Hello Everyone! I have started a new blog. I recently moved to Cleveland, Ohio after living and working in San Francisco for the last few decades. Since I am no longer employed by San Francisco State University, I must retire this blog and switch to a new one.
The reason I moved to Cleveland is an exciting one. Tomorrow is my first day as Public Services Librarian at the Library and Archives for the Rock and Roll Hall of Fame. I was born in Chicago so being back in the Midwest is familiar to me.
My new blog is called I Was Born To Rock and Roll, and you can find it here: http://iwasborntorockandroll.wordpress.com/. Please come and check it out. My perspective will be more Rock and Roll based, and that covers a lot of territory. I also hope to feature the collections available to researchers and musically curious at the Library. If you don’t know what we have you are less likely to come over so I hope to keep you informed.
Please join the San Francisco State Handbell Choir in concert with the Temple Hill Choir this Sunday, May 22.
Theme: An evening of American music with bells and voices
Performers: Temple Hill Choir (an auditioned vocal choir based in Oakland) under the direction of Alan Chipman
and the SFSU Handbell Choir under the direction of Caroline Harnly.
Location: The Church of Jesus Christ of Later-Day Saints, San Francisco Stake, 975 Sneath Lane, San Bruno
I have been busier than usual so haven’t posted anything new for a while. Sorry about that. Lots of things have been happening. Some good, some not so good.One of the good things has been my quest for a job at the brand new Rock and Roll Hall of Fame Library and Archives in Cleveland, Ohio. After a long wait while the hiring committee made their decision, I was offered the job of Public Services Librarian and I start my new job at the end of June. While I will miss the Bay Area and my job here at San Francisco State University, I look forward to this new phase of my career as a librarian. And well, I LOVE ROCK AND ROLL!
I will continue to write this blog, but under a new name. So stay tuned for a new look and logo.
The Rock and Roll Hall of Fame and Museum will open a groundbreaking and provocative new exhibit that will illustrate the important roles women have played in rock and roll, from its inception through today. Women Who Rock: Vision, Passion, Power will highlight the flashpoints, the firsts, the best, the celebrated — and sometimes lesser-known women — who moved rock and roll music and American culture forward.
The interactive exhibition will spotlight more than 70 artists and fill two entire floors of the museum. The exhibit will feature artifacts, video and listening stations, as well as a recording booth where visitors can film a short story or moment of inspiration related to women in rock. The exhibit will move through the rock and roll eras, weaving a powerful and engaging narrative that demonstrates how women have been the engines of creation and change in popular music, from the early years of the 20th century to the present.
Here at the Leonard Library, there are abundant resources that feature women in music, and women in rock. Some suggestions, below.
In Women of Influence in Contemporary Music: Nine American Composers, Michael K. Slayton has collected essays, which focus on women who have made significant contributions to American music: Elizabeth Austin, Susan Botti, Gabriela Lena Frank, Jennifer Higdon, Libby Larsen, Tania Le-n, Cindy McTee, Marga Richter, and Judith Shatin. While these composers have much in common, not least of all dedication to their art, their individual stories reveal different impulses in American music. Their works reflect the shifting societal landscapes in the United States over the last seven decades, as well as different stylistic approaches to writing music. Each chapter includes a biography of the composer, an interview, and a detailed analysis of one major composition. The composers openly reflect on their individual journeys, in which they have discovered respective musical languages and have found success during different times in history. Because few music books focus solely on female composers, Women of Influence in Contemporary Music offers a rare glimpse into the styles and attitudes of gifted women and their work.
Pink Noises brings together twenty-four interviews with women in electronic music and sound cultures, including club and radio DJs, remixers, composers, improvisers, instrument builders, and installation and performance artists. The collection is an extension of Pinknoises.com, the critically-acclaimed website founded by musician and scholar Tara Rodgers in 2000 to promote women in electronic music and make information about music production more accessible to women and girls.
At the end of his second year in Leipzig, J.S. Bach composed nine sacred cantatas to texts by Leipzig poet Mariana von Ziegler (1695-1760). Despite the fact that these cantatas are Bach’s only compositions to texts by a woman poet, the works have been largely ignored in the Bach literature.Ziegler was Germany’s first female poet laureate, and the book highlights her significance in early eighteenth-century Germany and her commitment to advancing women’s rights of self-expression. Peters enriches and enlivens the account with extracts from Ziegler’s four published volumes of poetry and prose, and analyses her approach to cantata text composition by arguing that her distinctive conception of the cantata as a genre encouraged Bach’s creative musical realizations.
