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Marsh Flowers

Apron Of Flowers

Spring River Flowers Moon Night

Spring River Flowers Moon Night

2 Songs : from Doña Rosita

Contents: Because I Caught a Glimpse of You · Song of the Flowers.

Where Have All the Flowers Gone?

Pete Seeger's classic folksong is as moving and relevant today as when it was first written in 1955. This lyrical arrangement adds layers of voicing while retaining the song's original beauty and clarity.

Where have all the flowers gone

Pete Seeger's classic folksong is as moving and relevant today as when it was first written in 1955. This lyrical arrangement adds layers of voicing while retaining the song's original beauty and clarity.

Where have all the flowers gone : Choral Music Experience

Pete Seeger's classic folksong is as moving and relevant today as when it was first written in 1955. This lyrical arrangement adds layers of voicing while retaining the song's original beauty and clarity.

Waltz of the Flowers : from the Ballet The Nutcracker op. 71

Songs About Spring

Poetry by e.e. cummings Contents: who knows if the moon's a balloon · Spring is like a perhaps hand · in Just-spring · in Spring comes · when faces called flowers out of the ground.

I Praise The Tender Flower

I have loved flowers that fade is the first movement of Gerald Finzi's Seven Poems of Robert Bridges, op. 17. For mixed choir, with piano accompaniment for rehearsal only. Text by Robert Bridges.

Seven Poems Of Robert Bridges Op.17

Contents: I Praise the Tender Flower · I Have Loved Flowers that Fade · My Spirit Sang All Day · Clear and Gentle Stream · Nightingales · Hast on, my joys! · Wherefore to-night so full of care.

Seven Poems of Robert Bridges op. 17/2 : Nr. 2 I have loved flowers that fade

A three part song for Soprano Alto and Tenor by the late British composer Gerald Finzi. Based on a poem and words by Robert Bridges. A fabulous mixed-voice a cappella.

Dancing Through Time : Three settings of medieval English dance lyrics

This work is based on three medieval English song fragments, the first, “Ich am of Irlande,” an invitation to dance, the second, “Of every Kinne tre,” a parallel between the hawthorn and the lover, the third, “Maiden in the more lay,” describing a spirit who lives among the flowers. The viola adds an important dimension to the work, from graceful backdrop to lively playmate.

Sweet Melody

Composer David Brunner has a gift for setting texts in melodic phrases with gentle contours and with a lyrical style. He has done exactly that with this text by Victorian age poet and essayist Bessie Rayner Parkes. Parkes was a prominent English feminist and campaigner for women's rights who found music everywhere - in birds, flowers, winds and waves - but mostly in earnest human voices raised in charity and for the cause of truth. What a wonderful message for your singers to convey to their audience!

Double Bind?

Composer's note: 'In Double Bind?, my desire is to offer, on the one hand, a glimpse of the inner life of sounds and, on the other hand, a fantasized, manipulated and altered view of the relationshipbetween musician and instrument as well as life 'in the wings' of a musician.As in my preceding work for live instruments and electronics, I have taken an interest here in the playful jumble of the limits between the 'real'and the 'artificial'.” - Unsuk ChinDouble Bind? for solo violin and electronics was premiered on 2 December 2007at the Thé tre des Bouffes du Nord in Paris by Hae-Sun Kang, for whom the work was written.Thelive electronics were designed by Benoit Meudic at IRCAM.

5 Flower Songs Op.47 : piano accompaniment for rehearsal only

for unaccompanied SATB Texts:1. To Daffodils - Robert Herrick 2. The Succession of the Four Sweet Months - Robert Herrick 3. Marsh Flowers - George Crabbe 4. The Evening Primrose - John Clare 5. The Ballad of Green Broom - Anon. Publisher: Boosey & Hawkes Difficulty level: 3-4 These lovely, classic part-songs were written as a 25th wedding anniversary present for Dorothy and Leonard Elmhirst of Dartington Hall. Apparently Britten chose the subject matter because they were keen botanists. Whatever the reason for the choice, it was a supremely happy one and brought from Britten a set of pieces which, while in a direct line of descent from the classic part-songs of Elgar, Stanford and Parry, are entirely original. These songs are designed as a set. The mood-scape shows that Britten was keenly aware of the variety needed to satisfy performers and audience between bookends. The unsentimental originality of To Daffodils with its tempo marking of Allegro impetuoso focusing on the speedy demise of the flower which is of course a metaphor for the passing of life - the clever division into four voices for the four months in The Succession of the Four Sweet Months and that beautifully simple device at the end where each month is named and forms a lovely cadence - the bitter-sweet Marsh Flowers to its poem by George Crabbe and the way Britten makes a slightly menacing atmosphere relieved only by the description of gentler plants - the ever-so-slightly sentimental Evening Primrose, the slow movement of the set - and finally Green Broom, a tour-de-force of humour which is crowned, at its heart, by Britten's slightly hysterical altos singing 'Go fetch me the boy'! The gradual accelerando throughout this piece leading to the final flourish makes this a wonderful and exciting finale to a set of part-songs which should be at the heart of any choirs repertoire. Points for choral directors to look out for include the tempo of To Daffodils. The key is in the direction Allegro impetuoso. Somewhere in the region of crotchet = 116 should be the aim. Within that tempo use the words to colour the interpretation. Look out, as always, for Britten's carefully marked articulation and watch out for the big dynamic contrasts and colours. Tuning is the issue in both No.2 and No.3. In the opening of Marsh Flowers be careful of the size of intervals and in the second bar use the two anchors of F and C# to try to ensure that pitch doesnt slip. The return to a note which has already been sung should always be fractionally higher (masked by the change of vowel) thus ensuring that the pitch is always kept in place. In Green Broom it is issues of ensemble more than anything which provide the major challenge. This, and the stepping of increases in speed which should be measured so that the end does not become dangerously out of hand! Duration: 12 minutes Paul Spicer 2011

Rejoice In The Lamb

The words of the Cantata Rejoice in the Lamb are taken from a long poem of the same name. The writer was Christopher Smart, an eighteenth century poet, deeply religious, but of a strange and unbalanced mind.Rejoice in the Lamb was written while Smart was in an asylum, and is chaotic in form but contains many flashes of genius.It is a few of the finest passages that Benjamin Britten has chosen to set to music. The main theme of the poem, and that of the Cantata, is the worship of God, by all created beings and things, each in its own way.The Cantata is made up of ten short sections. The first sets the theme. The second gives a few examples of one person after another beingsummoned from the pages of the Old Testament to join with some creatures in praising and rejoicing in God. The third is a quiet and ecstatic Hallelujah. In the fourth section Smart takes his beloved cat as an example of nature praising God by being simply what the Creator intended it to be. The same thought is carried on in the fifth section with the illustration of the mouse. The sixth section speaks of the flowers - the poetry of Christ. In the seventh section Smart refers to his troubles and suffering, but even these are an occasion for praising God, for it is through Christ that he will find his deliverance. The eighth section gives four letters from an alphabet, leading to a full chorus in section nine which speaks of musical instruments and music's praise of God. The final section repeats of Hallelujah.