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Piano, Voice
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LES PRESSES DU COLLEGE MUSICAL ECRITS DES CASTRATS SUR LE CHANT VOL.2
Piano, Voice
Description
Écrits des castrats sur le chant, volume 2
L?art des cast...
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Description
Écrits des castrats sur le chant, volume 2
L?art des castrats repose sur peu de documents imprimés à caractère technique (méthodes, traités). La fameuse « feuille » de Porpora (bref recueil d?exercices censés mener à une haute maîtrise) reste inconnue, même si une édition anglaise tardive clame le contraire. Seuls subsistent de nombreux solfeggi manucrits, composés par les maîtres napolitains (Durante, Scarlatti, Leo, Aprile, etc.). Dans ce contexte, les écrits de Pierfrancesco Tosi (1654-1732) et Giovanni Battista Mancini (1714-1800) prennent une valeur inestimable. Ils ont fait l?objet d?une premier volume. Ce deuxième volume, complément indispensable au premier, rassemble les écrits et exercices de Tenducci (célèbre par ses aventures à Londres), Rauzzini (pour qui Mozart écrivit plusieurs ?uvres), Pacchierotti (admiré dans toute l?Europe) et Crescentini (que Napoléon fit venir en France). Chacun de ces remarquables chanteurs apporte un élément complémentaire : exercices et transpositions de Tenducci, solfeggi de Rauzzini, technique d?ornementation pour Pacchierotti et interprétation (articulation et nuances) pour Crescentini.
Writings of the Castrati on singing, volume two
The castrati?s art is documented by few printed books with exercices, or treatises. The famous « Porpora?s sheet » (few exercices reputed to lead to high virtuosity) remains lost, even if a late English edition announces the contrary. Only extant are numerous manuscript solfeggi, coposed by Neapolitan masters (Durante, Scarlatti, Leo, Aprile, etc.). In this context, the treatises by Pierfrancesco Tosi (1654-1732) and Giovanni Battista Mancini (1714-1800) are of great importance. We edited them in a first volume. This one is a complement and shows the writings, exercices and solfeggi by Tenducci (famous by his adventures in London), Rauzzini (for whom Mozart composed some works), Pacchierotti (admired in all countries of Europa) and Crescentini (invited in France by Napoléon). Each of these renowned artists proposes complementary elements : exercices and transposition by Tenducci, solfeggi by Rauzzini, ornamentation by Pacchierotti and interpretation (articulations and dynamics) by Crescentini. / Partitions classique / Vocale - chorale / Voix solo - piano / LES PRESSES DU COLLEGE MUSICAL
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Singers Library Mus Thr2 Sop Bk&CD
Piano, Voice
[Sheet music + CD]
Hal Leonard
For aspiring and professional singers who love Broadway, Alfred's Singer's Libra...
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For aspiring and professional singers who love Broadway, Alfred's Singer's Library of Musical Theatre presents an elegant collection of the best-loved musical theatre songs in their original keys, authentically transcribed from their original vocal scores. Perfect for study, and equally suitable for the most important auditions and performances, each volume is dedicated to a specific vocal range, and contains dozens of songs from a variety of shows that span decades of theatre history. Multiple volumes are available for each of four vocal ranges: Soprano, Mezzo-Soprano/Alto, Tenor, and Baritone/Bass. Authoritative historical and contextual commentary, audition tips, and 16-bar cut suggestions for each song make it the most useful and relevant song library of its kind. Titles: All for You (Saturday Night) * Autumn (Starting Here, Starting Now) * Ballad of Dependency (The Threepenny Opera) * The Boy Friend (The Boy Friend) * Bring on Tomorrow (Fame -- The Musical) * Goodbye, Little Dream, Goodbye (Anything Goes 1988 Revival) * I Speak Six Languages (The 25th Annual Putnam County Spelling Bee) * I'm a Stranger Here Myself (One Touch of Venus) * Jilted (Of Thee I Sing) * Just Imagine (Good News) * A Little Bit in Love (Wonderful Town) * A Little Bit of Good (Chicago) * Long Ago (Half a Sixpense) * Love in a Home (Lil' Abner) * Love Is Sweeping the Country (Of Thee I Sing) * Mira (Carnival) * My Love Is on the Way (The Golden Apple) * My Man's Gone Now (Porgy and Bess) * Once Upon a Dream (Jekyll & Hyde) * Only Love (Scarlet Pimpernel) * Patterns (Closer Than Ever) * Practically Perfect (Mary Poppins -- Stage Version) * Romance (The Desert Song) * Safety in Numbers (The Boy Friend) * The Sailor of My Dreams (Dames at Sea) * Some Other Time (On the Town)* The Sun Whose Rays Are / Instrumental Music, Miscellaneous, Songbooks, Voca / Recueil / Voix et Piano
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Robert Schumann: Dichterliebe Op.48: Voice: Vocal Album
Piano, Voice
[Sheet music]
Barenreiter
Robert Schumann once described his lieder as a ”mirror image of his self&r...