Go, Girl, Go! provides a nearly 100-year history of women in music, beginning with Lil Hardin Armstrong and Billie Holiday, and continuing up to present-day artists such as Britney Spears and Norah Jones. Features interviews with artists such as Shania Twain, Pat Benatar, Brenda Lee, Bonnie Raitt, Melissa Etheridge, Ann and Nancy Wilson, and Tammy Wynette, plus many industry executives.
This two-volume reference describes the role of women in all types of music in the U.S. since 1900. The alphabetically-arranged entries cover important individuals (chosen for the significance of their contributions rather than for their popularity), biographical overviews, gender issues, education, music genres, honors and awards, organizations and professions. Entries (ranging from half a page to several pages in length) conclude with a short list of further readings, and about 100 are accompanied by a b&w photograph. A historical overview and a chronology are also included.
In the early nineties, riot grrrl exploded onto the underground music scene, inspiring girls to pick up an instrument, create fanzines, and become politically active. Rejecting both traditional gender roles and their parents’ brand of feminism, riot grrrls celebrated and deconstructed femininity. The media went into a titillated frenzy covering followers who wrote “slut” on their bodies, wore frilly dresses with combat boots, and talked openly about sexual politics.
The movement’s message of “revolution girl-style now” soon filtered into the mainstream as “girl power,” popularized by the Spice Girls and transformed into merchandising gold as shrunken T-shirts, lip glosses, and posable dolls. Though many criticized girl power as at best frivolous and at worst soulless and hypersexualized, Marisa Meltzer argues that it paved the way for today’s generation of confident girls who are playing instruments and joining bands in record numbers.
A groundbreaking and irresistible biography of three of America’s most important musical artists — Carole King, Joni Mitchell, and Carly Simon — charts their lives as women at a magical moment in time. Carole King, Joni Mitchell, and Carly Simon remain among the most enduring and important women in popular music. Each woman is distinct. Carole King is the product of outer-borough, middle-class New York City; Joni Mitchell is a granddaughter of Canadian farmers; and Carly Simon is a child of the Manhattan intellectual upper crust. They collectively represent, in their lives and their songs, a great swath of American girls who came of age in the late 1960s. Their stories trace the arc of the now mythic sixties generation — female version — but in a bracingly specific and deeply recalled way, far from cliche. The history of the women of that generation has never been written — until now, through their resonant lives and emblematic songs. Filled with the voices of many dozens of these women’s intimates, who are speaking in these pages for the first time, this alternating biography reads like a novel — except it’s all true, and the heroines are famous and beloved. Sheila Weller captures the character of each woman and gives a balanced portrayal enriched by a wealth of new information. Girls Like Us is an epic treatment of midcentury women who dared to break tradition and become what none had been before them — confessors in song, rock superstars, and adventurers of heart and soul.
In Britain during the late 1970s and early 1980s, a new phenomenon emerged, with female guitarists, bass-players, keyboard players and drummers playing in bands. Before this time, women’s presence in rock bands, with a few notable exceptions, was always as vocalists. This sudden influx of female musicians into the male domain of rock music was brought about partly by the enabling ethic of punk rock (‘anybody can do it!’) and partly by the impact of the Equal Opportunities Act. But just as suddenly as the phenomenon arrived, the interest in these musicians evaporated and other priorities became important to music audiences.Helen Reddington investigates the social and commercial reasons for how these women became lost from the rock music record, and rewrites this period in history in the context of other periods when female musicians have been visible in previously male environments. Reddington draws on her own experience as bass player in a punk band, thereby contributing a fresh perspective on the socio-political context of the punk scene and its relationship with the media. The book also features a wealth of original interview material with key protagonists, including the late John Peel, Geoff Travis, The Raincoats and the Poison Girls.
Riot Grrrl is a vivid documentation of the fierce music, renegade art and independent literature that emerged from suburban America in the late 1980s and became a global phenomenon. With the rallying cry of REVOLUTION GIRL STYLE NOW! this community of musicians, artists and activists inspired young women across the world to pick up guitars and rewrite rock history, changing the face of feminism and underground culture forever.From guerrilla girls to punk princesses, contributors include a diverse array of musicians, artists, fanzine writers and activists. Told from the perspective of those directly involved, Riot Grrrl is a uniquely comprehensive exploration of this pioneering scene, profiling bands including Bikini Kill, Bratmobile and Huggy Bear.The book charts the movementa??s genesis in proto-Riot Grrrls such as Patti Smith, Yoko Ono and Sonic Youth’s Kim Gordon and explores its continued influence on a diverse range of contemporary artists that include Courtney Love and The Organ. At times shocking, always inspiring, Riot Grrrl is a fascinating and important book.
