Piano,Vocal,Voice - Level 4 - Digital Download

SKU: A0.1029200

Composed by Massimo Fabio Giacomini. 20th Century,Contemporary. Score. 3 pages. Massimo Fabio Giacomini #4761895. Published by Massimo Fabio Giacomini (A0.1029200).

Piano rendition on the words of the famous poem by Italian poet Giacomo Leopardi L'infinito (Infinite).

Vocal Solo,Voice - Level 1 - Digital Download

SKU: A0.1450888

By Giacomo Leopardi (poet). By ?rthvr. 21st Century,A Cappella,Classical,Contemporary. 2 pages. Arthur #1030337. Published by Arthur (A0.1450888).

A setting of the poem L'infinito by Giacomo Leopardi, for solo mezzo-soprano or choir upper voice (without any accompaniment). Ambitus: B?3 - E?5.

You can transpose the piece.

If you would like to perform the piece publicly (live concert or internet), please contact me.

Here you can find the audio recording of this piece for download:
https://arthvr000.bandcamp.com/album/vocal-music-poetry-settings

Poem text:

Sempre caro mi fu quest’ermo colle,
e questa siepe, che da tanta parte
dell’ultimo orizzonte il guardo esclude.
Ma sedendo e mirando, interminati
spazi di là da quella, e sovrumani
silenzi, e profondissima quïete
io nel pensier mi fingo; ove per poco
il cor non si spaura. E come il vento
odo stormir tra queste piante, io quello
infinito silenzio a questa voce
vo comparando: e mi sovvien l’eterno,
e le morte stagioni, e la presente
e viva, e il suon di lei. Così tra questa
immensità s’annega il pensier mio:
e il naufragar m’è dolce in questo mare.

Small Ensemble Guitar,Low Voice,Medium Voice - Level 4 - Digital Download

SKU: A0.533911

Composed by David Warin Solomons. Concert,Contemporary,Standards. Score and parts. 19 pages. Musik Fabrik Music Publishing #3066951. Published by Musik Fabrik Music Publishing (A0.533911).

Concert Note:
The Five Poems of Melissanthi, in the English translation of Diana Maynard,
comprise a complete vocal cycle of five poems set to music as a posthumous
tribute by the composer to the Athenian poet Melissanthi (1910-1991),
in the manner of the old tombeaux of the Baroque era, a
tradition also used by many composers of the first half of the 20th century.
This composer confirms, with reference to his own experience of Melissanthi's
poetry these five from among her many poems have made a such a great impact
on my composing that I felt the need to dedicate these musical pages to her.
The evocative poetic expressions of Melissanthi, whose real name was
Eve Chougia-Skandalaki, and the mysterious atmospheres invoked
by David Solomons' music introduce the listener to an ethereal and
metaphysical dimension, allowing us a glimpse into the unknown and the intangible.
A recurring theme, which unites the five lyrics by an invisible thread, is
an incessant fluctuation between the real and the unreal, between the known
and the unknown and between reality and unreality.
The inevitable abandonment of the mind to the seductive charms of the
surreal creates an extraordinary parallelism with lines from a great poet of the past
…così tra questa/immensità s'annega il pensier mio:/e il naufragar m'è dolce
in questo mare
[…so in this/immensity my thoughts drown:/ and to be shipwrecked is sweet
for me in this sea.]
(Giacomo Leopardi, L'Infinito, 1819).
Both the performance and the enjoyment of the Five Poems therefore
require particular emotional involvement, in an overall picture where every
single note is a tiny but essential constituent of a larger and more complex
musical architecture. The harmonic structure of the five compositions presents
a substantial homogenity of formulation even within the various rhythmical
solutions selected, with their repeated returns to themes and chords.
This creates an indissoluble unity, such that it would spoil the completeness
of the whole cycle of compositions if it were broken.
Alessandro Balsimini
Translation by David W. Solomons

Small Ensemble Guitar,Low Voice,Medium Voice - Level 5 - Digital Download

SKU: A0.534408

Composed by David Warin Solomons. 20th Century,Concert,Contemporary,Standards. Score and parts. 19 pages. Musik Fabrik Music Publishing #3466270. Published by Musik Fabrik Music Publishing (A0.534408).

Concert Note:
The Five Poems of Melissanthi, in the English translation of Diana Maynard, comprise a complete vocal cycle of five poems set to music as a posthumous tribute by the composer to the Athenian poet Melissanthi (1910-1991), in the manner of the old tombeaux of the Baroque era, a tradition also used by many composers of the first half of the 20th century. This composer confirms, with reference to his own experience of Melissanthi's poetry these five from among her many poems have made a such a great impact on my composing that I felt the need to dedicate these musical pages to her.

The evocative poetic expressions of Melissanthi, whose real name was Eve Chougia-Skandalaki, and the mysterious atmospheres invoked by David Solomons' music introduce the listener to an ethereal and metaphysical dimension, allowing us a glimpse into the unknown and the intangible. A recurring theme, which unites the five lyrics by an invisible thread, is an incessant fluctuation between the real and the unreal, between the known and the unknown and between reality and unreality. The inevitable abandonment of the mind to the seductive charms of the surreal creates an extraordinary parallelism with lines from a great poet of the past

…così tra questa/immensità s'annega il pensier mio:/e il naufragar m'è dolce
in questo mare
[…so in this/immensity my thoughts drown:/ and to be shipwrecked is sweet
for me in this sea.]
(Giacomo Leopardi, L'Infinito, 1819).

Both the performance and the enjoyment of the Five Poems therefore require particular emotional involvement, in an overall picture where every single note is a tiny but essential constituent of a larger and more complex musical architecture. The harmonic structure of the five compositions presents a substantial homogenity of formulation even within the various rhythmical
solutions selected, with their repeated returns to themes and chords. This creates an indissoluble unity, such that it would spoil the completeness of the whole cycle of compositions if it were broken.

1. The Capital 1980
2. The Houses Where We Have Lived
3. We Have Cast Anchor
4. Outside and Inside
5. Hour Zero