For Medium Voice and Piano. A red red rose (Robert Burns) was written in August 1967. So we'll go no more a-roving (Lord Byron) was written March 1971 and became the principal material for the Organ Concerto. Schubert in Blue is an arrangement of the three Shakespeare settings which Schubert made in July 1826 designed as an unusual tribute on the 150th anniversary of the composers death.

Par SZYMANOWSKI KAROL. (VII) The Polish idiom appeared in Szymanowskis music in 1920, foreshadowing the beginning of a new period of creativity, later called nationalistic. Before this idiom was realised and such compositions typical of the Polish style as the ballet Harnasie, the Mazurkas, Stabat Mater, Fourth Symphony and Second Violin Concerto had been written, the change in musical thinking and the first experiments in the new language took place in songs. Symptoms of the new style manifested themselves fully in Slopiewnie, Op. 46 bis, composed in the summer of 1921 and published by Universal Edition. In these bizarre songs to bizarre words by Tuwim Szymanowski attempted to crystallize and generalize artistically some primaeval Polish, racial as he described them elements in music. The inspiring factor was undoubtedly the text by Julian Tuwim, abounding in new-coined words and imbued with its own music. It indicated the direction that artistic creativity was to take, and made the full corellation of the verbal and musical layers possible in, as Mieczyslaw Tomaszewski has stated, all the planse of co-operation phonic, structural, expressional and semantic. Based on A. Neuer Commentary to Complete Edition Volume C11 (VIII) Szymanowski did not yield to the temptation of easy over-stilization. Streching out to the deepest ethnic layers of his native musical culture, he made an attempt to mould and suitably fashion a Polish style of musical utterance. This tendency is apparent in the Three Lullabies, Op. 48, to words by Jaroslaw Iwaszkiewicz, composed in 1922 and published by Universal Edition in 1926. In the Lullabies we can find the confirmation of the fact that utterly new atmosphere which, according to the composer, Slopiewnie had introduced into his music, was not a once-for-all phenomemon. The elements of the new musical language, analised in connection with the earlier cycle, may here be regarded as assimilated. These are modalities in vocal melodies (Lullaby I) and cadences (Lullabies I and III), a bourdon effect with a tritone (Lullaby II). However these sometimes sligh and apparently unimportant details recur constatnly, an so acquire the nature of a definite compositional technique establishing a style based in an increasing degree on nationalistic elements. Based on Adam Neuer Commentary to Complete Edition Volume C11 (IX) The Childrens Rhymes, Op. 49, a cycle of twenty short songs by Kazimiera Illakowicz, composed in 1922-23, were a completely new creative experience for Szymanowski. He composed the Rhymes with his 11-year-old niece in mind. She was the daughter of Stanislawa Korwin-Szymanowska, who performed these songs for the first time in Warsaw on 25 February 1924. / Date parution : 2021-12-09/ Recueil / Chant et Piano

Messiah occupies a unique position in Handel’s work. Even if it does not represent the absolute zenith several other oratorios could challenge it in this respect its strongly universal character and directness of expression which appeal to men of all creeds make it the most renowned work in the whole of the composer’s monumental output.That this oratorio is unquestionably a work of individual character is shown by all its features: its material which presents liturgical traditions alongside popular elements; its structure which combines an ever-changing variety of elements from opera cantata concerto and anthem; its musicalorganization which at once unifies and dramatically juxtaposes the various styles. All are united in an extraordinary manner with great artistry most accomplished technique and superb invention.Urtext of the Halle Handel EditionFull score and performance material (BA4012) vocal score (BA4012-73 English; BA4012-90 English-German) and study score format 22.5 x 16.5cm (TP175) available for sale.

The surviving second and third acts of Catone in Utica, one of Metastasio's most dramatic libretti, premiered in Verona in the spring of 1737 in a setting by Vivaldi, contain some of his finest, most mature, and most original arias, and are published here for the first time. They evince a potential dramatic intensity that makes us regret all the more the loss of the first act. Only one aria of Act I can be definitely recovered from a surviving opera, but the rest has now also been successfully reconstructed by Alessandro Ciccolini, whose intimate knowledge of Vivaldi's working methods, combined with brilliant stylistic insight won universal acclaim for his work on Vivaldi's Motezuma and Ercole sul Termodoonte. Ciccolini has also composed cadenzas and da capo variations for all the arias, published here in an appendix.A complete recording under the direction of Alan Curtis is available from Naïve Records(OP30545).Press Quotes:'[For his completion,] Alessandro Ciccolini, who, mindful that Vivaldi frequently adapted vocal music for his instrumental works and vice versa, has composed the missing passages using themes from the concertos as his starting point. His arias dovetail beautifully with Vivaldi's scheme of things...' The Guardian'Ciccolini and Curtis deserve enormous credit for transforming an incomplete obscurity into a coherent and compelling opera.'Gramophone'The opera survives incomplete, but this is a fascinating and apt reconstruction and there is some marvellous stuff here.' BBC Music Magazine / Chant Et Piano

Par VIVALDI ANTONIO. L'?uvre lyrique de Vivaldi reste paradoxalement méconnue : l'extraordinaire succès rencontré par un petit nombre de concertos a éclipsé tout un pan de ses compositions, notamment les opéras, auxquels il consacra pourtant l'essentiel de sa carrière. De 1713 à 1741, Vivaldi donna le jour à une ?uvre colossale, préservée en grande partie à la bibliothèque de Turin : plus de 450 compositions manuscrites, pour la majorité autographes. Créé à Vérone en janvier 1732, pour l?inauguration du Teatro Filarmonico,cet opéra est tombé dans l?oubli, malgré la beauté et la virtuosité des arias. La redécouverte du manuscrit, conservé à la bibliothèque de Turin, a permis d?en faire une édition complète, inédite, en 2004. Le matériel d'orchestre, 'urtext', a été préparé à partir de ce manuscrit. Il a été revisé par Jean-Christophe Spinosi, directeur musical de l'ensemble Matheus, et Laurence Paugam (premier violon de l'ensemble) et enregistré par cet ensemble en 2008. Le matériel d'orchestre de l'opéra La fida ninfa est disponible en location et en réduction clavier (consulter le site des Editions Buissonnières), ainsi que les airs, individuellement. / Date parution : 2013-05-02/ Répertoire / Chant et Clavier

les plus belles chansons de High School Musical et de High School Musical 2 pour jouer ou chanter. Le volume comprend des partitions pour piano, guitare, chant, paroles, avec des cordes et un CD avec la musique de chanter. Les bases sont disponibles dans doppsione : facilité (avec Melody Guide) et karaoké (aucune ligne directrice du chant). / Chant Et Piano

Partitions pour piano et chant de la bande originale du célèbre film Les demoiselles de Rochefort de Jacques Demy avec Catherine Deneuve et Françoise Dorléac.
/ Musiques de films

An original and exciting collection of anthems and other choral pieces written for the Orthodox Church and inspired by the Church in Russia, selected by Ralph Allwood. Partly because of the re-emergence of the Church in the former Soviet Union, interest in Christian musical sources alternative to the great body of the Anglican and other Western Christian traditions has grown sharply in recent years. Though the works presented here may be unfamiliar, they are all masterly. Designed to appeal to choirs of various levels, the collection includes a Kontakion and Ikos for the funeral service, anthems by Great Russian Romantics: Tchaikovsky, Rachmaninov, Grechaninov - and composers from our age: Stravinsky, Schnittke, or Arvo Part speaking for a tradition outside the Orthodox Church, as well as settings of the Lord's Prayer in both Russian and English by John Tavener. / Chant Et Piano