With the explosion of rock music in the mid-1960s, women arrived-as performers, critics, and fans. While operating in radically different ways within rock culture, female musicians, journalists, and groupies rewrote women’s roles on and off the stage in the 1960s and 1970s.
Celebrating the contributions of punk’s oft-overlooked female artists, the authors explore the latent–and not so latent–sexism of indie rock, and tell the story of how these women created spaces for themselves in a sometimes limited or exclusionary environment. Photos.
Gaar’s critically acclaimed, breakthrough book became an instant classic upon its publication in 1992. Arranged chronologically and told with impassioned detail, “She’s A Rebel” charts a half century of women performers. 75 photos.
Rock and roll has traditionally been a boys’ game. It has forced female artists to work twice as hard, usually for half the recognition — but without their contributions, American music would be radically impoverished. Called “a kind of female Cameron Crowe” by the Chicago Tribune, Gerri Hirshey has been writing about music for two decades. Now, in a narrative based on frank original interviews and a vise grasp of American cultural history, she serves up a tasty platter of girl groups and soul queens, acoustic goddesses and priestesses of the avant-garde, punk grrrls, glamazons, and innovators of hip-hop and neo-soul. We Gotta Get Out of This Place is the passionate history of a century of women in rock that is deft, authoritative, and a sheer delight to read.
In the year 1986, the United States Government passed a Joint Resolution to provide for the designation of the month of February as “National Black (Afro-American) History Month.” This is known as Public Law 99-244. Follow the link below for the text of this law.
The J. Paul Leonard Library offers a multitude of resources to help you learn more about the history of African Americans. Below are a few suggestions that come specifically from the Music Collection.
You may want to peruse the Library Database Black Thought and Culture which is loaded with interesting resources.
Milton Babbitt, an influential composer, theorist and teacher who wrote music that was intensely rational and for many listeners impenetrably abstruse, died on Saturday. He was 94 and lived in Princeton, N.J. Go here for the full obituary from the New York Times.
Last.fm offers information on Milton Babbitt, including Milton Babbitt radio.
Here is what All Music Guide has to say about Milton Babbitt:Biography
by All Music Guide
Revered for his pioneering work in serial organization and in musical electronics, Milton Babbitt (born in 1916) is a major American composer, theorist, and teacher. Born in Philadelphia and raised in Jackson, MS, he began his study of the violin at age 4. He later learned to play clarinet and saxophone, exhibiting an early interest in jazz and popular song.
Despite his gift for music, he attended the University of Pennsylvania to pursue a career in mathematics. He then decided to attend New York University, studying music with Marion Bauer and Philip James. Babbitt was attracted to the epochal discoveries of Schoenberg, at a time when 12-tone and serial techniques were still relatively new. After receiving a B.A. from NYU in 1935, he studied composition with Roger Sessions, at first privately, and then later at Princeton University, where he received a Master of Fine Arts in 1942. During World War II he worked as a mathematical researcher and taught mathematics at Princeton. At this time he developed the complex ramifications of Schoenberg’s twelve-tone compositional method into what came to be known as total serialism. In a nutshell, what this meant was that he expanded Schoenberg’s twelve-tone system, wherein compositional structure is determined by manipulation of a constant sequence of the 12 pitches of the chromatic scale — to other aspects of music: rhythm, dynamics, timbre, and other parameters were structured according to fixed sequences that acquired structural importance both in being manipulated on their own and in interaction with other serial parameters. He succeeded Sessions on Princeton’s music faculty in 1948 and later taught also at the Juilliard School in New York.
Babbitt is credited with writing the first serial work, Three Compositions for Piano, in 1947, at least one year before Messiaen’s studies. Babbitt’s important early works in his rigorously organized serial style include the first two string quartets (1948, 1954), the jazz-influenced All Set (1957) and Partitions for piano (1957). Babbitt is also responsible for developing and classifying such important serialist concepts as combinatoriality, partitioning, arrays, pitch class, pitch set, and the time-point system. In extending the challenging language of Schoenberg, Babbitt’s “new complexity” continually met with incomprehension from audiences and musicians alike. This led Babbitt to seek means of composing and performing outside of traditional settings and formats. He found what he was looking for in the emerging analog technology of the RCA Mark II synthesizer and the Columbia-Princeton recording studio, which he co-founded with Otto Luening and Vladimir Ussachevsky in 1959. One year later, Babbitt completed his first entirely synthesized work, Vision and Prayer. Philomel (1964) shows his use of the human voice as an essential part of his conception; it was one of the earliest pieces to combine tape playback with a live performance, in this case one by soprano Bethany Beardslee.