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Robert Schumann once described his lieder as a ”mirror image of his self”. This applies particularly to his compositions from Heinrich Heine’s “Buch der Lieder”. What began as a lyrical intermezzo then developed into “Dichterliebe” a work with which Schumann identified the ardour of his love for Clara Wieck. This work still presents an enigma to performers; how Schumann interpretes Heine’s irony in his music is often discussed. But one thing is certain: with “Dichterliebe” the composer created what is perhaps the best-loved and one of the most tightly-woven lieder cycles of the Romanticperiod. This new edition presents the work based on the first edition. It takes Schumann’s autograph score into consideration an autograph score where there have recently been discussions as to whether it should be presented as an independent alternative version. The four lieder omitted by Schumann from the printed edition are included in the appendix. High-quality Urtext edition of this well-known song cycle Appendix includes four lieder by Schumann which he did not include in the original cycle Comprehensive foreword and critical commentary (Ger/Eng)
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Robert Schumann: Dichterliebe Op. 48: Vocal and Piano: Vocal Score
Piano, Voice
G. Henle
Song Cycle On Poems By Heine. The ups and downs of disappointed love: who could ...
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Song Cycle On Poems By Heine. The ups and downs of disappointed love: who could fail to sympathize with the feelings that Schumann immortalized in his song cycle Dichterliebe after Heine? The pieces range from hopeful anticipation (?Im wunderschönen Monat Mai?) to solitary grief (?Und wüssten?s die Blumen, die kleinen?) and bitter sarcasm (?Die alten bösen Lieder?). Schumann knew what he was writing about: the cycle originated in the year of his marriage to Clara Wieck, an event that took place only after years of struggle. The tried-and-tested Henle Urtext edition by the Schumann specialist Kazuko Ozawa is now also available for singers with low voice: in close collaboration with the experienced pianist and renowned Lied accompanist Gerold Huber, we have adapted the whole cycle, including the four songs of the appendix, for medium and low voices.
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Kelterborn, Rudolf : 10 Duos for Female Voice and Piano
Piano, Voice
[Sheet music]
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Intermediate
Barenreiter
The composer Rudolf Kelterborn about his work: ?I call the ten compositions for ...
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The composer Rudolf Kelterborn about his work: ?I call the ten compositions for female voice and piano ?DUOS? because the voice and instrument parts are treated musically with absolute equality and indeed often go their own independent ways.
In the vocal part there are several variants, and this makes them accessible for different types of voice.
The 10 duos do not form a complete cycle that can be heard only as an entire work. Smaller groups can be put together and presented according to text-related or musical aspects.
The texts are by authors who have continued to inspire me for years.? / [10 Duos Pour Voix de Femme et Piano] / Classique / Partition / Agrafé /
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Amazing Grace (5)
Piano, Voice
[Sheet music]
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Easy
Editions Marc Reift (Swiss import)
Arrangement: Barclay Ted. Par BARCLAY TED. / Niveau : Assez Facile / Répertoi...
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Arrangement: Barclay Ted. Par BARCLAY TED. / Niveau : Assez Facile / Répertoire / Chant et Piano
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Rock of Ages: Vocal and Piano: Mixed Songbook
Piano, Voice
Hal Leonard
A New Musical-Rock of Ages tells the tale of a rock star who meets his dream gir...
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A New Musical-Rock of Ages tells the tale of a rock star who meets his dream girl at a Los Angeles club performance in the '80s. This Tony Award®-nominated Broadway musical features the hits of bands including Journey Night Ranger REO Speedwagon Pat Benatar Twisted Sister and others. Our songbook includes 30 piano/vocal selections: Any Way You Want It · Can't Fight This Feeling · Cum On Feel the Noize · Every Rose Has Its Thorn · Heaven · Here I Go Again · Hit Me with Your Best Shot · I Hate Myself for Loving You · Just like Paradise · More Than Words · Renegade · Sister Christian · Too Much Time on My Hands · Wanted Dead or Alive · We Built This City · and more.
