Israeli Folk Music
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- Arrangers: Kurt Weill (1900-1950), Darius Milhaud (1892-1974), Arthur Honegger (1892-1955), Stefan Wolpe (1902-1972), Aaron Copland (1900-1990), Paul Dessau (1894-1979), Ernst Toch (1887-1964)
- Instrumentation: Voice, Keyboard
- Work Language: Hebrew (Transliteration)
- ISBN:
- Size: 9.1 x 12.2 inches
Description
During the 1930s several of Europe's most distinguished composers received commissions to arrange Hebrew songs collected from early settlers in Israel and circulated on postcards. in this edition, fifteen songs appear in voice and keyboard arrangements by Aaron Copland, Paul Dessau, Arthur Honegger, Darius Milhaud, Ernst Toch, Stefan Wolpe, and Kurt Weill, making the volume a resource for performer and scholar alike. in addition, ten melodies are presented in facsimiles of the original postcards. An afterword is devoted to the significance of folk-song collecting and to the diverse uses of folk music during the period of nascent Israeli national identity.
1. Havu L'venim (Bring the Bricks), Kurt Weill
2. Gam Hayom (Day After Day), Darius Milhaud
3. Ra'ino Amalenu (We Beheld Our Toil), Arthur Honegger
4. Ra'inu Amalenu (We Beheld Our Toil), Stefan Wolpe
5. Banu (We've Come), Aaron Copland
6. 'Ali B'er (Ascend, My Well), Paul Dessau
7. Seh Ug'di (A Lamb and a Kid), Ernst Toch
8. Alei Giv'a, Sham Bagalil (Atop a Hill in Galilee), Paul Dessau
9. Hine Achal'la Bachalili (Lo, I Play upon My Flute), Paul Dessau
10. Saleinu Al K'tefeinu (Our Baskets on Our Shoulders), Stefan Wolpe
11. Avatiach (A Watermelon), Ernst Toch
12. Yeled Kat (Tiny Child), Ernst Toch
13. Tel Aviv [Lamidbar] (To the Desert), Stefan Wolpe
14. Holem Tza'adi (My Step Resounds), Darius Milhaud
15. Ba'a M'nucha (There Comes Peace), Kurt Weill
Appendix
A. Kuma Echa (Rise, O Brethren!), Erich Walter Sternberg
B. Tapuach Zahav (An Orange), Ernst Toch
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.