Later works such as Post-Partitions for piano (1966) and Relata II for orchestra (1968), show Babbitt’s increasingly dense modes of musical significance, achieved through close connections between pitch and rhythmic organization, and through the use of every possible musical parameter in delineating structure. The String Quartet No. 3 (1970) includes metronomic stability, changes of velocity engineered by changes in metrical density, sectional form, and the use of many other musical parameters — including the distinction between arco and pizzicato string playing — to integrate the polyphony. Performances of these works have rarely been successful, if even possible.
In addition to his degrees from NYU and Princeton, Babbitt has received a lifetime Pulitzer Prize in composition for his contributions to twelve-tone and electronic music. He has also been recognized by numerous universities for his contributions. Babbitt, who once named Jerome Kern as the composer with whom he would most like to have traded places, is a member of the American Academy of Arts and Letters and a Fellow of the American Academy of Arts and Sciences.
You can also learn more about Milton Babbitt by using materials here in the J. Paul Leonard Library. Some suggestions, below.
A very happy birthday to Frank Zappa. Frank Vincent Zappa was born on Dec 21, 1940 in Baltimore, MD. Here is what All Music Guide has to say about Frank Zappa.
Biography
by William Ruhlmann
Composer, guitarist, singer, and bandleader Frank Zappa was a singular musical figure during a performing and recording career that lasted from the 1960s to the ’90s. His disparate influences included doo wop music and avant-garde classical music; although he led groups that could be called rock & roll bands for much of his career, he used them to create a hybrid style that bordered on jazz and complicated, modern serious music, sometimes inducing orchestras to play along. As if his music were not challenging enough, he overlay it with highly satirical and sometimes abstractly humorous lyrics and song titles that marked him as coming out of a provocative literary tradition that included Beat poets like Allen Ginsberg and edgy comedians like Lenny Bruce. Nominally, he was a popular musician, but his recordings rarely earned significant airplay or sales, yet he was able to gain control of his recorded work and issue it successfully through his own labels while also touring internationally, in part because of the respect he earned from a dedicated cult of fans and many serious musicians, and also because he was an articulate spokesman who promoted himself into a media star through extensive interviews he considered to be a part of his creative effort just like his music. The Mothers of Invention, the ’60s group he led, often seemed to offer a parody of popular music and the counterculture (although he affected long hair and jeans, Zappa was openly scornful of hippies and drug use). By the ’80s, he was testifying before Congress in opposition to censorship (and editing his testimony into one of his albums). But these comic and serious sides were complementary, not contradictory. In statement and in practice, Zappa was an iconoclastic defender of the freest possible expression of ideas. And most of all, he was a composer far more ambitious than any other rock musician of his time and most classical musicians, as well.
Here at the Leonard Library, we have materials that will help you learn more about this iconic American artist. Some suggestions, below.
The San Francisco State University Handbell Choir, under the direction of Caroline Harnly is pleased to announce an on campus concert taking place this Monday, Dec. 13, 2010. We would love to see you in our audience. We will be performing a lovely selection of holiday themed pieces to ring in the upcoming holiday season. This concert is free and open to all. See you there!
When: Monday Dec. 13, 2010
Concert Time: 7:00 PM
Where: Creative Arts Building, Room 153
San Francisco State University Campus
1600 Holloway Avenue
SF, CA 94132
It is that time of year when the San Francisco State University Handbell Choir rings in with some holiday cheer. Our concert season begins this Saturday, December 4th, and we would be delighted to have you in the audience. These are family friendly concerts and absolutely free to attend.
SAN FRANCISCO STATE HANDBELL CHOIR IN CONCERT-SATURDAY DECEMBER 4TH, 2010
Henryk Górecki, who died on November 12 aged 76, was a Polish composer who achieved immense popularity in Western Europe and America in the 1990s thanks to the ethereal splendour of his Symphony No 3 (Symphony of Sorrowful Songs), which briefly reached No 6 in the British charts, just behind Paul McCartney.
