Samliche Lieder Band II

Lieder II

Kinderetuden Op.37

Peer Gynt Suite No. 2 Op. 55

Tango cancion (high voice)

Hugo Ball was one of the founders of the Zurich Dada movement and wrote this poem for a performance at Zurich’s Cabaret Voltaire in 1916. A nonsense poem its words have no actual meaning merely constituting an absurd sequence of sounds. On 23 June 1916 Ball noted in his diary: Tinvented a new type of poetry “poetry without words” or sound-poems in which the distribution of vowels is decided and allotted solely based on the values of the initial row.’ The performance of his poem to an astonished audience took place in a quasi-sacred atmosphere with Ball delivering his verses in a deliberately over-serious and solemn manner. The intention of this setting is not to mimic the nonsensical nature of the poem but to provide a contextual frame against which the absurdity of the text becomes more and more evident.Hugo Ball was one of the founders of the Zurich Dada movement and wrote this poem for a performance at Zurich’s Cabaret Voltaire in 1916. A nonsense poem its words have no actual meaning merely constituting an absurd sequence of sounds. On 23 June 1916 Ball noted in his diary: Tinvented a new type of poetry “poetry without words” or sound-poems in which the distribution of vowels is decided and allotted solely based on the values of the initial row.’ The performance of his poem to an astonished audience took place in a quasi-sacred atmosphere with Ball delivering his verses in a deliberately over-serious and solemn manner. The intention of this setting is not to mimic the nonsensical nature of the poem but to provide a contextual frame against which the absurdity of the text becomes more and more evident.

3 keys in one (Voces8)-‘With distinguish’d glory shine to add a lustre to this day’. In 1713 Handel set this joyful text an Ode to Queen Anne to one of his most exquisite melodies. A tender work of extraordinary grace ‘Eternal Source of Light Divine’ is music befitting a royal celebration and was memorably sung at the wedding of Prince Harry and Meghan Markle. This new edition for voice and piano with optional trumpet part (in B-flat and C) contains three keys (high medium and low voice).

Iwan Knorr’s Ukrainian Love Songs Op. 5 for four voices and piano have the same flexible choral or one-per-part scoring as the Liebeslieder Waltzes Op. 65 by Johannes Brahms to which they compare also in terms of compositional quality. Inspired by the Ukrainian Cossack tradition Knorr’s cycle of nine settings combines lyrically romantic vocal writing with spirited virtuoso piano accompaniments. The poems tell stories of impassioned love heroic warriors and the anxious wait for their safe return. Iwan Knorr (1853–1916) was a composer and music teacher. Born in West Prussia he grew up in Russia Riga and Leipzig and studied at the Leipzig Conservatoire. While workingas a teacher in the Ukrainian city of Kharkiv he established contact with Johannes Brahms who became his mentor and advocate. Later Knorr was a colleague of Clara Schumann on the staff of the Hoch Conservatoire in Frankfurt. Throughout his life he sought to strengthen musical ties between the cultures of Central and Eastern Europe. •Suitable for choirs of any size or solo vocal quartet •First modern edition based on the first print of 1890 •Preface by Jochen Stankewitz a leading German choral director teacher and workshop leader • Performance lyrics in German and English Iwan Knorr’s Ukrainian Love Songs Op. 5 for four voices and piano have the same flexible choral or one-per-part scoring as the Liebeslieder Waltzes Op. 65 by Johannes Brahms to which they compare also in terms of compositional quality. Inspired by the Ukrainian Cossack tradition Knorr’s cycle of nine settings combines lyrically romantic vocal writing with spirited virtuoso piano accompaniments. The poems tell stories of impassioned love heroic warriors and the anxious wait for their safe return. Iwan Knorr (1853–1916) was a composer and music teacher. Born in West Prussia he grew up in Russia Riga and Leipzig and studied at the Leipzig Conservatoire. While workingas a teacher in the Ukrainian city of Kharkiv he established contact with Johannes Brahms who became his mentor and advocate. Later Knorr was a colleague of Clara Schumann on the staff of the Hoch Conservatoire in Frankfurt. Throughout his life he sought to strengthen musical ties between the cultures of Central and Eastern Europe. •Suitable for choirs of any size or solo vocal quartet •First modern edition based on the first print of 1890 •Preface by Jochen Stankewitz a leading German choral director teacher and workshop leader • Performance lyrics in German and English

A Miracle Play for Music Theatre - Opera in One Act by Stephen McNeff A Miracle Play for Music Theatre - Opera in One Act by Stephen McNeff

An a cappella setting for SATB of Gabriel Fauré’s famous Pie Jesu taken from his Requiem. In Barnaby Smith’s arrangement the famous melody is framed at the start and end by atmospheric plainsong. As recorded by VOCES8. An a cappella setting for SATB of Gabriel Fauré’s famous Pie Jesu taken from his Requiem. In Barnaby Smith’s arrangement the famous melody is framed at the start and end by atmospheric plainsong. As recorded by VOCES8.

Water Rings: Overture

The Kerry Christmas Carol

5 Studies Op.67

7 Recital Pieces

Blue and Gray for 2 double basses

facsimile of orch version

Two Lieder Op 21

Elegia & Pieza para clarinete solo

Sonata Nr. 4

Concerto for Clarinet & Orchestra