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Dir Mir Zu
Piano, Voice
Barenreiter
This short, highly compact song is based on an excerpt from a poem by Philipp Lu...
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This short, highly compact song is based on an excerpt from a poem by Philipp Luidl. Thanks to the narrow ambitus of the vocal part, it is suitable for every vocal register. The piano part is strictly bound to the musical text, whereas the vocal part, though precisely notated, is granted almost unlimited leeway in performance. Almost anything is permitted, from traditional song interpretation to uninhibited Sprechgesang in which even pitches can be redefined. The imagery of the poem - a stone constantly rolled back by the sea - gives rise to music of great flexibility. Piano and voice complement each other while preserving their independence. / Chant Et Piano
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Gioachino Rossini: Il barbiere di Siviglia: Voice
Piano, Voice
Ricordi
The new reduction of Il barbiere di Siviglia is based on the critical edition of...
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The new reduction of Il barbiere di Siviglia is based on the critical edition of the full score by Alberto Zedda that republished in 2009 appeared in turn as a fully revised edition - in the light of new sources and updated philological criteria -of the historic and pioneering critical edition of 1969. The 1969 Barbiere di Siviglia was based on the autograph and on manuscript and printed sources still considered primary: the copies from Giovanni Battista Cencetti (now kept at the New York Public Library at the Bibliomediateca of Santa CeciliaAcademy in Rome at the Biblioteca Palatina in Parma and at the Bibliothèque nationale de France in Paris) the copies from Naples Florence the main score and vocal scores of the time the fi rst printed libretto many manuscript copies ofAureliano in Palmira work in which Zedda recognized the source of the Symphony of Il Barbiere di Siviglia. To these in 2009 were added all the materials found and transcribed by Zedda after the publication of the volume of 1969.In the Appendices of this edition are published for the fi rst time in vocal score all the new materials added between 1969 and 2009 among them: the aria added for Rosina ?Ah se è ver? (Appendix II) an alternative aria for Rosina for the lessonscene ?La mia pace la mia calma? (Appendix III) an alternative aria for Bartolo ?Manca un foglio? (Appendix IV) and the vocal autograph variants for NN. 5 7 16 (Appendix I).In addition to the musical texts there are - both in Italian and in English - an historical Introduction (in the first volume) and a Critical Commentary to the musical text (in the second volume).
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Gabriel Fauré: Chanson De Mélisande: Soprano: Instrumental Work
Français
Piano, Voice
Hamelle
Pour Soprano Et Orchestre (Piano Reduction)-Gabriel Fauré's Chanson De Mélisan...
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Pour Soprano Et Orchestre (Piano Reduction)-Gabriel Fauré's Chanson De Mélisande for Soprano and Orchestra. Reduction for Voice and Piano. “An enchanted dream” – poet Charles Van Leberghe’s words give us an idea of the audience’s enthusiasm at the Prince of Wales Theatre in Piccadilly on June 21st 1898 when the first English language performance of Symbolist play Pelléas et Mélisande by Maurice Maeterlinck was performed with incidental music by Gabriel Fauré. The composer had tasked his favourite student Charles Koechlin with orchestratingthe score. The London theatre’s small number of musicians suited the apprentice musician’s ideals of clarity and transparency. It was 1936 before Koechlin returned to La Chanson de Mélisande this time to create a version with orchestra published the following year as a Piano-Vocal score. Using autograph manuscripts Roger Nichols and Otfrid Nies have created a new edition of the Piano-Vocal reduction that includes the text of the melody in English French and German. The score contains the 1898 and 1936 variations as well as an informative preface by Otfrid Nies.
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Evgeny Kissin: Thanatopsis op. 4 für Frauenstimme und Klavier: Vocal and Piano:
Piano, Voice
G. Henle
Thanatopsis op. 4 for female voice and pian. It is a great pleasure to present, ...