He was also an important political voice in Poland, for example writing his controversial Beatus Vir for Pope John Paul II’s return to his homeland after being elected pontiff in 1979. During the dying days of communism Górecki was seen as an agitator by the authorities and was frequently followed and had his phone tapped.
Symphony of Sorrowful Songs was originally conceived as a tribute to the victims of the Holocaust. In each of the three movements a soprano sings a Polish text: a 15th-century lament; a message scribbled on the wall of a Gestapo cell; and a Silesian prayer of a mother searching for her missing son.
The work was written in 1976, but in 1992 it was released on the Nonesuch label sung by Dawn Upshaw with the London Sinfonietta conducted by David Zinman. Not only had the political landscape changed in the intervening years, but so too had the economic and musical landscape in the West.
It soon became the most successful recording of a new composition in the history of the classical record business. As the cultural commentator Alex Ross wrote: “It is not hard to guess why [Górecki] and several like-minded composers achieved a degree of mass appeal during the global economic booms of the Eighties and Nineties; they provided oases of repose in a technologically oversaturated culture.”
Despite the work’s almost incessant airing on the nascent Classic FM radio station, there was much more to Górecki and his music. Works such as Three Pieces in Old Style (1963) and Muzyka staropolska (Old Polish Music, from 1969) often draw inspiration from the folk music and traditions of the Tatra region, the highest part of the Carpathian Mountains and once a northern outpost of the Ottoman Empire.
He remained unrepentant about both his politics and his seeming volte-face in musical style. “I’ve always fought for what I wanted to fight for,” he once said. “Some people take an automatic gun and shoot. I can only fight with my notes on the page.”
Henryck Mikolaj Górecki was born in Czernica, near Rybnik in the coal-mining region of Silesia, on December 6 1933. His mother, a pianist, died when he was aged two. Musically, the boy was a late developer and enrolled at the conservatoire in Katowice only at the age of 22, when he studied composition with Boleslaw Szabelski, a pupil of Szymanowksi. His Symphony 1959 was awarded first prize at the Paris Youth Biennale in 1960 and was followed by further prizes in his homeland.
Such acclaim was not always forthcoming. One London-based critic referred to Genesis, a gritty exploration of sonority, as “Darmstadt seen through the waters of the Vistula”. At the 1967 Cheltenham Festival his Refrain (which also received a prize in Paris) was described thus: “Players can bang and blow and scrape repeated notes as they wish. The experiment might better have been conducted in private.”
Even as recently as 1978 his music, on the rare occasions that it was heard in London, was dismissed as “crude, agitated, often loud and violent”. Yet, almost in parallel, Górecki had begun working in a style that could not be more different. His Symphony No 2 (Copernican), from 1972, began a transition towards a more consonant language.
In 1975 Górecki was appointed rector of his former music school in Katowice but, lacking political sophistication, was forced to resign after protesting against the government’s refusal to allow the Pope to visit the city. His response was Beatus Vir, a glorious setting of the psalms for choir and orchestra, which he conducted for the Pope in Kraków.
Increased political restrictions and poor health – he was crippled in one hip – soon led to Górecki withdrawing from public life. This allowed him to develop his chamber music, including three important string quartets (recently recorded by the Royal String Quartet, from Poland, for release next year on the Hyperion label).
In 1985, however, David Drew, from the British music publisher Boosey & Hawkes, was sitting in the crowded bar of the Europeiski Hotel in Warsaw when he overheard an animated conversation about the political state of the country. He soon realised that the chief protagonist was Górecki and immediately began to try to persuade him to visit Britain. Months of negotiation with the communist authorities followed. Górecki himself proved hard to engage on the matter, stating that he was only interested in visiting Germany and Austria, where he spoke the language.
Meanwhile, in 1987 the conductor David Atherton and the BBC Symphony Orchestra, using a score brought back by Drew, gave the British premiere of Symphony of Sorrowful Songs at the Maida Vale studios. Word was soon out that this was a most unusual and interesting work, not dissimilar to music by Arvo Pärt and John Tavener.
In April 1989 a celebration of Górecki’s music (and that of the similarly-minded Russian composer, Alfred Schnittke) by the modernist ensemble, the London Sinfonietta, proved a turning point in British understanding of the Eastern post-Shostakovich musical landscape. It confirmed the composer’s importance as an original voice, which found even greater resonance when, within months, popular revolution swept across Eastern Europe.
After the success of Symphony of Sorrowful Songs, which sold more than a million copies, Górecki was finally able to purchase the Mercedes that he had long dreamed of, as well as a cottage in his beloved Tatra mountains. However, the composer remained as diffident about fame and travel as ever.
