for SATB unaccompanied This vibrant setting of Isaiah 9:6 draws on the rhythms and textures of modern Nigerian art music. The predominantly homophonic texture is interspersed with solo lines, in a setting full of dynamic contrast. Originally published in World Carols for Choirs (SATB).

SATB (with divisions) unaccompanied Am Abend is a setting of 'Grodek', which is thought to be the last work of the Austrian poet Georg Trakl. Written in 1913, the year before Trakl committed suicide at the age of 27, the poem is set in the town of Grodek on the Eastern Front, where he had served as a medical officer. Jackson's setting is agonizingly moving, opening with an eerie alto melody before the rest of the choir enter with haunting harmonies and cluster chords, reflecting the darkness of the text. Grace notes and glissandi add an Eastern flavour and evoke the 'wild lament' and 'dark flutes' of Trakl's poem. Jackson's setting builds to a powerful climax, before the altos close with a quiet, repeated fragment on 'die ungebornen Enkel' ('the unborn grandsons'). First performed by the BBC Singers, directed by Paul Brough, at Milton Court Concert Hall, London, on 11 February 2016.

The Poetry and Music of Joaquin Sabina: An Angel with Black Wings is a thoroughly researched exploration of the life, music, and song lyrics of the celebrated Spanish singer-songwriter Joaquin Sabina. Often called "the Spanish Dylan," Sabina has established his own highly poetic space over the course of his nearly fifty-years as a recording artist. Using selected song lyrics from his fifteen studio and three major live albums, Daniel J. Nappo analyzes Sabina's use of antithesis, simile, metaphor, synesthesia, rhyme, and other rhetorical and poetic devices. Nappo also devotes a chapter to Sabina's ability as a narrator and concludes the book with a comparison of Sabina's best work with that of the American singer-songwriter and Nobel laureate, Bob Dylan.

Rabindranath Tagore composed over 2000 songs that are revered and sung by Bengalis everywhere. However, they remain mostly unknown to listeners from other communities. This book brings the Nobel Laureate's unique music - Rabindrasangit - to a global audience, with a lucid introduction by Ananda Lal as well as selected songs in international transcription and English translation. It includes an essay written originally in Bengali by the celebrated filmmaker Satyajit Ray, himself a Tagore student and music composer. Ray presents his thoughts on Rabindrasangit, its nuances, music, history, and usage. Lal has also translated this essay into English for the first time. The book also presents for the first time faithful staff notations of all 41 songs in three of Tagore's major plays - Rakta-karavi, Tapati, and Arup Ratan - providing a thematic unity to the music section. This volume will be of interest to Tagore and Ray enthusiasts and specialists, musicologists, and students of music, theatre, literature, performance studies, and cultural studies. It will appeal not only to scholars but to general readers wanting to know more about Tagore's songs, as well as directors, arrangers, composers, and singers who may wish to perform or interpret the songs transcribed.

New critical edition of complete work of 12c Occitanian troubadour Marcabru, crucial figure in development of European courtly lyric. One of the earliest troubadours, Marcabru was a remarkable artist and entertainer, and a figure of crucial importance to the development of the European courtly lyric. His blistering attacks on contemporary court society reveal anintellectual insider's view of the clash between clerical morality and the emerging secular ethics of love and courtesy. His fervent, often acerbic engagement with contemporary events also provides a unique southern perspective on political upheavals and crusading movements in twelfth-century Occitania and northern Spain. This new critical edition, the first for nearly 100 years, makes his complete corpus accessible to a wide readership, supplying translations, full critical apparatus, and copious textual notes, with a substantial glossary of Marcabru's extraordinarily inventive vocabulary. The introduction supplies historical information, discussion of the poet's language, andan analysis of the manuscript transmission. It also raises fresh issues of troubadour versification techniques in this formative period, and engages in a new way with the current debate about editorial methodology and medieval textual criticism. [Leaflet blurb - see AN]

Voiceworks at Christmas is an inspired collection of pieces for Christmas, ranging from plainsong to jazz carols, gospel songs and folk pieces to well-known carols in sparkling new arrangements, and brand new carols by living composers. With excellent practical rehearsal notes and an accompanying CD, Voiceworks at Christmas meets the needs of all choral groups and overflows with festive cheer.

for SATBarB unaccompanied The shades of Finzi and Vaughan Williams are strongly present in these three delightful unaccompanied choral settings, and yet the style and execution are wholly Rutter's own. O mistress mine is a jaunty jazz waltz, Be not afeard casts a dreamy spell with dusky sonorities and magical harmonies, and Sigh no more, ladies brings the set to a cheerfully melodious and high-spirited conclusion.

