50 Songs by 29 Composers-This comprehensive collection is the best one-volume source available on the topic with a mix of familiar recital standards and intriguing material awaiting discovery. Includes composers from c. 1900 into the 21st century. Somesongs make their first published appearance in American Art Song: Gian Carlo Menotti's moving “The Old Man's Song ” Michael Tilson Thomas' inspired “Grace ” dedicated to Leonard Bernstein and AaronJay Kernis' “A Good Boy ” as well a boogie-woogie art song by the editor “Blue Monday.” The same songs appear in High Voice and Medium/Low Voice.

After a long time spent writing only for piano Schumann produced a true outburst of lieder inspired by the poetry of Heinrich Heine: ?What a blessing it is to write for the voice!? Schumann wrote to his beloved Clara. It is as though a knot was untied while he was writing the Heine-Liederkreis Op.24. Retrospectively Schumann wrote that this new poetic spirit had inspired the composition of lieder to such an extent that it had become the only genre to make significant progress since the time of Beethoven.Indeed these nine songs which represent the only complete setting of the underlying Heine cycle came so close to the spirit of the poet that a new epoch of liedcomposition was founded. This new edition of Schumann?s first collection of lieder is based primarily on the first publication under consideration of the autograph manuscript.All songs in their original keyComprehensive foreword (Eng/Ger) and critical commentary (Ger)Includes an English translation of the lied texts by Richard Stokes (The Book of Lieder) printed separately

Instrumentation : High voice - Pf (Fr.) Those interested in French music have often had reason to be grateful to Roger Nichols; his writings on Debussy, Ravel, Messiaen and Poulenc are indispensable to the music lover. Nichols now turns his attentions to the mélodie, where it is his mission to encourage singers to explore beyond the well-trodden paths of French song. In these two anthologies he does not ignore masterpieces by composers of the stature of Fauré and Duparc, but sets them alongside music - almost impossible to find elsewhere in print - by such under-estimated figures as Reber, Viardot, Massé and Paladilhe. Even the more celebrated songs are often not easily found in practical editions, which makes this selection an ideal starting point for wider exploration. In each of these volumes the songs appear in the chronological order of their composer's birth, but Nichols somehow contrives a line-up of music which seems delightfully arbitrary at the same time as carefully designed to enrich everyone's understanding of the mélodie. The books also contain a remarkable amount of scholarship, lightly worn and pithily expressed. As well as complete translations of the songs, there is a useful and concise introduction on singing in French, together with an illuminating historical note and critical commentary; and Nichols gives full due to the poets who were of crucial importance in the development of the mélodie tradition. Graham Johnson Content : Niedermeyer:Le Lac (Meditation poétique);Berlioz:Absence;Gounod:Ô ma belle rebelle;Viardot: Fleur desséchée; Franck: S'il est un charmant gazon; Massé: Consolation;Lalo: Ballade à la lune; Saint-Saëns: La sérénité;Delibes: Chanson espagnole; Bizet: Pastorale; Massenet: Nuit d'Espagne; Chabrier: L'île heureuse; Paladilhe: Sérénité de la nuit; Fauré: Lydia; Fauré: Après un rêve; Duparc: Extase; Chausson: Le colibri; Debussy: Mandoline; Debussy: C'est l'extase langoureuse; Satie: Daphénéo; Satie: Spleen; Séverac: Ma poupée chérie; Dupont: Chanson des noisettes; Poulenc: La Grenouillère Editor :Nichols

Love and Time-Dring herself had perfect pitch and these songs make technical demands upon the singer to good effect.Twentieth century English composer singer and actress Madeleine Dring wrote songs that frequently employed jazz chords in their accompaniment which has been compared in the US to Gershwin. Here there are touches of artsong French chanson and some element that is Dring’s own idiomatic style.

5 Continents. Cette collection par Gwyn Arch de dix chansons folkloriques peut-être petit, mais cinq continents sont représentés au sein de ces 76 pages, et chaque continent.Du Mexique (Amérique du Sud) vient de La Cucaracha (le cafard), une chanson populaire en langue espagnole avec une mélodie mémorable et Cielito Lindo qui est tré par les Mexicains comme une sorte d'hymne national alternative. Le continent africain est représenté par une chanson à partir de la Tanzanie, Malaika, et une autre Afrique de l'Ouest se réjouir dans le titre Jikela Emaweni hamba sia. Les deux chansons ont été associés à la célèbre chanteuse sud-africaine et militant des droits civiques Miriam Makeba, et de nouvelles paroles (en anglais) ont été fournis par Stuart Smith. En Russie (Europe) musique folklorique est étroitement liée à la vie du village et ses traditions. Kalinka est la rêverie d'un jeune homme sous un pin, tandis que le bouleau Little était un symbole de la beauté en Russie soviétique. Le quatrième continent est l'Asie. S'il ya une chanson juive connue par les Juifs et non-Juifs, il doit être Hava Nagilah. Tum Balalaika est également un traditionnel yiddish, mais il est d'origine juive russe. Le Folkmusic des Maoris de Nouvelle-Zélande (Océanie) est principalement associée à la guerre chants appelé Haka, mais Hine e Hine et Pokarekare Ana révèlent l'influence des colons milieu du 19e siècle britanniques. / Voix Elevée(s) Et Piano

A fantastic collection of familiar and favourite Disney Classic Songs set here for High Voice with Piano accompaniment. Includes a CD of Full performances and accompaniment tracks sung by experienced Broadway and musical artists.