"Lavender's Blue," (perhaps sometimes called "Lavender Blue,") is an English folk song and nursery rhyme dating to the 17th century, which has been recorded in various forms since the 20th century.
A hit version of the song, sung by Burl Ives, was featured in the Walt Disneymovie, So Dear to My Heart (1948) and was nominated for an Academy Award for Best Original Song. It was Ives' first hit song and renewed the song's popularity in the 20th century. Other hit versions of the song were recorded by Sammy Kaye and Dinah Shore. In 1955, Jazz pianist Jack Pleis recorded it for his album, Music from Disneyland.
Julian Abraham Marantika, or Joy started by learning classical piano when he was 14 years old by studied from Getih Indra Sunaryo, but then got his encounter with Jazz when he learned it from Benny Likumahuwa for Music Theory and Saxophone. He then took his number one Jazz Piano lesson from Riza Arshad and Krishna Balagita.
In 2004 he enrolled to the Institut Musik Daya Degree program under Tjut Nyak Deviana Daudsjah, Ivonne Atmojo, Aksan Sjuman, Masako Hamamura, Mark Isaac, and Jelia Megawati Heru. Julian graduated in 2007 holding Bachelor of Music in Performance.
A good repertoire for guitar and piano is rare to find.
This could be an alternative for a great repertoire, for an advanced guitarist and pianist.
Imade the mp3 on the soundcloud myself. Hope you enjoy it!
About the Fantastic Suite "WETLAND" for Guitar and Piano
This unique ensemble of the piano and guitar aspires to discover new possibilities for its medium.
The theme is about fantasy and
dream, that reflects the nature of wetland from the dawn until the evening with the stars.
In a world full of both live action and animated shorts, PAPERMAN is sweet and a breath of fresh love. The visuals stun and the cutting edge CGI with animation overlayed on the top with the music make it...well, simply gorgeous. It utilizes both 3D and 2D animation in a bold and beautiful way to tell the story of a guy trying to get the attention of the woman of his dreams. The result is a magical little tale that proves that even in the cold, crushing world of modern New York magic can flourish.
Listen "Ukrainian Bell Carol" for 2 pianos, 8 hands HERE
Listen "Ukrainian Bell Carol" in youtube
BRIEF HISTORY
Ukrainian Bell Carol is written based on Ukrainian folk song,
The melody was created for choir in 1916 by Ukrainian composer
Mykola Leontovych (1877-1921) and titled "Shchedryk", means "bountiful." adapted by Peter J. Wilhousky as a "Carol of the Bells"
Based on an old Ukrainian folk song,
the original lyrics describes
the swallow flying
into a household to proclaim the plentiful year that
the family will have.
The swallow is a herald of
spring coming, possibly of pre-Christian origins.
The folk melody was
sung in many Ukrainian villages
on Jan. 13 – New Year's Eve on the
Julian calendar
– usually by adolescent girls going house to house in
celebration of the new year.
The title chosen by him "Carol of the Bells"
was harmonious with the
old Slavic legend
that at midnight the evening Jesus was born
all the
bells on earth started to sound of their own accord in his honor.
Since
then the song has become a popular Christmas tune
especially in the US
and Canada where it is also known as "Ukrainian Carol"
PIECE ANALYSIS
Leontovych originally created the piece as an assignment for a
harmony course.
He was taking by correspondence to demonstrate the use of
a four-note known as ostinato. The ostinato motif, a repeated four-note
pattern within the range of a minor third, is thought to be of
prehistoric origins. a New Year's chant known in Ukrainian as
"Shchedryk"[the Generous One].
The original traditional Ukrainian text used a device, known as
hemiola, in the rhythm (alternating the accents within each measure from
3/4 to 6/8 and back again).
This device however is lost in the English
translations and rarely is used in non-Ukrainian or instrumental
performances.The original work was intended to be sung a cappella by mixed
four-voice choir.
Two other settings of the composition were also
created by Leontovych: one for women's choir (unaccompanied) and another
for children's choir with piano accompaniment. These are rarely
performed or recorded.
The choral work Shchedryk was first performed by students at Kiev
University in December 1916. When American choir director and arranger
Peter Wilhousky (1902-1978) heard Leontovich's choral work, it reminded
him of bells; so he wrote new lyrics to convey that imagery for his
choir.
Standing in the rain,
standing all afraid,
who knows how to cure all my pain?
I drop these tears because I fear,
even though this rain is trying to make me clear,
for this moment is silent and now I hear,
the pain that managed to last all this year.
You were not there to see my pain.
I will never see love quite the same.
The rain drops to the ground,
like tears from my heart falling without a sound.
My eyes still shine bright,
but I still have this will to fight,
even to this great height.
My Love...
If tears could build a stairway and memories a lane,
I'd walk right up to heaven and bring you home again
"RAIN of TEARS"
Sento in seno ch'in pioggia di lagrime
(I feel within a rain of tears)
from: Tieteberga and Il Giustino
by Antonio Vivaldi
Rearr. by Jelia Megawati Heru & Michael Gunadi Widjaja
Kemben becomes the central theme of this composition.
In other words,
it is about the sensuality of woman.
The sensual part, but always
covered.
As a matter of composition, this composition develops an
affection of women sexual charm.
The composition consists of three parts:
• Opening
• Keroncong romance
• Dangdut hot
The opening used the pentatonic. The concept is a “Manunggaling
Kawula Gusti” or “Mandala” - from a small universe evolved into a more
complex conception of the valuable (adiluhung). Theme of primo 1 is
repeated with varied rhythmic, that enriched by secondo 1, primo 2, and
secondo 2. Octave parallels are intended to give the impression of a
theatrical, that: this is a veil of life - women, with their charm of
sexual.
The second part - Keroncong Romance, is about the nature of women.
Timid creatures, spoiled, soft, and gentle. The impression is woman who
wears kemben, walking apace, squinting eyes, a faint smile, and her hair
is slightly damp.
The third part - Hot Dang Dut, describes woman as timid creatures,
spoiled, soft, smooth, but in the sublime way it can be wild in lust and
sexual dreams. That is why in this section is used a "deconstructive"
landscape. Because when she is in lust and wild sexually, there’s no
more norm, no more rules - only a single and static harmony to indicate a
state of "trance" in crisis lust.
In Javanese tradition music
composition, there’s typical this kind of harmony in DOLALAK of
Banyumas, Sintren of Tegal, and Jathilan of Solo. Impressions in this
section are: woman with kemben, seated, with her hands holding the hair,
exposing a hairy armpit as a reflection of the wild lust. Then the
women were swaying in a trance state, covered with fragrant sandalwood,
while the kemben sags.