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Thanatopsis op. 4 for female voice and pian. It is a great pleasure to present, with Thanatopsis, maestro Kissin?s opus 4, an expressive setting of the ground-breaking poem from the quill of William Cullen Bryant. Published in in the form known today in 1821, it is an early example of American romantic poetry of the 19th century. Bryant is today reckoned among the group of ?Fireside Poets? or ?Schoolroom Poets?, names that allude to the places where their poems were usually recited. His poems ? first and foremost Thanatopsis (?A Consideration of Death?) as his most famous ? are rooted in the English tradition, but at the same time show Bryant?s openness to a genuine American language and lifeworld. Evgeny Kissin?s setting is a large vocal scene intensely informed by recitative, which congenially allows the prevailing mood of the text to resound. Our edition additionally includes German and French translations of the poem and an informative afterword about Bryant?s life and work and the genesis of Thanatopsis.
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Cy Coleman: Sweet Charity: Voice: Vocal Score
Piano, Voice
[Sheet music]
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Intermediate
Campbell Connelly and Co
Piano-Conductor's Score-The Vocal/Piano-conductor's score for the Broadway stand...
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Piano-Conductor's Score-The Vocal/Piano-conductor's score for the Broadway standard about the adventures of a girl who wanted to be loved. Based on a screenplay by the legendary director Federico Fellini adapted from his film Nights Of Cabiria.The show has been dazzling audiences since the premiere in New York 1966 and a revival in 1986 saw the show receive four Tony awards. The more recent revival in 2005 with Christina Applegate was nominated for several Tonyawards. A dance-hall hostess searches for her ideal love with a string of troublesome results!This Piano score contains full details of instrumentation and also serves as a complete vocal score.
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E.J. Moeran: The North Sea Ground: Voice: Vocal Work
Piano, Voice
[Sheet music]
Novello & Co Ltd.
This edition of The North Sea Ground is dedicated to the memory of Gordon Cummin...
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This edition of The North Sea Ground is dedicated to the memory of Gordon Cumming the former secretary of the Oxford and Cambridge Musical Club whose interest in Moeran prompted the intervention that rescued the manuscript from possible destruction and ensured its preservation.Editorial NotesThe text written by Moeran in his manuscript shows some differences when compared with the poem as it was published in Punch magazine. Most of these are minor alterations in punctuation and word capitalization. In each case the Punch source has been used for the performing edition.The main textual variation is Moeran’s omission of the fifthverse of the poem. There is no way to change this in the musical setting so for completion the verse is included in brackets in the poem text. There is one difference in the set words: the third line of verse 6 (fifth set verse) has the word sweep in the original where Moeran’s manuscript has keep. This edition replaces Moeran’s word with sweep as this is both poetically consistent and true to the original verse.Throughout the original poem many words are apostrophized: for example lyin’ for lying an’ for and goin’ for going. This usage is consistent throughout the poem with the exception of the last line of the final verse where the word lying evokes a heightened poignancy. Moeran’s text is inconsistent and apparently random. Again the usage in the poem has been followed for this performing edition.The musical transcription is true to Moeran’s manuscript with the exception of the addition of a number of rests that were (presumably accidentally) omitted. Some of the more extreme range notes have also been rendered more readable by the use of octave-shift notation. The ties in the piano in bars 31 and the end of 59 are editorial.AcknowledgementsI am indebted to John Talbot former Chairman of the British Music Society for assistance in the preparation of this performing edition and I would like to
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Sonata - Landscape (KLEIN GIDEON)
Piano, Voice
[Score]
Barenreiter
Sonáta - Krajina. Par KLEIN GIDEON. The extraordinarily gifted composer and pia...
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Sonáta - Krajina. Par KLEIN GIDEON. The extraordinarily gifted composer and pianist Gideon Klein (1919?1945) was murdered in the Fürstengrube concentration camp at the age of 25. One of the undeniable highlights of his small compositional legacy is his Sonata for Piano. Its three movements were written in reverse order in the Terezín concentration camp in 1943; only a three-measure draft of the intended fourth movement has survived. This first Urtext edition of the piano sonata has been expanded to include the previously unpublished short melodrama ?Landscape? (entitled ?Topol? / ?Poplar? in existing literature) in which the pianist can also take over the recitation part if required. In July 1939, shortly after Klein completed his studies at the conservatory, he composed this setting of the same-named poem by Vilém Závada (1905?1982) in the style of free atonality. - First Urtext edition of the sonata - First publication of the melodrama ?Krajina? (Landscape) with translations (Ger/Eng) of the Czech text in the prefix - Includes the draft of the fourth movement printed as a facsimile - Foreword (Cz/Eng/Ger) on the genesis and reception as well as a Critical Commentary / Date parution : 2022-11-29/ Répertoire / Piano et Récitant
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Songs II GA/CE vol. 11 (SZYMANOWSKI KAROL)
Piano, Voice
[Sheet music]
PWM (Polskie Wydawnictwo Muzyczne)
Par SZYMANOWSKI KAROL. (VII) The Polish idiom appeared in Szymanowskis music in ...
