for voice and lute Evenfall also works well with piano accompaniment and the edition includes versions for high voice (A minor) and low voice (E minor). The accompaniment is simple and supportive allowing the flowing melody to soar above with a tonal and accessible style which should appeal to singers of all ages and abilities.Humphrey Clucas was born in 1941 and read English at King's College Cambridge where he was also a Choral Scholar. Having taught Englishfor twenty-seven years he subsequently became a Lay Vicar at Westminster Abbey but is now retired. As a composer he is self taught and although he is well-known for a set of Anglican Responses written as an undergraduate almost all his serious music has been written over the last twenty-five years. He has a growing reputation as a choral composer and has produced an impressive and steady stream of choral works both sacred and secular alongside much instrumental music. He has written works for Cathedrals in Chichester Guildford Salisbury and Winchester as well as for King's College Cambridge Southwell Minster and Westminster Abbey.