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).

Voice and piano - Medium - Digital Download

SKU: MQ.8492-13E

Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-13E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-13E).

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).

String Quartet String Quartet - Level 2 - Digital Download

SKU: A0.1323031

Composed by Trad and Alan Edgar. Early Music,Folk,Religious,Traditional. 30 pages. Alan Edgar Ted Moon #911306. Published by Alan Edgar Ted Moon (A0.1323031).

GREEK LIFE RONDO String 4tet Based on ancient tunes about Greek life.
The lively Food Market song (I'll buy you a rooster) forms the refrain.
Paraponiariko moy (Don't be unhappy, little one) is a short melody I found, with a scale I cannot name but very sad.
Kariotikos from Ikaria is a slow or accelerating dance with some singing, often seen at weddings, in a flexible mode (partly phrygian).
I entered the vineyard (Pour love over me) is related to Solomon's Song. I could only find about 6 bars of this melody: the rest is mine. Aeolian mode.
Lullaby: this lovely melody uses the Hitzaz scale, which is common in Greek regions and found in Africa, North America and Spain.
Hymn for Matins: this is the oldest Greek Orthodox chant I can find. It is from the 13th C Sticherarion and printed in modern notation in JISOCM Vol 4 (2), p357. Nowadays, chanting there is often a solo, often by a woman, but I believe parallel organum was heard in Greece from the 16th C. Modern services include 4- part hymns. I present all three styles.
Song of the Dead Brothers is a complex 9th C Byzantine mourning poem which has since been set to music many times. (The nine brothers died.) I found this phrygian setting from Karystos.

Descant recorder - easy - Digital Download 63 Traditional Pieces. This edition: Sheet music. Schott World Music. Downloadable. Schott Music - Digital #Q52326. Published by Schott Music - Digital

String Quartet String Quartet - Level 4 - Digital Download

SKU: A0.742473

Composed by Jean Phillipe Rameau. Arranged by Arte Nova Music Lab. Baroque,Concert,Standards,World. Score and parts. 8 pages. Arte Nova Music Lab #4600763. Published by Arte Nova Music Lab (A0.742473).

Les Indes galantes (French: The Amorous Indies) Opéra-ballet with a prologue and two entrées. Choreography: Louis Dupré. Music: Jean-Philippe Rameau. Libretto: Louis Fuzelier. Sets: Giovanni-Niccolò Servandoni. First performance: 23 August 1735, Théâtre de l'Académie de Musique, Paris. Principals: David Dumoulin, Louis Dupré, M. le Breton, M. Javellier, Marie Sallé.

The premiere, including only the prologue and the first two of its four entrées (acts), was staged by the Académie Royale de Musique at itstheatre in the Palais-Royal in Paris on 23 August 1735, starring the leading singers of the Opéra, Marie Antier, Marie Pélissier, Mlle Errémans, Mlle Petitpas, Denis-François Tribou, Pierre Jélyotte, and Claude-Louis-Dominique Chassé de Chinais, and the dancers Marie Sallé and Louis Dupré. Michel Blondy provided the choreography. The ballet's Premier Menuet was used in the soundtrack of the 2006 film Marie Antoinette.

Le Turc Generaux. Osman Pasha is in love with his slave, the young Émilie, but she rejects him, telling him she was about to be married when a group of brigands abducted her. Osman urges her to give up hope that her fiancé is still alive (Air: Il faut que l'amour s'evole) but Émilie refuses to believe this is true. The sky turns dark as a storm brews; Émilie sees the violent weather as an image of her despair (Air: Vaste empire des mers). A chorus of shipwrecked sailors is heard (Chorus: Ciel! de plus d'une mort). Émilie laments that they too will be taken captive. She recognises one of the sailors as her fiancé Valère. Their joy at their reunion is tempered by sadness at the thought they are both slaves now. Osman enters and is furious to see the couple embracing. However, unexpectedly, he announces he will free them. He too has recognised Valère, who was once his master but magnanimously freed him. Osman loads Valère's surviving ships with gifts and the couple praise his generosity. They call on the winds to blow them back to France (Duet and chorus: Volez, Zéphyrs). The act ends with celebratory dances as Valère and Émilie prepare to set sail.