All the songs from Can't Buy a Thrill, Countdown to Ecstasy, Pretzel Logic, Katy Lied, The Royal Scam, Aja and Gaucho - 62 songs in all! Includes: Reelin' in the Years * Rikki Don't Lose That Number * Aja * Deacon Blues * Peg * Hey Nineteen.

Johann Pachelbel's beloved Canon, the first movement of the Canon and Gigue in D major, was completely unknown until its publication in a 1918 article in the German periodical "Archiv f r Musikwissenschaft." The first complete score and parts, edited by Max Seiffert, appeared 11 years later. Though receiving some attention, the work only rocketed to fame in the 1970s in the wake of a recording made by the French conductor Jean-Fran ois Paillard. In recent years, Seiffert's edition has come under fire due to his his fairly liberal addition of tempi and dynamics. The problem of making a definitive score is made very challenging because the composer's manuscript is lost, and the only extant source is a 19th century copy located in the Berlin State Library. The present urtext score has no added articulations, tempi or slurs. Only dynamics have been added, as a possible suggested interpretation only.

A study of the British contribution to film music, detailing the idiosyncracies of British film, and showing how the differences between it and Hollywood affected composers on both sides of the Atlantic. Jan Swynnoe's study is concerned with the special British contribution to film music, detailing how the idiosyncracies of British film, and of the British character, set it apart from its Hollywood counterpart. She shows how the differences between the two industries in all aspects of film making variously affected composers on both sides of the Atlantic. In the mid 1930s, when film composers in America were perfecting the formulae of the classical Hollywood score, film music in Britain scarcely existed; within a year or so, however, top British composers were scoring British films. How this transformation was brought about, and how established British concert composers, including Vaughan Williams and Arnold Bax, faced the challenge of the exacting and often bewildering art of scoring for feature film, is vividly described here, and the resulting scores compared with the work of seasoned Hollywood composers. JAN SWYNNOE researched the material on which her book is based over several years, at the same time pursuing her musical life as pianist, percussionist and composer.

CEOL AN PH OBAIRE MUSIC OF THE PIPERS is a collection of traditional Irish dance tunes and piping pieces notated from the playing of famous players of the Irish uilleann pipes. It includes informative notes on the music, and pictures of the two dozen pipers covered by the collection. The uilleann pipes are the iconic instrument of Ireland, and the names of the players who have become masters of it are celebrated worldwide names like S amus Ennis and Willie Clancy; the traveller brothers Johnny and Felix Doran; and Patsy Touhey and Barney Delaney, who each achieved celebrity status in early twentieth-century America. Along with these are many other top-rank players known only to the enthusiast, but deserving of investigation by all lovers of traditional music. The music includes all manner of dance tunes, as well as several pieces items that pipers played just for listening, including the well-known Fox Chase which describes musically the progress of a foxhunt and the death of the fox, and the descriptive piece Gol na mBan san r ( The weeping of the women amid the slaughter ), which describes the aftermath of the Battle of Knockannus (1647) and which, having been recorded on cylinder from a Kerry piper in 1899 is the oldest surviving recording of Irish traditional music. The dates of the performances from which the music was notated span almost one and a half centuries, from the performances noted by Lord Rossmore from the Galway piper Paddy Conneely in the mid-nineteenth century, through the collections of the Feis Ceoil movement, to the performances recorded by piping enthusiasts in the 1970s. The music and commentary was prepared for publication by Breand n Breathnach and Pat Mitchell, both authorities in the field of Irish music, and was edited by Terry Moylan.

Jazz, Rags & Blues, Books 1 through 4, contain original solos for late elementary to late intermediate-level pianists that reflect the various styles of the jazz idiom. An excellent way to introduce your students to this distinctive American contribution to 20th century music. The CD includes dynamic recordings of each song.