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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
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Gabriel Fauré: Mélodies Choisies: Voice: Vocal Album
Piano, Voice
[Sheet music + Audio access]
Leduc, Alphonse
Selected Songs chosen by Francois Le Roux-Widely acclaimed by music lovers for o...
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Selected Songs chosen by Francois Le Roux-Widely acclaimed by music lovers for over a century Selected Songs of Gabriel Fauré (1845-1924) are here collected into an anthology complete with an audio version in the form of a download card. Excerpted from the 1st collection published in 1879 Au bord de l’eau and Ici bas bestow an aura of internal reverie on Sully Prudhomme’s simple poems made palpable by the harmonic refinement and vocal fluidity that constitutes the very essence of Faurean charm. Several vocal pages selected in the 2nd volume (1897) continue to be favourites: Les Rosesd’Ispahan restored to their dreamy stillness Les Berceaux whose oscillation evokes the swaying of boats and the very nostalgic Clair de lune in which Verlaine’s words set to music for the first time inspired Fauré to write what would become one of his masterpieces: La Bonne Chanson. From this cycle drunk on lovelorn lyricism the collection retains Puisque l’aube grandit an exalted melody if there ever was one and La lune blanche luit dans les bois a nocturnal landscape in F sharp major – two pearls that distil the same mystery of solace.
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25 Folksong Solos for Children: Vocal and Piano: Vocal Album
Piano, Voice
[Sheet music + Audio access]
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Easy
Hal Leonard
Easy Arrangements for Voice and Piano especially created for Young Singers-This...
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Easy Arrangements for Voice and Piano especially created for Young Singers-This collection features 25 folksongs that have been specially arranged for a child's solo voice (including a unchanged boy's treble voice) with a limited range designed to encourage lyric singing and easy Piano accompaniments. 25 Folksong Solos For Children features the folk favourites: All the Pretty Little Horses Animal Fair Annabel Lee The Ash Grove Bill Grogan's Goat Cradle Song Every Night When the Sun Goes In Father's Whiskers The Generous Fiddler How Can I Keep from Singing and more.
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The International Book of Christmas Carols: Voice: Vocal Album
Piano, Voice
[Vocal Score]
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Easy
Walton Music
164 easy arrangements with chords of carols from around the world complete with...
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164 easy arrangements with chords of carols from around the world complete with lyrics in the original language as well as English. This special collection also includes historical background information on the observance of Christmas through the years and notes about specific carols to give added understanding. Songs are included from England Italy Latin America Spain Scandinavia Poland Czech Republic and more.Note on the arrangements:'We have worked to make this book both flexible and useful. The Piano accompaniments have been kept simple but much effort has gone into making them musically interesting and satisfying. Chordindications are given for every carol so that the accompaniments may be played on Chord Organs Accordions Guitars Ukuleles and other fretted instruments. A detailed chart demonstrating how to finger chords for fretted instruments is given at the back of the book.We have been careful to keep the voice ranges of the songs comfortable and the texts singable. Since harmony parts always add much pleasure to singing we have retained traditional four-part arrangements of the most familiar carols and hymns. For the others we have provided a second part to go along with the melody (printed in smaller notes) that may be sung or played on the Recorder Flute Violin or on other non-transposing instruments.' - Walter Ehret George K. Evans
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Frédéric Chopin: Complete Works XVII: Songs: Voice: Vocal Album
Piano, Voice
PWM (Polskie Wydawnictwo Muzyczne)
Inspired by texts by Polish poets contemporary to Chopin, improvised ?with the b...
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Inspired by texts by Polish poets contemporary to Chopin, improvised ?with the book of poetry in front of him? at emgirants' meetings, unfinished, some noted only in sketch form, never pblished during the composer's lifetime, though some instantly gained huge popularity in the form of reductions. In Chopin's creative output they hold a marginal position, among Polish songs ? they are outstanding. These works were edited by by I. J. Paderewski, L. Bronarski and J. Turczy?ski.
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