Loved one

The creators of the world's premiere lullaby recording, A Child's Gift of Lullabyes, and the Grammy Award-winning The Rock-A-Bye Collection are delighted to present this new collection of original lullabies. Inspired by the lovable characters of the same name, Little Sleepy Eyes is a superb collection of soothing melodies, meaningful lyrics and beautifully orchestrated arrangements which are sure to give you and your loved ones hours of quality listening pleasure. The CD has one hour of playing time, and the package includes a keepsake lyric book.

This landmark series collects compelling, useful, singer-friendly arias from a distinctly American opera tradition. Each volume includes information about every opera and an aria plot note. A majority of the music in the four volumes has never before been available outside of the opera vocal scores, and some arias in the series have never been in print at all before now. Most arias are appropriate for college-level singers. Composers such as Samuel Barber, William Bolcom, Douglas Moore, Virgil Thomson and Gian Carlo Menotti are well represented. Additionally, arias are included from important works such as Regina, A Streetcar Named Desire, The Ghosts of Versailles, The Great Gatsby, Little Women and many others. Stephen Sondheim graciously agreed to adapt new aria editions of two pieces from Sweeney Todd for the series: “The Contest” in the Tenor volume and “Epiphany” in the Baritone/Bass edition.

Lista utworów:
Al norte (To the North!) from SIMÓN BOLÍVAR (T. Musgrave)
Always Through The Changing from THE BALLAD OF BABY DOE (D. Moore)
Be good to her from THE SAINT OF BLEECKER STREET (G.C. Menotti)
Birdie's Aria from REGINA (M. Blitzstein)
The Black Swan from THE MEDIUM (G.C. Menotti)
Bride's Song, The from THE LABYRINTH (G.C. Menotti)
But you do not know this man from A VIEW FROM THE BRIDGE (W. Bolcom)
Dear Husband: Come this fall from JOHN BROWN (K. Mechem)
Dearest Mama from THE BALLAD OF BABY DOE (D. Moore)
Do not utter a word from VANESSA (S. Barber)
Escúchame from FLORENCIA IN EL AMAZONAS (D. Catán)
Fair Robin I love from TARTUFFE (K. Mechem)
Father, I beg you from TARTUFFE (K. Mechem)
Give me some music from ANTONY AND CLEOPATRA (S. Barber)
Green finch and linnet bird from SWEENEY TODD (S. Sondheim)
Have peace, Jo from LITTLE WOMEN (M. Adamo)
Hello! Oh, Margaret, it's you from THE TELEPHONE (G.C. Menotti)
I have been wandering through the green woods from WUTHERING HEIGHTS (B. Herrmann)
I have dreamt from WUTHERING HEIGHTS (B. Herrmann)
I want magic! from A STREETCAR NAMED DESIRE (A. Previn)
Joy beyond measure, Mother! from LITTLE WOMEN (M. Adamo)
Kiss Me Not Goodbye from THE MIGHTY CASEY (W. Schuman)
Lola's Aria from GALLANTRY (D. Moore)
Loved One, Beloved from TEA (Tan Dun)
Monica's Waltz from THE MEDIUM (G.C. Menotti)
Music, music, music from REGINA (M. Blitzstein)
My sleeping beauty from THE HERO (G.C. Menotti)
Now, my fairest friend from WINTER'S TALE (J. Harbison)
Oh, Sweet Jesus from THE SAINT OF BLEECKER STREET (G.C. Menotti)
Open the window from WUTHERING HEIGHTS (B. Herrmann)
Prayer, A from THE MIGHTY CASEY (W. Schuman)
Sea Air from A STREETCAR NAMED DESIRE (A. Previn)
Silver Aria, The from THE BALLAD OF BABY DOE (D. Moore)
Somehow I never could believe from STREET SCENE (K. Weill)
Steal me, sweet thief from THE OLD MAID AND THE THEIF (G.C. Menotti)
The Foreign Woman's Aria from THE CONSUL (G.C. Menotti)
They are always with me from THE GHOSTS OF VERSAILLES (J. Corigliano)
To this we've come from THE CONSUL (G.C. Menotti)
What good would the moon be? from STREET SCENE (K. Weill)
What will it be for me? from REGINA (M. Blitzstein)
Where is the old warm world? from THE GREAT GATSBY (J. Harbison)
Who is there to love me? from A HAND OF BRIDGE (S. Barber)
Why must the greatest sorrows come from VANESSA (S. Barber)
Willow Song from THE BALLAD OF BABY DOE (D. Moore)

Publikacja "Spanisches Liederbuch" zawiera dwanaście pieśni Hugo Wolfa skomponowanych do słów Paula Heyse oraz Emanuela Geibela. Pieśni zawierają oryginalny tekst słowny w języku niemieckim oraz jego angielskie tłumaczenie Johna Bernhoffa. Wolf (1860 - 1903) to jeden z najsłynniejszych kompozytorów pieśni. Jest on autorem ponad 300 utworów wokalnych. Charakteryzują się one romantyczną stylistyką oraz budową przekomponowaną (treść i forma muzyki jest ściśle podporządkowana tekstowi słownemu). Przy tym partię fortepianu w swoich pieśniach kompozytor traktuje niemal równorzędnie z głosem wokalnym.

Faure was not drawn to compose a Requiem because of the death of a loved one, even though his mother had died during the early stages of composition and his father had passed away two years before. Faure's composition does not set his Reuiem to the standard liturgical text, instead adding a lyrical Pie Jesu and transcendent Paradisum, and omitting the Dies Irae and Tuba Mirum - which, for most composers, are opportunities to demonstrate the dramatic possibilities available with the choral and orchestral forces. As a result the mood of the Requiem is relatively calm and peaceful and often referred to as a lullaby of death.

Faure's unconventional composition has become a firm favourite in the repertoire and available here is the vocal score, for Soloists and SATB Choir with Piano Accompaniment, as edited by Desmond Ratcliffe.

Lista utworów:
Introit - Kyrie op. 48 nr 1 (Faure Gabriel)
Offertorium op. 48 nr 2 (Faure Gabriel)
Sanctus op. 48 nr 3 (Faure Gabriel)
Pie Jesu op. 48 nr 4 (Faure Gabriel)
Agnus Dei op. 48 nr 5 (Faure Gabriel)
Libera Me op. 48 nr 6 (Faure Gabriel)
In Paradisum op. 48 nr 7 (Faure Gabriel)