There were several musically-significant works in the 1990s, including Kleines Requiem für eine Polka (1993), which was recorded twice, for Philips and Nonesuch, yet nothing again quite gripped the public imagination – both in content and timing – as Symphony of Sorrowful Songs.
Henryk Górecki is survived by his wife, Jadwiga, his college sweetheart whom he married in 1959, and by a son and a daughter.
Gorecki’s Symphony of Sorrowful Songs
Here at the Leonard Library, there are resources to help you learn more about this composer. Some suggestions, below.
Górecki / Adrian Thomas.
This book is the first detailed study of Polish composer Henryk Górecki, whose Third Symphony, written in 1976 and released on CD in 1992, became a bestseller and brought Goreki international renown. Written by a leading enthusiast of Górecki’s music, this volume ranges from the composer’s large orchestral scores (Sconti, Refrain, the Symphonies) and choral works (Beatus Vir, commissioned by and dedicated to Pope John Paul II) to the more modest church songs and folk-song arrangements. Granted numerous interviews and access to unpublished material, the author discusses Górecki’s position as leader of the Polish avant-garde in the late 1950s, and his subsequent discovery of the folk and church music of Old Poland, most notably that of the Podhale region in southern Poland. The book includes a complete list of works since 1955 with details of instrumentation and recordings, and a select bibliography.
Hi Everyone! I have been busy and I just haven’t had the time to write a new post lately. Sorry about that. But I’ve got my rhythm back so please stay tuned. We’ve received some new books lately and I want to share them with you.
129 songs / Charles Ives ; edited by H. Wiley Hitchcock. 1 score (lxxi, 527 p.) : facsims., port. ; 31 cm.
Words principally in English; some German with English translation, some French, Italian; also printed as texts with English translation, p. 485-527.
Bd. 1. Symphonie Nr. 1 (50:00) — Bd. 2. Symphonie Nr. 2 (1:20:00) — Bd. 3. Symphonie Nr. 3 (1:30:00) — Bd. 4. Symphonie Nr. 4 (54:00) — Bd. 5. Symphonie Nr. 5 (1:05:00) — Bd. 6. Symphonie Nr. 6 (1:20:00) — Bd. 7. Symphonie Nr. 7 (1:20:00) — Bd. 8. Symphonie Nr. 8 (1:30:00) — Bd. 9. Das Lied von der Erde (1:00:00) — Bd. 10. Symphony Nr. 9 (1:15:00) — Bd. 11a. Adagio aus der Symphonie Nr. 10 — Bd. 12. Das klagende Lied (40:00) –
Bd. 13. Teilbd. 1. Lieder eines fahrenden Gesellen : für eine Singstimme mit Klavier. Tielbd. 2a. Neun Lieder und Gesänge aus “des Knaben Wudnerhorn” Teilbd. 2b. Fünfzehn Lieder, Humoresken und Balladen aus Des Knaben Wunderhorn für Singstimme und Klavier. Teilbd. 3. Kindertotenlieder : für eine Singstimme mit Klavier. Teilbd. 4. Lieder nach texten von Friedrich Rückert : für eine Singstimme mit Klavier. Teilbd. 5. Verschiedene Lieder : für eine Singstimme mit Klavier — Bd. 14. Teilbd. 1. Lieder eines fahrenden Gesellen : für eine Singstimme mit Orchester. Teilbd. 2. Des Knaben Wunderhorn. Teilbd. 3. Kindertotenlieder : für eine Singstimme mit Orchester. Teilbd. 4. Lieder nach texten von Friedrich Rückert : für eine Singstimme mit Orchester.
Art songs and arias : 29 selections / Leonard Bernstein ; edited by Richard Walters.
Afterthought — Arias and barcarolles. Little Smary ; Greeting — La bonne cuisine : four recipes — I hate music! : a cycle of five kid songs — My twelve-tone melody — Piccola serenata [with nonsense syllables] — Silhouette (Galilee) — Songfest. A Julia de Burgos ; Music I heard with you ; Zizi’s lament — Two love songs — Candide. Glitter and be gay — Mass. A simple song (with flute part) ; Thank you ; The word of the Lord ; Hurry ; World without end ; Our Father– I go on — A quiet place. I’ve been afraid ; Mommy, are you here : Dede’s aria.
Descript 1 score (150 p.) ; 31 cm. Edition High voice.
