Voice and piano - Medium - Digital Download SKU: MQ.8492-25E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-25E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-25E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).

Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1435089 Composed by Stanley M Hoffman. 21st Century,Classical,Opera. Score. 48 pages. Stanleymhoffman.com #1015189. Published by stanleymhoffman.com (A0.1435089). Opera Scenes 1. At the Clothing Department (3:00); 2. To Get a Ration (9:00) - vocal soloists & piano or chamber ensemble (cl, bn, tpt, tbn, perc, vln, vc) with live or prerecorded crowd noise - 2021, 2024. The libretto is comprised of the insightful observations of a young Jewish boy—Abraham “Abramek” Koplowicz—who was trapped by the Nazis in the Lodz ghetto and who later died in Auschwitz. The libretto appears before each scene in the scores.This may be a relatively brief piece, but it is a major one for me and posthumously for the author. I am fortunate to be the only person given blanket gratis permission to set the words of Abraham Koplowicz to music. He composed a book of poetry, plays, and artwork while imprisoned in the Lodz Ghetto before perishing later in Auschwitz before he could become a Bar Mitzvah. The contents of that book are quite good, sophisticated for his age. Abraham's late half-brother, Eliezer Grynfeld—who found the book in the 1990s—and I eventually became good friends. The Pope once kissed Eliezer's hand. That is how highly regarded this collection is and, by some stroke of luck or fate, I have got exclusive musical rights to the book until it enters the public domain. In my settings of AT THE CLOTHING DEPARTMENT and TO GET A RATION, I combine the musical language of Schoenberg's A SURVIVOR FROM WARSAW very nearly with the instrumentation of Stravinsky's A SOLDIER'S TALE - only the percussion instruments differ. The musical language of these brief opera scenes is appropriately terse, very much in keeping with the oppressiveness of imprisonment. Please have a look and a listen. Thank you for your consideration. ---Words originally in Polish by Abraham (“Abramek”) Koplowicz (b. 1930, Lodz, Poland, d. 1944, Auschwitz-Birkenau) Translation by Sarah Lawson and Ma?gorzata Koraszewska Adapted by Stanley M. Hoffman Translation by Sarah Lawson and Ma?gorzata Koraszewska. © Copyright 1993 by Eliezer Grynfeld. All rights reserved. Used by permission of Eliezer Grynfeld. Adapted by permission of Sarah Lawson and Ma?gorzata Koraszewska. Libretto by Stanley M. Hoffman. Music by Stanley M. Hoffman. NotePerfomer 4 Audio and Scrolling Score Video Seeking Live Performances Music: © Copyright 2021, 2024 by Stanley M. Hoffman. www(dot)stanleymhoffman(dot)com All rights reserved.

Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.1021185 Composed by Mary C W Hardy. Children. Score. 1 pages. Mary C W Hardy #5871325. Published by Mary C W Hardy (A0.1021185). A simple, bouncy tune, (originally from a children's play based on the story of The  Clown of God), with opportunities for plenty of performers to pull various objects out of a hat and execute clownish movements.

Piano and voice - Digital Download SKU: LV.12296 Composed by C. G. L. Dobbins. Presidential elections--United States, Patriotism. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.12296). The Man Who Took the Stand. Song. Words and Music by C. G.L. Dobbins. Published 1921 by C. G.L. Dobbins in Rochester, N.Y. Composition of strophic (verses altered slightly) with piano and voice instrumentation. Subject headings for this piece include Presidential elections--United States, Patriotism. First line reads There's a man going into office at our dear old Washington.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.597585 By Flavio Regis Cunha - Traditional. By Gregorian Chant, XV Century. Arranged by Flavio Regis Cunha. Christmas,Classical,Film/TV,Instructional,Sacred. Score. 16 pages. Flavio Regis Cunha #6656831. Published by Flavio Regis Cunha (A0.597585). Beautiful, exotic and inspiring arrangement for the well-known Gregorian chant. The arrangement proposes a cathedral atmosphere, with the piano pedal often mixing sounds and chords to provide the reverberation of a cathedral. The text of the first stanza was placed in Latin to evoke the Gregorian ambience of the first centuries of sacred vocal music. You will love playing and singing this arrangement. It will really feel like a cathedral. Your audience will love to hear it. O Come, O Come, Emmanuel, is a song for the Advent period, that is, the four sunday period before the day of Christmas. It's a period of expectation, of wait for the coming of the Messiah. the anthem has a centuries-old and curious history: text and music came from countries different and from different periods of the story! The text already existed in the eighth century! and it was very sung! But the first publication that his if you know it is from the year 1710, coming from the city of Cologne, Germany. The melody we know today, was associated for the first time to the text in 1851, in a English hymnal of that year. But the origin of melody remained obscure. the mystery was solved in 1966, only when Marry Berry, English musicologist, discovered in the National Library of France, a manuscript from the 15th century that brought the melody score, but associated with another text, Bone Jesu dulcis. So, both melody and texts are, in fact, centenarians, but they were not born together: they were joined very late! But this union has become eternal: impossible imagine O Come, O come Emmanuel sung with another melody, just like the melody, our acquaintance, associated with another text! Album link: https://open.spotify.com/album/0PTAmxvGwRXw5788nIDaSU?si=RLRuFSKzQHSqzMx4OYaEZw Intermediate level Format: Concert, 9 x 12 inches 16 pages.

Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1318234 By Coco Joura and Juan María Solare. By Juan María Solare. 20th Century,21st Century,Classical,Contemporary,Latin. Score. 10 pages. Juan Maria Solare #906905. Published by Juan Maria Solare (A0.1318234). Aserrando a una mujer (Sawing a Woman in Half)This might well be the first coloratura tango in history. And while it is innovative, it is deeply rooted in the tango tradition, both musically and thematically: one of the recurring themes of primitive tango was precisely the circus. The act of sawing a woman is the circus magic trick par excellence. This song was written and composed in mid-August 2023 and is dedicated to Coco Joura, who suggested the subjet. Lyrics and music by Juan María Solare. Premiere: Coco Joura (soprano) and Juan María Solare (piano), 19th Milonga Hemelingen, Bürgerhaus Hemelingen (Bremen, Germany), November 11, 2023.Aserrando a una mujer - videoAserrando a una mujerEste acaso sea el primer tango de coloratura de la historia. Y si bien es innovador, está muy arraigado en la tradición tanguera, por la música y por la temática del texto: uno de los temas recurrentes del tango primitivo era precisamente el circo. El número de aserrar a una mujer es el truco circense de magia por antonomasia.Esta canción fue escrita y compuesta a mediados de agosto de 2023 y está dedicada a Coco Joura, quien sugirió la temática. Letra y música: Juan María Solare. Estreno: Coco Joura (soprano) y Juan María Solare (piano), 19ª Milonga Hemelingen, Bürgerhaus Hemelingen (Bremen, Alemania), 11 de noviembre de 2023.Aserrando a una mujer - videoAserrando a una mujer (Zersägte Frau)Dies könnte möglicherweise der erste Koloratur-Tango der Geschichte sein. Und obwohl er innovativ ist, ist er fest in der Tangotradition verwurzelt, sowohl musikalisch als auch thematisch: Eine der wiederkehrenden Themen im primitiven Tango war genau der Zirkus. Die Nummer, eine Frau zu sägen, ist der Zirkustrick par excellence.Dieses Lied entstand Mitte August 2023, es ist Coco Joura gewidmet, die das Thema vorschlug. Text und Musik: Juan María Solare. IPremiere: Coco Joura (Sopran) und Juan María Solare (Klavier) bei der 19. Milonga Hemelingen, Bürgerhaus Hemelingen (Bremen, Deutschland), 11. November 2023.Aserrando a una mujer - videolyricsAserrando a una mujertango de coloraturaJuan María Solare(letra y música)Para el truco de magia más famosonecesito una sierra y una mina;una caja más grande que un cadávery dos tipos que quieran serruchar.La pebeta está atada, y está viva.Obediente, se mete en el cajón.Un serrucho la parte en dos mitades.Al abrir, nuestra víctima está ilesa.La cortaron en dos (coloratura)...Les arruino el secreto de este truco.Con alerta de espóiler, ¡ya avisé!:La percanta recoge las gambitas,se acurruca, chiquita, en el arcón.El chabón que inventó esta maravillase llamó P. T. Selbit y era inglés.Lo garcó un colega en Yankilandia:mejoró la ilusión, la patentó.La cortaron en dos (coloratura)...De este acto nació un arquetipo,un modelo con facha de cliché:la mujer en peligro, rescatada;la asistente atractiva, vulnerable.Conocemos el truco y sin embargonos fascina el engaño, la ficción.Preferir la mentira es indoloro;en la magia, en el circo y fuera de él.La cortaron en dos (coloratura)...

Piano,Vocal,Voice - Digital Download SKU: A0.529592 Composed by Robert J. Sherman. Arranged by Original Piano/Vocal Arrangement by Robert J. Sherman. Broadway,Contest,Festival,Instructional,Musical/Show. Score. 5 pages. Sherman Theatrical Entertainment Ltd. #117898. Published by Sherman Theatrical Entertainment Ltd. (A0.529592). That's Something! is front he musical Bumblescratch and is a recitative sung by “Perry�, a young plague rat who is dealing with intense, unfamiliar and deeply contradictory emotions. Having recently fallen in love with “Thamesa� (a human girl), Perry becomes enraged when “Melbourne� attempts to stop the relationship. Melbourne explains that a human girl can only mean trouble for a rat but Perry doesn’t want to hear any of it. As the song progresses however, Perry acknowledges that Melbourne is only looking out for his best interest. Finally though, Perry’s feelings for Thamesa win out. Ultimately Perry resolves to continue the relationship. This is an excellent audition song for a young performer as it allows the singer to express three radically different emotional states, all in one (fairly brief) piece. Vocal arrangements are available for both young male and female voices. When printing, please scale to fit for standard US Letter and A4 size.

Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1250159 By Helga Ragnars and Knut Rygnestad. By Guðfinna Jónsdóttir and Knut Rygnestad. Classical,Contemporary,Folk. Score. 5 pages. Knut Olav Rygnestad #844497. Published by Knut Olav Rygnestad (A0.1250159). Mannsbarn (Human Child) is about a man searching for a way past what seems to be an endless stone wall. This reflects a metaphorical search for meaning in life. He fails and collapses in despair, as a star falls from the night sky.Guðfinna Jónsdóttir (1899–1946) from Hömrum was an organist and poet who lived a quiet and isolated life in Northern Iceland. She wrote beautiful poems about her life, filled with with tragedies, death and unrequited love. In her own time her work wasn't well known outside of her hometown, and today she is more or less forgotten.In collaboration with the singer Helga Ragnarsdóttir, the composer Knut Rygnestad has set several of her poems to music for voice and piano, with the aim of making them better known in Iceland and throughout the world. The project received funding from the Norwegian Arts Council and Hljóðritasjóður Rannís, and an album of nine recorded songs, Ótal stjarna hröp, was released in 2023.

Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.582417 By The Beatles. By Brian Holland, Freddie Gorman, Georgia Dobbins, Robert Bateman, and William Garrett. Arranged by Jeff Tincher. Contemporary. Score. 13 pages. Jeff Tincher #3088079. Published by Jeff Tincher (A0.582417). This is a piano/vocal/guitar arrangement of one of the more popular 60's hits. Done by a lot of artists, this arrangement is the one The Beatles released on their With The Beatles (English release) and Second Album (U.S. release) projects. This is a transcription from the original recording in the original key. I used The Beatles version because I really liked Paul's bass line. Great for any live performance or playing along with the recording. Duration=2.34. Visit my websites: https://jefftincher.wixsite.com/sheetmusic, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftinktincher.

Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.889821 By Hank Williams. By Fred Rose and Hank Williams. Arranged by Ginny Saltzman. Contemporary. Score. 5 pages. Ginny's House of Music #4762593. Published by Ginny's House of Music (A0.889821). A Mansion On The Hill - An old favorite Country-Western song by Hank Williams and Fred Rose. Arranged especially for older piano students on Late Elementary Level - Early Intermediate Level, and adults playing popular arrangements using very basic chords - C, F, G7, and C7. 　 If you happen to have a PSR Keyboard, these basic chords are positionally written so that this could be played with a Country-Western Beat using automatic chords on a PSR Synthesizer.

Piano and voice - Digital Download SKU: LV.23205 Composed by Walter Donaldson. World War I, Cartoons, Soldiers, Portraits, Patriotism, Immigrants. Lester S. Levy Collection. 3 pages. Published by Johns Hopkins University Sheridan Libraries (LV.23205). The Army's Full of Irish (A Man From Erin Never Runs, He's Irish). Words by Bert Hanlon. Music by Walter Donaldson. Published 1917 by M. Witmark & Sons in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include World War I, Cartoons, Soldiers, Portraits, Patriotism, Immigrants. First line reads It's always taken an Irishman to prove that might was right.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.876428 Composed by Joe Procopio. Blues,Pop. Score. 3 pages. JoeCopio Music LLC #1947. Published by JoeCopio Music LLC (A0.876428). A WOMEN’S BLUES By Joe Procopio From the CD ALL IN MY LIFE A WOMENS BLUES is a pop song describing the feelings of some women of today. The Blues is melancholic music and the lyrics of this song express a kind of pensive sadness with no apparent cause. The backing track of music however is uplifting. The result is a song with a curious combination of feelings that are both heartbroken and happy at the same time. There two recorded versions of this song. One was recorded in a studio in California the other is the original recording. The original is a homemade recording done in the Gymnasium of an Elementary School in New Woodstock, NY with Mark Freeman on Drums, brother Greg on both the Guitar and Flute solo, and Barbie Briars doing the vocals. You can also hear Barbie on The Touch, The Taste Of Time, Why Are You So Lonely, For You My God and Maybe It’s The Way. These recordings can be found at Sheet Music Plus, iTunes, Amazon, etc., on a CD entitled All In My Life by the author. The printed sheet music here shows the song as a Lead Sheet. That is, the melody, the lyrics and the chords. JOE PROCOPIO IS THE AUTHOR OF THE VERY BEST AND LOWEST PRICED MUSIC EBOOKS AVAILABLE WORLDWIDE INCLUDING THE AWARD WINNING BASIC MUSIC THEORY.

Voice and piano - Medium - Digital Download SKU: MQ.8492-15E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 3 pages. E. C. Schirmer Music Company - Digital #8492-15E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-15E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).

Voice and piano - Medium - Digital Download SKU: MQ.8492-07E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-07E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-07E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).

Voice and piano - Medium - Digital Download SKU: MQ.8492-34E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 8 pages. E. C. Schirmer Music Company - Digital #8492-34E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-34E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).