...the quest for peace...

SKU: HL.48025388

UPC: 196288195405. 9.0x12.0x0.227 inches.

Leokadiya Kashperova (1872–1940), hitherto consigned to a footnote in musical history as Stravinsky's piano teacher, is undergoing rediscovery. A double graduate of the St Petersburg Conservatoire, she emerged as a virtuoso pianist and composer in the romantic tradition. She was associated with some of the great musicians of her day, including Balakirev and Auer. She performed in both Germany and the UK in the 1900s, but her career petered out after 1920. Following her graduation from the St Petersburg Conservatoire Kashperova became personally acquainted with the poet Yakov Polonsky and often attended his literary gatherings. When he died in 1898 Kashperova responded by setting his enchanting and mystical 'legend' To a Child in Answer to the Question: Where Do the Stars Come From? The baritone soloist takes the role of the father or grandfather who endeavours to answer the riddle posed in the title. He decides to relate 'a tale of old, an Eastern legend' which recounts how, long ago, the flowers would weep, so afraid were they of the dark. In response an archangel (soprano solo) descends to Earth and is so moved by the flowers’ anguished appeal, she gathers 'all their tears in chalice gold / And bears them up to God in Heav'n above'. The baritone narrates the final scene as the Almighty casts the tears across the firmament, thus creating the constellations. The child’s question is answered, and the peaceful domesticity of the opening scene returns.

SKU: HL.287593

UPC: 888680905071. 5.0x5.0x0.148 inches.

Written by Bob Dylan and covered by countless artists, this protest song from the 1960s raises questions about peace, war and freedom. The answers are there, but not easy to find. This beautiful folk song is perfect for your concert setting and important for your students as they explore recent American history.

SKU: CF.CM9606

ISBN 9781491154281. UPC: 680160912780. 6.875 x 10.5 inches. Key: C major. English. Charles A. Coffin (1844-1926).

Bethlehem Carol was the result of a commission in 2000 from the Cathedral Church of the Nativity in Bethlehem, Pennsylvania. The request came from the Cathedrals music director, Russell Jackson; he had very much liked the Italian Fable cum Violin Concerto (The Big Sword and the Little Broom) I had written in 1997 for the Lehigh Valley Chamber Orchestra. Russell chose the text by Charles Coffin, a French poet and educator whose hymn verses were often translated into English. My approach toward setting the poem was my usual one; that is, to translate literally the words into music (note the dips into the minor mode for the cave of Bethlehem and the child of poverty.) But most of all, I wanted to capture the sense of joy and peace brought by the arrival of the Christ Child.
Bethlehem Carol was the result of a commission in 2000 from the Cathedral Church of the Nativity in Bethlehem, Pennsylvania. The request came from the Cathedralas music director, Russell Jackson; he had very much liked the Italian Fable cum Violin Concerto (The Big Sword and the Little Broom) I had written in 1997 for the Lehigh Valley Chamber Orchestra. Russell chose the text by Charles Coffin, a French poet and educator whose hymn verses were often translated into English. My approach toward setting the poem was my usual one; that is, to translate literally the words into music (note the dips into the minor mode for athe cave of Bethlehema and athe child of poverty.a)A But most of all, I wanted to capture the sense of joy and peace brought by the arrival of the Christ Child.
Bethlehem Carol was the result of a commission in 2000 from the Cathedral Church of the Nativity in Bethlehem, Pennsylvania. The request came from the Cathedral's music director, Russell Jackson; he had very much liked the Italian Fable cum Violin Concerto (The Big Sword and the Little Broom) I had written in 1997 for the Lehigh Valley Chamber Orchestra. Russell chose the text by Charles Coffin, a French poet and educator whose hymn verses were often translated into English. My approach toward setting the poem was my usual one; that is, to translate literally the words into music (note the dips into the minor mode for the cave of Bethlehem and the child of poverty.) But most of all, I wanted to capture the sense of joy and peace brought by the arrival of the Christ Child.
Bethlehem Carol was the result of a commission in 2000 from the Cathedral Church of the Nativity in Bethlehem, Pennsylvania. The request came from the Cathedral's music director, Russell Jackson; he had very much liked the Italian Fable cum Violin Concerto (The Big Sword and the Little Broom) I had written in 1997 for the Lehigh Valley Chamber Orchestra. Russell chose the text by Charles Coffin, a French poet and educator whose hymn verses were often translated into English. My approach toward setting the poem was my usual one; that is, to translate literally the words into music (note the dips into the minor mode for the cave of Bethlehem and the child of poverty.) But most of all, I wanted to capture the sense of joy and peace brought by the arrival of the Christ Child.
Bethlehem Carol was the result of a commission in 2000 from the Cathedral Church of the Nativity in Bethlehem, Pennsylvania. The request came from the Cathedral’s music director, Russell Jackson; he had very much liked the Italian Fable cum Violin Concerto (The Big Sword and the Little Broom) I had written in 1997 for the Lehigh Valley Chamber Orchestra. Russell chose the text by Charles Coffin, a French poet and educator whose hymn verses were often translated into English. My approach toward setting the poem was my usual one; that is, to translate literally the words into music (note the dips into the minor mode for “the cave of Bethlehem” and “the child of poverty.”)  But most of all, I wanted to capture the sense of joy and peace brought by the arrival of the Christ Child.