The Piano Treasury of Hymns is designed to be the cornerstone of your personal music library. This tremendous collection contains 400 pages of the best-loved Christian hymns from Europe and America. From traditional favourites to contemporary worship songs, here you'll find the music that has inspired praise and worship for over four centuries. This sacred folio will provide years of enjoyment for everyone who loves the music of the church. Rediscover the beauty and power of the great songs that are a part of the fabric of the church and music history. / Piano

Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera.” On the same scale as chamber music is to the symphony, it is rather the other way of talking onstage. The movable apparatus permits sophisticated voice-leading. A large ensemble demands simple conception to achieve the complexity it perhaps intends; this can be formulated more sharply and nuanced in a chamber ensemble. Therefore it is the subject which this type of presentation must sustain – or, better, provoke. Büchner’s Lenz is a description of the conditions within a process of collapse, moments of destruction already occurred but not yet accepted, evident in the points of contact with the environment. And it was those points of contact which Michael Fröhling attempted to reconstruct onstage. Lenz’s distraught state is always the same; only the proximity of the environment to that distraught state grows and ebbs. The musical consequence An hour of extreme chamber music results from this description: always bound for the main character – actually, not a commentary, but the main character himself as a multilayered level of action. Although Lenz acts on many levels – or tries to or believes he is – he has no room to manoeuvre. That is why he is also tightly interwoven in his sonic surroundings; the voices which only he hears are just as much himself as the two men with whom he foregathers (the liberal pragmatist Oberlin and the alert merchant who always “does the right thing” in every situation) – they evoke responses which he deeply desires. Omnipresent Friederike is just as much his inner world as Nature is – Nature, which he can no longer perceive unless it is personified, enlivened or dead. Therefore, the music’s task is both to motivate the “situation” (atmospherically) and to be the psychological constant (via a network of entangled references per se) in an action as it is played out. The compositional process December 1977 to June 1978 – a period identical to the stepwise understanding of an existence as that of Jakob Lenz. Yet the more the historical figure became precisely attendant in my intellect in terms of data and atmosphere, the more it retreated in favour of a cipher of disturbance as I began to understand Lenz. Thence the explanation for the failure of the attempts to approach him – including my attempt to interpret him via musical representation – because, essentially, Lenz himself is the failure. Only the naked stages of that failure remain portrayable, i.e. including the failure of those who wish to “help” Lenz, for example, while Lenz himself is already trapped inextricably in a state of complete destruction. I tried to compose my way into that situation as far as possible; the insistence of several rhythmic and harmonic configurations is the palpable expression of the main character’s ever-recurring rigidity. One sound pervades the entire work. The musical stage For me, this is a place where very magical and very human things take place. In Jakob Lenz, the human aspects often switch to magical ones, since the realism of a self-suasive, unhinged soul takes on surreal traits – or we simply cannot understand that otherwise except as not being real. A character like Jakob Lenz on the stage is complex due to the fact alone that it harbours many stages within itself, and music must represent those constantly present stages. I have tried to do so in the most direct way – by not cleanly separating the musical layers, but keeping them constantly in evidence until they must break forth, each in accord with its own dramaturgy. In an overview, the large form takes on aspects of a rondo, performed in overlapping layers – a type of rondo relief, since perspectives of psychological proximity and distance are indeed formulated musically as atmospheric relations. Above all: the thread on which Jakob Lenz hangs is the current onto the listeners’ hearts. Wolfgang Rihm (January 1979)/ Répertoire / Chant et Piano

Jacques Brel is alive and well. This musical is a revue of Brel's work. At the age of 23, Brel moved from Nazi-occupied Brussels to Paris, where he began to chase his dreams of a musical career. No performers wanted to sing his songs and he realised that he would have to sing them himself. This he did and found waiting for his passionate performacnes an ever-widening audience. By the early 1960's he was touring in the U.S.A. and U.S.S.R. One of the musical contact he made was Mort Shuman (A Teenager In Love), who introduced his music to Eric Blau. They both loved what they heard and agreed that the songs were sure to find an American audience, but only if they were sung in English. Not wanting to turn the songs into a commercial venture, the pair eventually decided to turn them into a 'plotless' theatrical production.

Plus de 25 Hits plus agréable de Berlin, y compris : Count Your Blessings au lieu de moutons, j'aime un Piano, I've Got My Love to Keep Me chaleureux, folie de Manhattan, à jouer une mélodie Simple, embaument sur le Ritz et plus encore. / Chant Et Piano

Written by Benny Andersson and Bjorn Ulvaeus, I Have a Dream is the only Abba song to feature vocals from outside the four-piece group - Anni-Frid Lyngstad is joined in the final chorus by a children's choir in the original recording. The song was also included in the blockbuster Abba musical, Mamma Mia! .Arranged for SATB choir, this version of the pop classic is an upbeat piece perfect for groups seeking a relaxed and positive addition to their pops repertoire. / Chant Et Piano

Par BEATLES THE. This Piano Chord Songbook contains complete lyrics and chord symbols for over 50 great Beatles hits, plus clear, easy-to-read diagrams for every chord that you'll need to play. / Niveau : Facile / Recueil / Chant et Piano

Love Is All Around! Dans le nouveau volume de la série à succès 'Schott Vocal Lounge ', Carsten Gerlitz vous emmène dans un monde de grandes émotions. L'amour, la plus belle sensation dans le monde, a été l'inspiration pour les plus belles chansons qui sont maintenant disponibles dans des arrangements pour des chanteurs à voix gamme moyenne et un pianiste accompagnateur accompli.Tous les morceaux sur le CD d'accompagnement ont été réalisées par l'auteur et chanteurs professionnels. Chaque titre est livré avec une version sing-along. / Voix Et Piano