String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download

SKU: A0.1491680

Composed by Traditional. Arranged by James M. Guthrie. Chamber,Christmas,Historic,Holiday,Traditional. 14 pages. Jmsgu3 #1068354. Published by jmsgu3 (A0.1491680).

I Saw Three Ships is a traditional English Christmas carol that has gained popularity for its melodic simplicity and festive themes. Here are some key points about its significance:

Historical Context
Origins: The earliest known printed version of I Saw Three Ships dates back to the 17th century, with a notable publication by William Sandys in 1833. The song was likely known earlier under As I Sat On a Sunny Bank, particularly popular in Cornwall.

Cultural Relevance: The carol reflects a period when maritime themes were prominent in English culture, coinciding with the Age of Exploration. This context made the imagery of ships particularly resonant for audiences of the time.

Symbolism and Interpretation
The Ships: The lyrics describe three ships arriving on Christmas Day, which has led to various interpretations. One common belief is that the ships symbolize the three vessels that carried the relics of the Magi to Cologne Cathedral in the 12th century. Alternatively, they may represent the camels used by the Magi, often referred to as ships of the desert due to their role in transporting the wise men to Bethlehem.

Bethlehem's Geography: The song mentions ships sailing into Bethlehem, which raises questions, as the nearest body of water is the Dead Sea, about 20 miles away. This discrepancy has prompted interpretations that focus on the symbolic rather than literal meaning of the ships.

Musical Legacy
Popularity: I Saw Three Ships has been embraced by various artists across genres, with notable recordings by musicians such as Sting, Glen Campbell, and Sufjan Stevens. Its enduring appeal makes it a staple in Christmas music repertoires.

Lyric Variations: Different song versions have emerged over the years, reflecting local traditions and interpretations. Some variations even change the context from Christmas to other celebrations, demonstrating the carol's flexibility in cultural contexts.

In summary, I Saw Three Ships is significant as a cherished Christmas carol and a cultural artifact that encapsulates historical maritime themes, religious symbolism, and the evolution of folk music traditions.

Recorder Solo,Soprano Recorder - Level 4 - Digital Download

SKU: A0.1315338

By Keith Terrett. By Various. Arranged by Keith Terrett. 20th Century,Christian,Christmas,Contest,Festival,Praise & Worship. Individual part. 29 pages. Keith Terrett #904087. Published by Keith Terrett (A0.1315338).

An exciting arrangement of eight popular swinging xmas carols arranged for Soprano/Descant Recorder & Piano; in an up-beat and somewhat jazzy manner. This challenging set of carols, offers players in general, something very different for those Christmas concerts and recitals, give them a go, and I am sure that you won’t be disappointed!

The set includes: Ding Dong Merrily On High, Silent Night,We Three Kings,Away in a Manger, Joy to the World, God Rest Ye Merry Gentlemen, Deck the Halls & Good King Wenceslas.

The part is all written out with jazz inflections and articulation included. The Piano part is all written out, but also includes the jazz chords for players who wish to comp. These Carols are playable by moderately advanced performers and are perfect for parties, church services, busking & recitals. Range is very moderate, nothing high at all.

Need an anthem fast? They are ALL in my store!All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible!

Reviewer Chet Heflin Date 29th Sep 2006

Bluesy Xmas! Keith Terrett has done an outstanding job of injecting jazz and blues into these holiday favorites. The writing beginning in measure 13 of Ding Dong Merrily On High is outstanding. Check out the wonderful contrast in movement between the flute and bass. This arrangement of Xmas carols would be a wonderful addition to any future holiday program. Well done Keith! Have fun! Caroling (singing carols in the street) is one of the oldest customs in Great Britain, going back to the Middle Ages when beggars, seeking food, money, or drink, would wander the streets singing holiday songs.

For more of my music for Recorder, check out:

AMERICAN RECORDER SOCIETY MEMBERS LIBRARY

Glen Shannon, Editor

Keith Terrett

Havana Rhubarb Rumba

for 4-7 Recorders

Published as a supplement to American Recorder.